January 2, 2026 • 39 mins
Mike talks with the creative team behind Luger, a provocative Spanish thriller that blurs the line between obsession, power, and violence. Joining the conversation are filmmaker Bruno Martín, director Santiago Taboada, and producer Mario Mayo.
Together, they dig into the film’s origins, its unsettling themes, and the choices that shaped its stark tone and moral unease. The discussion explores the challenges of mounting an independent Spanish production, navigating international audiences, and crafting a film that resists easy answers while demanding engagement. From conception to execution, this episode pulls back the curtain on Luger and the collaborative vision that brought it to life.
Learn more at https://lugerlapelicula.com/en/
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.
Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth
Together, they dig into the film’s origins, its unsettling themes, and the choices that shaped its stark tone and moral unease. The discussion explores the challenges of mounting an independent Spanish production, navigating international audiences, and crafting a film that resists easy answers while demanding engagement. From conception to execution, this episode pulls back the curtain on Luger and the collaborative vision that brought it to life.
Learn more at https://lugerlapelicula.com/en/
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.
Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Oh he is boots.
Speaker 2 (00:06):
It's show tied. People say, good money to see this movie.
Speaker 3 (00:10):
When they go out to a theater, they want cold sodas,
hot popcorn and no monsters.
Speaker 4 (00:16):
In the Protection Booth, everyone pretend podcasting isn't boring.
Speaker 5 (00:20):
No, it's to Asuna Lubert p Peroista and they said that, yeah,
(00:47):
the infant.
Speaker 6 (00:49):
Seas toks have we talk?
Speaker 7 (01:04):
Yeah, try press, but it's just a hurricane.
Speaker 1 (01:10):
Mature party is bog.
Speaker 6 (01:12):
There is nothing, you know, I thought, dogmented Janna direction
phialally Senterment.
Speaker 7 (01:21):
Well, I guess, I ma, she had to guess, But
I talk about moneys.
Speaker 1 (01:35):
Totally around the solution, agreed exact a Pelissa.
Speaker 6 (01:53):
Raps and yours for the best the Okay, Conny's all guess.
Speaker 2 (02:00):
Probably say emente lois, but I cant a yeah la mano.
Speaker 8 (02:37):
Na through the temple.
Speaker 9 (02:45):
Hey, folks, welcome to a special episode of The Projection Booth.
I'm your host Mike White. On this episode, I am
talking with Mario Mayo, Bruno Martin, and Santiago Toboado all
about their new film Luger. It is currently on the
first Will circuit. It is a crime film and it
is fantastic. Mister Martin and mister Mayo are both actors
(03:07):
in it. Mister Martin is also the director of the
film and he co wrote it along with mister Tobolato.
Had a lot of fun talking with them. Their English
is way better than my Spanish, as you probably know,
so just be warned that occasionally they are working amongst
themselves to get things translated, so we might jump from
voice to voice a little quickly. But we start with
(03:30):
mister Mayo and mister Martin, and then mister Tobolato joins
us shortly thereafter. Had a great time talking with them,
and I hope you have a great time listening to
the interview. Mario, if you're all right, I'll start with you.
And I'm very curious how you decided to get into acting.
Speaker 10 (03:46):
When I watch a Chile I love football and I
love acting, and I have done twice awards. I played
football many years ago, like a football professional player, and
now I I decided to play like to REGOs.
Speaker 2 (04:05):
I love I love films. I love this this job.
Speaker 11 (04:09):
It's brook it's in the blood. It's in the blab
that is in the blood. When when when we were
in the at the school and me. We were partners
in at the at the school, we decided to film
short films and then many years later we can film
(04:31):
this this movie.
Speaker 4 (04:33):
Our first shirt was when we were was fourteen fourteen.
We shot in in video we wanna a little festival.
Speaker 2 (04:48):
I see yes of a small town.
Speaker 4 (04:52):
I think this is our first job. You can't see
the shirt is a fucking ship with a video camera,
home video camera with a lot of.
Speaker 2 (05:03):
With a lot of block.
Speaker 4 (05:06):
An adaptation of a shirt short writing of do you
know Ruben Dario?
Speaker 9 (05:13):
I do not know?
Speaker 2 (05:14):
A writer from the end of nineteenth century.
Speaker 4 (05:19):
It was a history for of vampires A vampires in
Madrid in the and at the fall of the twentieth century.
Speaker 2 (05:28):
It was very creepy. But now we are going to
make an addition of Blu Ray.
Speaker 4 (05:36):
Of the of our fish film I will curse you,
the film who started by Mario and that we produce.
I produce and in the extras of the Blu Ray,
it's going to be that shirt like a like a
(05:56):
golden piece for the fans for see the beginning of
of our reps, of our professional relationship.
Speaker 9 (06:06):
How did you guys get connected? Like how did you
know that Mario wanted to be an actor, and how
did he know that you wanted to be a director.
Speaker 4 (06:13):
Well, we were partners at the school, at the high
school with fourteen I know Mario and he was always
a smart and.
Speaker 2 (06:26):
Cute guy, tall, handsome you anyway, I was. I was
a rocker. He was a.
Speaker 12 (06:38):
Rude old rocker and I was a camp Maybe we
were very different, but like a white gypsy.
Speaker 4 (06:49):
Yeah, and we and we start to start af our relationship,
our friendship, that short start because in our literature little
at the class, our professor, our future, our teacher or
there as a job that was an adaptation of if
(07:12):
we weren't and we were the only ones who catch shirt. Yeah,
we we choose. We choose to film as our field.
And I say to Mario, okay, you do you want
to play the principal role. And that was the beginning.
But Bruno is a good a great actor too, thank
you very much. But I am now I am very
(07:35):
comfortable behind the behind the camera. It's no problem to
to do a little role like like in Luger. But
I think I don't know if in my next film
I will will appear. I don't think so, like like
like Twente a little bit really, or or maybe like
(07:56):
kid Coach more little bit more?
Speaker 9 (07:59):
Who are of your biggest influences when you were coming
up as a filmmakers and like, oh, this film is fantastic.
I want to be like this guy, or you know,
I'm a fan of this person. Who are some of
those influences for you?
Speaker 4 (08:10):
It's very typical to say Quentin Tarantino obviously, but I
am working now on cinema because people like Alex, like Lesia.
I don't know if you if you know that the
Spanish director Robert Rodriguez, Walter Hill, some peking Path, Fabian
Berlinski from It's a It's an Argentine director maybe obviously
(08:37):
obviously Quentin Tarantino, and I think that that was the
Those are the more important influence in in Luger. To
save you some direct some congreted directors. Okay, Santiago, Yes, I.
Speaker 13 (08:53):
Hear, I'm here.
Speaker 14 (08:54):
I'm really really, I'm really really sorry, because you know
I would say my elder job and the story.
Speaker 2 (09:01):
I am going to say that in in Spain okay,
Mike too, and English Mike, you look not okay and
(09:26):
are you in the moment?
