WEBVTT

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WARNING: THIS DOCUMENTARY
CONTAINS SPOILERS FROM SEASON FIVE

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A NETFLIX DOCUMENTARY

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[sad piano music plays]

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[struggles to breathe]

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Get back!

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[Tokyo grunts]

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-[man 1] We got it, guys.
-[man 2] Everyone!

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-[cheers and whistles]
-[man 2] That's it, it's a wrap!

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Let's say goodbye to Úrsula!

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[Úrsula Corberó] Yup, I just died.

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Now we'll tell you how it all went down.

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[applause]

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You got everything, man?

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[majestic music plays]

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[Úrsula] We're about to show you
the series in a way never seen before.

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I slept with the door open all night.

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[Úrsula] We've been very close…
for very a long time.

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We're having a great time, yeah.

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[Úrsula] We've been observed
during our moments of rest…

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-during our battles…
-A hard day at the office.

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[Úrsula] …even when
we didn't want to be seen.

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This son of a bitch is filming everything.
You motherfucker.

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[Úrsula] So, come in.

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[Jesús Colmenar] He'll grab you
and take you all the way to the edge.

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[Úrsula] We've reserved
the best seats in the house for you.

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We want you to experience Money Heist
from the front row…

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-Luis, can you move over that way?
-[Luis Alfaro] Sure, sorry.

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-[Úrsula] …and with no filter.
-Sweaty boobs.

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[Úrsula] We'll show you our rooms.

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Our rehearsals.

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[Hovik Keuchkerian] One, two.

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[Úrsula] Our training sessions.

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Join us as we experience

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the most intense season of our lives.

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Come on, please.

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[man] Action!

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[music ends]

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What matters is that the crew is happy.

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[Úrsula] Welcome to our private lives.

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I'll leave it at that.

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[calm piano music plays]

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That's my balcony there.
[laughs] I live up there.

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[Itziar Ituño] When I go home
after days of shooting,

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it's like unwinding.

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I'll get out with my suitcase.
I'll get out of the car that drops me off,

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and before climbing
the four flights up to my house on foot,

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because I don't have an elevator,

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I'll say, "I'll go grab a coffee,"
depending on the time.

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-[Itziar in Basque] Good morning.
-[in Basque] Good morning!

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[Itziar] I feel comfortable because
I'm with the people I went to school with

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and played with in my neighborhood.

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This is home.

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But, I mean,
the set is also like a home too, you know?

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Because of all the time
we've spent there working together.

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-[Úrsula sings]
-[Itziar laughs]

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[minimalist music plays]

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[Itziar] When the weather's nice enough,

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it helps me to get out of the house
and sit out here for a while.

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I can focus more easily.

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After a long time
of trying different things,

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over a lifetime really,

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I took a master class with Tim Robbins,

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and he taught us his method,

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which is… there are only four emotions.

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You use them to play absolutely everything
in the world of acting.

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I normally use blue for sadness,

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pink for joy…

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orange for anger or rage,

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and this for fear.

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When the three of us come out of the bank
to negotiate with Tamayo,

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in this episode,

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they're very stoic,
but they're scared to death. So…

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They're worried, afraid.

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And now here, for example, Lisbon screams,
"Colonel Tamayo! White flag!"

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Colonel Tamayo!

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We have a white flag!

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She yells with all her rage,

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but deep down, the underlying emotion is:

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"I'm so scared."

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Because they're aiming at them.
They're barefoot…

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And so this is the emotion
that's in charge.

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But the one we see is the strong one,
you know?

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So this one.

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[man shouts]

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[Úrsula] Fear.

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That's what we all felt
when we had to confront this season.

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[tense music plays]

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Maybe you think we know how to do our job,

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but the fact is, we don't.

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Because we had never been to war,

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and we had no idea how to approach it.

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[Álex Pina] We wanted to do
an escalating warlike conflict

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because we thought
we had to offer something more.

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But we didn't know
how to handle the war genre

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or how to shoot it, because it's
very complicated. Too complicated.

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[music swells]

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[Javier Gómez] Doing things
you've never done, like this war thing,

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it makes sense because everything else
we could do, the viewer has already seen.

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So, if you wanna surprise them,
you have to tackle a new problem.

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You have to go places
you haven't mastered yet

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so viewers see things
they haven't seen before.

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[man] Action!

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To do that, well,
you have to make life difficult.

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[tense music plays]

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I arrived with a lot of responsibility
on my shoulders, you know?

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There was this feeling that,

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"We have to make this
the greatest season."

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"We have to make it the most epic season."

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"We have to make this
the most exciting part."

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''Everything has to reach a climax.''

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''All the characters
have to be pushed to the edge."

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[Álex Rodrigo] People from all over
the world are waiting for this.

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[sighs] So we can't fall short.

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[tense music continues]

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[Esther Martínez]
Vancouver is always pushing itself

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into inhospitable places
in order to learn.

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The creative team's always trying to learn
new things we don't know how to do,

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and the war genre
was something we'd never done.

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[music swells]

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And here's the war!

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[tense music plays]

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We've been here for three and a half weeks
filming a single scene.

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Scene 22.

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-[indiscernible conversations]
-It's still going on.

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[lighthearted music plays]

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[Úrsula] And that's when we found out
that all those gunshots and explosions…

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[man] Action!

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[Úrsula] …which seem like a lot of fun,

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are actually the most boring thing
that can happen on a shoot.

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It's crazy.
You have to repeat it and repeat it.

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Oh, wow!

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The ammunition depot scene, what was it?
Two scenes in three weeks?

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TOKYO

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[Ahikar Azcona] It wears me out.

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Repeating a scene so many times
wears me out. [exhales] I'm drained.

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Far from being fun, it's really hard
and super tedious, super repetitive.

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I mean, you shoot 1,500 times
with a billion different camera angles.

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Also, creatively speaking, it's a little…

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It's frustrating. You think, "I've been
doing the same thing for two weeks."

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[gunfire]

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RIO

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I hate action. [clicks tongue]

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I mean, if I'm honest,
I don't like it at all.

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This is how much fun action is.

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What time is it?
We're drained. What time is it?

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-They complain and complain.
-It's like Groundhog Day.

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It's 11:00.

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I got home and I was throwing up dust
and some black stuff.

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We'd wake up and do it again.

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-[gunfire]
-I'm out of ammo!

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[gunfire]

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[Jorge Calvo] A lot of times,
they feel like they're…

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COORDINATING DIRECTOR

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…a bunch of monkeys, right?
Like puppets doing the shoot.

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It's tough.

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But, like I said,
when I see it later, I'll understand.

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I think about that a lot.
"You'll see it later and you'll love it."

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"It's cool that we spend two weeks
doing this. It'll look fucking great."

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-[action music plays]
-[gunshots]

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-[explosion]
-[shouting]

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[gunshots]

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-[explosion]
-[shouting]

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They would pour
some kind of ash in our hair.

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It was like they were sprinkling
salt and pepper on us, right?

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It felt like
they were about to put me in the oven.

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They like covering us with this shit.

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Give me water,
a Kleenex, please, something.

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[woman] Here you go.

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Wow, it's the dust for all the explosions.

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You're lying on the ground
with all that stuff around you.

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I mean, every time I ended up like…
"Mamma mia." [laughs] "Look at me!"

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[air blower]

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[Carlos Díez] A lot of characters had
eight to ten versions of a single wardrobe

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because they started out clean,
then they'd get shot two times,

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then five times,
then there was blood, then there was dirt,

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then there was dust,
then there were flames.

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-[laughs]
-[indiscernible conversation]

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[Manila and Denver shout]

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Jesús explained everything very quickly:
"Now Manila comes!"

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Jesús is very animated
when he explains things.

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-Like…
-Bang, bang, bang! Gunshots!

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Bang, bang, bang, bang!

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I mean,
it's good that he does it that way…

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Then you go, "Son of a bitch!"

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-[gunshots]
-[heroic music plays]

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-God damn it.
-[Manila] Hold on.

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I swear, I would look at him
and say to myself,

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"I'm getting a tic. My eye is twitching,"

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because it's impossible
to memorize all this.

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"How am I gonna be able to do this?"

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[Jesús] I think that was
the most complex part, you know?

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I mean, to keep those two key pillars
standing through the whole thing.

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There's the emotion underlying each scene.

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Then there's all the things
that are more technical, pyrotechnical,

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which required a lot
of waiting around on set

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and required very specific setups.

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Honestly, for the actors
it was really exhausting, you know?

