WEBVTT FILE 1 00:00:02.000 --> 00:00:07.000 Downloaded from YTS.MX 2 00:00:08.000 --> 00:00:13.000 Official YIFY movies site: YTS.MX 3 00:00:11.970 --> 00:00:15.265 A NETFLIX ORIGINAL DOCUMENTARY 4 00:00:29.696 --> 00:00:30.697 Action! 5 00:00:31.865 --> 00:00:33.700 Hurry up! Move! 6 00:00:34.409 --> 00:00:35.493 Move! 7 00:00:35.869 --> 00:00:38.038 The fire is spreading. Hurry! 8 00:00:38.246 --> 00:00:39.456 Now, Poncho! 9 00:00:39.539 --> 00:00:41.541 I think that childhood shapes your life. 10 00:00:44.127 --> 00:00:47.338 I've had a close relationship with cinema since I was very young. 11 00:00:49.758 --> 00:00:53.178 I think cinema is also tied to a feeling of loneliness, 12 00:00:53.261 --> 00:00:56.181 so cinema and loneliness go hand in hand in a way. 13 00:02:21.933 --> 00:02:25.436 The film came together over a period of many years 14 00:02:25.645 --> 00:02:27.063 in different ways. 15 00:02:27.480 --> 00:02:31.067 To be honest, I don't know when Roma began 16 00:02:33.403 --> 00:02:37.866 and when it was just part of the process of remembering. 17 00:02:42.871 --> 00:02:46.833 There was no screenplay at first. I wasn't going to write one. 18 00:02:47.167 --> 00:02:51.004 I wanted to start by recreating the sensory part of it. 19 00:02:53.923 --> 00:02:58.428 I had hundreds of notes about my memories. 20 00:02:58.803 --> 00:03:02.849 Memories that were not just anecdotes and events, 21 00:03:03.266 --> 00:03:05.059 but also small details. 22 00:03:08.730 --> 00:03:11.274 I do a lot of research for my films. 23 00:03:11.482 --> 00:03:14.194 For Children of Men, I did extensive research 24 00:03:14.277 --> 00:03:16.863 into the work of many scholars 25 00:03:17.322 --> 00:03:22.243 who had predicted certain trends for the 21st century. 26 00:03:22.410 --> 00:03:25.622 With Gravity, I focused 27 00:03:25.788 --> 00:03:30.460 on the workings of movement in zero gravity. 28 00:03:30.960 --> 00:03:33.213 But this was all about memory. 29 00:03:34.380 --> 00:03:39.052 My work with the art department, with Eugenio and Barbara, 30 00:03:39.427 --> 00:03:42.055 was never about lists. 31 00:03:43.348 --> 00:03:46.851 It had a lot more to do with abstractions. 32 00:03:47.185 --> 00:03:51.397 They used their own particular memories 33 00:03:52.482 --> 00:03:56.277 to create an interpretation of what I had asked for. 34 00:03:56.736 --> 00:04:00.823 We started having a much more open, extensive dialogue, 35 00:04:01.407 --> 00:04:04.160 than what was merely on a piece of paper. 36 00:04:05.495 --> 00:04:07.455 Those are my comments about this. 37 00:04:18.633 --> 00:04:22.887 We couldn't find the tiles we needed anywhere. 38 00:04:22.971 --> 00:04:28.184 It was hard to find the exact ones since I was only describing them. 39 00:04:28.268 --> 00:04:30.436 Suddenly, while we're looking at locations, 40 00:04:30.520 --> 00:04:34.148 we're in a location that doesn't work, in a bathroom, 41 00:04:34.440 --> 00:04:36.693 but with the exact tiles we needed. 42 00:04:36.776 --> 00:04:39.570 So we came across the tiles, and once I'd seen them, 43 00:04:40.196 --> 00:04:44.826 it threw open so many doors in my memory and I began to remember other details. 44 00:04:45.410 --> 00:04:47.870 It starts being a matter of... 45 00:04:48.454 --> 00:04:51.582 opening doors, and opening doors, and opening doors. 46 00:04:54.085 --> 00:04:55.586 That was the film for me. 47 00:04:55.878 --> 00:05:00.633 Taking as many details I could find in my memory, 48 00:05:01.426 --> 00:05:02.677 and capturing them. 49 00:05:03.928 --> 00:05:07.557 In order to recreate the house, we needed the right furniture. 50 00:05:08.308 --> 00:05:11.686 My family's furniture was spread around Colima, Tijuana... 51 00:05:11.978 --> 00:05:13.980 Some was in Veracruz. 52 00:05:14.397 --> 00:05:16.274 So, we had to start collecting it, 53 00:05:16.816 --> 00:05:19.485 asking family members to let us borrow furniture. 54 00:05:20.445 --> 00:05:24.907 I think we got 70-80% of the actual furniture. 55 00:05:31.247 --> 00:05:35.460 Identical reproductions were made of the ones we didn't get, 56 00:05:35.543 --> 00:05:37.670 which Eugenio took care of. 57 00:05:41.466 --> 00:05:44.385 I had some costume ideas based on my memories, 58 00:05:46.512 --> 00:05:52.185 but it was crucial to check them against photos of the streets, 59 00:05:53.061 --> 00:05:58.733 to see how the clothes I remembered matched the clothes of the time. 60 00:06:00.526 --> 00:06:03.237 Diving into my memory without a screenplay 61 00:06:03.321 --> 00:06:06.616 and with a narrative outline that was very loose, 62 00:06:06.866 --> 00:06:11.287 meant that whatever was real about this film 63 00:06:11.371 --> 00:06:13.831 would be the result of those sensations. 64 00:06:21.255 --> 00:06:23.966 The same mess, but everywhere. 65 00:06:26.594 --> 00:06:29.097 One more thing, the fridge mess. 66 00:06:29.180 --> 00:06:35.269 The fridge needs to be full of bags, parcels, etc. 67 00:06:35.353 --> 00:06:38.272 It should be impossible to find anything in there. 68 00:06:38.356 --> 00:06:40.858 -Aluminum foil and... -Yes. 69 00:06:41.025 --> 00:06:42.485 All kinds of Tupperware. 70 00:06:42.568 --> 00:06:43.986 -Were those around? -Yeah. 71 00:06:44.070 --> 00:06:47.615 All right, then lots of those. 72 00:06:48.950 --> 00:06:52.703 I wanted to be sure that I as I put together a scene, 73 00:06:53.538 --> 00:06:57.708 I'd get a vivid feeling about the time and space 74 00:06:57.792 --> 00:07:00.837 and even the smells from my memories. 75 00:07:00.920 --> 00:07:05.216 -It looks like a pianola, but I like it. -It has a heavy presence. 76 00:07:05.299 --> 00:07:07.301 Exactly, that's right. 77 00:07:08.511 --> 00:07:09.887 That's so cool. 78 00:07:11.097 --> 00:07:13.933 -Is it right in the middle? -In the middle of this. 79 00:07:14.016 --> 00:07:15.852 -Of the cube. -And this as well. 80 00:07:20.106 --> 00:07:24.777 My work on previous screenplays has been very focused on the narrative. 81 00:07:24.861 --> 00:07:27.864 My brother Carlos and I call it "narrative plumbing." 82 00:07:28.156 --> 00:07:33.369 Which is the structure of the story, how information flows, 83 00:07:33.453 --> 00:07:38.499 and how the dramatic weight is split among the characters. 84 00:07:38.583 --> 00:07:39.917 There was none of that here. 85 00:07:40.001 --> 00:07:43.171 We first decided what moments to capture, 86 00:07:44.464 --> 00:07:47.758 and then the story grew around those moments. 87 00:07:52.096 --> 00:07:53.806 That's what's beautiful. 88 00:07:54.015 --> 00:07:58.269 The story emerges from your relationship with what's happening, 89 00:07:58.352 --> 00:08:00.313 with the filmic event itself. 90 00:08:01.355 --> 00:08:05.485 Our other shot, the next shot, is right here. 91 00:08:05.568 --> 00:08:07.904 We need some paint, because it looks very dark. 92 00:08:08.154 --> 00:08:10.740 Maybe we should open this a little bit... 93 00:08:10.823 --> 00:08:13.951 These windows need to be open. 94 00:08:14.035 --> 00:08:18.164 It was a process of remembering, and I suddenly started taking notes. 95 00:08:18.539 --> 00:08:22.460 The character of Cleo is based on Libo, Liboria. 96 00:08:22.543 --> 00:08:27.882 I asked her endless questions every day for weeks on end, 97 00:08:28.049 --> 00:08:29.467 digging in her memory. 98 00:08:30.259 --> 00:08:34.013 I kept a very precise logbook on her daily routine. 99 00:08:34.555 --> 00:08:39.810 Not just her activities, but also the tiniest details. 