{"id":6079,"date":"2014-10-08T09:05:47","date_gmt":"2014-10-08T09:05:47","guid":{"rendered":"https:\/\/www.revistarambla.com\/acero-de-artista\/"},"modified":"2019-09-30T18:40:09","modified_gmt":"2019-09-30T16:40:09","slug":"acero-de-artista","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/acero-de-artista\/","title":{"rendered":"Acero de artista"},"content":{"rendered":"

\t\"alt\"Obrero<\/span> metal\u00fargico<\/span>, cantautor<\/span> y cineasta<\/span>, Luis Vil<\/span> pone m\u00fasica<\/span> a los poemas<\/span> de Leopoldo<\/span> Mar\u00eda<\/span> Panero<\/span>.<\/p>\n

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\t\"alt\"Los cl\u00e1sicos<\/span> de la teor\u00eda<\/span> marxista<\/span> aspiraban<\/span> a la creaci\u00f3n<\/span> de una<\/span> sociedad<\/span> donde<\/span> no existiera<\/span> la distinci\u00f3n<\/span> entre<\/span> trabajadores<\/span> manuales<\/span> e intelectuales<\/span>, a fin de que<\/span> cada<\/span> individuo<\/span> desarrollara<\/span> un mayor n\u00famero<\/span> de potencialidades<\/span> productivas<\/span> y creativas<\/span>; solo as\u00ed<\/span>, pensaban<\/span>, desaparecer\u00edan<\/span> las<\/span> diferencias<\/span> de estatus<\/span> entre<\/span> unas<\/span> actividades<\/span> y otras<\/span>, y la cultura<\/span> se difundir\u00eda<\/span> por<\/span> igual<\/span> entre<\/span> todos<\/span> los miembros<\/span> del colectivo<\/span> social. Ya<\/span> inmersos<\/span> en el siglo<\/span> XXI<\/span>, esa<\/span> utop\u00eda<\/span> parece<\/span> a\u00fan<\/span> muy<\/span> lejana<\/span>, tal<\/span> vez<\/span> inalcanzable<\/span>, pero<\/span> ejemplos<\/span> hay de que<\/span> el trabajo<\/span> fabril<\/span> y la creatividad<\/span> pueden<\/span> convivir<\/span> –seguramente<\/span> con sus<\/span> conflictos–<\/span> en el seno<\/span> del mismo<\/span> individuo<\/span>. Es<\/span> el caso<\/span> de Luis Vil<\/span>,<\/strong> obrero<\/span> metal\u00fargico<\/span> en una<\/span> acer\u00eda<\/span> de Laudio<\/span> (\u00c1lava<\/span>), adem\u00e1s<\/span> de cantautor<\/span>, cineasta<\/span>, fot\u00f3grafo<\/span> y escritor<\/span> (como<\/span> guionista<\/span> y letrista<\/span>). El pr\u00f3ximo<\/span> s\u00e1bado<\/span>, 11 de octubre<\/span>, Luis Vil<\/span> y su<\/span> banda<\/span>, La Mala<\/span> Crianza<\/span>, homenajean<\/span> a Leopoldo<\/span> Mar\u00eda<\/span> Panero<\/span> en el teatro<\/span> Campos El\u00edseos<\/span> de Bilbao.<\/p>\n

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\tNacido<\/span> en Barakaldo<\/span> en 1970, Luis Vil<\/span> tiene<\/span> su<\/span> residencia<\/span> y guarida<\/span> creativa<\/span> en Izoria<\/span>, peque\u00f1a<\/span> localidad<\/span> del valle<\/span> de Aiala<\/span> (Araba<\/span>), cerca<\/span> de la factor\u00eda<\/span> donde<\/span> vende<\/span> su<\/span> fuerza<\/span> de trabajo<\/span>.<\/p>\n

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\tPregunta<\/span>: Cultivas<\/span> la m\u00fasica<\/span>, el cine, la fotograf\u00eda<\/span>. Tambi\u00e9n<\/span> escribes<\/span>, en tanto<\/span> que<\/span> letrista<\/span> y guionista<\/span>. Y trabajas<\/span> en turnos<\/span>, en una<\/span> fundici\u00f3n<\/span> metal\u00fargica<\/span>, lo cual<\/span> desconcierta<\/span> los ritmos<\/span> vitales<\/span>. Vamos<\/span>, que<\/span> no te<\/span> detienes<\/span> ni<\/span> para<\/span> comer.<\/strong><\/p>\n

