La casa de papel: De Tokio a Berlín (2021) - full transcript

WARNING: THIS DOCUMENTARY
CONTAINS SPOILERS FROM THE FIFTH SEASON

A NETFLIX DOCUMENTARY

How do you bring
something so huge to a close?

I remember the last shot.
When we said, "That's the one."

They didn't want
to get out of the helicopter.

They stayed inside,
taking photos, hugging each other.

To think how far I've come,
both as an actress and as a person,

while being here, and… now, it's over.

It brought together
so many emotions

over a long period of time, and…

and I can still feel it.



I'm gonna miss
Darko, Jaime, Miguel, Esther, Itziar.

It's sort of
a life-changing experience.

Such intense work, you know?

Wait.

Give me a minute.

It's like a little light bulb goes on,
and you think, "Shit, it's really over?"

Yeah. What can you do?

Oof. What a journey, right?
What a journey.

To see
your colleagues there…

right in front of you…

Well, it's very moving.

I think the effort
that the Vancouver team made,

as a whole, all the departments,
was just… tremendous.

It's been four seriously intense years.



So many people who haven't stopped
for a single second.

I can only express gratitude
for everything Money Heist has taught me.

To be honest, I feel a great deal
of sadness about finishing Money Heist.

We could get all melodramatic,

appeal to nostalgia,

and talk about how sad we are
to be finished with all this,

but that would be so unfair.

Because this season
has been a celebration.

Yeah! Yeah!

Sure, it was the last one.

But that's precisely why
it was the most marvelous one.

We celebrated until dawn.

We danced. We sang.

We went back
to where it all began.

We felt the pulse of life.

We pretended
we were on the Norwegian Sea,

when it was really the Canary Islands.

I don't want water! I want whiskey!

We laughed.

We had contests.

It starts with an A.
The word Hovik says to me every morning.

- "Abnormal."
- That's it!

We practiced on canvases,

and we laid down houses
on top of gigantic treasures.

So, welcome to our last heist.

Experience it with us.

They've had such a good time

that it would be a shame
for you to miss out on it.

This is the last day.
Then, it's all over.

Well, we didn't all have
such a great time.

Some of us suffered.

A lot.

All sorts of things are happening
to the Professor.

The writers aren't letting me get
the slightest break.

I can't right now, Marseille.
I can't right now.

Yeah. First, I was tied up.

I escaped. They tied me up again.

I'd appreciate it
if this rope were a little shorter.

I think it's better here.

All sorts of things are happening.
There's more to come.

There's an explanation for this.
It's all part of a recipe.

The more the Professor's plan
goes off the rails,

the more the tension escalates
in the show.

Look the kid in the eye!

This is too much.

Suddenly, the series breathes.

We go outside the bank a lot.

It's like…

It's intense. It's frenetic.
But at the same time, very concise.

The Professor has to face
a bunch of problems that come up.

Things he hasn't planned for
and that he has to solve on the go.

What was that?

It's here and now. It has to be done now.

Listen, I have a registered letter
for 5-C.

Would you open the door
so I can leave him the notice? Thank you.

What you can't imagine

are the rituals that Álvaro performs
in order to become the Professor.

I also have a weird side.
My little quirks, my obsessions.

And so, when I work
on a character, I always…

On the one hand, you use music.

It gets me into character,
and it's quite specific.

Gillespie's "A Night in Tunisia."

Because it sort of gets me into the groove
that the Professor has going.

That's right.

And aside from that, I have my ritual
around how each character I play dresses.

First this, then that, and then that.

Until I have my shoes on,
I won't pull up my pants.

Action!

Then, I put my belt on.

With my pants up but not fastened,
I put on my shirt, I do up the buttons.

I can't have my shirt on
before putting on my pants. I'm sorry.

Right after that comes the tie,
which I leave undone.

Then, I roll up my shirt sleeves,

and after that, I make the knot on my tie,
which has to be at the exact spot.

I'll sometimes tie it seven
or eight times until it's perfect.

'Cause the tip of the tie has to fall
exactly halfway over the belt buckle.

But if you want
to imitate the Professor,

you'll need to know a few tricks.

The first one is obvious.

The glasses, of course.

He always puts them on
with both hands…

and adjusts them with one finger.

Well, for me,
the glasses are a bit like a mask

on the Professor's disguise
because he's always hiding behind them.

