FICG31 | Catálogo de Películas - page 197

I began my cinema career as an extra. My oldest
son, Sergio, had already been born and I was
jobless. Then, my mother called an acquaintance
who was a member of the De Anda family, and who
worked as casting director, in other words, he was
a specialist in hiring and managing movie extras.
De Anda got me a job in Ahí viene Martín Corona,
with Pedro Infante, which was Eulalio Gonzalez El
Piporro's cinema debut as protagonist.
He gave me some very peculiar instructions"
"Look, Alfonso, always make sure that the camera
does not see you". "What?", "As you heard. If the
camera does not see you, I can give you an extra
whenever you play a soldier and the next day an
indian, and so on; otherwise, if the camera has
already seen you as a soldier, I can only call you
when there are soldiers in the scene. "Do you
understand?". So I had a "daily call", and was hiding
in the set's corners in order to avoid the camera.
I am a producer and as producer, the first thing
I think about is that I have to chose the topic, the
idea. The theme has to be, in my view, a film that is
local and universal. Local: Above all, I am interested
in making Mexican cinema, of course that there are
excemptions. If I am called one day to something
else and I like it, I will do it, but if I am going to
make a movie, I rahter it is a local, Mexican subject
matter. In other words, Mexican is widely liked in
the world and it wil give the project a very special
texture.
It can also be local from any place in the world,
it can be an American movie which is a local
American movie, where there is real identification;
that in the first place. Secondly: It has to be a
universal topic, meaning, that it can be grasped
and understood by any culture at any given time.
For example,
Como agua para Chocolate
. It is local
because it takes place in Mexico, in a Mexican
family, on the border and at the time of the
revolution; however, all these topics are known in
the world. Always thinking in he world.
To me, making a local movie which will only be
showcased in Mexico, to my friends, has no sense
because it is a tremendous effort and it is not
worth it. Cinema is massive, global, and we must
make films for the world. For instance,
Como agua
para Chocolate
is local and that gives it texture,
yet the topic is universa: An abusive mother and a
rebelious daughter. There is nothing more universal
than that. It happens in all the cultures and in all
the epocs.
Alfonso
Arau
1...,187,188,189,190,191,192,193,194,195,196 198,199,200,201,202,203,204,205,206,207,...372