WARNING: THIS DOCUMENTARY CONTAINS SPOILERS FROM THE FIFTH SEASON
A NETFLIX DOCUMENTARY
[dramatic instrumental music playing]
[cast chanting indistinctly]
[group cheers]
How do you bring something so huge to a close?
[Jesús Colmenar] I remember the last shot. When we said, "That's the one."
They didn't want to get out of the helicopter. [laughs]
They stayed inside, taking photos, hugging each other.
[group cheering and clapping]
[dramatic instrumental music building]
[actors laughing inaudibly]
[helicopter blades whirring]
[Esther Acebo] To think how far I've come, both as an actress and as a person,
while being here, and… now it's over.
[Luka Peroš] It brought together so many emotions
over a long period of time, and…
and I can still feel it. [chuckles]
[helicopter blades whirring]
[Rodrigo de la Serna] I'm gonna miss Darko, Jaime, Miguel, Esther, Itziar.
[sighs]
[music builds, fades]
[voice shaking] 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?"
[chuckles] Yeah. What can you do?
[excited chatter]
Oof. What a journey, right? What a journey.
[chopper blades whirring]
[Álvaro Morte] To see your colleagues there…
right in front of you…
Well, it's very moving.
[dramatic music swells]
[Pedro Alonso] I think the effort that the Vancouver team made,
as a whole, all the departments, was just… tremendous.
[crew cheering]
It's been four seriously intense years.
So many people who haven't stopped for a single second.
[Álex Pina] 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.
[Pedro] 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.
[uplifting music playing]
[Pedro] Because this season has been a celebration.
[cheers] Yeah! Yeah!
[Pedro] 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.
[all singing "Bella Ciao"]
[Pedro] We went back to where it all began.
We felt the pulse of life.
[Berlin exclaiming and laughing]
[Pedro] We pretended we were on the Norwegian Sea,
when it was really the Canary Islands.
I don't want water! I want whiskey!
[Pedro] We laughed.
We had contests.
It starts with an A. The word Hovik says to me every morning.
-"Abnormal." -That's it!
[Pedro] 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.
[whispering] This is the last day. Then it's all over.
[indistinct chatter]
[crew chattering]
[Pedro] Well, we didn't all have such a great time.
Some of us suffered.
[energetic music playing]
[Pedro] A lot.
[Professor panting]
All sorts of things are happening to the Professor.
The writers aren't letting me get the slightest break. [laughs]
I can't right now, Marseille. I can't right now.
Yeah. First, I was tied up.
[Professor screams]
I escaped. They tied me up again.
I'd appreciate it if this rope were a little shorter.
-[quirky music playing] -I think it's better here.
All sorts of things are happening. There's more to come.
[Pedro] There's an explanation for this. It's all part of a recipe.
[screams]
[Pedro] 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.
[Albert Pintó] 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 5C.
Would you open the door so I can leave him the notice? Thank you.
[sirens wailing]
[Pedro] What you can't imagine
are the rituals that Álvaro performs in order to become the Professor.
[Álvaro] 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, use music.
It gets me into character, and it's quite specific.
Gillespie's "A Night in Tunisia."
["A Night in Tunisia" playing]
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.
[director] Action!
[quirky music playing]
[Álvaro] 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 shirtsleeves,
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.
[Pedro] 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.
[Pedro] 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.
-[baby crying] -And my glasses?
-I need my glasses. -[police clamoring]
[Pedro] 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!
[Pedro] And the final touch to play the Professor.
His posture.
[somber music playing]
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 to 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.
[laughing]
[classic guitar music playing]
[Pedro] Do you know who's the most important character this season?
[metal rattling]
[Pedro] The gold.
[Tatiana exclaims]
[Pedro] 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.
[rock music playing]
[Pedro] 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.
[Pedro] 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.
[Luis] It's a great idea. I liked it right from the start.
I thought, "Wow. How original."
-We only aspire to pure genius. -[both laugh]
[Luis] 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." [chuckles]
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."
[Luis] 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.
[Palermo] It's a technical marvel. 5,300 kilowatts of power.
[Luis] 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?
[Luis] We'll calculate the loss due to friction using the Darcy formula.
The Darcy-Weisbach equation.
[Luis] An 18th-century French dynamics engineer.
We've got it to the millimeter. The only problem we might have--
Is using too much pressure.
[Luis] It's optimistic, but it's a very high-quality pump,
practically brand-new because they stole it
from a Norwegian drilling operation.
[tense music playing]
[Luis] All this, after we do the math, gives us 5,300 kilowatts.
Let's go! Faster! Come on!
-[Bogotá] 4,500! -[machinery whirring]
-Five thousand! Now! -[electricity crackles]
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.
[Pedro] 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? [sighs]
And a little love too.