In fact, when there were…
There were moments in this fifth season

that were very awkward for the Professor
because he wasn't wearing his glasses.

For him, it was very awkward
to be in that situation.

And my glasses?

I need my glasses.

The next trick you need to learn
to be able to do a Professor impression

is the hand gestures.

The Professor doesn't point like this.

He points like this
because he's a convoluted guy.

He's a guy who hides what's really inside.

Why would they go
through all that trouble?

- Because they need to.
- Exactly!

And the final touch
to play the Professor.

His posture.

In the past,
he was a lot more hunched over,

a lot more self-absorbed,
with his shoulders sort of sagging, right?

It's more as if he were constantly hiding
from the world.

And as it gets closer
towards the end of everything,

he starts standing a little more upright.

His entrance at the bank
is one of the moments

when the Professor's standing
more upright.

Or at the end, when they're about to go
in the helicopter.

That's how weird the Professor is.
That's how weird Álvaro Morte is

when he performs his ritual
to get into the character.

Do you know who's
the most important character this season?

The gold.

And the best thing about it?

If we ignore the fact that the real police
would be waiting outside,

you could actually clear out
the Bank of Spain's national reserves.

All you'd have to do is follow our plan
because it is possible.

Yes. Yes, it really is.

That's when the next stage begins,
which enables us to move the gold…

The main challenge in getting the gold out
was… the method of extraction.

First, you have to break down the bars,
melt them.

Once the gold is melted into grit,
you have to get it out through the pipes,

and then it's like, "Now what?"

We're going to make the gold go upstream
like salmon do.

You would think that Palermo
was the mastermind behind our heist,

but in fact, the brains behind our plan

is this man.

My name is Luis Ramón Núñez.
I have a doctorate in naval engineering.

I was director of the school
at Madrid's Polytechnic University.

I've been involved as a researcher
in harnessing the energy of sea currents.

He was the one
who added substance to our…

Am I crazy?

…intuition.

I realized that oil rig pumps
could move gravel from the seabed,

and I said, "Well, if they can move gravel
from the seabed, they can also move gold."

That was all I needed to know.

From that point on,
someone else had to make it a reality.

It extracts the aggregates
from the seabed as if it were baby food.

It's a great idea.
I liked it right from the start.

I thought, "Wow. How original."

We only aspire to pure genius.

I did a precise calculation
for them,

using the basic equations
for fluid mechanics.

Completely. He's crossed every T,
every detail.

You take the density of pure gold,

then see what the volume
of 90,000 kilos might be.

There's no margin of error.

Because they would use all the formulas
I'd come up with on a blackboard.

They'd explain them, and…

It's all measured.
All calculated in detail, Sergio.

When I told Luis Ramón Núñez

that we wanted to get it out
in 26 minutes,

he said, "No."

Impossible.

"Guys, you can't do that. Four hours."

"They're telling me
four hours is impossible, Mr. Núñez."

"What about two hours?"

"Let's see. Two hours? No."

We recalculated.

The best we could do
was about 5,000 seconds.

That's approximately an hour and a half.

Ninety-one minutes
and thirty-seven seconds later…

He couldn't say "an hour and a half."
It didn't sound right.

- How so?
- We have the vault right here, right?

120,000 liters of water.

That will be our driving force.

So then, we're going to use
the following equations.

The first one is the power of the pump.

It's a technical marvel.
5,300 kilowatts of power.

And we get a speed
of 3.25 meters per second.

That's relatively high.

Sergio, we're gonna move the gold
three and a quarter meters per second.

- It's absurd.
- There's one problem with that.

- Now he's wondering, "What about..."
- The loss of pressure due to friction?

We'll calculate the laws
due to friction using the Darcy formula.

The Darcy-Weisbach equation.

An 18th-century
French dynamics engineer.

We've got it to the millimeter.
The only problem we might have...

He's using too much pressure.

It's optimistic,
but it's a very high-quality pump,

practically brand-new
because they stole it

from a Norwegian drilling operation.

All this, after we do the math,
gives us 5,300 kilowatts.

Let's go! Faster! Come on!

4,500!

Five thousand! Now!

It's very clever because, of course,
they're using an existing pipeline

that is supposedly there.

These are the pipes.
This is the stormwater tank.