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\tLuis Vil<\/span><\/strong>: Es<\/span> que<\/span> mi ritmo<\/span> vital creo<\/span> que<\/span> radica<\/span> en todas<\/span> esas<\/span> cosas<\/span>. Vital en el sentido<\/span> de que<\/span> toda<\/span> mi expresi\u00f3n<\/span> art\u00edstica<\/span> parte<\/span> de una<\/span> necesidad<\/span>, como<\/span> ese<\/span> comer del que<\/span> hablas<\/span>. Supongo<\/span> que<\/span> mientras<\/span> el cuerpo<\/span> aguante<\/span> y la mente<\/span> se encuentre<\/span> con el suficiente<\/span> juicio<\/span> para<\/span> seguir<\/span> creando<\/span>, continuar\u00e9<\/span> con ese<\/span> “ritmo<\/span> vital”.<\/p>\n

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\tTus<\/span> or\u00edgenes<\/span> est\u00e1n<\/span> en el rock. Pero<\/span> no te<\/span> veo<\/span> muy<\/span> emparentado<\/span> con ese<\/span> estilo<\/span> radical que<\/span> beb\u00eda<\/span> tanto<\/span> del\u00a0punk<\/em>\u00a0como<\/span> del\u00a0ska<\/span>,<\/em>\u00a0e incluso<\/span> del\u00a0heavy metal<\/em>, que<\/span> se impuso<\/span> en Euskadi<\/span> en la d\u00e9cada<\/span> de 1980. Me pareces<\/span> un rockero<\/span> mucho<\/span> m\u00e1s<\/span> cl\u00e1sico<\/span>.<\/strong><\/p>\n

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\t\u00bfCl\u00e1sico<\/span>? Es<\/span> un t\u00e9rmino<\/span> donde<\/span> no me encajo<\/span>, lo cl\u00e1sico<\/span> parte<\/span> de un punto<\/span> de vista demasiado<\/span> ortodoxo<\/span>, tanto<\/span> en las<\/span> formas<\/span> como<\/span> en el fondo<\/span>. Utilizo<\/span> t\u00e9cnicas<\/span> de grabaci\u00f3n<\/span> nada convencionales<\/span>, alejadas<\/span> de lo que<\/span> se hace<\/span> en los estudios<\/span> (la falta<\/span> de medios<\/span> econ\u00f3micos<\/span> quiz\u00e1<\/span> me haya<\/span> llevado<\/span> a la versatilidad<\/span> en el uso<\/span> de los medios<\/span> y la t\u00e9cnica<\/span>). Dicho<\/span> de otra<\/span> manera<\/span>, creo<\/span> con lo que<\/span> tengo<\/span> al alcance<\/span>. Toda<\/span> esa<\/span> falta<\/span> de recursos<\/span> t\u00e9cnicos<\/span> de los que<\/span> hacen<\/span> uso<\/span> en los estudios<\/span> profesionales<\/span> de grabaci\u00f3n<\/span>, me lleva<\/span> a crear<\/span> un sonido<\/span> \u00fanico<\/span> y especial agudizando<\/span> el ingenio<\/span> m\u00e1s<\/span> que<\/span> la inversi\u00f3n<\/span> econ\u00f3mica<\/span> en medios<\/span>, y eso<\/span> me diferencia<\/span> del clasicismo<\/span> y la ortodoxia<\/span> musical; no digo<\/span> que<\/span> a mejor<\/span>, pero<\/span> s\u00ed<\/span> marca<\/span> diferencias<\/span>. En torno<\/span> al estilo<\/span>, s\u00ed<\/span> que<\/span> crec\u00ed<\/span> con todos<\/span> esos<\/span> sonidos<\/span> de los que<\/span> hablas<\/span> (el rock radical vasco<\/span>), pero<\/span> nunca<\/span> me sent\u00ed<\/span> identificado<\/span> con ellos<\/span>. Siempre<\/span> me han<\/span> atra\u00eddo<\/span> m\u00e1s<\/span> los sonidos<\/span> de los a\u00f1os<\/span> 60 y 70. Con el tiempo<\/span> fui<\/span> retrocediendo<\/span> en gustos<\/span>, alej\u00e1ndome<\/span> de lo contempor\u00e1neo<\/span>. Apenas<\/span> encuentro<\/span> ning\u00fan<\/span> inter\u00e9s<\/span> en la m\u00fasica<\/span> actual.<\/p>\n

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\tEl cine tambi\u00e9n<\/span> tiene<\/span> su<\/span> cadencia<\/span>, sus<\/span> crescendos, sus<\/span> adagios. \u00bfEs<\/span> una<\/span> forma visual de la m\u00fasica<\/span>?<\/strong><\/p>\n

