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.