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To be constantly sustaining such…

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such strong dramatic tension
in scenes that were so technical.

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-[Denver] How do you feel?
-[distorted] Bad!

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[Migue Amoedo] That was
one of the first things I shot

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when we got back from lockdown.

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And I wanted to place the camera there.

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There, in the middle
of all that dust, all that mud,

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because I knew it would be a…
Well, it was gonna be like a trench.

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And the ammunition depot
was a super-narrow place.

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We had a bunch of lights blinking,

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so it was a very challenging
environment for sure.

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You couldn't hear each other.
You didn't understand things…

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Hold on. That fire's too strong.

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Special effects was always
throwing around powder and particles.

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-[Jesús laughs] Wow, look at his hair.
-[Migue] Holy shit.

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[upbeat music plays]

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[Úrsula] Then, we realized
there was one person

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who was capable of enjoying all of it.

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[Enrique Arce] Who said "fear"?

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[Úrsula] He wasn't just a person.
He turned himself into…

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[Enrique] A fucking dragon!

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[shouts]

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I'm a dragon.
I want to reference my hometown's culture.

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Like our mayor at the firework festival.
With a flamethrower, burning sculptures.

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[shouts]

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No, no. It was epic. It was super funny
seeing Enrique Arce saying,

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"I'm a fucking dragon!"

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I'm a fucking dragon!

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[shouts]

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[blows] And shooting out fire
like a madman, a lunatic.

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[upbeat music continues]

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[Javi Jal] He told us
he was willing to do anything.

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The thing is that you have to be careful

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because, after all,
he's carrying a weapon.

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[heroic music plays]

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It's going… [kisses].

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It's a little heavy,
very tiring, and very hot.

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I chose a bad day to turn 48.
But the end result… It'll be worth it.

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[heroic music continues]

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You can always give a little more.

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If you want, I'll give you more emotion.

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On the other hand, you can go too far.

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[Úrsula] Sometimes,
you can't help but go too far.

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Even I went too far.

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-[Tokyo grunts]
-[moans]

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[Úrsula] Luckily,
for the first revenge against Gandía,

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we had a professional boxer…

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Hovik.

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Who, in addition to being an actor,

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is also a former Spanish
heavyweight champion.

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[dramatic music plays]

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-[Bogotá grunts]
-[man shouts in Spanish]

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[Hovik] I wouldn't be the same actor
if I hadn't been a boxer.

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Boxing is managing pressure,

12:57.583 --> 13:01.125
it's being alert but being… relaxed.

13:01.208 --> 13:04.166
It's distancing and isolating yourself
from the audience.

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It's reading your rival.

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All of that…
Just take out boxing and put in acting.

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It all applies perfectly.

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[nostalgic music plays]

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[Hovik] In 1997,
I became Spain's amateur boxing champion.

13:22.916 --> 13:25.375
In '99, I became a professional.

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And in December 2004, I had my last fight.

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That's ten years as a professional.

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A ten-year-long career,
so when I do an action sequence,

13:38.000 --> 13:40.916
all that background naturally comes out,
you know?

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I mean, when Poga puts up his guard
and goes like this…

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Well, I mean that's the end of the series.
Might as well send everyone home.

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I'd like you to show me the posture here.
I throw a punch. How do I cover myself?

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So, as nice as I can, I tell him,
"This is how you do this."

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"Your feet go like that.
Keep your feet parallel."

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"Bring your right leg back
and get in the right position."

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[laughs] He's teaching me
like a real boxer. And he's scary.

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[Hovik] In boxing,
your goal is to hide the punch.

14:10.458 --> 14:14.000
Of course in film,
you have to exaggerate as much as possible

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for the camera, so that it can be seen.

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So your fist has to travel
across half of Spain

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before it hits the other person.

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It's the opposite
of what I'm used to doing--

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What I was used to doing.

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SHOOTING THE FIGHT, GANDÍA VS BOGOTÁ

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[minimalist music plays]

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[indiscernible conversation]

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[J. M. Poga] When we have to shoot
an action scene,

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I prefer it if my partner goes overboard.

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If they have to hit me, let them hit me.

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And I'll take it.
If it happens, I'll happily take it.

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Yeah, so,

14:48.208 --> 14:49.708
that wasn't my fault. [laughs]

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Well, I had to restrain him.
And, I mean, he wouldn't stop moving.

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Well, I had this knife
I was supposed to threaten him with.

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But the knife, the one we used,
wasn't a fake knife.

15:02.750 --> 15:04.708
I mean, it was a real knife.

15:07.041 --> 15:08.500
And then his blood… [blows]

15:09.166 --> 15:11.708
[J. Manuel] I thought
it was the zipper on the overalls,

15:11.791 --> 15:14.625
and when I saw the blood,
I said, "Well, it's my blood."

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Cut! Let's go.

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[Jesús] You didn't notice?

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-[man] He cut him with the knife.
-I just noticed it now.

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You just noticed?

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I felt a little pinch.
I didn't think anything of it.

15:32.458 --> 15:34.208
[laughs] It's the first take.

15:35.875 --> 15:37.875
They gave me three stitches right there.

15:37.958 --> 15:41.458
The wonderful medics here,
they gave me three surgical stitches

15:42.208 --> 15:43.875
so I could continue the fight.

15:44.500 --> 15:45.583
No big deal, right?

15:47.666 --> 15:48.791
So, on we go.

15:48.875 --> 15:50.458
-Ah, ah, ah!
-[kisses]

15:50.541 --> 15:52.458
[both laugh]

15:55.375 --> 15:58.250
I'll remember Bogotá all my life
'cause this will be here, right?

15:58.333 --> 16:00.500
And I look at it and I see my Bogotá.

16:01.500 --> 16:03.458
Right here. This is my Bogotá.

16:05.083 --> 16:07.958
We have actors
that are so… [laughs] …dedicated.

16:09.125 --> 16:11.666
Poga says, "If the stitches pop out,
just give me more."

16:11.750 --> 16:13.250
"We have to keep shooting."

16:13.791 --> 16:14.625
It's crazy.

16:14.708 --> 16:17.791
["Golden Swagger"
by Big Heavy Horn Riffs plays]

16:17.875 --> 16:19.583
[grunts]

16:19.666 --> 16:21.416
[unintelligible conversation]

16:21.916 --> 16:23.500
[grunting and panting]

16:26.833 --> 16:27.833
Now I'm a vampire.

16:27.916 --> 16:29.583
One more and we're going home.

16:29.666 --> 16:32.541
This fight is going fucking great.

16:32.625 --> 16:34.166
-[punches]
-[inhales]

16:37.750 --> 16:39.791
-What a fucking beast.
-[man] Oh my God!

16:40.750 --> 16:42.208
A round of applause!

16:42.958 --> 16:44.958
[J. Manuel] It's magical, right? Amazing.

16:45.041 --> 16:46.333
It's a privilege.

16:47.041 --> 16:48.416
And now I'm gonna faint.

16:49.291 --> 16:53.500
ÁLVARO MORTE, MADRID (FIRST DAY FILMING)

16:54.291 --> 16:55.583
[man] Good morning at night.

16:55.666 --> 16:57.458
[Álvaro Morte laughs]
Good morning at night.

16:58.125 --> 17:00.416
This means so much to so many people.

17:01.333 --> 17:03.541
Being in this situation, you know?

17:06.375 --> 17:08.375
Being back here to do this last season…

17:09.041 --> 17:11.208
It has a feeling that's a little bit like…

17:12.041 --> 17:14.166
like when you're reading
a book you're enjoying

17:14.250 --> 17:15.833
and you're almost at the end.

17:15.916 --> 17:18.125
You look forward to it
'cause you wanna know what happens,

17:18.208 --> 17:20.458
but at the same time,
you also say, "Is this really it?"

17:22.750 --> 17:24.750
I spend a lot of time in prep.

17:25.791 --> 17:29.708
My best friends in prep
are always the hair and makeup team.

17:30.458 --> 17:33.166
They've done the freckles,
which are made of alcohol.

17:34.000 --> 17:35.708
-Did you cut the bangs more?
-[man] No.

17:35.791 --> 17:39.375
No, right? She's giving birth.
You can't have perfect hair, right?

17:40.416 --> 17:42.416
I'd love it if it looked
a little like this.

17:43.125 --> 17:46.166
See how fucking cool this looks
with my ears sticking out.

17:47.125 --> 17:49.916
Oh God. What is it like
to shoot with Álvaro and Najwa?

17:50.000 --> 17:51.875
He's not just any neighbor.

