Isaac Hernandez tried to accept an invitation to star in a film next to Jessica Chastain

Morelia. The day Al Mexican Baylarin Isaac Hernandez I told her this Jessica Chastain it was a “machine”, I don’t know how to interpret it. “Advertising” was not free, because it was prepared for the main character of the film.”Dreamsopposite Oscar winner for The Eyes of Tammy Faye and nominated for an EU Academy Award for Darkest Night.

The plot of “Closed Belt” is directed by Michelle Franco (New Order and April Hijas) are mentioned below, but tapatio adelanta is a hot topic that is lived every day.

“When Michel sent me the direction for this story, I was very interested in it at first because it is a very complete and very complex story, like all Michel’s films, it requires a lot of characters and a main character along with Jessica Chastain. it’s not something else “The truth is that the theme of the film interested me most. Besides being able to work with them,” Hernandez says.

Lee also: Jessica Chastain is obsessed with Mexico

“Jessica is a miracle, I remember when I was chatting with Michel and the DP said, ‘Jessica is a machine,’ and I didn’t know how to interpret that until I got on set, she’s a person who very clearly , what she is looking for on stage and from her companion, but which also gives you the freedom to propose and compete for the scene, between Broma and Broma there is a solution that keeps the opacity in the creation of the scene, and it was a privilege,” anade.

“Dreams” is the third acting career of Hernandez, winner of the 2018 Benois de la Danse Award, an award given annually by the International Dance Association of Moscow to the best dancer in the world. Previously, I collaborated with the film “Power of the World” directed by Carlos Saura, and then with the series “Alguien tener que morir” by Manolo Caro.

Among these experiences in front of the camera, the representative of the Mexican ballet believes that voice and action have a good connection.

Lee also: Jessica Chastain addresses themes of healing and hope in Michel Franco’s In Memoriam.

“Rhythm and physical communication between characters are important to telling a story effectively, and what I loved about Michel was the freedom we gave him to create the scene in the moment, talk about it, say something to him, to ask him questions and live that moment, we often shoot one way, and two hours later we end up with a different scene, but one that suits the purpose we wanted,” he notes.

“(On the character) There’s a dance reference to it, it’s a complete character, I think the audience is in for a huge surprise and maybe they’re about to distance themselves from Isaac, the dancer and the character. Michel’s cinema is not. It’s easy, but it’s human, practical and doesn’t force you, you just want to tell the story from the point of view we understand about the character, and that’s very valuable,” he points out.

And I admit that at some point I felt like being on a film set might give up a place in the world that I had always refused.

Lee also: Existential crisis inspired Michel Franco

“I thought it was true and came back to dance after the film at one of the innovative productions in San Francisco. We are really pushing the boundaries of collaboration between new technologies, modern dance, classical dance and I am fascinated I love it, I dance a lot and I am where I want to be, I dedicate my best years to projects that I enjoy, I think this project will be very successful, very much for the San Francisco Ballet, as well as for me as an artist, such collaboration takes time and opportunity,” he comments.

Melk