Player of the week: From porn actress to candidate for Mayor of Rome.In politics, everything goes, they say, and in democracy we can all participate. Due to this reason, it had to be the one for which adult film actress Milly D’Abbraccio presented herself as a candidate for mayor of Rome's city council. The actress has covered the city with 7,000 posters showing her generous backside, encouraging voters to vote for new faces and saying enough with those ass faces.
Although the poster didn't please the Socialist Party, D’Abbraccio said she paid for it with her own money and now I'm using it. The adult film actress, who will fight - as she recently said - for the creation of a love city in Rome if elected, participated in putting up posters alongside her discoverer, Riccardo Schicchi, one of Italy's most well-known pornographic business entrepreneurs, and two boys.
Although they put up posters in other neighborhoods, the actress said they avoided the Vatican area because we don't want to bother. Franco Grillini has expressed that he doesn't find the idea exciting or scandalous. I wouldn't have done them (the posters), but having them on the streets doesn't seem like a major scandal, he specified to local media.
At least with this, we can see that democracy is being renewed and it's not just new faces anymore, but also pornographic booties.Porn actress wanted to break a record and ended up in the hospital.Attitude and tenacity. German porn star Carolin Berger, aka 'Sexy Cora', set out for the second time to practice oral sex on 200 men to break a world record, but couldn't finish the task.
According to The Sun, the adult film actress had to be rushed to a Hamburg hospital due to symptoms of fatigue and exhaustion. Witnesses report that the 21-year-old arrived at the hospital with respiratory difficulties.
Despite her relative media fame over the past year, the young star of sexual cinema made headlines in 2009 when she attempted to break Kyra Shade's record for oral sex on 100 gentlemen; Shade leads the podium after achieving this feat. On that occasion, the blonde also had to be hospitalized after being with 75 men.
Although the number of men she reached this time is unknown - a figure that would allow comparing her performance to last year's - everything suggests Sexy Cora will go for more.Torrente 4: Humor, 3D and a porn actress.CITY OF Buenos Aires (DeSexus.com). “After several attempts to achieve a life 'dignified' (as if that were possible trapped in his own skin), Torrente decides to accept the dangerous 'assignment' offered by an old acquaintance. This will lead him, without a doubt, to face one of the most critical moments of his career.
In a few words, this is what 'Torrente 4: Lethal Crisis', the new installment of the most box office saga in Spanish cinema, directed and starring Santiago Segura, which premieres in Argentine theaters on April 14th.
The title of the series responds to the name of the main character, José Luis Torrente, a corrupt police officer, franquista and Atlético de Madrid fan. Machista, misógino, racista, addicted to sex with prostitutes and an alcoholic, are some of the adjectives that describe the character according to his biography on Wikipedia.
The fourth episode brings more of this character. Technically, the film incorporates 3D technology, as well as a notable cast, featuring Catalan porn actress María Lapiedra, singer David Bisbal, and media host Belén Esteban.
Video: Torrente 4 - Trailer
About the director and protagonist
Santiago Segura is a Fine Arts graduate from the Complutense University of Madrid. He begins his career in 1989 when he writes, directs, and stars in his first short film: 'Relatos de la Medianoche', followed by 'Evilio' (1992), 'Perturbado' (1993), winner of the Goya Award for Best Short Film Fiction in 1995, and 'Evilio vuelve: El Purificador' (1994), a sequel to the first.
Under the direction of his favorite directors, he has played multiple characters in around 20 feature films: 'Acción Mutante', 'El día de la Bestia', 'Perdita Durango', 'Muertos de Risa' (Álex de la Iglesia), 'Two Much', 'La niña de tus ojos' (Fernando Trueba), 'Todos a la cárcel', 'París–Tombuctú' (Luis G. Berlanga), 'Obra Maestra', 'Bienvenido a casa' (David Trueba), etc.
His experience is also expanded by working in television on series, variety programs, and participating in the dubbing of films.
Although perhaps the productions that have reported him greater popularity have been his own. In 1998 he writes, directs, produces, and stars in 'Torrente, el brazo tonto de la ley', becoming this the most box office film in Spanish cinema until then with €12.020.300 in revenue and 3 million spectators.
