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It's almost ten in the morning.

We're heading up the mountain.

It's a beautiful day
here in the Sierra Nevada.

We're here with Carlitos Páez Vilaró,

Vasco Echavarren,

Coco Nicolich,

Enrique Platero,

and the amazing Antonio Vizintín.

- We're happy to be here.
- Day two in the mountains.

Day two in the mountains.

I guess it feels colder today.

Windier. The mountain awaits.
It welcomes us.

It embraces us.

And we embrace it back.

SOCIETY OF THE SNOW:
WHO WERE WE ON THE MOUNTAIN?

I came across the book Society of the Snow
while doing research for The Impossible.

DIRECTOR, PRODUCER, SCREENWRITER

The Impossible took a year to film.

PRODUCER

On the last day of shooting,
Belén was on the phone

with the lawyer
representing the survivors,

ironing out the steps to take

to make this film a reality.

On Friday, October 13, 1972,

a charter flight
from the Uruguayan Air Force

crashed in the middle of the Andes.

Sixteen of the 40 passengers
survived 72 days in the wilderness.

The event became known
as the Miracle of the Andes.

When we heard about Bayona's film,
we started to get an idea

for how the script
and everything would take shape.

SURVIVOR

We began to feel hopeful
and had a sense of relief and joy

because the story would be told
with everyone included.

We gave J.A. complete freedom

in terms of the script
and just about everything else.

SURVIVOR

I only said to him,

"Feel free to do whatever you want,
but know my life's at the heart of this."

This was such a terrible tragedy,
at least for me.

SURVIVOR

Imagine losing your mother,
sister, and best friend on the same day

and having to bury them
with your own hands.

Living for 72 days
in the worst conditions possible.

Taking the most epic trek
in the history of mountaineering.

The movie illustrates the majestic…

SISTER OF FERNANDO VÁZQUEZ, DECEASED

…and terrible spirit of that place,
where nature dominates in full force.

SURVIVOR

Unless you see it with your own eyes,
you have no idea what it's like

to set foot
in that enormous mountain range.

Imagine what this is like for us.
It's like being transported back there.

October 2021. The team's first trip
to the Valley of Tears (the Andes),

the site of the crash.

The expedition is led by Benegas Brothers.

One of the most striking things
about the Valley of Tears,

where the plane crashed,
is the sound of the place.

Nothing lives there.

There's complete silence.

And then there are these gusts of wind,

which, at a height of 13,000 feet,
are incredibly strong.

The first time we went
to shoot in the Andes,

there had hardly been
any snowfall that year.

We filmed a lot and spent
some time exploring the surroundings,

but we had to return
a year later to get footage.

When shooting was wrapping up,
J.A., the cinematographer,

the special effects supervisor,
and Enzo, our lead,

went to get some footage
in the Valley of Tears.

It turned out to be like something
out of a nature documentary.

It was like the mountain
gave us its blessing.

It snowed a lot, almost
as much as it had the year of the crash,

which was one of the snowiest years
on record for the area.

- What do I do?
- J.A. will tell you.

They asked us to get some information.

- And to talk to you.
- Okay.

SEPTEMBER 2021: ZOOM CALLS.

So, you prefer the window over aisle seat.

Do you prefer the window or the aisle?

Window or aisle?

Uh, wait a second.

THEY'RE ABOUT TO RECEIVE NEWS
THAT WILL CHANGE THEIR LIVES…

- What?
- Window or aisle?

I'm gonna be in the movie?

Just tell me. Come on.

Don't play around.
Come on. That's enough already.

María Laura Berch
did a spectacular job with casting.

PRODUCER

She later coached the actors
over six or seven long months.

It really was the right decision
to not go with well-known actors.

The goal was,
like with everything else in the film,

to keep things organic
and close to real life.

Are you on board?

You're the worst.

Why are you doing this?

Wow.

Wait, are you being serious?

We certainly were looking for
people who looked the part,

but mostly, we wanted actors who already
had the personalities of their characters.

These similarities, along with the fact
that we spent 140 days filming,

meant that we formed

our own Society of the Snow on set,
a lot like the one in the film.

- You earned it.
- Wow. I can't believe it.