Here is the river.

And I mean, it's really well thought out
because it's real.

This is real. It can be done.
What he proposes can be done.

My dear friend, no one will expect.

It could be done.

But if there was no emotion
underneath all of this…

Goddammit!

…it would be of no use to us.

Science shall not live on numbers
and calculations alone, Benjamín.

Have a little faith, no?

And a little love too.

We always look at it
from the perspective

of being fully engaged emotionally
with the characters.

That's what gives us the DNA
of Money Heist.

It's not a series about heists.

It's a series about heists
with people who love each other.

It's not just the gold.

It's all the nights
we spent planning it together.

That moment,
I think, is very touching.

When the gold isn't coming out,
and Palermo speaks to the pump, right?

Beautiful memories of my life.
I am begging you, for the love of God.

Making these characters real, you know?
With real emotions.

That's how we make the viewers feel
like they know them.

Don't let this be a mistake.

Don't let it be an illusion.
I'm begging you, for God's sake.

And the main thing
is the romanticism behind this robbery.

It's not so much about the gold itself,

but about achieving the impossible.

At the end of the day,
our characters are romantics.

- They want to achieve the impossible.
- Come on! Come on!

It's emotional because, deep down,
there's a whole love story behind it.

With Berlin.

It was a catastrophe.

It's a bit unwarranted, right?

That a guy like Palermo might fall
for a guy like Berlin, as played by me.

It's a little far-fetched.

Why do you say that?

I remember they said,
"Rodrigo de la Serna is coming."

I thought, "No one
is gonna believe his character is…"

Ah, he's such a flatterer.

Brother.

I felt an instant connection
with you, right?

And I think it was…

- It was sudden.
- It was very sudden.

- Like we immediately found each other.
- Yes.

You think I don't love you?

I feel it too.
There's something between us.

Something extraordinary,
unique, marvelous.

Well, this happens to me
when we work together, right?

It's impossible to predict
what will happen when they say, "Action."

Some scenes, like the famous scene
we did together, where we had to kiss.

I don't remember what we did.

Are you a coward? Huh?

But we grabbed each other. We fought.

There… There was violence.
The scene was violent.

I mean,
I felt like I was insulted as a man

because this guy was leaving,
and he was laughing.

And at that moment, I thought, "Oh man."

"I am gonna kill you.
Gonna rip your throat out with my teeth."

I mean, it was more of a passion thing,
if you will.

But my brother's right.
We have to part ways.

He's far out on the edge.
So broken by loss and heartache.

And he was devastated
by the fact that the only love he ever had

wasn't reciprocated, and on top of that,
he's now dead.

Both your character
and mine are kind of operatic, right?

A little bit operatic.

- You've got something…
- Well, mine is more pathetic than yours.

Well, you always say that.

Well, it's a type of pathos, isn't it?

Palermo embodies that but in a good way.

My drama teacher once told me
there are only three states. Just three.

Which are tragedy, if a tragedy occurs,
pathos, then ominous.

Which, when you've overcome that instance,
but you still recall the tragedy.

Then there's comedy.

When you can take that tragedy
and start to…

- But you have all of them.
- We all do.

We all do, but you have them all a lot.

But it's just those three pure states.
That's all.

There is another. Stress.

Fuck!

Holy mother of Christ.

Well, now the mess is in Madrid.

Yeah, it's typical of Money Heist
to make things harder. Totally.

The other departments hate us,
and for a reason.

Every time we'd read an episode,

I went right ahead to see
how many new spaces would appear.

Working on Money Heist
means constant stress

because you think, "I won't have
enough time to make this new set."

Everything is fine on paper.

I mean, you can write a line

that says, "The Ottoman army
walks through the gates."

And it's just a line, right?
But then you go try to film that.

Well, we actually shot it.

One, go!

What the viewer sees is absolutely real.

We like physical effects.

Almost everything you see,
95% of it is a real physical effect.

If we are supposed to melt gold,
the gold is actually melted.

If it's supposed to rain
through the hole in the ceiling,

in the gala dining room,
it actually rains.

If we are supposed to flood the set,
we actually flood it.

We took the biggest,
tallest space we had, added a few columns.

But it's a stormwater tank,
so what's missing?

I couldn't believe it at first.

The water was missing.

For example, first, he said
there had to be water up to the knees.