17:51.958 --> 17:53.541
[Jesús] First of all, I have to say

17:54.291 --> 17:57.458
that I was scared when I went to the set
because they're such different actors.

17:58.166 --> 18:01.958
Yeah, sure. That thing over here, sure.
I think that's fucking great.

18:02.875 --> 18:06.083
[Koldo Serra] At first I thought
they wouldn't understand each other.

18:06.750 --> 18:07.666
It might not work.

18:08.625 --> 18:09.583
[man] Action!

18:09.666 --> 18:10.666
[tense music plays]

18:11.250 --> 18:15.291
Maybe there's no chemistry.
No matter how hard you try.

18:15.958 --> 18:17.041
INSPECTOR SIERRA

18:17.125 --> 18:19.125
Then all you can do is be polite.

18:20.208 --> 18:22.458
-I'm not hurting you, right?
-Not at all, don't worry.

18:24.083 --> 18:27.500
[Koldo] Álvaro is… like a Terminator.

18:27.583 --> 18:30.791
There's no other way.
And you need to do it right now.

18:31.791 --> 18:34.291
Very cerebral, very technical.

18:35.291 --> 18:36.125
He understands.

18:36.208 --> 18:39.625
He even knows about cameras,
and he'll ask you about the lenses.

18:39.708 --> 18:41.250
Here you're going to use a 20…

18:41.333 --> 18:42.458
-Twenty-nine.
-Nine.

18:43.250 --> 18:45.750
Yes. I ask the camera operators
what they've got on.

18:45.833 --> 18:47.708
That question's not just for Murillo.

18:49.250 --> 18:53.458
You know that he's always gonna do things
the way you asked, or how you agreed,

18:53.541 --> 18:55.541
however you think the scene should go.

18:56.125 --> 18:58.750
It's true. I do like it.
I like working on the little things.

18:59.375 --> 19:01.125
Then, there's a moment where I say,

19:02.375 --> 19:04.041
"Alicia, listen to me." There.

19:04.791 --> 19:07.375
On the other hand,
Najwa is all instinct, just the opposite.

19:07.458 --> 19:11.166
I'm not losing my fucking country
because of you, asshole.

19:11.250 --> 19:13.291
I don't know what I'm doing. Shit!

19:14.416 --> 19:17.708
And Najwa… She's an animal.

19:17.791 --> 19:19.541
A wild animal, not a puppy.

19:20.125 --> 19:21.875
Essentially, I'm more chaotic.

19:22.375 --> 19:25.416
Yes, you son of a bitch.
[laughs] I got you.

19:25.500 --> 19:28.791
[Álvaro] Then I see her working and…
that's it.

19:29.666 --> 19:32.250
That's it. She's Sierra.
She's already in another place,

19:32.333 --> 19:33.541
and I really liked it.

19:34.125 --> 19:38.166
It's really cool because the two of them…
Weirdly, they understand each other.

19:38.875 --> 19:40.666
-[woman] Cut.
-[man] Okay, great!

19:40.750 --> 19:41.625
Bastard!

19:41.708 --> 19:43.791
-[man] Come on, we're cutting.
-Bastard!

19:44.791 --> 19:46.458
[Najwa Nimri] This is wonderful.

19:46.958 --> 19:48.250
He's always very precise.

19:48.333 --> 19:49.958
I love this job, man.

19:50.041 --> 19:51.250
I'm not.

19:52.041 --> 19:53.916
For fuck's sake. Sorry.

19:55.625 --> 19:58.208
We strike a balance that's pretty cool.

19:58.958 --> 20:00.500
And we share a sense of humor.

20:00.583 --> 20:02.291
Oh my God, holy shit.

20:02.375 --> 20:03.458
Ah, balls.

20:03.541 --> 20:05.250
[Álvaro laughs]

20:06.291 --> 20:08.708
There wasn't a single day,

20:08.791 --> 20:11.583
not a single day,
when we didn't have a good time.

20:11.666 --> 20:13.916
Look how pretty this thing I'm making is.

20:14.000 --> 20:15.416
[all laugh]

20:15.500 --> 20:18.208
-Of course, we help each other a lot.
-Yeah.

20:18.291 --> 20:22.041
It's not like, "I'm going to do
this sequence myself."

20:22.125 --> 20:24.333
Rather, "Let's see
how we can find the best way

20:24.416 --> 20:25.958
to do this sequence together."

20:26.458 --> 20:27.583
And that goes both ways.

20:29.083 --> 20:32.250
[Úrsula] Just when everyone
had put their minds at ease…

20:32.333 --> 20:33.708
[water breaks]

20:33.791 --> 20:35.500
…the unexpected happened…

20:35.583 --> 20:36.791
No.

20:36.875 --> 20:39.208
[Úrsula] …at the worst possible moment.

20:39.958 --> 20:40.833
Her water broke.

20:41.791 --> 20:43.833
That's how life goes, right?

20:43.916 --> 20:47.833
It's a birth
like you've never seen before,

20:48.916 --> 20:52.416
in a place that's full of water,
full of disgusting stuff.

20:52.500 --> 20:54.375
But with this character, Sierra,

20:55.041 --> 20:56.333
who's so peculiar.

20:56.416 --> 20:57.625
Holy shit!

20:57.708 --> 20:59.208
[screams]

20:59.291 --> 21:00.500
[puffs]

21:02.916 --> 21:05.125
It's the most punk birth in history.

21:05.208 --> 21:07.708
But of course,
giving birth is giving birth, right?

21:09.500 --> 21:12.500
I'll give birth…
I'll give birth on my own.

21:13.375 --> 21:15.541
There were times
it was like directing Gollum.

21:16.125 --> 21:18.625
Just like… Grandma.

21:19.208 --> 21:22.500
"How will we do it?" I said, "We'll see."
First, you grab onto something.

21:22.583 --> 21:25.166
-[metal clashes]
-[shouts]

21:29.833 --> 21:33.291
You squat down.
And you begin like… Gollum.

21:34.083 --> 21:37.125
…and millions of women…

21:37.833 --> 21:40.541
"Now take the mattress and bring it over."
I said, "But…"

21:41.375 --> 21:45.291
…throughout history.

21:45.916 --> 21:48.791
Najwa was there,
dragging the mattress and…

21:49.916 --> 21:51.916
and carrying the water and all that.

21:52.000 --> 21:53.083
And she was totally…

21:54.166 --> 21:55.000
unhinged.

21:55.083 --> 21:58.625
Welcome to the spectacle of life!

21:59.291 --> 22:02.166
On the days that we shot the birth scene,

22:02.250 --> 22:04.583
I was screaming for eight hours.

22:04.666 --> 22:06.375
[moans]

22:06.458 --> 22:08.041
Oh God.

22:08.791 --> 22:12.000
-She was there just pushing.
-[moans]

22:12.083 --> 22:13.375
[shouts]

22:13.458 --> 22:15.291
[pants]

22:15.375 --> 22:16.541
"I can't!"

22:16.625 --> 22:19.083
[shouts and moans]

22:19.166 --> 22:20.583
"Bastard!"

22:20.666 --> 22:22.208
[screams]

22:22.291 --> 22:25.208
"Spain!"
I can see the whole crew behind me.

22:25.291 --> 22:29.333
She says "I like Madrid.
I like torreznos."

22:29.958 --> 22:32.625
And the Puerta del Sol.
And the corruption.

22:32.708 --> 22:35.791
And I'm not losing my fucking country
because of you, asshole.

22:36.416 --> 22:40.166
And I said,
"How can you say that dialogue, like that,

22:40.250 --> 22:43.000
in that situation, and have it move me?"

22:43.083 --> 22:45.625
Because I was saying,
"Yes! Yes, I do too!"

22:45.708 --> 22:47.958
["Reload" by S.J. Collisson
and V. Westlake plays]

22:48.041 --> 22:49.333
Always doing more.

22:49.916 --> 22:51.916
What was really surreal was, obviously,

22:53.666 --> 22:55.291
seeing Najwa with the prosthetic…

22:55.375 --> 22:57.416
When everything's all done? No.

22:58.000 --> 22:59.583
…um, vagina for those shots

22:59.666 --> 23:02.416
where she records herself
with a ruler and a cell phone.

23:03.250 --> 23:06.291
It's very realistic
because it's painted from the inside out.

23:06.375 --> 23:08.916
We tried to represent
all the layers of color on the skin.

23:09.000 --> 23:11.416
["Reload" continues playing]

23:15.791 --> 23:18.791
Of course, as always,
we wanted to make things real.