100 00:08:40.269 --> 00:08:43.523 Like how she sat on the bed after she woke up. 101 00:08:44.315 --> 00:08:47.109 What did she do first? What was the first thing she saw? 102 00:08:47.193 --> 00:08:49.570 Then what would she do? Where would she go? 103 00:08:49.862 --> 00:08:53.824 When she made breakfast, what did she make first? 104 00:08:54.116 --> 00:08:57.537 She was totally on board and found it very interesting. 105 00:09:00.289 --> 00:09:01.624 In Y Tu Mamá También, 106 00:09:01.707 --> 00:09:05.127 the person who plays Tenoch's nanny is none other than Libo. 107 00:09:05.670 --> 00:09:07.922 I cast her in that role. 108 00:09:10.466 --> 00:09:12.969 Hello? One moment, please. 109 00:09:14.220 --> 00:09:15.179 It's for you. 110 00:09:17.223 --> 00:09:19.934 I was interested in the nanny's story 111 00:09:20.393 --> 00:09:23.479 because Libo and I have had many conversations. 112 00:09:23.646 --> 00:09:27.108 For example, about her childhood in Tepelmeme, Oaxaca. 113 00:09:27.817 --> 00:09:30.278 Tenoch thought he had never been to Tepelmeme, 114 00:09:30.987 --> 00:09:33.114 the hometown of Leodegaria Victoria, 115 00:09:33.406 --> 00:09:37.410 Leo, his nanny, who moved to Mexico City when she was 13. 116 00:09:38.202 --> 00:09:40.371 She grew up with many limitations. 117 00:09:40.538 --> 00:09:43.749 As a kid, I was shocked by her descriptions 118 00:09:44.166 --> 00:09:46.586 of feeling cold or hungry, for example. 119 00:09:47.461 --> 00:09:51.841 As a kid from a middle-class background, 120 00:09:52.967 --> 00:09:56.721 those things seemed abstract, since I was so far removed from them. 121 00:09:57.179 --> 00:09:59.390 When we began the casting process, 122 00:09:59.724 --> 00:10:03.352 we saw thousands of women, 123 00:10:03.436 --> 00:10:06.439 and I didn't care if they were professional actors or not. 124 00:10:07.148 --> 00:10:09.483 I was looking for the right person. 125 00:10:09.984 --> 00:10:12.653 We were constrained in that sense, 126 00:10:13.029 --> 00:10:18.242 because for one thing they had to look just like the actual people, 127 00:10:18.826 --> 00:10:24.332 both in terms of the photographs we had, and what I could remember. 128 00:10:24.582 --> 00:10:27.585 They had to embody the essence of those characters. 129 00:10:29.003 --> 00:10:31.672 And on top of that, they had to be able to act. 130 00:10:34.592 --> 00:10:37.053 I dropped the white vase. 131 00:10:37.386 --> 00:10:38.638 Really? 132 00:10:41.891 --> 00:10:45.478 While I was cleaning, I dropped it. 133 00:10:46.771 --> 00:10:47.647 It broke. 134 00:10:47.730 --> 00:10:50.232 I wanted these people to be who they are. 135 00:10:51.150 --> 00:10:56.364 I didn't want someone to play an indigenous woman. 136 00:10:56.864 --> 00:11:01.452 Rather, I wanted to work with an indigenous woman 137 00:11:02.370 --> 00:11:05.539 and for her to bring in things that I didn't know about. 138 00:11:05.623 --> 00:11:09.752 The mystery of another person one can't ever fathom. 139 00:11:09.835 --> 00:11:11.420 Then he gave me a letter. 140 00:11:11.504 --> 00:11:13.547 But this letter was part of a bunch of letters, 141 00:11:13.631 --> 00:11:16.634 and they all slipped out of his hands and fell to the ground. 142 00:11:16.967 --> 00:11:19.470 And I can recognize Moisés's crooked handwriting. 143 00:11:20.096 --> 00:11:22.181 So I picked up the letter and opened it. 144 00:11:22.515 --> 00:11:25.893 I started having interviews with some candidates. 145 00:11:26.435 --> 00:11:30.523 One of them said she could speak Mixtec, 146 00:11:30.606 --> 00:11:33.109 that she even spoke Mixtec better than Spanish. 147 00:11:34.402 --> 00:11:39.490 We had this short scene, and I said, "What if we try doing it in Mixtec?" 148 00:11:40.366 --> 00:11:42.910 Then immediately, it all made sense to me, 149 00:11:43.369 --> 00:11:47.915 because if we're looking at the disparity that exists in our country 150 00:11:48.082 --> 00:11:50.084 between class and ethnic group, 151 00:11:50.459 --> 00:11:55.589 the effect is even more pronounced when an ethnic group speaks 152 00:11:55.673 --> 00:11:58.134 several indigenous languages other than Spanish. 153 00:11:58.426 --> 00:12:00.177 And yes, it was written by Moisés. 154 00:12:00.553 --> 00:12:04.223 "I can't stop thinking about you. I miss you," he'd say. 155 00:12:04.306 --> 00:12:07.727 -Poor thing. -Him? No way. 156 00:12:07.935 --> 00:12:13.107 I liked the fact that they could speak to each other 157 00:12:13.232 --> 00:12:16.736 in a language that the rest of the family couldn't understand. 158 00:12:17.236 --> 00:12:20.948 They were able to share private moments while speaking their native tongue. 159 00:12:21.323 --> 00:12:23.743 He'd write the same love letter to all the girls. 160 00:12:24.410 --> 00:12:25.244 No way. 161 00:12:26.537 --> 00:12:30.416 That bastard sent the same letter to every girl. 162 00:12:30.499 --> 00:12:32.960 -What? I can't believe it. -He did! 163 00:12:33.461 --> 00:12:36.380 I already raised this, so I need to fix it. 164 00:12:37.631 --> 00:12:40.092 It all went up when she sat down. 165 00:12:40.176 --> 00:12:42.887 One, two, three. 166 00:12:46.140 --> 00:12:49.393 There is also a mostly symbolic element. 167 00:12:49.810 --> 00:12:53.773 The film begins with a shot of the ground, 168 00:12:53.856 --> 00:12:56.150 and ends on a shot of the sky. 169 00:12:56.567 --> 00:12:59.487 But when we show the ground, you see a reflection of the sky. 170 00:12:59.653 --> 00:13:04.366 The shot will begin here, which will be dry. 171 00:13:04.450 --> 00:13:09.538 She is going to use the hose and buckets of water, 172 00:13:09.872 --> 00:13:13.417 to rinse the courtyard. 173 00:13:13.793 --> 00:13:17.797 -Should I take a bucket and pour it out? -Yes, good idea. 174 00:13:17.880 --> 00:13:21.008 Like a curtain falling evenly across the frame. 175 00:13:21.300 --> 00:13:27.515 That reflection starts to become much more alive 176 00:13:27.807 --> 00:13:33.479 and more real than the ground, which symbolizes reality. 177 00:13:39.276 --> 00:13:43.155 On the other hand, it's part of my memories of Mexico. 178 00:13:43.447 --> 00:13:48.452 Something that's still present today: the planes flying overhead. 179 00:13:48.911 --> 00:13:54.083 That sound is closely tied to life in Mexico City. 180 00:13:56.669 --> 00:13:59.713 The presence of other places, 181 00:13:59.797 --> 00:14:06.011 suggested by an object flying overhead, which doesn't belong in the sky. 182 00:14:06.762 --> 00:14:07.888 It's a piece of metal. 183 00:14:08.389 --> 00:14:10.474 Here's the thing. 184 00:14:10.724 --> 00:14:15.855 You have to let the soap suds and dirty water enter the frame, 185 00:14:16.146 --> 00:14:21.193 then wait for the next wave of even darker water. 186 00:14:21.277 --> 00:14:26.115 When the two tones of soap suds come together, it looks lovely. 187 00:14:27.366 --> 00:14:28.617 Quote unquote lovely. 188 00:14:30.035 --> 00:14:31.287 And then it explodes. 189 00:15:11.911 --> 00:15:13.704 The actors were never given the script. 190 00:15:13.787 --> 00:15:16.373 When Cleo comes back... 191 00:15:16.457 --> 00:15:18.542 They didn't know what was going to happen. 192 00:15:18.626 --> 00:15:20.419 That's what we're doing next. 193 00:15:21.295 --> 00:15:25.007 So, there you go. You guys, I'll explain over there. 194 00:15:25.090 --> 00:15:28.218 I had told each actor 195 00:15:28.969 --> 00:15:31.805 things that only they knew. 196 00:15:33.307 --> 00:15:37.519 Once we had blocked a scene, which is always necessary 197 00:15:37.603 --> 00:15:40.105 because we need a camera in there too, 198 00:15:42.107 --> 00:15:46.987 I limited rehearsals, so as not to waste good moments. 