"So we'll put water in, guys.
It's tough, but let's fill it with water."

This is a global show,
so everything in abundance.

"Guys, we're one of the leading series.
The others have dragons. What've we got?"

But I mean, what?
Are we going to work in a boat every day?

It became a problem when I went down
and found ten centimeters of water.

It was completely impossible
to go in there

if you weren't wearing
a pair of rain boots up to here.

Production said to me,
"You're crazy. What is all this?"

And when we began doing some tests,

checking the lighting,
of course, it was spectacular.

Because it served as a mirror.

Any lights I put up in the stormwater tank
would be duplicated.

All the columns would be duplicated.
Everything would be duplicated.

So it was big,
but now it would look twice as big.

In the end,
what we saw on the screen,

I had to admit he was right.

It was infinitely better.

Episode 506.
Sixteen A and B. Third, Mark B.

But the big challenge
for production this season

was finding an oil-drilling rig in Norway.

And there's the platform.

We couldn't find one,
so we had to settle for one

that was being repaired
off of the Canary Islands.

We had to pretend
we were in the Norwegian Sea,

though it was 91 degrees.

Roll camera.

It's hot, but I have to pretend I'm cold.

Also, I have a terrible cold,
but no one can tell.

I thought they'd have a tougher time
in the Canary Islands.

They behaved very well.

Want some hot water? Some tea?

We're sweating
in negative four degrees.

They have to dress up
in all these clothes.

Very warm clothes.

What you have here is Arctic melancholy.

Anyone who doesn't need to be here,
please leave. Let's clear the space.

All covered up while it was so hot.

The rest of the crew
were in shorts and T-shirts.

It's a Norwegian oil rig.

And we're going to have to insert ice
in the sea,

replace the sea,
and add ice, so it looks like Norway.

We're actually in Tenerife,
with the sun and the beach.

Don't scare me, okay?

That's our man, Santiago.

He's an underwater rover.

Well, I think that's where we learned

how they formed
the original gang, you know?

The one before the heist at the Mint.

Twenty years working,
and now you want to be a thief.

It's the first time
I had a one-on-one with Berlin.

I'm excited. I'm really excited,
to be honest.

You think this sea
is for cowards, you piece of shit?

You came here dressed
in your mother's coat.

We thought we were
the only romantics left on this earth!

But we found another one!

It's like this.

There is one way
to define a character

that I'd like you to know.

A definition that is physical
and has its own hallmark.

- Yoo-hoo.
- It's her.

My name is Alicia Sierra.

This is my hair.

I'm an inspector for the National Police.

Then I put on the wig
and get some freckles and whatnot,

and I'll turn into that creature,
into whatever I have to be.

I'm off to makeup. Sara!

To play Alicia Sierra,
I have to find a kind of madcap energy.

I don't know what it means,
but it means something.

I wanna start getting banged up.

Put stuff on me, please.

Ta-da.

See? We're doing the freckles.

Sara figured out a way to make them
that's just awesome.

I always ask for more.

- They say, "You can see them on camera."
- Señor Marquina, say hi to the camera.

This is one of the biggest battles.

"More freckles!" And she says, "No!"

I'm 50, so I always pull my hair back.

It's either that or surgery.
So what do I do? Pull my hair back.

It's just an extreme maneuver
to distract us.

Very young, all extra-cool.

I don't ask them
to give me freckles or wigs.

I'm constructing a character,
and I know what kind of qualities she has

based on what they've written.

They told me
she's supposed to be pregnant.

Alicia's here, yes, not me.

And I make up the whole thing.
So I say, "Blue eyes. Her name is Alicia."

And I know how to do it.

The thing is, it's hard to play
a bad person with brown eyes.

Najwa is someone
who likes to be very close to wardrobe.

She likes to play.
She likes to investigate.

She likes trying on a lot of stuff,
you know.

A wig, or a hat, or a sword,
or a scar on your face. It's all the same.

Any extra thing that isn't natural to you.

You really have to take it onboard.
Otherwise, it'll stand out.

Like when you see someone wearing a hat
and think, "Shit. It looks awful on them."

It looks awful
because they're too self-conscious

about the fact that they're wearing a hat.

Hats suit people
who forget they're wearing them.

I swear on the baby Jesus.

Her wardrobe went through
a radical change this season.

