Director Alejandro González Iñárritu Breaks Down His Most Iconic Films
BARDO, False Chronicle of a Handful of Truths debuts on Netflix December 16, 2022. https://www.netflix.com/bardo
Director - Graham Corrigan
Director of Photography - AJ Young
Editor - Jimmy Chorng
Talent - Alejandro González Iñárritu
Producer - Kristen Rakes
Associate Producer - Sam Dennis
Production Managers - Andressa Pelachi & Peter Brunette
Production Coordinator - Carolina Wachockier
Talent Booker - Meredith Judkins
Camera Operator - Shay Eberle Gunst
Audio - Will Miller
Production Assistant - Ariel Labasan
Post Production Supervisor - Rachael Knight
Supervising Editor - Rob Lombardi
Assistant Editor - Billy Ward
Released on 12/19/2022
[dramatic music]
Stop the music. [music stops]
Music is the king of everything.
It's like God, it's the spirit of art.
So I think musically, I think it's important
for me to figure it out.
How it sounds, what is the beats, where to cut,
where the drums come, where the solo comes.
And I think if you have that
at least for me, is crucial.
[upbeat intro music]
Revenant
He's afraid.
He knows how far I came for him.
Same as that elk.
When they get afraid, they run deep into the woods.
[Alejandro] I prepared that film in 2011.
I start scouting and guarding and storyboarding
and I start working with visual effects.
And I was very excited about the experience to
to allow myself to go to the nature.
And then I realized that there is no that kind
of romantic thing of losing yourself in nature.
No, it's a war. [laughs]
You are in war with nature to make it to work what you need.
Leonardo, he knew what
how difficult it would be physically.
And the commitment to living in Calgary
for six months and to go through all that physical thing.
It took him a little bit for him to really jump in.
Once he jumped in, it was the best collaborator
I could have, the most brave
and passionate and perfectionist
and he understands filmmaking.
He has worked with great directors.
And so he has been so long since he was 17 years
that he understand the whole [speaking in foreign language].
The conditions were massive.
So you need a special wardrobe.
You need ridiculously, you know, this wool and carpet
for the feet of every horse.
So the horses were completely warm
and nice and all, we all were suffering.
But the animal guys were taking care of that.
Every single horse has almost socks, you know what I mean?
[guns firing] [bodies thudding]
[Alejandro] The first battle,
the physical scenes that he went through were
extremely precise, physically, and actually dangerous.
Because if you do a bad move,
the choreography with this kind of stunts
when you are doing battles with such a speed
and camera movings that are so precise.
Again, this is not cut, cut, cut.
There are no pieces.
These are long pieces of seven minutes with running
running, choking, this, that, that, that.
You put yourself at risk.
And sometimes people get a little crazy
in the films and sometimes stunts
or people that--it can go wrong very easily.
And I never see him afraid or complaining or afraid of, oh
this horse is passing very close to me
or this powder is exploding, or this guy is very tough.
He actually was embracing the moment
and allowing himself to be exposed
and perfectly in time and with truthfulness
in his eyes and emotion, which is not easy.
He was not about me, me, me, me, me. What about me?
He didn't care.
He was like seeing the whole thing.
That's what I'm saying.
He's a filmmaker that understand that
everybody is just a piece
of something that is bigger than any of us, you know?
So that was grateful.
Birdman
[Narrator] We were the real thing, Riggan.
We had it all.
We gave it away.
[Man] Breathing in.
[Narrator] We handed these posers the keys to the kingdom.
[Man] Breathing out.
[Narrator] You listening to me?
I shot that film in 19 days, less than four weeks.
And it was crazy.
Keaton was kind of the first thing and
and obvious because obviously I love Michael Keaton,
I think he's an amazing actor.
And then as a person, I was able to meet him
and he's a beautiful human being.
But I think obviously there was some resonance
about what happened to him
and the Batman thing, there was similarities.
Let's put it, it was not about Michael Keaton
but it's about actor that's only getting
to and swallowed into the kind of universe of superheroes.
And then they regret or they are
completely transforming their perception.
And it's hard to get back to be like, you know
like a prestigious actor of theater in New York.
Edward Norton is a, you know
great theater actor in New York.
He wanted to make this character so well
because he told me, Alejandro
I know this guy, I know very well.
I can be that guy.
No, no, no, take-- No, no, forget, forget that.
Just, just stay with me. Yeah
I'm the wrong person to ask, he says
Right. but what, what is that?
What's the intention in that?
Is he, is he fed up with the subject, so he's changing it?
Is he deflecting guilt over the marriage?
And here's the thing, you've got four lines
after that that all say the same thing.
