All language subtitles for Highway Patrolman (1991) Blu-ray Commentary

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:02,735 --> 00:00:07,196 My name is Alex Cox. I'm the director of the film that you are about to see 2 00:00:07,323 --> 00:00:10,325 which is called El Patrullero or Highway Patrolman. 3 00:00:10,451 --> 00:00:15,244 And my name is Lorenzo O'Brien. I'm the writer producer of El Patrullero. 4 00:00:15,373 --> 00:00:18,208 Welcome to the film. 5 00:00:18,334 --> 00:00:21,952 The film begins in Mexico City in El Z�calo. 6 00:00:22,088 --> 00:00:25,421 Do not adjust your set. It has a weird colour cast to it. 7 00:00:25,550 --> 00:00:30,793 The first ten minutes or so have this yellowish tinge 8 00:00:30,930 --> 00:00:36,387 which is meant to replicate the smog atmosphere of Mexico City. 9 00:00:36,519 --> 00:00:38,725 So don't adjust your television 10 00:00:38,855 --> 00:00:42,224 I've always been amazed about this section. 11 00:00:42,358 --> 00:00:45,312 For having two cents to do the title sequence, 12 00:00:45,444 --> 00:00:47,520 it's one of the better ones I've seen. 13 00:00:47,655 --> 00:00:49,897 It's great. Bob Dawson 14 00:00:50,032 --> 00:00:56,071 a very good title person with whom we were at UCLA 15 00:00:56,205 --> 00:00:59,076 back in the 1970s. 16 00:00:59,208 --> 00:01:02,910 It fits the style of the entire film, 17 00:01:03,045 --> 00:01:07,423 and it is visually so compelling. 18 00:01:07,550 --> 00:01:12,889 It's amazing how sometimes less is more. 19 00:01:13,014 --> 00:01:16,549 Do something simple and you can usually get away with it. 20 00:01:16,684 --> 00:01:19,768 - And this guy is... - Mike Moroff! 21 00:01:19,896 --> 00:01:22,221 Mike Moroff. I find it amazing 22 00:01:22,356 --> 00:01:27,695 that he looks so much like the real head of the Mexican Highway Patrol. 23 00:01:27,820 --> 00:01:33,278 And he's not actually a Mexican. He's from Chicano, Los Angeles. 24 00:01:37,455 --> 00:01:42,366 He was born originally in Mexico and then moved to the United States. 25 00:01:42,501 --> 00:01:44,957 There's the appearance of Roberto Sosa. 26 00:01:45,087 --> 00:01:47,247 El Patrullero. 27 00:01:47,381 --> 00:01:49,671 - An extraordinary actor. - Very good actor. 28 00:01:49,800 --> 00:01:53,928 Won a prize at San Sebastian for his performance in this film. 29 00:02:03,189 --> 00:02:06,558 And here comes Bruno Bichir, the other Patrullero. 30 00:02:10,071 --> 00:02:17,117 We really have Claudia Becker and Miguel Sandoval 31 00:02:17,245 --> 00:02:21,871 to thank for the extraordinary job they did on casting. 32 00:02:24,585 --> 00:02:28,168 - As well as you, of course. - Oh no. On the contrary! 33 00:02:28,297 --> 00:02:30,504 It's the script. 34 00:02:30,633 --> 00:02:33,468 But this guy isn't cast. This is a real cop. 35 00:02:33,594 --> 00:02:38,589 This is one of the funniest sequences... among others! 36 00:02:38,724 --> 00:02:41,394 This is improvised. This was never in the script. 37 00:02:41,519 --> 00:02:43,974 He's really giving them a ticket. 38 00:02:45,690 --> 00:02:50,518 There are several moments in the film that just appeared out of nowhere. 39 00:02:55,866 --> 00:03:00,612 This is shot in the old race track in Mexico City. 40 00:03:00,746 --> 00:03:04,329 Where they used to have Formula One motor racing. 41 00:03:04,458 --> 00:03:07,496 We were unable to obtain the support 42 00:03:07,628 --> 00:03:11,674 of the Mexican Federal Highway Police, 43 00:03:11,799 --> 00:03:17,588 so we ended up having to recreate the academy 44 00:03:17,722 --> 00:03:19,798 at the old race track. 45 00:03:19,932 --> 00:03:22,388 It worked out quite well. 46 00:03:22,518 --> 00:03:26,646 Along with everything else. The cars, the uniforms. Everything is invented. 47 00:03:26,772 --> 00:03:30,106 Since we didn't get any cooperation from the Highway Police 48 00:03:30,234 --> 00:03:32,939 we had to invent our own police force 49 00:03:33,070 --> 00:03:36,986 Pedro Armendariz! Pedro Armendariz. 50 00:03:37,116 --> 00:03:40,615 He's the son of Pedro Armendariz, the famous actor, 51 00:03:40,745 --> 00:03:43,864 and an extraordinary actor himself. 52 00:03:43,998 --> 00:03:50,618 Standing behind him in this scene is Cecilia Montiel, the Production Designer. 53 00:03:50,755 --> 00:03:56,045 Playing La Patrullera, I guess. 54 00:04:07,271 --> 00:04:09,347 This is the point of the film. 55 00:04:09,482 --> 00:04:12,815 This is the scene in which everything is explained. 56 00:04:12,943 --> 00:04:16,562 As the English translation says, "They've always committed a crime". 57 00:04:16,697 --> 00:04:22,202 It's actually, "They've always broken the law". 58 00:04:22,328 --> 00:04:25,365 "They've always broken the law." 59 00:04:25,498 --> 00:04:29,745 It's also one of the basic concepts that we discussed 60 00:04:29,877 --> 00:04:33,828 while we were conceptualising the film 61 00:04:33,964 --> 00:04:37,216 which is the impossibility of doing good. 62 00:04:37,343 --> 00:04:40,511 That the best intentions are never enough. 63 00:04:42,056 --> 00:04:49,139 That somehow or other you're doomed to commit a mistake 64 00:04:49,271 --> 00:04:54,183 that someone is punished by. 65 00:04:54,318 --> 00:04:59,396 Especially by being so grandiose as to think that you can do good. 66 00:04:59,532 --> 00:05:02,616 This is the day of the total eclipse in Mexico City. 67 00:05:02,743 --> 00:05:08,580 That's right. A shot of which we snuck in later on in the film. 68 00:05:08,707 --> 00:05:12,789 But this is very unusual because it went completely dark. 69 00:05:12,920 --> 00:05:17,665 The streetlights came on, the birds went to sleep, 70 00:05:17,800 --> 00:05:20,042 and then woke up again. 71 00:05:20,177 --> 00:05:23,962 It must have happened about 20 minutes before we did this shot. 72 00:05:24,098 --> 00:05:26,886 It was an extraordinary event. 73 00:05:31,814 --> 00:05:36,310 So Pedro receives his shield, his gun and his certificate. 74 00:05:38,112 --> 00:05:41,398 That, we assume, is his brother on the right, videotaping him. 75 00:05:44,368 --> 00:05:51,202 This is very much the same ceremony in which... 76 00:05:54,044 --> 00:05:59,383 they are given their badges and their pistols, 77 00:05:59,508 --> 00:06:02,961 and their guns. 78 00:06:03,095 --> 00:06:05,420 In the actual highway patrol. 79 00:06:05,556 --> 00:06:08,309 Obviously, as you well know 80 00:06:08,434 --> 00:06:12,562 we got most of our story points, 81 00:06:12,688 --> 00:06:17,184 and our information regarding the highway patrol from Alfonso Granados. 82 00:06:17,318 --> 00:06:20,900 Who actually had been a highway patrolman. 83 00:06:26,452 --> 00:06:28,943 He'd been a highway patrolman as a young guy. 84 00:06:29,079 --> 00:06:35,616 He left the highway patrol at 22, 23 and ended up being a driver for films. 85 00:06:35,753 --> 00:06:39,170 We met him on our location scouts for Walker. 86 00:06:39,298 --> 00:06:43,130 And in the long hours of... 87 00:06:43,260 --> 00:06:45,965 Driving around in a Volkswagen camper! 88 00:06:46,096 --> 00:06:49,216 From one place to another, location scouting 89 00:06:49,350 --> 00:06:52,185 he told us the story of his life. 90 00:06:52,311 --> 00:06:56,558 Which then became somewhat an interpretation of this. 91 00:06:57,816 --> 00:07:00,023 Modified, of course. 92 00:07:00,152 --> 00:07:03,569 A lot of what Poncho said 93 00:07:03,697 --> 00:07:09,036 although it changed in the writing of the script, the essence of it is there. 94 00:07:09,161 --> 00:07:12,660 The highway patrolmen don't last very long out on the highway. 95 00:07:12,790 --> 00:07:17,452 A couple of years. The attrition rate is phenomenal. 96 00:07:17,586 --> 00:07:24,800 When I went to meet the heads of the highway patrol in Mexico City 97 00:07:24,927 --> 00:07:29,138 to ask for their support, they liked the material because it did reflect. 98 00:07:29,265 --> 00:07:32,764 They knew that we had been speaking to ex-highway patrolmen, 99 00:07:32,893 --> 00:07:36,511 and they recognised that it was authentic. 100 00:07:43,612 --> 00:07:46,187 It reflects the realities of their lives. 101 00:07:46,323 --> 00:07:51,117 In another way they didn't like it because it wasn't a very heroic portrayal. 102 00:07:51,245 --> 00:07:55,196 They appreciated it but they weren't going to give us a lot of support. 103 00:07:55,332 --> 00:08:00,208 The real issue with them was the end of the film 104 00:08:00,337 --> 00:08:02,497 which is the issue with most people. 105 00:08:02,631 --> 00:08:06,926 - This is actually the transition shot. - Now the colour is correct. 106 00:08:07,052 --> 00:08:11,217 The yellow tint should have left your screen and the colour should be bright 107 00:08:11,890 --> 00:08:14,429 because we're entering Mapimi, in Northern Mexico. 108 00:08:16,562 --> 00:08:22,980 The adventure of Pedro supposedly happens around this town of Mapimi 109 00:08:23,110 --> 00:08:28,650 where many years ago they shot part of El Topo, Jodorowsky's film. 110 00:08:28,782 --> 00:08:32,947 But in reality we shot all over Northern Mexico 111 00:08:34,496 --> 00:08:37,830 as we will probably note as we go on. 112 00:08:37,958 --> 00:08:41,209 There's Vanessa Bauche. 113 00:08:41,337 --> 00:08:44,456 Here's Ernesto Gomez Cruz, a wonderful Mexican actor. 114 00:08:46,133 --> 00:08:49,550 One of the best actors they have... The cast of this is superb. 115 00:08:49,678 --> 00:08:52,632 This is like The Towering Inferno of Mexican cinema. 116 00:08:52,765 --> 00:08:57,344 We have so many outstanding and well known Mexican actors 117 00:08:57,478 --> 00:09:02,353 even though to a foreign audience they might be quite unknown. 118 00:09:03,442 --> 00:09:07,737 It was an extraordinary situation that we were able to make this film at all, 119 00:09:07,863 --> 00:09:14,364 and then to be able to make with the liberty that we had to do it. 120 00:09:15,954 --> 00:09:18,280 And to do everything in a moving master 121 00:09:18,415 --> 00:09:21,369 because in the film, there is no internal cutting. 