The way she arrives
at the stormwater tank,

dressed almost like Colombo.

I mean, it's like she's hiding
behind her glasses and so on.

And it's really nice to see
how she's transformed

into the sexy woman
that we see at the end.

I don't know
if I would've made her so sexy.

I like the top part. I think it's okay.
She's full-breasted after giving birth.

I'm a woman who just had a baby girl,
and I'm breastfeeding.

In the final stretch, near the end,

during the final farewell,
they hit the nail on the head.

The wardrobe was perfect from the outset

because the cut was incredible
with those military colors.

It had everything.

It was, like,
the Sierra of the future. I loved it.

You know
what's really difficult for an actor?

Playing a character
who's always at full throttle.

Jesus Christ.

The challenge
is to keep it all reined in.

Ships, aircraft carriers,
every goddamn fucking thing!

He's a character
with a strong military personality.

Goddammit, I heard you.
I'm trying to think here.

He's full of energy.

Quickly, my ass.

Very exaggerated.

You're givin' me a hard-on, Angelito.

Such a filthy mouth.

She beat us to it, that fucking bitch!

That makes him very humorous.
People have fun watching him.

You just negotiate.

When you have a lively character

who experiences
such powerfully tense moments,

you have to define each one.

Okay, then let's continue
where we left off.

Do you have it open?

- I think we were…
- On page 12.

Oh, okay.

Well then, let's get to it.

The first thing I need
is the script. That's what I start with.

I do an in-depth analysis of the script.

And I normally do that
on my treadmill that I have at home

because it's even been proven
that our memory retains things much better

while we're moving, and that helps me
lighten the workload of study.

Once in a while, my friend Esmeralda
who lives next door lends me a hand.

She's a neighbor
who lives next door here, and she's…

Well, she does me this huge favor
because there's a huge difference

between trying to memorize
the script alone

and interacting with someone else
who's feeding the lines to you.

Great. We've got this one down now.

- That's okay? Page 31?
- Yeah.

"Consuelo?"

I see she's not there.

I press the panic button,
and I go towards… the kitchen.

"Tamayo, we weren't expecting you
so soon."

I really love your home.

- "I'm enchanted by your home."
- "What the fuck are you doing here?"

What the fuck are you doing here?

"Shh! No swearing."

At this age, they're like little sponges.

And I don't want you traumatizing her, so…

"…good vibes. Smile."

Okay. Now I look at the baby.
I look at her.

"If you hurt my wife…"

I'll wipe you off the face of the earth.

And from that point on, I try to find
images that I think are evocative

or that take me back to the moods
that the character goes through

in a particular episode.

I try to create a series of gestures
that have a lot to do with Tamayo.

Also postures. All his gestures.

His body language.
That's all very important.

Like, the moments when he's looking
at the screens, for example.

This gesture is very typical of Tamayo,
isn't it?

And there's all that stuff
he does with his hands

when things are going wrong.

The way he touches his own face.

I don't know. I work with my hands a lot.
With my hands clasped, my fists…

C'mon, c'mon!

Music is one of the first things
I always use.

I try to find music
that takes me back

to the emotional state my character is in.

I use some tracks
by Marilyn Manson that are really punchy

for those moments when the tension
is really cranked up to 11.

- All I want is a fair war.
- That doesn't exist.

By the time I'm on the set,
I don't have to play the music.

The connection's already made.

And I think,
"This scene opens with this track."

And that immediately puts me in my place,
and I'm possessed by a certain rhythm.

Well, that's one of them.
Is that okay?

Hey, but in any case,
if you came back in a flashback,

do you have any particular wish
or idea about how you'd like to come back?

I'd like to come back
sort of appearing to someone.

- Like a ghost?
- Yeah.

That's not really fitting
for Money Heist, is it?

No, I'm serious. In a real flashback.

About a past we haven't seen, or…

I think I might like it if…

if it involved a lot of dancing.

- Please? That's so me.
- We have a few things that might… Right?

- We could fit that into the hake scene.
- Yeah, yeah, yeah.

- What hake scene?
- The night of the hake.

- The night of the hake?
- The night you're gonna see the Professor…

- A little bit…
- Lose it.

- In a messy state?
- Drinking Patxaran.

No way. I'll go crazy. I have to be there.

- Okay.
- Please. I need to be there.

