Nacho Fresneda: “There are many barriers to tear down”

How does this come to the film version of A World for Julius?

Working in this profession, having a job, being able to go on a tour without dedicating yourself to other things is tremendously complicated. That’s why I say, just by working, with them remembering you and the phone rings, I already feel very lucky. Thanks to luck, to work, to many things, I have been able to do a lot of film, television and theater with very talented people. I have learned a lot, every time I have a better time and I think that having that open antenna made this project come to me and I crossed the pond to A world for Julius. I have worked in Mexico, Colombia, now in Peru and it is something that fascinates me. It seems to me that it is the magic of language, of cinema. I think we speak very similar languages, not just the language itself. We have a very I don’t know way … I find it very enriching to work with you and it is a line that I would like to always remain open. It has been by chance to be open to projects that contribute to you as an artist, as a human being.

Rossana (Díaz Costa) pointed out that adaptations must be seen as interpretations. What are you looking for in a script?

Rossana has an enormous talent for making movies and talking about movies. I have learned a lot with her, in addition, since her calm presentation, making the team dedicated to the project, it has been a good thing to work with someone of her sensitivity. We the actors are one more chain, we are one more color in the palette so that the story is told. I, in this case, I want to get excited, that I have not done it before, that I find it complicated, difficult, a challenge. And in that script, when I read the novel, I went crazy. I had read it in high school, but rereading it was very nice. It puts you in a place that makes you wonder many things and my character, being so homophobic, so classist, I think he contributed that color to that story so current at the time it was written and unfortunately today.

It seems that it was not written fifty years ago.

I think there are many barriers to break down. Obviously, there is a lot of work to do and I think that we, from our humble position as storytellers, at least we can ask questions and put mirrors. I don’t think we fix anything, a song, a painting, a movie won’t change the world, but it helps us ask ourselves questions and I think that’s also very positive and makes our work worthwhile.

How much do you think the closure hit the industry?

It has hit the industry, society and older people, who couldn’t go to the park, couldn’t play a game with their friends and I think that has done them a lot of damage and they really didn’t deserve it. Older people have caused me a lot of tenderness in this pandemic in this confinement. And then the younger people, the kids who have to leave their home to find their place in the world and suddenly everything was cut off. And in the industry, of course, we have had a bad time like everyone else. Culture has given us that a priori it seems basic that we need to put on Netflix or HBO or Spanish TV or whatever. We needed to have content to tell us stories, We needed to listen to a song, read a book, read a poem and then it turns out that it was basic, but less so for me (smiles). So, well we have also contributed our grain of sand.