122 00:09:21,502 --> 00:09:24,621 There's no cutaways to close-ups. 123 00:09:24,755 --> 00:09:27,839 You'll even notice on this. 124 00:09:29,593 --> 00:09:32,962 They pull a stop as they go out through the door 125 00:09:33,097 --> 00:09:35,173 which is pretty audacious. 126 00:09:35,307 --> 00:09:39,554 The DP, Miguel Garz�n, really did an extraordinary job 127 00:09:39,687 --> 00:09:46,817 in being able to pull this off as he did. 128 00:09:46,944 --> 00:09:50,361 It was an incredible physical strain for him. 129 00:09:50,489 --> 00:09:55,993 We were shooting probably three sequences a day, would you say? 130 00:09:56,120 --> 00:09:59,868 It could have been. And sequences as long as three minutes. 131 00:09:59,998 --> 00:10:04,792 A three minute sequence might take a whole day to get right. 132 00:10:10,509 --> 00:10:15,669 We were shooting two or three shots a day 133 00:10:15,806 --> 00:10:18,261 I mean, by shots a day, set-ups. 134 00:10:18,392 --> 00:10:22,936 But each set-up would take us an hour or two to set up. 135 00:10:23,063 --> 00:10:27,109 To walk through it, to rehearse it and then finally go for it. 136 00:10:27,234 --> 00:10:34,150 Once we started it we ended up shooting maybe three or four shots at most, 137 00:10:34,283 --> 00:10:36,359 and we usually had it. 138 00:10:38,912 --> 00:10:45,117 And no Steadicam. It's all camera on the shoulder of Miguel Garz�n. 139 00:10:49,965 --> 00:10:54,093 This is an old converted garage 140 00:10:54,219 --> 00:10:59,724 that we made as the headquarters for the Federal Highway Patrol. 141 00:10:59,850 --> 00:11:02,092 Did we shoot that in Mapimi? 142 00:11:02,227 --> 00:11:05,644 - This is Mapimi, isn't it? - Is it Dinamita? 143 00:11:05,773 --> 00:11:08,691 Dinamita was the little town that we'll go to later 144 00:11:08,817 --> 00:11:12,186 I've got a feeling we shot the police headquarters in Torreon. 145 00:11:12,321 --> 00:11:15,323 No. In Mapimi as well. 146 00:11:17,367 --> 00:11:20,037 - Or was it Durango? - That's right. 147 00:11:20,162 --> 00:11:25,406 So when we go to the police yard, we're not in Mapimi, we're in Durango. 148 00:11:25,542 --> 00:11:27,867 This is definitely Mapimi. 149 00:11:31,173 --> 00:11:33,249 Pedro's first arrest. 150 00:11:33,383 --> 00:11:38,343 In the background, the cinema is playing a film called Rojo Amanecer 151 00:11:38,472 --> 00:11:41,225 which was also shot by Miguel Garz�n, 152 00:11:41,350 --> 00:11:46,060 and had been a great controversy in Mexican cinema 153 00:11:46,188 --> 00:11:50,933 because it dealt with the massacre of students in Tlatelolco in 1968. 154 00:11:51,068 --> 00:11:55,730 It was directed by Jorge Fons, who's a well known Mexican director. 155 00:11:55,864 --> 00:11:57,940 He did an extraordinary job on the film. 156 00:11:58,075 --> 00:12:00,649 It was after seeing Rojo Amanecer 157 00:12:00,786 --> 00:12:04,997 that you and I decided that Miguel Garz�n should shoot our film. 158 00:12:05,123 --> 00:12:08,208 Which was a surprise to our Mexican production team. 159 00:12:08,335 --> 00:12:11,004 They didn't understand what we were going for. 160 00:12:11,129 --> 00:12:14,416 But at the same time, it was an extraordinary choice. 161 00:12:14,550 --> 00:12:17,669 It's because this is the opposite of Rojo Amanecer. 162 00:12:17,803 --> 00:12:20,093 Rojo Amanecer all happens indoors 163 00:12:20,222 --> 00:12:22,761 in one flat, overlooking the massacre. 164 00:12:22,891 --> 00:12:26,059 - You never see the massacre... - Actually occurring. 165 00:12:26,186 --> 00:12:29,473 You just hear the sounds and see the reactions of the people. 166 00:12:29,606 --> 00:12:31,682 It's very claustrophobic. 167 00:12:31,817 --> 00:12:35,602 At the same time he showed such an extraordinary mobility 168 00:12:36,321 --> 00:12:38,563 within a small... 169 00:12:38,699 --> 00:12:41,653 Within a very confined space. 170 00:12:41,785 --> 00:12:47,408 It convinced us that if he can do that, that he would do an extraordinary... 171 00:12:47,541 --> 00:12:51,373 These are... 172 00:12:51,503 --> 00:12:55,086 These are the heat waves that you buy by the yard for road movies! 173 00:12:55,215 --> 00:12:58,383 They sell these at a special effects place! 174 00:12:58,510 --> 00:13:02,805 No, actually what it is is the dips in the roads. 175 00:13:02,931 --> 00:13:05,553 Oh those. Ah yes. 176 00:13:07,227 --> 00:13:09,303 This is a first for me. 177 00:13:09,438 --> 00:13:12,724 The first film I've done where the hero believes in God. 178 00:13:16,653 --> 00:13:19,062 I don't think Walker believed in God. 179 00:13:25,871 --> 00:13:28,955 But Pedro does. Pedro is a very sincere guy. 180 00:13:29,082 --> 00:13:31,158 He's a creyente.. He wants to do good. 181 00:13:41,053 --> 00:13:44,754 All of this is still Durango. 182 00:13:44,890 --> 00:13:49,434 The next scene is out on the highway. Those Velasco skies. 183 00:13:49,561 --> 00:13:54,686 The thing about Durango is that since it's up at 8000 feet 184 00:13:54,816 --> 00:14:00,238 the clouds hang to the horizon much better. 185 00:14:00,364 --> 00:14:03,199 There are our three friends with the iguanas. 186 00:14:03,325 --> 00:14:09,743 Who ended up staying with you at the hotel. 187 00:14:09,873 --> 00:14:13,919 Because we shot all over northern Mexico, the three kids with the iguana 188 00:14:14,044 --> 00:14:18,255 originally were just extras in the background in Dinamita. 189 00:14:18,382 --> 00:14:23,886 But when we'd shot them we thought we should use these kids again... 190 00:14:24,012 --> 00:14:29,801 Sure enough, one day, Rene Maruri, the Extras Coordinator 191 00:14:29,935 --> 00:14:33,221 just showed up his car with these three kids. 192 00:14:33,355 --> 00:14:36,024 And we go, "Where are their parents?" 193 00:14:36,149 --> 00:14:40,693 "The parents just gave them to me. Here you are." 194 00:14:40,821 --> 00:14:44,487 The parents were happy to get rid of them for a while! 195 00:14:44,616 --> 00:14:47,451 They had eight, so they get rid of three, it's better! 196 00:14:47,577 --> 00:14:51,113 They just sent the kids, so we gave the kids their room 197 00:14:51,248 --> 00:14:53,324 in the hotel we were staying in. 198 00:14:53,458 --> 00:14:57,586 But they didn't like to be by themselves because they saw a frightening film. 199 00:14:57,713 --> 00:15:00,204 They saw Gremlins 2 on the TV. 200 00:15:00,340 --> 00:15:04,587 So they ended up having to sleep in the spare bed in my room 201 00:15:04,720 --> 00:15:09,264 with my then partner, Cecilia Montiel. 202 00:15:09,391 --> 00:15:11,467 Oh no! Look who's in the background. 203 00:15:11,601 --> 00:15:14,853 There's Karl Braun. 204 00:15:17,357 --> 00:15:21,438 Who we had originally met in Spain 205 00:15:21,570 --> 00:15:25,402 where he was the Production Manager for Straight to Hell. 206 00:15:25,532 --> 00:15:28,819 Then he was in Walker as an actor. 207 00:15:28,952 --> 00:15:34,659 He played Bruno Von Namzer, the German General who rides a bull. 208 00:15:34,791 --> 00:15:37,330 And there you are, too. 209 00:15:37,461 --> 00:15:41,838 But I'm shy and I'm staying in the background. Unlike Charlie. 210 00:15:43,800 --> 00:15:47,632 And so here's the corruption. Here's the villainous gringo 211 00:15:47,763 --> 00:15:49,839 who likes to drink German beer. 212 00:15:52,768 --> 00:15:55,009 See, Pedro isn't going to drink his beer. 213 00:16:08,992 --> 00:16:11,613 "In case you change your mind." 214 00:16:18,210 --> 00:16:20,535 This is the first conversation 215 00:16:20,670 --> 00:16:25,048 between Pedro and his long-time friend, Anibal 216 00:16:25,175 --> 00:16:30,763 about how they're supposed to rack up their quotas. 217 00:16:34,476 --> 00:16:39,898 So they talk about the drug dealing in the region. 218 00:16:40,023 --> 00:16:43,890 Obviously the tequila wasn't very good. 219 00:16:44,945 --> 00:16:48,314 It's funny because in reality, very close to here 220 00:16:48,448 --> 00:16:54,036 we stopped on our way from Durango to Sombrerete. 221 00:16:54,162 --> 00:16:57,531 - In a place called Nombre de Dios. - Nombre de Dios. "Name of God". 222 00:16:57,666 --> 00:17:02,956 And we bought maybe 15 gallons of mescal 223 00:17:03,088 --> 00:17:08,213 which the crew got very happy about for a weekend if I remember correctly. 224 00:17:08,343 --> 00:17:11,594 And that was also the weekend when the t-shirts arrived. 225 00:17:11,721 --> 00:17:13,928 The Highway Patrolman t-shirts. 226 00:17:14,057 --> 00:17:16,976 Which got the crew in trouble with the local cops. 227 00:17:17,102 --> 00:17:19,344 They thought our crew members 228 00:17:19,479 --> 00:17:22,398 were members of a rival police organisation 229 00:17:22,524 --> 00:17:26,439 trying to muscle in in the town of Sombrerete. 230 00:17:26,570 --> 00:17:32,572 A brawl between real policemen and fake policemen was narrowly averted. 231 00:17:32,701 --> 00:17:34,860 All the cops are different corporations. 232 00:17:34,995 --> 00:17:37,783 There are the Judiciales, the Federales de Caminos. 233 00:17:37,914 --> 00:17:40,239 There are different police organisations. 234 00:17:40,375 --> 00:17:43,412 Police organisations are always in competition. 235 00:17:43,545 --> 00:17:46,119 - This is no different. - Exactly. 236 00:17:46,256 --> 00:17:48,498 It's like in Los Angeles or Liverpool 237 00:17:48,633 --> 00:17:51,504 you've got different cops and they hate each other. 238 00:17:51,636 --> 00:17:54,424 They're all in competition and they never cooperate. 239 00:17:54,556 --> 00:17:57,807 That's why you get such efficient service from them! 240 00:17:57,934 --> 00:18:00,805 Here he's carrying out what he learned at school. 241 00:18:00,937 --> 00:18:05,315 Just stop the car first and then find out what crime they've committed. 242 00:18:05,442 --> 00:18:08,526 Not only that but he turns down his bribe. 243 00:18:11,781 --> 00:18:15,033 - There's Claudia Becker. - The Casting Director. 244 00:18:16,494 --> 00:18:19,164 This is only the second time that Claudia acted. 245 00:18:19,289 --> 00:18:21,365 The first film that she acted in 246 00:18:21,499 --> 00:18:25,118 was Bring Me the Head of Alfredo Garcia for Sam Peckinpah. 247 00:18:26,504 --> 00:18:29,043 This is the second film that she acted in 248 00:18:29,174 --> 00:18:32,922 I don't know how many years she has been casting films. 