- It's a promise.
- I want us all to be there.

Like, "Yeah, yeah, yeah."
No drama, you know?

So, we can all be there,
dancing, like, "Yeah!"

- The Professor is smoking.
- You're lying.

Yes. He has to lose it at least once.
And you'd have to be there. It's true.

No, please. Tokyo has to…

I mean, come on. No.
That can't be. How can she miss that?

Who was the funny guy or funny girl
who put this fish inside my bed?

The hake scene was…

I think that was one
of the toughest exercises

I've ever had to do.

To stop myself from laughing on set.

You know what?

Ugh!

I resign as the brains behind the gang.

I'd much rather be partying.
Give me the Patxaran.

- Uh, it's more Amaretto than Patxaran.
- Just give it to me. Shut up.

His anger is more like an implosion
than an explosion.

It kinda grabs him, and…

I'm having a great time, and, well…

We are all having a good laugh,
and it's all a lot of fun.

Let's all relax.

Let's all just relax. Okay.

My character, Lisbon,
is amazed to see the Professor dance.

She's never seen anything like it.

You have to freak out.

- Like, it really surprises me?
- Yeah. He's changed.

I suppose it has to do with…
It's a moment of air and light.

Because we're shooting something
that's an action series,

almost like a war series.

All of a sudden,
we're having a nice dinner.

And we're all, like, relaxed.

We had a bit of whiskey.
Some shots. Just a little.

Stanislavski would have been
very proud of us.

What did they tell you
about the hake?

You mentioned the hake scene,
and from the look in your eyes,

I imagine you must have
insider information.

But there's something more
to the night of the hake.

Tokyo returns to give
the Professor a message.

The rest of us can mess around
and get wasted…

…because you're on the other side,
holding the rope.

And she tells him this

because no one can talk
to the Professor like Tokyo does.

She dares to stand up to the Professor
and ask him, "What's up with you?"

"Why are you doing this?"

Do you think it's normal
to arrange your shirts by color?

Have you seen yourself?

Sure. That's what's so great.

They complement each other.

Because they're so different,
and at the same time,

they're so honest with each other.

And their relationship is so… authentic

that this always gives me free rein
to really be the real Tokyo.

There's another thing
about Tokyo and the Professor.

When did we ever have a scene like this?

And now we have the opportunity
to do something really wonderful.

That's why we go back into the lion's den.

In fact, that's the last time
Úrsula appears in the series.

It's the end of episode nine,
and she tells him

that all the others are there
because he's there.

Because we all believe in you.

It's coupled with the fact
that it's a tough moment for him.

It's like Professor is giving up,
and it's like all is lost.

Because we know
we'll always have the Professor.

All of Money Heist is made up
of parents, children, families, friends.

It's all mixed in there, right? Hmm.
All that sometimes-exaggerated emotion.

'Cause I don't want you
to live the life I lived.

'Cause I want you to be free.

Because it's one
of the most universal feelings.

To be someone's child. To love a parent.

To be a parent. To protect your child.

Man, they really fucked me good.

Because now the only thing I want

is to smell my son.

Children look at their parents
with utmost admiration.

I think it's a kind
of homage to parenthood.

I'm really glad.

That we're here.
The two of us together again. Really.

And we've looked at parenthood
from many different angles.

Obviously, we've got Moscow and Denver.

The smallest little hitch comes, boom.
Let's steal.

You're one to talk. You brought me
to steal the money factory.

In that story, we've seen
how difficult it is to bring up a child

and try to set him on the right path.

So you'll learn to do it intelligently
like the Professor.

He knows how to do it right.

You steal big in one go,

not in small amounts
and screwing other people over.

Denver and his dad
are hand in glove.

I mean, they could be brothers
instead of father and son.

- Son!
- Hey!

- You son of a bitch!
- What's up, Dad?

Son, do you have…
were you born with horns?

Why?

I don't know.
Because you're a scumbag.

- Daniel. I never call you Daniel, do I?
- Not even once.

- Only dickhead, dumbass…
- Danny, dickhead…

Just that this kid drives me nuts.

Honestly.

I think that it's really nice
to have the chance to see that reunion,

in which we also saw the relationship
between two fathers.

What I needed
was someone to believe in me.

She's talking about her dad, Papa.