I didn't even know the man I, I, I
I only heard his name mentioned in passing
I think was the first time in my life where I was
in a set and I couldn't stop laughing.
I mean, I was ruining scenes because I was like
because these guys make me laugh so much
and I enjoyed so much.
But there was a moment that I was, we were
rehearsing the scene where for the first time
Michael invite Edward as a character.
And then he said, what about if we do that?
And they are going around the little table
and he's trying to direct him
and to propose and obviously this prick
that Edward Norton character is, saying, what about that?
And he start to manipulate the director, you know?
And we were doing that and I was,
as a director telling them what I needed
or what I thought was good.
What about if we do that, the camera will do,
and then Edward was telling me,
what about if we do that, what about?
Anyway, after 70 times that he was
trying to tell me what I should do, I start laughing.
I said, do you know what's happening? What?
You are exactly doing what the character is
doing in this scene.
And so he realized and we start laughing
about how a mirror in a mirror in a mirror we were playing
there and it was so fun.
The reason I think I got into this different kind
of approach or design of making films was because of need.
Sometimes, the restrictions and limitations are your best,
at least creatively.
So I was so reducing money.
I didn't have enough money. I didn't have enough time.
The St. James theater only allow us to shoot for five days
because they are always booked all year for years.
But there was a coincidence that just a theater
chapter played through the other was
like a five days hiatus and we have this open thing.
And I rehearse every movement, every step,
every rhythm, even the measures of the walls, everything.
The lights, study where the window will be, all the needs.
And so the stage, all the barrels
of the theater were designed and built outside New York.
But when he comes out of the Times Square
there was no way to design or.
I have money for
30 extras and that's it.
And I could not close Times Square,
I need to shoot it with people and not in a,
you know, not at 3:00 AM.
And one day Chi and I were walking to have breakfast
on Saturday and I saw this military band of these kids
playing super cool with some cool bangs
and everybody was watching them
because it was very noisy and cool rhythm.
And I got this idea, I said, this is exactly what we need.
We need something to distract the tourist, you know, in
in Times Square.
And let's just get there.
And then while they are watching these kids,
we will be walking with these guys.
[Woman] Can we take one picture?
[marching band playing drums] Not now.
No, just one picture!
[crowd talking over each other]
Hey Birdman, you suck. You suck! Ha!
And it work. I don't know how it work
because I thought it would be Michael Keaton in underwear.
It'll be 1000 people looking
to the camera and saying stupid things.
And everybody got, seeing these kids.
And if you see the film, it's exactly that.
We just have 30 extras
and we distract them with like bees with honey,
[laughs] while we were getting away with murder.
The people say why it's in one shot?
And it was because obviously
because this is again happening in
in the consciousness of a person
dealing with his own ego and his super ego.
And I want the audience to be in a radical point
of view and to live exactly what he was going through.
And then, because I will not have editing
and a comedy is made of editing
I needed something to guide me, again, music and rhythm.
And I invite Antonio Sanchez
I'm a huge fan of Pat Metheny, the musician.
We became friends.
Antonio, a Mexican drummer, has been his drummer
for many years.
And I said, what about if you just start getting
and I have some ideas, and I knew the sequences.
So he and I got into a studio
in New York like three weeks before start shooting.
And I was describing to him the images
like the, the sequence.
And this one is a little soft
and this one is a little emotional, this one is very hard.
And he was just improvising jazzy.
[scats]
And before start shooting, I got a lot
of tracks that informed me during the things about that.
And it was kind of pre-editing element for me to be getting
and the actors getting the rhythm and the vibe.
Babel
Babel was about these four stories
of characters that will never been
they will never been physically in the same place.
They will probably will never know each other existence
but no matter how, whatever actions they are doing
at that time, it will change and affect the life
of each of all the other, three other characters
they didn't know, which is kind of the
butterfly kind of theory.
So that was an extreme kind of exercise
with no physicality differently from
Amores Perros and 21 Grams.
And about the impossibility of communication, right?
And that's why the Babel title came, like it's a
Tower of Babel as this punishment that we got
and I think we are living now.
I think the internet could be kind of that
that we are supposedly connected
but we speak different language and we think
that we are speaking, we are completely disassociated.
Half of that film was shot in Morocco.
And we were shooting in very, very, very humble poor towns
near Western Sahara.
So the experience of shooting those scenes there
with the non-actors, all of those Moroccan
characters were non-actors that I trained with them.
And then you are putting all these people that has
never seen a camera and with Cate Blanchett to
perform the veterinarian and all that scenes
that were very intense where she's bleeding.