249 00:18:33,053 --> 00:18:36,719 What I love about this sequence is how she asks for the cigarette. 250 00:18:36,848 --> 00:18:42,555 A running theme through this entire film 251 00:18:42,687 --> 00:18:45,855 is that even the innocent are guilty. 252 00:18:45,982 --> 00:18:48,473 Everybody's guilty! 253 00:18:48,610 --> 00:18:51,778 There's Roberto Sosa being doubled by one of the stunt guys 254 00:18:51,905 --> 00:18:54,278 Miguel did point out that that guy's head 255 00:18:54,407 --> 00:18:56,982 is about three times as wide as Roberto's head. 256 00:18:57,118 --> 00:19:01,698 And so we called that guy not the double, but the triple. 257 00:19:07,003 --> 00:19:09,838 This is the voice of Carlos Puente, the Editor 258 00:19:09,965 --> 00:19:13,084 inviting us to enjoy the delicious chilaquiles. 259 00:19:18,932 --> 00:19:25,647 The story point here is that he's been up all night doing his job. 260 00:19:25,772 --> 00:19:28,181 They work in 24 hour shifts. 261 00:19:28,316 --> 00:19:31,650 So he's coming to the end of his shift and obviously he's hungry. 262 00:19:34,489 --> 00:19:39,234 His hunger leads him into trouble, which he obviously did not expect. 263 00:19:39,369 --> 00:19:42,821 This is Zaide Silvia Guti�rrez. 264 00:19:42,956 --> 00:19:49,374 A very fine actress who started her career with Arturo Ripstein. 265 00:19:51,214 --> 00:19:54,750 In a film with Ernesto Gomez Cruz and Blanca Guerra 266 00:19:54,884 --> 00:19:58,716 - called El Imperio de la fortuna. - The Empire of Fortune. 267 00:19:58,847 --> 00:20:01,421 - She's an extraordinary actress. - Brilliant. 268 00:20:01,558 --> 00:20:08,012 The part that she played wasn't easy to pull off, 269 00:20:08,148 --> 00:20:11,683 and she really did an extraordinary job. 270 00:20:11,818 --> 00:20:15,864 Look at the sky! The sky did a pretty good job today. 271 00:20:19,326 --> 00:20:22,410 I think we had Velasco for the film! 272 00:20:22,537 --> 00:20:27,247 Once again, I think this has to do with the altitude in which this was shot 273 00:20:27,375 --> 00:20:31,587 I went back to Durango about a month ago, 274 00:20:31,713 --> 00:20:34,122 and it hasn't changed one bit. 275 00:20:34,257 --> 00:20:37,259 Those clouds are still there! 276 00:20:37,385 --> 00:20:40,470 They've hung them up for shooting! 277 00:20:40,597 --> 00:20:47,217 It is amazingly beautiful, Durango. An amazingly beautiful state. 278 00:20:47,354 --> 00:20:49,762 They used to shoot a lot of westerns there. 279 00:20:49,898 --> 00:20:54,193 That's right. John Wayne had a ranch there called "La Joya". 280 00:20:54,319 --> 00:20:56,478 They shot Pat Garrett and Billy The Kid. 281 00:20:56,613 --> 00:20:58,404 They also shot The Wild Bunch. 282 00:20:58,531 --> 00:21:04,653 The Wild Bunch they shot in Durango but also shot it in Parras, Coahu�la 283 00:21:04,788 --> 00:21:07,576 .where we also shot. 284 00:21:07,707 --> 00:21:10,791 Now we're in a town called Sombrerete. 285 00:21:10,919 --> 00:21:17,171 This is Sombrerete. This is the town in Zacatecas. 286 00:21:18,259 --> 00:21:21,297 Which was just south of Durango. 287 00:21:21,429 --> 00:21:23,802 It's the state of Zacatecas. 288 00:21:23,932 --> 00:21:28,476 We based here partially because it had a different look from Mapimi. 289 00:21:28,603 --> 00:21:31,640 There were locations here that we couldn't get in Mapimi. 290 00:21:31,773 --> 00:21:35,688 One of them was outside Sombrerete. The desert 291 00:21:35,819 --> 00:21:38,571 de Los �rganos. The big national park. 292 00:21:38,696 --> 00:21:43,406 There's Farnesio Bernal, who's also an extraordinary Mexican actor. 293 00:21:47,163 --> 00:21:51,079 Farnesio, I think, is in Bring Me the Head of Alfredo Garcia as well! 294 00:21:53,711 --> 00:21:58,789 I like this particular scene very much. 295 00:21:58,925 --> 00:22:02,923 It's very typically Latin American in every sense. 296 00:22:03,054 --> 00:22:06,922 The courtship that occurs between men and women in Latin America 297 00:22:07,058 --> 00:22:10,676 is usually done in front of parents. 298 00:22:13,314 --> 00:22:18,653 This is very typical 299 00:22:18,778 --> 00:22:24,401 of how Latin American couples meet each other, how they get together. 300 00:22:24,534 --> 00:22:27,287 This was your experience in Peru and in Mexico City? 301 00:22:27,412 --> 00:22:29,488 Everywhere in Latin America, yes. 302 00:22:32,834 --> 00:22:37,663 After the film played at San Sebastian and we drove back to Madrid 303 00:22:37,797 --> 00:22:41,463 we got in a debate with a Spanish actress 304 00:22:41,593 --> 00:22:43,882 about the female characters in the film. 305 00:22:44,012 --> 00:22:48,176 Her objection was that they didn't seem to have much of an out. 306 00:22:48,308 --> 00:22:53,219 They seemed to be trapped in these roles, of either the wife or the prostitute. 307 00:22:53,354 --> 00:22:56,937 She felt that we were just being reactionary for portraying that. 308 00:22:58,026 --> 00:23:00,896 I think it's very honest, this portrayal 309 00:23:01,029 --> 00:23:03,520 because this isn't Mexico City and Madrid. 310 00:23:03,656 --> 00:23:07,903 This is a rural town in the third world. 311 00:23:08,036 --> 00:23:11,453 Women don't have a lot of options in places like that. 312 00:23:11,581 --> 00:23:15,080 This woman can't go away and become an actress, 313 00:23:15,210 --> 00:23:17,998 or a politician or a TV newsreader. 314 00:23:18,129 --> 00:23:21,249 Yet at the same time, she has her own way of controlling. 315 00:23:21,382 --> 00:23:24,420 She runs her father's farm. 316 00:23:27,430 --> 00:23:30,051 She's actually very strong willed. 317 00:23:30,183 --> 00:23:34,229 She has her own agenda and she applies it. 318 00:23:37,565 --> 00:23:43,734 She's not portrayed as someone who is lacking in ability. 319 00:23:43,863 --> 00:23:46,865 No. In fact, by the end of the picture 320 00:23:46,991 --> 00:23:51,405 it's pretty clear that the women are running the show. 321 00:23:51,538 --> 00:23:54,954 But isn't that how it usually is? 322 00:23:55,083 --> 00:23:58,868 Our friend's objection was that they have to do it through stealth. 323 00:23:59,003 --> 00:24:01,079 But they're pretty overt about it. 324 00:24:01,214 --> 00:24:03,290 This is the horrible video sequence! 325 00:24:03,424 --> 00:24:05,798 The video quality was so good 326 00:24:05,927 --> 00:24:11,349 that we had to deteriorate the image much more than it originally was. 327 00:24:12,392 --> 00:24:15,809 Actually, the extraordinary thing about 328 00:24:17,438 --> 00:24:21,650 what we had decided to do with the structure of the film 329 00:24:21,776 --> 00:24:24,979 is that we made sure that every cut propelled us in time. 330 00:24:25,113 --> 00:24:29,277 So here we're cutting from the first time that they have breakfast together 331 00:24:29,409 --> 00:24:31,650 directly to them getting married 332 00:24:31,786 --> 00:24:35,653 without having the courtship and the first date. 333 00:24:35,790 --> 00:24:38,281 And without cutting away to other things. 334 00:24:38,418 --> 00:24:41,288 What I thought you would do would be they would meet 335 00:24:41,421 --> 00:24:44,375 then we'd cut to some cop stuff, then the wedding 336 00:24:44,507 --> 00:24:46,667 more cop stuff, then they'd have a kid. 337 00:24:46,801 --> 00:24:49,672 But you just did one scene after another. 338 00:24:49,804 --> 00:24:52,177 So it becomes less about policemen 339 00:24:52,307 --> 00:24:55,225 than about the domestic life of this couple. 340 00:24:57,270 --> 00:25:00,888 The thing is that 341 00:25:01,024 --> 00:25:07,774 the police work itself becomes very tedious and very boring. 342 00:25:07,905 --> 00:25:12,283 It's much more interesting to combine it 343 00:25:12,410 --> 00:25:18,781 with this material because then you get a domestic version of a cop film. 344 00:25:18,916 --> 00:25:23,377 In reality it's one of the things that we set out to do. 345 00:25:23,504 --> 00:25:27,123 We wanted to cloak the film in the appearance 346 00:25:27,800 --> 00:25:31,383 of an action film, when in reality we were trying to make an art film. 347 00:25:34,724 --> 00:25:41,973 Here she's pregnant and they're arguing about needing money. 348 00:25:46,694 --> 00:25:52,615 This span of time, between when they first meet and this sequence 349 00:25:52,742 --> 00:25:57,203 a good year has gone by. 350 00:25:57,330 --> 00:26:00,747 It's interesting to say an art film. I suppose it's sort of. 351 00:26:00,875 --> 00:26:05,040 What we were thinking of as well were the films directed by Emilio Fern�ndez 352 00:26:05,171 --> 00:26:11,293 in the 40s and the 50s, in what they called the golden age of Mexican cinema. 353 00:26:11,427 --> 00:26:14,547 Fern�ndez was a very macho guy 354 00:26:14,681 --> 00:26:17,967 famous for shooting producers, 355 00:26:18,101 --> 00:26:20,474 and for acting in American movies 356 00:26:20,603 --> 00:26:22,679 where he would play the bad Mexican. 357 00:26:22,814 --> 00:26:25,768 But as a director he was very sensitive, 358 00:26:25,900 --> 00:26:28,474 and quite feminist in his approach. 359 00:26:28,611 --> 00:26:33,072 So he would make films like R�o Escondido, 360 00:26:33,199 --> 00:26:36,070 and work with actresses like Mar�a F�lix, 361 00:26:36,202 --> 00:26:39,239 and create very strong female characters. 362 00:26:46,421 --> 00:26:50,252 The discussion that we had with the Spanish actress 363 00:26:50,383 --> 00:26:53,919 was not well founded. 364 00:26:55,555 --> 00:26:58,674 We also had a discussion at the beginning of the film 365 00:26:58,808 --> 00:27:01,382 about the ending that we originally had. 366 00:27:01,519 --> 00:27:05,055 The ending that we originally had was, we felt, more humanistic 367 00:27:05,189 --> 00:27:07,598 than what was acceptable to the... 368 00:27:07,734 --> 00:27:10,059 - But we can discuss that at end. - Yeah. 369 00:27:10,194 --> 00:27:13,314 No, the chicks were right! 