[Álex] 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.
[gentle music playing]
[Álex] 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.
[Palermo] Don't let this be a mistake.
Don't let it be an illusion. I'm begging you, for God's sake.
[Jesús] 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!
[gentle music swells]
It's emotional because, deep down, there's a whole love story behind it.
[cheering inaudibly]
With Berlin.
It was a catastrophe. [laughs]
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…"
[sighs] Ah, he's such a flatterer.
[both laughing]
-[gentle music playing] -Brother.
[Rodrigo] I felt an instant connection with you, right?
And I think it was…
-[Pedro] It was sudden. -It was very sudden.
-Like we immediately found each other. -[Pedro] Yes.
You think I don't love you?
I feel it too. There's something between us.
Something extraordinary, unique, marvelous.
[gentle music continues]
Well, this happens to me when we work together, right?
[laughing] It's impossible to predict what will happen when they say, "Action."
-[quirky music playing] -[crew speaking indistinctly]
Some scenes, like the famous scene we did together where we had to kiss.
[gentle music playing]
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.
[both grunting and panting]
[Rodrigo] 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. I am 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.
[Palermo sighs]
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.
[dramatic orchestral music playing]
[inaudible]
[music fades]
-You've got something… -Well, mine is more pathetic than yours.
-[laughs] -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 is 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.
[Pedro] There is another. Stress.
[screams] Fuck!
Holy mother of Christ.
[woman] 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.
[Pedro] Well, we actually shot it.
-[man] One, go! -[explosion blasts]
What the viewer sees is absolutely real.
[Nacho Fernández] 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.
[energetic music playing]
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.
[takes a deep breath]
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.
-[bright music playing] -[Migue] 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.
[Cristina] In the end, what we saw on the screen,
I had to admit he was right.
It was infinitely better.
[upbeat music playing]
[crew member] Episode 506. Sixteen A and B. Third. Mark B.
[Pedro] But the big challenge for Production this season
was finding an oil-drilling rig in Norway.
-["Ode to Joy" playing] -And there's the platform.
[Pedro] 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.
[director] Roll camera.
[upbeat music playing]
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.
[man] Want some hot water? Some tea?
[woman] We're sweating in negative four degrees.
They have to dress up in all these clothes.
Very warm clothes.
-[indistinct chatter] -What you have here is Arctic melancholy.
[man] 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.
[Arturo Iriarte] It's supposed to be 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.
[snarls]
-[rhythmic music playing] -[woman] Don't scare me, okay?
[Palermo] That's our man, Santiago.
-He's an underwater welder. -[wind howls]
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.
[Berlin gasps, panting]
[Bogotá] 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!
[all laughing]
[clapping]
-[excited chatter] -[Koldo] It's like this.
[Pedro] There is one way to define a character
that I'd like you to know.
[ominous music playing]
[Pedro] A definition that is physical and has its own hallmark.
-[laughing] Yoo-hoo. -[Pedro, quietly] It's her.
[disco music playing]
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.
[chuckles]
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!"
[music fades]
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 Sierra, 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 singing]
♪ Green eyes are traitors ♪
♪ Blue eyes are liars ♪
♪ But black and brown eyes Are steadfast and true ♪
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.
[Najwa] 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.
[kisses] 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 Columbo.
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.
[Pedro] You know what's really difficult for an actor?
Playing a character who's always at full throttle.
Jesus Christ.
[Pedro] 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.
[mumbles mockingly]
You just negotiate.
[calming music playing]
[Fernando Cayo] When you have a lively character
who experiences such powerfully tense moments,
you have to define each one.
[Fernando takes a deep breath]
Okay, then let's continue where we left off.
Do you have it open?
-I think we were… -[woman] On page 12.
Oh, okay.
-Well then, let's get to it. -[controls beep]
[Fernando] 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.
[energetic music playing]
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.
-[takes a deep breath] -[rock music playing]
[Fernando] I try to find music that takes me back
to the emotional state my character is in.
[inhales sharply, exhales]
[panting]
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.
[Fernando] 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.
[panting]
[sighs] 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.
[all chuckle]
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.
-[Úrsula Corberó] What hake scene? -[both] The night of the hake.
-[Úrsula] 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.
[all laugh]
-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!"
[singing]
♪ When we leave ♪
-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?
[repressed laughter]
[upbeat music playing]
[Álvaro] 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?
-[Tokyo] Ugh! -[all yelp]
[all groan]
-[Álvaro laughs] -[indistinct chatter]
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…
[laughs]
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.
[dance music playing]
My character, Lisbon, is amazed to see the Professor dance.
She's never seen anything like it.
-[all chattering] -[Koldo] You have to freak out.
-Like it really surprises me? -[Koldo] Yeah. He's changed.
[disco music playing]
[Esther] 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.
