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00:00You
00:18Esta serie assiduina spera de del momento 1 la casa de papel es la historia de un fracaso
00:24because it's a failure.
00:31Okay, cool. Well, guys, we'll see each other in other projects.
00:35And suddenly...
00:39Oh, look, how cool, he bought it on Netflix.
00:44Suddenly, he's seen around there, even more than in Spain.
00:50And that's when a terrible thing starts to happen.
00:54And you realize that it's a tsunami, what's coming.
00:58Anyway, in the team, we didn't take credit.
01:01We realized that people had a connection with the series,
01:04that it went beyond entertainment.
01:06The impact that you have seen that this generates in the whole world
01:09and the expectations that there are about the series right now,
01:12it puts you to the test, it puts you to the test.
01:14I think we didn't realize it until we had the opportunity to go out.
01:18Your life changes completely.
01:20Your reality changes.
01:23So there are changes.
01:25We have to go back, we have to go back to the beast.
01:28Let them find out what we can do, right?
01:30And we took out all the artillery.
01:33And that's how it was.
01:53Our story begins in 2017,
01:55in a Spanish television network in Abierto.
01:58Antena 3.
01:59It's coming out on TV.
02:00We started well, with four and a half million viewers.
02:04Good.
02:05But...
02:06The first season was very good, especially the beginning of the series,
02:10but the second season was deflating little by little, right?
02:13It was blurring, it went down to half.
02:17There were fewer and fewer audiences.
02:19And then it was falling apart.
02:20Falling...
02:21And suddenly he dies.
02:22And it ends, and it closes.
02:25And we closed the series in our brains.
02:28I cried a lot the last day.
02:30I feel like I killed him.
02:32It was hard.
02:33I had a real process of grief.
02:37I cried a lot about my character, because I liked saying goodbye to him.
02:41Well, guys, we've made it this far.
02:43Yes, it was...
02:45Yes, it was pretty crazy.
02:47And it was very hard.
02:49And then, Netflix arrives,
02:51and buys the seasons already broadcast in Spain for the whole planet.
02:56Netflix puts it in the international catalog.
02:59Great.
03:00Netflix leaves, but it leaves well.
03:03I don't think neither Netflix nor we expected anything.
03:07In fact, the series was released without advertising.
03:09It just appears in the catalog.
03:12But suddenly, something happens.
03:14I didn't have almost any followers.
03:16And suddenly, 15,000, 30,000, 50,000, 60,000.
03:20Suddenly, half a million followers, 600,000, 700,000.
03:23From a lot of countries.
03:24I watched one hour, two hours, another 2,000.
03:27We all started to gain followers,
03:29and that's what gave us the clue,
03:30like, shit, shit, something's going on here, right?
03:32Exactly.
03:33And then, the next day,
03:34the next day,
03:35the next day,
03:36the next day,
03:37the next day,
03:38the next day,
03:39the next day,
03:40the next day.
03:41Exactly.
03:42Specifically, an explosion.
03:51Giant flags in Saudi Arabia.
03:53I couldn't believe it.
03:54In Brazil.
03:55In Mexico.
03:56In Colombia.
03:57People from all around the world.
04:00We start getting photos of the Rio de Janeiro carnival.
04:03Everyone dressed up.
04:04There's a madman tattooed himself to Ursula.
04:07Where?
04:08And a tattoo was made on his entire leg,
04:09What are you saying? What are you saying?
04:11I mean, what is this?
04:13I'm so excited!
04:15We reached number two in the main ranking
04:19competing with all the series in history.
04:23Oh my God, not even the Americans!
04:26And the big bosses of Netflix
04:28start talking about us in their meetings.
04:39Stephen King, Benzema and Mbappé put on their masks.
04:43Neymar also put on his mask.
04:45He loved it so much that he ended up putting on a monk's mask.
04:48It's a heavenly thing.
04:50I'm a fan.
04:52After this...
04:53A little suspense.
04:54Can something else happen?
04:57Yes!
04:58They give us an Emmy.
05:01And a strange honor.
05:02We started to inspire thugs.
05:05With red overalls,
05:06the famous Dalí's mask,
05:08and armed.
05:09A few of them.
05:10He played a millionaire.
05:12One of the characters of the series, Mbappé's house,
05:15has been copied with similar masks.
05:19But the most exciting starts to happen in the streets.
05:24The red monkeys and the mask parade through America,
05:27Europe or Asia.
05:29They are used in protests for social rights in Lebanon,
05:32Iraq,
05:33France
05:34or Chile.
05:35Along with the Renaissance Bella Ciao,
05:37they travel the world for causes like democracy,
05:40feminism
05:41or the environment.
05:58But when an NGO rescues
06:01a boat full of immigrants
06:03and when they are safe,
06:05they start singing Bella Ciao.
06:11That's more important than anything else.
06:13Much more.
06:14Then Netflix asks us,
06:16Guys, can you perpetrate another robbery?
06:19What?
06:20Wow, wait a second.
06:22And now it took us two months
06:25to answer because we were looking for something
06:28that
06:29had the greatest possible guarantee
06:31of not defrauding the public
06:33and of not generating a disappointment effect
06:35in all those people.
06:36We have to call the gang.
06:39I said, I can't believe it.
06:40But how cool.
06:41We are the resistance, right?
06:43But when we returned to the set,
06:44we felt for the first time
06:46what had changed our lives.
06:48Fame was this.
06:52When we got to the Duomo square,
06:54which was the first conversation,
06:55the square was already full of people.
06:57We are seeing all of this.
06:59But what is this?
07:01We are going to have to shoot here.
07:08They surrounded us as if it were a football stadium.
07:11They kept a wonderful burial silence.
07:17I say to myself,
07:19Concentration.
07:21Zero visual contact until you finish.
07:27And when we were finishing the sequence,
07:29Álvaro said,
07:31Álvaro, let's say hello to the people.
07:33Hey, let's say hello to the people for a moment, okay?
07:38And he took three or four steps
07:40and as we were getting to this group of people,
07:43suddenly, those, those and those...
07:46And I was like...
07:54And so we couldn't finish the sequence.
07:57We had to suspend the shooting.
07:59A drama.
08:00We ended up taking refuge in a building.
08:02But there was no way to continue.