370 00:27:15,700 --> 00:27:19,283 So, Guillermo Rios is the cop in the background 371 00:27:19,412 --> 00:27:22,864 who's always giving Pedro a hard time. 372 00:27:24,542 --> 00:27:30,213 And the mechanic to whom Anibal gave the stereo 373 00:27:30,339 --> 00:27:36,295 is Rene Pereyra, a very strong Mexican theatrical actor 374 00:27:36,429 --> 00:27:38,920 who's done a fair number of films as well. 375 00:27:39,056 --> 00:27:43,802 It's extraordinary. These guys were ready for their close-up all the time, 376 00:27:43,936 --> 00:27:47,638 and these close-ups run eight minutes long. 377 00:27:49,567 --> 00:27:54,478 Their capacity to maintain character and their lines, 378 00:27:54,614 --> 00:27:58,909 and just continue no matter what occurred, is extraordinary. 379 00:28:00,912 --> 00:28:03,782 And it has to do with a theatrical background. 380 00:28:03,915 --> 00:28:07,118 They're trained to continue, no matter what happens. 381 00:28:08,252 --> 00:28:11,290 The set falls, continue acting. Keep going. 382 00:28:14,217 --> 00:28:20,303 At this time, although we show George Bush 383 00:28:20,431 --> 00:28:25,093 we felt that it would be unwise to show the image of the President of Mexico. 384 00:28:25,228 --> 00:28:29,772 The President of Mexico on the wall is actually the Second Assistant Director. 385 00:28:29,899 --> 00:28:34,313 But even this taboo has now been broken 386 00:28:34,445 --> 00:28:38,194 by Luis Estrada's film La Ley de Herodes 387 00:28:38,324 --> 00:28:43,746 where he actually talks about the ruling party, he names the President, 388 00:28:43,871 --> 00:28:47,122 and basically accuses them all of being corrupt. 389 00:28:48,918 --> 00:28:55,087 But we were as outspoken and as truthful as we could be. 390 00:28:56,592 --> 00:29:00,377 I think that for the times it was quite audacious. 391 00:29:00,513 --> 00:29:05,009 Then again we were shooting right on the heels of Rojo Amanecer. 392 00:29:05,142 --> 00:29:07,218 And we were foreigners too! 393 00:29:07,353 --> 00:29:11,304 Luis actually is a Mexican director and the son of another Mexican director. 394 00:29:11,440 --> 00:29:14,110 Here we are in a place called Chocolate. 395 00:29:15,194 --> 00:29:21,945 This is where The Wild Bunch begins, when they ride the horses in. 396 00:29:22,076 --> 00:29:24,995 There's the train tracks there. 397 00:29:25,121 --> 00:29:27,197 They ride the horses down the tracks, 398 00:29:27,331 --> 00:29:30,084 and the kids are playing with scorpions and ants. 399 00:29:33,170 --> 00:29:37,121 Funnily enough, the actor that Pedro is about to go and see 400 00:29:37,258 --> 00:29:41,884 inside the old railroad car at Chocolate is an actor from The Wild Bunch. 401 00:29:42,013 --> 00:29:44,089 That's Jorge Russek 402 00:29:44,223 --> 00:29:47,557 I like these hanging bags of water 403 00:29:47,685 --> 00:29:51,980 which are, in these parts of the world, to keep flies away. 404 00:29:52,106 --> 00:29:57,101 We would see that in Nicaragua. They would hang plastic bags of water. 405 00:29:57,236 --> 00:29:59,312 And here's Jorge Russek 406 00:30:00,406 --> 00:30:02,815 Jorge died quite recently. 407 00:30:02,950 --> 00:30:06,866 A number of the actors in this film have started to die off, unfortunately. 408 00:30:08,831 --> 00:30:11,370 But Jorge was a really good guy. 409 00:30:11,500 --> 00:30:17,373 He drove up with his wife, Julie, from Mexico City, in his pick-up. 410 00:30:17,506 --> 00:30:19,832 He had a pick-up truck with a camper on the back. 411 00:30:23,387 --> 00:30:28,465 In this sequence, Pedro finally capitulates 412 00:30:28,601 --> 00:30:33,145 to the extensive "doing business as usual," 413 00:30:33,272 --> 00:30:38,183 and finally takes money for letting this man go by with the pigs. 414 00:30:40,112 --> 00:30:47,278 It obviously is a critical point in terms of the storyline. 415 00:30:47,411 --> 00:30:51,279 He said he won't do it, there are some things he won't do, 416 00:30:51,415 --> 00:30:53,539 and now he's going to do them. 417 00:30:55,920 --> 00:31:01,377 It just has to do with the fact that as much as our intentions are to do good 418 00:31:01,509 --> 00:31:05,637 in the end, life itself just wears you down. 419 00:31:05,763 --> 00:31:07,638 Nah! 420 00:31:10,768 --> 00:31:12,844 It's true. 421 00:31:12,979 --> 00:31:17,640 In reality, I think this film is our reaction to having made Walker, 422 00:31:17,775 --> 00:31:19,851 and the reaction to Walker 423 00:31:19,986 --> 00:31:23,652 I think it does have something to do with that. 424 00:31:23,781 --> 00:31:28,195 And how we felt. 425 00:31:28,327 --> 00:31:33,370 We truly believed in how making a film like Walker 426 00:31:33,499 --> 00:31:38,659 could change political perception on a situation. 427 00:31:38,796 --> 00:31:43,874 In reality, we were not successful. 428 00:31:44,010 --> 00:31:49,930 It gave way to a much more realistic approach, in this particular film 429 00:31:50,057 --> 00:31:53,973 of how life really occurs and what life is really about. 430 00:31:56,230 --> 00:31:59,267 The other funny thing about Walker was that 431 00:31:59,400 --> 00:32:01,310 there was such alarm about Walker 432 00:32:02,778 --> 00:32:06,694 in the film community here, in the States. 433 00:32:06,824 --> 00:32:10,407 And such a determination to suppress the film 434 00:32:10,536 --> 00:32:14,035 and not have it appear in cinemas 435 00:32:14,165 --> 00:32:18,376 sell the videotapes for 90 bucks so no one will buy them. 436 00:32:18,502 --> 00:32:22,630 And you see in the end that you don't really need to exercise 437 00:32:22,757 --> 00:32:25,841 that form of censorship and that form of suppression. 438 00:32:25,968 --> 00:32:29,171 Because look at the film of Luis Estrada, La Ley de Herodes. 439 00:32:29,305 --> 00:32:33,469 It's had a hugely wide distribution in Mexico 440 00:32:33,601 --> 00:32:37,183 goes out of it's way to denounce the PRI as a corrupt institution. 441 00:32:37,313 --> 00:32:40,812 But it's not going to stop the PRI from winning elections. 442 00:32:42,026 --> 00:32:44,351 The truth of the matter is a film is only a film. 443 00:32:44,487 --> 00:32:46,611 It's just a film. 444 00:32:49,116 --> 00:32:54,241 This is paranoia by governments towards arts in general. 445 00:32:54,371 --> 00:33:00,244 Art is just art. It doesn't have the political power behind it. 446 00:33:00,377 --> 00:33:02,453 It may criticise politics, 447 00:33:02,588 --> 00:33:05,672 but it's not going to change anything that's happening. 448 00:33:05,800 --> 00:33:08,635 But that takes a long time. 449 00:33:08,761 --> 00:33:11,549 People are starting to understand that a bit more. 450 00:33:13,599 --> 00:33:17,466 The systems of control are in place, they're not going to go away, 451 00:33:17,603 --> 00:33:21,470 and everything exists to benefit the ruling class, corporations 452 00:33:21,607 --> 00:33:23,683 a handful of wealthy families. 453 00:33:23,818 --> 00:33:27,187 It doesn't matter what country you're in, it's always the same. 454 00:33:28,656 --> 00:33:32,274 This is when Pedro finally meets Vanessa Bauche. 455 00:33:32,409 --> 00:33:35,363 - This is Vanessa's first acting role. - Really? 456 00:33:35,496 --> 00:33:41,167 Yeah. Extraordinary performance. An incredibly talented young actress. 457 00:33:41,293 --> 00:33:45,078 She was only 19 when she made this film. 458 00:33:48,217 --> 00:33:51,052 - Very beautiful. - And looks the same 459 00:33:51,178 --> 00:33:53,753 I saw Vanessa when we were in Mexico City last, 460 00:33:53,889 --> 00:33:56,677 and she looks the same as she did when she was 19. 461 00:33:56,809 --> 00:34:00,308 It just means that she's 27 or 28. 462 00:34:02,189 --> 00:34:04,645 I suppose, yeah. 463 00:34:04,775 --> 00:34:10,897 At 27 or 28 you can still look quite... Especially being an actor. 464 00:34:11,031 --> 00:34:14,614 There's Rene Pereyra wearing his UCLA t-shirt in the background 465 00:34:14,743 --> 00:34:18,362 to stress the UCLA connection. 466 00:34:18,497 --> 00:34:22,115 This is shot at the Bombay 467 00:34:22,251 --> 00:34:25,039 in Mexico City, which is right next to Garibaldi. 468 00:34:25,171 --> 00:34:27,247 This is an actual club, 469 00:34:27,381 --> 00:34:32,459 and a lot of the girls are the girls that had worked all night, 470 00:34:32,595 --> 00:34:37,340 and then stayed for the following day to continue working with us. 471 00:34:37,474 --> 00:34:44,225 And within the bar there, we've got a little crane with a platform on it 472 00:34:44,356 --> 00:34:47,892 Miguel starts out on this platform, the crane comes down 473 00:34:48,027 --> 00:34:51,942 he steps off the platform, walks around the room, 474 00:34:52,072 --> 00:34:55,821 and gets back on the platform and the crane goes up at the end. 475 00:34:55,951 --> 00:34:59,487 And that was one of the simpler shots that we did with Miguel Garz�n. 476 00:34:59,622 --> 00:35:04,035 Actually, it's incredibly effective. 477 00:35:04,168 --> 00:35:06,789 This is actually shot at Estudios America... 478 00:35:06,921 --> 00:35:09,590 This is an editing room in Estudios America... 479 00:35:09,715 --> 00:35:11,791 That was converted. 480 00:35:11,926 --> 00:35:16,172 Both Cecilia Montiel and Bryce Perrin did an extraordinary job 481 00:35:16,305 --> 00:35:19,804 in getting this to look the way that it did 482 00:35:19,934 --> 00:35:24,015 I think they had a colour plan 483 00:35:24,146 --> 00:35:27,895 to try and replicate the colours of Rufino Tamayo. 484 00:35:28,984 --> 00:35:31,274 I think that was their intention 485 00:35:31,403 --> 00:35:36,279 I think the colour scheme is quite similar to the paintings of Tamayo. 486 00:35:36,408 --> 00:35:40,276 But she's the one that told me that. I can't say that for sure. 487 00:35:40,412 --> 00:35:43,283 Only the Production Designer will know for sure. 488 00:35:48,879 --> 00:35:51,370 She really is extraordinarily beautiful. 489 00:35:51,507 --> 00:35:55,635 It's interesting. Pedro has really fallen hard now. 490 00:35:55,761 --> 00:36:00,471 He's taken a bribe and then he's gone to the whorehouse 491 00:36:00,599 --> 00:36:02,924 which is something he hasn't done before. 492 00:36:05,479 --> 00:36:07,555 Bad day at the office! 