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To Eduardo Ducay
Mexico City, 29 December 1981
Dear Eduardo,
I got your very affectionate letter that, rather than making me happy, made me sad. You painted such a bright picture of the fun we would have if I came to see you in Madrid, our lunches over wine and martinis, our long and ‘fecund’ conversations, etc., etc., and it all only served to highlight my repugnant old age, my nostalgia, and my isolation. For me, just going from my house to the Diplomático is a Sunday outing, and I have to take food for a break along the way, as if I were going up into the mountains. I was comforted, on the other hand, to hear you may have to make a business trip to this shocking megalopolis. I very much hope you do. I would really love to see you over here.
I barely remember the cinema now. I sometimes ask myself if I ever was a filmmaker or whether it was some second cousin of mine.
I shall soon be 82 years old, a propitious moment to find out whether or not (horrible question!) there is an afterlife. If there is, I fear I’m going down. My health is OK, but my sight is worse. It’s a struggle to read or write, although I have a reasonable field of vision.
What of your family? I hope all is well and wish you all the best for the new year, although I think it may well be a bad one for humanity. My pessimism is absolute.
Give my actor-surgeon a big hug from me, and another to Joaquín, even though he’s Basque. And for you, my most affectionate regards,
Luis
PS The mysterious hotel whose name Barros wouldn’t tell us is called, I think, Empireo, between the Prado Museum and the Retiro. But I would rather, if I do go to Madrid, stay at the Plaza, although I have been told a room there now costs un oeuf (!!!)
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
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La ciudad de Valencia acogerá en octubre citas cinematográficas como la Mostra Viva, que en su edición más comprometida dará protagonismo a los conflictos en el Mediterráneo, y el Festival Internacional de Cine Infantil, en un mes que contará con el concierto de la Film Symphony Orchestra como banda sonora.
El 7 de octubre se inaugurará la cuarta edición de una Mostra Viva que este año busca obtener mayor proyección internacional y retratar la "Cultura y conflictos en el Mediterráneo", un lema bajo el que se engloban 80 largometrajes, 20 cortometrajes y una comedia radiofónica, de un total de doce países mediterráneos.
En la selección de las obras, la organización del festival ha prestado especial atención al cine musical, al realizado por mujeres y al relacionado con el Sahara, Túnez, Palestina y Kurdistán, según un comunicado.
Como cada año, la programación se articula en diferentes ciclos temáticos, como el de "Homenajes", que incluye cuatro obras del sirio Ossama Mohammed, además de "El Harén de Haníbal", de Enrique Navarro, o "Qué extraño llamarse Federico", de Ettore Scola.
La música y la danza son las grandes protagonistas del ciclo "Musical Mediterráneo", que incluye el documental dirigido por los valencianos José Andreu y Rafael Molés "Five days to dance", además de "Sinatra", de Francesc Betriu, "¿Y ahora, adónde vamos?", de la libanesa Nadine Labaki, y "Vengo" y "Swing", de Tony Gatlif.
El ciclo "Mirada al Sahara, Palestina y Kurdistán" incluye a cortos hechos en el Sahara, así como a "Leyuad, un viaje al pozo de los versos", de Gonzalo Moure, u "Omar", de Hany Abu-Assad, mientras que el "Cine Árabe Actual" estará representado por obras de Mohamed Mouftakir, Suha Arraf, o Ahmad Abdalla.
Las mujeres son uno de los ejes de la Mostra, que intenta reflejar "el Mediterráneo desde un punto de vista de género" con cintas como "Eduardo Ducay", de Vicky Calavia, "No existimos", de Ana Solano, o "Ventanas", de Pilar García Elegido, mientras que se proyectarán también películas premiadas por el Parlamento Europeo como "Un día perfecto", de Fernando León de Aranoa, o "Mustang", de Deniz Gamze.