08:04Not in this shot, not in this shot.
08:06I leave the window...
08:07I mean, everything full of people.
08:09There are 4,000 people right now in the square.
08:12Jesus, we laughed, but...
08:14But what a scene, what a scene.
08:16We can't cry.
08:17It's still funny to us.
08:19This is going to be very tragic.
08:22And it started.
08:23It was hard to get to the car.
08:25People started running after us.
08:31They were the Beatles.
08:33And in the next location,
08:35where there should be peace...
08:37I need a little repair.
08:39The biggest thing was waiting for us.
08:41Pedro Chao, Pedro Chao, Pedro Chao, Chao, Chao!
08:45Cut!
08:46Well, in the sequence,
08:47I think there's a moment when we go in,
08:49we save, it works well,
08:51and Álvaro tells me,
08:53Pedro, it would be cool to say thank you to these people.
08:57I say, Álvaro, no.
08:58Look what happened in the duo.
09:00We could die.
09:01I'm kidding.
09:03And we came up with getting on a bench.
09:05Thank you.
09:10And I don't know who jumped the fence.
09:23We started to see people running
09:25as if there was no tomorrow.
09:27We just want to thank you,
09:29all of you, for being here.
09:31Thank you so much.
09:35Thank you!
09:36Thank you!
09:37Thank you!
09:41Suddenly, my face is all over the planet.
09:44This is crazy, okay?
09:46This is a very disturbing thing,
09:48because now you no longer have anonymity.
09:50It's a barbaric thing.
09:52Each one of us is going to have an invoice.
09:56Painted cars,
09:57going with bodyguards when you travel abroad...
10:01Suddenly, it has taken on a very large dimension.
10:04Very large, very large.
10:05All the people in the world who follow you
10:07are telling you,
10:08you're the best.
10:09You're the best.
10:10You're the best.
10:11You're the best.
10:12And then you get home,
10:13and people say,
10:14I'm the best.
10:15From being someone completely anonymous
10:17to suddenly having to ask, please,
10:19to let me enter the VIP room,
10:21because it was a continuum of people
10:23asking me for pictures, asking me for pictures,
10:25asking me for pictures, right?
10:26And if you don't do a powerful internal job,
10:28suddenly you become an asshole.
10:31But really an asshole.
10:35So much popularity has been translated into data.
10:38Today, La Casa de Papel is already the production of Netflix,
10:42including movies, including in English.
10:46More history in France.
10:50Italy.
10:53Argentina, Chile.
10:54You owe me your fucking life!
10:56Brazil or Portugal.
10:57Don't you understand that you owe me this,
10:59that you owe me your fucking skin?
11:00It also rages in North Africa,
11:02in the Middle East, or in Turkey.
11:05And in general,
11:06it's among the most watched in all the countries of the world.
11:10We are facing a planetary phenomenon.
11:13The most beautiful thing is that it arises from the viewer himself.
11:16But this is in another dimension.
11:18That it arises spontaneously.
11:21I think there is something like an attack of love.
11:24We realized that people had a relationship with the series
11:28that went beyond entertainment.
11:30It was almost a philosophical relationship.
11:32It's a bit overwhelming, isn't it?
11:34It's hard to believe, but it is.
11:37That has helped us to reaffirm ourselves and say,
11:39we were not crazy, we were doing something cool.
11:42Because this madness begins in chapter 1 of the first season.
11:46It was a national series,
11:48but our eyes were on the world.
11:52I remember before that there was less money,
11:54but there was also that energy.
11:56From the beginning, we had in mind
11:59to make an international series.
12:02And we gave it our all.
12:03People were all crazy.
12:13My intention from a long time ago was,
12:15we are in the moment to do it.
12:17We are going to hit a...
12:19It was very ambitious.
12:21Although, of course, in some things,
12:23the arrival of Netflix has changed our lives.
12:26Before, when we had to go to the Philippines, we did it.
12:29But by computer, that sea did not exist.
12:32In fact, we hadn't even left Madrid.
12:37Now, if we want a private island, we have it.
12:43We are going to do a global show.
12:45If we want a Thai Buddhist temple, we have it.
12:48With an elephant and everything.
12:51We are going to do a super series.
12:52We want a military helicopter.
12:54Let it go down a fucking time.
12:56We have it.
12:57To death.
12:58And if we want a rain of money to collapse the center of Madrid,
13:01we also do it.
13:04It seems that all this is good, right?
13:06Well, no.
13:07The day we cut the center of Madrid,
13:10we discovered that the big shots can be transformed...
13:13More tickets!
13:14...into big hells.
13:16More, more tickets!
13:18Tickets!
13:22The fan is failing.
13:24What the fuck is going on?
13:27It has been blocked by that fan, man.
13:29Not only the tickets fall on one side,
13:31but also the wind.
13:32There is wind and I can't control it.
13:34And the fan doesn't work well.
13:35It was a desperation.
13:37Imagine Jesus, the director, who was already crazy out there.
13:42You can see that no.
13:43I mean, you can't believe it.
13:44With the cut, the tickets have gotten under us.
13:47You know this is not going to go well, right?
13:51For each shot that doesn't come out,
13:52you have to pick up and repeat.
13:56Pick up and repeat.
14:00And then someone has a great idea.
14:03Suck the tickets.
14:05But wait a minute.
14:07Is it as great as it seems?
14:09I don't understand the tickets.
14:11This has a turbine that grinds.
14:13I mean, I said suck and pile up, not suck.
14:18God.
14:19Three million euros made with Feti.
14:22Thank goodness they were fake.
14:26In the end, we take the trick from the fan.
14:29The tickets fly.
14:31Not even God could stop them.
14:36Well, he can.
14:38He can.
14:41We didn't even know where to get in.
14:43We had, I don't know, hundreds of extras there.
14:46This is a special figure, huh?
14:48And the desperation is already beginning to be complicated.
14:54It has started to rain and our money has become wet paper.
14:58There is no one to make it fly.
15:01And there is another problem.
15:03Okay, you have to dry the floor.
15:05To work.
15:06So we set up some tents like umbrellas.
15:09What we used to collect the tickets,
15:12now it's a dryer that blows them away.
15:16A dehumidifier.