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\tSi, por<\/span> supuesto<\/span>. Alguien<\/span> por<\/span> ah\u00ed<\/span> ha dicho<\/span> alguna<\/span> vez<\/span> que<\/span> mi cine es<\/span> muy<\/span> musical y, por<\/span> extensi\u00f3n<\/span>, mi m\u00fasica<\/span> muy<\/span> visual. Creo<\/span> que<\/span> son dos artes<\/span>, o al menos<\/span> as\u00ed<\/span> lo veo<\/span>, que<\/span> van unidos<\/span> al ritmo<\/span>. Muchas<\/span> de mis<\/span> canciones<\/span> vienen<\/span> a desarrollarse<\/span> con una<\/span> narrativa<\/span> muy<\/span> similar a la del cine, con sus<\/span> tres<\/span> actos<\/span> y una<\/span> b\u00fasqueda<\/span> del cl\u00edmax<\/span> final.<\/p>\n

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\tTus<\/span> proyectos<\/span> en cine cuentan<\/span> con la participaci\u00f3n<\/span> de amigos y compa\u00f1eros<\/span> de trabajo<\/span>. Todo<\/span> un\u00a0star-system<\/em>\u00a0alternativo<\/span>, con los problemas<\/span> que<\/span> conlleva<\/span> la condici\u00f3n<\/span> del int\u00e9rprete<\/span>\u00a0amateur<\/em>\u00a0pero<\/span> tambi\u00e9n<\/span> con la frescura<\/span> de la gente<\/span> de la calle<\/span>.<\/strong><\/p>\n

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\tS\u00ed<\/span>, trabajar<\/span> en un \u00e1mbito<\/span> profesional<\/span> conlleva<\/span> el colgarse<\/span> muchas<\/span> cadenas<\/span> pesadas<\/span>. Toda<\/span> la parte<\/span> del arte<\/span> que<\/span> concierne<\/span> al negocio<\/span> es<\/span> algo<\/span> que<\/span> me supera<\/span>, y desde<\/span> mi punto<\/span> de vista todo<\/span> ese<\/span> proceso<\/span> se aleja<\/span> del arte<\/span> en s\u00ed<\/span> mismo<\/span>. Habr\u00eda<\/span> que<\/span> dedicar<\/span> un esfuerzo<\/span> demasiado<\/span> prosaico<\/span> para<\/span> acceder<\/span> al star-system<\/em>, as\u00ed<\/span> que<\/span>, en base a la disponibilidad<\/span> antes citada<\/span>, el amateurismo<\/span> es<\/span> el terreno<\/span> por<\/span> donde<\/span> mejor<\/span> me muevo<\/span>. Claro<\/span> que<\/span> todo<\/span> esto<\/span> conlleva<\/span> cierta<\/span> condena<\/span> al ostracismo<\/span>, en cuanto<\/span> a no ser<\/span> un artista<\/span> medi\u00e1tico<\/span>, pero<\/span> una<\/span> vez<\/span> desprendido<\/span> de todos<\/span> esos<\/span> anhelos<\/span>, que<\/span> en cierto<\/span> modo<\/span> solo aspiran<\/span> a lo ef\u00edmero<\/span>, uno<\/span> consigue<\/span> el equilibrio<\/span> para<\/span> trabajar<\/span> y crear<\/span> a gusto. Y hay algo<\/span> muy<\/span> interesante<\/span> en trabajar<\/span> con gente<\/span> no profesional<\/span>, o no excesivamente<\/span> profesional<\/span> (depende<\/span> de lo que<\/span> se entienda<\/span> por<\/span> profesionalidad<\/span>, pues<\/span> lo importante<\/span> es<\/span> hacer<\/span> bien<\/span> el trabajo<\/span>), y es<\/span> que<\/span> nadie<\/span> tiene<\/span> un v\u00ednculo<\/span> econ\u00f3mico<\/span> con lo que<\/span> hace<\/span>, y esto<\/span> permite<\/span> que<\/span> la ilusi\u00f3n<\/span> y la pasi\u00f3n<\/span> sean<\/span> el m\u00e9todo<\/span> de trabajo<\/span>. Desde<\/span> mi punto<\/span> de vista, esta<\/span> forma de proceder<\/span>, el trabajo<\/span> colectivo<\/span> y coral, es<\/span> la que<\/span> mejores<\/span> resultados<\/span> me da<\/span>, sobre<\/span> todo<\/span> en lo humano<\/span>.<\/p>\n

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\tMe gust\u00f3<\/span> el ambiente<\/span> conspirativo<\/span> de El secretista<\/span><\/em>; el aire<\/span> gamberro<\/span> de\u00a0Paranoicos<\/span><\/em>\u00a0y el desarrollo<\/span> narrativo<\/span> de\u00a0La llave<\/span><\/em>. Pero<\/span> tu<\/span> mejor<\/span> cinta<\/span> tal<\/span> vez<\/span> sea\u00a0Flores del papel<\/span><\/em>. \u00a0\u00a0<\/strong><\/p>\n