In addition, the film obtains two Goya awards in 1999, one of them for best new direction. In the year 2001 he writes, directs, produces, and stars in his second feature film: Torrente 2: Misión en MarbellaT, which again becomes one of the greatest successes of Spanish cinema, with €22.838.500 at the box office and more than 5 million spectators.
After that came works like 'Beyond Re-Animator' (2003), 'El Oro de Moscú' (2003), 'Hellboy' (2004), 'Agent Cody Banks: Destination London' (2004) and his first collaboration with Miguel Ángel Lamata, in 'Una de Zombies' (2003). On September 30, 2005 he returns to the big screen, writing, directing, producing, and starring in 'Torrente 3: El protector'
After that, he coincided again with Lamata in 'Isi-Disi, alto voltaje' (2006) and participated in 'La máquina de Bailar' (2006) and 'Asterix y Obelix en los Juegos Olímpicos' (2008)
Together with José Mota, he starred in the musical 'Los Productores' in Madrid in 2007, a year in which he also directed and presented the late-night program 'La Sexta Sabías'. In addition to the fourth part of Torrente 3D, the local public will be able to see him soon in the new film by Alex de la Iglesia: 'Balada triste de trompeta'.
He'll be presenting 'Torrente 4' at the Independent International Film Festival (Bafici) because there are fans of Torrente in Argentina. He spoke about the details of the movie director and star in an interview with Spanish site ElMulticine.com.
After so much promotion and appearances on TV and radio, does health not influence anything? Are you not tired?
Santiago Segura: Well, yes, I'm quite worn out, as you can see from my appearance. The truth is that I'm really beat up, but since you've had the courtesy of coming, I'll try to be just as energetic as this morning.
Is there much difference between directing in three or two dimensions?
S.S: No, basically, we do a very strong previous work, and it's in preproduction where you really cover all possible problems to shoot the movie normally and not be dependent on 3D. It only slows down the shooting, takes more time. We still had a good pace, and all the required shots were made. That's a fortune, because at first, we thought we'd get caught in a mess. Even changing an objective, which is the most normal thing in the world, and that can be done in 15 minutes, took an hour or an hour and 20, since there are two objectives that have to be perfectly calibrated... Sometimes it's convenient for the cameras to be identical, even if they're consecutive numbers from the factory, so the colorimetry of the camera is exact. Everything you don't do there has to be retouched in postproduction, because otherwise it can cause discomfort, feel uncomfortable watching the movie or even get dizzy, which would already be a drama.
How was the planning of the spectacular scene at the shopping mall?
S.S: Well, it was demencial. Many times we come up with things that are difficult to put into practice. We were very lucky that the shopping mall where we shot understood that we didn't want to destroy it, but make the movie, and they agreed to lend themselves to our commitment to leave everything It was the same as it was. But it was a very complex and difficult shoot. One of the most boring things to film is action, but also one of the most complicated. And on top of that, with 3D, which are two cameras. For those scenes, for example in the explosion of a car, you need to film from several angles and have up to four cameras. In this case, we had eight, and the rental of equipment increased. I remember it as something very exhausting, but it turned out well.
What aspects does Torrente 4 refer to the Spanish crisis?
S.S: It refers a bit to the global crisis. That's why it's called Lethal Crisis, because of globalization... The crisis has affected everyone. We're at risk of losing status, the middle class is low-middle, the upper class is high-middle, so we've taken a step back. Torrente couldn't go down any further, so he had to dig deep. He was already at the bottom and it's hard for him to fall any lower.
Regarding the North American version of Torrente, what requirements should the character have and how do you imagine it?
S.S: Well, the truth is that they simply approached me to make a version of Torrente, and I said yes, of course, as long as I'm remunerated. They told me they would pay me, and they've been working on it for four years. They sent me a script that made me laugh, and then the choice of actor, which is Sacha Baron Cohen, seemed exceptional to me, because I'm a hyperfan of Ali G, Borat, and Bruno. I won't be supervising, I'll give them the rights and let them destroy it... or improve it, that would also be good.
