00:01:52.380 --> 00:01:55.100
OK, we’re going to start
with the frontal image.

00:01:55.620 --> 00:01:56.620
Let’s see.

00:01:57.820 --> 00:01:58.860
That’s good.

00:02:03.820 --> 00:02:05.620
Yes, she should be comfortable, too.

00:02:06.300 --> 00:02:07.300
OK.

00:02:08.620 --> 00:02:09.780
Scanning.

00:02:17.540 --> 00:02:18.620
OK.

00:02:19.780 --> 00:02:23.380
And now... in full profile.

00:02:32.100 --> 00:02:33.140
Yes.

00:02:34.740 --> 00:02:37.820
We will increase
the intensity and… scanning.

00:02:42.100 --> 00:02:44.180
We’re increasing
intensity to the maximum.

00:02:45.020 --> 00:02:46.420
OK, Teresa, now

00:02:46.580 --> 00:02:50.300
try not to look
directly at the laser.

00:02:51.180 --> 00:02:52.660
OK, Teresa, scanning.

00:03:16.580 --> 00:03:17.660
All right.

00:03:18.180 --> 00:03:19.300
Good.

00:03:24.100 --> 00:03:25.100
So…

00:03:29.140 --> 00:03:30.660
Here I am, family.

00:03:36.740 --> 00:03:38.100
Thinking about you.

00:03:40.980 --> 00:03:45.060
About Mari Tere,
Fernandito, Fernando senior.

00:03:46.780 --> 00:03:50.500
And about moments
we’ve lived through

00:03:52.260 --> 00:03:53.860
that were very difficult.

00:03:54.260 --> 00:03:55.380
Yes.

00:03:55.780 --> 00:03:56.780
Anyway…

00:03:58.660 --> 00:04:00.740
I remember you, Fernandito

00:04:01.020 --> 00:04:05.780
when you had
that terrible accident in the pool.

00:04:06.620 --> 00:04:08.260
I wasn’t with you that day.

00:04:08.460 --> 00:04:13.740
You’d gone with some relatives,
cousins, and their daughters.

00:04:13.940 --> 00:04:16.740
I mean, I’d never left you alone

00:04:16.940 --> 00:04:19.060
unless you were in the care of others.

00:04:19.860 --> 00:04:21.260
And then that happened.

00:04:21.940 --> 00:04:23.420
You swam like a fish.

00:04:24.700 --> 00:04:27.180
You were very brave and very…

00:04:27.700 --> 00:04:30.140
Maybe a bit crazy.

00:04:31.620 --> 00:04:32.860
Trowing stones

00:04:33.060 --> 00:04:34.740
the filter system was working

00:04:34.940 --> 00:04:37.940
one stone went into
the tube of the filter system

00:04:38.140 --> 00:04:39.940
you put your arm in

00:04:40.140 --> 00:04:44.700
the filter system swallowed it
up to your shoulder and, well…

00:05:06.180 --> 00:05:09.740
They told me that you’d been taken

00:05:09.940 --> 00:05:12.180
to San Jorge hospital.

00:05:13.020 --> 00:05:14.660
I raced there in a taxi.

00:05:14.860 --> 00:05:16.860
And when I got to the hospital

00:05:17.660 --> 00:05:21.380
I asked: 'The child who had
an accident in the San Jorge pool?'

00:05:21.980 --> 00:05:24.980
And the doorman said:
'The one who drowned?'

00:05:26.380 --> 00:05:28.300
I almost died.
I said: 'Drowned?'

00:05:33.300 --> 00:05:36.540
The priest was there,
all the doctors came and said:

00:05:37.220 --> 00:05:38.940
'Glassy-eyed, his nails

00:05:39.140 --> 00:05:42.500
artificial heart,
artificial lung, all artificial…'

00:06:13.020 --> 00:06:15.380
Everyone said
that nothing could be done.

00:06:15.580 --> 00:06:17.340
You’d been underwater for too long.

00:06:18.140 --> 00:06:21.220
I saw you there naked,
you were so beautiful.

00:06:24.340 --> 00:06:28.620
I didn’t cry, I just leaned
close to your ear and said:

00:06:28.900 --> 00:06:31.460
'My son, live. My son, live'.

00:06:31.660 --> 00:06:34.180
I hope it was that call

00:06:34.380 --> 00:06:38.260
that made you come back
from where you had gone to.

00:06:39.340 --> 00:06:41.700
I wondered why all had to suffer.

00:06:41.900 --> 00:06:43.900
I was suffering, that was enough.

00:06:44.100 --> 00:06:48.500
But I think that’s a mistake,
you have to include children

00:06:48.700 --> 00:06:50.500
not just in the happy times

00:06:50.700 --> 00:06:53.460
but also in the sad, difficult moments.

00:06:54.100 --> 00:06:57.460
And your sister,
who has always looked out for you.

00:06:58.420 --> 00:07:02.060
If it hadn’t been
for her care this wouldn’t…

00:07:02.460 --> 00:07:04.580
She’s a pillar of strength at home.

00:07:06.220 --> 00:07:09.020
-What do I do with all this mess?
-Why?

00:07:09.220 --> 00:07:13.500
Because I want to prepare
a montage, an exhibition

00:07:13.700 --> 00:07:15.180
and I have to choose what…

00:07:16.260 --> 00:07:17.340
We will put them here.

00:07:17.620 --> 00:07:20.380
We will pick the ones
you think are the best.

00:07:20.620 --> 00:07:23.180
-Yes.
-The prettiest and the most whatever.

00:07:23.380 --> 00:07:25.300
Put the blues to one side…

00:07:25.540 --> 00:07:26.660
Blues over there.

00:07:26.900 --> 00:07:27.940
And this fuchsia…

00:07:28.620 --> 00:07:29.660
And greens.

00:07:29.860 --> 00:07:32.180
-Put the green here.
-No, I don’t know.

00:07:32.820 --> 00:07:36.900
She’s serene, she’s wonderful.
You’re wonderful, daughter.

00:07:37.580 --> 00:07:39.100
All right, we’re ready.

00:07:39.300 --> 00:07:42.380
All right, darling, let’s go.
I will take this off.

00:07:44.100 --> 00:07:45.380
It’s so hot.

00:07:46.900 --> 00:07:48.060
Yes, it’s hot.

00:07:48.660 --> 00:07:50.700
I am fascinated by two paintings.

00:07:51.820 --> 00:07:53.420
They are:

00:07:54.380 --> 00:07:56.700
'Saturn devouring his son'

00:07:56.900 --> 00:07:57.980
and 'The Countess of Chinchon'.

00:07:58.180 --> 00:08:00.820
This last is the frailty

00:08:01.020 --> 00:08:02.020
the elegance.

00:08:02.220 --> 00:08:04.820
That dress, so extremely transparent.

00:08:05.140 --> 00:08:09.660
That reddish hair she has,
the curls sticking out there

00:08:09.900 --> 00:08:11.420
and the little hat she’s wearing.

00:08:11.620 --> 00:08:15.300
I find it extremely fascinating.

00:08:15.500 --> 00:08:17.380
And 'Saturn devouring his son'

00:08:18.580 --> 00:08:21.540
I think that it's a feeling...

00:08:21.740 --> 00:08:25.660
The other day
I read an article by a researcher

00:08:25.860 --> 00:08:29.260
who wrote a book about mothers

00:08:29.540 --> 00:08:32.460
who say they regret being mothers.

00:08:33.420 --> 00:08:35.100
Not for not loving their children

00:08:36.140 --> 00:08:40.900
but because of all
the implications of maternity.

00:08:41.140 --> 00:08:43.300
You’re a mother for your entire life.

00:08:43.500 --> 00:08:46.980
You can be the wife of that man

00:08:47.180 --> 00:08:49.860
or the husband of that woman

00:08:50.180 --> 00:08:52.340
for as long as you want.
And when you don’t

00:08:52.540 --> 00:08:55.180
it’s goodbye, and each one
goes their own way.

00:08:55.380 --> 00:08:59.780
But a child is forever,
in good, bad or regular times.

00:09:00.340 --> 00:09:02.180
It’s like a kind of...

00:09:03.100 --> 00:09:07.260
millstone that is
constantly tied around your neck.

00:09:07.460 --> 00:09:11.820
If you see that your child
is happy and smiling and doing well

00:09:12.020 --> 00:09:12.940
you’re happy.

00:09:13.140 --> 00:09:19.820
And if you see that your child
is unhappy, he isn’t doing well

00:09:20.020 --> 00:09:23.460
you’re devastated
24 hours a day, which is…

00:09:23.660 --> 00:09:27.340
I think a lot of women
would like to be Saturn

00:09:27.540 --> 00:09:29.060
and maybe so would I.

00:09:29.340 --> 00:09:32.900
You return them to your belly
and they stay there happily

00:09:33.100 --> 00:09:34.460
and that’s it.

00:09:42.020 --> 00:09:43.140
Yes.

00:09:43.540 --> 00:09:44.980
Well, I don’t know.

00:09:57.820 --> 00:09:58.860
With this brush

00:09:59.980 --> 00:10:02.860
if you want it darker or browner

00:10:03.060 --> 00:10:05.140
you add a little spot of this red.

00:10:05.660 --> 00:10:06.820
More blue.

00:10:07.660 --> 00:10:09.660
More red.
Whatever you want.

00:10:10.300 --> 00:10:11.740
When you won’t have enough

00:10:11.940 --> 00:10:14.180
tell me and I will give you more paint.

00:10:14.580 --> 00:10:16.780
I take a spoon and give it to you.

00:10:16.980 --> 00:10:19.500
Here we will put
grandma’s house door.

00:10:19.940 --> 00:10:22.540
That is this big. This big.

00:10:23.300 --> 00:10:26.060
And it had something
like this, here, and here.

00:10:40.780 --> 00:10:42.260
As I was in the village

00:10:42.460 --> 00:10:44.500
I could see boys climbing trees

00:10:44.820 --> 00:10:46.780
and get up to lots of mischief.

00:10:46.980 --> 00:10:48.140
But girls couldn’t

00:10:48.340 --> 00:10:51.500
because they laughed at us,
if they saw our panties.

00:10:51.780 --> 00:10:53.700
So I wanted to be a boy.

00:10:55.140 --> 00:10:59.220
The kids in the village,
who are smart and bit wicked

00:10:59.420 --> 00:11:00.420
told me:

00:11:00.780 --> 00:11:02.460
'You want to become a boy?

00:11:02.860 --> 00:11:06.540
Eat seven unripe acerola cherries
and you will turn into a boy'.

00:11:07.020 --> 00:11:09.140
No one can eat seven of those.

00:11:09.460 --> 00:11:10.660
You gag.

00:11:14.180 --> 00:11:15.700
But I said: 'Really?'

00:11:16.180 --> 00:11:17.220
First one…

00:11:18.860 --> 00:11:20.140
I was gagging.

00:11:21.980 --> 00:11:24.260
All the kids were watching.

00:11:25.300 --> 00:11:27.340
I really thought I would die.