493 00:36:17,908 --> 00:36:21,740 This sequence was shot in a house in Mexico City. 494 00:36:27,042 --> 00:36:29,498 This is the most complicated shot. 495 00:36:29,628 --> 00:36:32,167 It was the last shot that we did in the film. 496 00:36:32,298 --> 00:36:35,050 - Was it the last shot? - It was the very last day. 497 00:36:39,888 --> 00:36:44,515 Pedro comes home, finds a carrot. Roberto's one of those actors... 498 00:36:44,643 --> 00:36:48,808 He won't eat the carrot on the rehearsal in case you say, "Don't eat that carrot!" 499 00:36:48,939 --> 00:36:51,774 He'll wait till the take and then he'll get the carrot. 500 00:36:55,779 --> 00:36:58,698 The father has fallen asleep in front of the TV, 501 00:36:58,824 --> 00:37:01,315 and what is he watching? 502 00:37:02,494 --> 00:37:05,828 He's watching RoboCop! 503 00:37:05,956 --> 00:37:10,618 And obviously this is our commentary 504 00:37:10,753 --> 00:37:14,335 about the difference between a live cop and a stealth cop. 505 00:37:16,508 --> 00:37:22,345 It's RoboCop 2, because it was Jon Davison and Irvin Kershner. 506 00:37:24,308 --> 00:37:28,519 At one point I had been asked to direct RoboCop 2 by Jon Davison, 507 00:37:28,645 --> 00:37:31,683 and didn't do it, partially because 508 00:37:31,815 --> 00:37:35,731 you managed to come up with this very weird deal from Japan 509 00:37:35,861 --> 00:37:40,654 where the Japanese would finance a Mexican film about the highway patrol. 510 00:37:40,783 --> 00:37:46,785 And so we ended up including that little fragment of RoboCop 2 511 00:37:46,914 --> 00:37:49,453 courtesy of Jon Davison and Irvin Kershner. 512 00:37:50,542 --> 00:37:53,544 And here, Zaide's having a bad day. 513 00:37:58,342 --> 00:38:01,759 I love her considering which weapon to use. 514 00:38:04,932 --> 00:38:07,601 The collection of knives that she has there. 515 00:38:18,153 --> 00:38:22,069 Of course the father is fast asleep. 516 00:38:38,215 --> 00:38:43,589 There's a similar trajectory between this film and La Ley de Herodes... 517 00:38:43,720 --> 00:38:46,556 Even though Damian Alcazar in La Ley de Herodes 518 00:38:46,682 --> 00:38:48,758 becomes much worse than Pedro does. 519 00:38:50,269 --> 00:38:55,228 But there's a similar tendency in both films. 520 00:38:57,943 --> 00:39:03,650 This is one of the most controversial scenes in the film. 521 00:39:03,782 --> 00:39:06,321 This is about domestic corruption. 522 00:39:06,452 --> 00:39:10,533 It's about what is acceptable between couples... 523 00:39:12,916 --> 00:39:16,499 and what money will buy in terms of that. 524 00:39:16,628 --> 00:39:21,422 You're saying that because he's brought all this money to the house 525 00:39:21,550 --> 00:39:25,049 she'll forgive him for betraying her? How cynical you are! 526 00:39:25,179 --> 00:39:27,303 I don't think so. 527 00:39:27,973 --> 00:39:30,594 What I'm saying is that sometimes you look the other way 528 00:39:32,519 --> 00:39:37,430 depending on what happens or what the situation is and what is convenient 529 00:39:37,566 --> 00:39:41,232 - I love this little fan. - He has his little fan. 530 00:39:42,446 --> 00:39:44,522 His whole car is equipped. 531 00:39:46,450 --> 00:39:51,279 More grotesquerie, directors coming up with this kind of horror thing! 532 00:39:55,834 --> 00:40:00,046 One of the concepts that we talked about was making this film realistic 533 00:40:00,172 --> 00:40:04,549 in the sense of, we never see car crashes. 534 00:40:05,928 --> 00:40:10,056 We never see a shoot out till the very end. 535 00:40:12,726 --> 00:40:15,561 You always see the aftermath of violence. 536 00:40:15,687 --> 00:40:18,357 That's one of the other concepts that we discussed. 537 00:40:19,816 --> 00:40:23,269 I remember now why we have that severed leg. 538 00:40:23,403 --> 00:40:26,607 When we were in Nicaragua in post-production. 539 00:40:26,740 --> 00:40:31,236 We were working on the film in a house outside the city of Granada. 540 00:40:31,370 --> 00:40:34,573 We were around the flatbed one evening, looking at a scene, 541 00:40:34,706 --> 00:40:37,874 and there was this god-awful crash outside. 542 00:40:38,001 --> 00:40:42,129 We all went out and there were just bodies. 543 00:40:42,256 --> 00:40:46,384 A car had ploughed into the back of a parked lorry, 544 00:40:46,510 --> 00:40:49,962 and there were bodies and body parts lying in the road. 545 00:40:50,097 --> 00:40:54,641 And yet you didn't see the accident. You only heard the sound. 546 00:40:54,768 --> 00:40:57,010 And you run out and it's already happened. 547 00:40:58,105 --> 00:41:00,181 You were very valiant, Lorenzo. 548 00:41:00,315 --> 00:41:03,400 While the rest of us were standing around 549 00:41:03,527 --> 00:41:06,564 you actually got the taxi drivers 550 00:41:06,697 --> 00:41:11,608 to put people in taxis that weren't too severely injured, 551 00:41:11,743 --> 00:41:14,282 and take them to the hospital. 552 00:41:14,413 --> 00:41:16,489 So you were on the ball, Lorenzo. 553 00:41:21,378 --> 00:41:27,998 I don't think it has anything to do with being particularly courageous. 554 00:41:28,135 --> 00:41:30,756 On the ball, though. You kept your head. 555 00:41:30,887 --> 00:41:35,052 That was very good. That's what a good producer should be 556 00:41:35,183 --> 00:41:40,308 I remember this as being one of the most extraordinary shooting days that we had 557 00:41:42,190 --> 00:41:44,564 Mauricio Rubi. 558 00:41:44,693 --> 00:41:46,817 And Sergio Calderon 559 00:41:46,945 --> 00:41:49,947 Sergio Calderon is sitting in the car with Mauricio. 560 00:41:50,073 --> 00:41:54,783 You only see Sergio briefly but if you've seen the film Men in Black 561 00:41:54,911 --> 00:41:58,827 Sergio is the head at the beginning of the film. 562 00:41:58,957 --> 00:42:02,077 He was very pleased because they made a toy out of him. 563 00:42:02,210 --> 00:42:04,999 You can actually get a Sergio Calderon doll. 564 00:42:05,130 --> 00:42:07,704 Not this guy, Mauricio, who's a very good actor, 565 00:42:07,841 --> 00:42:11,424 but the guy sitting in the car with him is Sergio. 566 00:42:12,512 --> 00:42:16,594 But you're right. You can see the moisture in the sky here. 567 00:42:16,725 --> 00:42:19,478 There's a storm coming. 568 00:42:19,603 --> 00:42:23,980 You don't see them on camera but in the second part of the sequence 569 00:42:24,107 --> 00:42:27,809 there were lightning flashes going while we were shooting. 570 00:42:27,944 --> 00:42:34,565 Once again, this falls into our concept of 571 00:42:34,701 --> 00:42:40,704 realising how violence is first depicted. 572 00:42:40,832 --> 00:42:42,908 He doesn't know he's been shot. 573 00:42:43,043 --> 00:42:46,412 And this is what happens to a lot of people. 574 00:42:46,546 --> 00:42:49,002 A shoot-out begins and then they look down, 575 00:42:49,132 --> 00:42:52,170 and they suddenly think, "Oh my god, I've been hit!" 576 00:42:52,302 --> 00:42:55,553 Obviously, once he's been hit there's not anything to do. 577 00:42:55,681 --> 00:42:59,596 In some films they'd have him get in the car and go after... 578 00:42:59,726 --> 00:43:01,802 And chase them! 579 00:43:02,979 --> 00:43:05,768 But not in this one. 580 00:43:05,899 --> 00:43:08,652 People who get shot don't get up. 581 00:43:09,778 --> 00:43:12,566 Something which is a reality. 582 00:43:13,532 --> 00:43:17,660 What's going to happen now isn't really reality though. 583 00:43:20,997 --> 00:43:24,829 Eduardo Lopez Rojas, another deceased actor... 584 00:43:27,462 --> 00:43:32,373 who died quite recently, after they completed La Ley de Herodes. 585 00:43:33,844 --> 00:43:37,379 He was involved in Los Angeles theatre, Eduardo. 586 00:43:37,514 --> 00:43:42,473 He actually had a sort of bi-country career. 587 00:43:42,602 --> 00:43:47,941 This is when the principal character, Pedro Rojas, finally meets his father 588 00:43:48,066 --> 00:43:54,235 out in the middle of the desert 589 00:43:54,364 --> 00:43:58,741 I originally scripted this sequence to be at the hospital. 590 00:43:58,869 --> 00:44:02,535 But I think your choice of doing it here is extraordinary. 591 00:44:03,790 --> 00:44:07,207 It has a lot more to do with 592 00:44:07,335 --> 00:44:12,045 the absolutely surreal nature of the location, 593 00:44:12,174 --> 00:44:17,334 and what became a momentary storm. 594 00:44:17,471 --> 00:44:21,765 - There's no real effects here. - There's no wind machine added. 595 00:44:21,892 --> 00:44:27,017 All of a sudden this storm came in. 596 00:44:27,147 --> 00:44:32,307 It created an extraordinary light 597 00:44:32,444 --> 00:44:37,355 extraordinary physical, geographical climate conditions. 598 00:44:37,491 --> 00:44:41,572 What's happening in the story, although Pedro doesn't know it at this point 599 00:44:41,703 --> 00:44:43,993 is that his father is dying. 600 00:44:44,122 --> 00:44:50,493 And his father is coming to visit him before he goes off to the other world. 601 00:45:00,514 --> 00:45:03,183 Of course, all these yucca plants in the back 602 00:45:03,308 --> 00:45:08,101 just contribute to this otherworldly effect. 603 00:45:08,230 --> 00:45:12,524 - And there's the eclipse. - There's the shot of the eclipse. 604 00:45:21,243 --> 00:45:27,411 Obviously, Pedro getting shot in the leg conveys... 605 00:45:28,542 --> 00:45:31,116 The thing about his father, who also has a bad leg. 606 00:45:31,253 --> 00:45:36,331 Not only the father, but it's a turning point in the story 607 00:45:36,466 --> 00:45:43,715 where he starts losing that innocence. 608 00:45:43,849 --> 00:45:48,594 - Yeah, by now... - He's well on his way. 609 00:45:48,728 --> 00:45:52,145 Once again, here we cut from no birthing sequences... 610 00:45:52,274 --> 00:45:55,607 Yeah, it's just here. There's the kid. 611 00:46:00,907 --> 00:46:04,407 Pedro still thinks his father came to visit him in the desert. 612 00:46:04,536 --> 00:46:09,162 He doesn't realise that his father, in fact, died while he was in hospital. 613 00:46:15,046 --> 00:46:21,583 The actual implication is that the father is already dead. 614 00:46:21,720 --> 00:46:25,137 It's the ghost that has come to visit him in the desert. 615 00:46:27,017 --> 00:46:29,093 But how nice to be making this in Mexico. 