How did you manage to shoot this entirely underwater?

It was a very meticulous job since we began working on it until the end – from the swimming pool selection, the underwater casting of actors, callbacks, wardrobe tests (first out of the water, and then underwater). Rehearsals. And an asphyxiating shoot.

First, we designed a huge platform where we built all the art and decoration, then we submerged this whole platform 5 meters underwater. An unthinkable work of engineering that turned out the best way possible.

What were the key lessons you learnt about underwater filming?

That you have to be very patient. It´s a slow process where safety comes first. There´s no chance of rushing or risking anything. Everything needs to be predetermined and rehearsed, there´s no place for improvisation.

Anything you’d do differently next time?

Nothing in particular. But at the same time, I would try changing everything, for it to be a new and different experiment.

What were the key challenges and how did you resolve them?

As I said before, the pre-production phase was very important. We had 30 people submerged at the same time, very deep. Everyone had weight on their bodies so they could move and dance without floating up to the surface. That’s why the cast selection was so important. I couldn’t get over the panic of drowning myself!

Everything had its complexity, such as the wardrobe, that had weights attached to it carefully and strategically so it could float and move in an aesthetic way. The make-up was water resistant, of course. The communication system. Also, we had to build waterproof disco lighting, even though we had special lights to shoot underwater. Another important thing was that everything that went into the water had to be carefully cleaned up to avoid getting the water dirty.