Juan Pedro de Gaspar, Goya for best art direction, takes the viewer to the Barcelona of the twenties in The shadow of the law El tir n de la pel cula tiene mucho que ver en el plano art stico con la direcci n de fotograf a porque es la que nos hace creernos que nos hemos traslado a esa poca oscura de los a os veinte en Barcelona , reconoce Juan Pedro de Gaspar con un Goya entre sus manos.
For Juan Pedro de Gaspar, premiado con el Goya for Best Art Direction by The shadow of the law, realmente el tir n de la pel cula tiene mucho que ver en el plano art stico con la direcci n de fotograf a porque es la que nos hace creernos que nos hemos traslado a esa poca oscura de los a os veinte en Barcelona .
Gaspar, que tiene a sus espaldas espl ndidos trabajos como Green Zone o Blackthorn hace un ejercicio de modestia al declarar que cada vez m s en las pel culas se trata de un trabajo de equipo, que es lo que ha sucedido con The shadow of the law, donde nos hemos puesto de acuerdo para compensar unas cosas con otras en pro de un resultado final en el que todo cuenta .
Gaspar work with Dani de la Torre ha sido apostar por un trabajo riguroso en el que nos hemos documentado no solo con fotograf as de la poca sino con otros objetos de carteler a, de se al tica o de tipograf a que hab a que tener en cuenta para hacer un retrato lo m s ajustado de la poca. Dani de la Torre y yo hemos hablado mucho a lo largo del rodaje de cosas concretas o para entender c mo el director ve a la producci n .
Sobre temas presupuestarios, reconoce a Panorama Audiovisual que hay que establecer un list n porque en caso contrario siempre resulta insuficiente, dado el af n perfeccionista que tenemos todos los que trabajamos en el cine. Siempre hay temas visuales que se nos escapan pero que el espectador tiene que ser muy observador para ser consciente de ello, y adem s visualmente son irrelevantes. Yo mismo, viendo Dunkirk he observado que hay edificios de hace diez a os .
Asked about references of other films by making The shadow of the law, el cineasta habla de Road to Perdition as como otras muchas que Dani de la Torre ten a en la cabeza y a los que al final se hace un peque o homenaje.
Sobre la narrativa de la producci n, Gaspar asevera que cuando sabes que un director te va usar 360 grados de campo, tienes que controlarlo todo y, si encima pica la c mara, pues ya controlar todo significa todo. Parece una tonter a, pero resulta muy dif cil que plantees una traslaci n a los a os 20 y no haya algo que la c mara detecte y te saque de esa sensaci n. Esa es la dificultad y por eso luego el trabajo de efectos digitales es importante .
Accessing the Special Goyas 2019 in Panorama
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Juan Pedro de Gaspar, Goya for best art direction, takes the viewer to the Barcelona of the twenties in The shadow of the law El tir n de la pel cula tiene mucho que ver en el plano art stico con la direcci n de fotograf a porque es la que nos hace creernos que nos hemos traslado a esa poca oscura de los a os veinte en Barcelona , reconoce Juan Pedro de Gaspar con un Goya entre sus manos. 