And all those circumstances that I was basically exposed to
and exposing all these actors and all the crew that we went
we need to achieve some truthfulness about that.
It was an extremely beautiful experience, you know
challenging one, but at the, at the same time was informing
while I was doing that,
that I was in Babel.
The language was not
helping to get what I needed
and it was just emotional things
that were able to
get these guys to understand what I was needed.
And once they get into the motion, it was amazing.
But the language, the words were useless, you know,
and that was super interesting about it, you know?
That it was just about emotional exercise or
or an image that was triggered to them.
I remember there was this guy that was supposedly the guy
that shot to Kate and he has an amazing face,
like a mysterious guy.
But when he laughed, he was with no tooth and
he was the most sweet, almost little kid,
but he was an old man.
And he couldn't
cry and he supposedly has to cry
in the moment that the police arrive.
And I have this incredible actress
that is Hiam Abbass, which is Palestinian,
and she was helping me to translate to them.
And suddenly Hiam said something about her mother
and apparently he never went to see his mother buried.
And in the moment that he got that image
and that memory,
and we could penetrate that. Boom!
[shouting in foreign language]
[Alejandro] And a burst of crying and it was truthful
and then we start shooting and then he couldn't stop.
So I said, okay, we finish. [dramatic, fake crying]
So what I'm saying, it was very beautiful how
emotions are the universal language, you know?
Amores Perros
[dramatic music]
This was
powerfully written by Guillermo Arriaga.
I developed with him for three years
and we talk endlessly about,
first of all, you know, the different relations between
Chivo, which is the old man
whose family is the dogs.
He lives with his family of dogs and
the affection that he feels for them.
And then you have these other characters
which in a way it's, yeah
it's a family dog that suddenly turns to be a great fighter.
And then you have other guy, which is basically,
the dogs are utilitarian and to make money
and to savage them, to destroy, you know,
to use them as warriors.
So yes, there's a different attachment
to dogs or animals as in real life happen.
The difficulty was how I could make
those relations feel real.
So we have a lot of
months in advance
with a great trainer.
Larry Casanova was called.
And this guy, he was an animal lover
and he train all these animals and
he got these street dogs to,
I put Emilio Echevarría, the actor of Chivo,
to really spend months with these guys in order
that when he walks the dogs were really attached to him.
So you can see that in the film.
And then obviously, Gael García Bernal or the other actor,
they were terrified about dogs.
And these dogs were real dogfight dogs, you know,
that are super difficult to control
because they are beast and they can really bite you.
And we have several events that were very close to
having an accident, but they have to overcome their fear.
I think every film until Birdman, I shot it chronologically
by the script because, for me it was very important to be
understanding and having the opportunities
to maybe shift things depending on how things were evolving
and to have the actors understanding their own journey
in a chronological order, very radical even when
it was a nightmare for producers and locations.
But I think for me has been crucial to, to make a film
in a chronological order, to be able to be growing with it.
21 Grams
[Reverend] How'd it go?
[Jack] Not good, Reverend.
In one ear, out the other.
Be patient.
All it takes is one sheep in a thousand, Jack.
Come on.
[Bald Man] Good afternoon, Reverend.
Hey Wolf, you still having that birthday party Wednesday?
My place, Bubba.
We were developing this script and
and there was this characteristic
of the role that Benicio del Toro play.
And there was this religious relation
with faith and the way this character was feeling.
And I felt that it was very much into these possibilities
of shooting the south of the United States
where sometimes religion can get kind of very passionate
and reductive in some way that the relation is like
I'm good, I'm gonna be good, I'm bad, I'm gonna be punished.
It was the first city in Memphis that I touched.
I embarked myself when I was 17 years in a boat,
in a cargo boat.
And that was the first city that I hid
in United States through the Mississippi.
So anyway, a lot of things was coincided to
make my first American film there.
So in a way, it was not planned
but everything start just to point to that direction.
And I find myself in Memphis
for six months shooting this film.
And I remember that even talking in English, for me
my English is bad, but at that time it was much worse.
It was worse.
So for me to explain, I had to have surgery after,
because my vocal cords, I was using it differently
because when you speak English,
you have to use differently your cords.
And they was raspy, so I got into a surgery.
At that time, you know, for me, the eyes and the features
of somebody is the story of somebody.
It's the map, it's the emotional map
as powerful in any landscape.
You know, you can really see a lot of the past,
a lot of the fears, a lot of the joy,
a lot of the complexity of human being.
If you point it out in the right direction
with the right lighting, there's a lot to be revealed
in one close up.
And there is nobody better than
operating the camera handheld, which is very difficult,
than Rodrigo Prieto because he's a painter.