15:18And those who used to be a director of photography and art
15:22are transformed into pavement rubbers.
15:26Well, let's see, it's an effective method.
15:29It's a bit rough, but it's effective.
15:31A lot of delivery that didn't help much.
15:35In the end, the floor came out wet.
15:38I see the blue sky.
15:40And suddenly...
15:43the sun comes out.
15:45No, it's not good.
15:47Everything is terrible.
15:48Cut, cut!
15:49When you have shot everything with clouds that suddenly look like summer...
15:53We are against the sky.
15:55It's a radiant day in March.
15:57It's a problem.
15:58They just put the...
15:59At least the sun is not on camera.
16:01In the end, the tensions flare up.
16:04Yes, yes, yes, yes.
16:06Look for a method, too.
16:09It doesn't have to be shooting at home.
16:12Some kind of something.
16:14This comes dragged.
16:15I mark the camera height, I change the camera height.
16:17And with the bad pressure...
16:19Am I a director of photography or what the fuck am I?
16:21Well, you know.
16:22Why am I a director of photography?
16:24And there are days...
16:26I don't know, I don't think it works.
16:28...when it doesn't.
16:29It doesn't.
16:30We are screwing that shot.
16:31Screwing this one.
16:32Hey, there's a girl there with a yellow sleeve.
16:34Yellow is forbidden, man.
16:37This doesn't happen.
16:38Nor in Narcos.
16:39Nor in 13 Reasons.
16:40Nor in Trigger Things.
16:42You're going to eat the brown one anyway.
16:45Come on, calm down.
16:46Nothing can get worse.
16:48Or can it?
16:50They've put me in the fucking joke.
16:55No.
16:56The giant screens should be in green
16:58to be able to add the teacher's image later.
17:00Your decision has not been requested.
17:02It has to be green.
17:03Everything green.
17:04And if everything isn't green,
17:05it has to be green today.
17:06But with so much interruption,
17:08the agreed time has passed
17:10and we're getting ads.
17:12Of course, there's...
17:14absolute desperation.
17:16They can't launch the green one for whatever reason.
17:17I don't know.
17:18I don't care, man.
17:19So, I don't know if you want to wait five minutes.
17:23They're not going to give us anything.
17:24They're not going to give us anything.
17:25They're not going to give us anything.
17:26At least 40 minutes.
17:27Green.
17:29Bravo, we did it.
17:31Suddenly, suffering.
17:35Congratulations.
17:36Magnificent work.
17:37Thank you all very much.
17:39But in the end,
17:40that day, millions of euros rained down on Madrid.
17:47Yes, this is a series with a lot of money.
17:50Yes, this is a series with a lot of money.
17:53984 million euros.
17:55Shots.
17:58Great songs.
18:03And tons of gold.
18:05But no, you don't love us for that.
18:08The big question is,
18:09why do you love us then?
18:11Why has La Casa de Papel
18:13triumphed so much?
18:15People have fallen in love with the characters.
18:17You haven't fallen in love, have you?
18:19With the kindness of each one,
18:20with the evilness of each one.
18:21What is their past?
18:22The stupidity of others.
18:24Why are you here?
18:25When they make mistakes or screw up.
18:27I'm sorry.
18:29And that's what makes the viewer feel.
18:32Any viewer can think.
18:34I am like Denver.
18:36I can be the teacher.
18:38You're going to get in the wolf's mouth.
18:39Each one has their own quality
18:40and with each one you can empathize more.
18:42You don't connect with a spectacular robbery
18:44nor with the intelligence of the teacher,
18:46though you admire them.
18:48You connect with this man who's afraid.
18:50Even if all of this goes well, I'm going to be fucked.
18:55When you get hooked and become addicted to a show,
18:58you become addicted to the characters.
18:59Especially when you do a marathon,
19:01you turn it off and think,
19:02I know these people, they're here in the living room with me.
19:05So if the characters are more powerful,
19:07emotionally richer,
19:09the viewer is more hooked.
19:12And how do you get there? First clue.
19:16We're the Germans.
19:17We're the Latins.
19:19Here, there's passion.
19:25The heart is what sets the show apart.
19:30For a long time, there was an unwritten rule
19:34in which action movies were vague and superficial.
19:39And intimate movies, or emotional ones, were boring.
19:43So we mixed those two concepts.
19:48I love you!
19:50That's why our story of robberies is full of romanticism.
19:58This is a love story.
20:00A love story of those beauties.
20:02And in that we're obsessive, no matter what,
20:05we want passion no matter what.
20:09Like in this kiss.
20:10It's a pain, isn't it?
20:12Because it was hard to get.
20:15Maybe the director's look,
20:17a pat on his lips, didn't help.
20:21You want us to kiss?
20:25They try again.
20:29But it still doesn't work.
20:31The kiss, for example, was a kiss...
20:35Always with the crown.
20:37Always with the scene, like a mother's kiss.
20:39When it has to be a huge kiss.
20:42The last kiss in the world.
20:44Okay, okay.
20:45You know what I mean?
20:47And they try again.
20:52But nothing.
20:53It's hard, because on the one hand, I'm trying to be like...
20:58Like the...
21:01The mother.
21:02You have to stay in the heroism.
21:05Okay.
21:06But it's the farewell.
21:08But in the end, passion, if you put love and effort into it...
21:12Stop recording, please.
21:13...it comes.
21:22Cut!
21:23There's another important bet in this series,
21:26that the viewer doesn't relax.
21:28Where's the fucking fun, dammit?
21:31Anything can happen here.
21:33We try to be...
21:35Unpredictable.
21:39We try to do it unexpectedly,
21:41and that comes from the moment we conceive of them,
21:44the characters.
21:45We look for profiles that haven't been seen.
21:48For example, our leader.
21:50Mr. Professor!
21:51Very smart. Yes.
21:53What a brilliant man.
21:55The boss of a criminal gang. Yes.
21:57But deep down, he's a dickhead.
22:00THE BOSS OF A CRIMINAL GANG
22:02THE BOSS OF A CRIMINAL GANG
22:04THE BOSS OF A CRIMINAL GANG
22:06And it's that character that makes him not talk
22:08like the thieves we already know.
22:10It surprises us.
22:11What's he wearing?
22:12Our professor, who's the leader of the gang,
22:15we modelled him to make him look like a nerd.