Fuck's sake,
I know she's talking about their dad.

My dad thinks I can't be a robber anymore,
but I can do it now better than ever.

The father who had to take his daughter's
transsexuality on board

without any reference points.

She's… She's starting to live.

She's happy.

She's been in jail all her life.
Don't put her back.

He's a miner who ends up becoming
one of the main elements

in the Bank of Spain heist.

And he's always got an eye on the bank
because his daughter's inside.

Professor, if you see
my daughter, tell her

that I love her very much.

Money Heist is a lineage.

There are families of doctors, right?
Families of lawyers.

Families who honor a profession.

Your grandfather inaugurated
our family line.

Even the Professor says,

"I'm the son of a thief,
the brother of a thief."

"I hope to be the father to a thief."

And I hope someday
to be the father of a thief.

What he means is that this is a lineage.

And you can't run away from who you are,
from your lineage.

And it's in that process of acceptance
that people forge their characters.

The character of Berlin

sees how betrayal played out
in his own home.

By his own son and his own wife.

They run off together,

and that really shakes him up,
but at the same time,

it's a confirmation
that his son is a worthy heir.

The other day, I heard an actor

I have a lot of respect for say,
"Who cares about process?"

I really enjoy
talking about process, though.

I got into painting because I started
blotching up some scripts.

I wasn't a painter.

I started blotching up the scripts,
and it helped me.

I noticed that it helped me concentrate.

So, I started to use that because,
clearly, it was helping me focus.

The concentration needed
for painting or listening to music

is different from dialectic concentration.

Even if we do have to talk in the scenes,
they're completely different.

They're different avenues.

NOT JUST WILD

I'm painting the journey
my character undertakes, in…

…the first two-thirds of the fifth season.

Behind… the act of painting

there is a clear desire…

to connect directly with a deep current

of the things that move us.

That doesn't mean that
just because you're painting,

you're all set, right?

But it is true that you neutralize things
that aren't helpful for creative work.

That's why I sometimes paint
before I hear "action."

Three minutes, Pedro.

The fact is that sometimes trying
to understand the dynamics of a shoot

is just too crazy, right?

And you just keep swimming
in the dark like that,

waiting for that current to come
and lift you up

so you can surf that huge wave.

Oh, if that happens, it's amazing.
It's wonderful.

That's not just a nugget.
It's a whole goldmine.

It's the whole Bank of Spain.

"Add the fingers on your hand
to the toes on your feet"?

Plus your cock
and your balls, it adds up to 23.

"With your cock
and your balls, it adds up to 23."

It would be a pity if that phrase
didn't rhyme in other languages.

You can just stick that in your GPS,
and it'll take you directly to the gold.

Are you asking me
how to say that in English?

Fortunately, we have
a polyglot on our team.

Hands and hands and toes,

dick and balls,

is twenty-three.

I think.

He's so good at languages

that he's given us a peek
at the dubbing process.

Okely-dokely.

I speak five languages perfectly.

Croatian, English, German,
Spanish, and Serbian.

I like dubbing.
I did it a lot in Croatia for cartoons,

and it was a big challenge
to do it with Marseille.

Use pink because she's a girl.

Huh?

Right now, we were just dubbing Marseille
in five languages.

What about Danica?

In my country, it means "morning star."

And Danica?

In my country, it means,
well, "morning star."

We've spent four years
between two heists.

- You call this a day off?
- This?

- Yeah?
- My God.

And although
it's been stressful at times…

- What a load of shit!
- What a load of shit!

…we're convinced we'll always remember
Money Heist with a smile on our faces.

"You use it to have a good time."

"He sets up the rules and the board,
but he is a dirty trickster."

He's great. He's great. The guy is nuts.

This is war!

He's like a big kid. He never stops.

Correct me if I'm wrong, Hovik.

He's a machine gun.

"The powerful muscles of his esophagus
can swallow a living creature

putting up a fight
because it doesn't wanna be swallowed."

Oof. He's a one-man band, huh?

Yeah, I've done this before.

He's flammable, isn't he?

We had a good laugh.

Would you look at that. Today's forecast
said it would be a sunny day, but…

Rain on the set.

We had to light a cigarette in the rain.

Pfft.

One of the guys from the art department

had to bring it
under an umbrella already lit.

Careful. There's a gap there.

So that we could smoke
and get on with the action, right?

