In telling this story now, precisely, does it have anything to do with the child molestation scandals that have rocked the Roman Catholic Church over the last few years? But it wasn't traumatic-it was reciprocal, which is how these things ought to go. School was also where I discovered sensuality, in the way that many boys do, with other boys. And on the weekends I would go there for double features, and that's where I got my real education.
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Three doors down from the school on the same street was the movie theater. And also, I found my real education, which was the cinema. I also discovered during that period, on sort of a parallel track, the fear of that sort of punishment-based education. But I was badly educated, shall we say, in a Catholic school in the mid '60s I was a soloist in the choir and that's where my fascination with the liturgy and the ceremony of the Catholic Mass began. I was never a boy abused by priests, and as a director, an actor never put me in a situation as dangerous as the one that Gael puts Fele in. I'm not telling my story directly, but it's a story from my memories. The Advocate: I've read where you've said the film isn't autobiographical-Īlmodovar: But it's something of a stigma to say that it isn't. (And you haven't lived until you've seen Bernal lip-synch "Quizas, Quizas, Quizas" in a Jean Paul Gaultier gown.) Enrique turns the story into a movie starring Angel-but then the much older Father Manolo, now known as Senor Berenguer (Lluis Homar), turns up to tell Enrique what Paul Harvey always called "the rest of the story." In Angel's version of the story, Ignacio grows up to become exotic drag queen Zahara. The film begins in the early '80s, when Angel asks Enrique, now an openly gay director, to film a story about their childhood romance-and about how school priest Father Manolo (Daniel Gimenez Cacho) came between them because of his own designs on young Ignacio. International "it" boy Gael Garcia Bernal plays actor Angel Andrade, who was known as Ignacio when he went to Catholic boarding school with pal Enrique (Fele Martinez) in the Spain of the early 1960s. Like most Ahnodovar films, Education doesn't make for easy plot synopsis. Using a pen to draw diagrams as he speaks in his native Spanish, as though to engage his left brain and right brain simultaneously, he overflows with anecdotes about his provocative new film Bad Education (La Mala Educacion) and how it both parallels and differs from his own life. But a sleep-deprived Almodovar still makes for a more musing interview than most wide-awake Hollywood types. "I'm still jet-lagged," warns director Pedro Almodovar before giving an interview in his favorite Los Angeles hotel.
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MLA style: "Holy terror: Pedro Almodovar talks about Catholicism, the thrill of the 'prohibited,' and the Bad Education of an entire generation." The Free Library.