199 00:15:47.696 --> 00:15:49.865 Basically, we rehearsed as we shot. 200 00:15:50.574 --> 00:15:54.161 Why are we doing just this part so many times? 201 00:15:54.244 --> 00:15:59.291 You know how in movies they use one shot, then a different shot? 202 00:16:00.334 --> 00:16:02.294 That's what we're doing. 203 00:16:02.586 --> 00:16:06.840 We already got it from that side, 204 00:16:06.924 --> 00:16:08.634 so now we're doing this side. 205 00:16:08.926 --> 00:16:12.930 No two takes were alike because after each one 206 00:16:13.013 --> 00:16:18.352 I'd talk to a kid, for example, and ask him to drop his fork. 207 00:16:20.062 --> 00:16:24.566 Then I'd tell another kid, "You're sick of his clumsiness. 208 00:16:25.234 --> 00:16:27.820 If he drops his fork, make a fuss about it." 209 00:16:31.949 --> 00:16:34.910 I'll start because I tell the joke. 210 00:16:35.619 --> 00:16:38.122 I'll start because I tell the joke. 211 00:16:38.288 --> 00:16:44.920 That was much harder on the actors than the non-actors. 212 00:16:46.046 --> 00:16:50.467 The way it affected Marina, a professional actress, 213 00:16:51.135 --> 00:16:54.388 is that the scene immediately became chaotic. 214 00:16:54.847 --> 00:17:00.477 They would be saying their lines, but the fork would get dropped, 215 00:17:00.602 --> 00:17:02.771 and they would stop to fight. 216 00:17:02.855 --> 00:17:08.152 But eventually they naturally picked up where they had left off. 217 00:17:10.112 --> 00:17:12.489 She said it's the hardest thing she's ever done. 218 00:17:13.323 --> 00:17:17.077 She had to let go, even though she's a trained actress. 219 00:17:18.037 --> 00:17:22.082 Meanwhile, the others were just there. 220 00:17:32.051 --> 00:17:37.723 The difficult thing with children is erasing their cultural references 221 00:17:37.890 --> 00:17:42.394 and trying to convey to them what they have to say. 222 00:17:43.020 --> 00:17:49.651 I didn't want to impose myself on the essence of who they were. 223 00:17:49.777 --> 00:17:53.113 I wanted them to give me 224 00:17:53.363 --> 00:17:57.618 that mysterious thing you can't create or manufacture: 225 00:17:57.701 --> 00:18:01.497 the mystery of another person's individuality. 226 00:18:03.415 --> 00:18:09.171 -Dad is leaving tomorrow. -Is tomorrow Friday in the film? 227 00:18:09.588 --> 00:18:11.340 -Is tomorrow...? -Friday? 228 00:18:11.423 --> 00:18:12.758 Exactly. How did you know? 229 00:18:13.634 --> 00:18:15.552 Because we said, "He's leaving Friday." 230 00:18:17.554 --> 00:18:21.183 No, wait, what am I saying? He's not leaving tomorrow. 231 00:18:22.351 --> 00:18:26.271 He's not leaving tomorrow, he's leaving on Friday. 232 00:18:26.688 --> 00:18:30.484 -He's here early. -Cleo said something. 233 00:18:30.651 --> 00:18:33.278 Yeah, Cleo said he was leaving tomorrow. 234 00:18:33.487 --> 00:18:36.615 -It was Adela. -Adela said it. 235 00:18:37.282 --> 00:18:39.701 She told Cleo he was leaving tomorrow. 236 00:18:40.285 --> 00:18:43.705 She did, but her back was turned, so that's a good thing. 237 00:18:44.623 --> 00:18:46.166 But did she say it already? 238 00:18:46.959 --> 00:18:51.964 Yes, but I can fix it later since we can't see her face. 239 00:18:52.047 --> 00:18:53.257 Thank you very much. 240 00:19:02.808 --> 00:19:06.520 -Silence. -And action. 241 00:19:08.313 --> 00:19:12.067 -Someone call the dog. -Dad is home early. 242 00:19:20.659 --> 00:19:21.660 Cut. 243 00:19:23.704 --> 00:19:28.000 We had to pick between two movie theaters, the Metropolitan and the Alameda. 244 00:19:28.083 --> 00:19:31.378 The Alameda had been renovated, so we chose the Metropolitan. 245 00:19:31.628 --> 00:19:36.008 Those were the ones Libo used to go to on Sundays. 246 00:19:39.136 --> 00:19:42.598 She told me she would always go to her hometown movie theater 247 00:19:43.098 --> 00:19:45.726 regardless of what movie they were showing. 248 00:19:46.268 --> 00:19:47.644 She enjoyed them anyway. 249 00:20:03.410 --> 00:20:05.329 Let's use the nylon cord. 250 00:20:11.627 --> 00:20:16.006 With the extras, it wasn't as easy as saying, "We need 500." 251 00:20:16.965 --> 00:20:22.137 Rather, we had a number of extras, and from that group, 252 00:20:22.679 --> 00:20:26.099 we decided who would be in cars, on the sidewalk. 253 00:20:26.183 --> 00:20:29.770 We had to decide how many would go where. 254 00:20:30.437 --> 00:20:34.524 Apart from that, we had to do a demographic analysis. 255 00:20:34.983 --> 00:20:37.527 Not just how many men and how many women 256 00:20:38.570 --> 00:20:41.281 but also how many from each social class. 257 00:20:41.782 --> 00:20:47.746 And for each social class, how many from each ethnicity. 258 00:20:49.915 --> 00:20:55.587 These will be indigenous, these will be mestizos, 259 00:20:55.671 --> 00:20:59.007 and these will be white Mexicans, you know? 260 00:20:59.174 --> 00:21:03.262 It was a very detailed process, but once we had that, 261 00:21:03.762 --> 00:21:06.515 they started presenting the options. 262 00:21:06.598 --> 00:21:08.809 We had huge pieces of paper 263 00:21:08.976 --> 00:21:15.315 with all the different faces arranged according to those demographics. 264 00:21:22.990 --> 00:21:25.158 That's how I chose them. 265 00:21:25.242 --> 00:21:28.745 Not by seeing the actors in person, 266 00:21:29.079 --> 00:21:32.040 but I chose each one from the photographs. 267 00:21:32.124 --> 00:21:35.794 For each photograph, we chose a specific costume, 268 00:21:36.295 --> 00:21:39.298 their particular hairstyle or beard, 269 00:21:39.506 --> 00:21:42.926 or even the accessories they would wear. 270 00:21:43.260 --> 00:21:46.513 Even for extras that were far in the distance. 271 00:21:46.847 --> 00:21:48.098 What's your hawker's cry? 272 00:21:50.225 --> 00:21:51.310 No, that's not right. 273 00:21:52.311 --> 00:21:54.688 "Come get your Herbie toy." 274 00:22:00.319 --> 00:22:03.989 "Come get your toy car from The Love Bug." 275 00:22:05.240 --> 00:22:08.410 "Come get your toy car from The Love Bug." 276 00:22:09.036 --> 00:22:13.790 -Let's hear your street cry. -Meringues! 277 00:22:32.976 --> 00:22:34.644 -Action, background! -Action! 278 00:22:58.043 --> 00:22:59.628 It can still go a little lower. 279 00:23:05.550 --> 00:23:10.555 For the first time ever, I decided to strip myself of references. 280 00:23:10.639 --> 00:23:15.769 References from other movies. I didn't allow myself a single one. 281 00:23:16.228 --> 00:23:22.109 Eugenio loved a particular frame, but I had to discard it. 282 00:23:22.192 --> 00:23:24.528 -Eugenio? -I'm here, I was looking for you. 283 00:23:25.737 --> 00:23:30.450 -What is it? -Look into the frame, go low. 284 00:23:30.659 --> 00:23:35.497 Those two logs on the right are blocking the water. 285 00:23:35.580 --> 00:23:36.957 All right, let's see. 286 00:23:39.668 --> 00:23:40.961 See what I mean? 287 00:23:42.170 --> 00:23:45.340 I mean, it was beautiful, but it wasn't mine. 288 00:23:46.425 --> 00:23:49.803 It felt like a reference, so I didn't want it. 289 00:23:50.220 --> 00:23:52.222 So, we reframed the shot. 290 00:23:52.597 --> 00:23:54.766 Eugenio preferred the other one, 291 00:23:54.850 --> 00:23:57.769 and I agreed it was better, but this one was true. 292 00:23:57.978 --> 00:23:59.938 It wasn't a reference to something else. 293 00:24:00.021 --> 00:24:01.148 This goes here. 294 00:24:02.482 --> 00:24:05.569 Are you ready? Bring the big stone. 295 00:24:05.652 --> 00:24:08.280 Put it over here, leaning against it. 296 00:24:12.409 --> 00:24:14.911 Setting up the scenes was crucial for me. 297 00:24:14.995 --> 00:24:21.543 I didn't want to get perfect, ideal timing. 