00:11:29.580 --> 00:11:32.740
I thought that the miracle
of becoming a boy, you know…

00:11:32.940 --> 00:11:35.700
I went behind some bushes

00:11:36.540 --> 00:11:37.940
and looked at myself.

00:11:38.140 --> 00:11:41.380
After a while I went back
but nothing had appeared.

00:11:42.260 --> 00:11:44.780
It was late and we had to go home.

00:11:45.940 --> 00:11:49.180
I was praying very hard:
'Please, please, Lord, Holy God

00:11:50.100 --> 00:11:51.180
make me a boy'.

00:11:51.420 --> 00:11:53.300
And the next morning I got up

00:11:53.740 --> 00:11:54.900
I went for a pee

00:11:56.220 --> 00:11:57.740
and there was nothing.

00:11:58.980 --> 00:12:00.980
I’m very glad I didn’t become a boy

00:12:02.060 --> 00:12:04.180
because then you wouldn’t be here

00:12:04.380 --> 00:12:06.460
you and I wouldn’t be here talking

00:12:06.660 --> 00:12:09.220
and because we know what men do.

00:12:09.700 --> 00:12:12.380
-Did you see how I mixed it, María?
-Yes.

00:12:12.580 --> 00:12:15.180
And how important the pigments are?

00:12:15.940 --> 00:12:20.060
They give a more intense
and different color.

00:12:20.340 --> 00:12:23.060
What you can’t do,
if you want to be a painter

00:12:23.260 --> 00:12:26.620
is to buy a tube of green,
a tube of yellow, a tube of whatever…

00:12:26.820 --> 00:12:27.860
Understand?

00:12:28.140 --> 00:12:33.380
No, just five basic colors
and with those you get all the others.

00:12:33.900 --> 00:12:37.340
When I was very young, about five

00:12:37.740 --> 00:12:40.420
we were running through
the village with all the local kids

00:12:40.620 --> 00:12:43.700
and suddenly we heard
some horrific shrieks.

00:12:44.100 --> 00:12:46.020
A lot of people screaming.

00:12:46.700 --> 00:12:48.020
Behind the washing place

00:12:48.220 --> 00:12:50.420
a man had thrown himself down a well.

00:12:51.380 --> 00:12:52.620
It was so horrible.

00:12:54.940 --> 00:12:57.100
Two very thin men climbed down.

00:12:57.420 --> 00:13:02.900
A rope was lowered, they tied it
around the man and pulled him up.

00:13:04.940 --> 00:13:08.580
He started to come up
and the pulley was creaking.

00:13:08.780 --> 00:13:10.540
The body gradually came up

00:13:10.820 --> 00:13:13.980
and his feet appeared first, tied

00:13:14.300 --> 00:13:16.300
and then his legs

00:13:16.700 --> 00:13:17.860
white and swollen

00:13:18.060 --> 00:13:20.260
with water dripping from all the hairs.

00:13:20.460 --> 00:13:23.980
The last thing to appear
was his head, streaming water.

00:13:24.260 --> 00:13:26.540
His eyes and mouth were open.

00:13:26.780 --> 00:13:30.580
And I swear that that image

00:13:30.820 --> 00:13:34.780
always appears when I have nightmares.

00:13:34.980 --> 00:13:36.500
-Even now?
-Yes.

00:13:39.140 --> 00:13:42.260
-Think about what we could paint.
-A well.

00:13:42.460 --> 00:13:43.940
A well? OK.

00:13:44.140 --> 00:13:46.220
Do this, click click, clack clack.

00:13:47.460 --> 00:13:50.820
Then, we will paint weeds here
and people’s faces here

00:13:51.020 --> 00:13:53.420
and the pulley.
We won’t paint the man.

00:13:53.740 --> 00:13:54.980
-Come on.
-It’s finished.

00:13:55.180 --> 00:13:59.060
No, paint a bit more,
then the yellow rope and all that.

00:13:59.820 --> 00:14:01.900
-Understand?
-I do.

00:14:07.060 --> 00:14:09.980
-Did that story affect you, María?
-Yes.

00:14:10.460 --> 00:14:11.700
It’s horrible, isn’t it?

00:14:29.540 --> 00:14:32.260
You must be positive,
in life and in what you do

00:14:32.460 --> 00:14:34.820
-in my case, like you, teaching.
-Yes, yes.

00:14:50.740 --> 00:14:53.780
I think that’s important.
Believing it, at least.

00:14:53.980 --> 00:14:55.740
So I say the glass is half full.

00:14:56.180 --> 00:14:57.700
Someone’s calling. Let's see.

00:15:02.260 --> 00:15:05.220
-Sweetheart, I’m so happy to see you!
-Me too.

00:15:05.940 --> 00:15:07.500
What will you have? Coffee?

00:15:08.420 --> 00:15:11.620
These are two ex-students.
I don’t know if you know them.

00:15:11.820 --> 00:15:12.980
Juan de la Losa

00:15:13.220 --> 00:15:14.500
Marusi, Gabi.

00:15:14.700 --> 00:15:16.260
-A pleasure.
-Likewise.

00:15:16.580 --> 00:15:18.060
I will go get the coffee.

00:15:18.260 --> 00:15:20.980
Pull over a chair
and sit there next to Gabi.

00:15:21.820 --> 00:15:24.700
-Do you come from work?
-It looks like it.

00:15:24.980 --> 00:15:27.820
-So we have three generations here.
-Yes, exactly.

00:15:28.420 --> 00:15:29.500
The perspective of age

00:15:29.620 --> 00:15:30.700
changes, too.

00:15:30.860 --> 00:15:33.340
When you taught me,
Teresa, you were really young.

00:15:33.540 --> 00:15:35.220
You were like my mother

00:15:35.420 --> 00:15:36.740
you’re both more or less…

00:15:37.180 --> 00:15:38.740
-How old were you, 30?
-Yes.

00:15:40.700 --> 00:15:42.820
She was there, in her high heels

00:15:43.340 --> 00:15:45.780
her tight pants, really young

00:15:46.060 --> 00:15:47.100
really modern.

00:15:48.100 --> 00:15:50.260
I think we were all fascinated.

00:15:51.100 --> 00:15:53.060
Well, girls, we talked more

00:15:53.260 --> 00:15:55.020
because boys don’t talk so much.

00:15:55.940 --> 00:15:56.980
They were young.

00:15:57.100 --> 00:15:58.740
Many of them weren’t even 11.

00:16:00.260 --> 00:16:01.300
They had to mature more.

00:16:01.980 --> 00:16:06.020
But I think it was something very new

00:16:06.380 --> 00:16:10.300
and very striking
at that age and at that time.

00:16:10.580 --> 00:16:14.420
You always brought the ones
who misbehaved to sit at your desk.

00:16:14.620 --> 00:16:16.420
I was always in front of you.

00:16:16.620 --> 00:16:20.180
-You weren’t traumatized by that.
-No, all the opposite.

00:16:20.580 --> 00:16:24.940
I misbehaved on purpose
so she’d always put me there.

00:16:25.140 --> 00:16:26.140
Of course!

00:16:27.020 --> 00:16:29.780
By the way, Teresa,
I’ve seen a beautiful painting.

00:16:29.980 --> 00:16:31.020
Where?

00:16:31.220 --> 00:16:32.220
I will bring it.

00:16:34.060 --> 00:16:36.620
-How will you bring it to me?
-Yes, I saw it.

00:16:37.180 --> 00:16:38.220
Let's see.

00:16:39.340 --> 00:16:40.660
Maybe he painted it.

00:16:41.420 --> 00:16:42.460
When I came in

00:16:42.540 --> 00:16:43.540
it caught my eye.

00:16:43.780 --> 00:16:44.940
The bear!

00:16:45.340 --> 00:16:47.940
-None of you knew Francis, did you?
-No

00:16:48.140 --> 00:16:49.900
I taught him in high school.

00:16:50.100 --> 00:16:53.740
He painted that when he was 13 or 14.
Look at how big the hands are.

00:16:53.940 --> 00:16:54.940
Symbolic, right?

00:16:55.220 --> 00:16:57.260
He continued with me
until he was 17 or 18.

00:16:57.740 --> 00:16:58.340
He started saying:

00:16:58.540 --> 00:17:01.140
'My head really hurts, I don’t know'.

00:17:01.340 --> 00:17:06.020
I would say: 'So does mine,
Francis, take an aspirin, dear'.

00:17:06.740 --> 00:17:09.100
But yet another day:
'My head really hurts'.

00:17:09.300 --> 00:17:12.020
Then he started getting red blotches.

00:17:15.740 --> 00:17:18.940
He kept coming
until he couldn’t do it anymore.

00:17:19.140 --> 00:17:20.580
We’d gone to see him at his home

00:17:20.780 --> 00:17:23.660
we saw that he was very ill, terminal.

00:17:23.860 --> 00:17:25.020
And one day

00:17:25.220 --> 00:17:29.380
after the visit we had made
with all the students to his home

00:17:30.100 --> 00:17:31.140
there was a knock at my door

00:17:31.940 --> 00:17:36.180
I went out and I found
his two older brothers

00:17:36.380 --> 00:17:39.300
carrying Francis
because he couldn’t stand.

00:17:40.020 --> 00:17:44.540
Francis had a painting,
a canvas he was holding like this.

00:17:45.180 --> 00:17:50.700
One brother said: 'All he wants
is to come and paint with you'.

00:17:52.140 --> 00:17:54.260
He couldn’t even hold a brush.

00:17:54.860 --> 00:17:58.300
And I said:
'Of course, come in, my dear'.

00:17:58.500 --> 00:18:01.500
I told him to sit down
in one of those chairs.

00:18:02.340 --> 00:18:07.380
I said: 'Sit there, Francis',
and Francis sat there.

00:18:07.580 --> 00:18:08.820
I said to the brothers:

00:18:09.020 --> 00:18:13.180
'You can go, I will stay with Francis.
We have a lot to talk about'.

00:18:13.460 --> 00:18:16.100
When his brothers left,
as he couldn’t hold anything

00:18:16.300 --> 00:18:20.100
I said: 'Francis, sweetheart,
you know what we’re going to do?'

00:18:20.500 --> 00:18:22.780
He smoked by then.

00:18:22.980 --> 00:18:25.500
'We’re going
to smoke a cigarette right now'.

00:18:27.100 --> 00:18:29.020
-He couldn’t do anything else.
-No, he couldn’t.

00:18:29.220 --> 00:18:30.180
Anyway.

00:18:33.820 --> 00:18:35.260
We talked about our things

00:18:35.380 --> 00:18:38.100
at least the little he could talk.

00:18:38.700 --> 00:18:40.780
I gave him all the affection I could.

00:18:41.540 --> 00:18:45.220
After two hours,
his brothers came and took him away

00:18:45.420 --> 00:18:47.420
and three days later he was dead.

00:18:47.740 --> 00:18:48.740
So…

00:18:55.620 --> 00:18:59.260
I saw clearly that
he could become a great artist.

00:19:02.140 --> 00:19:03.500
He had a lot of virtues.

00:19:06.060 --> 00:19:09.420
I’ve always wanted to paint.