You know, the problem with handheld cameras is
if it's overused, it's already kind of too overused
like that.
So there is no reason why to move that.
So you just get nauseous about it or there is no reason.
But Rodrigo, in a way, you know, the
every movement of the actor, every reason to be moved,
he moved or every reason to be stay, he stay.
And we were shooting all the time with 40 millimeters
lenses, which was my favorite one at that time.
I think Amores Perros and that one, I think we shot it
in 40 millimeters all the time, which for me,
kind of, that's where the vision is.
These films were much more about
the chances of improvisation and things, and again
capturing with the camera very natural,
very, very, very, very raw.
Biutiful
I think this film reflects a lot of
where I was at that time as a person,
you know I was in a very low kind of thing.
I was really seeing all these immigration things going on
in Europe, like all these African people completely thrown
out in the streets where all these incredible
rich cultures are not allowing them.
So as an immigrant, I always has been
[speaking foreign language] or Carne y Arena,
the virtual reality thing that I did
about immigration, crossing the border.
It's a theme that maybe because I'm an immigrant,
it's always very close.
So I was observing kind of, those kind of things.
[people shouting]
And I was thinking about death.
I was turning 50 years old and I think that hit me.
So it's a film that is very deep and personal.
It's dark.
I'm very proud of it.
When it came out, it was trash.
It was a disaster.
Now it seems that a lot of people say,
oh, it's your best film.
And I said, wow, sometimes films takes time
to really, you know, breathe.
For me, the exercise here was I have never made
a film about one character.
And for me it was terrifying to say
now I have just one character in one film
a narrative that is chronological
and much more conventional.
But the one character, the way it was for me
inspiring this father, trying to get care of other peoples
and help them immigrate and help their kids and try to get
through challenges and then thinking about the others.
I start playing with elements that were not real.
If we could see the motion of somebody, how they will look,
what are the elements that can be manifested there.
So I start playing with that,
with that super encounter of the father at the end.
[boy speaking foreign language]
[snow crunching]
And again, it's because maybe my age start
inviting me to think about what I'm gonna leave here.
Bardo
[speaking foreign language]
I have never worked with this kind of material
that I closed my eyes, I went, I recouped some things
that were emotionally important
and there was not necessarily truth,
as that's why the False Chronicle of a Handful
of Truths, actually things that I do not understand.
So all these things for me was a way to get some events
or some personal intimate things
and some collective memories of the things that has made us
as Mexicans and bring in there and then lying down, I said
holy shit, I don't know what to do with this.
It's a, you know, there is a story with no story
but at the same time, I think true fiction
in a way and to lie about them
and to really that you make, it's a way to heal.
It's a way to put light in the darkness.
I lived in Mexico
35, 36 years, let's say.
So it's my city, you know,
it's my town.
Obviously 20 years, 21 years has passed,
so things has changed.
It's not the same when I left.
But at the same time, it's like an old new friend
that you know very well, that you haven't seen in years,
and you connect in one second.
So that's very inspiring
and especially the sound of the city.
You know, there's something very beautiful about
the soundtrack of Mexico City and the smells.
That's what I miss much more.
When you live in United States, you miss
that [speaks foreign word] as we said, you know?
The relation between Mexico and United States,
our stories are completely blended, right?
In the last 200 years, but it's a complicated one.
And it has been friendly, but very contradictory and
very different with different sides.
And there's a lot of open wounds, let's put it that way.
And that the Mexican-American War as they call it,
it was 175 years ago and it was a very traumatic experience.
Because where I shoot is the Castillo de Chapultepec,
the Chapultepec Castle that was built by the Spanish
in the 1600s.
And you can tell the story of Mexico basically there.
Cause later, you know, that's where I think
the American military came in at the end of the war
and they took over and they slaughtered
all these little kids
and then this mythology appears
that the [speaks foreign word], which is kind of a myth
that has been built in the narrative
of the heroic act they did.
But everybody knows that is not true.
But in a way, I want to approach this with sense
of humor of how ridiculous the both sides of the story.
One denying the fact that it was actually an invasion
that they, you know, that time they took half
of our country for 15 million pesos.
And the way we told our story
in our side too is a little bit ridiculous, you know?
So in a way I'm questioning the narratives of
both sides with humor in a kind of a dream state.
And execution was extremely difficult,
I think more difficult than The Revenant.
To close the city at the center, nobody has seen downtown
like that because this is the heart of the city.
All that sequence where he's walking at night
and the sun goes down in the middle of the city
with all these people because there's 120,000 disappearances
in Mexico in the last 10 years, which is kind of,
how you explain that by just, I wanted just to,
with an image what we feel about, how it feels to be
a possible victim of that with no reason.