23:19.291 --> 23:21.833
We would've liked to have
a newborn baby at least

23:22.416 --> 23:26.166
so we could bring a baby out crying
and capture that crying or something.

23:26.666 --> 23:29.875
But, of course, we couldn't.
And we did it with a doll.

23:30.458 --> 23:31.875
The baby's made of silicone.

23:33.458 --> 23:36.833
And it moves its eyes, eyebrows,
eyelids, mouth, and it breathes.

23:38.916 --> 23:40.208
[Álvaro] They would put, like…

23:40.291 --> 23:44.500
I don't know, some cream and stuff on it
to make it look sort of like the placenta

23:44.583 --> 23:45.833
on a newborn baby.

23:45.916 --> 23:48.166
And because of the cream
it was super slippery.

23:48.250 --> 23:50.583
And then you would go and pick it up and…

23:50.666 --> 23:52.333
it would fall out of your hands.

23:52.416 --> 23:55.958
And you would continue the scene
until you could hold it up. "I got it!"

23:56.041 --> 23:58.791
Like in The Lion King. "Here is Simba."

23:58.875 --> 24:00.083
-It's a robot!
-Yes.

24:01.083 --> 24:04.750
The doll looked like a real baby
because its eyes moved.

24:06.333 --> 24:08.375
-Why do I have a baby in my arms?
-Give it to me.

24:08.458 --> 24:09.666
He doesn't wanna carry it.

24:10.250 --> 24:13.583
It made these scary sounds.
Like, it's very Chucky.

24:13.666 --> 24:15.416
-[grunting]
-[Koldo] Cut.

24:15.500 --> 24:19.416
-Okay, what's that sound?
-That sound is my doll.

24:19.500 --> 24:21.916
[imitates doll]

24:23.291 --> 24:25.000
It makes these really weird noises.

24:25.083 --> 24:29.166
It's gotta be almost mythical. It's one of
the most important moments of the season.

24:29.250 --> 24:30.208
-[baby cries]
-[laughs]

24:30.291 --> 24:32.125
[Migue] Álvaro, can you turn it?

24:32.208 --> 24:34.333
-Like this?
-[Migue] So we almost see it in profile?

24:34.958 --> 24:37.833
I would tell him, "Álvaro,
put it against the window, like this."

24:37.916 --> 24:39.791
"With the light,
so we see it in silhouette."

24:39.875 --> 24:43.458
-[baby cries]
-[Alicia cries]

24:44.375 --> 24:46.500
They were trying to act
and trying to handle it

24:46.583 --> 24:49.208
and doing it really organically,
really beautifully…

24:49.291 --> 24:51.208
[Alicia pants]

24:51.958 --> 24:53.750
But actually, it was really dirty.

24:53.833 --> 24:57.000
And they were there
with all that stuff just lying there,

24:57.083 --> 24:58.500
with the grime and filth.

24:58.583 --> 25:01.583
Later, once this is edited
with the action in the bank,

25:01.666 --> 25:03.875
-[Najwa] It's gonna be…
-People are gonna be breathless.

25:04.541 --> 25:06.541
When they saw
the edited episode, they said,

25:06.625 --> 25:08.541
"It looks like the season finale."

25:08.625 --> 25:11.708
And I think that… That part of it's also…

25:12.958 --> 25:16.541
you know, really supported by the fact
that the main story line of the episode

25:16.625 --> 25:19.666
is Sierra's character giving birth.

25:21.291 --> 25:23.666
And from that event,
which is so intimate, right?

25:23.750 --> 25:26.916
It converges with something
as awful as an explosion in the building

25:27.000 --> 25:29.000
in front of hundreds of extras.

25:29.083 --> 25:32.291
Shit, that also sounds like
it wouldn't work, but it works.

25:32.375 --> 25:36.250
[woman] …what this is about. It looks like
they're planning to enter the building.

25:36.333 --> 25:37.208
[music swells]

25:37.291 --> 25:40.000
[Úrsula] It's in moments like these,
when there's shouting,

25:40.083 --> 25:41.291
gunshots…

25:41.375 --> 25:42.750
-[gunshots]
-Motherfucker!

25:42.833 --> 25:44.250
[Úrsula] …and explosions…

25:44.333 --> 25:45.833
[explosion]

25:46.958 --> 25:49.500
…that we like to talk about our feelings.

25:50.083 --> 25:51.291
The ones that drown us.

25:51.375 --> 25:53.750
When you shoot someone,
you feel like shit.

25:54.333 --> 25:55.791
[Úrsula] The ones that are strong.

25:55.875 --> 25:57.166
In that case, we should kiss.

25:57.250 --> 25:59.250
[Úrsula] The ones that come from within.

26:00.583 --> 26:01.708
Like love.

26:01.791 --> 26:03.583
-No.
-[Denver] Are you okay?

26:03.666 --> 26:05.791
That's classic Money Heist stuff, totally.

26:05.875 --> 26:09.416
Love in impossible settings.
Love at impossible moments.

26:09.500 --> 26:12.541
-The whole army is after me.
-Hey, don't worry about it.

26:12.625 --> 26:13.541
I know.

26:14.458 --> 26:16.666
[Jesús] The heist is the reason for that.

26:16.750 --> 26:18.375
That's what really makes these…

26:19.125 --> 26:21.625
these love stories so intense
and these moments so intense.

26:21.708 --> 26:24.125
Because I've been
in love with him all my life.

26:24.208 --> 26:27.125
Stop messing around.
It's no time for jokes, okay?

26:27.208 --> 26:28.833
It's not a joke, buddy. [laughs]

26:29.416 --> 26:32.458
There has to be love.
There always has to be love.

26:32.541 --> 26:34.625
There has to be love in this series.

26:34.708 --> 26:38.708
But there also has to be love in life.
There's nothing more important than love.

26:39.250 --> 26:42.458
Having a paycheck at the end of the month
is also good and gratifying,

26:43.166 --> 26:44.208
but love,

26:45.708 --> 26:46.875
it has to be there.

26:48.208 --> 26:51.500
I think people are more interested
in how these characters' lives turn out

26:51.583 --> 26:55.583
than in how many bombs are gonna explode,
even if it's flashy and fun to watch.

26:56.333 --> 26:58.833
When these moments happen,
people could say,

26:58.916 --> 27:01.333
"Are they really gonna
start talking about this now?"

27:01.416 --> 27:05.541
And I think, "Yes! Of course they are."
They can sprinkle in a little humor.

27:05.625 --> 27:06.833
[extras shouting]

27:11.000 --> 27:12.583
[Álex P.] We make it feel plausible.

27:12.666 --> 27:17.000
It's our own universe where they can have
a conversation about love

27:17.083 --> 27:19.333
while they're shooting or about to die.

27:19.416 --> 27:22.916
The thing is, since we're gonna die,
because this is getting ugly, you know?

27:23.000 --> 27:26.666
-No, telling you makes me feel calmer.
-No.

27:27.250 --> 27:30.750
In moments where tensions are high,
we might have a fit of laughter.

27:30.833 --> 27:33.833
-[woman] Ready! Let's go to two!
-It fits that moment perfectly.

27:34.333 --> 27:38.125
To be honest, this is hard to pull off
'cause of all the commotion.

27:38.208 --> 27:39.833
Today, nobody's dying.

27:39.916 --> 27:41.708
-Nobody's dying, okay?
-Okay.

27:43.083 --> 27:45.958
[Álex R.] I'm obsessed
with keeping the emotion cranked up

27:46.041 --> 27:48.583
and making it epic as well as emotional.

27:48.666 --> 27:51.458
It has to be like… like a thrill ride.

27:51.541 --> 27:54.250
The tension is continuous.
It just never stops.

27:55.041 --> 27:58.166
When they're shooting at you
and you're fighting for your life,

27:58.666 --> 28:01.208
and the other guy is dying,
with his leg under a statue…

28:02.125 --> 28:06.666
Yeah, finding that moment is
a dramatic achievement, you know?

28:06.750 --> 28:08.541
It's being present. It's here and now.

28:08.625 --> 28:11.583
"Does it have that urgency?" "Yes."
"Let's see what we can do."

28:11.666 --> 28:14.916
Don't worry, Fatty, just breathe.
We're getting you out of here.

28:16.875 --> 28:19.250
"Don't leave me."
Or, "Stay with me, please."

28:19.333 --> 28:20.958
"No, no, no. I won't leave you."