Speaker 13 (09:31):
Okay? Understood, understood, Mike.
Speaker 14 (09:33):
What we are going to do in order to get
the most fluent conversation possible is that Bruno and Mario
will try to speak in English, you know, as much
as they can, and if they commit some mistake or
if they get a start, then I will help them
or I will correct them.
Speaker 13 (09:50):
Okay, So I was just.
Speaker 9 (09:52):
Asking Bruno and Mario kind of how they got their start,
and I want to ask the same of you, Santiago
as well. How did you decide that you want to
be a screenwriter?
Speaker 14 (10:00):
When I was little, you know, I thought that the
director of a movie lived in the real world of
the movie with me that you know, for example, the
director of The Good Is lived in the real world
and he was just with the camera filming what happened
in the reality.
Speaker 2 (10:16):
Right.
Speaker 13 (10:17):
That was when I was five years old. And then
I decided, like, okay, I tually, I.
Speaker 14 (10:23):
Want to live in the same world as the movie makers,
you know, so I want to be a filmmaker. And then,
of course I learned that was not true. Actually, but
I really loved the feeling of being engaged by a
story and tell a story with images or you know. So, Mike,
that's when I decided to become a filmmaker, and seen
(10:46):
I was little, I got it very clear in my mind.
So I just focused on my studies you know, to
a right to the filmmaking school. And once I got
into the film skill school, I made the two exams
you know to the film in the school.
Speaker 13 (11:03):
One was for a director and the other on was
for writer. And that moment of my life.
Speaker 14 (11:10):
I have directed some music videos on my own, some
scot phones and I got into the screenwriting you know
degree in that film school. And then I discovered a
work that I really loved because it had the whole creativity.
But at the same time, I didn't have any stress
(11:31):
of directing and you know, controlling the whole team. So
I thought like, okay, I found my dream job, you know,
like this is what I want to do because it's fun,
I love it and I don't have stress as you
know taking care of the whole team.
Speaker 9 (11:47):
And I asked Bruno and Mariodus as well, But who
were some of your influences coming up?
Speaker 14 (11:52):
The first one will be some rainy you know for me,
like ever since I watched an Army of Dark, which
is my favorite movie ever, wanted to do something like
what he does, you know, like I really really love
because I'm I love horror, and I love the whole
horror general. But at the same time, I love comedy
(12:15):
and I feel I love when I'm watching a movie
that makes me laugh but also makes me feel scared.
Speaker 13 (12:23):
And you know, my biggest influence was Sam REMI by
that that means.
Speaker 9 (12:29):
When did you meet up with Bruno and Mario? How
when was that with Mario?
Speaker 14 (12:34):
Was because we had some friends in common in Not
Turn Nothing festival back in Madrid some years ago, so
I knew him for other friends and I think we
got a drink in a bar after the film festival ended,
and he was very very nice with me and with Bruno.
It was funny because I met him in an event
(12:56):
from movie Star series. He just won an award or
the Sun Dance Sudance a shorts competition, right, Bruno was Sandance, then.
Speaker 4 (13:06):
TV shirts, Mike Spain. Everybody knows in a bar drinking,
So in my gea, I knew the case of Sandy
that that that thatesn't doesn't great.
Speaker 2 (13:18):
That's true, that's true.
Speaker 14 (13:20):
Anyway, I knew Bruno in Thatdance TV short event and
the funny thing was that Bruno was my neighbor. Actually
he lived very very close to my house, so it
drove me home after that event, and then he told me, like,
we have to meet one day.
Speaker 13 (13:37):
So I wrote him and he invited me to his house.
And then when I went.
Speaker 14 (13:43):
Into his house, there were a whole group of people,
and Mario was amongst that group of people.
Speaker 13 (13:48):
So I felt like, okay, that's a small world, right.
Speaker 9 (13:52):
How did you guys decide to start working together?
Speaker 14 (13:56):
From my point of view and in my in my case,
was that Bruno proposed me to do something with him.
Speaker 13 (14:04):
I admired his work before I have seen it, and.
Speaker 14 (14:08):
I participated a little bit in the second season of
Other Rio, which was his web series. I just helped
him a little bit and he gave me a small
tamil and I knew his previous job. I admired that job,
and when Bruno proposed me to work with him, I
(14:28):
feel very flattered. You know, I of course wanted to
join because he told me one thing that I still
remember that was I don't know how, but I'm going to.
Speaker 13 (14:39):
Make this movie.
Speaker 14 (14:40):
And you know, I knew he was going to make
it because other people, you know, they can promise and
they don't do. But I knew Bruno was able to
make it, so you know, I just trusted him.
Speaker 4 (14:51):
Santello as he told you, was my neighbor, was writer
and we were recording and shooting website, Yes for many years.
We want to upgrade to do something more professional live internet,
(15:12):
the two Vimeo and to make a film, a long film.
I say, okay, I'm going to try to work with Santiago,
see if our relationship works or not.
Speaker 2 (15:26):
And and it works. We were writing Looker for two
years more or less.
Speaker 14 (15:33):
We started knowing each other better during that process and
also learning from each other.
Speaker 13 (15:39):
We learned a lot from each other.
Speaker 4 (15:41):
Yes, writing with Santiago wars a school there of learning.
And then we clear the idea that that role will
be played by Mario and we will write for him
because Mario is our actor.
Speaker 10 (16:00):
Do not always have have come with me? And we
know together he had me. He always called me with
my with my person, and okay, I'm very grateful of it.
Speaker 9 (16:15):
Where did the idea where Luger come from?
Speaker 2 (16:17):
I think the first idea is the luger inside uh
safe box.
Speaker 4 (16:23):
Then we try to tell friendship, story of sacrifice or
second chances. Really, the Luger is the background of the
of the movie. It's not important in the in the movie,
the mcgoffin or the movie.
Speaker 13 (16:39):
I just want to add that when you write a
movie and actually Brune and I relationship it was so great,
you know, and that sometimes there's one would think about
this project and of course it will be in the future.
Speaker 14 (16:53):
That is that you don't know where one writer ends
and the other starts, because there are many things that
I don't remember if it was Bruno who proposed that
or me who proposed that.
Speaker 13 (17:04):
You know, there were many things.
Speaker 14 (17:06):
So actually the starting point I remember it was about
two sucks that they needed to get something back for,
I say, a gangster who had a restrain in order
he had to stay at Pomp. He was arrested at Pomp,
and then everything started changing, so you know, we polished
(17:27):
the script, we changed the script. But I remember that
actually the element of the luger was Bruno's idea because
I didn't knew what a luber was before the writing
the strip, so I he knew it and keep probing.
Speaker 9 (17:40):
But I love that rich backstory that you give it.
The whole story of the Nazi and the suicides and
all that. I mean, it just adds so much texture
to the film.