About directing actors, how does a director combine directing actors in the same shoot... absolutely inexperienced in directing veteran actors like Enrique Villén or Tony Leblanc? S.S: They say you shouldn't direct good actors, you should choose them. When you get someone like Enrique Villén, a man like Tony Leblanc or Yon González, it makes your job much easier. I'm aware of the small headache that working with Kiko Rivera might cause, since he's an actor who has never worked on a film before. But you already know it's going to take more time and attention, so you're prepared, it's all about being prepared. People often get stuck with Belén Esteban or Kiko Rivera, but there are many super-efficient comedians I admire, like Yolanda Ramos, who is amazing, or David Muro, Soledad Mallol, working with them is like going with a canoe. Fernando Trueba said that 50% of a good film is a good script and good casting, and I think it's important. With these mediatic and charismatic characters, who interest me because they'll make fun of their public image but don't have any acting experience, it was a bit more laborious, but not too difficult because they're people who are always used to being in front of cameras. The hardest thing is when an actor doesn't give you what you're asking for and takes up too much time, and that time isn't yours. When an actor passes take after take and it's take 17 and still doesn't work out, that's when you want to kill yourself or fire them and call someone else, but that's not always easy on set. Luckily I haven't had many of those problems, and the ones I have had, I've solved with my characteristic ability. Do you have any other upcoming projects? S.S: Well, I'm a bit blank right now, I'm so focused, I'm so dead-set on making Torrente 4 work out that my brain doesn't have space for anything else. Plus I'm also thinking about our premiere in Argentina, it's the first time I'll be premiering a film there, and maybe
Let's go to Chile, Uruguay, I'm happy with that
Physically in Torrente 2 you gained more weight than here.
S.S: Yes, I gained 24 pounds here and 40 pounds there.
About the character, how do you consider Torrente's decline in each of the sequels?
S.S: Well, the character is already created. The bicho is likable, it makes me laugh, and serves as a vehicle for some expression. I like putting him in different situations, and he has already been in Marbella, had an team under his orders. Here I wanted him to return to his beginnings, but even more destroyed if possible.
The satire and parody you make of the tastes of Spanish society, do you do it out of moral obligation as a filmmaker or just for fun?
S.S: Well, I suffer with these things, and I prefer to laugh than cry. I prefer to laugh myself and make others laugh too, because I like making people laugh, because it's a way for people to appreciate me. I notice this with Tony Leblanc, for example. Many years have passed, but as he was an absolute star in the fifties and sixties of television and radio magazines, people still have affection for him. And that's nice.
Is that why your movies are successful?
S.S: No, I do what I like, and I'm very lucky that others like it too. It's a luck. Imagine if I enjoyed making films about an old man talking in a room, then fans of intimate cinema would like them a bit more. I'm a big fan of American blockbusters, and the mix of casticism with that makes me laugh. The truth is that analyzing the secret of my success at this hour of the day makes me dizzy.
What do you base yourself on to choose the prototype of characters?
S.S: It's not a process that follows a strict rule. For example, sometimes I'm writing and think about characters I jot down, other times I think about them before write and other times after. Then comes the bolillo fitting that configures these movies.
Which of the scenes does he consider one of the most dangerous in Torrente 4?
S.S: There is a scene where Torrente gets hung from banners. There was a 'descender', which is a machine handled by specialists, and I told them it should give two tugs. When you're hanging there like a sausage, suddenly you feel helpless. There was a moment when the 'descender' failed, I fell in free fall, and indeed there was a moment when I thought I had broken both legs, my feet were purple... That was one of the most difficult scenes but by cabrona. There were other more difficult ones, but nothing happened. In the explosion scene, for example, although I felt the heat on my nape, it turned out very fluid and we did it in one take.
Do you see a future for 3D or do you think it will be a trend?
S.S: I'm not Rappel (N of the R: a well-known Spanish astrologer), but I think it's like color. It's a 'plus', it gets closer to how we see reality and if it can be made affordable, like Avatar, I think it will stay. In fact, I think if the cost is reduced and normalized, intimate 3D films, social cinema, I think 3D helps any story.