00:19:09.940 --> 00:19:13.100
One tit… another tit…

00:19:14.900 --> 00:19:19.340
I would go to Ara,
and take the sketch pad with me.

00:19:19.540 --> 00:19:23.780
I would go up the mountains
that overlook the river.

00:19:23.980 --> 00:19:27.420
And I would stay
there alone painting sheep and so on.

00:19:28.260 --> 00:19:33.060
From that moment,
I knew it was what I wanted to do.

00:19:33.260 --> 00:19:34.460
But...

00:19:34.820 --> 00:19:37.980
I got married,
then I had children

00:19:39.660 --> 00:19:43.220
and then there was
a kind of loneliness.

00:19:43.420 --> 00:19:46.740
I mean, all that didn’t
really compensate me.

00:19:46.940 --> 00:19:49.260
It didn’t fill my life completely.

00:20:06.420 --> 00:20:09.180
I needed to paint.
I couldn’t live without painting.

00:20:09.380 --> 00:20:10.500
And I started to paint.

00:20:10.700 --> 00:20:11.580
Again.

00:20:12.100 --> 00:20:13.180
OK, that’s it.

00:20:15.540 --> 00:20:16.820
Come on, that’s enough.

00:20:17.140 --> 00:20:19.820
Until I discovered lacquers.

00:20:20.380 --> 00:20:23.980
I didn’t have the proper tools
for working with them

00:20:24.180 --> 00:20:27.180
but I spent a year or so investigating

00:20:27.380 --> 00:20:29.620
trying out different ways.

00:20:30.900 --> 00:20:32.860
And I finally managed it.

00:20:33.060 --> 00:20:35.700
I had a first
exhibition here in Huesca.

00:20:35.900 --> 00:20:38.340
Then another one in Zaragoza

00:20:38.540 --> 00:20:44.100
and after that, with a
similar exhibition, I went to Barcelona.

00:20:44.300 --> 00:20:48.380
And I got a half-page review
in Barcelona’s 'La Vanguardia'.

00:20:48.580 --> 00:20:51.620
At that time,
Barcelona was a great center

00:20:52.620 --> 00:20:55.580
of connection with Europe.

00:20:55.820 --> 00:20:59.140
And the fact that, out of 300,
they gave you half a page

00:20:59.340 --> 00:21:03.660
was tremendously exciting for me.

00:21:12.780 --> 00:21:13.820
That’s it.

00:21:24.660 --> 00:21:26.060
Just a bit of fog.

00:21:26.260 --> 00:21:29.500
I’ve brought
some things to show Luis.

00:21:29.700 --> 00:21:32.260
I think he might be interested.

00:21:32.660 --> 00:21:35.580
-I didn't come for days.
-Because you didn’t want to.

00:21:35.660 --> 00:21:36.660
I know, darling.

00:21:36.980 --> 00:21:40.260
But, like an idiot,
I lock myself in the studio

00:21:40.660 --> 00:21:43.780
and I don’t do what I should,
which is to be with my friends.

00:21:44.180 --> 00:21:46.180
-Do you like the cellar?
-Very much.

00:21:46.460 --> 00:21:48.500
-How are you?
-It’s been so long.

00:21:48.780 --> 00:21:50.540
-I’m happy to see you.
-Me too.

00:21:50.820 --> 00:21:51.820
I have to go.

00:21:52.020 --> 00:21:53.420
See you later.

00:21:54.300 --> 00:21:58.940
I’ve brought things to show you,
but you must come to me some day.

00:21:59.220 --> 00:22:01.500
I know you’re very short of time.

00:22:02.060 --> 00:22:03.420
We will find a space.

00:22:03.700 --> 00:22:05.660
There are some things.

00:22:06.460 --> 00:22:10.460
There’s a painting you will love,
just like you loved that other one.

00:22:11.500 --> 00:22:12.500
That’s beautiful.

00:22:13.460 --> 00:22:17.460
This is a future project
I will tell you about later

00:22:17.660 --> 00:22:20.260
which might go in this direction.

00:22:20.780 --> 00:22:23.820
Why am I wearing my glasses?
I can’t see properly.

00:22:24.020 --> 00:22:26.420
I won’t move away completely

00:22:26.580 --> 00:22:29.340
from my figurative work,
because it’s a good reference point.

00:22:29.540 --> 00:22:31.620
But I can do quite abstract things.

00:22:31.820 --> 00:22:33.100
For example, this.

00:22:33.300 --> 00:22:36.980
But it has that little touch that is me.

00:22:37.500 --> 00:22:41.460
This reminds me of a painting,
the golden one I have at home.

00:22:41.700 --> 00:22:44.540
Yes, yes. We could almost
put there 'Enate something'.

00:22:45.500 --> 00:22:46.660
You have to leave them.

00:22:46.860 --> 00:22:49.420
Leave them with me
so I can try some things.

00:22:50.020 --> 00:22:54.460
Of course, and I will send you
what I mentioned, the text.

00:22:56.260 --> 00:22:57.300
We will talk.

00:22:57.460 --> 00:23:00.940
-It’s been a pleasure.
-And really, I will visit you.

00:23:01.020 --> 00:23:02.100
And if you can come

00:23:02.300 --> 00:23:06.660
I know that you always
have a lot of work

00:23:06.860 --> 00:23:09.380
but if you can find a moment

00:23:09.580 --> 00:23:11.500
I’d be very happy.

00:23:12.780 --> 00:23:15.140
-Thank you for everything.
-No, thank you. Stay well.

00:23:15.220 --> 00:23:17.740
I can find my way out.
I know this place.

00:23:17.940 --> 00:23:19.020
-Stay well.
-Thank you.

00:23:19.140 --> 00:23:20.260
-Bye, Teresa.
-Bye.

00:23:24.980 --> 00:23:29.980
The critic from
'La Vanguardia' came and asked me:

00:23:30.540 --> 00:23:32.620
'Are you Teresa Ramón?'
And I said: 'Yes'

00:23:33.220 --> 00:23:34.820
He said: 'Where are you from?'

00:23:36.180 --> 00:23:37.740
I said: 'I’m from Huesca'.

00:23:38.220 --> 00:23:41.100
He said: 'Where do you live?'
I said: 'In Huesca'.

00:23:41.980 --> 00:23:45.700
He said: 'What are you doing there,
apart from wasting your time?'

00:23:46.020 --> 00:23:51.140
He said: 'The least you could do
is going to Madrid or Barcelona

00:23:51.340 --> 00:23:55.820
but with this work
you have to go to Paris or New York'.

00:23:57.980 --> 00:24:00.100
I was a bit surprised.

00:24:00.300 --> 00:24:02.620
I didn’t have the feeling
that I was wasting my time

00:24:02.820 --> 00:24:04.300
I had the feeling that I was

00:24:05.340 --> 00:24:06.700
making good use of it.

00:24:07.940 --> 00:24:12.580
When I went back to Huesca,
I suggested the idea at home.

00:24:13.820 --> 00:24:18.180
But my children were young
and so, in the end, it was no.

00:24:19.260 --> 00:24:22.340
I didn’t go to Madrid,
or Barcelona, or anywhere.

00:24:24.380 --> 00:24:29.900
The U.S. Consul General
for the east of the peninsula

00:24:30.100 --> 00:24:33.580
was a charming man,
and also a great art lover.

00:24:33.780 --> 00:24:36.460
He bought a couple of my paintings.

00:24:36.660 --> 00:24:37.660
When Reagan won

00:24:37.860 --> 00:24:40.300
I can’t remember if it was
the first or the second time

00:24:40.500 --> 00:24:42.980
he called him
to join his staff in Washington.

00:24:43.180 --> 00:24:48.180
He came with his wife
to Huesca to say goodbye.

00:24:48.380 --> 00:24:50.980
And while having lunch
in my house, he said:

00:24:51.180 --> 00:24:54.980
'When you and I were talking,
what did you say you wanted?'

00:24:55.180 --> 00:24:59.660
And I laughed and said:
'What does every artist want?

00:24:59.860 --> 00:25:01.820
The greatest thing
is the Fulbright scholarship'.

00:25:02.020 --> 00:25:04.740
He took out some papers and said:

00:25:04.940 --> 00:25:09.380
'I presented your experience,
your innovation, what you’ve done

00:25:09.580 --> 00:25:11.620
and they’ve granted it to you.

00:25:11.900 --> 00:25:13.100
So if you sign this

00:25:14.140 --> 00:25:17.300
you will get the Fulbright scholarship'.

00:25:18.460 --> 00:25:24.460
But my husband’s roots in Huesca
are too deep, and there was no way…

00:25:26.020 --> 00:25:27.060
I didn’t sign.

00:26:01.500 --> 00:26:03.300
That kind of things

00:26:03.500 --> 00:26:05.540
in the case of a woman...

00:26:06.900 --> 00:26:11.540
If the same thing
had happened to my partner

00:26:11.980 --> 00:26:13.260
At least me

00:26:13.420 --> 00:26:17.780
I’d have packed his case,
I’d have bought his plane ticket

00:26:17.980 --> 00:26:20.900
I’d have put him on the plane,
I’d have stayed with the kids

00:26:21.100 --> 00:26:22.140
and it would have been OK.

00:26:22.340 --> 00:26:24.780
But for the men at that time

00:26:24.980 --> 00:26:30.020
doing things like that
wasn’t part of their culture.

00:26:30.820 --> 00:26:33.380
So I turned it down.

00:26:40.780 --> 00:26:45.580
The Italian government gave me
a scholarship and I went to Perugia.

00:26:45.780 --> 00:26:47.860
And at the Pietro Vannucci

00:26:47.940 --> 00:26:51.380
the Faculty of Fine Arts

00:26:51.580 --> 00:26:54.700
I found just what
I needed at that time.

00:26:54.900 --> 00:26:59.180
A very varied
group of people from many countries

00:26:59.380 --> 00:27:02.700
with totally different ways
of thinking and living.

00:27:03.340 --> 00:27:05.820
That was truly enriching for me.

00:27:06.020 --> 00:27:08.620
I had great teachers who didn’t impose…

00:27:08.940 --> 00:27:12.580
Everyone has their own way
of expressing themselves

00:27:12.780 --> 00:27:15.140
and what they need is to be guided

00:27:15.380 --> 00:27:17.580
so that they are able to achieve

00:27:18.420 --> 00:27:21.500
the maximum excellence
of which they are capable.

00:27:28.260 --> 00:27:32.020
The dean told me
that he’d met with the teachers

00:27:32.620 --> 00:27:34.300
and they’d decided

00:27:34.500 --> 00:27:37.260
to invite me to stay as a teacher

00:27:37.500 --> 00:27:39.540
at the University of Perugia

00:27:39.740 --> 00:27:41.700
because they didn’t know

00:27:41.900 --> 00:27:44.580
my technique of lacquer
on aluminum plates.

00:27:44.860 --> 00:27:48.100
It was very tempting
but, of course, I called Huesca

00:27:48.300 --> 00:27:49.620
my children were very young...

00:27:50.820 --> 00:27:54.460
So it was another
of the many things I said no to.