Speaker 2 (17:51):
It's a fake story, I said, or not true a story.
Speaker 4 (17:55):
There are many many Nazis to run away and were
hiding here in Spain and escape from Berlin in the
last moment, and many of them arrives to Spain in
a in a in a plane, in a little airplane
and const and landing, landed, they escaped from the plane
(18:19):
and they run away around Spain, and many of them
were wanted many many years, and many of them I
think whenever I found there is a friend of mine
that is an expert on Nazi things. He's very weird
but interesting to talk with him. And all weeks when
(18:41):
when I meet in a bar, always in a bar,
you always tell me a story is about Nazis.
Speaker 2 (18:47):
I'm very very interesting for me. And so one day I.
Speaker 4 (18:54):
Asked to him, I am writing a story about Nazis.
Can you explain me so details or some kind of
way of forms the models.
Speaker 14 (19:08):
Usually the way that the Nazis were doing things. You
know there there said there are ways to do things normally.
Actually he found out how they commit suicide, because that's
the true part of the story that Bruno said that
some Nazis actually they killed themselves because they couldn't stand
with the feet. That's that's why they killed themselves, because
(19:32):
it was a shame for them that defeated the army
that they were living, you know, in that moment.
Speaker 13 (19:39):
That that the fitting situations. Sorry.
Speaker 14 (19:41):
And also some of them skated to Spain or to
even Latin American countries. Some of them were never found.
Some of them were found, but with other names. You know,
they changed their names, they changed their lives. So that's
the true beneath the whole story.
Speaker 4 (19:58):
The cool idea of that point of the film is
that eight guys with an only gun and he has
to to commit suicide the way that he has to
to do that at the end, it's only one on foot,
and that guy stays, Okay, I'm gonna get out. I'm
(20:23):
gonna escape right away, and he say I want to
live at the end. That that's the cool of that.
That's the grandfather of our of our tough guy of
the film. And and that ballot that has his name
at the end go to her grandson. That ballot has destiny.
Speaker 2 (20:47):
Mario.
Speaker 9 (20:47):
I know you've spent in a lot of movies and
TV shows. How is it for you when you get
a role that is written specifically for you? When it
when it comes to something that Bruno and Santiago are working.
Speaker 10 (20:59):
On previously, when we when Bruno decided to to write
this this character for me, we work together the character
many months before. And Okay, I know perfectly that what
Bruno wants to do in this character, and he knows
(21:22):
that I am strong, I am clever, but the cutter
is not clever. The clever the clever personally is David
the other, the other main actor, and we will work
it a lot.
Speaker 2 (21:36):
I think the result is good. It's very good.
Speaker 9 (21:41):
How did you and David work together to make it
feel like you had been friends for so long?
Speaker 10 (21:47):
They did on me, he knows many years ago, and
we are afraid, but this movie has picked more and
more relationship to he and me.
Speaker 2 (21:59):
Now.
Speaker 10 (22:00):
Oh, I think they very good friend like a brother,
like Bruno, like Sandy. We are a great team and
I think that a should of the movie is for that.
Speaker 4 (22:12):
As we wrote the Tony role for Mario, we wrote
the rock par role for the Bid.
Speaker 2 (22:20):
We're friends of mine and they were friends together.
Speaker 4 (22:24):
The result on the on the screen that you see
and the the audience can see that truth in in
the in the interpretations, in the comic, in.
Speaker 2 (22:34):
The performance perform.
Speaker 13 (22:38):
Very very very that was the result.
Speaker 9 (22:42):
There are so many strong characters and so many great
actors and this I mean, I can't remember the name
of the gentleman who plays the I guess it's the
nephew of the main gangster, the Italian. That scene in
the bar when he's trying to get back the luger
from the person that pought it.
Speaker 2 (23:02):
The nexcuse Bruno then nothing the bars.
Speaker 4 (23:05):
Daniel North is the actors and I seeing the bar
that is even in the back to us when we
talk with him.
Speaker 9 (23:11):
I really love that scene and I love you in
that scene.
Speaker 10 (23:16):
He's a great actor. He's very very good at all
and he had to short a parish in the at
the movie, but.
Speaker 13 (23:25):
It's a scary as kat in those eis.
Speaker 2 (23:28):
Dani's awesome. And the sequence.
Speaker 4 (23:31):
We love that sequence because it's in the middle. It's
in the middle point of the film, and and I
was trying to.
Speaker 14 (23:41):
We we were trying to make this sequence very intense,
you know, because it was the mid point of the movie.
So we needed an intense sequence to do this point,
because we want to make the audience think that this
is going to explode.
Speaker 2 (23:57):
In La premia version, the give on explode.
Speaker 14 (24:02):
Actually, in the first verson, the first draft of the screenplay,
that a scene ended up with a very big fight.
So it exploded and there were dead people that were
plowed everywhere.
Speaker 4 (24:16):
And the producer read the scene and say to us,
we can make that, guys, to do that, it's they
that you want to shoot.
Speaker 2 (24:26):
It's very expensive, very expensive. And he said, okay, we
are going to do another version.
Speaker 4 (24:35):
We are going to kild some some roles and to
clean that sequence, and we make the second version. And
when at the beginning there was fifteen characters in that
scene and at the end there are four characters and
the and the two and the two good guys and
(24:58):
I and I think the sequence is better than the
first version.
Speaker 2 (25:03):
It's more simply, it's more organic.
Speaker 14 (25:07):
It's a more is darker actually, it's kind of darker,
kind of hadie. It's a more how to say, subtle, right, Like,
it's not so explicit, it's subtle.
Speaker 2 (25:19):
Less elements in the scene. Is more a smarter Bruno.
Speaker 9 (25:24):
Your character is fantastic and you play him so well,
so calm, menace and just you seem to be the
only person that's really kind of using their head.
Speaker 4 (25:34):
Charlie is a role that it's not a bad guy,
is not a good guy. It's an element. It's a
character that is an element to help the main character.
In the second act of the movie when Mario, when
when Tony disappears, Tony is the lucky, the lucky amulet
(25:54):
Rafa and it's very nice to see Rafa with his part.
Speaker 2 (26:01):
Crying like a dog in silence in the movie for
that point.
Speaker 14 (26:06):
From that moment, you know, the rest of the movie
from now, Rafa will be alone with you know, Charline
in that moment. Charlie atually replaced as Tony in that
moment because Raffa feels comfortable and safe with Tony by
his side, because as Bruno said, he's the lucky hotem,
(26:27):
He's lucky amulet, you know. And then once Tony disappears.
In that moment that Tony disappears, Charlie replaces Tony. It's
kind of a hey, the tape fifter replacement, right, because
she you don't know if he's good, If he's good,
that's why.
Speaker 13 (26:47):
He's kind of a shape shifter character.
Speaker 14 (26:50):
But then when you start feeling comfortable with Charlie, when
you started empathizing with him, then suddenly Charlie disappears to
let's let's put it like this, okay. So Rafa finds
himself alone again and then doesn't feel safe anymore.