And would you repeat with 3D?
S.S: I'd go to a deserted island right now to take a Caipirinha. But when I'm done with this, yes, I'd make a 3D film. Anyway, I think I've learned quite a bit and it would be easier for me.
You said you're going to premiere in Argentina. Do you think the Torrentiano humor will be understood outside of our country?
S.S: I would never have premiered in Argentina if they hadn't asked for the movie, and they asked because there are Torrente followers in Argentina, that's why I'm premiering. I flip out every year, two years ago when I visited Guillermo (Del Toro) on the set of Hellboy 2, suddenly I realized I have Fans too. Leaving aside local jokes, I think it can be understood anywhere.
But they might not understand the famous people who come out playing characters.
S.S: Yes, but then they laugh at the situations. My cotton test is when I teach Guillermo Del Toro the movie and he doesn't get surprised by the characters that appear.
What scene did you need more takes for?
S.S: Well, since it's three months of filming, you don't have an exact control, but I think Belén Esteban's scenes were shot many times.
More than others that are more complicated or dangerous?
S.S: Exactly those ones try to be shot as little as possible. They prepare so much that when the wheels start rolling, they roll. I remember that in the first Torrente we loaded a bus, and I said: It didn't turn out very well, is there another bus? and they told me No, no.... Of course, I knew there wasn't another bus, but...
Any anecdote from filming?
S.S: The one who makes me laugh the most is my friend Cañita Brava (N of R: a Spanish comedian), because you never know where he's going to come out. I ask Cañita to improvise and start saying some things that, although they might not be good for the movie, are good for the Making Of... He can even write his own script. Cañita's comedy is great. Let's see, Javi Gutiérrez is another comedic genius, but more controlled. Cañita is uncontrolled. The mix is what makes Torrente good. I hate improvisation, but leaving 15-20% to improvisation is interesting because humor needs a little freedom and freshness. You have to leave that margin because if not, everything gets too stiff.A breakout of AIDS paralyzes the US porn industryNeither laws nor the fierce fight against indecency in the United States have been able to put at risk the profitable and prolific adult entertainment industry. However, since two days ago, the world of adult entertainment has been shaken due to the reappearance of its most lethal enemy: AIDS. After detecting two cases among porn actors, most producers have decided to suspend their shoots for at least two months, the time necessary to check if the two affected individuals have been able to infect any fellow cast member. The risk, given the scarce protection among interpreters and the uncontrollable black market, is high. The crisis is real.
The first case, which was made public on Wednesday, was detected on April 12th. Darren James, one of the 6,000 adult film actors who work in California, underwent medical controls every three weeks at the Fundación de Cuidado Médico de la Industria Adulta (AIM), which tests 1,200 interpreters. This organization, founded in 1999 and a leader in sanitary protection for adult film actors, admits that only 17% of them use protection. Adult film actors earn between €150 and €4,000 per day.
James' previous test, conducted in March, had been negative. After a shoot in Brazil, where he practiced sex without a condom, he underwent another test in April and tested positive. James is the first adult film actor to be detected with the virus in the last four years.
The AIM sounded the alarm and urgently recommended the cessation of all productions for two months, a petition that Adult Video News, the main publication of the industry, reiterated. About a dozen companies decided to follow suit, although they are not required to do so by law. Others, such as Wicked Pictures and Vivid Video, initially announced that they would continue filming. Both major adult film producers in the US claimed that their policy requires shooting only scenes with condoms. Additionally, they added that their actors are required to take medical tests one month before starting filming. Yesterday, however, Vivid announced that it was joining the voluntary quarantine. And part of the decision was based on the discovery of the second AIDS case. The AIM, after confirming James' infection, had asked the 14 actors who had worked with him in the last weeks to undergo HIV tests, which are not mandatory by law. Similarly, it recommended them to the other three dozen actors and actresses who, in turn, had sexual contact with those 14. The HIV tests performed showed that Lara Roxx, an 18-year-old girl who filmed scenes with James, was also infected. The list of potential carriers is multiplying, while pessimism prevails in the sector. This will be the worst thing that has ever happened to us, concluded Jim South, owner of a agency with 28 years of experience in the adult industry.
