I had Pace and his star, Mia Maestro, was friends for more than a decade. “I can’t believe that I am saying this in an interview,” Maktoma Pace, “but Mia did the last movie” Twilight “together. However, this was a kind of the beginning of our friendship.” Through Maestro, the lead was in the movie Lucio Castro, which won great approval in 2020, “The End of the Century”, which was presented to the director. Now the actors are starring in Castro “after this death”, which was first shown on February 19 as a special ceremony in Berlinaly. The drama is followed by Isabelle (Maestro), a pregnant woman who is intertwined in an affair with a mysterious alternative musician Elliot (Pace), after meeting him while walking in New York State. However, Elliot Beguiling soon becomes far away and disappears without warning. This leaves Isabelle to face disturbing threats from the fans of the mobic Elliott as she tries to reveal the truth behind his disappearance.
What directed you to “after this death”?
I was a great fan of the “end of the century”. I thought Lucio’s work had this kind of spiritual, mysterious and very sensitive quality. So, when he told me that there is a role in his next movie for me, I was very excited and open to see this role. Reading the text program had this component of his previous work and there was a small film that I really appreciate. I really wanted to work in this way.
How do you describe your personality?
Elliot is a brutal thing. I had a really fun time thinking about such a brutal thing. It is irregular and says somewhat says the following in his head or what he believes is a kind of lawsuit at this moment in a way. He is not an honest person, but I also don’t think he is a motivated person.
I think that with Isabelle is provocative. He has a very deceptive emotional intelligence with her, like a demon that entered her life for a while and disrupts everything. Then it has just disappeared. But their relationship is one of those in which you do not get very comprehensive contact with each other, but there is something about the electricity between you that lives.
How was the work with your friend for a long time Mia Maestro?
I love Mia. It has a kind of wild fairy quality. This is one of the things that I love more about and why I am very attracted to it. But I told Lucio early, and I think it is better that Mia and I am not talking a lot about the characters and what our characters do, because I really wanted to try the viewer with her.
There is something when you work with your friends as it sometimes does not work to bring the tone of your relationship to the characters. With this dynamic, I wanted to hold the tone not to hold many conversations in the viewer because there are not many scenes that the characters share.
How was your experience working with Lucio Castro?
I found it very comfortable. He was well prepared. He had a great relationship with Dubai ports, and I think they made the movie look unusually beautiful, and we have often adhered to the text to a large extent. I also spent a great time working with Robert Lombardo, composer, and I did so closely because he wrote all the songs that I sang and taught me. I would like to say that music has directed me towards the character, and the kind of his mysterious hair. I think this met with Lucio’s accurate but direct.
What do you do on the following?
I do not have a big plan about what I want to do then from a large photo lens. But now, I am working to restart “The Running Man” with Edgar Wright, the director I have admired for years. Thus, when I asked me to be part of this movie, I was like, “Certainly! Tell me where to be, and I am there.”