Speaker 9 (27:10):
How was the actual shoot?
Speaker 2 (27:12):
How is it?
Speaker 9 (27:12):
Shooting in Madrid?
Speaker 4 (27:14):
It isn't the better city to shoot in Spain because
taxes are high and you don't get a revenue from them.
You know, everybody wants to shoot in Madrid or Barcelona,
because there are both our famous cities.
Speaker 2 (27:33):
But it's not a problem because we know the city
very well.
Speaker 4 (27:38):
I know the industrial area that is shoot the lugger
is never from my home, but it's not in the
in the movie.
Speaker 2 (27:49):
It's not a real industrial area. Because we need to.
Speaker 4 (27:54):
Make more biggest or biggest. That doesn't sist in Madrid.
Shooting Madrid. It's comfortable, but it's not the best. The
better the better city in Spain. The better cities in
Spain is Basque Country and the Canary Ipen.
Speaker 10 (28:12):
There is no many helps in Marid to shooting in there.
Speaker 4 (28:16):
Many American productions are shooting right now Wonder Woman, for example,
was shooting in in Cana, not the Better, not the World.
Speaker 9 (28:26):
When was your premiere and how was that seeing this
movie with an audience for the first time.
Speaker 13 (28:31):
The premiere actually was in Fantastic Excess.
Speaker 2 (28:34):
But they were premier.
Speaker 4 (28:36):
The world premier was in in Eptin, and the European
the European in Strasbourg.
Speaker 9 (28:43):
I was seeing that with an audience, and especially in
an audience who doesn't speak your language.
Speaker 10 (28:47):
Necessarily the American Award when when they watched the movie,
they understand perfectly the movie.
Speaker 2 (28:56):
Because they love the club.
Speaker 10 (28:59):
They asked to ask many questions. In the Q and A,
they congratulations for us. I think it was successful.
Speaker 4 (29:11):
I was seeing the field near of Mario and near
of the producer, and I know where are the points
that the audience has to a loud, The audience has
to scream, the audience has to clap. I think the
nineteen percent of the of the moments the audience responds
(29:33):
as we want.
Speaker 2 (29:34):
There is there is some points that lost in translation.
Speaker 4 (29:38):
It's seemed able to be the perfect translation of the
perfect but really nice, really nice poet of the of
the audience.
Speaker 13 (29:47):
The audience was hooked. The audience was excited.
Speaker 14 (29:50):
They were inside the movie actually, so you know, of
course we were a little bit scared, at least me
because it was an audience from a different convers so
with it and knew if they were going to respond
good or maybe they won't get anything. And then suddenly
they responded, well, they loved the movie. They let us
know that they loved the movie. So you know, we
(30:11):
are very very thankful, and you know, it was good
to see in the true screen instensions. The two screening
rooms were full, they were crowded, like there was no
an empty seed, and nobody looked at the cell phones
during the whole movie, which is kind of fun success
in this era.
Speaker 9 (30:31):
There's one scene where something bad happens to Mario, and
I have to tell you that I gasped out loud
in my house watching that scene.
Speaker 10 (30:40):
I think many people cry, but men don't have to.
Speaker 2 (30:45):
No, no, I don't cry. I am a man.
Speaker 13 (30:50):
There was a reaction, there was a reaction definitely to
that scene.
Speaker 2 (30:53):
I I gree I.
Speaker 9 (30:55):
Hope that it caused a lot of screaming in the
theater where you guys saw.
Speaker 4 (31:00):
It's a main movie, but it's a one a movie too.
It's everybody cries with the with this part. What's the
first time? I pray in Austin watching that sting because
it was the first time that the movie went to
the public. It's the first time that the audience, the
audience see the movie and it's a very special moment.
(31:24):
For for that reason, you've.
Speaker 9 (31:26):
Got your European premiere coming up. What's next for the movie?
And do you guys have plans for your next film? Already?
Speaker 2 (31:33):
We went from Starsbourg.
Speaker 4 (31:35):
We have won the Grand Prix, the Grand Prix for
our nection Cross the cross it's like the section of
orbita in sea chest and our next party is check
is the is the final boss of the video game.
(31:56):
We will have the opportunity to show the movie to
one thousand and four hundred people. At the same time.
I am very afraid, afraid and nerviews, but I think
this was it will be a.
Speaker 14 (32:14):
Good stage for our movie, right because they will eat
you know, we will have all our lights on us,
so everybody will see.
Speaker 2 (32:24):
We make that movie for do the second movie and
try to make that third movie.
Speaker 4 (32:31):
And for that reason it such is very important because
that the stage gives us an opportunity to know another producers, another.
Speaker 2 (32:41):
Ways to do the next movie.
Speaker 4 (32:44):
Santiago and I have another thriller and a horror movie,
but we don't talk about with more details with a
lot of the tales because we are working on it
right now.
Speaker 14 (32:58):
Yes, exactly, we are working on a couple of projects
right now. As Bruno said, when is a thriller, when
it's a horror movie. What they can assure you is
that you will see our say, our seal in the
next movie. This movie Luger has our seal, our soul.
You know, you can see that we wrote it like
(33:20):
it couldn't be written by an Ai, couldn't be written
by anyone else. And this one will have also our seal,
you know, we will have this brand, our brand. And
then when people see it, I don't know which one
will on first, if it will be the thriller, the
horror movie or maybe another one, but what I can
(33:41):
assure you is that you will know it from us.
Speaker 9 (33:45):
Well. I can't see you guys having anything but fantastic
success because Luger was wonderful and I really look forward
to more people being able to see it.
Speaker 14 (33:55):
Thank you also for giving us this space to you know,
promote the movie, and I just hope that your own
audience will love it. If they don't know it, you know,
go watch it whenever you can, because did you get
the chance to watch it in Cinema's VODs festivals?
Speaker 13 (34:12):
You know, give us a chance. We just want you
to enjoy this movie.
Speaker 2 (34:17):
Thanks hello, Mike, and I hope to see you in
person with you very soon. Be very much.
Speaker 9 (34:27):
Well, it sounds like we'll be meeting at a bar.
Speaker 2 (34:29):
It's the same language a bear here and in USA.
Speaker 9 (34:34):
Sounds great, well, Mario Bruno Santi. Thank you so much
for your time. Classes.
Speaker 13 (34:40):
Thank you very much, Mike.
Speaker 3 (34:42):
Wow sell sell, I got a midam of something we
(35:33):
can do as.
Speaker 15 (35:34):
The sick out and find tell the air five.
Speaker 16 (35:46):
F that song, sell sell sell, tell them my job.
Speaker 15 (35:58):
Seal sill till.
Speaker 13 (36:00):
That starts start filling.
Speaker 16 (36:05):
Get so small so.
Speaker 3 (36:08):
Ross, tell about that stuff.