Although the poster didn't please the Socialist Party, D’Abbraccio said she paid for it with her own money and now I'm using it. The adult film actress, who will fight - as she recently said - for the creation of a love city in Rome if elected, participated in putting up posters alongside her discoverer, Riccardo Schicchi, one of Italy's most well-known pornographic business entrepreneurs, and two boys.
Although they put up posters in other neighborhoods, the actress said they avoided the Vatican area because we don't want to bother. Franco Grillini has expressed that he doesn't find the idea exciting or scandalous. I wouldn't have done them (the posters), but having them on the streets doesn't seem like a major scandal, he specified to local media.
At least with this, we can see that democracy is being renewed and it's not just new faces anymore, but also pornographic booties.Porn actress wanted to break a record and ended up in the hospital.Attitude and tenacity. German porn star Carolin Berger, aka 'Sexy Cora', set out for the second time to practice oral sex on 200 men to break a world record, but couldn't finish the task.
According to The Sun, the adult film actress had to be rushed to a Hamburg hospital due to symptoms of fatigue and exhaustion. Witnesses report that the 21-year-old arrived at the hospital with respiratory difficulties.
Despite her relative media fame over the past year, the young star of sexual cinema made headlines in 2009 when she attempted to break Kyra Shade's record for oral sex on 100 gentlemen; Shade leads the podium after achieving this feat. On that occasion, the blonde also had to be hospitalized after being with 75 men.
Although the number of men she reached this time is unknown - a figure that would allow comparing her performance to last year's - everything suggests Sexy Cora will go for more.Torrente 4: Humor, 3D and a porn actress.CITY OF Buenos Aires (DeSexus.com). “After several attempts to achieve a life 'dignified' (as if that were possible trapped in his own skin), Torrente decides to accept the dangerous 'assignment' offered by an old acquaintance. This will lead him, without a doubt, to face one of the most critical moments of his career.
In a few words, this is what 'Torrente 4: Lethal Crisis', the new installment of the most box office saga in Spanish cinema, directed and starring Santiago Segura, which premieres in Argentine theaters on April 14th.
The title of the series responds to the name of the main character, José Luis Torrente, a corrupt police officer, franquista and Atlético de Madrid fan. Machista, misógino, racista, addicted to sex with prostitutes and an alcoholic, are some of the adjectives that describe the character according to his biography on Wikipedia.
The fourth episode brings more of this character. Technically, the film incorporates 3D technology, as well as a notable cast, featuring Catalan porn actress María Lapiedra, singer David Bisbal, and media host Belén Esteban.
Video: Torrente 4 - Trailer
About the director and protagonist
Santiago Segura is a Fine Arts graduate from the Complutense University of Madrid. He begins his career in 1989 when he writes, directs, and stars in his first short film: 'Relatos de la Medianoche', followed by 'Evilio' (1992), 'Perturbado' (1993), winner of the Goya Award for Best Short Film Fiction in 1995, and 'Evilio vuelve: El Purificador' (1994), a sequel to the first.
Under the direction of his favorite directors, he has played multiple characters in around 20 feature films: 'Acción Mutante', 'El día de la Bestia', 'Perdita Durango', 'Muertos de Risa' (Álex de la Iglesia), 'Two Much', 'La niña de tus ojos' (Fernando Trueba), 'Todos a la cárcel', 'París–Tombuctú' (Luis G. Berlanga), 'Obra Maestra', 'Bienvenido a casa' (David Trueba), etc.
His experience is also expanded by working in television on series, variety programs, and participating in the dubbing of films.
Although perhaps the productions that have reported him greater popularity have been his own. In 1998 he writes, directs, produces, and stars in 'Torrente, el brazo tonto de la ley', becoming this the most box office film in Spanish cinema until then with €12.020.300 in revenue and 3 million spectators.