298 00:24:21.751 --> 00:24:24.588 I wanted the actors to give me the real timing of real life. 299 00:24:25.255 --> 00:24:27.883 -She went to get her sweater. -Yeah, it's okay. 300 00:24:30.051 --> 00:24:32.095 This is the same day. You came here later. 301 00:24:32.179 --> 00:24:38.518 It's a picnic, and the men will be shooting guns. 302 00:24:39.811 --> 00:24:41.480 Adult men, I mean. 303 00:24:45.275 --> 00:24:50.614 The older kids will be here, playing football. 304 00:24:50.697 --> 00:24:54.493 -Now, the younger kids-- -Me? 305 00:24:55.076 --> 00:24:57.245 Yes, like you and Rodrigo. 306 00:24:57.329 --> 00:25:01.458 They'll come running from the forest. But I'll give you positions. 307 00:25:03.335 --> 00:25:04.211 So you're here. 308 00:25:05.212 --> 00:25:08.006 You're here and you're going to walk over there. 309 00:25:08.089 --> 00:25:09.549 -Thanks. -Okay. 310 00:25:09.716 --> 00:25:13.345 They go with that group. 311 00:25:13.637 --> 00:25:15.514 You two, follow me. 312 00:25:18.808 --> 00:25:20.477 The ladies will sit here. Hello, you. 313 00:25:20.560 --> 00:25:23.897 -Hello. -Can you walk in those shoes? 314 00:25:24.231 --> 00:25:25.565 -Yeah. -Great. 315 00:25:25.649 --> 00:25:31.571 Everyone is doing their thing, and the adults are already drunk. 316 00:25:33.615 --> 00:25:35.492 I mean... 317 00:25:35.659 --> 00:25:40.205 No point in hiding the truth from these young ladies. 318 00:25:40.497 --> 00:25:43.250 So we have to find... 319 00:25:43.375 --> 00:25:45.877 We can clean this up a bit if you need to walk. 320 00:25:46.086 --> 00:25:48.088 Find a good action. 321 00:25:48.964 --> 00:25:52.842 When you do a long take, you don't create one interpretation 322 00:25:53.718 --> 00:25:55.679 and then repeat it 323 00:25:56.054 --> 00:26:01.309 in the exact same way in a different take, 324 00:26:01.393 --> 00:26:05.188 to try to keep continuity and then do back-up shots. 325 00:26:05.522 --> 00:26:09.734 That way, you get trapped in that first interpretation. 326 00:26:12.320 --> 00:26:18.535 Here, we kept changing it. We kept discovering new things. 327 00:26:18.868 --> 00:26:23.623 Wait, I figured it out. Let's get you to walk across. 328 00:26:24.207 --> 00:26:28.837 When you get up to shoot, stand on that side of the chair. 329 00:26:30.297 --> 00:26:36.761 Now, you have to walk all the way here. 330 00:26:36.845 --> 00:26:41.683 This is where you yell at Cleo to keep an eye on the kids. 331 00:26:42.100 --> 00:26:48.773 You just used an expression that didn't exist back then. 332 00:26:49.649 --> 00:26:52.277 -"Careful, Pepe." -"Careful." That's right. 333 00:26:52.527 --> 00:26:54.362 Ready? Let's try it again. 334 00:27:04.080 --> 00:27:08.543 -So what? Women don't shoot? -No, no, no. 335 00:27:25.060 --> 00:27:28.563 We had often gotten a really good take... 336 00:27:28.647 --> 00:27:35.195 Almost perfect. Try going slower, but this one was great. 337 00:27:35.362 --> 00:27:40.992 ...and yet we did 62 more takes of a six-minute shot. 338 00:27:42.160 --> 00:27:46.706 Carlos, walk across faster. Reach your mark sooner. 339 00:27:46.915 --> 00:27:48.458 Everyone else did great. 340 00:27:50.251 --> 00:27:53.171 Eduardo, don't stay still. 341 00:27:53.254 --> 00:27:55.173 -Sorry. -Go that way. 342 00:27:58.593 --> 00:28:03.264 Anya, try to reach Lola much faster. 343 00:28:03.848 --> 00:28:08.770 Alejandro, walk slower to your mark. You're just waiting here. 344 00:28:08.853 --> 00:28:10.605 Yeah, sorry. 345 00:28:10.939 --> 00:28:13.191 Let's do it. 346 00:28:13.483 --> 00:28:20.407 What we wanted to capture was a moment of truth. 347 00:29:08.163 --> 00:29:12.584 There was a cake in Visconti's Ludwig, 348 00:29:13.042 --> 00:29:15.920 and he demanded they use the original recipe. 349 00:29:16.421 --> 00:29:21.509 He had the option of using a fake, decorated cake, 350 00:29:21.593 --> 00:29:24.304 but he insisted on using the original recipe, you know? 351 00:29:24.387 --> 00:29:27.432 That's something the audience won't even notice. 352 00:29:27.515 --> 00:29:29.517 I used to think that was excessive, 353 00:29:30.310 --> 00:29:34.856 a stubborn whim. 354 00:29:35.106 --> 00:29:37.484 But I found that getting those details right 355 00:29:37.567 --> 00:29:38.777 can be liberating. 356 00:29:39.027 --> 00:29:42.197 You peel away those elements 357 00:29:42.280 --> 00:29:46.409 to try to capture the invisible. 358 00:29:47.577 --> 00:29:48.745 Something intangible. 359 00:29:50.330 --> 00:29:55.126 There was a moment that encapsulates this reality. 360 00:29:55.335 --> 00:29:59.005 I was adamant about shooting on the street where I grew up. 361 00:30:00.006 --> 00:30:05.470 The very same street, which Eugenio recreated to match the period, 362 00:30:05.553 --> 00:30:09.557 since the facades had changed along with the city. 363 00:30:21.694 --> 00:30:27.534 Why there? Because that's where the essence of everything lies. 364 00:30:28.409 --> 00:30:32.914 Time had moved on, but not the space. Time can't be brought back. 365 00:30:33.331 --> 00:30:37.418 Our perception of space lingers longer than time itself. 366 00:30:37.752 --> 00:30:39.754 Time immediately fades away. 367 00:30:40.755 --> 00:30:46.928 I guess you could say I was being stubborn. 368 00:30:47.428 --> 00:30:52.559 I could have filmed it on another street. Plus, who could tell the difference? 369 00:30:52.934 --> 00:30:57.355 But some intrinsic part of it made it all the more important. 370 00:30:58.439 --> 00:31:00.567 The crew witnessed my crisis. 371 00:31:00.650 --> 00:31:05.572 I think this movie triggered 372 00:31:06.114 --> 00:31:08.116 a serious inner crisis in me. 373 00:31:08.575 --> 00:31:13.329 It pulled on emotional threads I didn't know were there. 374 00:31:23.089 --> 00:31:25.091 I'm shooting a scene, 375 00:31:26.384 --> 00:31:27.927 and I'm in a foul mood. 376 00:31:31.764 --> 00:31:33.474 Such a foul mood, in fact, 377 00:31:34.392 --> 00:31:37.729 that I decided to take a break and go for a walk. 378 00:31:39.522 --> 00:31:44.986 As I was walking, I asked myself, "Why are you so angry? 379 00:31:45.278 --> 00:31:48.781 You've been gifted the opportunity to recreate your childhood street... 380 00:31:48.865 --> 00:31:50.491 meticulously. 381 00:31:50.950 --> 00:31:55.204 With the exact cars that were parked there at the time. 382 00:31:55.538 --> 00:31:59.417 With extras who look identical to your old neighbors. 383 00:31:59.792 --> 00:32:03.004 I have this sandbox I can play with. 384 00:32:03.087 --> 00:32:05.089 I have this wonderful opportunity." 385 00:32:05.506 --> 00:32:09.177 Besides, I had my own schedule and full control of the shoot, 386 00:32:09.260 --> 00:32:12.180 with no other pressure apart from what I put on myself. 387 00:32:12.847 --> 00:32:14.349 I had to calm down. 388 00:32:14.432 --> 00:32:15.683 Besides, I told myself, 389 00:32:16.267 --> 00:32:19.854 "The crew's work is great. They aren't screwing up. 390 00:32:20.480 --> 00:32:22.398 You have no reason to be angry." 391 00:32:22.732 --> 00:32:25.193 So, I went back to shoot the scene, 392 00:32:27.528 --> 00:32:29.280 which we weren't quite getting, 393 00:32:29.364 --> 00:32:33.451 and I told the actor, "You feel wholly suffocated. 394 00:32:34.369 --> 00:32:36.454 Have you ever felt that way?" He said yes. 395 00:32:36.537 --> 00:32:38.456 "But, emotionally suffocated?" 396 00:32:39.207 --> 00:32:43.086 He told me a personal story, and I said, "Good, use that." 397 00:33:04.774 --> 00:33:08.736 I told him, "As you get in the car, you feel less suffocated. 