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\tFlores de <\/em>papel<\/em>ha<\/span> sido<\/span> el rodaje<\/span> m\u00e1s<\/span> complejo<\/span> que<\/span> he llevado<\/span> hasta<\/span> la fecha<\/span>, no ya<\/span> por<\/span> su<\/span> duraci\u00f3n<\/span> (48 minutos<\/span>), con categor\u00eda<\/span> de mediometraje<\/span>, sino<\/span> por<\/span> lo complejo<\/span> de estar<\/span> rodando<\/span> con personas con enfermedad<\/span> mental. Todo<\/span> el relato<\/span> est\u00e1<\/span> tratado<\/span> con sumo cuidado<\/span> y procurando<\/span> hacer<\/span> mucho<\/span> equilibrio<\/span> con lo que<\/span> se muestra<\/span>, para<\/span> no caer<\/span> en el morbo<\/span> y el amarillismo<\/span>; es<\/span> una<\/span> historia<\/span> de intenci\u00f3n<\/span> desestigmatizadora<\/span>. Por<\/span> su<\/span> duraci\u00f3n<\/span>, no he podido<\/span> presentarla<\/span> ni<\/span> como<\/span> cortometraje<\/span> ni<\/span> como<\/span> largometraje<\/span> en cualquiera<\/span> de los cert\u00e1menes<\/span> para<\/span> este<\/span> tipo<\/span> de filmes<\/span> (la categor\u00eda<\/span> de mediometraje<\/span> no tiene<\/span> cabida<\/span> en ning\u00fan<\/span> certamen<\/span>, al menos<\/span> que<\/span> yo<\/span> conozca<\/span>). No obstante<\/span>, ha sido<\/span> un trabajo<\/span> con mucho<\/span> recorrido<\/span> en centros<\/span> y hospitales<\/span> de salud<\/span> mental, con numerosas<\/span> proyecciones<\/span>, charlas<\/span>, coloquios<\/span>, etc.\u00a0 Digamos<\/span> que<\/span> a largo plazo<\/span>, y a pesar<\/span> de no haber<\/span> tenido<\/span> ning\u00fan<\/span> premio<\/span> en concursos<\/span>, Flores de papel<\/span><\/em> me ha dado muchas<\/span> satisfacciones<\/span> gracias<\/span> al recorrido<\/span> que<\/span> ha tenido<\/span>.<\/p>\n

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\tHas tenido<\/span> premios<\/span> con varios<\/span> de tus<\/span> cortos<\/span>.<\/strong><\/p>\n

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\tEl secretista<\/span><\/em>fue Premio<\/span> del P\u00fablico<\/span> en el certamen<\/span> Begibistan<\/span> de Amurrio<\/span> (Araba<\/span>). Paranoicos<\/span><\/em> y La llave<\/span><\/em>, en el Festival Internacional<\/span> de Toluca<\/span> (M\u00e9xico<\/span>); Paranoicos<\/span><\/em> tambi\u00e9n<\/span> fue<\/span> Premio<\/span> del P\u00fablico<\/span> en el Festival de Valladolid. Un dulce<\/span><\/em>, en el de Navalcarnero<\/span> (Madrid). Y alguno<\/span> m\u00e1s<\/span>.<\/p>\n

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\t\u00bfTus<\/span> historias<\/span> tienen<\/span> alguna<\/span> fuente<\/span> especial de inspiraci\u00f3n<\/span>? \u00bfNacen<\/span> de lo que<\/span> vives<\/span>, ves<\/span> u oyes<\/span> por<\/span> ah\u00ed<\/span>, o es<\/span> un puro<\/span> vuelo<\/span> de la imaginaci\u00f3n<\/span>?<\/strong><\/p>\n

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\tEn todas<\/span> las<\/span> pel\u00edculas<\/span> hay parte<\/span> de una<\/span> realidad<\/span> vivida<\/span> o conocida<\/span>, al menos<\/span> como<\/span> inspiraci\u00f3n<\/span>, para<\/span> luego<\/span> poder<\/span> jugar<\/span> con la ficci\u00f3n<\/span>. Muchas<\/span> veces<\/span> son peque\u00f1os<\/span> detalles<\/span> que<\/span> como<\/span> incidente<\/span> detonador<\/span> van hilando<\/span> el relato<\/span> y construyendo<\/span> la trama<\/span> cinematogr\u00e1fica<\/span>, hasta<\/span> dar<\/span> con un gui\u00f3n<\/span> en tres<\/span> actos<\/span>. Nuestras<\/span> vidas<\/span> est\u00e1n<\/span> cargadas<\/span> de conflictos<\/span>, muchas<\/span> veces<\/span> no manifestados<\/span> de forma visible pero<\/span> s\u00ed<\/span> condicionantes<\/span> de nuestra<\/span> existencia<\/span>. Todos<\/span> esos<\/span> conflictos<\/span> son una<\/span> gran<\/span> fuente<\/span> de inspiraci\u00f3n<\/span> para<\/span> escribir<\/span> un gui\u00f3n<\/span>, sugeridos<\/span> m\u00e1s<\/span> que<\/span> mostrados<\/span> en el relato<\/span> f\u00edlmico<\/span> a trav\u00e9s<\/span> del subtexto<\/span>.<\/p>\n