And the sun goes down and all that part that he's walking
at night is a day-for-night shooting,
which is a technique that is used
but we need to have a very precise position
of the sun and close every street
that has that kind of moonlight sensation.
So everything was, we have to really analyze every day to
understand what is the light position to get exactly
in the top of the buildings
a little, you know, spread of that light.
So again, it requires a lot of thought in every shot.
We shot it in Zócalo, which is exactly
where the Aztec empire was there, so all the pyramids
were destroyed and those pyramids are the stones
of the cathedral.
So, in a way it was for me, important to be shooting
those scenes in the real locations.
You know, was that reinterpretation and actually even
with humor too, about things that has been open wounds
we maybe not answered yet.
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Jerry Bruckheimer Breaks Down His Most Iconic Films
Andy Garcia Breaks Down His Most Iconic Characters
Chris Hemsworth Breaks Down His Most Iconic Characters
John Lithgow Breaks Down His Most Iconic Characters
Ewan McGregor Breaks Down His Most Iconic Characters
Taika Waititi Breaks Down His Most Iconic Characters
Yunjin Kim Breaks Down Her Most Iconic Characters
The Russo Brothers Break Down Their Most Iconic Marvel Films, Arrested Development & More
Rae Sremmurd Break Down Their Most Iconic Tracks
Neil Patrick Harris Breaks Down His Most Iconic Characters
Karl Urban Breaks Down His Most Iconic Characters
Ralph Macchio Breaks Down His Most Iconic Characters
Pierce Brosnan Breaks Down His Most Iconic Characters
Christian Bale Breaks Down His Most Iconic Characters
Paul Dano Breaks Down His Most Iconic Characters
Daniel Radcliffe Breaks Down His Most Iconic Characters
Mahershala Ali Breaks Down His Most Iconic Characters
Javier Bardem Breaks Down His Most Iconic Characters
Brendan Fraser Breaks Down His Most Iconic Characters
James Cameron Breaks Down His Most Iconic Films
James McAvoy Breaks Down His Most Iconic Characters
Director Alejandro González Iñárritu Breaks Down His Most Iconic Films
Director Rian Johnson Breaks Down His Most Iconic Films
"Weird Al" Yankovic Breaks Down His Most Iconic Tracks
Danny Trejo Breaks Down His Most Iconic Characters
Don Cheadle Breaks Down His Most Iconic Characters
Giancarlo Esposito Breaks Down His Most Iconic Characters
Bryan Cranston Breaks Down His Most Iconic Characters
Donnie Yen Breaks Down His Most Iconic Characters
Paul Rudd Breaks Down His Most Iconic Characters
Sir Roger Deakins Breaks Down His Most Iconic Films
Donald Glover (Childish Gambino) Breaks Down His Most Iconic Characters
Chris Tucker Breaks Down His Most Iconic Characters
John Leguizamo Breaks Down His Most Iconic Characters
Dave Matthews Breaks Down His Most Iconic Tracks
Liev Schreiber Breaks Down His Most Iconic Characters
Ludacris Breaks Down His Most Iconic Tracks
Danny Elfman Breaks Down His Most Iconic Scores (Tim Burton Edition)
Mads Mikkelsen Breaks Down His Most Iconic Characters
Michael Cera Breaks Down His Most Iconic Characters
Chris Evans Breaks Down His Most Iconic Characters
Martin Scorsese Breaks Down His Most Iconic Films
Paul Giamatti Breaks Down His Most Iconic Characters
Barry Keoghan Breaks Down His Most Iconic Characters
Kurt Russell Breaks Down His Most Iconic Characters
Sam Rockwell Breaks Down His Most Iconic Characters
Clive Owen Breaks Down His Most Iconic Characters
Josh Brolin Breaks Down His Most Iconic Characters
John Malkovich Breaks Down His Most Iconic Characters
Eugene Levy Breaks Down His Most Iconic Characters
Michael Keaton Breaks Down His Most Iconic Characters
Danny McBride Breaks Down His Most Iconic Characters
Trent Reznor & Atticus Ross (NIN) Break Down Their Most Iconic Tracks
Zack Snyder Breaks Down His Most Iconic Films
Kevin Costner Breaks Down His Most Iconic Characters
Walton Goggins Breaks Down His Most Iconic Characters
Cate Blanchett Breaks Down Her Most Iconic Characters
M. Night Shyamalan Breaks Down His Most Iconic Films
J. K. Simmons Breaks Down His Most Iconic Characters