In addition, the film obtains two Goya awards in 1999, one of them for best new direction. In the year 2001 he writes, directs, produces, and stars in his second feature film: Torrente 2: Misión en MarbellaT, which again becomes one of the greatest successes of Spanish cinema, with €22.838.500 at the box office and more than 5 million spectators.
After that came works like 'Beyond Re-Animator' (2003), 'El Oro de Moscú' (2003), 'Hellboy' (2004), 'Agent Cody Banks: Destination London' (2004) and his first collaboration with Miguel Ángel Lamata, in 'Una de Zombies' (2003). On September 30, 2005 he returns to the big screen, writing, directing, producing, and starring in 'Torrente 3: El protector'
After that, he coincided again with Lamata in 'Isi-Disi, alto voltaje' (2006) and participated in 'La máquina de Bailar' (2006) and 'Asterix y Obelix en los Juegos Olímpicos' (2008)
Together with José Mota, he starred in the musical 'Los Productores' in Madrid in 2007, a year in which he also directed and presented the late-night program 'La Sexta Sabías'. In addition to the fourth part of Torrente 3D, the local public will be able to see him soon in the new film by Alex de la Iglesia: 'Balada triste de trompeta'.
He'll be presenting 'Torrente 4' at the Independent International Film Festival (Bafici) because there are fans of Torrente in Argentina. He spoke about the details of the movie director and star in an interview with Spanish site ElMulticine.com.
After so much promotion and appearances on TV and radio, does health not influence anything? Are you not tired?
Santiago Segura: Well, yes, I'm quite worn out, as you can see from my appearance. The truth is that I'm really beat up, but since you've had the courtesy of coming, I'll try to be just as energetic as this morning.
Is there much difference between directing in three or two dimensions?
S.S: No, basically, we do a very strong previous work, and it's in preproduction where you really cover all possible problems to shoot the movie normally and not be dependent on 3D. It only slows down the shooting, takes more time. We still had a good pace, and all the required shots were made. That's a fortune, because at first, we thought we'd get caught in a mess. Even changing an objective, which is the most normal thing in the world, and that can be done in 15 minutes, took an hour or an hour and 20, since there are two objectives that have to be perfectly calibrated... Sometimes it's convenient for the cameras to be identical, even if they're consecutive numbers from the factory, so the colorimetry of the camera is exact. Everything you don't do there has to be retouched in postproduction, because otherwise it can cause discomfort, feel uncomfortable watching the movie or even get dizzy, which would already be a drama.
How was the planning of the spectacular scene at the shopping mall?
S.S: Well, it was demencial. Many times we come up with things that are difficult to put into practice. We were very lucky that the shopping mall where we shot understood that we didn't want to destroy it, but make the movie, and they agreed to lend themselves to our commitment to leave everything It was the same as it was. But it was a very complex and difficult shoot. One of the most boring things to film is action, but also one of the most complicated. And on top of that, with 3D, which are two cameras. For those scenes, for example in the explosion of a car, you need to film from several angles and have up to four cameras. In this case, we had eight, and the rental of equipment increased. I remember it as something very exhausting, but it turned out well.
What aspects does Torrente 4 refer to the Spanish crisis?
S.S: It refers a bit to the global crisis. That's why it's called Lethal Crisis, because of globalization... The crisis has affected everyone. We're at risk of losing status, the middle class is low-middle, the upper class is high-middle, so we've taken a step back. Torrente couldn't go down any further, so he had to dig deep. He was already at the bottom and it's hard for him to fall any lower.
Regarding the North American version of Torrente, what requirements should the character have and how do you imagine it?
S.S: Well, the truth is that they simply approached me to make a version of Torrente, and I said yes, of course, as long as I'm remunerated. They told me they would pay me, and they've been working on it for four years. They sent me a script that made me laugh, and then the choice of actor, which is Sacha Baron Cohen, seemed exceptional to me, because I'm a hyperfan of Ali G, Borat, and Bruno. I won't be supervising, I'll give them the rights and let them destroy it... or improve it, that would also be good.
