Backstage Interview: SHORT FILM (ANIMATED)

Backstage Interview: SHORT FILM (ANIMATED)

INTERVIEW WITH: Alberto Mielgo and Leo Sanchez


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          Q.    Here, to your right.  How are you?  I can't believe it.  This

                is wonderful.  Tell me -- I mean, we were all waiting for this.

                Tell me how it felt when you got the award and all that.

          A.    (Alberto Mielgo) Well, the first impression, it was incredible

                because the theatre feels very small and intimate.  So we were

                really feeling, wow, we could see absolutely everybody, and it

                was extremely a lot of pressure because it feels like people

                are very close.  And then when they say the name of the film,

                obviously, it was -- it was crazy.  He kind of, like, took his

                time.  So I was alone without knowing what to do a little bit.

                And I'm going to start saying around, "Sorry, sorry," I didn't

                know what to say until Leo came.

          A.    (Leo Sanchez) I mean, I wish I could swear here because I

                probably could describe it even better, but, yeah, it was

                surreal, man.  It was just ace.  It was, yeah, extremely,

                extremely special, and the time, just the defining of time was

                kind of -- it wasn't really right in a way.

          A.    (Alberto Mielgo) It was strange, yeah, 100 percent.  I mean, of

                the awards, you always dream with this.  And then when it's

                real and it happens, it is -- it's absolutely absurd.



          Q.    You mentioned in your speech that you are hoping that this

                opens up a little bit the world of animation throughout.

          A.    (Alberto Mielgo)  Yeah.


          Q.    We are talking a lot about that as we -- can you talk a little

                bit more of that concept?  And, you know, how do you feel

                about -- how can you impose that when brands like Disney and

                other big companies are like --

          A.    (Alberto Mielgo)   Yeah.  I mean, I don't want to impose it.

                Disney is not for me, I suppose.  We had a number of

                conversations.  And very much sometimes, these big networks

                that they are doing very good what they do.  Nobody is better

                at Disney doing Disney.  I don't see a little bit of our

                relationship there because right now I'm not open to do that.

                I want to do animation for adult.  I want to do real cinema.

                And I -- obviously, I don't want to stop what all the other

                companies are doing because, A, it's beautiful.  I've been a

                kid myself, and I enjoy animation a lot.  And, also, it's very

                successful and it still is successful.

                But recently, especially since we release LOVE, DEATH & ROBOTS,

                we open a wide range of possibilities with this art of

                animation, so it is happening.  The Academy nominated these

                five films; four of them, they are adult cinema, four of them,

                which is major.  And I think that there is way much more things

                to come.  Conversations that I'm having now, they were not

                happening three years ago.  So it's kind of like a golden time

                for animation 100 percent, and this is obviously going to --

                sorry -- this is going to help a lot.


          Q.    I continue what I ask, I want to know, like, if you can explain

                a little bit to a person who doesn't understand this industry

                in Spain, which opportunities, like, is going to bring you,

                like, in terms of doing a feature film like that?

          A.    (Alberto Mielgo)  Yeah.


          Q.    And then yes, you know, if you are going to, like, bring that

                to Spain or leave it here?  What are you going to do?

          A.    (Alberto Mielgo)   Let me ask that first.  I don't know yet.  I

                have actually a number of awards, and that's always a problem

                because they come in a box, they are big, and it's kind of,

                like, I don't know where to have them; either in L.A. or in

                Spain.  The Oscar is, obviously, like, key for a lot of things,

                and it says out loud that what you are doing is going in the

                right direction.  As I say, it's been happening for the last

                years, especially since we kind of, like, did something way

                extreme with LOVE, DEATH, & ROBOTS that people is paying way

                more attention with adult animation.  And just to put an

                example, five years ago, perhaps when I was pitching my

                projects, they were, like, no, you are crazy, dude.  We cannot

                have a drunk character here or we cannot have drugs or insults

                or sex or nudity.  While now, they are extremely open.  They

                want to see animation.  They want to see this graphic world

                that we can do.  They want to see interesting stories, and we

                can target audiences.  So there is money for that, which is

                great, and five years ago it was not a chance at all.