398 00:33:09.362 --> 00:33:15.785 You drive away and breathe easy for the first time in years." 399 00:33:29.757 --> 00:33:33.594 The scene turned out great, and I realized I'd just shot the scene 400 00:33:33.678 --> 00:33:35.513 where my father abandoned my family. 401 00:33:36.556 --> 00:33:40.435 For the first time, I wasn't judging it from the outside, 402 00:33:41.019 --> 00:33:43.688 but rather trying to understand what the man had felt. 403 00:33:52.947 --> 00:33:57.201 I'm not morally justifying what he did or how he did it, 404 00:33:57.952 --> 00:34:01.622 but I found I did understand his feelings. 405 00:34:02.081 --> 00:34:05.418 It was something I had never appreciated before. 406 00:34:05.668 --> 00:34:08.838 I was 55 years old when we filmed that scene. 407 00:34:08.921 --> 00:34:12.550 I'd never considered that point of view within that situation. 408 00:34:12.633 --> 00:34:14.969 But as a director, when you're making a movie, 409 00:34:15.845 --> 00:34:17.972 you can't pass judgment on your characters. 410 00:34:18.347 --> 00:34:23.311 You simply try to understand their motivations and relationships. 411 00:34:23.811 --> 00:34:27.732 I was giving stage directions to a character I'd judged before. 412 00:34:33.654 --> 00:34:38.493 Evidently, my anger and my foul mood weren't the result 413 00:34:38.576 --> 00:34:40.953 of the dynamics on set that day, 414 00:34:42.914 --> 00:34:46.000 but rather, the dynamics of what I was recreating. 415 00:34:46.084 --> 00:34:48.795 At some point, I realized how crazy it was 416 00:34:49.128 --> 00:34:53.800 that I was in my childhood home, with a family identical to mine, 417 00:34:54.759 --> 00:34:58.513 dressed just like them, and behaving exactly like them. 418 00:34:59.430 --> 00:35:04.352 It was a little weird for me, to say the least. 419 00:35:22.495 --> 00:35:24.038 This time it really is inside. 420 00:35:25.456 --> 00:35:27.458 You can tell the difference. 421 00:36:04.829 --> 00:36:06.706 Now, this is what I call rain. 422 00:36:21.804 --> 00:36:25.391 -Cut! -Cut the water. 423 00:36:36.569 --> 00:36:40.323 Once we began work on the film, it started growing. 424 00:36:41.282 --> 00:36:47.580 I'd say it grew to about three times its size. 425 00:36:48.080 --> 00:36:51.709 It grew in size, ambition. Everything. 426 00:36:52.084 --> 00:36:56.505 I had this story in my memory, and in your memory everything is smaller. 427 00:36:56.589 --> 00:36:59.634 Besides, you're sure you'll find those places you remember. 428 00:37:00.635 --> 00:37:05.556 But when you get there reality sets in, the logistics get crazy, 429 00:37:05.640 --> 00:37:09.143 and you have to completely transform certain places. 430 00:37:10.436 --> 00:37:16.150 In order to shoot a scene where a woman walks through the city, 431 00:37:16.442 --> 00:37:20.988 all the cars and pedestrians have to fit the period. 432 00:37:21.572 --> 00:37:23.741 Everything has to be recreated. 433 00:37:44.470 --> 00:37:50.434 We fully recreated the corner of Baja California and Insurgentes. 434 00:37:50.518 --> 00:37:52.395 INSURGENTES AVENUE CROSSING 435 00:38:03.656 --> 00:38:06.325 That's where we shot the scene of her crossing the avenue. 436 00:38:10.705 --> 00:38:14.583 Insurgentes has changed so much that we couldn't do it there. 437 00:38:14.667 --> 00:38:19.255 So, I became obsessed with reproducing it to a tee. 438 00:38:19.797 --> 00:38:22.216 With the same bridal store, 439 00:38:22.425 --> 00:38:27.138 the same clothing shops, and the same diners. 440 00:38:42.028 --> 00:38:46.449 An identical reproduction, so we could stop worrying about it. 441 00:38:50.286 --> 00:38:56.334 Then we could let time flow in that filmic moment. 442 00:39:42.088 --> 00:39:45.466 It was also a project where I was the only one who knew the story, 443 00:39:45.549 --> 00:39:48.010 and how the locations should feel. 444 00:39:48.094 --> 00:39:50.346 I'm the only one who knows my own memories. 445 00:40:07.863 --> 00:40:11.784 We need to extend this towards this side. 446 00:40:14.662 --> 00:40:20.000 I've always been very closely involved with the cinematography of my films. 447 00:40:21.794 --> 00:40:27.550 Just like before the sunset, it was a very soft light. 448 00:40:27.633 --> 00:40:33.264 That means spending much longer on that side of it. 449 00:40:40.354 --> 00:40:45.317 It forced me to sit by the camera and look at the shot, 450 00:40:45.443 --> 00:40:47.945 which triggered memories 451 00:40:48.028 --> 00:40:52.032 that added new details to the scene we were about to shoot. 452 00:41:05.296 --> 00:41:10.301 I had to be extremely close to the cinematography. 453 00:41:17.725 --> 00:41:20.019 Let's make it softer. 454 00:41:23.272 --> 00:41:26.192 Also, I knew where the camera should be, 455 00:41:26.275 --> 00:41:28.736 and the kind of lighting and atmosphere I needed. 456 00:41:53.636 --> 00:41:56.472 In all my films, I've always done long takes. 457 00:41:57.056 --> 00:42:02.728 Here, my decision to use them was much more conscious and precise. 458 00:42:05.898 --> 00:42:09.151 Hurry, we have no ND filter. That's really scary. 459 00:42:10.194 --> 00:42:12.029 -Ready. -Hurry. 460 00:42:16.492 --> 00:42:20.579 When you have a long take from a wide angle, 461 00:42:21.372 --> 00:42:24.375 you're prioritizing neither the character 462 00:42:25.251 --> 00:42:28.295 nor the surroundings. 463 00:42:36.220 --> 00:42:38.931 Context and character have the same weight. 464 00:42:39.390 --> 00:42:42.560 In fact, maybe the context is more important. 465 00:42:43.352 --> 00:42:45.938 The character merely flows through that context. 466 00:42:46.689 --> 00:42:50.401 What has interested me ever since Y Tu Mamá También, 467 00:42:50.484 --> 00:42:54.780 is the relationship between subject and context. 468 00:43:10.713 --> 00:43:14.842 With a close-up, you're emphasizing the subject, 469 00:43:14.925 --> 00:43:18.262 the actors, the characters. 470 00:43:18.721 --> 00:43:20.222 I love close-ups, 471 00:43:20.681 --> 00:43:27.563 but I don't condone using them to make the narrative easier. 472 00:43:28.105 --> 00:43:35.070 In the language of TV, and most commercial films, 473 00:43:35.446 --> 00:43:40.117 whenever a character speaks, you have a close-up. 474 00:43:40.534 --> 00:43:43.203 And then you cut to another close-up of the reply. 475 00:43:43.454 --> 00:43:46.707 You can watch those movies with your eyes closed. 476 00:43:46.957 --> 00:43:48.959 There's no language in them. 477 00:43:56.508 --> 00:44:00.137 Right from the moment I decided I was making this film, 478 00:44:00.220 --> 00:44:02.306 I knew it would be in black and white. 479 00:44:07.061 --> 00:44:11.398 It's the only way it made sense. I couldn't see it in color. 480 00:44:11.857 --> 00:44:12.858 I just couldn't. 481 00:44:14.985 --> 00:44:20.157 It was a fundamental decision to convey meaning. 482 00:44:24.036 --> 00:44:27.539 But the entire language must be different. 483 00:44:27.623 --> 00:44:30.876 I had first imagined it in a square format. 484 00:44:30.959 --> 00:44:35.297 And it was actually Lubezki, when he was involved in the film, 485 00:44:35.839 --> 00:44:39.718 who told me I should consider other formats. 486 00:44:40.469 --> 00:44:44.390 He said I should consider a wider format. 487 00:44:45.683 --> 00:44:48.560 I was highly skeptical, until we did some tests. 488 00:44:52.356 --> 00:44:56.443 It's a black-and-white picture set in the year 1970. 