Gloria is always on the screen and is also a very difficult character. How did you prepare for a role like that?
Demonstrating complete commitment and being ready to work continously with the director: we had to become complementary. Gloria did not only need a characterization; it was necessary to build a woman in all her aspects and complexity, especially showing what one tends to hide in life.
Did you want to describe a new woman model?
Women like her are here and all over the world, even if their indipendence and strength are often ignored. We wanted to describe a female model which is pretty widespread but also denied by everyone. It is preferable to see the model proposed in past. It is not feminism, but reality observation.
Cinema does not offer so many roles like that, especially to women that do not respect the "Hollywood" canon. Why?
Cinema is female, theater is male. The first one travels paths that (I think) are closer to female sensitivity, while the second one especially answers to male questions. But the point is that such roles, such scripts are difficult to find not because of the gender, but the season of life which is represented: scripts like that are achievable neither by actors, nor by actresses. This story, these themes created a fruitful dialogue on the set, also with the other actors. It was good for the film, it gave us the opportunity to improvise: this kind of collective work helped me very much in some difficult moments, when I felt alone, when I was thinking about myself like an acrobat who has to walk on a thin line carrying a beam with two big masses. A wrong detail is enough to make your acting dull or academic. I want instead to give reality back to the audience.
In the last years Chilean cinema (from Lelio to Larrain) is living an extraordinary season. What's your secret?
The secret of the new Chilean cinema is simple: obstinacy, persistence, the great work attitude of Chilean people, the fact that we never give up. We have always a few fundings at our disposal and this helps. I know it is a provocation, but it is true that the spirit of art becomes the intimate necessity of telling a story, not the earnings. And with a few means, by the way, everyone gives his or her best – and something more. Moreover, the sons of democracy discovered cinema and this is important, beyond the massive and brutal problems which affect our country's society and economy. In fact, there is a continuous and logical dialogue in our movies, between social and intimate fields: in Gloria it is possible to see that dialogue in the student demonstration and in some speeches. Our country is deeply tied to politics; between Allende and Pinochet we firstly dreamed a revolution without destruction, unique in all the world; then we discovered the real consistence of our right wing, searching for a debate and facing the impossibility to have it, a sense of disappointment which affected not only our country. But we wanted to find a solution using words, and not guns. And I think that this aspect represented our secret as well.
The phone is ringing, it is a director who wants to offer you a role. Who would you like to talk with?
Mike Leigh. And Jim Jarmusch!