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- AMORES PERROS CONTROL MACHETE MOVIE
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AMORES PERROS CONTROL MACHETE MOVIE
The accident gave the movie not only its stunning opening but a structure that narrates what happens before, during and after the incident. Originally titled “Perro negro, perro blanco,” Arriaga’s screenplay was inspired by people he knew in his neighborhood and personal events, particularly a 1985 car crash he survived. Yet we’ve also seen resilience and creativity. Many wonder if they can continue their craft even after the pandemic. Artists have readjusted their ways of working. Iñarritu would go on to direct three more projects with Arriaga as writer.Ĭulture in 2020: What we lost and found in the year of COVIDĢ020 decimated our cultural and entertainment institutions.
Soon after, the writing process for “Amores Perros” began. A year later, he met novelist and screenwriter Guillermo Arriaga through his late friend and collaborator Pelayo Gutierrez. In 1995 Iñárritu wrote and directed his first television pilot. “Whether I had studied it or not, it was my destiny and I liked it.” Like a poet, you can study literature and read, but the poet is born a poet.
“You can’t teach or learn cinema, you have to make it. The hands-on training was bliss for the self-taught filmmaker, who doesn’t believe in film schools - an opinion that has often gotten him in trouble. Prieto joined the journey at this stage and recognized Iñárritu’s promise right away. He studied theater under Ludwik Margules, a renowned Mexican thespian, for three years, then with friends started his own production company, Zeta Films, where he wrote, directed, produced and edited commercials for countless brands.
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I didn’t know how to get there but my mind was very focused on achieving that.” “I left radio at a time when the station was very successful and I was the director,” Iñárritu says, “but I wanted to make films. “He introduced a new rhythm to the radio in Mexico when I was a kid.” Despite his fan base, after a few years, Iñárritu’s dormant calling dragged him off the airwaves. “I grew up with his voice through everything he did at WFM,” recalls actor Gael García Bernal about Iñárritu’s indelible stint as a radio DJ throughout the 1980s.
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So he took a tangential professional turn and started working in radio. Back then, however, taking the step from spectator to moviemaker - without the advantages of today’s digital tools - was a trickier endeavor. In his early 20s, after realizing his limited musical skill, he was drawn to the idea of making movies. “Sometimes I hear other directors tell the same story: ‘When I was 8 years old my dad gave me a Super-8 camera and I started making movies.’ I’m envious that they knew what they wanted to be since they were kids,” he candidly notes. Iñárritu’s trajectory toward film didn’t begin until he was a young adult. With a triptych structure navigating Mexico City’s contrasting social strata via multiple characters, “Amores Perros” sunk its sharp dramatic teeth into audiences and critics alike, and singlehandedly uplifted a group of actors and artisans who today are among Latin America’s most successful creators.įrom film’s toughest year, a critic’s favorite discoveriesįilm critic Justin Chang finds passion, insult comedy and a search for meaning in two restored gems: Béla Tarr’s ‘Damnation’ and Manoel de Oliveira’s ‘Francisca.’ Made at a time when the country’s filmic output was scarce, this classic of the Nuevo Cine Mexicano - a period considered the rebirth of Mexican cinema following an extensive barren era - endures two decades on. But before sweeping Hollywood awards and working with international stars, the multi-Oscar-winning director launched his career in 2000 with a Mexican masterpiece, “Amores Perros.” I’m a rather bad amateur enthusiast when it comes to playing music.”įrom those failed aspirations, cinema gained an ambitious visionary whose boundary-pushing works like “The Revenant,” “Birdman” and “Babel” have cemented Iñárritu’s place among the greats. “Unfortunately I have a great ear but very clumsy hands. “I like music more than I like cinema, I must admit,” the Mexican auteur says by phone from a ranch near Mexico City. This truth, though surprising coming from one of the world’s most acclaimed directors, explains in part his storytelling sensibilities and his exhaustive attentiveness to technical and narrative minutiae - a trait many of his longtime colleagues praise for the results it yields on screen. Given the choice, Alejandro González Iñárritu would have picked music over film as his preferred outlet of artistic expression.
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