Speaker 16 (36:16):
Yeah, I got in my dell and what are you doing?
Speaker 1 (36:40):
Noll the w way?
Speaker 16 (36:42):
Well, my friend.
Speaker 15 (36:48):
Can't he can't.
Speaker 8 (36:49):
Tell the no, I bro.
Speaker 16 (36:53):
Can't can't tell the b talbo, can't get ben til
the to this small dad again, din its it.
Speaker 8 (38:03):
Sings.
Speaker 3 (39:01):
I got an dam something wom doing
Oh he is boots.
Speaker 2 (00:06):
It's show tied. People say, good money to see this movie.
Speaker 3 (00:10):
When they go out to a theater, they want cold sodas,
hot popcorn and no monsters.
Speaker 4 (00:16):
In the Protection Booth, everyone pretend podcasting isn't boring.
Speaker 5 (00:20):
No, it's to Asuna Lubert p Peroista and they said that, yeah,
(00:47):
the infant.
Speaker 6 (00:49):
Seas toks have we talk?
Speaker 7 (01:04):
Yeah, try press, but it's just a hurricane.
Speaker 1 (01:10):
Mature party is bog.
Speaker 6 (01:12):
There is nothing, you know, I thought, dogmented Janna direction
phialally Senterment.
Speaker 7 (01:21):
Well, I guess, I ma, she had to guess, But
I talk about moneys.
Speaker 1 (01:35):
Totally around the solution, agreed exact a Pelissa.
Speaker 6 (01:53):
Raps and yours for the best the Okay, Conny's all guess.
Speaker 2 (02:00):
Probably say emente lois, but I cant a yeah la mano.
Speaker 8 (02:37):
Na through the temple.
Speaker 9 (02:45):
Hey, folks, welcome to a special episode of The Projection Booth.
I'm your host Mike White. On this episode, I am
talking with Mario Mayo, Bruno Martin, and Santiago Toboado all
about their new film Luger. It is currently on the
first Will circuit. It is a crime film and it
is fantastic. Mister Martin and mister Mayo are both actors
(03:07):
in it. Mister Martin is also the director of the
film and he co wrote it along with mister Tobolato.
Had a lot of fun talking with them. Their English
is way better than my Spanish, as you probably know,
so just be warned that occasionally they are working amongst
themselves to get things translated, so we might jump from
voice to voice a little quickly. But we start with
(03:30):
mister Mayo and mister Martin, and then mister Tobolato joins
us shortly thereafter. Had a great time talking with them,
and I hope you have a great time listening to
the interview. Mario, if you're all right, I'll start with you.
And I'm very curious how you decided to get into acting.
Speaker 10 (03:46):
When I watch a Chile I love football and I
love acting, and I have done twice awards. I played
football many years ago, like a football professional player, and
now I I decided to play like to REGOs.
Speaker 2 (04:05):
I love I love films. I love this this job.
Speaker 11 (04:09):
It's brook it's in the blood. It's in the blab
that is in the blood. When when when we were
in the at the school and me. We were partners
in at the at the school, we decided to film
short films and then many years later we can film
(04:31):
this this movie.
Speaker 4 (04:33):
Our first shirt was when we were was fourteen fourteen.
We shot in in video we wanna a little festival.
Speaker 2 (04:48):
I see yes of a small town.
Speaker 4 (04:52):
I think this is our first job. You can't see
the shirt is a fucking ship with a video camera,
home video camera with a lot of.
Speaker 2 (05:03):
With a lot of block.
Speaker 4 (05:06):
An adaptation of a shirt short writing of do you
know Ruben Dario?
Speaker 9 (05:13):
I do not know?
Speaker 2 (05:14):
A writer from the end of nineteenth century.
Speaker 4 (05:19):
It was a history for of vampires A vampires in
Madrid in the and at the fall of the twentieth century.
Speaker 2 (05:28):
It was very creepy. But now we are going to
make an addition of Blu Ray.
Speaker 4 (05:36):
Of the of our fish film I will curse you,
the film who started by Mario and that we produce.
I produce and in the extras of the Blu Ray,
it's going to be that shirt like a like a
(05:56):
golden piece for the fans for see the beginning of
of our reps, of our professional relationship.
Speaker 9 (06:06):
How did you guys get connected? Like how did you
know that Mario wanted to be an actor, and how
did he know that you wanted to be a director.
Speaker 4 (06:13):
Well, we were partners at the school, at the high
school with fourteen I know Mario and he was always
a smart and.
Speaker 2 (06:26):
Cute guy, tall, handsome you anyway, I was. I was
a rocker. He was a.
Speaker 12 (06:38):
Rude old rocker and I was a camp Maybe we
were very different, but like a white gypsy.
Speaker 4 (06:49):
Yeah, and we and we start to start af our relationship,
our friendship, that short start because in our literature little
at the class, our professor, our future, our teacher or
there as a job that was an adaptation of if
(07:12):
we weren't and we were the only ones who catch shirt. Yeah,
we we choose. We choose to film as our field.
And I say to Mario, okay, you do you want
to play the principal role. And that was the beginning.
But Bruno is a good a great actor too, thank
you very much. But I am now I am very
(07:35):
comfortable behind the behind the camera. It's no problem to
to do a little role like like in Luger. But
I think I don't know if in my next film
I will will appear. I don't think so, like like
like Twente a little bit really, or or maybe like
(07:56):
kid Coach more little bit more?
Speaker 9 (07:59):
Who are of your biggest influences when you were coming
up as a filmmakers and like, oh, this film is fantastic.
I want to be like this guy, or you know,
I'm a fan of this person. Who are some of
those influences for you?
Speaker 4 (08:10):
It's very typical to say Quentin Tarantino obviously, but I
am working now on cinema because people like Alex, like Lesia.
I don't know if you if you know that the
Spanish director Robert Rodriguez, Walter Hill, some peking Path, Fabian
Berlinski from It's a It's an Argentine director maybe obviously
(08:37):
obviously Quentin Tarantino, and I think that that was the
Those are the more important influence in in Luger. To
save you some direct some congreted directors. Okay, Santiago, Yes, I.
Speaker 13 (08:53):
Hear, I'm here.
Speaker 14 (08:54):
I'm really really, I'm really really sorry, because you know
I would say my elder job and the story.
Speaker 2 (09:01):
I am going to say that in in Spain okay,
Mike too, and English Mike, you look not okay and
(09:26):
are you in the moment?
Speaker 13 (09:31):
Okay? Understood, understood, Mike.
Speaker 14 (09:33):
What we are going to do in order to get
the most fluent conversation possible is that Bruno and Mario
will try to speak in English, you know, as much
as they can, and if they commit some mistake or
if they get a start, then I will help them
or I will correct them.
Speaker 13 (09:50):
Okay, So I was just.
Speaker 9 (09:52):
Asking Bruno and Mario kind of how they got their start,
and I want to ask the same of you, Santiago
as well. How did you decide that you want to
be a screenwriter?