About directing actors, how does a director combine directing actors in the same shoot... absolutely inexperienced in directing veteran actors like Enrique Villén or Tony Leblanc? S.S: They say you shouldn't direct good actors, you should choose them. When you get someone like Enrique Villén, a man like Tony Leblanc or Yon González, it makes your job much easier. I'm aware of the small headache that working with Kiko Rivera might cause, since he's an actor who has never worked on a film before. But you already know it's going to take more time and attention, so you're prepared, it's all about being prepared. People often get stuck with Belén Esteban or Kiko Rivera, but there are many super-efficient comedians I admire, like Yolanda Ramos, who is amazing, or David Muro, Soledad Mallol, working with them is like going with a canoe. Fernando Trueba said that 50% of a good film is a good script and good casting, and I think it's important. With these mediatic and charismatic characters, who interest me because they'll make fun of their public image but don't have any acting experience, it was a bit more laborious, but not too difficult because they're people who are always used to being in front of cameras. The hardest thing is when an actor doesn't give you what you're asking for and takes up too much time, and that time isn't yours. When an actor passes take after take and it's take 17 and still doesn't work out, that's when you want to kill yourself or fire them and call someone else, but that's not always easy on set. Luckily I haven't had many of those problems, and the ones I have had, I've solved with my characteristic ability. Do you have any other upcoming projects? S.S: Well, I'm a bit blank right now, I'm so focused, I'm so dead-set on making Torrente 4 work out that my brain doesn't have space for anything else. Plus I'm also thinking about our premiere in Argentina, it's the first time I'll be premiering a film there, and maybe
Let's go to Chile, Uruguay, I'm happy with that
Physically in Torrente 2 you gained more weight than here.
S.S: Yes, I gained 24 pounds here and 40 pounds there.
About the character, how do you consider Torrente's decline in each of the sequels?
S.S: Well, the character is already created. The bicho is likable, it makes me laugh, and serves as a vehicle for some expression. I like putting him in different situations, and he has already been in Marbella, had an team under his orders. Here I wanted him to return to his beginnings, but even more destroyed if possible.
The satire and parody you make of the tastes of Spanish society, do you do it out of moral obligation as a filmmaker or just for fun?
S.S: Well, I suffer with these things, and I prefer to laugh than cry. I prefer to laugh myself and make others laugh too, because I like making people laugh, because it's a way for people to appreciate me. I notice this with Tony Leblanc, for example. Many years have passed, but as he was an absolute star in the fifties and sixties of television and radio magazines, people still have affection for him. And that's nice.
Is that why your movies are successful?
S.S: No, I do what I like, and I'm very lucky that others like it too. It's a luck. Imagine if I enjoyed making films about an old man talking in a room, then fans of intimate cinema would like them a bit more. I'm a big fan of American blockbusters, and the mix of casticism with that makes me laugh. The truth is that analyzing the secret of my success at this hour of the day makes me dizzy.
What do you base yourself on to choose the prototype of characters?
S.S: It's not a process that follows a strict rule. For example, sometimes I'm writing and think about characters I jot down, other times I think about them before write and other times after. Then comes the bolillo fitting that configures these movies.
Which of the scenes does he consider one of the most dangerous in Torrente 4?
S.S: There is a scene where Torrente gets hung from banners. There was a 'descender', which is a machine handled by specialists, and I told them it should give two tugs. When you're hanging there like a sausage, suddenly you feel helpless. There was a moment when the 'descender' failed, I fell in free fall, and indeed there was a moment when I thought I had broken both legs, my feet were purple... That was one of the most difficult scenes but by cabrona. There were other more difficult ones, but nothing happened. In the explosion scene, for example, although I felt the heat on my nape, it turned out very fluid and we did it in one take.
Do you see a future for 3D or do you think it will be a trend?
S.S: I'm not Rappel (N of the R: a well-known Spanish astrologer), but I think it's like color. It's a 'plus', it gets closer to how we see reality and if it can be made affordable, like Avatar, I think it will stay. In fact, I think if the cost is reduced and normalized, intimate 3D films, social cinema, I think 3D helps any story.
And would you repeat with 3D?