616 00:46:29,227 --> 00:46:33,854 You couldn't do an American police film where the ghost shows up. 617 00:46:33,982 --> 00:46:37,849 Where Mel Gibson's ghostly dad shows up to give him a hard time! 618 00:46:37,986 --> 00:46:40,192 - I'm sure we could do it. - Well, you could. 619 00:46:41,239 --> 00:46:43,315 No, you couldn't! 620 00:46:44,367 --> 00:46:46,609 No, it's too tightly controlled over here. 621 00:46:46,745 --> 00:46:49,070 The nature of drama 622 00:46:49,205 --> 00:46:52,457 in American cinema, and even in British cinema too 623 00:46:52,584 --> 00:46:56,120 is very constipated. 624 00:46:56,254 --> 00:47:00,335 If you're doing an exciting cop movie you're not going to have any ghosts. 625 00:47:00,467 --> 00:47:03,966 Because the genres are very rigidly controlled 626 00:47:04,095 --> 00:47:06,765 by the market researchers from the studio. 627 00:47:09,225 --> 00:47:13,437 But this isn't really a typical cop movie in any sense. 628 00:47:13,563 --> 00:47:18,059 No, but in Mexico you can do this and nobody thinks it's that odd. 629 00:47:18,193 --> 00:47:20,732 Nobody complained about the ghost of his father. 630 00:47:31,873 --> 00:47:34,033 And the Japanese didn't seem to mind it. 631 00:47:34,167 --> 00:47:38,581 The Japanese Executive Producers didn't seem to have a problem. 632 00:47:38,713 --> 00:47:41,584 For them it was a samurai film. 633 00:47:41,716 --> 00:47:46,047 That's how we sold it to them - a samurai film in Mexico. 634 00:47:46,179 --> 00:47:49,964 And it truly does follow that structure. 635 00:47:54,062 --> 00:48:00,314 A young innocent upholder of the law goes off to uphold it somewhere else. 636 00:48:01,528 --> 00:48:06,238 And finds that things aren't the way he was told in samurai school. 637 00:48:14,249 --> 00:48:16,788 Obviously, here he commits the fatal flaw. 638 00:48:16,918 --> 00:48:21,083 The inevitable mistake of the young macho. 639 00:48:24,718 --> 00:48:29,712 When I spoke to the highway patrol in Mexico 640 00:48:29,848 --> 00:48:33,217 that one of the fantasies that they all had 641 00:48:33,351 --> 00:48:37,219 was to, somehow or other, save a prostitute. 642 00:48:37,355 --> 00:48:40,523 From herself, I guess. I don't know from whom! 643 00:48:40,650 --> 00:48:43,141 To reform a prostitute. 644 00:48:43,278 --> 00:48:46,066 But what that also entails is taking a woman 645 00:48:46,197 --> 00:48:48,736 who has her independent source of income, 646 00:48:48,867 --> 00:48:50,943 and making her dependent on you. 647 00:48:51,077 --> 00:48:53,153 That's right. 648 00:49:18,188 --> 00:49:21,806 It's amazing how pissed she is without raising her voice. 649 00:49:35,163 --> 00:49:37,287 He has committed a grave error. 650 00:49:48,551 --> 00:49:50,924 The inevitable drug scene. 651 00:49:52,889 --> 00:49:54,965 Baking powder. 652 00:49:58,853 --> 00:50:02,222 - Or is it... - Baby laxative. 653 00:50:02,357 --> 00:50:04,433 Filthy! 654 00:50:06,069 --> 00:50:08,774 We haven't really talked a lot about the music. 655 00:50:08,905 --> 00:50:14,327 No, we haven't. The very nice score of Zander Schloss. 656 00:50:16,538 --> 00:50:18,578 A very beautiful bit 657 00:50:19,249 --> 00:50:21,704 of music there 658 00:50:21,835 --> 00:50:25,121 Zander, the composer, was one of the few people on the film 659 00:50:25,255 --> 00:50:27,663 who wasn't based in Mexico. 660 00:50:27,799 --> 00:50:32,461 At the time, he was a member of two bands in Los Angeles. 661 00:50:32,595 --> 00:50:35,964 Thelonious Monster and The Circle Jerks. 662 00:50:37,725 --> 00:50:42,471 But had worked with Joe Strummer on the score of Walker. 663 00:50:42,605 --> 00:50:47,315 He played all the guitar on that and did some of the arranging, 664 00:50:47,443 --> 00:50:50,777 and we thought, "This guy can do our film". 665 00:51:04,335 --> 00:51:08,962 So the problems of Pedro continue. He's wrecked his car... 666 00:51:10,049 --> 00:51:12,588 How many cars did we have? 667 00:51:12,719 --> 00:51:15,756 We had eight of these cars. They didn't all run. 668 00:51:18,433 --> 00:51:20,509 I think three of them ran. 669 00:51:32,030 --> 00:51:34,948 Terry was in charge of the cars. 670 00:51:35,074 --> 00:51:37,400 She did a very good job. 671 00:51:37,535 --> 00:51:41,451 She also had that assistant, the mechanic... 672 00:51:41,581 --> 00:51:45,958 He's behind there, the mechanic. He's grinning broadly. 673 00:51:46,085 --> 00:51:49,087 - There he is. - Behind Rene Pereyra. 674 00:51:49,214 --> 00:51:51,705 A real mechanic. 675 00:52:01,976 --> 00:52:05,429 Guillermo Rios is good. He's a very intense chap. 676 00:52:09,943 --> 00:52:12,019 This is the problem with these cops. 677 00:52:12,153 --> 00:52:15,487 One of the reasons that this corruption is endemic 678 00:52:15,615 --> 00:52:19,114 is because they're expected not only to bring back fines 679 00:52:19,244 --> 00:52:22,612 to keep the organisation going, but to pay for things. 680 00:52:22,747 --> 00:52:24,989 If they break things, if they lose a gun 681 00:52:25,124 --> 00:52:27,794 if they have to have a gun, they have to pay for it! 682 00:52:39,180 --> 00:52:41,055 Great. 683 00:52:43,393 --> 00:52:47,225 Again, in an American film, they'd be having a fistfight right now. 684 00:52:47,355 --> 00:52:51,436 They'd be fighting it out in the police locker room 685 00:52:51,567 --> 00:52:53,643 guys would be separating them. 686 00:52:53,778 --> 00:52:56,981 Somebody would be going, "Get your ass in here!" 687 00:52:57,115 --> 00:53:00,614 And they don't do it. He's never going to fight with his bosses. 688 00:53:00,743 --> 00:53:04,445 He's never going to throw a punch at anybody because he'd get fired. 689 00:53:07,792 --> 00:53:10,711 This entire section is about 690 00:53:12,630 --> 00:53:15,917 his inevitable slide. 691 00:53:16,968 --> 00:53:20,219 These are, what are called in Mexico, Juniors. 692 00:53:20,346 --> 00:53:24,297 At the time, this is ten years ago or more. 693 00:53:24,434 --> 00:53:26,510 Juniors were sort of disliked. 694 00:53:26,644 --> 00:53:32,018 They were viewed like this. Like rich cry babies. 695 00:53:32,150 --> 00:53:35,768 Unfortunately the culture of Mexico 696 00:53:35,903 --> 00:53:38,656 in the last ten years, has changed quite drastically. 697 00:53:38,781 --> 00:53:42,862 And what you're supposed to aspire to be 698 00:53:42,994 --> 00:53:48,285 is one of these rich jerks with a skateboard, in the American style. 699 00:53:48,416 --> 00:53:52,283 But when we made the film there was general consensus 700 00:53:52,420 --> 00:53:56,501 that decent Mexicans don't dress like this 701 00:53:56,632 --> 00:53:58,958 don't act like an American. 702 00:54:01,346 --> 00:54:06,257 What Pedro doesn't realise is that this kid really is the son of a governor. 703 00:54:06,392 --> 00:54:10,390 He really does know the President and Pedro's in trouble again. 704 00:54:19,989 --> 00:54:22,860 This is shot right outside Durango. 705 00:54:22,992 --> 00:54:29,992 Near that abandoned base where they shot... 706 00:54:30,124 --> 00:54:32,366 "Fat Man and Little Boy." 707 00:54:32,502 --> 00:54:36,583 They recreated the set of the Los Alamos nuclear base. 708 00:54:38,716 --> 00:54:43,924 Which is a location we never used. We couldn't think what to do with it. 709 00:54:44,055 --> 00:54:50,889 It was too big to use as the police headquarters. 710 00:55:03,825 --> 00:55:06,066 Now here comes the governor 711 00:55:06,202 --> 00:55:09,868 Gerardo Moscoso who was our doctor. 712 00:55:11,916 --> 00:55:13,992 A very good actor. 713 00:55:25,805 --> 00:55:28,474 "It's the first thing we teach you" Oh yeah! 714 00:55:28,599 --> 00:55:31,637 This is a terrible thing. What Guillermo Rios has done 715 00:55:31,769 --> 00:55:36,146 is he's sided with the governor against his own police corporation 716 00:55:36,274 --> 00:55:38,350 by opening the door for the governor 717 00:55:38,484 --> 00:55:41,853 Guillermo did say that in reality he wouldn't do that. 718 00:55:41,988 --> 00:55:45,274 That the solidarity between the cops wouldn't allow him 719 00:55:45,408 --> 00:55:47,484 to open the door for the governor. 720 00:55:47,618 --> 00:55:49,694 The blue wall of silence. 721 00:55:49,829 --> 00:55:55,251 But I said, in order to emphasise what a creep you are to authority 722 00:55:55,376 --> 00:55:57,701 go and open the door for the governor. 723 00:56:01,132 --> 00:56:03,967 But he's right. In reality he wouldn't have done that. 724 00:56:10,016 --> 00:56:13,053 Pedro is really beating up on himself now. 725 00:56:13,186 --> 00:56:16,187 He's refusing to drive a decent car. 726 00:56:17,940 --> 00:56:21,108 He's not interested in the shiny new gun of Anibal. 727 00:56:32,705 --> 00:56:35,576 Here we are in the psychiatrist's office. 728 00:56:35,708 --> 00:56:39,706 This is a scene based on your interview with the highway patrol. 729 00:56:41,464 --> 00:56:47,384 This was shot in the production house that we all lived in. 730 00:56:47,512 --> 00:56:49,588 In Mexico City. 731 00:56:49,722 --> 00:56:53,768 Which is a very beautiful old house near the Estudios Churubusco. 732 00:56:53,893 --> 00:56:58,852 The psychiatrist was to have been played by Arturo Ripstein, the director. 733 00:57:00,566 --> 00:57:03,853 But Arturo, at the time, had long hair of which he was proud, 734 00:57:03,986 --> 00:57:06,062 and he didn't want to cut it. 735 00:57:06,197 --> 00:57:11,275 So at the last minute a very good actor, Alonso Echanove 736 00:57:11,410 --> 00:57:14,281 took over the role of Dr Bola�os. 737 00:57:33,724 --> 00:57:37,426 Pops a couple of Prozac, bites his fingernails, lights a cigarette... 738 00:57:39,939 --> 00:57:42,015 That's the doctor for me! 739 00:57:46,237 --> 00:57:48,942 This is also shot outside of Durango. 740 00:57:53,411 --> 00:57:56,115 Jorge Fegan, a wonderful actor 741 00:57:56,247 --> 00:57:59,865 who was also in Rojo Amanecer. Also now sadly dead. 742 00:58:00,918 --> 00:58:02,994 A funny actor. 743 00:58:20,271 --> 00:58:25,978 Karl Braun reappears in the story. 744 00:58:34,201 --> 00:58:37,203 Again, all one take. Garz�n has covered everything 745 00:58:37,330 --> 00:58:42,372 in what normally would have been done in close-ups, cutaways. 