00:27:58.060 --> 00:28:01.220
That always leaves you with…

00:28:01.420 --> 00:28:05.940
People always say that
you have to regret what you’ve done

00:28:06.140 --> 00:28:07.940
not what you haven’t done

00:28:08.140 --> 00:28:10.340
But you always regret
what you haven’t done

00:28:10.620 --> 00:28:11.620
because you haven’t tried it.

00:28:11.820 --> 00:28:13.220
So you must say yes.

00:28:21.900 --> 00:28:24.540
I think an artist
should never get married.

00:28:26.660 --> 00:28:27.700
Never.

00:28:27.900 --> 00:28:32.420
An artist, at least, me…
I’m speaking for myself.

00:28:33.260 --> 00:28:36.340
I am an absolutely solitary being

00:28:36.540 --> 00:28:39.380
but when I give myself
I do it completely.

00:28:39.580 --> 00:28:43.180
I’ve been a mother
to my children 24 hours a day

00:28:43.580 --> 00:28:47.380
but that prevents me
from having more freedom.

00:28:48.220 --> 00:28:49.260
I don’t blame you.

00:28:49.460 --> 00:28:51.740
No one ordered me
to bring you into the world.

00:28:52.060 --> 00:28:55.020
I was delighted to do it.
I’ve enjoyed you.

00:28:55.500 --> 00:28:58.220
But I’m sure the family loses out, too.

00:29:00.860 --> 00:29:04.180
It’s easy to blame everyone else.

00:29:04.380 --> 00:29:08.060
But I think that
everyone here loses and wins.

00:29:08.260 --> 00:29:09.820
What do you get in exchange?

00:29:10.020 --> 00:29:13.380
Naturally, a person
who lives alone is alone.

00:29:14.740 --> 00:29:17.300
You have to face everything alone.

00:29:23.220 --> 00:29:27.020
Maybe you make the choice
when you’re not mature enough

00:29:27.380 --> 00:29:30.460
to value all the things I value now.

00:29:30.980 --> 00:29:34.020
Ah, men… Here
I’m talking mainly about women

00:29:34.260 --> 00:29:36.060
because men have it easy.

00:29:36.660 --> 00:29:40.060
A friend of mine came, she’s a lawyer.

00:29:40.260 --> 00:29:42.860
She was working
in the Dominican Republic

00:29:43.060 --> 00:29:47.140
something to do with
the penal system organization there.

00:29:47.540 --> 00:29:50.380
A really nice, intelligent woman.

00:29:51.420 --> 00:29:55.660
She was here in the studio
and she told me about Altos de Chavón.

00:29:55.860 --> 00:30:00.260
I thought it was
a really interesting project.

00:30:01.580 --> 00:30:05.620
She said: 'Sometimes they invite
foreign teachers to give classes there'.

00:30:05.820 --> 00:30:10.380
I said: 'I’d love to go
to that place to give classes'.

00:30:10.780 --> 00:30:12.740
That was in the beginning of January

00:30:12.940 --> 00:30:17.940
and in the beginning of February
I was in the Dominican Republic.

00:30:19.140 --> 00:30:21.940
I had a marvelous
relationship with my students.

00:30:22.180 --> 00:30:26.140
That was one of the
happiest periods of my life, I think.

00:30:26.340 --> 00:30:29.500
I felt like I was in paradise.

00:30:29.820 --> 00:30:32.860
Why do they say paradise
doesn’t exist? This is paradise'.

00:30:38.220 --> 00:30:39.540
I’m coming, I’m coming.

00:30:40.780 --> 00:30:41.900
Who can it be?

00:30:43.740 --> 00:30:45.660
-I can’t believe it.
-How are you?

00:30:45.780 --> 00:30:49.140
-Beating myself up.
-Yes, I can imagine.

00:30:49.340 --> 00:30:50.900
What’s this lovely thing you’re doing?

00:30:51.780 --> 00:30:54.140
I’m trying to do a sketch

00:30:54.340 --> 00:30:57.140
for my next project:

00:30:57.340 --> 00:31:01.300
'Le jeu de vivre'.

00:31:01.500 --> 00:31:04.180
Very good, so it’s called
'The Game of Living'.

00:31:04.380 --> 00:31:06.940
Then it must have
something to do with death, too.

00:31:07.140 --> 00:31:08.420
Of course, obviously.

00:31:09.700 --> 00:31:12.740
And here you
bring out your beasts again.

00:31:12.940 --> 00:31:14.380
You have to see them.

00:31:14.780 --> 00:31:17.100
From the tone, it’s like
fragments of the golden city.

00:31:17.220 --> 00:31:18.180
Yes, too.

00:31:18.660 --> 00:31:19.700
That’s great.

00:31:19.820 --> 00:31:22.580
Sit down, sweetheart,
while I clean this up

00:31:22.900 --> 00:31:24.260
close all the jars

00:31:25.180 --> 00:31:28.260
and I will get you a whiskey
and some wonderful chocolate.

00:31:28.580 --> 00:31:30.620
There’s a touch of Saura here, look.

00:31:30.820 --> 00:31:32.300
-Where?
-In this.

00:31:32.500 --> 00:31:33.820
Yes, totally.

00:31:34.460 --> 00:31:35.740
But look inside.

00:31:35.940 --> 00:31:39.140
It's a pad my son
bought me in a Chinese shop.

00:31:39.380 --> 00:31:40.540
Look on the other side.

00:31:40.740 --> 00:31:42.700
I don’t know which is better.

00:31:42.940 --> 00:31:44.580
And Teresa isn’t here yet.

00:31:44.780 --> 00:31:46.020
Oh, well.

00:31:46.220 --> 00:31:48.420
She’s probably painting something.

00:31:49.300 --> 00:31:52.420
Artists’ lives have
no timetable or calendar.

00:31:52.620 --> 00:31:55.420
She must be
on her knees, with her gloves…

00:31:55.620 --> 00:31:56.780
Her knees will hurt.

00:31:56.860 --> 00:31:57.740
Exactly.

00:31:58.100 --> 00:31:59.980
But just look at her now.

00:32:00.180 --> 00:32:01.220
Now she can do it.

00:32:01.420 --> 00:32:02.420
It’s…

00:32:03.340 --> 00:32:04.940
I think she’s doing too much.

00:32:05.020 --> 00:32:06.500
I think so, because she’s…

00:32:06.780 --> 00:32:10.180
Two years ago she was really ill.
Not even two years.

00:32:10.780 --> 00:32:11.820
I don’t know.

00:32:11.900 --> 00:32:13.020
I do remember.

00:32:13.940 --> 00:32:16.780
I was in Torremolinos
when you told me what happened.

00:32:18.900 --> 00:32:21.580
It wasn’t last
Holy Week, but the one before.

00:32:21.780 --> 00:32:22.820
The one before.

00:32:23.020 --> 00:32:25.020
So it isn’t really two years yet.

00:32:25.420 --> 00:32:29.060
I remember the call
from her daughter, Cristina.

00:32:29.300 --> 00:32:31.420
-'Mom is in Intensive Care'.
-'What?'

00:32:31.620 --> 00:32:35.140
María José rang me and said:

00:32:35.820 --> 00:32:37.820
'She’s between life and death'.

00:32:38.020 --> 00:32:39.940
I was dead, dead, dead.

00:32:40.140 --> 00:32:42.740
And I don't remember
anything about being there

00:32:42.860 --> 00:32:44.700
but the stout woman who hugged me

00:32:44.980 --> 00:32:48.740
and told me that all Teresas
are wonderful. Awesome, she would say.

00:32:49.380 --> 00:32:53.380
And I would agree with her.
It’s all I remember of so many days.

00:32:53.620 --> 00:32:54.780
I’m really struck.

00:32:54.900 --> 00:32:56.260
Here you’ve written 'life'.

00:32:56.380 --> 00:32:57.500
But I’m really struck

00:32:57.740 --> 00:33:01.380
by the brutal existential
estrangement here.

00:33:02.140 --> 00:33:04.220
By how you were someone else.

00:33:04.420 --> 00:33:06.940
Absolutely, absolutely.

00:33:07.140 --> 00:33:09.220
It was a very hard process

00:33:09.420 --> 00:33:13.140
but now I’m excited
by having had that process.

00:33:13.900 --> 00:33:15.940
I mean, if you never had that experience

00:33:16.140 --> 00:33:19.140
it’s hard to transmit it, you know?

00:33:19.420 --> 00:33:22.220
The most important thing
is that she’s herself again

00:33:22.420 --> 00:33:25.220
the same pain in the neck
and hard worker person.

00:33:25.580 --> 00:33:28.900
When someone tells me
they’re not well I put her as an example.

00:33:29.100 --> 00:33:30.980
I say: 'Do what my friend does'.

00:33:31.260 --> 00:33:34.900
'Instead of calling Emergencies,
do what I tell you', she says.

00:33:35.300 --> 00:33:38.020
'I take a chair, I take a cigarette

00:33:38.220 --> 00:33:41.060
I sit at the door to smoke, and I say:

00:33:41.380 --> 00:33:43.220
Come on, I’m waiting for you'.

00:33:43.540 --> 00:33:44.820
'Death doesn’t dare to come'.

00:33:45.020 --> 00:33:47.580
-It’s a journey to horror, too.
-Yes, it is.

00:33:47.860 --> 00:33:50.740
And then it has
this thing, this kind of…

00:33:51.180 --> 00:33:54.060
Well, you’re naked there,
you’re almost not…

00:33:54.700 --> 00:33:57.020
You have what looks
like a monster’s brain.

00:33:57.140 --> 00:33:58.140
Exactly.

00:33:58.540 --> 00:34:02.500
I don’t know
what a dead person’s brain is like.

00:34:02.820 --> 00:34:05.540
Yes, obviously, I felt monstrous.

00:34:05.740 --> 00:34:08.700
Bear in mind that
when I came out of the ICU

00:34:09.100 --> 00:34:10.780
I weighed 95 pounds.

00:34:11.100 --> 00:34:14.260
That’s when I realized how ill I’d been.

00:34:15.340 --> 00:34:16.980
Because I didn’t have any pain.

00:34:17.140 --> 00:34:19.140
If I said I did, I’d be lying.

00:34:19.300 --> 00:34:22.420
No, no. I want a death
like that, but in a few years.

00:34:22.620 --> 00:34:25.180
With 95 pounds, a sylph. Look, here too.

00:34:25.380 --> 00:34:27.820
Yes, but a sylph with a skeleton

00:34:28.020 --> 00:34:31.820
that had nothing but…
There was just skin hanging there.

00:34:32.020 --> 00:34:36.380
I swear that then I was fully aware

00:34:36.580 --> 00:34:40.620
of the women you see
in photos of Biafra and so on.

00:34:40.820 --> 00:34:43.940
With their tits hanging down.
I was like that.

00:34:44.140 --> 00:34:48.980
There’s a painting where
you can see that your breasts are hanging.

00:34:49.260 --> 00:34:50.940
I’ve just been thinking

00:34:51.140 --> 00:34:55.260
that this work has a point of connection

00:34:55.540 --> 00:34:58.380
with Ramón y Cajal’s
neurological drawings.