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\tFormat <\/em><\/strong>fue<\/span> un salto<\/span> cualitativo<\/span>: una<\/span> historia<\/span> m\u00e1s<\/span> compleja<\/span>, con una<\/span> carga<\/span> dram\u00e1tica<\/span> intensa<\/span>, centrada<\/span> en la extra\u00f1a<\/span> reuni\u00f3n<\/span> de personas que<\/span> quieren<\/span> morir<\/span>, pero<\/span> no se atreven<\/span> a darse<\/span> muerte<\/span> y recurren<\/span> a los dem\u00e1s<\/span> para<\/span> ello<\/span>.<\/strong><\/p>\n

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\tEl de Format<\/em> es<\/span> el \u00fanico<\/span> gui\u00f3n<\/span> que<\/span> no he escrito<\/span> yo<\/span>; digamos<\/span> que<\/span> tanto<\/span> el gui\u00f3n<\/span> como<\/span> la direcci\u00f3n<\/span> son trabajos<\/span> conjuntos<\/span> con Jos\u00e9<\/span> Bl\u00e1zquez<\/span>. Este<\/span> filme<\/span>, m\u00e1s<\/span> que<\/span> ning\u00fan<\/span> otro<\/span> de los que<\/span> he realizado<\/span>, lleva<\/span> la sugerencia<\/span> al extremo<\/span>, pues<\/span> nada se muestra<\/span> en torno<\/span> a la vida<\/span> de los personajes<\/span>; el protagonismo<\/span> de la historia<\/span> recae<\/span> en la muerte-suicidio<\/span> como<\/span> espect\u00e1culo<\/span>. Nada se explica<\/span>, ni<\/span> un porqu\u00e9<\/span>, toda<\/span> la acci\u00f3n<\/span> depende<\/span> de la percepci\u00f3n<\/span> del espectador<\/span> sobre<\/span> lo que<\/span> ocurre<\/span> dentro<\/span> de la casa. El fin de nuestras<\/span> vidas<\/span> en todo<\/span> tipo<\/span> de culturas<\/span> es<\/span> ritualizado<\/span> como<\/span> un espect\u00e1culo<\/span>, buen<\/span> ejemplo<\/span> ofrecen<\/span> las<\/span> misas<\/span> f\u00fanebres<\/span> donde<\/span> la gente<\/span> se viste<\/span> para<\/span> la ocasi\u00f3n<\/span>, con c\u00e1nticos<\/span> y m\u00fasica<\/span>, y en las<\/span> que<\/span> el finado<\/span> es<\/span> exhibido<\/span> a modo<\/span> de despedida<\/span>, todo<\/span> ello<\/span> en un irse<\/span> de la vida<\/span> por<\/span> la puerta<\/span> delantera<\/span>. Los protagonistas<\/span> de Format<\/em>, sin entrar<\/span> a valorar<\/span> el porqu\u00e9<\/span> (eso<\/span> solo lo saben<\/span> ellos<\/span>), deciden<\/span> irse<\/span>; pero<\/span> no por<\/span> la puerta<\/span> de atr\u00e1s<\/span>, quieren<\/span> un ritual digno<\/span> para<\/span> su<\/span> despedida<\/span> en un final no asimilado<\/span> moralmente<\/span>. Son ellos<\/span> mismos<\/span> los que<\/span> ritualizan<\/span> su<\/span> propio<\/span> espect\u00e1culo<\/span>. Posiblemente<\/span> Format<\/em> no sea un cortometraje<\/span> donde<\/span> el espectador<\/span> se sienta<\/span> c\u00f3modo<\/span>, asunto<\/span> este<\/span> asumido<\/span> desde<\/span> que<\/span> se escribi\u00f3<\/span> el gui\u00f3n<\/span>, ya<\/span> que<\/span> deja<\/span> demasiadas<\/span> preguntas<\/span> en el aire<\/span>. L\u00f3gicamente<\/span>, hay ciertas<\/span> cuestiones<\/span> para<\/span> las<\/span> que<\/span> no hay respuestas<\/span>, a veces<\/span> el cine es<\/span> as\u00ed<\/span>.<\/p>\n