Por otra parte, la vida de los jóvenes del Magreb será el eje del ciclo "La vida después de las Primaveras Árabes", que incluye "À peine j"ouvre les yeux", de Leyla Bouzid, y "Les Chebabs de Yarmouk", de Axel Salvatori-Sinz.
Valencia se convertirá en protagonista en el ciclo "Valencia Film Location", que mostrará películas ambientadas en la ciudad, como "Tomorrowland", de Brad Bird, rodada en la Ciudad de las Artes y las Ciencias, "Cien años de perdón", de Daniel Calparsoro o "La mala Educación", de Pedro Almodóvar.
Catorce "Cortos del Mediterráneo" completan la programación de un cartel que también se nutre de producciones valencianas como "La distancia más larga", "La puerta azul" o "Aïllats".
Esta edición de la Mostra Viva tendrá lugar del 7 al 16 de octubre en diferentes espacios de Valencia, y todas sus actividades son gratuitas.
Por su parte, el Festival Internacional de Cine Infantil (FICIV), que se celebrará del lunes 17 al viernes 21, incluirá producciones de Argentina, como "La máquina de hacer estrellas", Francia, como "Kerity", Alemania, como "Amigos para siempre", o Bélgica, como "Pánico en la granja".
La Film Symphony Orchestra pondrá la banda sonora a ambos festivales, y, bajo la dirección de Constantino Martínez-Orts, ofrecerá un repertorio en el que se incluyen películas como "Star Wars VII: El despertar de la fuerza" o "Los Odiosos 8", ambas nominadas a los Oscar 2016 a la mejor banda sonora.
El Palau de la Música acogerá el regreso de esta orquesta sinfónica pionera en giras de conciertos de música de cine, que interpretará asimismo temas de "Conan El Bárbaro", "Cinema Paradiso", "El Caballero Oscuro", "Harry Potter", "La Lista de Schlinder", "Silverado" o "Psicosis".
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To Eduardo Ducay
Mexico City, 17 April 1978
Dear Eduardo,
Your letter arrived along with the programme for that mildewed and mummified corpse formerly known as The Golden Age. Who would have thought fifty years ago that viewers would now watch it with an untroubled digestion and a smile on their faces. Maybe they will react the same way, and far sooner, to the Baader-Meinhof gang.
I would be delighted to see you again in this god-forsaken place. Try to come at the end of May, when the rainy season starts. Right now, Mexico City is a pile of dust and toxic heat. I haven’t been over this year because, frankly, what’s going on in Spain right now doesn’t much appeal. Speaking as a tourist that is.
Opthalmologically, I’m worse now than when I visited the doctor in Madrid. As well as being deaf, I shall soon also be using two pairs of glasses like Goya. It makes me quite isolated and my only comfort is the dry martini that transports me momentarily back to my youth. I’m having a very good time, doing nothing, no more thoughts about traveling, or damned camera angles.
Give the wonderful Joaquín a hug from me, and for your family, with you and Mercedes at the head, whatever you would have of me, with great affection,
Luis
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
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To Eduardo Ducay
Mexico City, 28 May 1970
Dear Eduardo,
I got your letter with some very tasteful articles on the film compiled by Cuadernos para el Diálogo, which I’ve never read. What annoys me most – and it’s not just them – is that they think my aim in Tristana was to ‘criticize 19th-century Spanish liberalism’. Talk about politically tone-deaf! I couldn’t give a damn about that. And if I’ve given up scandal, for which they reprimand me, facile and direct scandal, it’s because I don’t find that kind of subversion useful now. The article seems completely reactionary to me. I’m an abomination when I cause a scandal, and when I don’t, I’ve sold out to the establishment.
I’d be delighted if you could visit, but I must warn you that you’ll have difficulty finding flights and accommodation, because of the World Cup. If you do decide to come over, my advice would be to wait until after 1 July and, whatever you do decide, to let me know in advance.