746 00:58:44,253 --> 00:58:46,377 He shot the whole thing in one take. 747 00:58:46,505 --> 00:58:49,210 What's extraordinary about using this method 748 00:58:49,342 --> 00:58:54,087 is that it actually allows you to experience the film in real time 749 00:58:54,221 --> 00:58:57,804 rather than in this compression of images. 750 00:58:57,933 --> 00:59:02,145 Each sequence, you're transported into a real-time scenario. 751 00:59:02,271 --> 00:59:06,732 For as long as that moment lasts. 752 00:59:06,859 --> 00:59:10,774 The cuts come when there's a geographical change 753 00:59:10,905 --> 00:59:15,069 like when in a minute, when we're going to see Anibal, or a time change. 754 00:59:18,913 --> 00:59:22,116 Here he's done a 360 degree pan. 755 00:59:22,249 --> 00:59:24,871 There's about 30 crew people behind him 756 00:59:25,002 --> 00:59:28,253 that have to keep moving as Garz�n moves the camera around. 757 00:59:31,717 --> 00:59:37,008 This is one of the few shots that he actually did on a tripod. 758 00:59:38,891 --> 00:59:41,679 And it is a pretty extraordinary shot. 759 00:59:41,811 --> 00:59:46,473 He captures his movement from the front of the car, all the way into the car, 760 00:59:46,607 --> 00:59:49,727 and never loses his head or his face for a minute. 761 00:59:52,613 --> 00:59:55,733 Now Pedro's trying to get going. 762 01:00:09,672 --> 01:00:13,457 We had to haul these cars all over northern Mexico. 763 01:00:13,592 --> 01:00:15,668 We were afraid that these cars 764 01:00:15,803 --> 01:00:18,591 since they didn't have actual license plates 765 01:00:18,723 --> 01:00:22,508 that the Mexican highway patrol was going to run interference with us. 766 01:00:22,643 --> 01:00:26,724 But they actually behaved very well with us. 767 01:00:26,856 --> 01:00:30,901 Well because you and Alejandra Liceaga, the Production Manager 768 01:00:31,026 --> 01:00:36,650 struck this deal that if we would invent our own police corporation 769 01:00:36,782 --> 01:00:38,858 that they would let us make the film. 770 01:00:40,828 --> 01:00:42,904 Which was probably just as well. 771 01:00:43,038 --> 01:00:45,992 The highway patrol were driving little black Mustangs. 772 01:00:46,125 --> 01:00:49,043 These are ginormous Dodge Darts that we've got 773 01:00:49,170 --> 01:00:52,005 which are more impressive looking cars. 774 01:00:57,136 --> 01:01:01,217 This is also outside of Durango. 775 01:01:01,348 --> 01:01:06,058 A lot of drive-bys outside of Durango because of the canyons, 776 01:01:06,187 --> 01:01:08,678 and the impressive nature of the landscape. 777 01:01:15,946 --> 01:01:18,437 This is one of the few shots that you can see 778 01:01:18,574 --> 01:01:24,660 this very interesting scar that Roberto Sosa has on the side of his face. 779 01:01:24,789 --> 01:01:31,919 Which contributed, I think, almost as a part of his character 780 01:01:32,046 --> 01:01:34,715 Roberto was a child actor. 781 01:01:34,840 --> 01:01:38,672 His parents got him into the acting thing when he was quite young, 782 01:01:38,803 --> 01:01:44,971 and he, as a result of that, got a nervous tumour on his face. 783 01:01:45,100 --> 01:01:48,517 Their family didn't have money, they sent him to public hospital. 784 01:01:48,646 --> 01:01:51,481 And the doctors just get in there with a razorblade 785 01:01:51,607 --> 01:01:54,228 cut it out, stitch him up and send him home. 786 01:01:54,360 --> 01:01:57,112 He gets home, looks in the mirror and thinks 787 01:01:57,238 --> 01:02:01,235 that's the end of my acting career. He was only 13. 788 01:02:01,367 --> 01:02:05,578 Of course, the perverse thing is that film directors love that scar. 789 01:02:05,704 --> 01:02:08,872 So whenever he does a feature, you have the scar, 790 01:02:08,999 --> 01:02:13,994 but when he does a soap opera they cover it up with make-up. 791 01:02:14,129 --> 01:02:19,669 This is one of the most extraordinary shot sequences in the film. 792 01:02:19,802 --> 01:02:22,590 This and the shot that follows. 793 01:02:22,721 --> 01:02:27,016 This is a pick-up truck. Miguel is just sitting in the back of the pick-up 794 01:02:27,142 --> 01:02:30,559 which is being pushed by the crew members. 795 01:02:31,730 --> 01:02:35,515 And in a moment, we assume time has gone by, he's still running. 796 01:02:35,651 --> 01:02:39,187 Now, Miguel is on the front of the pick-up truck 797 01:02:39,321 --> 01:02:42,690 standing on the bumper, being held on by ropes. 798 01:02:42,825 --> 01:02:46,989 And the pick-up truck is being pushed along behind Roberto Sosa. 799 01:02:47,121 --> 01:02:50,241 As we get closer to the car 800 01:02:50,374 --> 01:02:55,914 the pick-up truck slows down, stops, the grips release the ropes 801 01:02:56,046 --> 01:03:01,005 Miguel Garz�n steps down off the bumper and starts to walk. 802 01:03:01,135 --> 01:03:03,211 There we are. 803 01:03:09,935 --> 01:03:13,851 Again, Pedro's got there too late. The shoot-out's already happened, 804 01:03:13,981 --> 01:03:16,306 but he can't even find his partner. 805 01:03:22,615 --> 01:03:25,652 He goes from the asphalt to the desert. 806 01:03:29,246 --> 01:03:31,322 After we shot this sequence 807 01:03:31,457 --> 01:03:37,460 we heard that, in this same spot a few weeks previously 808 01:03:37,588 --> 01:03:42,962 a bunch of Judiciales had got into a fight with drug dealers, 809 01:03:43,093 --> 01:03:46,676 and had been killed right in the same area. 810 01:03:46,805 --> 01:03:49,380 Which is interesting because the concept is 811 01:03:49,516 --> 01:03:53,728 the cops are so corrupt, which a lot of them are. 812 01:03:53,854 --> 01:03:57,437 But at the same time they have these very dangerous jobs, 813 01:03:57,566 --> 01:04:01,232 and at times they get killed. 814 01:04:04,114 --> 01:04:08,610 I had never contemplated doing a film about the police before 815 01:04:08,744 --> 01:04:11,069 because I wasn't that keen on the police. 816 01:04:11,205 --> 01:04:14,456 But as a result of the experiences that we had had 817 01:04:14,583 --> 01:04:18,332 I felt that we couldn't be too critical of people 818 01:04:18,462 --> 01:04:21,713 because life isn't that simple. 819 01:04:50,995 --> 01:04:54,530 Including the funeral sequence would have been breaking 820 01:04:54,665 --> 01:04:59,458 some of the structural advantages that we had. 821 01:04:59,586 --> 01:05:02,706 It was falling too much within what would have been expected. 822 01:05:02,840 --> 01:05:05,081 It was too obvious. 823 01:05:05,217 --> 01:05:08,716 The funeral sequence was very funny. 824 01:05:08,846 --> 01:05:13,721 It was the three widows of Anibal. 825 01:05:13,851 --> 01:05:17,137 It turned out that Anibal had three wives and three babies, 826 01:05:17,271 --> 01:05:19,940 and they're all there at the funeral. 827 01:05:20,065 --> 01:05:23,067 - But it was too funny. - It was too obvious. 828 01:05:23,193 --> 01:05:26,527 And it wasn't the point we were trying to make. 829 01:05:27,614 --> 01:05:30,818 That, by the way, is my favourite line in the film. 830 01:05:30,951 --> 01:05:33,157 "Please make an exception in this case" 831 01:05:33,287 --> 01:05:38,329 I have found, in the years since Highway Patrolman 832 01:05:38,459 --> 01:05:41,163 that "Please make an exception in this case" 833 01:05:41,295 --> 01:05:46,835 is the most useful sentence that you can possibly utilise. 834 01:05:46,967 --> 01:05:49,921 You acknowledge that whoever you're dealing with 835 01:05:50,054 --> 01:05:53,055 doesn't do this kind of thing normally, whatever it is. 836 01:05:54,641 --> 01:05:58,308 On this occasion, perhaps they can make an exception. 837 01:06:02,733 --> 01:06:07,395 And I have found that useful in terms of all manner of things. 838 01:06:07,529 --> 01:06:10,649 In all matters of negotiating. 839 01:06:10,783 --> 01:06:13,701 Trying to get air cargo out of Narita Airport 840 01:06:13,827 --> 01:06:16,402 on a Sunday, when it's closed. 841 01:06:16,538 --> 01:06:20,869 You just keep on saying, "Please make an exception in this case," 842 01:06:21,001 --> 01:06:25,497 and you don't leave, and eventually, they make an exception. 843 01:06:28,801 --> 01:06:33,214 In this sequence, they're obviously drinking to Anibal. 844 01:06:33,347 --> 01:06:39,883 And on the television there's a sequence going up 845 01:06:40,020 --> 01:06:43,852 about re-approving Mexico. 846 01:06:43,982 --> 01:06:50,863 Yes, Mexico has to be certified every year by the US Congress 847 01:06:50,989 --> 01:06:54,323 which is very insulting to the Mexicans. 848 01:06:56,662 --> 01:06:59,580 Because the whole deal about the drug trade 849 01:06:59,706 --> 01:07:02,459 which is devastating and corrupting Mexico 850 01:07:02,584 --> 01:07:06,037 is that the drug trade is there for the benefit of the Americans! 851 01:07:07,256 --> 01:07:10,542 Well the market is the United States, 852 01:07:10,676 --> 01:07:15,338 and their country just happens to be on the way to the market. 853 01:07:17,307 --> 01:07:22,385 This is a great source of division between Mexico and the United States. 854 01:07:22,521 --> 01:07:27,065 Funnily enough, I was on a flight 855 01:07:27,192 --> 01:07:30,194 out of Mexico to Europe that stopped in Washington, 856 01:07:30,320 --> 01:07:33,903 and I found myself sitting next to the Foreign Minister of Mexico. 857 01:07:34,032 --> 01:07:38,078 Everybody gets on the plane and greets him, shakes his hand 858 01:07:38,203 --> 01:07:41,490 I'm saying, "How do you know so many people on this plane?" 859 01:07:41,623 --> 01:07:45,669 And we get into a conversation. 860 01:07:45,794 --> 01:07:47,870 He was going to Washington. 861 01:07:48,005 --> 01:07:51,753 Various third world countries go to the United States and say, 862 01:07:51,884 --> 01:07:55,253 "Until you guys can control your arms trade" 863 01:07:55,387 --> 01:07:57,878 "we can never control the drug trade." 864 01:07:58,015 --> 01:08:01,763 The United States is the greatest provider of arms in the world. 865 01:08:01,894 --> 01:08:06,769 Not only nuclear weapons and jets but small arms. 866 01:08:06,899 --> 01:08:09,188 Machine guns, handguns. 