I need to play Roberto Canessa.
I mean, I want it.

I wanted it so bad. I'm obsessed.

No way.

Holy shit.

Are you ready?

Yeah. Let's do this.

Led by Bayona

We're all gonna take a victory lap!

Come on, sing with me…

DECEMBER 2021: REHEARSALS
AND TRAINING IN BARCELONA

Today's workout focuses
on the lower body, and it's a tough one.

We have to complete four sets today,
working the entire leg.

You're going to do ten reps,
holding each one for three seconds.

Three, four.

One, two, three.

Nice job. Ease down. Squeeze. Lift.

That's it!

- Come on.
- Push. Keep it up.

- Come on, champ.
- Up. Six. Knees apart.

Four.

Ten.

Great session today, guys.

A tough one but a good one.

Time to head home, rest up, and eat.

I died on December 11, 1972,
at ten in the morning.

I was the 29th person to depart
from the journey we began 58 days ago,

leaving 16 friends to carry on.

J.A. did an amazing job directing.

I think it's one of the aspects
of the project that he enjoyed the most.

Many of our actors were inexperienced
or had only done theater.

They weren't used to being on camera,
but with J.A. as director,

and under his careful supervision,
they really shined.

Nando wants to venture out now,
but he's scared.

When Roberto says, "Let's fix the radio,"

Nando says,
"That won't work. Let's just go."

So Roberto says,
"Let's try to get it to work."

"If it doesn't,
then we can head up into the mountains."

That works for Nando
because he's scared too.

He thinks, "Fine. At least Roberto's in."

Go. That's it!

- Up!
- Here!

Get down!

Get up!

You're up there!

Get up in four.

You're totally exhausted.

You have to give your actors
what they need.

All the information and help you can.

My approach to working with actors
is to basically give them space.

That means giving them room to experiment,
to make mistakes if they need to.

I tell them, "Make mistakes.
It's fine. We can just do another take."

So they can try things out.

But to do that,
they need to have all the information.

We're leaving for Granada
in four days, and I can't believe it.

It's going to be really intense but great.

We can't wait to get out there
and get started.

Are we gonna say cheese?

Cheese!

We built five fuselages.

The small ones, the one on the gimbal,
and the two here.

PRODUCTION DESIGNER

Each has a specific purpose.

It might seem crazy
to have five, but it isn't really.

They all have different functions,
so they work together as one.

The challenge with the fuselage
on the mountain was getting it there.

We built it here in Madrid
and transported it in one piece

to the Sierra Nevada,
where we dismantled it into three parts

and brought it up the slopes
to the location, which was very high up.

Not as high as Veleta peak,

but it was in the most elevated part
of the Sierra Nevada.

DECEMBER 13, 2021:
TRANSPORTING THE FUSELAGE TO GRANADA

While we had that plane there,
we also had one at ground level,

in the middle
of an olive grove in Granada.

That particular one
was able to be lifted up and down.

We built a platform that allowed us
to raise and lower the entire plane.

So, we spread
artificial snow around the plane.

SPECIAL EFFECTS SUPERVISOR

And then you could lower it and raise it
to change the level of snow coverage.

SPECIAL EFFECTS SNOW SUPERVISOR

And then we had a third plane,
which was on a set

up in the mountains.

At an altitude of 6,500 feet.

We built a warehouse with LED screens

to recreate the mountains
because we avoid using green screens.

And then, for the crash scene,
we made replicas of the plane.

One of these
was like a fourth plane on a gimbal.

It allowed us to change the angle

and create turbulence similar
to the kind you'd have on a real flight.

And then we used
smaller pieces of the plane

to produce more intense turbulence
for the crash, for specific shots.

Delta, plate one alpha, second.

The day we began filming,
the director and all the actors had COVID.

- Where does Pancho Abal go?
- First.

He goes first. Let's go.

WEEK 1: FILMING BEGINS

So we started the first day
with the director stuck in a booth,

wearing his face mask, alone,

with a microphone,
far away from everyone else,

sending instructions
to the set and directing body doubles.

We could only film from behind.
The real actors were out sick.

Heads up, folks. We're starting.

The first few days,
J.A. wasn't with us since he had COVID.