Speaker 14 (10:00):
When I was little, you know, I thought that the
director of a movie lived in the real world of
the movie with me that you know, for example, the
director of The Good Is lived in the real world
and he was just with the camera filming what happened
in the reality.
Speaker 2 (10:16):
Right.
Speaker 13 (10:17):
That was when I was five years old. And then
I decided, like, okay, I tually, I.
Speaker 14 (10:23):
Want to live in the same world as the movie makers,
you know, so I want to be a filmmaker. And then,
of course I learned that was not true. Actually, but
I really loved the feeling of being engaged by a
story and tell a story with images or you know. So, Mike,
that's when I decided to become a filmmaker, and seen
(10:46):
I was little, I got it very clear in my mind.
So I just focused on my studies you know, to
a right to the filmmaking school. And once I got
into the film skill school, I made the two exams
you know to the film in the school.
Speaker 13 (11:03):
One was for a director and the other on was
for writer. And that moment of my life.
Speaker 14 (11:10):
I have directed some music videos on my own, some
scot phones and I got into the screenwriting you know
degree in that film school. And then I discovered a
work that I really loved because it had the whole creativity.
But at the same time, I didn't have any stress
(11:31):
of directing and you know, controlling the whole team. So
I thought like, okay, I found my dream job, you know,
like this is what I want to do because it's fun,
I love it and I don't have stress as you
know taking care of the whole team.
Speaker 9 (11:47):
And I asked Bruno and Mariodus as well, But who
were some of your influences coming up?
Speaker 14 (11:52):
The first one will be some rainy you know for me,
like ever since I watched an Army of Dark, which
is my favorite movie ever, wanted to do something like
what he does, you know, like I really really love
because I'm I love horror, and I love the whole
horror general. But at the same time, I love comedy
(12:15):
and I feel I love when I'm watching a movie
that makes me laugh but also makes me feel scared.
Speaker 13 (12:23):
And you know, my biggest influence was Sam REMI by
that that means.
Speaker 9 (12:29):
When did you meet up with Bruno and Mario? How
when was that with Mario?
Speaker 14 (12:34):
Was because we had some friends in common in Not
Turn Nothing festival back in Madrid some years ago, so
I knew him for other friends and I think we
got a drink in a bar after the film festival ended,
and he was very very nice with me and with Bruno.
It was funny because I met him in an event
(12:56):
from movie Star series. He just won an award or
the Sun Dance Sudance a shorts competition, right, Bruno was Sandance, then.
Speaker 4 (13:06):
TV shirts, Mike Spain. Everybody knows in a bar drinking,
So in my gea, I knew the case of Sandy
that that that thatesn't doesn't great.
Speaker 2 (13:18):
That's true, that's true.
Speaker 14 (13:20):
Anyway, I knew Bruno in Thatdance TV short event and
the funny thing was that Bruno was my neighbor. Actually
he lived very very close to my house, so it
drove me home after that event, and then he told me, like,
we have to meet one day.
Speaker 13 (13:37):
So I wrote him and he invited me to his house.
And then when I went.
Speaker 14 (13:43):
Into his house, there were a whole group of people,
and Mario was amongst that group of people.
Speaker 13 (13:48):
So I felt like, okay, that's a small world, right.
Speaker 9 (13:52):
How did you guys decide to start working together?
Speaker 14 (13:56):
From my point of view and in my in my case,
was that Bruno proposed me to do something with him.
Speaker 13 (14:04):
I admired his work before I have seen it, and.
Speaker 14 (14:08):
I participated a little bit in the second season of
Other Rio, which was his web series. I just helped
him a little bit and he gave me a small
tamil and I knew his previous job. I admired that job,
and when Bruno proposed me to work with him, I
(14:28):
feel very flattered. You know, I of course wanted to
join because he told me one thing that I still
remember that was I don't know how, but I'm going to.
Speaker 13 (14:39):
Make this movie.
Speaker 14 (14:40):
And you know, I knew he was going to make
it because other people, you know, they can promise and
they don't do. But I knew Bruno was able to
make it, so you know, I just trusted him.
Speaker 4 (14:51):
Santello as he told you, was my neighbor, was writer
and we were recording and shooting website, Yes for many years.
We want to upgrade to do something more professional live internet,
(15:12):
the two Vimeo and to make a film, a long film.
I say, okay, I'm going to try to work with Santiago,
see if our relationship works or not.
Speaker 2 (15:26):
And and it works. We were writing Looker for two
years more or less.
Speaker 14 (15:33):
We started knowing each other better during that process and
also learning from each other.
Speaker 13 (15:39):
We learned a lot from each other.
Speaker 4 (15:41):
Yes, writing with Santiago wars a school there of learning.
And then we clear the idea that that role will
be played by Mario and we will write for him
because Mario is our actor.
Speaker 10 (16:00):
Do not always have have come with me? And we
know together he had me. He always called me with
my with my person, and okay, I'm very grateful of it.
Speaker 9 (16:15):
Where did the idea where Luger come from?
Speaker 2 (16:17):
I think the first idea is the luger inside uh
safe box.
Speaker 4 (16:23):
Then we try to tell friendship, story of sacrifice or
second chances. Really, the Luger is the background of the
of the movie. It's not important in the in the movie,
the mcgoffin or the movie.
Speaker 13 (16:39):
I just want to add that when you write a
movie and actually Brune and I relationship it was so great,
you know, and that sometimes there's one would think about
this project and of course it will be in the future.
Speaker 14 (16:53):
That is that you don't know where one writer ends
and the other starts, because there are many things that
I don't remember if it was Bruno who proposed that
or me who proposed that.
Speaker 13 (17:04):
You know, there were many things.
Speaker 14 (17:06):
So actually the starting point I remember it was about
two sucks that they needed to get something back for,
I say, a gangster who had a restrain in order
he had to stay at Pomp. He was arrested at Pomp,
and then everything started changing, so you know, we polished
(17:27):
the script, we changed the script. But I remember that
actually the element of the luger was Bruno's idea because
I didn't knew what a luber was before the writing
the strip, so I he knew it and keep probing.
Speaker 9 (17:40):
But I love that rich backstory that you give it.
The whole story of the Nazi and the suicides and
all that. I mean, it just adds so much texture
to the film.
Speaker 2 (17:51):
It's a fake story, I said, or not true a story.
Speaker 4 (17:55):
There are many many Nazis to run away and were
hiding here in Spain and escape from Berlin in the
last moment, and many of them arrives to Spain in
a in a in a plane, in a little airplane
and const and landing, landed, they escaped from the plane
(18:19):
and they run away around Spain, and many of them
were wanted many many years, and many of them I
think whenever I found there is a friend of mine
that is an expert on Nazi things. He's very weird
but interesting to talk with him. And all weeks when
(18:41):
when I meet in a bar, always in a bar,
you always tell me a story is about Nazis.