28:21.041 --> 28:22.333
[grunting]

28:23.458 --> 28:25.666
Yeah, it must be like that in war, right?

28:25.750 --> 28:26.875
Arteche!

28:27.375 --> 28:30.208
I can't hear anything, Major.
Tosco's injured.

28:31.833 --> 28:32.666
Launch!

28:35.416 --> 28:38.791
[Belén Cuesta] Outside the kitchen,
there were all of these bad guys

28:38.875 --> 28:41.750
who were like a bunch of G.I. Joes.

28:42.458 --> 28:45.083
It's like you get
completely sucked into the situation.

28:45.958 --> 28:47.791
A lot of physical action,

28:49.125 --> 28:50.708
lots of dust too,

28:51.291 --> 28:54.375
lots of noise,
and then also a lot of emotional stuff.

28:54.958 --> 28:58.125
I don't think it's the best time
to talk about these things.

28:59.000 --> 29:01.916
So, it's all so dynamic.

29:02.708 --> 29:03.875
But you might say,

29:03.958 --> 29:06.375
"I can't believe all this is happening
in the middle of a war."

29:06.458 --> 29:09.416
I think that it's precisely
the war and the heist

29:09.500 --> 29:11.416
that trigger all of these things.

29:11.500 --> 29:13.333
We're in a fucking war, okay?

29:13.416 --> 29:15.791
I'm with Stockholm.
The record couldn't be straighter.

29:15.875 --> 29:18.916
[Jaime Lorente] The hardest thing
was inviting the emotion

29:19.500 --> 29:22.958
almost without any words
because we had very little dialogue.

29:23.041 --> 29:24.583
But we had to get what was going on.

29:25.166 --> 29:28.166
In fact, Money Heist has this thing that,
as an actor,

29:28.666 --> 29:31.500
if you want to work on everything
that's happening to your character,

29:31.583 --> 29:32.708
you'll never get it right.

29:32.791 --> 29:34.416
Are you really in love with her?

29:37.166 --> 29:41.000
[inhales] Well, if at that moment,
I'm thinking,

29:41.083 --> 29:45.125
"I told the Professor I didn't want to go
because my father had been killed."

29:45.208 --> 29:48.500
"I didn't want my son to go through that.
But I did go in, I did it for Rio."

29:48.583 --> 29:51.958
"Now they're gonna kill me and my wife.
My son's gonna end up alone."

29:52.041 --> 29:53.708
"We're trapped. Everyone's gonna die."

29:53.791 --> 29:57.250
If you start thinking about that,
all you can say is: "I can't do this."

29:57.333 --> 30:00.000
-I am in love, head over heels, okay?
-Come on.

30:00.083 --> 30:02.250
-"Come on" what?
-I know you. I mean…

30:02.333 --> 30:05.333
I know who you are.
I know what you like. I know your dreams.

30:06.166 --> 30:07.791
Sometimes we complicate things,

30:07.875 --> 30:10.583
like with the plot,
with the triangles, you know?

30:10.666 --> 30:13.708
We complicate it 'cause we already
went down that path emotionally.

30:13.791 --> 30:16.291
Denver and Stockholm
have already been through a lot.

30:16.375 --> 30:18.166
Manila takes it in a new direction.

30:18.250 --> 30:20.250
My life is like a fucking commercial.

30:20.333 --> 30:22.041
[nostalgic music plays]

30:23.000 --> 30:25.958
Right now, this relationship
is in a very unstable place

30:26.041 --> 30:27.166
and very vulnerable.

30:28.333 --> 30:30.291
And to be honest, I have no idea.

30:30.375 --> 30:31.291
Yeah, same here.

30:31.375 --> 30:34.500
-I think they could take it anywhere.
-Same here. Let's see what happens.

30:35.583 --> 30:38.208
Yeah, Stockholm's
all over the place this season.

30:38.291 --> 30:40.291
[minimalist music plays]

30:41.375 --> 30:45.625
[Esther Acebo] All the scenes
in Money Heist have this crazy intensity.

30:45.708 --> 30:48.958
I always say that, in every scene,
you're either fighting for your life

30:49.041 --> 30:50.541
or for the life of someone you love,

30:50.625 --> 30:53.291
or you're about to kill someone
or about to save them.

30:53.375 --> 30:55.916
So, I mean,
the energy level is always at 1,000.

30:59.333 --> 31:01.375
One of the things I've decided to do

31:01.458 --> 31:04.708
was to get physically prepared
for the role of Stockholm.

31:04.791 --> 31:06.708
Because she already fought
to find her place

31:06.791 --> 31:08.708
in the third and the fourth season.

31:08.791 --> 31:12.916
I think in the fifth season,
she has great little heroic moments.

31:13.666 --> 31:16.458
And it was important
to be really well prepared.

31:18.000 --> 31:20.083
[trainer] That's it. Go, go, go, go.

31:20.958 --> 31:23.333
[Esther] I took it as a challenge.
I mean, I love it.

31:23.416 --> 31:26.250
I've always been involved with sports.
I'm active.

31:26.333 --> 31:28.666
It's something I really enjoy
and have experience in.

31:28.750 --> 31:30.791
So, I'd get an episode
and check the scenes

31:30.875 --> 31:33.541
for any situations where my character
would have to endure something

31:33.625 --> 31:37.250
that I knew was difficult for me.
It just felt like a challenge.

31:37.875 --> 31:39.958
Suddenly, I have to climb
a ventilation shaft.

31:40.041 --> 31:43.333
I didn't realize it was going to be
small and claustrophobic.

31:43.416 --> 31:45.208
I said, "How am I gonna do this?"

31:47.000 --> 31:49.583
I wanted to try,
instead of walking on all fours,

31:49.666 --> 31:52.416
like on my knees,
to do an exercise we call "the bear,"

31:52.500 --> 31:55.250
which actually helped me a lot.
We worked really hard.

31:55.333 --> 31:57.416
And this way, when you get to the shoot,

31:57.500 --> 31:59.500
you know your body
is used to that exercise,

31:59.583 --> 32:02.041
it's used to that movement
and will be able to do it.

32:02.833 --> 32:05.916
[trainer] Okay, go back
to the first position. Three, two…

32:06.833 --> 32:09.750
Okay, awesome. Good, huh? Really great.

32:10.458 --> 32:13.791
Okay, I have to confess
that it was also a wonderful stuntwoman

32:13.875 --> 32:15.291
who took care of the big jump.

32:15.375 --> 32:17.916
I got there feeling motivated,
like, "If I can, I'll do it."

32:18.000 --> 32:21.458
I looked at the pipe, I looked
at the floor, and I said, "Ah, no, no."

32:21.541 --> 32:22.875
[man] Go up more, Marcela.

32:25.875 --> 32:27.625
I had to do that last little baby bit.

32:27.708 --> 32:30.125
Like a little chicken,
two meters from the floor,

32:30.208 --> 32:33.291
and when they said "Action,"
I did the last part of the jump.

32:33.375 --> 32:35.375
[tense music plays]

32:36.833 --> 32:37.666
Arturo!

32:37.750 --> 32:41.458
You still need to have strong arms.
And I said, "I just can't."

32:41.541 --> 32:43.958
And it's like,
"Yes, you can. Of course you can."

32:44.041 --> 32:46.458
First, they help you.
Then you get to set and you do it.

32:46.541 --> 32:47.583
You say, "Yes, I can."

32:47.666 --> 32:49.708
[dynamic music plays]

32:51.708 --> 32:53.666
[Esther] The training helped me
with other things,

32:53.750 --> 32:56.250
not just with specific physical actions,

32:56.333 --> 32:59.333
but also with, like,
a sense of effort, of sacrifice…

32:59.416 --> 33:02.583
I've gotten here some days after shooting
and I'd say, "I can't."

33:02.666 --> 33:05.500
There's always someone who will tell you,
"Yes, you can."

33:07.083 --> 33:09.541
I don't know, my experience was exciting.

33:09.625 --> 33:11.541
Like, "Let's see how I handle this."

33:11.625 --> 33:14.541
I mean, then I had to do a scene
where I'm high as a kite,

33:14.625 --> 33:16.958
almost falling on the floor,
using a body cam,

33:17.041 --> 33:20.375
which is something I'd never done before,
and suddenly he says,

33:20.458 --> 33:22.333
"Do you wanna do this? Are you up for it?"

33:22.416 --> 33:25.708
And it's like, "Please, of course.
I want to do everything."

33:25.791 --> 33:27.666
They put a huge harness on me.