WRITER, ASSOCIATE PRODUCER

But we heard his voice, and it was
like it came from beyond the grave.

Action!

You're freezing. Vacant stares.
You're going to die tonight.

I want to see that you're going to die,
that you think you're dying.

- Platero.
- I'm not convinced you're going to die!

It was all very strange.

I couldn't think of a more perfect way

to mirror the '72 incident, which sat
somewhere between reality and surreality,

life and death,
than how we kicked off the shoot.

We've been waiting for this moment
for over a year, since the casting call.

And to be here now, it's like, "Finally."

The first scenes were close-ups of Numa.

It felt like we were starting strong.
It was awesome.

A lot of this is in here.

But yeah, it's really intense.
Really powerful.

Every scene takes a lot out of you.

There are times when we're waiting
for the cameras to roll,

and you can't help but think,
"Wow. This is a true story."

The first few days,
as the actors began to recover,

they started coming in one by one.

We kept trying to figure out
which shots we could film each day.

Let's keep the frame.
Set up the lighting, please.

A little more snow.

More snow on Marcelo.

I'm starting to feel
like I'm getting the hang of it.

J.A. was outside the booth today,
so that made a big difference.

He was there with us.
We tried different things. It was great.

On set, there's a mountain
to climb every single day.

A metaphorical mountain.

Every time we got to a new scene, we'd go,
"Now we have to film the avalanche."

"Now we have to scale
the mountain in the west…"

All the scenes were physically
and technically demanding.

Help!

Numa, are you okay? Numa!

- Help!
- Numa!

- Please!
- Vasco, where are you? Vasco!

Numa, where are you?

- Cut.
- Great job, Juan Diego. Excellent.

- Nicely done, brother.
- We made it.

We survived, man.
We almost got our heads chopped off.

Very intense.

Really cold.

Roberto.

Nando.

WEEK 2: THE TEAM GOES UP
TO THE MOUNTAIN SET FOR THE FIRST TIME…

AT AN ELEVATION OF ALMOST 9,850 FEET

SOME OF THE ACTORS
HAD NEVER SEEN SNOW BEFORE.

Working around the conditions
on the mountain was the hardest part.

You can't control the mountain,
so you have to adapt to it.

And adapting within the time constraints
was the biggest challenge.

Especially with so much of the crew
being away from home,

posted up in a ski resort
right in the middle of peak season.

It was all really complicated.

We set out to do something
that was truly challenging.

CINEMATOGRAPHER

We wanted to reach places
that are really difficult to access

with proper equipment, with good cameras,

with something that would let us capture
the majesty of those places

in the best way possible.

We were filming at an elevation
of 9,842 feet in a snowy location

with safety measures in place.

It was difficult to get around.
We had to do things slowly.

We were trying to get into the rhythm
of the film right away.

So it took us a while
to get into our stride and make progress.

Come on. That's great.
Pull it for another ten feet.

Carlitos, face the camera.
Let us see what you're doing.

Wipe off any blood that's on you.
Stay with Carlitos.

What happened to your nose today?

- I had a nosebleed.
- Why?

It just happens.

- The altitude, physical exertion…
- What did you do?

- Did you clean yourself up?
- They used it.

We're almost done for the day.

Time for a nice sunset,
a final scene, and one last shot.

We have to take advantage
of this beautiful light.

- Let's move on to scene 41.
- Action.

- All right.
- Final slate.

Taking it easy.

Great. Beautiful.

I'll just say this now.
Today we're having paella.

What a strange coincidence it would be
if the nutritionist were to show up.

All the characters, from the day
of the accident until they're rescued,

progressively lose weight.

It's gonna be tough, but we need to do it

to play our characters
and do justice to the story.

It adds to the performance,
and we're all on board.

They have dulce de leche mousse,
and I can't even eat it.

- Where's the dulce de leche?
- Here. It's a mousse.

- This?
- The one without a label.

- Don't worry. I'll eat it for you.
- Wow, thanks.

- It is what it is.
- Check it out. It smells awful.

Son of a… I can't believe this.

SPECIAL EFFECTS AND MAKEUP

As the days go by, makeup is being used
to accentuate their transformations,

and that definitely adds to the film.