489 00:44:56.694 --> 00:45:00.030 But you couldn't have achieved this kind of image back then. 490 00:45:00.155 --> 00:45:01.657 Not just because of the format, 491 00:45:01.740 --> 00:45:05.327 but because with a digital format there's a complete absence of grain. 492 00:45:08.038 --> 00:45:10.416 Instead of hiding the digital format, 493 00:45:11.333 --> 00:45:15.003 I fully embraced it. 494 00:45:15.295 --> 00:45:20.551 This would be a 65mm movie, in black and white, and 4K. 495 00:45:20.926 --> 00:45:25.973 That means it's pristine. There's absolutely no grain. 496 00:45:26.765 --> 00:45:28.225 It's a different language. 497 00:45:30.602 --> 00:45:33.856 I didn't want a nostalgic black-and-white cinematography. 498 00:45:34.356 --> 00:45:39.528 I didn't want the film to look like it was from the '50s or '60s. 499 00:45:39.820 --> 00:45:43.949 I wanted the film to look like it was from 2018, 500 00:45:45.075 --> 00:45:46.201 but in black and white. 501 00:45:50.914 --> 00:45:56.044 Once I'd decided on a format, it transformed everything else. 502 00:45:56.503 --> 00:46:02.301 So, I decided the elements should traverse the format. 503 00:46:02.968 --> 00:46:09.016 The choice to pan so much was a result of the format. 504 00:46:13.312 --> 00:46:16.690 But I knew that the film had to remain objective, 505 00:46:16.774 --> 00:46:21.111 and there's nothing more objective than a tracking shot from afar. 506 00:46:24.114 --> 00:46:26.909 There were some camera movements I didn't want to use, 507 00:46:26.992 --> 00:46:29.578 which were dolly shots moving forwards or backwards 508 00:46:29.661 --> 00:46:31.830 because they were too subjective. 509 00:46:32.039 --> 00:46:36.001 I wanted to keep that distance, to stay objective, 510 00:46:36.543 --> 00:46:42.716 and let the moments add up so as to convey emotions, 511 00:46:43.258 --> 00:46:48.972 and also evoke empathy, which was a side-effect. 512 00:46:53.435 --> 00:46:58.148 The film doesn't follow one character's subjective point of view. 513 00:46:58.315 --> 00:47:01.151 I didn't want it all to be seen from Cleo's perspective. 514 00:47:01.235 --> 00:47:04.279 Cleo's only another character in this wider universe. 515 00:47:05.072 --> 00:47:07.699 The story is about this universe. 516 00:47:08.617 --> 00:47:12.371 The characters only traverse it. 517 00:47:26.093 --> 00:47:32.808 This film is certainly about personal, inner wounds, 518 00:47:33.600 --> 00:47:37.104 but also about social scars. 519 00:47:37.437 --> 00:47:39.064 At least for my generation, 520 00:47:39.398 --> 00:47:43.193 there are two particularly deep wounds for Mexican society. 521 00:47:43.277 --> 00:47:45.863 One is October 2nd, 1968. 522 00:47:50.993 --> 00:47:55.038 It would be ridiculous to say that it was society's first democratic claim, 523 00:47:55.664 --> 00:48:01.336 considering that several unions had been fighting for many years. 524 00:48:01.461 --> 00:48:02.713 But it was the first time 525 00:48:02.796 --> 00:48:07.467 that the middle class sympathized with this struggle. 526 00:48:08.927 --> 00:48:10.971 And, as we know, it was suppressed. 527 00:48:11.972 --> 00:48:15.225 I vaguely remember 1968, but I was too young. 528 00:48:15.434 --> 00:48:19.104 I remember my mom took me to the March of Silence. 529 00:48:19.187 --> 00:48:25.402 I remember certain images, and the sound of footsteps. 530 00:48:25.903 --> 00:48:30.157 The second is June 10th, 1971. We call it the Halconazo. 531 00:48:30.324 --> 00:48:35.203 I vividly remember staring at the newspaper photographs. 532 00:48:41.084 --> 00:48:43.587 This event had a profound impact on me. 533 00:48:44.254 --> 00:48:45.505 In some way, 534 00:48:46.048 --> 00:48:51.303 it was perhaps when I first became socially conscious. 535 00:48:52.304 --> 00:48:54.306 WHY SUPPRESS THE DESIRE FOR DEMOCRACY? 536 00:48:58.226 --> 00:49:05.108 On June 10th, 1971, there was a first attempt 537 00:49:05.317 --> 00:49:09.988 at reclaiming our democracy, and it was repressed. 538 00:49:14.910 --> 00:49:16.078 PUBLIC DIALOGUE 539 00:49:16.286 --> 00:49:23.085 These were protests by students, and the press demonized them. 540 00:49:23.168 --> 00:49:25.379 WE FIGHT FOR THE RIGHTS OF THE MEXICAN PEOPLE 541 00:49:25.837 --> 00:49:32.177 -University of Nuevo León. -Present! 542 00:49:32.260 --> 00:49:33.595 Cut! Well done. 543 00:49:37.557 --> 00:49:41.561 I became aware of this while in elementary school. 544 00:49:42.104 --> 00:49:47.359 I mean, I was a student too. I thought I was in danger. 545 00:49:47.693 --> 00:49:49.861 Childhood imaginings. 546 00:49:50.404 --> 00:49:54.533 We're doing the final chant. "Mexico! Freedom!" 547 00:49:54.783 --> 00:49:57.744 Let's repeat the chant three or four times. 548 00:49:58.578 --> 00:50:01.164 That's when the beating starts. 549 00:50:01.373 --> 00:50:06.628 It burst the comfy, middle-class bubble I was living in. 550 00:50:07.004 --> 00:50:11.258 It's vital that we recreate the sound of terror and screaming. 551 00:50:12.217 --> 00:50:14.136 All right, guys? 552 00:50:20.058 --> 00:50:23.562 It was crucial for me to shoot the June 10th scene 553 00:50:23.770 --> 00:50:26.440 on the Mexico-Tacuba road. 554 00:50:28.358 --> 00:50:30.986 Not just on that street but in that building. 555 00:50:31.153 --> 00:50:33.155 HARPER INSTITUTE 556 00:50:33.238 --> 00:50:34.865 It was a furniture shop. 557 00:50:35.198 --> 00:50:37.200 There are photographs that show 558 00:50:37.409 --> 00:50:40.537 the chaos on the street with the shop in the background, 559 00:50:40.912 --> 00:50:45.292 and with scared onlookers watching from its windows. 560 00:50:45.375 --> 00:50:48.503 RODRIGUEZ FURNITURE 561 00:50:59.806 --> 00:51:04.519 Even as a kid, I was intrigued by the people in that furniture shop. 562 00:51:04.603 --> 00:51:07.939 The people up there watching the events on the street below. 563 00:51:11.193 --> 00:51:13.487 THE BEST FURNITURE 564 00:51:13.570 --> 00:51:18.033 I don't want it to be too crowded, so we can take it all in. 565 00:51:18.116 --> 00:51:24.831 Those iconic moments. People on the ground, getting beaten. 566 00:51:25.123 --> 00:51:29.669 It's not like the Halcones were part of the elite. 567 00:51:33.215 --> 00:51:39.888 Originally, they were recruited from the city's sanitation department. 568 00:51:43.642 --> 00:51:48.563 In a way, many Halcones had also been exploited. 569 00:52:00.659 --> 00:52:02.619 LUIS ECHEVERRÍA FOR THE GREATNESS OF MEXICO 570 00:52:02.702 --> 00:52:07.749 They were used by the system as tools of repression. 571 00:52:14.214 --> 00:52:20.137 I didn't want the film to just be a mosaic of personal memories. 572 00:52:20.220 --> 00:52:24.141 I wanted to include the context of the Mexico I grew up in, 573 00:52:24.432 --> 00:52:30.355 and to weave in this perverse relationship that exists in Mexico, 574 00:52:30.438 --> 00:52:33.150 and elsewhere in the world, between class and race. 575 00:52:53.670 --> 00:52:54.921 Action! 576 00:53:36.213 --> 00:53:42.636 -Everyone ready for the take. -Someone tell them to keep running. 577 00:53:44.012 --> 00:53:44.888 Action! 578 00:53:48.308 --> 00:53:50.560 Go back. 579 00:53:52.270 --> 00:53:54.272 Let's get the people here to go back. 580 00:54:17.462 --> 00:54:23.093 People demanding democracy became frustrated, 581 00:54:23.385 --> 00:54:27.305 and the result of that was the Dirty War. 582 00:54:38.775 --> 00:54:45.657 It was a war between the state and different groups, 583 00:54:46.157 --> 00:54:50.495 in different parts of the country, and it lasted a couple of decades. 