Bigas Luna: La mirada entomòloga

Bigas Luna:
I'm very keen on symbols, generally speaking. That's what I prefer in the process of film narration. I usually start working on a plot, and when the framework is ready, I begin a true speech of symbols.

Bigas Luna:
When I make a film, I don't want the symbolic interpretation of what I am doing, to be too obvious. I do think we have to be generous to the people going to the cinema, but I don't want to produce only pure entertainment either. But I don't want to be cryptic either. I think that to achieve a perfect highly symbolical story, the symbolical load has to be underneath. As something that is present, but that someone that has seen the film can say he has not noticed. That would be wonderful.

Bigas Luna:
Symbols help a lot, but can also kill a story. When one comes up with a new interpretation, it is great. Because what matters is the energy generated by that idea. And also the energy that piece just gave to someone else.

Bigas Luna:
According to my theory, the limit, in fiction, is set by pain. In the fictional world, you can and you must do whatever you want. If you feel pain when you do that, it means you reached the limit of your work as a creator.

Bigas Luna:
Silence is the original. Words are the copy.

Bigas Luna:
I adore animals. They are... I really love them. I've always had dogs. I have five donkeys, chickens... There are only two animals that I can't stand. One is the fly. I have a horrible relationship with flies. I really hate them. It's a true obsession. I depict it as the devil in my films. This horrific insect that I deeply hate...