00:34:58.580 --> 00:35:00.420
In fact, there’s an anecdote

00:35:00.620 --> 00:35:03.220
that a friend
of his father's came one day

00:35:03.420 --> 00:35:06.460
a man who knew a bit about art,
that said to his father:

00:35:06.900 --> 00:35:08.100
'This boy can paint'.

00:35:08.300 --> 00:35:10.060
No, the father asked the man:

00:35:10.260 --> 00:35:12.620
'Do you think
my son could be an artist?'

00:35:12.900 --> 00:35:15.100
And he said:
'He should do something else'.

00:35:15.500 --> 00:35:17.420
But he was an exceptional artist.

00:35:17.700 --> 00:35:20.860
In Aragon we have
three unique characters:

00:35:21.060 --> 00:35:22.060
Miguel Servet

00:35:22.180 --> 00:35:23.180
Goya

00:35:23.380 --> 00:35:24.460
-And Cajal.
-And Cajal.

00:35:24.580 --> 00:35:27.820
I think you fall short,
because we have so, so many.

00:35:28.020 --> 00:35:30.740
-I think those three are esential.
-Of course.

00:35:30.940 --> 00:35:32.140
Absolutely universal

00:35:32.660 --> 00:35:33.820
and indisputable.

00:35:34.100 --> 00:35:35.140
And Buñuel, too.

00:35:35.340 --> 00:35:36.620
This is impressive too.

00:35:37.260 --> 00:35:40.180
-The tits, you see?
-Yes, they’re hanging down.

00:35:40.940 --> 00:35:43.700
Dubuffet is here too.
You like him so much.

00:35:43.900 --> 00:35:44.940
Yes, I do.

00:35:45.140 --> 00:35:46.700
That brutal way of...

00:35:46.980 --> 00:35:48.500
Yes, Dubuffet was fantastic.

00:35:48.700 --> 00:35:50.820
She’s going to apologize again.

00:35:51.340 --> 00:35:54.500
It's OK, we don’t care.
After all, we’re retired.

00:35:54.700 --> 00:35:56.700
We have all the time in the world.

00:35:56.900 --> 00:35:58.220
-That’s true.
-Yes, it is.

00:35:58.300 --> 00:35:59.500
No one is hurrying us.

00:35:59.900 --> 00:36:02.500
My husband doesn’t mind,
he’s never hungry.

00:36:02.820 --> 00:36:04.100
When I arrive, we eat.

00:36:04.300 --> 00:36:06.380
-So I did this.
-Don’t step on that.

00:36:06.460 --> 00:36:07.580
No, no, no.

00:36:07.780 --> 00:36:08.780
I know you.

00:36:08.980 --> 00:36:10.900
Yes, I know that you know me.

00:36:11.100 --> 00:36:12.780
I’ve seen you step on your things.

00:36:12.980 --> 00:36:14.540
I was on the Internet

00:36:14.740 --> 00:36:18.460
and there’s a company
that sells cheap coffins

00:36:18.660 --> 00:36:21.260
really cheap, but we have to buy 500.

00:36:21.340 --> 00:36:22.340
I said no, not 500.

00:36:22.540 --> 00:36:23.540
Wow, 500...

00:36:23.740 --> 00:36:26.260
They must be
made of MDF or something.

00:36:26.900 --> 00:36:28.700
Not painted or anything

00:36:28.900 --> 00:36:30.820
and they’re selling them for a song.

00:36:31.020 --> 00:36:33.660
Would you dare to paint real coffins?

00:36:34.700 --> 00:36:37.460
I think I will do it.
If you want, I will do one for you.

00:36:37.700 --> 00:36:38.700
No, no.

00:36:39.260 --> 00:36:40.300
Wouldn’t you like it?

00:36:40.500 --> 00:36:41.780
It scares me a bit.

00:36:41.980 --> 00:36:45.100
It’s like summoning death.
No, I don’t want.

00:36:45.420 --> 00:36:47.420
I don’t know if I will be buried.

00:36:47.700 --> 00:36:49.820
I think being burned is a bit…

00:36:50.100 --> 00:36:51.460
It’s a bit overwhelming.

00:36:52.780 --> 00:36:56.100
I always thought you could be buried…

00:36:56.300 --> 00:36:59.460
not now, but before,
they buried people who weren’t dead.

00:36:59.900 --> 00:37:01.940
And they’d be scratching to get up.

00:37:02.020 --> 00:37:03.540
So they were buried face down

00:37:03.780 --> 00:37:06.460
when they didn’t want
the dead to get out.

00:37:06.660 --> 00:37:08.420
I see we’re still deep into horror.

00:37:10.580 --> 00:37:11.660
Dying in flames.

00:37:11.980 --> 00:37:15.900
I will start to make
a coffin any of these days.

00:37:16.300 --> 00:37:19.660
With my blues, my colors,
my drawings, whatever.

00:37:20.140 --> 00:37:21.380
This should be a story.

00:37:23.060 --> 00:37:24.140
It’s all yours.

00:37:24.580 --> 00:37:26.180
What I don’t understand

00:37:26.380 --> 00:37:30.460
is that there are people
who are scared to talk about death.

00:37:30.660 --> 00:37:33.140
It’s the only thing we know for sure.

00:37:33.420 --> 00:37:36.060
Everything else
could have happened or not.

00:37:36.380 --> 00:37:39.740
It’s silly, because
it's more important where we’re born

00:37:39.940 --> 00:37:41.300
and no one asked us.

00:37:41.500 --> 00:37:43.460
So not about dying, either.

00:37:43.660 --> 00:37:48.220
Or where we wanted to die,
or when, or who should be there.

00:37:48.340 --> 00:37:49.500
That would be nice.

00:37:49.700 --> 00:37:54.100
I don’t really care where,
but I’d like to know when.

00:37:54.700 --> 00:37:56.100
-No, no.
-You wouldn’t?

00:37:56.340 --> 00:37:58.380
-No, because…
-Maybe you’re right.

00:37:58.580 --> 00:38:01.940
Look, one day we will die,
but everyone else won’t.

00:38:02.140 --> 00:38:03.620
That’s true!

00:38:04.380 --> 00:38:07.340
You see?
So why do you want to know?

00:38:07.540 --> 00:38:10.460
That who’s afraid of death
dies a thousand times

00:38:10.540 --> 00:38:13.020
and that who isn’t, dies only once.

00:38:14.220 --> 00:38:15.380
Look who’s here!

00:38:15.580 --> 00:38:17.100
-Are you talking nonsense?
-No!

00:38:18.500 --> 00:38:19.820
Forgive me.

00:38:20.540 --> 00:38:22.020
We forgive you.

00:38:22.340 --> 00:38:25.700
But now you need
to tell us what you’ve been doing.

00:38:25.900 --> 00:38:28.140
Tired, worn out, I can’t go on.

00:38:28.340 --> 00:38:31.980
-Sit down.
-These wonderful stories.

00:38:32.180 --> 00:38:36.300
You used to paint peacefully
in the studio, and now what?

00:38:36.580 --> 00:38:40.220
-Are you carrying your canvases?
-No, sorry. What I have here…

00:38:40.420 --> 00:38:42.500
Are you carrying them to save time?

00:38:43.180 --> 00:38:44.740
Where have you been?

00:38:45.140 --> 00:38:46.700
Look at how late it is.

00:38:46.860 --> 00:38:47.900
I’ve come from…

00:38:48.220 --> 00:38:50.580
People call you in the last minute

00:38:50.780 --> 00:38:54.180
and you have to go,
you have to answer, get organized.

00:38:54.380 --> 00:38:56.420
And what about your friends?

00:38:57.100 --> 00:38:58.260
They can wait for me.

00:38:58.540 --> 00:38:59.620
All right, all right.

00:38:59.820 --> 00:39:02.940
-I brought you something really cool.
-All right.

00:39:03.980 --> 00:39:05.300
You came with a surprise.

00:39:05.380 --> 00:39:07.100
-Look what I brought.
-What's that?

00:39:09.140 --> 00:39:11.660
I’ve brought, what I’ve brought?

00:39:11.860 --> 00:39:14.420
-I can't believe it.
-Our coffins.

00:39:15.140 --> 00:39:16.340
I want this one!

00:39:16.660 --> 00:39:18.380
Cristina’s picked hers already.

00:39:18.580 --> 00:39:19.620
The first one.

00:39:19.820 --> 00:39:20.860
She’s chosen the eye.

00:39:20.980 --> 00:39:22.020
And screw you all.

00:39:22.100 --> 00:39:23.780
-You have to move fast.
-Exactly.

00:39:24.060 --> 00:39:25.180
My daughter would say.

00:39:27.140 --> 00:39:28.300
Let me see, let me see.

00:39:28.500 --> 00:39:30.020
I will have the two eyes.

00:39:30.220 --> 00:39:31.220
Where are the eyes?

00:39:31.420 --> 00:39:33.740
One and two, what else can it be?

00:39:33.940 --> 00:39:37.060
This is the eye of God
and this, the eye of Osiris.

00:39:37.260 --> 00:39:38.540
And the flower.

00:39:38.740 --> 00:39:40.740
We have an eye, a fish…

00:39:40.940 --> 00:39:43.740
-That’s lovely.
-Yes, and so is this one.

00:39:43.940 --> 00:39:45.060
All of them.

00:39:45.260 --> 00:39:46.460
The bird is beautiful.

00:39:46.780 --> 00:39:47.980
The bird is beautiful.

00:39:48.180 --> 00:39:50.060
This is very typical of you.

00:39:50.260 --> 00:39:51.260
Look at the bird.

00:39:53.820 --> 00:39:56.700
We will look beautiful in them.

00:39:56.900 --> 00:39:58.380
I think they will suit us.

00:39:58.580 --> 00:39:59.900
We won’t be vulgar corpses.

00:40:00.100 --> 00:40:01.820
We will be corpses with style.

00:40:02.100 --> 00:40:03.100
Spectacular.

00:40:03.300 --> 00:40:04.300
Of course.

00:40:04.500 --> 00:40:05.500
And easy to transport.

00:40:05.700 --> 00:40:06.940
But I’m wondering

00:40:07.100 --> 00:40:08.340
if I will fit in there.

00:40:08.460 --> 00:40:09.980
-We will make another.
-Even bigger.

00:40:10.300 --> 00:40:12.620
At least we won’t argue about it.

00:40:12.820 --> 00:40:14.260
We never argue.

00:40:14.460 --> 00:40:16.060
No, I think not.

00:40:16.260 --> 00:40:19.100
40 years, and we’ve
never really had a quarrel.

00:40:19.180 --> 00:40:20.180
Don’t even think of it!

00:40:20.700 --> 00:40:23.020
-We won’t start now.
-Just in case.

00:40:23.220 --> 00:40:26.140
The advantage now
is that we wouldn’t remember

00:40:26.340 --> 00:40:27.780
that we argued the day before.

00:40:28.060 --> 00:40:29.060
That’s great.

00:40:29.260 --> 00:40:30.260
Not that great.

00:40:30.500 --> 00:40:32.660
When we started,
we talked about ephebes.

00:40:32.900 --> 00:40:34.620
And now we talk about grandchildren.