The actors were brave enough
to take the plunge

and shoot the film chronologically,
losing weight as time went on.

I got a cold sore from not eating enough.

- You're not eating, right?
- A cold sore from all the hard work.

I'm down 44 pounds.

- Quit bragging about that.
- All right.

When was the last time you ate?

Back in December of last year.

Hang in there!

We're filming the avalanche.
March 2, 2022.

WEEK 8: THE AVALANCHE SCENE

- Silence now, please.
- I'm going to squeeze in here.

They want silence.

Heads up. We're about to roll.

In this film, silence is everything.

The actors had
a rough time filming the avalanche.

You can see it
on their faces throughout the scene.

For the avalanche, we set up
some snow cannons… air cannons.

We filled them and shot them off

into the plane, causing the suitcases
and everything else to fall.

Rolling.

FOR THE ACTORS' SAFETY,
RUBBER SUITCASES WERE USED

The actors had to emerge from the ground.

We had several hollow platforms.

They had to wait for their turn
to come out through a hole,

and they had to break through
a thick layer of real snow.

It was extremely cold and freezing.

It's really distressing.

I don't know how they survived.
It blows my mind.

Even the tiniest bit of snow
starts to sting.

It suffocates you
and makes you feel helpless.

Hold on!

- It's intense.
- It's incre… I don't know.

We didn't expect
the avalanche to be this tough.

It's a struggle, but it looks awesome.

Up!

Cut.

WEEK 12. A THIRD UNIT
HANDLES THE HIGH-ALTITUDE SCENES.

The Sierra Nevada
has certainly been a challenge.

Unlike any other set
or outdoor environment

where we usually shoot,
this is a mountain.

It's an inhospitable place.

Working at such a high altitude
really limited us.

It's been a challenge shooting
in the mountains at such an elevation.

THE THIRD UNIT IS LED
BY A NORWEGIAN DIRECTOR

AND A DIRECTOR OF PHOTOGRAPHY
WHO IS AN EXPERT IN SNOWBOARDING.

Three, two, one. Let's start walking.

You're going to climb up
and set up your bivouac,

which is the bed, on top of this rock.

DIRECTOR, MOUNTAIN UNIT

We'll start from below,
then bring the camera up

and begin the dialogue again from above.

If we have time, we'll do it again,
but I'm not sure we will.

That's all.

As you know, the main characters go on
several expeditions

in search of supplies.

Eventually, they try
to make their way to civilization.

That's basically
what we've tried to capture.

THEY REACH THE HIGHEST POINTS
OF THE SIERRA NEVADA,

AT AN ELEVATION OF ALMOST 10,830 FEET.

Great job, guys.

Nando too. One second.

Look towards the camera a little.

WEEK 16: LAST WEEK IN THE SIERRA NEVADA,
FILMING THE RESCUE SCENE.

The last day of shooting
in the Sierra Nevada,

at the exterior fuselage on the mountain,

we were filming the arrival of…

I get emotional talking about it.
The arrival of the rescue helicopters.

The survivors know that Nando
and Canessa have made it to safety,

and they're getting ready to be rescued
and coming to terms with the last 72 days.

They're about to leave
what has been their home

and the society they've created.

They're eager to return home and wondering

how the world will react
to what they've been through.

A wonderful yet intense period
is coming to an end.

The hardest one yet.

It has been very demanding,
both physically and emotionally.

But we're very glad
we got to experience this whole process,

and we're grateful.

My experience in the Sierra Nevada,
Granada, and Spain will stay with me.

When the helicopters arrived,

I believe our entire team…

I won't go as far as to say we felt
what the survivors felt on the mountain,

but we had our own moment of…

"It's finally over."

We still have a lot to film,
but that difficult part,

dealing with the mountain, the fuselage,
the characters, the weight loss,

the struggles of living together,
and COVID on top of that,

as well as having to live
in an isolated mountain village…

That period of intense concentration,
effort, working hours, energy,

suffering, joy, and focus on technique…
had come to an end.

Yeah, I'm done.

That was great. Thanks.

It's over.

I believe it's one
of the most emotional moments

I've ever experienced on a film set.