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\t\u00bfQu\u00e9<\/span> puedes<\/span> contar<\/span> de tu<\/span> primer largometraje<\/span>,\u00a0Escisi\u00f3n<\/span><\/em>?<\/strong><\/p>\n

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\tEscisi\u00f3n<\/em>trata<\/span> la historia<\/span> de Dani<\/span>, un hombre que<\/span> arrastra<\/span> un trauma desde<\/span> su<\/span> infancia<\/span>, una<\/span> vivencia<\/span> negativa<\/span> olvidada<\/span> pero<\/span> alojada<\/span> en su<\/span> subconsciente<\/span>; es<\/span> un yo<\/span> escindido<\/span>. Toda<\/span> su<\/span> existencia<\/span> ha sido<\/span> condicionada<\/span> por<\/span> ese<\/span> trauma, y con el paso<\/span> de los a\u00f1os<\/span> m\u00e1s<\/span> insoportable<\/span> se le hace<\/span> el d\u00eda<\/span> a d\u00eda<\/span> en la relaci\u00f3n<\/span> con su<\/span> pareja<\/span>, con su<\/span> padre y con el entorno<\/span>. A la postre<\/span>, el protagonista<\/span> acaba<\/span> por<\/span> descubrir<\/span> el origen<\/span> de su<\/span> trauma. Este<\/span> filme<\/span> narra<\/span> un conflicto<\/span> que<\/span> ahonda<\/span> en el sentimiento<\/span> de culpa, cuando<\/span> realmente<\/span> no existe<\/span> un culpable.<\/p>\n

\t\u00a0<\/p>\n

\tTu<\/span> obra<\/span> discogr\u00e1fica<\/span> y cinematogr\u00e1fica<\/span> est\u00e1<\/span> colgada<\/span> en Internet, abierta<\/span> a todo<\/span> el p\u00fablico<\/span>. \u00bfCu\u00e1les<\/span> son las<\/span> razones<\/span> que<\/span> te<\/span> han<\/span> llevado<\/span> a ello<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tMuy<\/span> sencillo<\/span>: no pretendo<\/span> vivir<\/span> de nada relacionado<\/span> con el arte<\/span>, as\u00ed<\/span> que<\/span> no tengo<\/span> ning\u00fan<\/span> inconveniente<\/span> en que<\/span> todos<\/span> mis<\/span> trabajos<\/span> se puedan<\/span> ver<\/span>, o\u00edr<\/span> o descargar<\/span> de Internet. Soy un obrero<\/span> asalariado<\/span> en una<\/span> f\u00e1brica<\/span>, lo cual<\/span> me permite<\/span> llenar<\/span> la despensa<\/span> y no preocuparme<\/span> por<\/span> tener<\/span> que<\/span> vivir<\/span> del arte<\/span>. Entre<\/span> otras<\/span> cosas<\/span>, porque<\/span> no quisiera<\/span> depender<\/span> del arte<\/span> para<\/span> tener<\/span> una<\/span> n\u00f3mina<\/span> a final de mes<\/span>. No entiendo<\/span> la creatividad<\/span> como<\/span> algo<\/span> productivo<\/span> en t\u00e9rminos<\/span> econ\u00f3micos<\/span>. Seria<\/span> odioso<\/span> para<\/span> m\u00ed<\/span> cobrar<\/span> una<\/span> n\u00f3mina<\/span> mensual<\/span> escribiendo<\/span> canciones<\/span> o dirigiendo<\/span> pel\u00edculas<\/span>, la creatividad<\/span> no es<\/span> un producto<\/span> a manufacturar<\/span>. Necesito<\/span> sentirme<\/span> libre<\/span> y no condicionar<\/span> mi arte<\/span> al negocio<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tCon\u00a0Escisi\u00f3n<\/span><\/em>, \u00bfte<\/span> mantendr\u00e1s<\/span> en tu<\/span> postura<\/span> reacia<\/span> a la comercializaci\u00f3n<\/span>? \u00bfSeguir\u00e1s<\/span> con tu<\/span> habitual pr\u00e1ctica<\/span> de colgarlo<\/span> abiertamente<\/span> en Internet?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tS\u00ed<\/span>, por<\/span> supuesto<\/span>. Le dar\u00e9<\/span> un recorrido<\/span> promocional<\/span> en prensa<\/span>, revistas<\/span> especializadas<\/span> y en cert\u00e1menes<\/span>. Tengo<\/span> claro<\/span> que<\/span> no obtendr\u00e9<\/span> beneficios<\/span> con ello<\/span>, y si<\/span> los hay, hay mucho<\/span> que<\/span> invertir<\/span> en equipo<\/span> y deudas<\/span> que<\/span> pagar<\/span>, c\u00e1maras<\/span>, iluminaci\u00f3n<\/span>, accesorios<\/span> de rodaje<\/span>, etc. Pero<\/span> s\u00ed<\/span> que<\/span> busco<\/span>, al menos<\/span>, un reconocimiento<\/span> al trabajo<\/span>. Entiendo<\/span> que<\/span> ese<\/span> es<\/span> el \u00fanico<\/span> motor que<\/span> me mueve<\/span>, sobre<\/span> todo<\/span> la necesidad<\/span> de crear<\/span> y, en un segundo<\/span> plano<\/span>, la necesidad<\/span> de que<\/span> mi trabajo<\/span> sea reconocido<\/span>. Cuando<\/span> crea<\/span>, ning\u00fan<\/span> artista<\/span> tiene<\/span> la pretensi\u00f3n<\/span> de hacerlo<\/span> solo para<\/span> \u00e9l<\/span>, sin mostrarlo<\/span> al p\u00fablico<\/span>. En mayor o menor<\/span> medida<\/span>, el artista<\/span> busca<\/span> el aval<\/span> p\u00fablico<\/span> a su<\/span> trabajo<\/span>.\u00a0<\/p>\n