584 00:54:57.877 --> 00:55:01.006 In fact, Mexico's most recent elections 585 00:55:01.298 --> 00:55:04.217 are a consequence of those historic events. 586 00:55:26.531 --> 00:55:27.741 Get up, you dog! 587 00:55:30.994 --> 00:55:33.163 Cut! 588 00:55:39.836 --> 00:55:43.131 Mexico is more vibrant than ever, especially the new generations. 589 00:55:45.467 --> 00:55:49.888 My generation's Mexico was very closed off. 590 00:55:50.180 --> 00:55:52.932 The rest of the world didn't exist for that Mexico. 591 00:55:53.558 --> 00:55:56.936 Even the rest of Mexico didn't exist. 592 00:55:57.020 --> 00:56:00.023 It was a suffocating Mexico where information was controlled. 593 00:56:00.106 --> 00:56:01.649 CENTRAL CAMPAIGN COMMITTEE 594 00:56:02.442 --> 00:56:08.281 The new generations have more creative energy. 595 00:56:08.698 --> 00:56:11.326 These new generations are more informed, 596 00:56:11.409 --> 00:56:17.040 and they raise their voices against injustice. 597 00:56:21.795 --> 00:56:27.467 But Mexico is more vibrant in terms of social movements. 598 00:56:40.355 --> 00:56:43.942 The scenes at the Centro Médico were shot on location. 599 00:56:44.818 --> 00:56:49.656 The locations and art departments were lucky enough to find 600 00:56:50.281 --> 00:56:52.283 the only building that had survived, 601 00:56:52.492 --> 00:56:54.369 which was being used for storage, 602 00:56:54.619 --> 00:56:56.496 and was scheduled to be torn down. 603 00:57:03.336 --> 00:57:07.340 This is what we have to do, slowly. 604 00:57:08.049 --> 00:57:09.384 This last shot. 605 00:57:11.594 --> 00:57:14.848 Maybe here I can shoot the glass cabinet. 606 00:57:17.767 --> 00:57:20.812 We also wanted to use the original furnishings. 607 00:57:21.479 --> 00:57:25.984 Eugenio took stuff from all the floors of the building 608 00:57:26.443 --> 00:57:31.197 and combined everything into a single, usable floor. 609 00:57:32.866 --> 00:57:37.745 You know, sinks and office chairs that were in decent condition. 610 00:58:16.784 --> 00:58:19.787 Yalitza didn't know that her daughter would be stillborn. 611 00:58:20.246 --> 00:58:23.166 Patient with fetal distress. 612 00:58:23.291 --> 00:58:26.461 Begin stimulation. Stethoscope. 613 00:58:26.544 --> 00:58:29.923 -I can't feel a heartbeat. -No pulse, she's in cardiac arrest. 614 00:58:30.215 --> 00:58:31.633 Start CPR. 615 00:58:31.758 --> 00:58:36.471 We rehearsed the scene with the doctors and nurses. 616 00:58:36.930 --> 00:58:41.643 Everyone in the roles of doctors and nurses 617 00:58:42.143 --> 00:58:44.437 are real-life doctors and nurses. 618 00:58:44.729 --> 00:58:46.272 It's what they do. 619 00:58:46.773 --> 00:58:51.694 The pediatrician is real, and so is the gynecologist. 620 00:58:52.070 --> 00:58:57.700 Each nurse actually works in that particular specialty. 621 00:58:58.117 --> 00:59:01.663 So, what we did with them was rehearse to precision. 622 00:59:01.871 --> 00:59:04.999 All right, let's do one last trial run. 623 00:59:05.083 --> 00:59:10.588 Let's work out how to do it so it's much more effective. 624 00:59:10.672 --> 00:59:12.257 Can we get the baby in position? 625 00:59:14.008 --> 00:59:17.512 Maybe a little further back. Further back. There you go. 626 00:59:20.348 --> 00:59:22.100 Does that distance make sense? 627 00:59:22.183 --> 00:59:26.563 Yes, because to talk to her I have to walk over. 628 00:59:26.646 --> 00:59:29.899 -And it's nicer. -That's when I tell her what happened. 629 00:59:29.983 --> 00:59:32.443 I ask if she wants to meet her, and hand her over. 630 00:59:32.527 --> 00:59:34.237 Let's do one more rehearsal, please. 631 00:59:34.320 --> 00:59:35.613 I'm no gynecologist. 632 00:59:35.989 --> 00:59:41.494 So, I made sure these professionals had what they needed. 633 00:59:41.578 --> 00:59:47.208 To set up the scene, we discussed what their needs might be. 634 00:59:48.167 --> 00:59:51.546 But first, I wanted to see how they work, 635 00:59:51.963 --> 00:59:54.882 and what they would do in this kind of emergency. 636 00:59:54.966 --> 00:59:56.134 Action! 637 01:00:04.934 --> 01:00:07.478 On three. One, two, three. 638 01:00:09.981 --> 01:00:12.650 -Cord severed. -Doctor, cardiac arrest. 639 01:00:12.734 --> 01:00:13.860 All right. 640 01:00:15.528 --> 01:00:17.030 Keep breathing, Cleo. 641 01:00:18.156 --> 01:00:19.907 -Any discomfort? -No. 642 01:00:21.326 --> 01:00:22.327 Still unresponsive. 643 01:00:23.536 --> 01:00:25.121 Here's a thought. 644 01:00:25.371 --> 01:00:27.582 She could start swaddling the baby 645 01:00:28.416 --> 01:00:31.544 as you walk over here towards the mother 646 01:00:31.794 --> 01:00:35.214 and say, "I'm very sorry, your baby was stillborn. 647 01:00:35.381 --> 01:00:38.676 We did everything we could. Would you like to see her?" 648 01:00:38.885 --> 01:00:43.514 She can bring the baby over, and that way, we save time. 649 01:00:44.766 --> 01:00:46.768 She would bring the baby over here. 650 01:00:48.227 --> 01:00:50.438 What would you do in that moment? 651 01:00:51.314 --> 01:00:53.608 -Stay with the mother. -Got it. 652 01:00:53.691 --> 01:00:55.401 Here's my question... 653 01:00:55.610 --> 01:01:00.114 If you walk up to tell her that her baby is stillborn, 654 01:01:00.198 --> 01:01:02.200 would you remove your face mask? 655 01:01:02.283 --> 01:01:04.243 -The doctor would. -You would, right? 656 01:01:04.327 --> 01:01:05.703 So, as you walk over, 657 01:01:05.953 --> 01:01:08.998 take off the face mask and tell her. 658 01:01:09.999 --> 01:01:12.877 I say, "I'm very sorry. Your baby was stillborn. 659 01:01:12.960 --> 01:01:16.589 We did everything we could, but she was unresponsive." 660 01:01:17.924 --> 01:01:22.762 -Then Rocío brings the baby. -I give her to him, and he passes her on. 661 01:01:24.305 --> 01:01:29.310 All right, I think we've got a good grasp on the dynamics. 662 01:01:29.477 --> 01:01:33.272 It's important we know what they're going to do. 663 01:01:33.523 --> 01:01:37.527 Once it was clear they had what they needed, 664 01:01:37.735 --> 01:01:41.656 and we were technically ready to start shooting, 665 01:01:41.823 --> 01:01:44.534 we brought Yalitza into the set. 666 01:01:44.951 --> 01:01:48.371 Yalitza, please lie back and get into position. 667 01:01:48.454 --> 01:01:50.039 I think this helped, Galo. 668 01:01:50.498 --> 01:01:52.709 Try not to cut them. 669 01:01:52.959 --> 01:01:56.003 -Here? -A little higher, please. 670 01:01:56.087 --> 01:01:58.464 What she suspected 671 01:01:59.132 --> 01:02:03.511 was that we had a living baby under the gurney. 672 01:02:03.594 --> 01:02:06.639 So, she performed the scene with that expectation. 673 01:02:06.723 --> 01:02:07.557 Action! 674 01:02:12.603 --> 01:02:16.482 -Everything's ready. -All right, one, two, three. 675 01:02:17.525 --> 01:02:19.527 Pediatrics to the OR. 676 01:02:22.321 --> 01:02:24.282 Lower your hips, please. 677 01:02:27.326 --> 01:02:31.831 So, when the events started to unfold, 678 01:02:32.749 --> 01:02:35.334 her anguish was totally real. 679 01:02:35.835 --> 01:02:38.129 Try to stay calm, you're doing great. 680 01:02:39.714 --> 01:02:42.091 -Sever the cord. -Clamps. 681 01:02:43.301 --> 01:02:46.304 -Sever the cord. -Severed. 682 01:02:49.182 --> 01:02:52.226 -We couldn't find a pulse. -Let's start resuscitation. 683 01:02:53.102 --> 01:02:57.315 I was talking to Lizbeth, who plays the gynecologist. 684 01:02:57.648 --> 01:03:02.028 She said, "It's so strange, because as we got into the scene, 685 01:03:02.111 --> 01:03:04.363 we forgot we were in a movie. 