22:18He wants to be apart from society.
22:20He's a sociopath in many ways,
22:22a shy man with problems to deal with some women.
22:26I've had relationships.
22:28Several.
22:30Making the arc of those characters, turning it around,
22:32is very stimulating for the audience,
22:34because it's really surprising.
22:36Someone so normal...
22:37Well, let's see if at least I'm useful for something.
22:40...that has been able to generate something so great.
22:43We must be able to maintain control.
22:47And the more difficult it is to build
22:49that this character can do that, the more stimulating it is.
22:52THE BOSS OF A CRIMINAL GANG
22:54THE BOSS OF A CRIMINAL GANG
22:56There's a character that condenses all our ability
22:59to be unexpected.
23:01I feel like telling him everything.
23:04Tokyo is able to make any situation jump out of the window.
23:08It's our Sputnik, gas for any script.
23:12I can be a formal girl for a long time,
23:15but little by little,
23:17the deposit of the naughty girl is filling up.
23:20It combines common places with unexpected twists.
23:22And I think that's a formula
23:24that works very well nowadays.
23:27Oh, Tokyo, Tokyo!
23:30So mature for some things and so immature for others.
23:33She's a very impulsive person, so...
23:35Didn't you want to go to the open grave with me?
23:37She tries to control herself,
23:39but she's above her nature.
23:44I'm surprised she sent me to the open grave.
23:46And something they don't know about Tokyo.
23:48My name is Tokyo. She was the first city.
23:50When this story started, my name wasn't like that.
23:52Why is her name Tokyo? She was going to tell her.
23:56She doesn't know.
23:57I was very surprised
24:00when I saw that my character was named Tokyo.
24:03I remember that at that moment,
24:04Álex Pina was wearing a Tokyo shirt.
24:07It looked like Lomas.
24:08It's a piece of name.
24:10Tokyo has to be the protagonist.
24:12And that's how I ended up calling myself Tokyo.
24:14In 15 minutes, we said Berlin, Moscow, Denver.
24:17Denver was super fast.
24:19Tokyo, Berlin, Moscow, Denver.
24:20Denver, Moscow, what is it? Why are we calling it like that?
24:23I think my friends with city names are the worst.
24:26We're emotional.
24:30And that's where we get to the next key.
24:32In this series, there's empathy.
24:36So much so that we've even loved the bad guy.
24:40How the hell did the producer send you this?
24:42Because of my sensitivity to people.
24:44Berlin was the character with the most hostility,
24:47but he also had a mystery at the beginning of the first season.
24:50Who is this man?
24:51A special man.
24:52If I have a coffee right now, I go crazy.
24:55Most of the time, he's despicable.
24:57Dance.
24:59But he's admirable in other ways.
25:01I've spent my life being a bit of a son of a bitch,
25:03but today, I think I want to die with dignity.
25:07It's amazing how a character with so much priority
25:09in many aspects is loved.
25:12In the polls, he's always among the top three.
25:16I'd tell people to envy him.
25:21Because he's not the character
25:24you'd want your daughter to marry.
25:27Bastard! Bastard!
25:29Son of a bitch!
25:31It's like putting a mirror in society.
25:34Seriously, the person you love the most in the house of cards
25:36is this guy.
25:38Let's see those balls.
25:40The dominant sense he has of his leadership
25:46generates rejection,
25:49but it gives us a certain level of security.
25:52You and I are the resistance.
25:54You see, white television is boring.
25:57Because less things happen, basically.
25:59And the viewer wants things to happen.
26:01And there's nothing better than a villain
26:03who also generates feelings of empathy.
26:06For a moment, I thought it would be great to feel
26:11how my friend feels.
26:12But these characters are risky.
26:15And in the case of Berlin,
26:16he had problems even before the premiere.
26:20I'm scared.
26:22Someone told me,
26:23this character is out of our time.
26:26You should take him out of the series.
26:29Because he's despicable.
26:30And I told them not to take him out of the series.
26:33What the fuck is going on in your head?
26:34He was a misogynist, a narcissist, a psychopath in many ways,
26:37but we could have a character like that in the series
26:41and the audience, with their freedom,
26:42could decide what they wanted to do and where they wanted to be.
26:46The next feature of this series,
26:48there's nothing, no one, sacred.
26:51Any character is on the loose.
26:57Chiquipum, chiquipum, chiquipum, chiquipum.
26:59Gentlemen, you have to live to the end.
27:06But that's what it is.
27:08Nairobi, what we wanted Nairobi.
27:11Thank you. Thank you.
27:14I've never had a boss like you, Miss Nairobi.
27:22Today is my last day.
27:24I'm strong.
27:31For me, it's the last day of an era.
27:42Well, yes.
27:49They say that when you're going to die,
27:51life will pass you by.
27:53Well, it's a bit the same, but with the character.
28:12I like to think that there's something about Nairobi
28:15that wants her son to have a life
28:17with more possibilities than what she could have given him,
28:21and a calmer life.
28:22Our partner, Álvaro Rodríguez.
28:33With some people in the team, it's been many years.
28:37I want to thank you for everything I've learned with you.
28:43I grew up here as an actress,
28:46as I never thought I would.
28:49And as a person, too.
28:54And you're a fucking awesome team.
28:58Fucking awesome.
28:59I hope I get to shoot 16,000 times more with you.
29:04And now, Cuba!
29:06Congratulations!
29:23It's over, and I have nothing left.
29:26It's a super sad feeling.
29:29It's over, and I have nothing left.
29:32It's a super liberating feeling.
29:37Because, well, I need to rest.
29:43And we come to another fundamental feature.
29:47Black humor.
29:50Okay.
29:51One, two, three, four.
29:54Yes.
29:56You can laugh at a hostage being shot with a gun.
30:00Arturo.
30:01Arturo what?
30:02Arturo Roman.
30:03Arturo Roman, very good.
30:04Arturito.
30:05He represents the meekness that we all have inside.
30:11I'm going to kill you, son of a bitch.
30:12He's so deplorable, you want to adopt him.
30:16He can't be any more pitiful.
30:18He recognizes, perhaps, the low passions of the viewer in Arturo,
30:22and that's what makes him unbearable.
30:24But he's really the most human.