\t\u00a0<\/p>\n

\t“A\u00fan<\/span> puedo<\/span> prostituir<\/span> mi muerte<\/span> \/ y hacer<\/span> de mi cad\u00e1ver<\/span> el \u00faltimo<\/span> poema.” Son versos de Leopoldo<\/span> Mar\u00eda<\/span> Panero<\/span>. \u00bfLuis Vil<\/span> tiene<\/span> miedo<\/span> de prostituir<\/span> su<\/span> creatividad<\/span> art\u00edstica<\/span> con el vil<\/span> –valga<\/span> la redundancia–<\/span> metal?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tMi vida<\/span> de obrero<\/span> me tiene<\/span> anclado<\/span> a ras<\/span> del suelo<\/span>, a la realidad<\/span> del m\u00e1s<\/span> com\u00fan<\/span> de los mortales<\/span>.\u00a0 Posiblemente<\/span> eso<\/span> sea at\u00edpico<\/span> en un artista<\/span>, pero<\/span> est\u00e1<\/span> claro<\/span> que<\/span> ayuda<\/span> a no tener<\/span> grandes<\/span> complejos<\/span>, de esos<\/span> que<\/span> hacen<\/span> da\u00f1o<\/span> a la vista cuando<\/span> uno<\/span> observa<\/span> a la endog\u00e1mica<\/span> elite de artistas<\/span>. Si alg\u00fan<\/span> d\u00eda<\/span> me prostituyo<\/span> ser\u00e1<\/span> por<\/span> decisi\u00f3n<\/span> propia<\/span>, sin pedir<\/span> nada a cambio<\/span>. Ser\u00eda<\/span> una<\/span> especia<\/span> de puta<\/span> altruista<\/span> ejerciendo<\/span> por<\/span> puro<\/span> vicio<\/span>.\u00a0<\/p>\n

\t\u00a0<\/p>\n

\tEl s\u00e1bado<\/span> 11 de octubre<\/span> cantas<\/span> a Leopoldo<\/span> Mar\u00eda<\/span> Panero<\/span> en Bilbao. He o\u00eddo<\/span> una<\/span> de las<\/span> canciones<\/span>, en ac\u00fastico<\/span>, y este<\/span> tipo<\/span> de interpretaci\u00f3n<\/span> le proporciona<\/span> un eco cavernario<\/span>, como<\/span> si<\/span> saliera<\/span> no ya<\/span> de la mente<\/span>, sino<\/span> de las<\/span> mismas<\/span> tripas<\/span>. Porque<\/span> los poemas<\/span> de Panero<\/span> son as\u00ed<\/span> de carnales<\/span> y sangu\u00edneos<\/span>.<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tPorque<\/span> Panero<\/span> era un poeta<\/span> aut\u00e9ntico<\/span>, de los pocos<\/span> poetas<\/span> que<\/span> han<\/span> vivido<\/span> para<\/span> y por<\/span> la poes\u00eda<\/span>, como<\/span> \u00fanica<\/span> forma de expresi\u00f3n<\/span> donde<\/span> todos<\/span> sus<\/span> demonios<\/span> han<\/span> sido<\/span> purgados<\/span> a trav\u00e9s<\/span> de la expresi\u00f3n<\/span> m\u00e1s<\/span> brutal, real y descarnada<\/span>, como<\/span> pocos<\/span> han<\/span> hecho<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tAl rock le va<\/span> el estilo<\/span> de Panero<\/span>: existencialista<\/span>, venal, sincero<\/span> hasta<\/span> lo estridente<\/span>, sin atisbo<\/span> de autocensura…<\/span><\/strong><\/p>\n

