THE WARMTH OF COLOR

I also want to welcome to my filmography the director of photography Javier Aguirresarobe, to whom I didn't have to explain the warmth of color, because on reading the script he felt the story with the same light as I did. Especially in locations like the clinic, which cinema has portrayed so many times and where I wanted to avoid convention. No coldness, no bluish tones, I told Javier. This clinic is a place where the characters spend most of their time, they live there, it's like their home. I didn't want the spectator to be faced with an atmosphere of pain or illness. What I wanted to show was the everyday life of some people who live in that place. We painted the walls a sienna-mustard color and the corridors grayish-green, with a kind of orange padded strip about three feet above the floor. That was my idea. Curiously, there's a hospital in Bullit which has the same colors.

Strindberg's biography says that Kafka refers to him in this way: "I don't read him to read him, but to cling to his breast".

For me "Talk To Her" is (pardon the sentimentality) the embrace I'd like to give to all the spectators, sinking against the breast of each one of them as Lydia sinks against Marco's back, at the party. And embraces must be warm, and the light that illuminates them must also be warm.