30:27And our shame, when they show it to us, gives us a lot of anger.
30:31And shame.
30:33Arturo has a few.
30:36He's walking with Helsinki.
30:42They put the cameras together and hear a woman moaning.
30:46Is she your wife?
30:49And the other one, no, no.
30:50My wife, no.
30:51Mónica, don't make a scene, she must be one of your partners.
30:54And then she comes in and she's there.
31:02What the fuck are you doing here, man?
31:06Everything he does is very crazy, very adventurous, very surprising, so it's fun.
31:10I'm the sack of...
31:12of...
31:13of milks.
31:14A person, morally miserable,
31:16if he's socially clumsy, you take care of him.
31:19He's execrable, but you love to hate him.
31:21You know,
31:23man takes care of man.
31:26Now that we have confidence, we're going to tell you a secret.
31:30Let's see, everyone pay attention.
31:32We're obsessed with truth.
31:37Now!
31:38That's why many of the problems our thieves face
31:42are the ones we would encounter if we attacked the Bank of Spain.
31:46The camera is armed.
31:47Starting with the real gold camera,
31:50just like in the series, it floods in case of robbery.
31:53In a lot of information, it is said that there is a system...
31:5745 kilometers of reinforced pipe underground.
32:00...that has to do with the sewage of two streams
32:03that would flood the camera in case of an attack.
32:06It's a great engineering work, it's a prodigy.
32:09So to get the gold...
32:11But we're not going to open that door.
32:13...we had to come up with something...
32:14Everything!
32:15...that really worked.
32:17An interconnection camera.
32:21That's why we called a naval engineer to help us design it.
32:25He gave us a class and we recorded it on video.
32:28Better than taking notes.
32:29Something like that.
32:31Bring us dinner, please.
32:33But once the ingots were taken out...
32:35Colorful butter!
32:36...it's time to melt them.
32:40We could, because in the melt...
32:43Come on, I'm going to show you the beauty we've built.
32:45There are real ovens.
32:49They are identical to this one,
32:51although with a little more glamour.
32:53Cinema stuff.
32:54It's the workshop of the Christian Light Jewelry
32:57of Jerez de los Caballeros, Extremadura, Spain.
33:01This internal recording of the documentation service of the series
33:05served the team to learn to melt gold in the traditional way.
33:09But can I record? And he said, yes, yes.
33:11Come on, no problem.
33:12If I had to make a homemade machine like this, what would I need?
33:17They explained the whole process to us.
33:19Pour the solid material, take out the liquid and pour it.
33:23Of course, we don't use real gold, but brass.
33:26A little cheaper.
33:28How wonderful!
33:29And then we started asking them weird questions.
33:32If you were robbing the Bank of Spain
33:35and you had to turn the gold into nuggets, how would you do it?
33:39Of course, the team has to fit in a military truck.
33:42You start pouring, you put the water under pressure.
33:50And he tells me, this is how it would be done without machines.
33:52And we do it all like bubbles, huh?
33:55And he takes it out, and indeed, when we removed the water,
33:58brass nuggets came out.
34:00Nuggets!
34:01Like gold nuggets.
34:02Like grains of rice.
34:03You record all that and send it to the script team.
34:05We already have it, we already know how to do this.
34:08You caught the good governor.
34:10In the filming, those who manage the foundation
34:13are also professionals, no matter what happens.
34:16Manuel Manceras, father.
34:17Yes, I am Manuel Manceras, son.
34:19And here they are, turned into extras,
34:23learning the trade of the thief.
34:25We wouldn't mind too much,
34:28seeing the panorama, but not at the moment.
34:31Confirm, doctor.
34:33Another obsession with realism.
34:35In this sequence, they sew a real dot on Arturo.
34:40They shoot him, right? Arturito in the series.
34:44And then a surgeon comes, huh?
34:47A surgeon comes so that we don't put an actor to do it.
34:51And now you sew.
34:53Who, me?
34:54He put a real dot.
34:58Calm down, calm down, calm down.
34:59We were all, I think I'm going to throw up,
35:02freaking out.
35:03We couldn't believe it.
35:08Because, of course, they clean the make-up and everything.
35:11And this?
35:12He put a dot on it.
35:13Son of a bitch.
35:15But we haven't told you yet
35:17one of the most important ingredients of this success.
35:21Our symbols.
35:24The paper house has an anthem, a shield and color.
35:29Red is a color that is associated with nervousness,
35:33with passions.
35:34It puts you in a state of alertness
35:36when combined with the idea of 100 people locked up in an environment,
35:40like a pressure cooker.
35:41And for that pressure cooker to work,
35:44we need two teams to work together.
35:47Photography and art.
35:49There is a work of art in this series that is spectacular.
35:53Because it's made with mime.
35:56We are very clear that everything is going to be very dark,
35:59very tertiary colors,
36:01so that our character, both his skin and what is the monkey,
36:04our color, our symbol, stands out.
36:07Let's go with the red, let's go with the red.
36:09And that, in the end, gives you your own and personal iconography,
36:14which I think is the great value of the paper house.
36:16And that iconography is linked to an anthem.
36:19You know what our anthem sounds like, right?
36:22We know that as soon as we do
36:27La mattina
36:31Bella ciao, bella ciao
36:33People are already with you.
36:35Bella ciao, ciao, ciao
36:37This morning I got up
36:39And I discovered the invader
36:42I saw you and I thought it was going to be us
36:45Oh, bella ciao, bella ciao, bella ciao, ciao, ciao
36:48This song, which encouraged the Italian antifascist resistance
36:52in the Second World War,
36:54has resounded all over the world 75 years later.
36:58And that's what it took us to find it.
37:00We were totally stuck.
37:02We didn't know how to start.
37:03I did something I usually do,
37:05which is to put bella ciao,
37:07because it cheers me up.
37:09And I started listening to the song and I said,
37:11this is the song.
37:12I got there and I told all my colleagues,
37:14this is the song, right?
37:15We have to start with bella ciao, this moment.
37:18It was brutal, because the series was about resistance
37:22and suddenly it was the resistance of the Italian partisans.
37:25It's the first touch with the land, with freedom.
37:28Land!
37:30On the way out,
37:32the song of the partisan will be playing,
37:34because we are partisans.