33:27.750 --> 33:31.083
I had bruises for days afterwards,
but I actually enjoyed it a lot.

33:33.125 --> 33:34.791
Stand by. Quiet!

33:39.791 --> 33:41.625
[music ends]

33:43.041 --> 33:45.291
There's always something physical
in Money Heist.

33:45.375 --> 33:47.458
So if you're not in shape, that's bad.

33:50.125 --> 33:51.416
[Darko Perić] I'm a simple guy.

33:51.500 --> 33:54.708
I like to think of myself
as any other guy from the neighborhood.

33:55.833 --> 33:58.750
I take my son to school,
which is also in the neighborhood.

33:59.250 --> 34:00.583
Then I go to the bar…

34:00.666 --> 34:01.916
A sparkling water.

34:02.916 --> 34:04.291
Well, I take my script,

34:05.416 --> 34:08.625
then I record my lines on my phone.

34:09.875 --> 34:12.416
I promise you
that once we get out of here,

34:13.208 --> 34:15.583
I'll take you out to eat
three nights in a row,

34:15.666 --> 34:18.833
and I'll show you why Argentinian meat
is the best in the world.

34:20.166 --> 34:23.416
And then what?
You're gonna take me to the movies?

34:23.500 --> 34:24.333
I'm awake.

34:27.208 --> 34:28.208
Come quick.

34:29.083 --> 34:29.958
They're here.

34:30.583 --> 34:33.125
The thing is,
I started listening to myself

34:33.791 --> 34:36.791
because, of course,
everything I do here, living in Spain,

34:37.583 --> 34:39.916
is in Castilian, and it's not my language.

34:40.541 --> 34:45.708
So I realized that the best way
for me to study is to listen to myself,

34:46.291 --> 34:47.666
reading my lines, you know?

34:49.958 --> 34:53.708
I put on my headphones, grab a basketball,
and go down to the court.

34:53.791 --> 34:55.708
[quiet, tense music plays]

34:55.791 --> 34:56.875
Leg trapped.

34:57.916 --> 34:59.125
Major hemorrhage.

35:00.250 --> 35:01.291
Open wound.

35:01.375 --> 35:02.833
There's blood. [pants]

35:02.916 --> 35:04.125
Lots of blood.

35:04.208 --> 35:06.708
[Palermo] Don't fall asleep.
We're almost there.

35:07.875 --> 35:09.166
And then what?

35:09.250 --> 35:11.000
You're gonna take me to the movies?

35:13.416 --> 35:14.541
They're here.

35:16.416 --> 35:17.250
[music swells]

35:17.333 --> 35:18.500
[tense music plays]

35:20.916 --> 35:23.500
[Álex P.] We're three seasons in
to this second heist.

35:24.291 --> 35:27.416
And we've already gone through a lot
of material in seasons one and two,

35:27.500 --> 35:30.250
so we needed to escalate
the drama, the emotion,

35:30.750 --> 35:32.166
to push the viewer over the edge.

35:32.250 --> 35:35.250
We'll go in by making
that fucking ceiling fly!

35:36.000 --> 35:38.333
[Javier] At this point,
that could only mean a war.

35:38.416 --> 35:42.333
Suddenly, the word "war," in a series
that combines so many different genres,

35:42.416 --> 35:45.166
introducing the war genre
was very exciting.

35:45.250 --> 35:47.333
And sometimes, when it's exciting for you

35:47.416 --> 35:51.166
while you're writing, that means
it might be exciting for the viewer too.

35:51.250 --> 35:53.833
PARATROOPER BRIGADE, MADRID

35:53.916 --> 35:55.291
MILITARY UNIT

35:55.750 --> 35:57.416
[military music plays]

35:59.916 --> 36:03.291
[Jesús] We had to storm the Bank of Spain.
The army had to enter.

36:03.375 --> 36:06.833
Our guys had to confront
each other face-to-face,

36:06.916 --> 36:09.583
in open warfare,
and we thought "This is the moment."

36:10.708 --> 36:12.708
[Sagasta] Let's go! Everyone down.

36:12.791 --> 36:13.958
Move it!

36:14.041 --> 36:16.083
[Fernando Cayo] The tension
goes up to another level.

36:16.166 --> 36:18.291
Until now, we'd tried
not to get our hands too dirty,

36:18.375 --> 36:20.333
but now we're going one step further.

36:23.333 --> 36:24.583
[tense music plays]

36:25.833 --> 36:28.500
It totally felt like
we were creating our own Vietnam.

36:29.708 --> 36:30.708
Take cover.

36:31.541 --> 36:33.375
[tense music builds]

36:33.458 --> 36:34.375
[machines beep]

36:34.458 --> 36:35.916
[explosion]

36:38.583 --> 36:40.583
[minimalist music plays]

36:43.416 --> 36:46.375
[Úrsula] And all
that military hardware would fall

36:46.875 --> 36:49.500
on the most luxurious set
we've ever built.

36:56.416 --> 36:59.208
[Abdón Alcañiz] It's a huge luxury
to see how this space evolved.

36:59.291 --> 37:02.416
And soon this whole evolution
is gonna be reversed.

37:03.000 --> 37:06.458
We're gonna break it. It's gonna explode.
It's gonna be blown to bits.

37:07.041 --> 37:09.000
Every piece you can see in the museum,

37:09.916 --> 37:13.416
the tables, the painted tabletops,
the paintings, everything…

37:13.500 --> 37:16.500
Everything single item
was made by us, by hand.

37:17.458 --> 37:18.791
We knew from the first minute

37:18.875 --> 37:21.333
that every single piece
was gonna be destroyed.

37:30.166 --> 37:35.416
I had to make a dossier with everything
that's actually inside the Bank of Spain.

37:35.916 --> 37:39.625
All the references they have
are listed in the Official State Bulletin

37:39.708 --> 37:42.166
when they buy any work of art.

37:43.291 --> 37:44.916
[Abdón] If you look at this museum,

37:45.541 --> 37:49.083
we've gone through the entire timeline
of the history of gold.

37:49.166 --> 37:52.958
We're even talking about a private
collection with a Goya, for example.

37:53.041 --> 37:55.958
[Ángel] There are Goya paintings in there.
The Quimbaya gold.

37:56.041 --> 37:58.250
We've got Amnesty International
on our backs.

37:58.333 --> 38:00.166
You wanna pick a fight with UNESCO?

38:03.000 --> 38:07.583
[Úrsula] More than 180 days of work,
by the hands of more than 50 people,

38:07.666 --> 38:12.958
including builders,
sculptors, blacksmiths, designers,

38:13.041 --> 38:15.791
carpenters, and painters.

38:16.958 --> 38:19.166
You can print it, texturize it, and so on.

38:19.250 --> 38:22.291
But why do we paint it by hand?
Well, fuck, because we can.

38:24.000 --> 38:27.083
[Álex P.] When you have a story to tell,
you have to tell it in an honest way.

38:27.166 --> 38:31.083
And we built something wonderful
so we could destroy it

38:31.166 --> 38:35.333
and be true to the story we wanted to tell
and the genre we wanted to work with.

38:35.916 --> 38:41.208
And start getting used to the idea
that there'll be absolutely nothing left.

38:41.291 --> 38:43.583
-Nothing should be left.
-[man] Devastation.

38:43.666 --> 38:46.541
If a single statue is left standing,
we failed.

38:46.625 --> 38:47.458
MUSEUM OF GOLD

38:47.541 --> 38:50.625
We're making the most beautiful place
in the Bank of Spain.

38:51.125 --> 38:52.791
A banquet room with a gold museum.

38:52.875 --> 38:55.416
What about all this gold,
are we not gonna melt it too?

38:56.583 --> 38:59.666
[Javier] We wanted a coffered ceiling.
That was nonnegotiable.

38:59.750 --> 39:03.000
We were excited about a coffered ceiling
so we could break it.

39:03.083 --> 39:04.458
Yeah, so we could break it.

39:04.541 --> 39:07.333
Imagine if it was a drywall ceiling.
Nobody would want to see it.

39:07.416 --> 39:09.291
"I'm gonna show
a drywall ceiling breaking."

39:09.375 --> 39:10.583
"Okay, sure."

39:10.666 --> 39:12.916
"I'm gonna break
an 18th-century coffered ceiling."

39:13.000 --> 39:14.166
And you say, "Let's go!"

39:14.250 --> 39:17.541
[Ángel] That ceiling
was constructed in the 18th century.

39:17.625 --> 39:20.208
It was brought from a palace in Jaén
during the Civil War

39:20.291 --> 39:22.166
to protect it from the bombings.