          Q.    Can you guys talk a little bit about the content of the movie

                in terms of, like, it's about, like, the meaning of love,

                but -- well, what's the story point?  And it's interesting

                because it's very, very wide initial terms, in terms of, like,

                geography, right?  There is, like, in different countries.  And

                so do you have that idea?  And then how do you expand it and to

                show these, like, make different, like, aspects of, like, what

                love be?

          A.    (Alberto Mielgo)  Yeah.  Well, I wanted to talk about love

                today, and love back in the time was very useful to create the

                strong families, the strong clans.  By the time your kids are

                nine -- what happened?  Sorry.  So I continue, right?

                So by the time that your kids are nine, you toss them into,

                like, okay, start working in the fields and, you know, make

                like, strong family so you can actually be powerful.

                Nowadays, we are way more centralized, and we focus way more in

                ourselves.  But in the time, the relationships, they were very

                much based on faith and family, a lot of pressure, commitment.

                I don't know if back in the time people were happier.  I don't

                know if we are happier now.  So I wanted to talk about what is

                love now in this generation compared to what was love back in

                the time.  And I wanted to do it -- answering to your

                question -- internationally because I think that it speaks to a

                lot of countries, and it speaks to a lot of different people

                that they live this very same society that we are living now.



          Q.    Hi.  I would like to ask a question because since we -- all the

                languages are acceptable.  (In Spanish.)

          A.    (Alberto Mielgo) In Spanish.



          Q.    Hello.  It's Stephanie from ShortsTV.

          A.    Bueno.  Thank you.


          Q.    This project took a few years to -- I feel like the voice of

                God right now.  This project took quite a few years to put

                together.  Please tell us what you both learned from making

                this for so many years, and thank God you did, but what did you

                both learn as filmmakers during this adventure?

          A.    (Alberto Mielgo)  We learned that animation is obviously

                extremely difficult, tough, and expensive.  We learned that

                being independent is not a reason to not do things.  We arrived

                here, and we basically self-finance and put a lot of effort,

                and then we learned that obviously the teams are big, and you

                need to deal with people.  The question is very difficult.  We

                learned a lot of things.  We learned a lot from our mistakes,

                but also we learned from our goals.  There are a lot of things

                that we did right that we will definitely repeat it.

          A.    (Leo Sanchez )  Yeah, and I think for me -- excuse me -- is

                just, like, I'll say that before, but taking Alberto's vision

                and his style, and I think that was, to me, one of the, you

                know, like very joyful moments, you know, when we had, like,

                the first images coming through, you know.  I'm thinking that

                this is -- this is looking the right way, and, you know, we

                could make a difference, and I thought that was pretty good.

          A.    (Alberto Mielgo) Yeah.



          Q.    Gentlemen, congratulations on the win.  Me, again.  Hey.  I

                think your short is really a work of art.  I just wanted to ask

                if you had any opinions or reaction to the Golden Hour Awards

                to the -- your category being awarded preshow?

          A.    (Alberto Mielgo)  Preshow.  We were surprisingly happy.  I

                mean, look, let's be fair.  At first we were all extremely, you

                know, it was, like, an indignation, but then one day after the

                award kind of came up, and it felt a little bit frivolous to

                protest a little bit because things are really tough over

                there, but then I think that they handle it well.  I understand

                that extra minutes count.  It was very nice to see the whole

                theatre full.  We didn't know if this was, like, an empty

                theatre experience, but it was really nice to see it full.  And

                then, well, they did a little bit of an edit of our words, and

                I mean, I understand how it happened.  I hope that this is the

                last year that they do that.  I hope that the Academy decides

                rather than the TV network.  I think that it's nice that the

                show can be perfectly 30 minutes longer.  Why not?  A lot of

                people like that, and I don't think it's going to take longer

                than that.  So I really hope for the love and the sake of all

                the categories that are here, that they don't do that because

                it's not how it looks, it's not about your star moment.  It's

                how you make it look outside.  A lot of the press, they got

                confused as well.  Nobody knew if it would be on TV or not.  A

                lot of my friends, they are not even watching this because they

                thought they were out, and so it created a little bit of harm

                on that since that it was not nice.  Thank you.

Acceptance speech transcripts for the 94th Academy Awards are created by a team of transcribers in real time and with minimal editing, for the benefit of the press on the night. They may contain omissions and errors, especially in the spelling of names. Clips of winner acceptance speeches may be found on

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