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As obedience to his mother and self-interest, Juan left to live with his brother in Valencia. He signed up in a school of scenic arts and watched over Ignacio, so her mother could be at ease. It was the beginning of the Spanish democracy and Ignacio led a very peaceful life in Valencia, dedicated to writing, to changing his body for that of an actual woman, and to ease on heroin the tension produced by his lifestyle. And then Mr Berenguer showed up, Ignacio’s Literature teacher at school. After leaving behind the orders, he now lived in Valencia and worked in a publishing house. The presence of F. Manolo blasts the existence of the two brothers.

Q- After thirteen years (Tie me up!) you work again with cinematographer Jose Luis Alcaine.
A- I wish I had never called! Jose Luis has done a marvellous job, and I didn’t have to tell him much of what I had in mind. Music and photography are abstract elements, difficult to explain. I arrive at the set with thousands of references, and the cinematographer’s task is to read, guess, smell the atmosphere that suits the story best. Or the atmospheres, because in “La mala educación” there is more than one film, and they all live within the same narration but with different aesthetic situations. Alcaine has found his inspiration in every single day of this hot shooting. As a professional he’s better than ever, and I think we both have grown up individually. It’s been a perfect marriage.

Q- And Gaultier?
A- I asked him to dress Zahara, especially the onstage dress -a masterpiece of cut and conception. Is a flesh-colored dress, tight-fit to the neck as a second skin, which gives the impression of absolute nakedness. Butt, breasts and pubis are made of paillettes of different tones and rosé and brown beads. The dress represents fake and naked femininity in itself. He also gave his personal touch to the Ignacio’s adult raincoats and shorts. Jean Paul is a big kid, and that’s why he’ll never make a vulgar dress. Working with him is very funny, I love him.

Q- This is the fifth occasion you work with Alberto Iglesias.
A- Alberto Iglesias is the only wonderful artist I know without ego issues. For this occasion, Alberto has prepared a powerful and original sound column on which the film lies, like a baby embraced in her mothers arms.

Q- Judging by the answers you give to your own questions, one has the impression you’re satisfied with this new film.
A- I’m never satisfied, but... let’s say I’m pretty happy.

Q-Any projects?
A- Getting back some sleep and waist.