39:24.500 --> 39:28.416
And actually, when I read the script,
I said, "But it's just one scene."

39:29.208 --> 39:32.583
There's only one scene
in which the set is entirely visible.

39:34.000 --> 39:37.000
I have to admit, I felt worried
every time I read the scripts.

39:37.083 --> 39:39.208
They burned down Berlin
during World War II.

39:39.291 --> 39:42.333
Nobody said, "Don't bomb
this neighborhood, it's beautiful."

39:43.375 --> 39:47.208
"My God." That's what you think
when you read the script and it says,

39:47.291 --> 39:50.875
"The skylight falls, it falls."
You say, "Let's see how we can do this."

39:50.958 --> 39:52.000
Then you do it.

39:52.083 --> 39:55.666
[Úrsula] Because, yeah.
We built all of that stuff

39:55.750 --> 39:59.166
for a total of one minute and 30 seconds
of screen time.

39:59.250 --> 40:01.500
Not this time. There's no plan B.

40:02.916 --> 40:05.000
In a sense, it's the beauty of chaos.

40:05.083 --> 40:08.291
War brings destruction,
and this was the essence of our story.

40:08.375 --> 40:11.833
And it all looked absolutely beautiful,
but we were gonna blow it up.

40:12.416 --> 40:15.375
One of our references
was Gervasio Sánchez's photograph

40:15.458 --> 40:17.166
of the library in Sarajevo.

40:17.250 --> 40:20.000
We were looking for
that aesthetic of destruction.

40:20.083 --> 40:22.208
It's a very obvious metaphor, isn't it?

40:22.291 --> 40:25.291
With the mental state
our characters were in.

40:25.375 --> 40:27.541
The confinement, the siege…

40:27.625 --> 40:30.958
FILMING THE EXPLOSION, NOVEMBER 2020

40:31.041 --> 40:32.333
[minimalist music plays]

40:32.416 --> 40:33.916
Wow! It's incredible!

40:34.000 --> 40:35.125
Have you seen this?

40:35.208 --> 40:38.000
-This is spectacular.
-This is where I'm gonna spend…

40:38.083 --> 40:41.125
[Úrsula] The banquet room, when I saw it,
I said, "You're gonna destroy this?"

40:41.208 --> 40:43.166
The museum, everything…? What a pity.

40:44.000 --> 40:47.583
Yeah, I said,
"Oh my God, so much money." [laughs]

40:48.291 --> 40:50.958
This is gonna break
more than one heart. [laughs]

40:51.041 --> 40:52.416
[disorderly music plays]

40:56.875 --> 40:58.250
I didn't sleep at all that night.

40:58.333 --> 41:02.250
In fact, I had several different dreams
where the explosion went seriously wrong.

41:02.333 --> 41:04.125
So "Action." That action is for everyone.

41:04.208 --> 41:05.583
Obviously, this was one take.

41:05.666 --> 41:09.166
The set falls on top of us on "Action."
That's the basic idea.

41:09.750 --> 41:13.125
You have a single take
to tell the story you wanna tell.

41:13.666 --> 41:15.583
While the roof falls
and he's sent flying off,

41:15.666 --> 41:17.416
the glasses burst and the lamps burst.

41:18.000 --> 41:19.750
I sat down, crossed my fingers…

41:20.708 --> 41:22.416
[disorderly music builds]

41:26.333 --> 41:28.000
Javi Jal gets there and it blows up.

41:28.083 --> 41:30.000
[explosion]

41:30.083 --> 41:32.333
Everything will be destroyed.
Everything will break.

41:32.416 --> 41:33.458
[explosion]

41:34.500 --> 41:35.750
It's all gonna go flying.

41:35.833 --> 41:37.708
-[gust of wind]
-[glass shatters]

41:38.541 --> 41:40.208
This is glass. We're gonna blow it up.

41:40.291 --> 41:41.500
[explosion]

41:43.583 --> 41:45.458
Then the sculptures fall.

41:45.541 --> 41:46.666
[shouts]

41:46.750 --> 41:48.333
All this is on a hinge.

41:48.416 --> 41:50.166
[items breaking]

41:51.500 --> 41:52.625
Then the tables break.

41:52.708 --> 41:54.250
[electronic music plays]

41:56.041 --> 41:57.958
We've been working on this
for a long time.

41:58.041 --> 41:59.708
We started during the lockdown.

41:59.791 --> 42:01.291
Here we have the remains.

42:01.375 --> 42:02.208
-Right, Javi?
-Yeah.

42:02.291 --> 42:05.166
-From the fireworks display.
-Yes, that's all that's left.

42:05.250 --> 42:07.583
We've gone through a lot,
but in the end, it worked out.

42:07.666 --> 42:09.916
-It came out the way we wanted.
-It was incredible.

42:10.000 --> 42:12.916
ALBA FLORES, MADRID (RETURNS TO FILMING)

42:13.000 --> 42:14.875
-Hi, how are you?
-[woman] Hi.

42:16.000 --> 42:17.708
[minimalist music plays]

42:17.791 --> 42:19.750
-[man] Good morning.
-Hi, good morning.

42:22.875 --> 42:26.208
[Alba Flores] I felt very distant
from the character, but I said,

42:26.291 --> 42:28.250
"They'll come and work their magic."

42:29.791 --> 42:32.833
-The scene we have is really beautiful.
-[Alba] Yeah, dude.

42:33.625 --> 42:35.250
-You're gonna die?
-[Úrsula] Yup.

42:35.750 --> 42:38.125
-Oh, man.
-[Úrsula] I die in the next episode.

42:38.208 --> 42:39.791
-[woman] Oh, wow.
-Episode five?

42:39.875 --> 42:41.000
-Yeah.
-How do you die?

42:41.083 --> 42:44.166
-[laughs] I blow myself up.
-[Alba] You blow yourself up?

42:47.583 --> 42:48.833
I still think that…

42:49.750 --> 42:52.041
a timely death is a victory.

42:53.041 --> 42:56.875
The characters have a journey,
and if you stretch it out for too long…

42:56.958 --> 42:59.333
-I think it's better to put an end to it…
-Totally.

42:59.416 --> 43:00.416
…tastefully.

43:00.500 --> 43:01.416
[nostalgic music plays]

43:01.500 --> 43:02.833
What do you think happens?

43:04.708 --> 43:07.833
What, after they shoot us
in the head? [laughs]

43:09.083 --> 43:12.666
And I realized, "How nice…
How nice that they wrote it like that."

43:13.750 --> 43:16.541
"Because in the end,
what matters to her is having experienced

43:16.625 --> 43:19.375
something real with someone, with people."

43:19.458 --> 43:21.500
I think I'd like people to say that…

43:22.791 --> 43:24.750
that they shared things with me.

43:25.458 --> 43:27.875
But, you know, like something that's real.

43:28.875 --> 43:32.958
I feel bad because it's episode four.
In episode five, my character dies and…

43:33.916 --> 43:36.416
It's like a spoiler,
like we're revealing this ahead of time.

43:37.208 --> 43:38.875
[Úrsula] But it wasn't a spoiler.

43:39.458 --> 43:40.291
It was a plan.

43:40.375 --> 43:42.458
…living in the final thought you have…

43:42.541 --> 43:45.083
[Álex P.] When Nairobi
and Tokyo are talking,

43:45.166 --> 43:47.166
we're actually anticipating a fatal event,

43:47.250 --> 43:49.625
because that conversation
is about death, right?

43:50.166 --> 43:51.125
And so,

43:51.708 --> 43:54.166
we think that
when the viewer gets to this point,

43:55.000 --> 43:56.916
they'll begin to have the feeling that

43:57.666 --> 43:59.875
on one hand, "They wouldn't dare."

43:59.958 --> 44:02.750
But on the other, we're saying,
"We're going in that direction."

44:03.833 --> 44:06.166
We want Tokyo's death to hurt you.

44:06.708 --> 44:09.333
So we're gonna tell you
about Tokyo's life, her past,

44:09.416 --> 44:11.083
Tokyo's love, Tokyo's pain,

44:11.166 --> 44:12.541
and who she really is

44:12.625 --> 44:14.250
on the episode we kill her.

44:16.000 --> 44:18.125
[Jesús] To me,
she's always been a cursed character.

44:18.208 --> 44:21.375
We needed to see it.
We needed to see what that love was like.