686 01:03:04.530 --> 01:03:08.367 Our professional muscle memory is perhaps so strong 687 01:03:08.493 --> 01:03:10.912 that our actions become almost automatic. 688 01:03:11.496 --> 01:03:15.708 But when the moment came to tell the mother the news, 689 01:03:16.417 --> 01:03:17.543 we started crying. 690 01:03:17.752 --> 01:03:20.505 It's a powerful moment, so it came naturally to us." 691 01:03:20.713 --> 01:03:22.256 One, two, three. 692 01:03:22.340 --> 01:03:26.344 -Listening for a pulse. -Can I get a suture, please? 693 01:03:26.469 --> 01:03:27.929 Still unresponsive. 694 01:03:29.263 --> 01:03:30.598 Suspend resuscitation. 695 01:03:36.521 --> 01:03:38.898 Doctor, what's the patient's name? 696 01:03:39.106 --> 01:03:40.483 Her name is Cleo, Doctor. 697 01:03:43.152 --> 01:03:46.280 Cleo, I'm very sorry. 698 01:03:46.364 --> 01:03:47.740 Your baby was stillborn. 699 01:03:49.367 --> 01:03:53.079 We did everything we could, but she was unresponsive. 700 01:03:53.579 --> 01:03:55.164 Would you like to see her? 701 01:04:01.212 --> 01:04:03.840 Here's your baby. She's a girl. 702 01:04:12.098 --> 01:04:13.641 Say goodbye to her. 703 01:04:17.645 --> 01:04:20.940 I'm have to take her. Say goodbye to her. 704 01:04:28.281 --> 01:04:30.366 I'm sorry, but they need to prepare her. 705 01:04:39.125 --> 01:04:40.042 I'll take her now. 706 01:04:43.004 --> 01:04:45.214 -Can you wrap her, please. -Yes, Doctor. 707 01:04:47.633 --> 01:04:49.760 -Doctor, here's the file. -Thank you. 708 01:04:49.844 --> 01:04:52.013 Can I have another pair of gloves, please? 709 01:04:54.557 --> 01:04:56.058 Cleo, we're very sorry. 710 01:04:58.185 --> 01:05:00.187 You will bleed a little bit. 711 01:05:10.823 --> 01:05:13.618 Cleo, breathe deeply. Try to stay calm. 712 01:05:32.470 --> 01:05:33.804 I didn't know. 713 01:05:43.272 --> 01:05:47.109 What a scene! All of you, what a scene! 714 01:05:47.276 --> 01:05:49.695 I'm blown away. 715 01:05:50.071 --> 01:05:51.238 Blown away. 716 01:06:02.541 --> 01:06:03.876 -Are you all right? -Yeah. 717 01:06:06.545 --> 01:06:09.507 I thought you were getting a real baby. 718 01:06:13.552 --> 01:06:16.263 Yeah, that was unexpected. 719 01:06:16.347 --> 01:06:22.937 I didn't tell you so as not to stifle what comes naturally. 720 01:06:24.522 --> 01:06:27.316 Well, thank you. Let's get ready. Let's go. 721 01:06:38.619 --> 01:06:43.624 Honestly, I'd like to shoot the scenes properly-- 722 01:06:43.749 --> 01:06:47.336 -When the sun is lower? -Yes, that's better. 723 01:06:47.795 --> 01:06:51.841 -Yeah, at two o'clock? -Yes, but don't waste your emotions. 724 01:06:51.924 --> 01:06:57.054 You did amazing things yesterday because they were fresh. 725 01:06:57.138 --> 01:07:00.933 -We should rehearse it. -What do you think? 726 01:07:01.934 --> 01:07:02.768 All right. 727 01:07:02.852 --> 01:07:06.689 Can we shoot the scene at two o'clock? 728 01:07:08.357 --> 01:07:11.944 Does it make a difference if we rehearse with bathing suits? 729 01:07:12.695 --> 01:07:13.571 It's the same. 730 01:07:14.655 --> 01:07:20.494 I derive great pleasure from the other kind of cinema, 731 01:07:20.578 --> 01:07:22.830 not just cinema like that of Roma. 732 01:07:23.039 --> 01:07:27.626 I really enjoy more conventional narrative cinema. 733 01:07:28.502 --> 01:07:33.382 And I also enjoy the work that such cinema requires. 734 01:07:38.137 --> 01:07:43.434 Some elements from Roma might fit with Hollywood cinema. 735 01:07:43.517 --> 01:07:48.064 Although I don't like the concept of "Hollywood cinema." 736 01:07:48.856 --> 01:07:49.982 Cinema is cinema. 737 01:07:51.150 --> 01:07:55.988 There are good and bad films, conventional and classic films. 738 01:07:56.155 --> 01:07:57.990 Hollywood has it all. 739 01:07:58.074 --> 01:08:01.827 Both forms of cinema are equally enthralling. 740 01:08:02.286 --> 01:08:04.038 Get in position. 741 01:08:10.086 --> 01:08:11.796 A little closer. 742 01:08:15.591 --> 01:08:18.928 When you're making a more narrative film, 743 01:08:19.678 --> 01:08:22.014 you can always fall back on the narrative. 744 01:08:22.139 --> 01:08:28.270 I think this way is more elevated in the sense that 745 01:08:28.854 --> 01:08:30.397 the risk is greater. 746 01:08:34.985 --> 01:08:39.865 Because you don't have the usual safety net. 747 01:08:44.954 --> 01:08:49.166 When the narrative is minimal, you're left with the rest, 748 01:08:49.458 --> 01:08:54.672 which is what interests me about films: the mystery. 749 01:08:55.381 --> 01:09:01.929 When I see that mystery in films, I don't get how it was done. 750 01:09:02.138 --> 01:09:07.434 I understand the technical side, but not how it came to be. 751 01:09:21.782 --> 01:09:24.702 The process behind Roma was what mattered. 752 01:09:36.130 --> 01:09:39.967 On the one hand, there is a huge risk, 753 01:09:40.676 --> 01:09:44.138 but the rewards it offers are truly worth it. 754 01:09:45.389 --> 01:09:47.975 Things that you never could have planned. 755 01:09:49.435 --> 01:09:52.563 All the pieces come together, not just in the scene, 756 01:09:52.646 --> 01:09:53.731 but in a single take. 757 01:10:03.073 --> 01:10:05.784 I would go as far as to say that Roma is my first film. 758 01:10:08.370 --> 01:10:11.540 It's the first film I've done 759 01:10:14.043 --> 01:10:17.588 that truly embodies the kind of cinema I aspire to make. 760 01:11:19.650 --> 01:11:21.235 There's something called "back light." 761 01:11:21.318 --> 01:11:23.362 You know what that is? Light coming from the back. 762 01:11:23.696 --> 01:11:26.115 It's the best thing in both film and photography. 763 01:11:26.323 --> 01:11:28.325 Look, see for yourself. Look at him. 764 01:11:28.617 --> 01:11:29.618 Can you stay still? 765 01:11:29.994 --> 01:11:31.370 You see how he's got this...? 766 01:11:32.413 --> 01:11:34.248 Look at his face. 767 01:11:34.498 --> 01:11:38.335 If you place him facing the sun, he's going to look like this. 768 01:11:38.627 --> 01:11:41.964 See? But from this position, he's calm, relaxed. 769 01:11:42.381 --> 01:11:44.800 And there's a small circle of light around him. 770 01:11:45.592 --> 01:11:48.304 You see how nice he looks? Come see him from this side. 771 01:11:48.595 --> 01:11:51.348 He's always going to look handsome, but this is even better. 772 01:11:51.432 --> 01:11:52.474 Turn this way. 773 01:11:53.267 --> 01:11:55.602 See? Everything flattens. 774 01:11:55.978 --> 01:11:58.397 A halo of light. That's what's cool about it. 775 01:11:58.605 --> 01:11:59.982 It gives him volume, right? 776 01:12:00.065 --> 01:12:03.444 Exactly. That's what's cool. Back light gives you volume. 777 01:12:03.527 --> 01:12:06.905 You turn this way and you look at it. Everything flattens. 778 01:12:07.448 --> 01:12:11.660 His physical presence has more volume and you can see the background. 779 01:12:12.536 --> 01:12:13.787 -Do you get it? -Yeah. 780 01:12:13.871 --> 01:12:16.248 And that applies when you're shooting interiors. 781 01:12:16.707 --> 01:12:19.043 Always try to use back light in interiors, too. 782 01:12:19.418 --> 01:12:21.587 -To get more volume. -Yeah, to get more volume. 783 01:12:21.670 --> 01:12:23.756 And then you add more lighting from the sides. 784 01:12:24.173 --> 01:12:26.592 Look. Look at his face. 785 01:12:27.676 --> 01:12:29.511 Now you're adding light from this side. 786 01:12:29.720 --> 01:12:32.139 Those are visual, photographic techniques. 787 01:12:32.931 --> 01:12:35.309 The other part is directing. 788 01:12:35.601 --> 01:12:38.187 How you set up your actors, how you tell your story, 789 01:12:38.645 --> 01:12:40.773 and what kind of shots you're going to use.