Speaker 2 (18:47):
I'm very very interesting for me. And so one day I.
Speaker 4 (18:54):
Asked to him, I am writing a story about Nazis.
Can you explain me so details or some kind of
way of forms the models.
Speaker 14 (19:08):
Usually the way that the Nazis were doing things. You
know there there said there are ways to do things normally.
Actually he found out how they commit suicide, because that's
the true part of the story that Bruno said that
some Nazis actually they killed themselves because they couldn't stand
with the feet. That's that's why they killed themselves, because
(19:32):
it was a shame for them that defeated the army
that they were living, you know, in that moment.
Speaker 13 (19:39):
That that the fitting situations. Sorry.
Speaker 14 (19:41):
And also some of them skated to Spain or to
even Latin American countries. Some of them were never found.
Some of them were found, but with other names. You know,
they changed their names, they changed their lives. So that's
the true beneath the whole story.
Speaker 4 (19:58):
The cool idea of that point of the film is
that eight guys with an only gun and he has
to to commit suicide the way that he has to
to do that at the end, it's only one on foot,
and that guy stays, Okay, I'm gonna get out. I'm
(20:23):
gonna escape right away, and he say I want to
live at the end. That that's the cool of that.
That's the grandfather of our of our tough guy of
the film. And and that ballot that has his name
at the end go to her grandson. That ballot has destiny.
Speaker 2 (20:47):
Mario.
Speaker 9 (20:47):
I know you've spent in a lot of movies and
TV shows. How is it for you when you get
a role that is written specifically for you? When it
when it comes to something that Bruno and Santiago are working.
Speaker 10 (20:59):
On previously, when we when Bruno decided to to write
this this character for me, we work together the character
many months before. And Okay, I know perfectly that what
Bruno wants to do in this character, and he knows
(21:22):
that I am strong, I am clever, but the cutter
is not clever. The clever the clever personally is David
the other, the other main actor, and we will work
it a lot.
Speaker 2 (21:36):
I think the result is good. It's very good.
Speaker 9 (21:41):
How did you and David work together to make it
feel like you had been friends for so long?
Speaker 10 (21:47):
They did on me, he knows many years ago, and
we are afraid, but this movie has picked more and
more relationship to he and me.
Speaker 2 (21:59):
Now.
Speaker 10 (22:00):
Oh, I think they very good friend like a brother,
like Bruno, like Sandy. We are a great team and
I think that a should of the movie is for that.
Speaker 4 (22:12):
As we wrote the Tony role for Mario, we wrote
the rock par role for the Bid.
Speaker 2 (22:20):
We're friends of mine and they were friends together.
Speaker 4 (22:24):
The result on the on the screen that you see
and the the audience can see that truth in in
the in the interpretations, in the comic, in.
Speaker 2 (22:34):
The performance perform.
Speaker 13 (22:38):
Very very very that was the result.
Speaker 9 (22:42):
There are so many strong characters and so many great
actors and this I mean, I can't remember the name
of the gentleman who plays the I guess it's the
nephew of the main gangster, the Italian. That scene in
the bar when he's trying to get back the luger
from the person that pought it.
Speaker 2 (23:02):
The nexcuse Bruno then nothing the bars.
Speaker 4 (23:05):
Daniel North is the actors and I seeing the bar
that is even in the back to us when we
talk with him.
Speaker 9 (23:11):
I really love that scene and I love you in
that scene.
Speaker 10 (23:16):
He's a great actor. He's very very good at all
and he had to short a parish in the at
the movie, but.
Speaker 13 (23:25):
It's a scary as kat in those eis.
Speaker 2 (23:28):
Dani's awesome. And the sequence.
Speaker 4 (23:31):
We love that sequence because it's in the middle. It's
in the middle point of the film, and and I
was trying to.
Speaker 14 (23:41):
We we were trying to make this sequence very intense,
you know, because it was the mid point of the movie.
So we needed an intense sequence to do this point,
because we want to make the audience think that this
is going to explode.
Speaker 2 (23:57):
In La premia version, the give on explode.
Speaker 14 (24:02):
Actually, in the first verson, the first draft of the screenplay,
that a scene ended up with a very big fight.
So it exploded and there were dead people that were
plowed everywhere.
Speaker 4 (24:16):
And the producer read the scene and say to us,
we can make that, guys, to do that, it's they
that you want to shoot.
Speaker 2 (24:26):
It's very expensive, very expensive. And he said, okay, we
are going to do another version.
Speaker 4 (24:35):
We are going to kild some some roles and to
clean that sequence, and we make the second version. And
when at the beginning there was fifteen characters in that
scene and at the end there are four characters and
the and the two and the two good guys and
(24:58):
I and I think the sequence is better than the
first version.
Speaker 2 (25:03):
It's more simply, it's more organic.
Speaker 14 (25:07):
It's a more is darker actually, it's kind of darker,
kind of hadie. It's a more how to say, subtle, right, Like,
it's not so explicit, it's subtle.
Speaker 2 (25:19):
Less elements in the scene. Is more a smarter Bruno.
Speaker 9 (25:24):
Your character is fantastic and you play him so well,
so calm, menace and just you seem to be the
only person that's really kind of using their head.
Speaker 4 (25:34):
Charlie is a role that it's not a bad guy,
is not a good guy. It's an element. It's a
character that is an element to help the main character.
In the second act of the movie when Mario, when
when Tony disappears, Tony is the lucky, the lucky amulet
(25:54):
Rafa and it's very nice to see Rafa with his part.
Speaker 2 (26:01):
Crying like a dog in silence in the movie for
that point.
Speaker 14 (26:06):
From that moment, you know, the rest of the movie
from now, Rafa will be alone with you know, Charline
in that moment. Charlie atually replaced as Tony in that
moment because Raffa feels comfortable and safe with Tony by
his side, because as Bruno said, he's the lucky hotem,
(26:27):
He's lucky amulet, you know. And then once Tony disappears.
In that moment that Tony disappears, Charlie replaces Tony. It's
kind of a hey, the tape fifter replacement, right, because
she you don't know if he's good, If he's good,
that's why.
Speaker 13 (26:47):
He's kind of a shape shifter character.
Speaker 14 (26:50):
But then when you start feeling comfortable with Charlie, when
you started empathizing with him, then suddenly Charlie disappears to
let's let's put it like this, okay. So Rafa finds
himself alone again and then doesn't feel safe anymore.
Speaker 9 (27:10):
How was the actual shoot?
Speaker 2 (27:12):
How is it?
Speaker 9 (27:12):
Shooting in Madrid?
Speaker 4 (27:14):
It isn't the better city to shoot in Spain because
taxes are high and you don't get a revenue from them.
You know, everybody wants to shoot in Madrid or Barcelona,
because there are both our famous cities.
Speaker 2 (27:33):
But it's not a problem because we know the city
very well.