44:21.458 --> 44:22.958
[upbeat violin music plays]

44:23.041 --> 44:28.125
We needed to feel
the importance of her backstory

44:28.625 --> 44:30.208
and why they needed to steal.

44:30.291 --> 44:33.500
How they were really
just two neighborhood kids

44:34.208 --> 44:35.791
who needed to run away.

44:36.875 --> 44:38.666
I want to enjoy you all the time.

44:42.541 --> 44:45.333
[Úrsula] The whole thing in Lisbon
is something like…

44:46.541 --> 44:49.291
It's like a dream. Like…

44:50.791 --> 44:51.708
some fantasy.

44:51.791 --> 44:54.125
[optimistic piano music plays]

44:56.541 --> 44:59.166
[Úrsula] This is such
an addictive series, dude.

44:59.250 --> 45:02.333
I've complained, I've suffered…

45:03.000 --> 45:05.833
But, I mean, of course in the end,
there's something…

45:09.166 --> 45:10.000
[laughs] Fuck.

45:19.541 --> 45:22.875
What really moves me
about this series is the people, dude.

45:24.208 --> 45:28.625
And I don't know if I'm ever gonna find
that again in my career, you know?

45:29.208 --> 45:30.708
Meeting people who are so…

45:33.458 --> 45:34.708
People that give it their all.

45:36.166 --> 45:38.208
That moves me. A lot.

45:40.291 --> 45:42.250
I'm really moved by Jesús Colmenar.

45:44.041 --> 45:47.416
I'm really moved by the actors.
By Álex Sancho.

45:47.500 --> 45:51.333
By everyone. I mean, It's like…
I feel like they put everything into it.

45:53.541 --> 45:55.458
And that is something that's very "us,"

45:55.958 --> 45:57.500
very much our culture.

45:57.583 --> 46:00.833
This also has to do with our passion,
you know? That's it.

46:01.416 --> 46:04.750
There's something very passionate
in the way that we do things.

46:05.375 --> 46:08.708
The people who have come together here
are very… committed.

46:11.333 --> 46:14.166
And I think that's the secret
of the series.

46:15.166 --> 46:16.750
I think that's just… [sighs]

46:18.708 --> 46:19.916
That's priceless.

46:21.583 --> 46:23.458
[music intensifies and ends]

46:23.541 --> 46:25.541
Hello, hello, hello, hello.

46:26.708 --> 46:27.916
Úrsula entering the set.

46:29.000 --> 46:30.458
Last day of Money Heist.

46:31.333 --> 46:34.416
[Úrsula] The ending is
really symbolic for Tokyo.

46:35.708 --> 46:38.250
[pensive western music plays]

46:39.041 --> 46:40.625
[shouts]

46:40.708 --> 46:43.416
[Úrsula] There's a moral
to the story too, you know?

46:44.625 --> 46:46.041
About enjoying life,

46:46.125 --> 46:48.833
which I think is interesting and it's…

46:50.125 --> 46:52.666
very easy to grasp in the episode.

46:53.708 --> 46:58.208
[Tokyo] And those five bullet wounds
reminded me of my samurai.

46:58.875 --> 47:00.833
And it's kind of like…

47:01.333 --> 47:04.791
a mix of all the different lives
she's talked about,

47:05.791 --> 47:07.000
that she's lived.

47:08.000 --> 47:11.291
Because, at the end of the day,
the Professor gave her a second life.

47:11.791 --> 47:13.041
That's really beautiful.

47:13.125 --> 47:14.666
-[sobs] Something ends today.
-No.

47:14.750 --> 47:16.875
But now is the first day
of your next life.

47:18.500 --> 47:22.416
It's so generous of Tokyo
to take her own life to save her friends.

47:22.500 --> 47:25.458
At the same time, she's offering Rio
that same lesson, you know?

47:25.541 --> 47:28.458
The lesson that she's learned
throughout out her life, which is,

47:28.541 --> 47:32.833
"Finish one story and experience the next,
because life is full of wonderful moments,

47:32.916 --> 47:34.333
but only if you let go of the past."

47:35.166 --> 47:37.875
There's actually a basic theme
throughout the season, which is

47:38.458 --> 47:40.916
"How many lives am I capable of living?"

47:41.000 --> 47:44.000
[in Spanish] ♪ How many hearts
How many lives are there? ♪

47:44.083 --> 47:46.666
♪ How much heart
And how much life do I have? ♪

47:46.750 --> 47:49.416
♪ How many hearts
How many lives are there? ♪

47:49.500 --> 47:51.833
♪ How much heart
And how much life do I have… ♪

47:52.958 --> 47:55.083
I was at home listening to the song,
and I said,

47:55.166 --> 47:58.083
"Wow, it's everything
that's going on in this moment."

47:58.166 --> 47:59.791
"It fits really well, honestly."

48:00.583 --> 48:02.916
Maybe there's a bit of that in the song.

48:03.000 --> 48:08.125
Maybe unconsciously everything
that was happening to me as a character

48:08.208 --> 48:10.041
was also reflected in that.

48:11.208 --> 48:13.958
[Úrsula] I've been trying to get used to
the idea that I'm done, but…

48:14.041 --> 48:15.166
[Rio] No!

48:16.291 --> 48:17.125
It's hard.

48:17.791 --> 48:18.625
It's hard…

48:20.666 --> 48:22.500
for my brain to understand that.

48:22.583 --> 48:26.708
♪ To have me, kill me
It turns out I have no owner ♪

48:26.791 --> 48:32.666
♪ Shoot me, to have me, kill me
It turns out… No! ♪

48:32.750 --> 48:35.041
♪ So still and broken
In front of the mirror ♪

48:35.541 --> 48:37.708
♪ Those aren't my eyes
That's not my reflection ♪

48:37.791 --> 48:40.416
♪ A muffled scream
Is heard in the distance… ♪

48:41.000 --> 48:42.000
I survived!

48:42.500 --> 48:45.041
♪ Where am I going? Where am I going? ♪

48:45.125 --> 48:47.458
♪ Where am I going? Where am I going? ♪

48:48.625 --> 48:51.333
♪ How many hearts
How many lives are there? ♪

48:51.416 --> 48:53.750
♪ How much heart
And how much life do I have… ♪

48:54.500 --> 48:57.125
"Today is the last day
of something beautiful and exciting,

48:57.208 --> 48:59.041
but it's the first day of your next life."

48:59.125 --> 49:02.000
"And all of us who love you
wish you many lives."

49:02.083 --> 49:05.958
"Thank you for these years, Úrsula.
Good luck in all the careers yet to come."

49:06.041 --> 49:07.791
[cheers and applause]

49:07.875 --> 49:12.291
♪ I hide and my fear… No! ♪

49:12.375 --> 49:14.625
♪ Once again ♪

49:15.125 --> 49:17.125
♪ Killing myself ♪

49:17.833 --> 49:20.625
♪ Breaking myself again ♪

49:20.708 --> 49:23.208
♪ Losing myself again ♪

49:23.708 --> 49:29.000
♪ Breaking myself again
Losing myself again ♪

49:29.083 --> 49:32.125
♪ Asking myself again ♪

49:33.291 --> 49:35.958
♪ How many hearts
How many lives are there? ♪

49:36.041 --> 49:40.291
♪ How much heart
And how much life do I have? How many… ♪

49:40.375 --> 49:42.000
Okay. That's all, folks.

49:42.083 --> 49:44.041
♪ …and how much life do I have? ♪

49:44.125 --> 49:46.375
♪ I hide ♪

49:46.458 --> 49:49.291
♪ I hide and my fear speaks ♪

49:49.375 --> 49:53.500
♪ I hide and my fear… No! ♪

49:54.333 --> 49:59.000
♪ Killing myself again ♪

49:59.791 --> 50:05.333
♪ Breaking myself again
Losing myself again ♪

50:05.416 --> 50:10.833
♪ Breaking myself again
Losing myself again ♪

50:10.916 --> 50:15.000
♪ Asking myself again ♪

50:15.083 --> 50:17.791
♪ How many hearts
How many lives are there? ♪

50:17.875 --> 50:20.708
♪ How much heart
And how much life do I have? ♪

50:20.791 --> 50:23.500
♪ How many hearts
How many lives are there? ♪

50:23.583 --> 50:25.916
♪ How much heart
And how much life do I have? ♪

50:26.000 --> 50:31.250
♪ I hide, I hide and my fear speaks ♪

50:31.333 --> 50:33.958
♪ I hide and I'm not myself ♪

50:34.041 --> 50:37.041
♪ I'm not speaking, my fear speaks ♪