37:35Let's go!
37:36Here we are, comrades!
37:38It has an ethno touch, it has an epic touch.
37:41The notes, the tempo, the lyrics.
37:44It has that patriotic ethno thing, right?
37:48I will bury you.
37:51And then they start singing it, Berlín and the Professor.
38:00In that sequence, the song overshadows the series
38:02and you start to love bella ciao.
38:08I don't remember a sequence in which we had more silence,
38:11in the set.
38:12It acquires a mythological dimension when you understand
38:15that for the characters it is emotional territory,
38:17sacred territory.
38:19It's that...
38:20Freedom!
38:23Almost mystical, the recording of that sequence.
38:28All that iconography of the La Casa de Papel
38:30has been one of the reasons, if not the most important,
38:33of the international success.
38:35If you do it in street clothes,
38:37without masks and without bella ciao,
38:39I am convinced that it does not have the same impact,
38:41but I am convinced that you disguise yourself.
38:44Those three elements have created a new universe of symbology.
38:49Iconographic image.
38:50That people are taking and using in a pop way.
38:53I think people need symbols.
38:55It is also very easy to recreate, to repeat,
38:57and on top of that, everyone can adapt it to their needs.
39:00That is, in many places they are disguised for a reason,
39:02in other places they are disguised for another reason,
39:04but this kind of struggle against the system
39:06that I think people like is always behind, right?
39:09What does all this mean?
39:10What does all this mean?
39:11It means that it is something universal,
39:14that it is an icon,
39:15that each person can take the red monkey
39:18and the mask of Dalí and the bella ciao
39:20for their own struggle.
39:21We are going to be the heroes of all these people.
39:25Do you know what else is needed to make this series?
39:29Complicate our lives.
39:31At La Casa de Papel, actors, directors, writers,
39:35technicians and producers live to the limit.
39:40Let's start with the actors.
39:43Do you see that boat?
39:44We have just entered international waters.
39:46We told them that it was in the North Atlantic,
39:48that it was cold,
39:49and that the band was running away, right?
39:52Well, that was a lie.
39:54That boat was a torture for the cast.
39:57We were in Thailand, with sun,
39:59and more than 40 degrees,
40:01with a very high humidity.
40:04The teacher almost fainted.
40:06He almost fainted.
40:08They cover him because he can't sweat,
40:11or it will be noticeable in the sequence.
40:16Although looking at his shirt,
40:18it's a little late for that.
40:21It was very hot.
40:22Hot?
40:23We wanted to die.
40:26Hot.
40:27The team was all in tights,
40:30and we were wearing sweaters and coats.
40:32With a sweater, scarf, woolen hats.
40:34I don't know,
40:35it was 44 degrees there,
40:37with all the sun.
40:40Darko Peric plays the tough Helsinki,
40:43but here,
40:45between the coat,
40:47the sun,
40:48and the boat's rumbling,
40:50it's close to the lipo.
40:54Some ended up rehearsing without a shirt,
40:56and slightly, let's say,
40:58opposed.
41:00I told them, guys, really,
41:01we couldn't have shot this in January in Valencia,
41:03but it's Valencia.
41:05He looked like a crab, man.
41:06I mean, red, sweating,
41:09half dead, with a tachycardia.
41:11It was very hard that day.
41:13And the script, what?
41:14It also lives up to the limit.
41:16Well, yes.
41:17While most of the series of this size
41:19are written in whole,
41:20and then rolled up,
41:22in La Casa de Papel,
41:23we wrote glued to the shoot.
41:27And that makes a lot of people nervous.
41:30Nobody knows how it's going to end,
41:32even the screenwriters, maybe.
41:34You know when you have no idea
41:36what you're doing,
41:37and you say, well, I mean...
41:38We try to be very close,
41:39with the minimum time,
41:41because a lot of things happen
41:43watching the series in post-production.
41:46You don't know where they go with the script.
41:48We believe that you have to be
41:50a bit like an Indian with his ear in the road,
41:53and intuit where the train is coming from.
41:55So, the closer the train is,
41:58the more information you have.
41:59Because suddenly you see a bus and you say...
42:02You see something wonderful,
42:03and that allows you...
42:04And I was scared.
42:05...to change the boat,
42:07which you can't do if you have everything recorded.
42:10Sometimes it's hard to understand this,
42:12because we live with a lot of stress.
42:14I was scared, saying, I don't know,
42:15I mean, what are we doing?
42:17But it's much better for the series, isn't it?
42:19Well, the truth is, yes.
42:21And how is it written so close to the shoot?
42:24Well, on the go.
42:25Here's an example.
42:27The pig sequence.
42:31Any volunteers?
42:32Of course.
42:33I think I like the sequence here.
42:35I think I'd take it with me.
42:39And if Marcia says...
42:41I don't...
42:42I can't.
42:44I don't know.
42:45You're an animalist, you know?
42:47People are one thing, animals are another,
42:49and I love animals.
42:52And then you say,
42:53you're a hitman,
42:54and you're a hitman.
42:57Excuse me, but you're a soldier.
42:58You kill people.
42:59What's the problem?
43:00I have principles.
43:01Yes, yes, yes.
43:02I have principles.
43:03I have my principles.
43:05I'm against the suffering of animals.
43:09I can believe what I want,
43:10or what you're going to say.
43:11I can believe what I want,
43:13or what you're going to say,
43:14what I believe.
43:15I've been at war.
43:16I'm a better animal than that.
43:18I had a dog here.
43:19A dog.
43:20I was at war.
43:21With a dog.
43:23Here, by my side.
43:24These people scream a lot in Bogotá.
43:26That's Bogotá,
43:27that's what they say.
43:28The criminal of Bogotá.
43:32The animalist killer.
43:34I don't open a pig.
43:37And the script,
43:38at the last minute,
43:39reaches the actors,
43:40who meet with the director
43:42of the episode
43:43to rehearse before the shoot.
43:45Open the fucking pig,
43:46because you're a fucking hitman.
43:49Open the fucking pig,
43:50because you're a hitman.
43:52Get away.
43:54And he,
43:55he puts a knife here.
43:56You push me again,
43:57and the tissue
43:58I'm going to open
43:59is yours.
