In 2004, writer-director Pablo Berger delivered an unlikely yet charming little Spanish-Danish comedic hybrid, Torremolinos 73, about an exasperated encyclopedia salesman who, along with his wife, accidentally trips into a career directing pornographic movies for import to Northern European countries. It took more than eight years to realize the dream of his totally different but equally unique follow-up, Blancanieves, the winner of 10 Goya Awards, the Spanish equivalent of the Academy Awards. In a case of good news/bad news, though, Berger’s movie — a black-and-white silent film that re-imagines the tale of Snow White through the prism of bullfighting, while also serving as a homage to European silent movies of yore — comes on the heels of the Oscar-winning The Artist. Ergo, two of its most distinctive qualities risk looking, bizarrely, derivative. I recently had a chance to speak to Berger one-on-one, about the joint pain and opportunity that presents, as well as his decades-old inspirations for the movie. The conversation is excerpted over at ShockYa, so click here for the read.