S.S: I'd go to a deserted island right now to take a Caipirinha. But when I'm done with this, yes, I'd make a 3D film. Anyway, I think I've learned quite a bit and it would be easier for me.
You said you're going to premiere in Argentina. Do you think the Torrentiano humor will be understood outside of our country?
S.S: I would never have premiered in Argentina if they hadn't asked for the movie, and they asked because there are Torrente followers in Argentina, that's why I'm premiering. I flip out every year, two years ago when I visited Guillermo (Del Toro) on the set of Hellboy 2, suddenly I realized I have Fans too. Leaving aside local jokes, I think it can be understood anywhere.
But they might not understand the famous people who come out playing characters.
S.S: Yes, but then they laugh at the situations. My cotton test is when I teach Guillermo Del Toro the movie and he doesn't get surprised by the characters that appear.
What scene did you need more takes for?
S.S: Well, since it's three months of filming, you don't have an exact control, but I think Belén Esteban's scenes were shot many times.
More than others that are more complicated or dangerous?
S.S: Exactly those ones try to be shot as little as possible. They prepare so much that when the wheels start rolling, they roll. I remember that in the first Torrente we loaded a bus, and I said: It didn't turn out very well, is there another bus? and they told me No, no.... Of course, I knew there wasn't another bus, but...
Any anecdote from filming?
S.S: The one who makes me laugh the most is my friend Cañita Brava (N of R: a Spanish comedian), because you never know where he's going to come out. I ask Cañita to improvise and start saying some things that, although they might not be good for the movie, are good for the Making Of... He can even write his own script. Cañita's comedy is great. Let's see, Javi Gutiérrez is another comedic genius, but more controlled. Cañita is uncontrolled. The mix is what makes Torrente good. I hate improvisation, but leaving 15-20% to improvisation is interesting because humor needs a little freedom and freshness. You have to leave that margin because if not, everything gets too stiff.A breakout of AIDS paralyzes the US porn industryNeither laws nor the fierce fight against indecency in the United States have been able to put at risk the profitable and prolific adult entertainment industry. However, since two days ago, the world of adult entertainment has been shaken due to the reappearance of its most lethal enemy: AIDS. After detecting two cases among porn actors, most producers have decided to suspend their shoots for at least two months, the time necessary to check if the two affected individuals have been able to infect any fellow cast member. The risk, given the scarce protection among interpreters and the uncontrollable black market, is high. The crisis is real.
The first case, which was made public on Wednesday, was detected on April 12th. Darren James, one of the 6,000 adult film actors who work in California, underwent medical controls every three weeks at the Fundación de Cuidado Médico de la Industria Adulta (AIM), which tests 1,200 interpreters. This organization, founded in 1999 and a leader in sanitary protection for adult film actors, admits that only 17% of them use protection. Adult film actors earn between €150 and €4,000 per day.
James' previous test, conducted in March, had been negative. After a shoot in Brazil, where he practiced sex without a condom, he underwent another test in April and tested positive. James is the first adult film actor to be detected with the virus in the last four years.
The AIM sounded the alarm and urgently recommended the cessation of all productions for two months, a petition that Adult Video News, the main publication of the industry, reiterated. About a dozen companies decided to follow suit, although they are not required to do so by law. Others, such as Wicked Pictures and Vivid Video, initially announced that they would continue filming. Both major adult film producers in the US claimed that their policy requires shooting only scenes with condoms. Additionally, they added that their actors are required to take medical tests one month before starting filming. Yesterday, however, Vivid announced that it was joining the voluntary quarantine. And part of the decision was based on the discovery of the second AIDS case. The AIM, after confirming James' infection, had asked the 14 actors who had worked with him in the last weeks to undergo HIV tests, which are not mandatory by law. Similarly, it recommended them to the other three dozen actors and actresses who, in turn, had sexual contact with those 14. The HIV tests performed showed that Lara Roxx, an 18-year-old girl who filmed scenes with James, was also infected. The list of potential carriers is multiplying, while pessimism prevails in the sector. This will be the worst thing that has ever happened to us, concluded Jim South, owner of a agency with 28 years of experience in the adult industry.
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