44:01You push me again,
44:02and the tissue
44:03I'm going to open
44:04is yours.
44:06Then, in the set,
44:07the movements are incorporated.
44:09Open the fucking pig,
44:10because you're a fucking hitman.
44:12He's withdrawing,
44:13and you're almost like
44:14grabbing him.
44:15Oh, okay.
44:16So you don't leave
44:17and you get close.
44:18And again.
44:19I don't open a pig.
44:20But you're a fucking hitman.
44:22Open the fucking pig,
44:23because you're a fucking hitman.
44:25Like this, right?
44:27Up, down.
44:28Some sequences are written
44:30so close to the shoot
44:32that there's no time
44:33to get together
44:34to explain the actions.
44:38But for that,
44:39there's the phone.
44:40I'm Nairobi,
44:41and this is the bandit's hand.
44:42So this is like this.
44:43He takes it like this.
44:48He knocks on the door
44:49so she knows
44:50where to mark.
44:53Pass, pass, pass, pass, pass.
44:54He shoots there.
44:57He makes a circle
44:58that doesn't end up falling.
45:02He shoots him in the ass.
45:08Through that hole.
45:10He puts the bandit's head in.
45:11Nairobi's.
45:19Then it's hand, hand,
45:20he holds it with buttons and ropes.
45:22And it's completely sewn.
45:32Cut.
45:33We cut.
45:37But if somewhere
45:38you suffer to live to the limit,
45:41it's the moment of truth.
45:45The shoot.
45:47We wanted this sequence
45:48at sunset,
45:50and we only had
45:51one day left in Thailand.
45:53That's messing it up, right?
45:55It's never been so messy.
45:57We had a shot,
45:58and we had to get it right.
46:02Silence, please.
46:04Total concentration.
46:06Nothing can go wrong.
46:09And action.
46:12But we started off badly.
46:14Let's start again.
46:17Come on, guys,
46:18we have to go very fast.
46:19There are 20 minutes of sun.
46:22Second try.
46:25But now the noise
46:26of an engine is heard.
46:27Cut, cut.
46:31The sun is setting.
46:32Come on, focus.
46:34The director looks at him constantly.
46:36Very nervous.
46:38And action.
46:40Got it.
46:42But we still have
46:43the final travelling,
46:45so we take the material
46:46flying.
46:49There's no room left.
46:50The sun has already set.
46:52Come on, come on, come on.
46:54Silence.
46:56It has to come out
46:57at the first take.
46:59And action.
47:03And when it's practically
47:04nightfall...
47:07Cut.
47:08We've got it.
47:10We're fucking back.
47:12Fucking back.
47:14Now we just have to
47:15check the result
47:16on the monitor.
47:21And breathe.
47:22Relaxed.
47:26It's always on the edge.
47:28Please, don't film this.
47:31It's always on the edge.
47:32When you're on the edge,
47:33it's when interesting things come out.
47:35And it's like throwing the triple there.
47:37He throws it over the bell and...
47:39Boom!
47:40And you've got it.
47:41And wow!
47:42The energy boost
47:44it has is brutal.
47:46And that's why I roll.
47:47Really.
47:53Rolling to the limit
47:54gives us great things
47:55when it doesn't go well.
47:57Because other times,
47:59how could I tell you?
48:02We're going to have
48:03one of our most regrettable days.
48:07Welcome to Pinewood Studios
48:10in the UK.
48:11This is awesome, man.
48:13Here they have
48:14the best water tank
48:15for underwater filming.
48:17This pool is cool.
48:18This pool.
48:19What could go wrong?
48:21Nothing's going to go wrong.
48:22That's crazy.
48:23That's crazy.
48:24That's been a learning experience
48:27that goes beyond everything
48:28based on fucking.
48:30I had a great time.
48:33Step one.
48:34We bring all the decorations
48:35from Madrid.
48:36And we mount it on the water.
48:39There.
48:40Because to simulate
48:41how the camera is flooded,
48:44it's best to sink it.
48:47Instead of pushing the water
48:48inwards...
48:507,500 litres per minute.
48:52What we did was
48:54submerge
48:56the entire set
48:57in a pool.
48:58So the effect
48:59with a broken camera
49:01is that the camera
49:02is submerged
49:03in a pool.
49:04The effect
49:05with a broken camera
49:06from the inside
49:07is that the water
49:09emerges from the bottom
49:11and starts to rise up.
49:18And that's when
49:19the drama hits you.
49:22It turns out
49:23that the fish
49:25take off
49:26and float.
49:28But everything can be learned.
49:30You have to drill
49:31and screw
49:32and that involves
49:33everyone.
49:35Everyone.
49:36Also the photo director.
49:38Didn't you want a global show?
49:40We're going to do
49:41a global show.
49:43To death.
49:44A global show
49:45all the time.
49:47Well, there you have it.
49:49The photo
49:50doesn't control it much
49:51but putting screws
49:53and drilling
49:54is fucking awesome.
49:56You have to drill
49:57and screw
49:58and that involves
49:59everyone.
50:00But when we finish
50:01we discover this.
50:04Oxide comes out
50:05of the shelves.
50:07We're trying
50:08different liquids
50:09to get rid of
50:10the oxide.
50:11We're using
50:12phosphoric acid
50:14but when you use
50:15phosphoric acid
50:17white stains
50:18start to come out.
50:20Now we're learning
50:21how to get rid
50:22of the white stains.
50:23I'm going to throw
50:24the bottom of the lake
50:25to see if I can save it.
50:26Is it my thing
50:27or is there
50:28tension in the atmosphere?
50:30And you should say it
50:31because what's coming
50:32now is even worse.
50:35The slings
50:38are compressed.
50:40We made the
50:42foam slings
50:44to make them lighter.
50:45There's a weight problem
50:46to get up and down
50:47the set.
50:48With the water pressure
50:50our slings are made of gold.
50:52What happened?
50:53The pressure again.
50:54They had never been
50:55two and a half meters
50:56deep before.
51:01We didn't want to die
51:02because it wasn't gold,
51:03it was slings.
51:04And we've been
51:05executing it for months.
51:07Things that happen.
51:10Everything that happened
51:11was like drama
51:12over drama
51:13over drama.