00:40:35.140 --> 00:40:37.260
Do you remember
when we considered

00:40:37.460 --> 00:40:41.500
or talked about poisoning
our husbands with marmoline?

00:40:42.860 --> 00:40:44.100
I was so serious once.

00:40:44.300 --> 00:40:47.860
I was talking to the dean
of the Chemistry Faculty

00:40:48.100 --> 00:40:50.300
and he told me, really seriously:

00:40:50.580 --> 00:40:55.700
'Marmoline is no use for
killing someone, it would take ages.'

00:40:55.900 --> 00:40:57.700
So he thought it was for real.

00:40:58.100 --> 00:41:00.060
I swear he thought it was for real.

00:41:00.380 --> 00:41:02.180
We will buy more boxes for you.

00:41:03.340 --> 00:41:05.380
-Listen, sweeties…
-For other business.

00:41:05.540 --> 00:41:07.260
Each of you take one.

00:41:07.580 --> 00:41:09.980
I’m taking this one, I’m sure about it.

00:41:10.780 --> 00:41:13.140
We haven’t had time
to see them properly.

00:41:14.460 --> 00:41:16.940
You should have said
'I’ve looked very carefully'.

00:41:17.140 --> 00:41:18.260
No, it called to me.

00:41:18.660 --> 00:41:19.900
Are you leaving already?

00:41:20.100 --> 00:41:22.780
Don’t you see
I’m overwhelmed with work?

00:41:22.980 --> 00:41:26.180
Please, have some pity on me.

00:41:26.380 --> 00:41:28.860
We love you because
you keep a bit of time for us.

00:41:29.060 --> 00:41:30.660
This meeting is compulsory.

00:41:30.900 --> 00:41:32.420
-It’s been 40 years.
-Yes.

00:41:33.020 --> 00:41:34.260
No, not compulsory.

00:41:34.460 --> 00:41:35.860
Lovingly compulsory.

00:41:36.140 --> 00:41:38.660
And the money
we’ve saved over 40 years?

00:41:38.860 --> 00:41:40.540
On psychiatrists and everything.

00:41:40.860 --> 00:41:43.620
-We don't need them.
-Give me a kiss.

00:41:44.220 --> 00:41:45.820
-Don’t get up.
-Nothing is better

00:41:46.060 --> 00:41:47.500
than a bit of gossip.

00:41:47.980 --> 00:41:48.940
See you.

00:41:49.460 --> 00:41:50.540
Bye.

00:41:50.940 --> 00:41:52.780
Don’t pay, we get this.

00:41:53.260 --> 00:41:54.380
In and out.

00:41:54.580 --> 00:41:56.420
Yes, she’s so stressed out.

00:42:27.380 --> 00:42:29.660
I have experienced death.

00:42:29.860 --> 00:42:30.940
That must be…

00:42:31.260 --> 00:42:34.580
It made me see life differently.

00:42:34.780 --> 00:42:37.940
It made me enjoy all the details

00:42:38.140 --> 00:42:39.300
and remember…

00:42:39.500 --> 00:42:41.900
I remember my friend Ángel.

00:42:42.300 --> 00:42:44.180
We often had dinner with him.

00:42:45.060 --> 00:42:47.740
He got sick,
he was very old, and he died.

00:42:47.860 --> 00:42:49.140
And before dying, he said:

00:42:49.540 --> 00:42:53.500
'Teresa, you have
to scatter my ashes in Loarre

00:42:53.780 --> 00:42:57.140
and when you will do it,
you all have to shout:

00:42:57.380 --> 00:42:58.740
Best of luck, you bastard!'

00:42:59.860 --> 00:43:01.660
Is that what he told you?

00:43:02.100 --> 00:43:04.340
That was his last wish.

00:43:04.540 --> 00:43:08.100
So we went, got his ashes,
we scattered them and we shouted:

00:43:08.500 --> 00:43:09.980
'Best of luck, you bastard!'

00:43:10.380 --> 00:43:12.180
And then, what happened?

00:43:12.700 --> 00:43:14.180
A gust of wind

00:43:14.780 --> 00:43:17.700
blew all the ashes

00:43:18.260 --> 00:43:20.180
back in our mouths.

00:43:20.500 --> 00:43:23.460
In my mouth and in my friend’s.

00:43:23.660 --> 00:43:25.180
We were his closest friends.

00:43:25.380 --> 00:43:26.900
They blew into our mouths.

00:43:27.140 --> 00:43:30.500
I told her: 'Even dead,
Ángel doesn’t want to leave us.

00:43:30.740 --> 00:43:32.220
He wants to stay inside us'.

00:43:32.740 --> 00:43:36.180
But the insult that he told you to say…

00:43:36.380 --> 00:43:38.940
-It wasn’t an insult…
-It was affection, of course.

00:43:39.100 --> 00:43:43.540
So then, the thing
with the ashes was all affection, too.

00:43:43.740 --> 00:43:46.180
Absolutely, he wanted to stay with us.

00:43:46.380 --> 00:43:48.260
-There was reciprocity.
-Totally.

00:43:48.460 --> 00:43:50.660
He wanted to stay with us.

00:43:50.980 --> 00:43:55.980
He said: 'My ashes will go inside',
and they did, into our stomachs.

00:43:56.180 --> 00:43:58.180
And there he is,
in saecula saeculorum.

00:43:58.300 --> 00:44:00.660
Since always, cultures and societies

00:44:00.740 --> 00:44:04.700
have needed gods, rites and myths.

00:44:04.980 --> 00:44:06.220
I don’t go to mass

00:44:06.420 --> 00:44:08.540
but I go when there’s no one there.

00:44:08.740 --> 00:44:10.700
No mass, no people, nobody.

00:44:10.940 --> 00:44:15.820
I think that somehow,
my belief in that superior being

00:44:16.060 --> 00:44:19.620
to whom I can turn
when I’m in distress, has helped me

00:44:19.820 --> 00:44:20.860
throughout my life.

00:44:21.180 --> 00:44:23.500
If you don’t have that,
you are so alone…

00:44:24.740 --> 00:44:27.100
In a terrible situation

00:44:28.100 --> 00:44:29.660
in a horrific tragedy

00:44:29.860 --> 00:44:30.940
you say:

00:44:31.740 --> 00:44:33.900
'What do I turn to?'

00:44:48.900 --> 00:44:52.620
There is one person
to whom I will always be grateful.

00:44:52.620 --> 00:44:55.540
That is Rafael López Guarga.

00:44:55.540 --> 00:44:59.620
Chief engineer in Huesca at that time.

00:44:59.620 --> 00:45:02.060
The Somport tunnel was being built.

00:45:02.060 --> 00:45:05.380
He was so daring,
so wonderful, and so courageous.

00:45:05.380 --> 00:45:10.300
He told me: 'We want a mural
at the entrance to the Somport tunnel

00:45:10.300 --> 00:45:12.660
and I thought you could do it'.

00:45:12.660 --> 00:45:14.540
I’d never done a mural.

00:45:14.540 --> 00:45:17.660
One thing is to work on a large canvas

00:45:17.660 --> 00:45:22.580
and other, to tackle a mural
270 feet long and 6 feet high.

00:45:22.580 --> 00:45:26.420
And I said yes, right there.

00:45:26.420 --> 00:45:28.700
I spent a whole year
preparing sketches

00:45:28.700 --> 00:45:33.020
two full sketches,
27 feet long and 8 inches high.

00:45:33.020 --> 00:45:34.900
One day, Rafael rang me:

00:45:34.900 --> 00:45:36.380
'You have to come up

00:45:36.380 --> 00:45:40.260
we’re meeting with
the engineers and the architect'.

00:45:40.260 --> 00:45:43.260
Eleven pitiless men and me.

00:45:43.260 --> 00:45:47.620
I don’t know if I was
Jesus Christ. I certainly wasn’t Judas

00:45:47.620 --> 00:45:49.660
at that dinner.

00:45:49.660 --> 00:45:53.180
One engineeer
introduced me to the architect

00:45:53.180 --> 00:45:56.180
and he said: 'You’re Teresa Ramón?'

00:45:56.180 --> 00:45:58.780
I said: 'Yes', and he said:

00:45:58.780 --> 00:46:03.660
'When they told me that
it was a woman painting the mural

00:46:03.660 --> 00:46:05.460
I started to tremble'.

00:46:05.460 --> 00:46:08.420
I took his hand
very firmly, I didn’t let go.

00:46:08.420 --> 00:46:09.620
And I said:

00:46:09.620 --> 00:46:15.700
'What did you think, sweetie,
that I’m going to paint flowers?

00:46:15.700 --> 00:46:19.460
I’m going to paint
some fucking enormous penises'.

00:46:19.940 --> 00:46:23.940
The eleven men were stunned.

00:46:24.140 --> 00:46:28.660
So was he, because he didn’t expect
an answer like that from a woman.

00:46:28.660 --> 00:46:32.220
He said: 'Oh, have you
brought sketches?'

00:46:32.220 --> 00:46:36.260
I said: 'Two, 27 feet by 8 inches

00:46:36.460 --> 00:46:41.500
so we can choose
which of them you all like the most'.

00:46:41.500 --> 00:46:47.140
The meal went well,
more or less well, and afterwards

00:46:47.140 --> 00:46:51.180
I was a bit annoyed,
because of what they’d said

00:46:51.180 --> 00:46:55.340
because they suspected
that a woman couldn’t do that job

00:46:55.340 --> 00:46:58.820
and annoyed because of what I’d said.

00:46:59.020 --> 00:47:00.700
It was a bit out of line.

00:47:00.700 --> 00:47:03.820
But I think it had a good effect.

00:47:03.820 --> 00:47:08.540
When he saw the sketches,
he agreed that we’d chosen the best one.

00:47:08.540 --> 00:47:12.100
And then he said:
'How do you want us to build the wall?'

00:47:12.100 --> 00:47:14.020
And the I said:

00:47:14.020 --> 00:47:20.060
'Look, I don’t want
a separating wall, a barrier.

00:47:20.060 --> 00:47:24.940
I want a slight curve,
one that’s 30º from end to end.

00:47:24.940 --> 00:47:26.660
A very gentle curve'.

00:47:26.860 --> 00:47:30.060
And he did it perfectly.
I’m delighted with it.

00:47:30.060 --> 00:47:35.060
I adore that mural,
because it was my first step

00:47:35.060 --> 00:47:39.940
towards large scale works.
Both in painting and sculpture.

00:47:39.940 --> 00:47:42.820
I guess that then people thought:

00:47:42.820 --> 00:47:46.420
'This woman
has shown that she can do it

00:47:46.420 --> 00:47:49.860
so we will commission her
to do this other series of things

00:47:49.860 --> 00:47:51.980
that we’ve done'.

00:47:51.980 --> 00:47:54.820
I’m so, so happy to retouch

00:47:54.820 --> 00:47:58.940
this marvelous signature by Pedro I

00:47:58.940 --> 00:48:02.620
who conquered Aragon in 1096.

00:48:02.620 --> 00:48:04.380
A wonderful man.