Man, they were smoking their cigarettes.

I mean, it was impossible.
They were smoking like this.

All the crazy things
that happen in this business.

A real show.

People wouldn't begin
to imagine all those things.

And they probably can't believe
that we dropped a drone in the water.

- There's batteries on it.
- Whoa!

We were standing there,
and suddenly, we heard, "Boom!"

I could see the drone sinking,
like, with the bubbles rising up.

And I looked over and I saw
Jesús Colmenar yelling, "No!"

They're testing us, the Viking gods.

You know the classic smell of burnt drone?
That's what it smelled like.

It fell into the water with the camera
and all, man. It crashed.

Or that we had to train
a Great Dane but weren't very successful.

Calm down, and then he's going to…

It's difficult because… he's really heavy.

It's not an easy scene.

He might knock everything over
at any moment.

Can he lay down? Can he?

Ask him. I think so. Look.

Good boy.

That's the shot. That's the shot.

When I kissed Pedro,
he got all excited, and he climbed on me.

Or that this is,
in fact, what actually happens

when we travel.

Here's the boss. He does this.

"Son, son.
Brother. Listen to me."

"I never do this. Never. Hmm?"

"Thing is, I think that we're turning this
into a… co… uh…"

"…a comedy."

"A comedy."

This son of a bitch gets under your skin,
and it's absolutely wonderful.

The time has come
for us to do something.

We tell them the truth.

Here's a secret.

The writers made it
to the last day, the last hour,

not knowing how the series would end.

We had a lot of sleepless nights,
to be honest.

A lot. And we were really worried
because… we didn't have an ending,

or we had one
that would be… disappointing.

"Álex, I can't sleep
because I'm so embarrassed

about what we came up with."

"We don't have an ending."

He says, "I haven't slept
in three days myself."

"What are we gonna do?"

We had to shoot.
They were asking us for the script,

and we didn't have an ending.

People kept saying,
"Give us the script already."

"Didn't you know how it would end?"
We said, "Of course."

"We're just polishing it up."
We had no idea!

It's the Spanish picaresque.

And at a certain point, we realized
that the Viking gold was the key.

And then we came up
with the idea for the brass, and we said,

"Great! What a relief. We have an ending."

The ingots that came in those trucks
are gold-coated brass.

And at that point, it all fell into place.

We realized that the Professor had
one last ace up his sleeve.

And also, it was a much happier ending
than anyone could've imagined.

They're not fleeing.
They come out in a different manner.

Under escort and happy,
with their lives sorted out.

Some of you might think
that it's too happy an ending

for such a difficult heist.

But we're convinced
that all of this had to turn out well.

It made us really sad, for instance,
to think of ending the series,

telling the viewers
that this harsh reality had prevailed

and that, in the end,
they were going to kill all these robbers

and that their dream just wasn't possible.

There's something fundamental
in the spirit of everything we've done

and of Money Heist itself.

It has to be hopeful,
and it has to be positive.

And we think this was
a lot more intelligent,

and it made the Professor
and his gang even more grandiose,

more legendary, and more… epic.

There's a sense of… emptiness
that stays with you.

I get a sense of tenderness,
a sense of happiness.

Also, a sense of pride.

It can't help but affect you.

Bravo, Itziar!

For me,
Money Heist will never be over.

It never ends.

It's in here forever.

Perhaps my most abiding memory is…
and it's the tiniest detail,

which is the memory

of when we got together.

And we decided
that we were going to make this a heist.

That's really the epic part.

Making a war series is very epic.

But putting Money Heist together
from scratch… was a lot more difficult.

It was a lot of fun

because we didn't know the first thing
about heists when we started writing.

We had to watch a whole bunch
of movies and sort of…

…mix them together
in our brains.

It was like jumping into the abyss.

There were several ideas floating around.

And I obviously wanted to go
for the most complicated one.

And in the end, we all went for the one
that presented the biggest challenge.

I've been here from the beginning.

I've started this from scratch.

From when we didn't even have
an office or anything.

So I have to admit
that this has now become part of me.

That's where it all began.
With pure thrill.

We had nothing.

Just the pure excitement
of wanting to tell a story in our own way.

Knowing that we had the power to connect
with an audience.

That we were going to do something
that we didn't know how to do.

That turned out to be this.