51:16Probably the most
51:17tense moment,
51:18the most pressure,
51:19the most responsibility
51:21we all had
51:23because things
51:24weren't going
51:25so well
51:26under the water.
51:27There were problems.
51:29But despite everything
51:32we shot.
51:36Down Alba, Jovic and Jaime
51:37taking the gold.
51:39Upstairs
51:40the directors give them
51:41directions
51:42through an underwater speaker.
51:52However...
51:53Here in Spain
51:54I didn't see it.
51:55I thought it was crazy.
51:56Then you said
51:57look there.
51:58Damn.
51:59Look there.
52:00Damn, look at that.
52:01The sling is bent.
52:02Damn, it's true.
52:06We had to digitally
52:07retouch each sling
52:09in each shot
52:10one after the other.
52:12Basically,
52:13we painted
52:14almost all the slings
52:15one by one.
52:16We had to fix
52:17more than a thousand slings.
52:18I mean,
52:19crazy shots.
52:21But in the end
52:22the result is beautiful
52:23and it pays off.
52:24Now,
52:25I think the digital effects
52:26have remembered
52:27us.
52:28Let's say
52:29we left
52:30many hours of sleep
52:31in that process.
52:36It was a birth,
52:37as they say,
52:38but I think
52:39the material is spectacular.
52:42Those images
52:43are what make
52:44a difference.
52:45It's a kind of
52:46summary
52:47of how we make
52:48La Casa de Papel.
52:49I think it's a very
52:50important bet
52:51because they could have
52:52avoided it,
52:53they could have
52:54done it differently
52:55and that's it.
52:57La Casa de Papel
52:58lives from
52:59putting difficult things
53:00on us,
53:01on the screenwriters,
53:02and of course
53:03on the directors,
53:04who often have to
53:05shoot things to the limit.
53:06You always have to
53:07be on the edge
53:08of the abyss.
53:09Now!
53:12You always have to
53:13be terrified.
53:14Cut!
53:15I get up every morning
53:16to shoot
53:17and I get up
53:18terrified
53:19every morning,
53:20always.
53:23Each shot
53:24is everything
53:25for us
53:26at the moment
53:27we're shooting it
53:28so that the viewer
53:29can have fun.
53:30We've got it!
53:31We've got it!
53:32We've finished
53:33with no cuts,
53:34no cuts.
53:38Now you know us
53:39a little more.
53:42These are us,
53:45a strange group
53:46of hunters
53:48who are living
53:49the greatest adventure
53:50of their lives
53:51thanks to you.
53:53Thank you.
53:54Thank you.
53:55Thank you.
53:57People stop me
53:58on the street.
53:59Supporting this series,
54:00sending so many
54:01beautiful things.
54:02Tokyo,
54:03La Casa de Papel,
54:04La Casa de Papel.
54:05To thank me
54:06for how happy
54:07they've been
54:08at home
54:09watching the series.
54:10It's quite impressive.
54:11We've played a lot,
54:12to the maximum
54:13and to the limit
54:14in all the genres
54:15we know how to play
54:16and I think
54:17you can see that
54:18in the series.
54:19It's very exciting
54:20because you can
54:21take your job
54:22and turn it
54:23into something of yours.
54:24Super exciting.
54:25It shows that
54:26the stories are infinite
54:27and that people
54:28really want you
54:29to tell them.
54:31It's given me a lot,
54:32a lot.
54:34It's given me
54:36another career,
54:37another life.
54:39That's what I'm most grateful for.
54:41It's been a gift.
54:44I swear,
54:45my hair stand on end.
54:46A gift.
54:47A gift
54:48that gives you life.
54:51It's been like a gift to me.
54:53It's a gift.
54:55I take it as
54:56wow.
54:58A privilege,
54:59really.
55:01I'll keep that
55:02in my heart
55:03forever.
55:21We're going to light one
55:22to see how long
55:23it can hold.
55:24Okay?
55:29It's not going!
55:31It's broken!
55:39My grandfather
55:41died making the boat
55:43and he made the best
55:44change in the series.
55:45Guys, let's have dinner
55:46before we leave.
55:47No, but I also think
55:48that I'm leaving
55:49for the holidays.
55:51Cristina,
55:52Jesus,
55:53Laia.
55:55Sorry, Titi.
56:09What do you want?
56:12Valentina!
56:14I'm the beach!
56:15Look!
56:19Valentina!
56:20Valentina!
56:21Valentina!
56:22Valentina!
56:23Valentina!
56:24Valentina!
56:25Valentina!
56:26Valentina!
56:27Valentina!
56:28Valentina!
56:29Valentina!
56:30Valentina!
56:31Valentina!
56:32Valentina!
56:33Valentina!
56:34Valentina!
56:35Valentina!
56:36Valentina!
56:37Valentina!
56:38Valentina!
56:39Valentina!
56:40Valentina!
56:41Valentina!
56:42Valentina!
56:43Valentina!
56:44Valentina!
56:45Valentina!
56:46Valentina!
56:47Valentina!
56:48Valentina!
56:49Valentina!
56:50Valentina!
56:51Valentina!
56:52Valentina!
56:53Valentina!
56:54Valentina!
56:55Valentina!
56:56Valentina!
56:57Valentina!
56:58Valentina!
56:59Valentina!
57:00Valentina!
57:01Valentina!
57:02Valentina!
57:03Valentina!
57:04Valentina!
57:05Valentina!
57:06Valentina!
57:07Valentina!
57:08Valentina!
57:09Valentina!
57:10Valentina!
57:11Valentina!
57:12Valentina!
57:13Valentina!
57:14Valentina!
57:15Valentina!
57:16Valentina!
57:17Valentina!
57:18Valentina!
57:19Valentina!
57:20Valentina!
57:21Valentina!
57:22Valentina!
57:23Valentina!
57:24Valentina!
57:25Valentina!
57:26Valentina!
57:27Valentina!
57:28Valentina!
57:29Valentina!
57:30Valentina!
57:31Valentina!
57:32Valentina!
57:33Valentina!
57:34Valentina!
57:35Valentina!
57:36Valentina!
57:37Valentina!
57:38Valentina!
57:39Valentina!
57:40Valentina!
57:41Valentina!
57:42Valentina!
57:43Valentina!
57:44Valentina!
57:45Valentina!