00:48:04.380 --> 00:48:07.740
And who continued
signing some things in Arabic.

00:48:07.740 --> 00:48:12.540
My grandmother
forbade me to speak to anyone

00:48:12.540 --> 00:48:16.500
that they called 'Moors'
and were our neighbors.

00:48:16.500 --> 00:48:19.940
Why did they call them Moors?
It’s an old story.

00:48:19.940 --> 00:48:21.260
Well, you know.

00:48:21.260 --> 00:48:24.940
The castle of the Moors,
the bridge of the Moors…

00:48:24.940 --> 00:48:26.220
They called them the Moors.

00:48:26.220 --> 00:48:28.500
She told me
I couldn’t play with them

00:48:28.500 --> 00:48:32.300
and, naturally,
given my rebellious nature

00:48:32.300 --> 00:48:35.020
I became a close friend of the Moors.

00:48:35.020 --> 00:48:40.420
You were ahead of the
Declaration of Human Rights in 1947.

00:48:40.420 --> 00:48:42.460
Totally. Exactly.

00:48:42.460 --> 00:48:45.020
I think I inspired them.

00:48:45.020 --> 00:48:46.780
It’s natural ethics

00:48:46.780 --> 00:48:51.540
even for any religion,
including Catholicism, as is logical.

00:48:51.540 --> 00:48:56.140
In short, cultures should exist to add

00:48:56.140 --> 00:48:59.100
-not to take away, divide
-Totally.

00:48:59.100 --> 00:49:01.780
and much less lead to confrontation.

00:49:01.780 --> 00:49:05.900
But historically,
the human condition has been like that.

00:49:05.900 --> 00:49:07.380
It’s a real pity.

00:49:07.380 --> 00:49:09.780
When people come from France

00:49:09.780 --> 00:49:11.980
the first thing they see is that mural.

00:49:11.980 --> 00:49:15.900
It is also the last thing
people see when going to France.

00:49:15.900 --> 00:49:20.220
And then there is that
wonderful forest with its range of greens

00:49:20.220 --> 00:49:22.980
that combines
very well with its colors.

00:49:40.980 --> 00:49:42.300
-So long.
-Bye.

00:49:42.500 --> 00:49:43.820
-Take care.
-Bye.

00:50:03.820 --> 00:50:05.900
About three years later

00:50:05.900 --> 00:50:08.540
they were building
the Convention Center here

00:50:08.540 --> 00:50:12.740
and the mayor called various artists

00:50:12.740 --> 00:50:18.300
and I said:
'I will do it, even if I die trying'.

00:50:18.300 --> 00:50:20.940
I really thought I would die trying.

00:50:20.940 --> 00:50:25.860
I spent three months painting
the mural in the Convention Center.

00:50:26.060 --> 00:50:28.260
That amount of days

00:50:28.260 --> 00:50:30.700
of hours, minutes and seconds.

00:50:30.700 --> 00:50:35.180
And cold, and pain on my knees and all.

00:50:35.180 --> 00:50:39.220
There are lines that are 27 feet long.

00:50:39.220 --> 00:50:40.900
In one single stroke.

00:50:40.900 --> 00:50:42.420
Until there.

00:50:42.420 --> 00:50:46.020
People ask me:
'How do you think of these things?'

00:50:46.020 --> 00:50:49.660
There’s a story from start to finish.

00:50:49.660 --> 00:50:55.100
I did a sketch, 15 feet long
and 6 feet high, on cloth.

00:50:55.100 --> 00:50:59.180
You start to think about
what you want to transmit

00:50:59.180 --> 00:51:00.780
how you want to transmit it.

00:51:00.780 --> 00:51:03.220
The importance of color,
that is basic for me.

00:51:03.220 --> 00:51:05.860
I can’t make a sketch
in black and white, I need color.

00:51:05.860 --> 00:51:10.980
A slap in the face of color,
history, roots, life, water, religion.

00:51:10.980 --> 00:51:15.220
All I want is the work

00:51:15.220 --> 00:51:17.060
to be coherent

00:51:17.060 --> 00:51:19.420
to have the trajectory
it must have, that's all.

00:53:30.420 --> 00:53:33.740
We have something great in Aragon.

00:53:33.740 --> 00:53:35.500
Well, we have lots of great things.

00:53:35.540 --> 00:53:38.220
We can go from the terrible desert

00:53:38.220 --> 00:53:41.380
of Los Monegros, to marvelous valleys

00:53:41.380 --> 00:53:43.220
and mountains in the Pyrenees.

00:53:46.260 --> 00:53:46.940
And in between

00:53:46.940 --> 00:53:48.020
the transition.

00:53:48.020 --> 00:53:50.060
What's alongside the Ebro.

00:53:50.060 --> 00:53:54.140
These kinds of gorges.

00:53:54.140 --> 00:53:55.980
Cliffs of gypsum.

00:53:55.980 --> 00:53:57.820
Those gypsum quarries.

00:53:57.820 --> 00:53:59.020
That’s the border.

00:53:59.020 --> 00:54:03.940
That border and the desert
of Los Monegros fascinate me.

00:54:03.940 --> 00:54:07.500
It’s as if my heart opens,
and I have a lot of space

00:54:07.500 --> 00:54:11.620
to breathe, to think…
They fascinate me.

00:54:48.020 --> 00:54:50.180
Beauty is found in things...

00:54:50.180 --> 00:54:52.620
So much beauty

00:54:52.620 --> 00:54:53.860
in such frailty.

00:54:53.860 --> 00:54:56.860
I find butterflies fascinating.

00:54:56.860 --> 00:55:02.180
If you take a butterfly by its wings,
all the color stays on your fingers

00:55:02.180 --> 00:55:04.900
and it is marked forever.

00:55:04.900 --> 00:55:07.540
It can’t fly again.

00:55:07.540 --> 00:55:08.700
I think…

00:55:12.140 --> 00:55:13.540
Beauty is very relative

00:55:13.540 --> 00:55:16.780
and there have been
many canons of beauty

00:55:16.780 --> 00:55:20.820
throughout the course
of humanity, of existence.

00:55:20.820 --> 00:55:22.500
From the Venus of Willendorf

00:55:22.500 --> 00:55:25.300
plump, wonderful and marvelous

00:55:25.300 --> 00:55:28.980
to the models that we have nowadays

00:55:28.980 --> 00:55:33.420
who seem like bones
covered by a bit of skin.

00:55:35.220 --> 00:55:39.180
Antonio Saura said
that there is a dark beauty

00:55:39.180 --> 00:55:43.460
that is much more
powerful than all the rest.

00:55:44.540 --> 00:55:46.100
Saura practiced it.

00:55:46.100 --> 00:55:49.540
Trias theorized a lot about it

00:55:49.540 --> 00:55:51.980
and wrote a very good book:
'Beauty and the Sinister'.

00:55:54.300 --> 00:55:55.860
In 'The Bestiary'

00:55:55.860 --> 00:56:00.140
I dealt with that topic of beasts

00:56:00.140 --> 00:56:02.220
with a medieval root.

00:56:02.220 --> 00:56:06.220
The first travelers to the east

00:56:06.220 --> 00:56:09.620
found those kinds of animals

00:56:09.620 --> 00:56:12.380
and, as everything
was either God or the Devil

00:56:12.380 --> 00:56:14.980
some had beneficial powers

00:56:14.980 --> 00:56:18.500
and other had terrible powers

00:56:18.500 --> 00:56:21.620
and were an example of the Devil.

00:56:21.620 --> 00:56:26.700
Recently, I’ve gone
very deeply into the territory

00:56:26.700 --> 00:56:28.100
of the sinister.

00:56:29.380 --> 00:56:31.900
All that we don’t know seems horrific.

00:56:31.900 --> 00:56:37.020
I think that duality is interesting.

00:56:37.020 --> 00:56:40.820
All that is part of me,
of what I feel, of what I think.

00:56:40.820 --> 00:56:42.900
Just as I have evolved as a human being

00:56:42.900 --> 00:56:46.620
what I honestly want to transmit

00:56:46.620 --> 00:56:48.700
is what I am now.

00:56:48.700 --> 00:56:51.060
Not what I was 30 years ago.

00:56:56.140 --> 00:56:58.780
I adore Goya for many things.

00:56:58.780 --> 00:57:01.020
For everything.

00:57:02.100 --> 00:57:03.980
He was constantly evolving.

00:57:03.980 --> 00:57:06.300
I like 'The Disasters'.

00:57:06.300 --> 00:57:09.460
I’m fascinated
by the 'Black Paintings'.

00:57:09.460 --> 00:57:10.500
And, above all

00:57:10.500 --> 00:57:12.740
the little dog, sticking its head out.

00:57:12.820 --> 00:57:14.860
It’s doing that,
or it’s scanning the horizon

00:57:14.860 --> 00:57:19.580
or it has fallen into a well of mud

00:57:19.580 --> 00:57:22.220
and it’s half drowned,
sticking its head out

00:57:22.220 --> 00:57:26.660
before it is swallowed
by that well of mud.

00:57:27.540 --> 00:57:30.860
You can have so many
theories about that painting

00:57:30.860 --> 00:57:31.860
which is…

00:57:32.620 --> 00:57:35.340
Goya is everything for me.

00:57:35.340 --> 00:57:37.820
Fortunately, I’m not the only one.

00:57:37.820 --> 00:57:40.620
Many people think the same.

00:57:44.100 --> 00:57:45.020
Teresa!

00:57:46.420 --> 00:57:47.540
What a wonderful surprise!

00:57:47.540 --> 00:57:50.100
Yes.

00:57:50.100 --> 00:57:51.660
What are you doing here?

00:57:51.780 --> 00:57:56.500
I came just to see this,
the same as you. Just to see it.

00:57:56.500 --> 00:57:59.300
Exactly.
That’s great, we can see it together.

00:57:59.300 --> 00:58:02.420
When I go to the Prado,
since it’s so extensive

00:58:02.420 --> 00:58:05.260
You only see a small part.

00:58:05.260 --> 00:58:06.780
I only see Goya.

00:58:06.780 --> 00:58:08.660
I’ve always told you

00:58:08.660 --> 00:58:12.860
I’m fascinated
by those flying witches.

00:58:12.860 --> 00:58:14.700
I love witches.

00:58:14.700 --> 00:58:18.340
That should be psychoanalyzed.

00:58:18.340 --> 00:58:19.980
We do art, we do painting

00:58:19.980 --> 00:58:21.740
and that is
the most wonderful therapy.

00:58:21.740 --> 00:58:23.900
-There’s nothing like that.
-No.

00:58:23.900 --> 00:58:25.620
No one can take it from us.

00:58:25.620 --> 00:58:28.900
The topic of women
in the world of art has been terrible

00:58:28.900 --> 00:58:31.180
but maybe things are changing.

00:58:31.180 --> 00:58:34.300
-I’d like that.
-So would I.

00:58:34.300 --> 00:58:38.180
-If it takes too long…
-We’re going to miss out.

00:58:38.180 --> 00:58:41.340
We will be done in a couple of days.