It was incredible.

WEEK 20: THE TEAM HEADS TO URUGUAY
TO SHOOT THE END OF THE FILM.

CHILEAN AIR FORCE

It's a miracle.

- What do you mean, a miracle, Mom?
- It's a miracle.

Cut. Great job.

WELCOME TO SAN FERNANDO

WELCOME

CHILE AND URUGUAY

Thank you, everybody!

Incredible work! Come on, everyone!

Three, two, one. Action.

DECEMBER 2022: CRASH SCENE,
NETFLIX STUDIOS, MADRID

Cut.

We asked ourselves
how we were going to film the crash,

knowing that Bayona relies
on realistic practical effects,

using real actors and also stunt doubles.

Also, how could we incorporate one of
the many things that Bayona excels at,

which is making the viewer feel
like they're in the scene,

right in the middle of the action?

Three, two, one. Action.

We mainly have small sets
for specific shots.

Then we have half a fuselage on a gimbal

to get all the movements and real inclines

along with the turbulence.

Then we have a full moving fuselage.

We use this plane to show

normal flying conditions,
when the passengers play cards,

mess around, get rowdy,
and stuff like that.

Real planes can reach this angle,
and it's historically accurate.

A ball is rolling on the floor.
Action! Pancho, look out the window!

You're about to crash!
The plane's right in front!

And then, sun!

And cut.

Stunt-wire work
has become a key part of this film

because it allows us to move
at the speed and in the direction we want.

We had to prepare
the seats in the fuselage

so that the actors could do the stunts.

STUNT SUPERVISOR

We modified all the seats
and added more foam to them.

With the help of the special effects team,
we created rubber trays and armrests

to keep the actors safe
while filming the crash sequences.

All the backdrops used
in the movie are real.

They're footage and photographs
taken in the Andes.

Since it's based on a true story,

the audience doesn't want it
to look digital.

You can sense that it's not real.

I'm really happy
with Félix Bergés's and Ranchito's work.

One, two, three, cut!

Gastón!

We thought they were dead.

Uruguay!

The film gives a voice
to those who didn't return home.

I feel like it has provided answers
to all the lingering questions.

It was an emotional period,
and this is much more than just a movie.

Through this film,
we reach levels of awareness

that we had no idea existed.

It's the movie that has truly
taught me the most, every step of the way.

It was an emotional roller coaster,

but we all agreed
that what really kept us going

was the camaraderie
and the friendships that we forged.

Many times I was locked up…

Even now, it's hard to believe.

I don't know how they survived,
but because they returned home,

we were able to find out what happened.

Instead of just recounting the events,

the film shows what happened to this group

and how they had
to face their own mortality.

Folks, that's a wrap.

SATURDAY, DECEMBER 3, 2022:
SHOOTING WRAPS ON SOCIETY OF THE SNOW

The movie obviously stirs up
a lot of emotions.

Bayona has brought us all back together
50 years after the events.

SISTER OF FELIPE MAQUIRRIAIN, DECEASED

The story had never been told
like this until now.

Bayona is the kind of person
who doesn't quit until the scene is right.

He won't stop trying
to get the shot until it moves him

and really makes him feel something.

It totally changed how I see acting.

I believe it has given us tools

to work on other projects
in the future and grow as actors.

Sometimes, you want to wring his neck.
Other times, you want to give him a hug.

But this experience has definitely
helped me grow as a person and an actor.

My dear J.A.

You are the joy

Of my heart in every way

I believe J.A.
has poured his heart into this story,

putting in a lot of work with Pablo,

to perhaps make the best film of his life.

We've all heard the story of the heroes
who crossed the Andes and returned home.

But the story of the anonymous heroes

who allowed the survivors to return
hadn't been told until now.

When you see someone
so invested in a story from day one

and their attention to detail,

that's when you know
there's an unbreakable connection there.

DAUGHTER OF JAVIER AND LILIANA METHOL

In my eyes, J.A. has become almost like
a member of our community of survivors.

The film creates a space
for us to revisit who we were.

SOCIETY OF THE SNOW:
WHO WERE WE ON THE MOUNTAIN?

Subtitle translation by: Meredith Cannella