Speaker 4 (27:38):
I know the industrial area that is shoot the lugger
is never from my home, but it's not in the
in the movie.
Speaker 2 (27:49):
It's not a real industrial area. Because we need to.
Speaker 4 (27:54):
Make more biggest or biggest. That doesn't sist in Madrid.
Shooting Madrid. It's comfortable, but it's not the best. The
better the better city in Spain. The better cities in
Spain is Basque Country and the Canary Ipen.
Speaker 10 (28:12):
There is no many helps in Marid to shooting in there.
Speaker 4 (28:16):
Many American productions are shooting right now Wonder Woman, for example,
was shooting in in Cana, not the Better, not the World.
Speaker 9 (28:26):
When was your premiere and how was that seeing this
movie with an audience for the first time.
Speaker 13 (28:31):
The premiere actually was in Fantastic Excess.
Speaker 2 (28:34):
But they were premier.
Speaker 4 (28:36):
The world premier was in in Eptin, and the European
the European in Strasbourg.
Speaker 9 (28:43):
I was seeing that with an audience, and especially in
an audience who doesn't speak your language.
Speaker 10 (28:47):
Necessarily the American Award when when they watched the movie,
they understand perfectly the movie.
Speaker 2 (28:56):
Because they love the club.
Speaker 10 (28:59):
They asked to ask many questions. In the Q and A,
they congratulations for us. I think it was successful.
Speaker 4 (29:11):
I was seeing the field near of Mario and near
of the producer, and I know where are the points
that the audience has to a loud, The audience has
to scream, the audience has to clap. I think the
nineteen percent of the of the moments the audience responds
(29:33):
as we want.
Speaker 2 (29:34):
There is there is some points that lost in translation.
Speaker 4 (29:38):
It's seemed able to be the perfect translation of the
perfect but really nice, really nice poet of the of
the audience.
Speaker 13 (29:47):
The audience was hooked. The audience was excited.
Speaker 14 (29:50):
They were inside the movie actually, so you know, of
course we were a little bit scared, at least me
because it was an audience from a different convers so
with it and knew if they were going to respond
good or maybe they won't get anything. And then suddenly
they responded, well, they loved the movie. They let us
know that they loved the movie. So you know, we
(30:11):
are very very thankful, and you know, it was good
to see in the true screen instensions. The two screening
rooms were full, they were crowded, like there was no
an empty seed, and nobody looked at the cell phones
during the whole movie, which is kind of fun success
in this era.
Speaker 9 (30:31):
There's one scene where something bad happens to Mario, and
I have to tell you that I gasped out loud
in my house watching that scene.
Speaker 10 (30:40):
I think many people cry, but men don't have to.
Speaker 2 (30:45):
No, no, I don't cry. I am a man.
Speaker 13 (30:50):
There was a reaction, there was a reaction definitely to
that scene.
Speaker 2 (30:53):
I I gree I.
Speaker 9 (30:55):
Hope that it caused a lot of screaming in the
theater where you guys saw.
Speaker 4 (31:00):
It's a main movie, but it's a one a movie too.
It's everybody cries with the with this part. What's the
first time? I pray in Austin watching that sting because
it was the first time that the movie went to
the public. It's the first time that the audience, the
audience see the movie and it's a very special moment.
(31:24):
For for that reason, you've.
Speaker 9 (31:26):
Got your European premiere coming up. What's next for the movie?
And do you guys have plans for your next film? Already?
Speaker 2 (31:33):
We went from Starsbourg.
Speaker 4 (31:35):
We have won the Grand Prix, the Grand Prix for
our nection Cross the cross it's like the section of
orbita in sea chest and our next party is check
is the is the final boss of the video game.
(31:56):
We will have the opportunity to show the movie to
one thousand and four hundred people. At the same time.
I am very afraid, afraid and nerviews, but I think
this was it will be a.
Speaker 14 (32:14):
Good stage for our movie, right because they will eat
you know, we will have all our lights on us,
so everybody will see.
Speaker 2 (32:24):
We make that movie for do the second movie and
try to make that third movie.
Speaker 4 (32:31):
And for that reason it such is very important because
that the stage gives us an opportunity to know another producers, another.
Speaker 2 (32:41):
Ways to do the next movie.
Speaker 4 (32:44):
Santiago and I have another thriller and a horror movie,
but we don't talk about with more details with a
lot of the tales because we are working on it
right now.
Speaker 14 (32:58):
Yes, exactly, we are working on a couple of projects
right now. As Bruno said, when is a thriller, when
it's a horror movie. What they can assure you is
that you will see our say, our seal in the
next movie. This movie Luger has our seal, our soul.
You know, you can see that we wrote it like
(33:20):
it couldn't be written by an Ai, couldn't be written
by anyone else. And this one will have also our seal,
you know, we will have this brand, our brand. And
then when people see it, I don't know which one
will on first, if it will be the thriller, the
horror movie or maybe another one, but what I can
(33:41):
assure you is that you will know it from us.
Speaker 9 (33:45):
Well. I can't see you guys having anything but fantastic
success because Luger was wonderful and I really look forward
to more people being able to see it.
Speaker 14 (33:55):
Thank you also for giving us this space to you know,
promote the movie, and I just hope that your own
audience will love it. If they don't know it, you know,
go watch it whenever you can, because did you get
the chance to watch it in Cinema's VODs festivals?
Speaker 13 (34:12):
You know, give us a chance. We just want you
to enjoy this movie.
Speaker 2 (34:17):
Thanks hello, Mike, and I hope to see you in
person with you very soon. Be very much.
Speaker 9 (34:27):
Well, it sounds like we'll be meeting at a bar.
Speaker 2 (34:29):
It's the same language a bear here and in USA.
Speaker 9 (34:34):
Sounds great, well, Mario Bruno Santi. Thank you so much
for your time. Classes.
Speaker 13 (34:40):
Thank you very much, Mike.
Speaker 3 (34:42):
Wow sell sell, I got a midam of something we
(35:33):
can do as.
Speaker 15 (35:34):
The sick out and find tell the air five.
Speaker 16 (35:46):
F that song, sell sell sell, tell them my job.
Speaker 15 (35:58):
Seal sill till.
Speaker 13 (36:00):
That starts start filling.
Speaker 16 (36:05):
Get so small so.
Speaker 3 (36:08):
Ross, tell about that stuff.
Speaker 16 (36:16):
Yeah, I got in my dell and what are you doing?
Speaker 1 (36:40):
Noll the w way?
Speaker 16 (36:42):
Well, my friend.
Speaker 15 (36:48):
Can't he can't.
Speaker 8 (36:49):
Tell the no, I bro.
Speaker 16 (36:53):
Can't can't tell the b talbo, can't get ben til
the to this small dad again, din its it.
Speaker 8 (38:03):
Sings.
Speaker 3 (39:01):
I got an dam something wom doing
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