00:58:42.140 --> 00:58:44.740
You can be wrecked, depressed, tired

00:58:44.740 --> 00:58:47.380
your back may be hurting…

00:58:47.380 --> 00:58:48.420
Even feel insecure.

00:58:48.420 --> 00:58:51.100
Very often insecure, of course.

00:58:51.100 --> 00:58:54.180
Otherwise we wouldn't
discover anything new.

00:58:54.180 --> 00:58:55.540
We are warriors.

00:58:55.540 --> 00:58:58.380
And we keep advancing
and we’re insecure.

00:58:58.380 --> 00:59:00.940
And we won't change at this stage.

00:59:00.940 --> 00:59:02.300
We neither can nor want to.

00:59:02.300 --> 00:59:05.620
-Shall we see the Follies?
-The Follies? Yes, come on.

00:59:05.620 --> 00:59:06.620
Follow me.

00:59:06.620 --> 00:59:10.340
Do you know why there were
so many witches back then?

00:59:10.340 --> 00:59:13.300
-I have no idea. Why?
-The ergot in the rye.

00:59:13.300 --> 00:59:16.140
They milled it and
made bread with the flour.

00:59:16.140 --> 00:59:19.860
-But ergot contains LSD and…
-They got high.

00:59:19.860 --> 00:59:21.180
High as kites.

00:59:27.820 --> 00:59:30.460
Artists who remain at a certain point

00:59:30.460 --> 00:59:34.860
because they benefit from it
and are comfortable there.

00:59:34.860 --> 00:59:37.420
I can’t really respect them.

00:59:37.420 --> 00:59:39.740
Well, there’s no reason
I shouldn’t respect people.

00:59:39.740 --> 00:59:42.660
Everyone leads the life they want.

00:59:42.660 --> 00:59:47.740
But those who really
deserve my respect are those

00:59:47.740 --> 00:59:49.500
who constantly say:

00:59:49.500 --> 00:59:51.860
'I already know and did that'.

00:59:51.860 --> 00:59:53.700
In short, the work of a painter

00:59:53.700 --> 00:59:57.580
is to investigate
matter, thought, forms.

00:59:57.580 --> 01:00:01.780
I’m not the same
I was 20 years or 30 years ago.

01:00:02.500 --> 01:00:05.380
So how can I
paint the same way? I can't.

01:00:09.900 --> 01:00:13.660
It’s such a big change
from a photograph.

01:00:13.660 --> 01:00:14.820
Yes, it's true.

01:00:15.940 --> 01:00:19.460
You recognize yourself more
in volume than in a photograph.

01:00:19.460 --> 01:00:20.740
But it’s still hard.

01:00:20.740 --> 01:00:24.700
As a photograph is flat
and you look straight ahead.

01:00:24.700 --> 01:00:27.380
And you say:
'I have volume, there it is'.

01:00:28.340 --> 01:00:30.820
You’re in the air, on a screen

01:00:30.820 --> 01:00:34.460
you can turn it with enormous ease

01:00:34.460 --> 01:00:35.940
you can move it, stretch it.

01:00:35.940 --> 01:00:40.020
And when you get annoyed
it works very well, too.

01:00:40.020 --> 01:00:41.860
Because you can turn it off and leave.

01:00:41.860 --> 01:00:44.700
So you have it there
and you can recover it.

01:00:44.700 --> 01:00:47.780
It’s not like when you’re carving

01:00:47.780 --> 01:00:51.020
that if you do something
wrong, you can't go back.

01:00:51.020 --> 01:00:52.820
It's ruined.

01:00:52.820 --> 01:00:55.420
I only see the
final product of what you do

01:00:55.420 --> 01:00:58.580
but I don’t see the process.

01:00:58.580 --> 01:01:01.060
So I thought I’d bring some drawings

01:01:01.060 --> 01:01:02.180
to see what you thought

01:01:02.180 --> 01:01:04.460
and what we can do.

01:01:04.460 --> 01:01:06.300
I’ve tried to recreate

01:01:06.300 --> 01:01:08.180
the junction of the three heads.

01:01:08.180 --> 01:01:10.980
One that was more or less

01:01:10.980 --> 01:01:13.180
something like my portrait.

01:01:13.180 --> 01:01:16.820
But I’m not interested
in being immortalized

01:01:16.820 --> 01:01:19.980
by being portrayed there,
but it might be nice.

01:01:19.980 --> 01:01:23.460
And the other two can emerge from it.

01:01:23.460 --> 01:01:25.700
More cubist

01:01:25.700 --> 01:01:28.660
more distorted or more whatever.

01:01:28.660 --> 01:01:32.460
We’re transforming
a 2D drawing into 3D.

01:01:32.460 --> 01:01:34.260
It changes absolutely everything.

01:01:34.260 --> 01:01:39.860
But I think the methods we will use
will make it much more interesting.

01:01:39.860 --> 01:01:42.340
This fascinates me.

01:01:42.340 --> 01:01:46.100
Because I’m allergic
to remaining in one place.

01:01:46.100 --> 01:01:48.740
And I want to continue like that.

01:01:48.740 --> 01:01:50.740
Going forward to…

01:01:50.740 --> 01:01:54.900
But I don’t know,
I will understand it when I see it.

01:01:54.900 --> 01:01:57.740
No, no, no.
Straight, straight, where you were.

01:01:57.740 --> 01:01:59.540
-No, with the same line.
-Where you were.

01:01:59.540 --> 01:02:01.980
Like this. To there.

01:02:01.980 --> 01:02:04.420
It’s going to look great.

01:02:06.060 --> 01:02:07.420
I might do something else.

01:02:07.420 --> 01:02:09.140
You have it marked out.

01:02:09.140 --> 01:02:11.900
-Let's see.
-You will have a line there.

01:02:11.900 --> 01:02:14.780
It will be a bit thicker.

01:02:14.780 --> 01:02:15.540
That's it.

01:02:15.540 --> 01:02:19.900
So, all of this smooth
and the little eye here.

01:02:21.420 --> 01:02:23.460
Oh, God!

01:02:23.460 --> 01:02:25.740
-Yes, that’s…
-You can correct it, right?

01:02:25.740 --> 01:02:28.740
It has to be stretched,
you made it a man.

01:02:28.740 --> 01:02:29.860
Exactly.

01:02:29.860 --> 01:02:31.260
And now put it…

01:02:32.260 --> 01:02:34.740
-I’m sorry.
-No, no.

01:02:36.060 --> 01:02:37.340
I have no idea.

01:02:37.340 --> 01:02:39.940
It’s easy to talk
when you don’t understand.

01:02:39.940 --> 01:02:41.380
'Just put it there.'

01:02:41.380 --> 01:02:43.340
'What’s this woman saying?'

01:02:43.340 --> 01:02:44.900
As we’re joining everything

01:02:44.900 --> 01:02:47.500
it comes out and goes
round to the other side

01:02:47.500 --> 01:02:52.100
it turns into that fantastic

01:02:52.100 --> 01:02:53.820
half-cubist thing.

01:02:53.820 --> 01:02:55.060
I love this.

01:02:57.020 --> 01:03:00.220
I really like it.

01:03:01.020 --> 01:03:02.460
I’m wiped out.

01:03:03.580 --> 01:03:09.900
Technology, techniques,
new tools, it’s all changed so fast

01:03:09.900 --> 01:03:11.060
that either you adapt

01:03:11.060 --> 01:03:14.060
or you follow
the same line you always had.

01:03:14.060 --> 01:03:17.580
-But you remain there.
-If you don’t adapt, you remain there.

01:03:17.580 --> 01:03:18.940
It explains the surprise.

01:03:18.940 --> 01:03:21.340
The problem is that sometimes

01:03:22.300 --> 01:03:26.580
there are criticisms
from purists about some concepts.

01:03:26.580 --> 01:03:29.820
But I think they’re tools
and have to be used as such.

01:03:29.820 --> 01:03:33.020
I totally agree.
Look at the evolution there has been.

01:03:33.020 --> 01:03:37.620
In the Renaissance
and until the 20th century

01:03:37.620 --> 01:03:39.700
people painted with oils.

01:03:40.500 --> 01:03:44.380
Then in the 20th century
the industry invented acrylics

01:03:44.380 --> 01:03:47.700
which are completely fascinating.

01:03:47.700 --> 01:03:50.260
In sculpture it’s even more dramatic.

01:03:50.260 --> 01:03:52.380
In sculpture, the machines

01:03:52.380 --> 01:03:58.420
build and give you the exact form

01:03:58.420 --> 01:04:00.980
of what you have created.

01:04:00.980 --> 01:04:04.860
Before, you modelled a whole process.

01:04:04.860 --> 01:04:09.100
You gave the form, the position,
whatever, and you created it.

01:04:09.100 --> 01:04:13.220
Who has done the drawing
for this sculpture?

01:04:13.220 --> 01:04:14.980
And how it is at the end.

01:04:14.980 --> 01:04:16.180
It’s my work.

01:04:16.180 --> 01:04:17.580
This is the piece.

01:04:17.580 --> 01:04:19.180
This is the 3D.

01:04:19.180 --> 01:04:20.740
It’s what we’re starting to do.

01:04:20.740 --> 01:04:23.180
It’s being smoothed now

01:04:23.180 --> 01:04:26.380
but inside is the 3D of the piece.

01:04:26.380 --> 01:04:30.940
-Now the process is…
-Fantastic.

01:04:30.940 --> 01:04:33.060
There are lovely images.

01:04:33.060 --> 01:04:35.380
I can imagine, yes.

01:04:35.380 --> 01:04:39.060
I imagine there will be
moments when you say: 'Stop!'

01:04:39.060 --> 01:04:41.900
What you do when
the piece comes out of the machines

01:04:41.900 --> 01:04:44.740
is what gives it life.

01:05:47.940 --> 01:05:49.580
I’m like an oak.

01:05:49.580 --> 01:05:51.980
I resist, I fight, I resist.

01:05:51.980 --> 01:05:54.460
Because if I didn’t

01:05:54.460 --> 01:05:56.700
I’d have been crushed
at the first sign of trouble.

01:05:56.700 --> 01:05:59.980
I know that, whatever it will be

01:05:59.980 --> 01:06:02.580
I will do it with all my passion.

01:06:02.580 --> 01:06:03.620
Let's see.

01:06:04.460 --> 01:06:06.460
Maybe life is long.

01:06:06.460 --> 01:06:10.420
Maybe the fates
will leave me a few more years

01:06:10.420 --> 01:06:12.460
to do more things.

01:06:12.460 --> 01:06:13.820
But, in any case

01:06:16.020 --> 01:06:17.140
all these things

01:06:17.140 --> 01:06:22.300
that I've done until now
have given me great, great happiness.

01:06:22.300 --> 01:06:25.740
An incredible happiness.

01:06:28.220 --> 01:06:31.580
I’m doing all this for you,
so when I die you see me

01:06:31.580 --> 01:06:35.300
and remember everything I’m saying.

01:06:35.300 --> 01:06:36.820
Otherwise...

01:06:36.820 --> 01:06:40.340
You will throw me
in the wastepaper bin or…

01:06:40.340 --> 01:06:44.340
This way I will keep
annoying you even after I’m dead.