was like starting fresh. It felt like the art world wouldn’t let me use narrative and fiction within the fine arts. So, I made a movie instead. It feels amazing to se people enjoying the artistry of the film— Sorry, I’m in a hotel lobby and someone just told me to take my shoes off the couch— without obsessing over whether or not it’s real, or autobiographical. So, being valued for my production and writing skills was very, very exciting.
ULMAN: Yes, because none of them are truly based on my life. I drew from my life to make this film, but nothing about it should be seen as biographical. Yes, I grew up with my mother in Gijón, and yes, I lost my home. That’s what allowed me to treat the subject with a lightness that a lot of people who make poverty-porn films don’t. To have experienced eviction, and to be able to make a comedy out of that experience, is what makes me different.
ULMAN: Yes. My only sort of message is that anything can happen to anybody. Being poor, or finding yourself in those circumstances, doesn’t necessarily mean you have to be completely virtuous. People are allowed to fuck up, people are allowed to have mental illness, people are allowed to be complicated, people are allowed to not want to work or to be creative despite the circumstances. That’s what I love about anti-heroes— they are charming and imperfect and sometimes they make mistakes.
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