Looking at the books you’ve suggested for adaptation, the only one I might be interested in is Crónica del Alba, I’ve not read the first volume though, because I bought the second and third volumes in Madrid, but they didn’t have the one you recommend. I’ll see if I can get it over here.
I am still blissfully happy watching the days go by, completely idle. I do read a lot though – I know excessive reading is more dangerous than any drug – looking serenely for something I might adapt. Nothing has clicked yet.
That’s all for now. Warmest regards,
Luis
[PS] I’m still waiting for the letter Joaquín promised me at the end of your last letter.
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
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To Eduardo Ducay
Mexico City, 29 April 1970
Dear Eduardo,
Many thanks for all the cuttings. They’ve given me a good idea of what’s going on with the film in Spain. And your updates about the response from the audience completed the report. I’m very happy for you. You had more faith in the outcome than I did. I thought, and I still do, that such a ‘disagreeable’ film would never be a success. It’s a mystery.
I loved Begoña Ducay’s drawing. Such a shame to give a Basque name to such a lovely little girl. But the name does not the woman make, and I hope and trust her Aragonese blood will overcome that folly. Send her kisses from me. I remember seeing her at the studio, but I didn’t realize she’d seen me filming. Her drawing is better than a work photo and I’m going to keep it.
I finally heard, first from Favre Le Bret and then from you, about the solution to screening the film at Cannes. So, everything is sorted out and infamy will not be mine. When you write, could you tell me about that Cannes-ian screening? Will it be the Spanish copy? Who did the French subtitles? If they’re not done well, it could ruin the film. It’s very presumptuous of Catherine, given the small percentage her character has of the dialogue, to have wanted the ENTIRE film dubbed into French.
I’m still completely dolce far niente over here, and ready to remain so until the end of days.
My warm regards to the wonderful Joaquín. And most affectionate greetings to Mercedes.
More warm regards for you,
Buñuel
[PS] Are either of you going to Cannes? We could at least try to get them to give Tristana the Luis Buñuel prize. Speak to Muñoz Suay, he has clout.
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
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To Eduardo Ducay and Joaquín Gurruchaga
Madrid, 10 September 1969
Dear friends Joaquín and Eduardo,
I am inclined to honour my promise to make Tristana, but you should know that, if you insist, it will be with no great enthusiasm. I really don’t think I can face the eleven or more weeks of filming, not counting the month and a bit for preparation. I never could, even when I was young. I’m always completely exhausted by the eighth week. Travelling all over the place, eating in different hotels, etc., are a surefire K.O. for me.
In case you do decide not to go ahead with this adventure, I’m enclosing a cheque for $25,000 to cover what I’ve received so far of my total salary, a decision I take freely and of my own accord. I’m also prepared to offer Fernando Rey 100,000 pesetas and any other not too onerous payments in compensation.
Either way, I shall be here in Spain for a month or so, although I won’t be working on the film. I would be grateful if you could send me your final decision today if at all possible. And if you do decide to go ahead, that you will accept any responsibility for what may happen.
I am very grateful to you for your truly cordial and amicable behaviour towards me. And although my contract was with you, I extend these lines to Mr Zapata. I am equally grateful to him for everything.
Yours, most cordially,
Luis Buñuel
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
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To Eduardo Ducay and Joaquín Gurruchaga
San José Purúa Spa, Michoacán, 20 July 1969
My dear and fearless producers,
The only news I’ve had since Eduardo left is 1) Deneuve has been hired; 2) that filming of Tristana has been blocked, although it was approved by the censors. I’m now waiting to see if I’ll be allowed to make a foreign film in Spain.
I sent you a telegram the day before yesterday announcing my arrival, with Iberia, on the morning of 30 July. I asked if you could book me an apartment high up in the Torre, either 1 or 2, as both have views over the Sierra or the Casa de Campo.
If parts of the film are going to be shot in France, I would like to take on Pierre Lary as another first assistant, he’s worked with me for years. We can discuss it when I arrive.