[Jaime Lorente] We had a bit of whiskey. Some shots. Just a little.
Stanislavski would have been very proud of us. [laughs]
[laughing] What did they tell you about the hake?
[disco music continues playing]
You mentioned the hake scene, and from the look in your eyes,
I imagine you must have insider information.
[laughs]
[Pedro] 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…
[gentle music playing]
…because you're on the other side, holding the rope.
[Pedro] 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.
[Koldo] 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 the Professor is giving up, and it's like all is lost.
Because we know we'll always have the Professor.
[gentle music continues playing]
[crowd cheering]
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.
And 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.
[Rafael] 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.
[Koldo] Denver and his dad are hand in glove.
I mean, they could be brothers instead of father and son.
-[Paco Tous] Son! -[Jaime] Hey!
-[Paco] You son of a bitch! -[Jaime] What's up, Dad?
Son, do you have… were you born with horns?
[Jaime] Why?
[Paco] I don't know. Because you're a scumbag.
[Jaime laughing]
-Daniel. I never call you Daniel, do I? -Not even once.
-Only dickhead, dumbass… -Dani, dickhead…
-[Jaime laughing] -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 her 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.
[Benjamín] 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.
[thunder rumbling]
[dramatic music playing]
[Pedro] 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.
[energetic music playing]
[Pedro] 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.
[energetic music playing]
[Pedro] 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…
[knob squeaks]
…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."
[director] Three minutes, Pedro.
[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 gold mine.
-It's the whole Bank of Spain. -[Pedro and interviewer laugh]
[jolly music playing]
"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."
[Denver laughs]
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?
[laughs awkwardly]
[Pedro] Fortunately, we have a polyglot on our team.
Hands and hands and toes,
dick and balls,
is twenty-three.
[laughs] I think.
[train clatters on tracks]
[Pedro] 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.
Yes, pink because she's a girl.
-Huh? -[indistinct chatter]
Right now, we were just dubbing Marseille in five languages.
[in Spanish] What about Danica?
In my country, it means "morning star."
[delivering lines in Italian]
[in English] And Danica?
In my country, it means, well, "morning star."
[delivering lines in German]
[delivering lines in French]
♪ If I stay with you… ♪
[Pedro] We've spent four years between two heists.
-You call this a day off? -This?
-Yeah? -My God.
[both laughing]
[Pedro] 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.
[dance music playing]
"You use it to have a good time."
"He sets up the rules and the board, but he is a dirty trickster."
[group laughs]
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?
[playing "Oh! Susanna"]
[laughs] 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.
[rain pattering]
One of the guys from the art department
had to bring it under an umbrella already lit.
-[indistinct chatter] -[man] 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.
[Palermo inhales sharply]
All the crazy things that happen in this business.
A real show.
People wouldn't begin to imagine all those things.
[Pedro] And they probably can't believe that we dropped a drone in the water.
-[crew member] There's batteries on it. -[woman] 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!" [laughs]
-[comically tense music playing] -They're testing us, the Viking gods.
You know the classic smell of burnt drone? That's what it smelled like.
[both laugh]
It fell into the water with the camera and all, man. It crashed.
[Pedro] Or that we had to train a Great Dane but weren't very successful.
-[indistinct chatter] -[playful music playing]
[woman] Calm down, and then he's going to…
It's difficult because… he's really heavy.
-[crew exclaim] -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.
-[group laughs] -[woman] Good boy.
[Jesús] That's the shot. That's the shot.
[laughing] When I kissed Pedro, he got all excited, and he climbed on me.
[group laughing]
[Pedro] Or that this is, in fact, what actually happens
when we travel.
[quirky music playing]
Here's the boss. He does this.
[imitating Pedro] "Son, son. Brother. Listen to me."
[Pedro snickering]
[Hovik grunts]
"I never do this. Never. Hmm?"
[Pedro continues laughing]
"Thing is, I think that we're turning this into a… co… uh…"
[Pedro laughs]
"…a comedy."
"A comedy."
[Pedro continues laughing]
This son of a bitch gets under your skin, and it's absolutely wonderful.
[both laugh]
[Pedro] The time has come for us to do something.
We tell them the truth.
[Pedro] Here's a secret.
The writers made it to the last day, the last hour,
not knowing how the series would end.
[tense music playing]
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.
[Pedro] 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.
[gentle music playing]
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.
-[shakily] It can't help but affect you. -[crew applauding]
[indistinct cheering]
[Jesús speaking indistinctly]
[Úrsula] 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.
[energetic music playing]
[Esther] 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…
[imitates crunching] …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.
[soaring instrumental music playing]
[Migue] 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.
[dramatic orchestral music playing]
[music fades out abruptly]
[gentle music playing]
[music fades out] ing]