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Q- Are you happy with the results?
A- Yes, a lot. I hope people don’t let themselves be carried away by such a hateful character. To finish with, I want to mention Alberto Ferreiro, Petra Martinez, Paco Maestre and the kids, they have all become fantastic discoveries. I’ve won the lottery with Raul Garcia and Nacho Perez; one never knows what may happen with a kid, so just imagine with two. I have no experience working with children, so I’ve worked with Nacho and Raul just as if they were adults. I’m very proud of the result in that aspect (the relation of the two kids with God and F. Manolo), probably because it seemed the most difficult and delicate part before making the film. I appreciate the help of Joserra Cadiñanos, casting director. Throughout the shooting he’s always been there to help me explain the kids what they needed to do and why. Joserra has been my best middleman.

Q- Is the structure of “La mala educación” as complicated as the structure of “Talk to her”?
A- It’s more, I think. As in “Talk...”, in “La mala educación” there is a film within the film, but it lasts for one hour in this case (which makes it more difficult). Actually, the film tells three stories, three concentric triangles that end up in one single story...

Q- The story of a film director-writer looking for a story...
A- And finding it. As Truman Capote said, quoting Saint Theresa, “the worst thing about prayers is having them answered”.

Q- Why use so many narrators?
A- The use of a narrator helps to explain everything that’s not seen and accelerates the story. It has definitely helped me in the transition from one story to the other, from one time to another, and in the end it has sort of become a narration choir of different characters that communicate directly with the spectator.