\t\u00a0<\/p>\n

\tNo cabe<\/span> duda<\/span>. Su poes\u00eda<\/span>\u00a0 se puede<\/span> vestir<\/span> perfectamente<\/span> de rock. Hay mucha<\/span> conexi\u00f3n<\/span> entre<\/span> cierto<\/span> rock de vertiente<\/span> po\u00e9tica<\/span> y la obra<\/span> de Leopoldo<\/span> Mar\u00eda<\/span> Panero<\/span>. No me ha sido<\/span> muy<\/span> complicado<\/span> adaptarlo<\/span> musicalmente<\/span>, su<\/span> lenguaje<\/span> es<\/span> muy<\/span> r\u00edtmico<\/span> y musical. He disfrutado<\/span> como<\/span> nunca<\/span> componiendo<\/span> y cantado<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tTe<\/span> acompa\u00f1a<\/span> en el concierto<\/span> La Mala<\/span> Crianza<\/span>, tu<\/span> \u00faltima<\/span> banda…<\/span><\/strong><\/p>\n

\t\u00a0<\/p>\n

\tS\u00ed<\/span>. Son Igor Arzuaga<\/span>, al piano y el acorde\u00f3n<\/span>; V\u00edctor<\/span> G\u00f3mez<\/span>, bajo<\/span>; Josean<\/span> Valle, bater\u00eda<\/span>; Pablo Morillo<\/span>, guitarra<\/span>; a los coros<\/span>, Juncal<\/span> Altzugarai<\/span>; y yo<\/span> mismo<\/span>, guitarra<\/span> y voz<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tPanero<\/span>,\u00a0Escisi\u00f3n<\/em>…<\/span> \u00bfalgo<\/span> m\u00e1s<\/span> en el horizonte<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tDespu\u00e9s<\/span> de la presentaci\u00f3n<\/span> del Luis Vil<\/span> vs Leopoldo<\/span> Maria Panero<\/span><\/em>, este<\/span> s\u00e1bado<\/span> 11 de octubre<\/span> en el teatro<\/span> Campos El\u00edseos<\/span> de Bilbao, me dedicar\u00e9<\/span> de lleno<\/span> al rodaje<\/span> de Escisi\u00f3n<\/span><\/em> y posiblemente<\/span> retome<\/span> el recital de Panero<\/span> para<\/span> el a\u00f1o<\/span> que<\/span> viene<\/span>. Tengo<\/span> tambi\u00e9n<\/span> la intenci\u00f3n<\/span> de editar<\/span> y recopilar<\/span> estos<\/span> temas<\/span> en un \u00e1lbum<\/span>, que<\/span> por<\/span> supuesto<\/span> colgar\u00e9<\/span> libremente<\/span> en mi web.<\/p>","protected":false},"excerpt":{"rendered":"

Obrero metal\u00fargico, cantautor y cineasta, Luis Vil pone m\u00fasica a los poemas de Leopoldo Mar\u00eda Panero. \u00a0 \u00a0 \u00a0<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,65],"tags":[],"class_list":["post-6079","post","type-post","status-publish","format-standard","hentry","category-cultura","category-musica"],"yoast_head":"\nAcero de artista - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/acero-de-artista\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Acero de artista - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Obrero metal\u00fargico, cantautor y cineasta, Luis Vil pone m\u00fasica a los poemas de Leopoldo Mar\u00eda Panero. \u00a0 \u00a0 \u00a0\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revistarambla.com\/en\/acero-de-artista\/\" \/>\n<meta property=\"og:site_name\" content=\"Revista Rambla\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/revistarambla\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-10-08T09:05:47+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-09-30T16:40:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i2.wp.com\/www.revistarambla.com\/wp-content\/uploads\/2014\/10\/Luis_Vil-revistarambla_02.jpg?fit=683%2C431&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"683\" \/>\n\t<meta property=\"og:image:height\" content=\"431\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:site\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/acero-de-artista\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/acero-de-artista\\\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/person\\\/4a5652fc8c82df1f8593002d038cd79e\"},\"headline\":\"Acero de artista\",\"datePublished\":\"2014-10-08T09:05:47+00:00\",\"dateModified\":\"2019-09-30T16:40:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/acero-de-artista\\\/\"},\"wordCount\":2454,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/acero-de-artista\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2014\\\/10\\\/Luis_Vil-revistarambla_02.jpg\",\"articleSection\":[\"Cultura\",\"M\u00fasica\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.revistarambla.com\\\/acero-de-artista\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/acero-de-artista\\\/\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/acero-de-artista\\\/\",\"name\":\"Acero de artista - 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