Don’t print the scripts until I arrive, because I’ve come up with some new scenes I think are interesting, especially a new and ‘extraordinary’ ending. I’ve definitely finished with the storyline though.
After three or four days in Madrid talking to you, I’ll be taking three days to go to Zaragoza. My mother died, and I’m the eldest son. I need to go and see what’s going on.
I’d have liked some detail on the decisions of the censors, the ban, etc, but you are both ‘hermetic’, if you’ll forgive the insult.
What happened with Silberman?
The Italian actor’s voice wasn’t so good, although, with everyone speaking in Spanish, one in French, another in Italian, locations shot in Portugal – which should be avoided – and studios in France, it’s going to be a mule of a film, I mean, a bit hybrid and hair-brained. It’s a shame! And although you don’t seem worried, I AM!
I’ll wait to hear your thoughts on this letter.
See you soon. Warm regards,
Buñuel
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
#jo evans#breixo viejo#luis bunuel: a life in letters#luis bunuel#eduardo ducay#joaquin gurruchaga#catherine deneuve
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To Eduardo Ducay
Mexico City, 20 May 1969
Dear Ducay,
I think one of my letters must have gone astray, because in your letter which has just arrived, of 17 May, you ask me again what I think of Deneuve as Tristana. On 9 May, when I returned the bank certificate to you, I also sent another letter with my thoughts on that. I’ll repeat more or less what I said then:
1) Catherine’s ultra-Nordic look is no good for a character supposedly born in Salamanca, or even in Madrid, etc. Unless, for example, the plot makes it clear that her Swedish parents moved to Toledo and she was born and raised there.
2) No one would believe Deneuve was a little virgin orphan girl despoiled by the wicked Don Lope.
3) She’s one of those actresses who, no matter the role, will always be Catherine Deneuve and not the character.
4) She’s burning herself out making one film after the next.
5) As a star, she’s has pretentions and is not easy to direct.
6) Her fee is astronomical and, to be honest, if the film is mediocre, her presence won’t save it. And if it turns out well, by not hiring her you’d have saved the $500,000 she might well cost.
Apart from this, she’d be perfect for the second half of the film, from the amputation onwards.
I’m still thinking about the script, which I think is a bit short. But if we add anything new, I promise it won’t shock the censors.
Julio says that he doesn’t want to charge you anything for the little bit of work I gave him, but don’t say anything; let him tell you himself.
I wouldn’t mind if filming began at the beginning of September, with a month and a half of preparation beforehand.
Regards,
Buñuel
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
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To Eduardo Ducay
Mexico City, 1 March 1971
Dear Eduardo,
I was passing the Diplomático recently and thought: ‘It’s such a pity my two henchmen aren’t staying in there, so I could invite them to lunch.’ And I am now, with great pleasure, taking the leap from that thought to these few lines.
More or less a month ago, I accepted an invitation to join the American Academy of Motion Picture Arts and Sciences. I also thought: ‘When I’m a member I’ll be out of the whole Oscar thing.’ I was wrong.
This is the nomination: ‘Award for Best Foreign Language Film, Tristana (Spain). Production by Forbes Films Ltd, United Cineworld, Época Films, Talia Film SA, Les Films Corona and Selenia Cinematografica.’
My name isn’t on it, so I won’t be needing to make a public protest if the wretched little statue does go to that film. I won’t be attending the ceremony, of course. But as the trophy might be useful to you, I’m letting you know so that if need be, you can send an Época representative to Hollywood. Perhaps Fernando Rey? Or Sabatello might well be up for it!
Over here, there’s a real renaissance in Mexico’s frail film industry. New production companies and young directors turning up en masse. The government is promoting film. I’ve had some offers, but I’m staying out of it. Keeping up my mind-numbing dolce far niente. For how long? Chi lo sa.
Warmest regards and greetings to Mercedes. More likewise, to you and Joaquín,
Luis
Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters
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