867 01:08:09,318 --> 01:08:14,193 As long as these weapons pour into the third world 868 01:08:14,323 --> 01:08:17,407 as long as Latin America is full of American weapons 869 01:08:17,534 --> 01:08:22,577 the cops, the local authorities, are never going to get a handle on crime. 870 01:08:22,706 --> 01:08:27,332 It's well known that the guerrilla wars in South America are fuelled by 871 01:08:28,962 --> 01:08:31,584 the exchange of weapons for cocaine 872 01:08:31,715 --> 01:08:35,926 in Columbia and in Peru and in different places. 873 01:08:36,053 --> 01:08:40,003 And that in every case, the military and their paramilitary allies 874 01:08:40,140 --> 01:08:44,138 are making money out of it and exchanging guns for drugs. 875 01:08:44,269 --> 01:08:47,389 They're the ones who have got the guns in the beginning. 876 01:08:50,067 --> 01:08:53,519 But as the United States prepares for a war against Colombia 877 01:08:53,654 --> 01:08:56,773 the blame is always placed on left-wing rebels. 878 01:09:00,410 --> 01:09:02,700 Here are the iguana kids again. 879 01:09:09,044 --> 01:09:11,713 He's in a fury now. He just wants to arrest somebody. 880 01:09:11,838 --> 01:09:15,670 He just wants to do some justice. 881 01:09:15,801 --> 01:09:18,920 No, I think this is 882 01:09:19,054 --> 01:09:23,799 his final lame attempt at trying to do good! 883 01:09:28,313 --> 01:09:30,935 I think that once again he's... 884 01:09:35,570 --> 01:09:41,692 trying to find some way to get back 885 01:09:41,827 --> 01:09:45,078 to what originally inspired him to be a cop. 886 01:09:47,916 --> 01:09:53,421 And taking three kids to school is as innocuous as can be, so he thinks. 887 01:09:56,008 --> 01:09:58,084 But he'll see. 888 01:09:59,428 --> 01:10:03,675 - I think this is Dinamita. - This is Dinamita, yes. 889 01:10:03,807 --> 01:10:06,975 But once again, no good deed will go unpunished. 890 01:10:08,061 --> 01:10:12,937 So he's turned over the children to Farfan, the head of Special Effects. 891 01:10:13,066 --> 01:10:15,142 In the blue shirt. 892 01:10:32,711 --> 01:10:36,329 We also have to take into consideration that 893 01:10:36,465 --> 01:10:39,134 our character is now under the effects 894 01:10:39,259 --> 01:10:41,834 of the drugs given to him by the psychiatrist. 895 01:10:41,970 --> 01:10:45,885 Yes, he's on some sort of early version of Prozac or Zoloft... 896 01:10:47,893 --> 01:10:51,060 which is exacerbating his homicidal tendencies! 897 01:10:52,522 --> 01:10:54,598 And he's looking for a rabid dog. 898 01:11:15,420 --> 01:11:17,745 He's such a brave actor, Roberto. 899 01:11:17,881 --> 01:11:22,959 Unlike most of the English-speaking actors I've met 900 01:11:23,095 --> 01:11:27,840 he's really prepared to devote himself to the character. 901 01:11:27,974 --> 01:11:31,261 And he's not afraid to appear ridiculous or silly. 902 01:11:35,273 --> 01:11:37,812 When he crosses the bridge, we said... 903 01:11:37,943 --> 01:11:40,102 "You've also got a fear of heights." 904 01:11:40,237 --> 01:11:45,065 "Not only do you have all these other problems but you're afraid of heights." 905 01:11:45,200 --> 01:11:49,744 So he plays it that way. He crosses the bridge in a very timorous manner. 906 01:11:56,253 --> 01:12:00,749 This is Malena Doria. Another extraordinary actress. 907 01:12:07,681 --> 01:12:10,434 Once again, the impossibility of doing good. 908 01:12:13,520 --> 01:12:16,011 And the extras. These are the people in the town. 909 01:12:16,148 --> 01:12:19,766 These are the people of Dinamita, showing up to watch the filming. 910 01:12:26,491 --> 01:12:32,494 Once again, this is where Zander's music really does an extraordinary job. 911 01:12:33,540 --> 01:12:36,079 This is near Mapimi. 912 01:12:36,209 --> 01:12:41,998 This is called Puente Ojuela, which is a bridge that connects two mines. 913 01:12:45,719 --> 01:12:51,176 And I think you did an extraordinary reveal here. 914 01:12:51,308 --> 01:12:55,009 You don't really understand why he's holding onto the side. 915 01:12:55,145 --> 01:12:57,304 But as you zoom out here 916 01:12:57,439 --> 01:13:00,559 it becomes evident that this is one of the most 917 01:13:00,692 --> 01:13:03,943 hair-raising bridges I've ever crossed 918 01:13:05,322 --> 01:13:12,037 Cecilia had to do repairs to the bridge before they let us use it 919 01:13:12,162 --> 01:13:14,487 I think there was just a couple. 920 01:13:14,623 --> 01:13:16,699 It wasn't that much. 921 01:13:26,510 --> 01:13:29,084 So he's come to help a young girl in need. 922 01:13:29,221 --> 01:13:31,297 The mother of the two children. 923 01:14:04,214 --> 01:14:07,547 This is a real sky. This isn't a process shot. 924 01:14:07,676 --> 01:14:12,089 That's actually what the sky looked like outside. 925 01:14:12,222 --> 01:14:14,975 One of the extraordinary things about this film 926 01:14:15,100 --> 01:14:18,351 is that we didn't use any camera cars. 927 01:14:18,478 --> 01:14:20,554 All of it was car mounts. 928 01:14:20,689 --> 01:14:24,686 Not one camera-car shot. It's incredible. 929 01:14:25,819 --> 01:14:30,445 I think, as a car-based film, it works better than Repo Man 930 01:14:30,574 --> 01:14:35,568 I think that sometimes all those camera cars and stuff 931 01:14:35,704 --> 01:14:37,780 it takes you away from the actors. 932 01:14:37,914 --> 01:14:40,749 It becomes about the car and not about the person in it. 933 01:14:40,875 --> 01:14:45,502 But with the car mount looking in the window, you're always on the actors. 934 01:14:45,630 --> 01:14:49,047 - The actors also have to drive. - They have to drive themselves. 935 01:14:49,175 --> 01:14:51,251 They're not being towed. 936 01:14:57,934 --> 01:15:00,010 And so he's returned. 937 01:15:00,145 --> 01:15:04,309 This is the back lot of Estudios America 938 01:15:04,441 --> 01:15:09,151 .which is now part of Televisi�n Azteca. 939 01:15:09,279 --> 01:15:13,941 There were two film studios in Mexico... 940 01:15:14,075 --> 01:15:17,492 - In 1991 - But now there's only one. 941 01:15:20,290 --> 01:15:22,366 Great location. 942 01:15:27,714 --> 01:15:32,792 This is the only scene in the film that we re-shot. 943 01:15:32,927 --> 01:15:37,056 We did a version of this scene that just didn't seem to be working 944 01:15:37,182 --> 01:15:41,393 because we were playing it on the two characters in the background. 945 01:15:41,519 --> 01:15:44,010 On Maribel and her boyfriend, Emilio. 946 01:15:44,147 --> 01:15:46,603 When we saw the rushes we just thought 947 01:15:46,733 --> 01:15:51,858 this isn't a film about those two guys, it's a film about Pedro Rojas. 948 01:15:51,988 --> 01:15:54,313 And so we re-shot the scene 949 01:15:54,449 --> 01:15:57,736 with them all in the back and Pedro in the foreground. 950 01:16:01,331 --> 01:16:04,582 This is also one of the few scenes where we have a dolly move. 951 01:16:04,709 --> 01:16:06,501 Yeah, he's on tracks. 952 01:16:06,628 --> 01:16:09,879 He's on tracks, which is 953 01:16:10,006 --> 01:16:16,377 completely opposite everything that we had done up to that point. 954 01:16:23,144 --> 01:16:25,814 A homage to Ripstein is coming up now. 955 01:16:35,657 --> 01:16:38,860 In Ripstein's films, the characters used to ask the time, 956 01:16:38,993 --> 01:16:41,069 and the reply would be, "Late". 957 01:16:56,302 --> 01:16:59,802 When we were preparing the video version of this in England 958 01:16:59,931 --> 01:17:02,885 I did have the opportunity of putting an effect 959 01:17:03,017 --> 01:17:05,722 of the binoculars on the shot. 960 01:17:05,854 --> 01:17:08,227 But we didn't want that. 961 01:17:11,025 --> 01:17:13,434 You know, that binocular effect! 962 01:17:15,780 --> 01:17:18,402 I'm not sure it really served a purpose. 963 01:17:18,533 --> 01:17:20,739 No, I left it off. 964 01:17:20,869 --> 01:17:24,321 It's such a naturalistic film 965 01:17:24,456 --> 01:17:28,122 that to go for that would have been, once again 966 01:17:28,251 --> 01:17:31,419 going against the established set parameters. 967 01:17:31,546 --> 01:17:36,624 There are special effects, in terms of things blowing up and gunshots, 968 01:17:36,760 --> 01:17:42,965 but there's no actual process shots or mattes in the film. 969 01:17:43,099 --> 01:17:45,887 What you see is what's really there. 970 01:18:11,961 --> 01:18:14,335 He doesn't listen. 971 01:18:14,464 --> 01:18:16,540 Who does? 972 01:18:26,392 --> 01:18:32,514 This is all shot around Dinamita and Mapimi. 973 01:18:35,902 --> 01:18:38,737 A lot of abandoned mines. 974 01:18:44,536 --> 01:18:47,655 This shot you could have put a binocular matte on, 975 01:18:47,789 --> 01:18:50,458 but we decided against it originally. 976 01:18:50,583 --> 01:18:54,083 The binocular matte always looks hokey. 977 01:19:08,101 --> 01:19:10,806 Anyway, by that time, I think we had run out of money. 978 01:19:12,856 --> 01:19:15,608 I think so. There was no money for binocular mattes! 979 01:19:15,733 --> 01:19:17,809 Not enough money for binocular mattes! 980 01:19:17,944 --> 01:19:20,269 You need to mix the film and deliver. 981 01:19:40,341 --> 01:19:43,461 This movie's so poor, they can't even afford a helicopter! 982 01:20:05,074 --> 01:20:07,530 He takes off his identification. 983 01:20:26,346 --> 01:20:28,837 This was a complicated sequence to shoot. 984 01:20:38,983 --> 01:20:42,352 - There's Damian Alcazar. - On the right. 985 01:20:46,699 --> 01:20:50,199 He's got a leading role in Bajo California 986 01:20:50,328 --> 01:20:54,029 Damian is quite a movie star in Mexico. 987 01:20:54,165 --> 01:20:58,116 He's the lead in Bajo California which is a pretty good film. 988 01:20:58,252 --> 01:21:02,749 He's the lead in La Ley de Herodes which is, of course, a brilliant film. 989 01:21:02,882 --> 01:21:05,717 With great acting. 990 01:21:05,843 --> 01:21:09,889 And he's the lead in Dos cr�menes. 991 01:21:10,014 --> 01:21:16,634 So he's actually, in the sense that there are movie stars in Mexico 992 01:21:16,771 --> 01:21:19,559 he's the movie star. 993 01:22:02,066 --> 01:22:05,684 "Por mis hijos." He doesn't have any hijos. 994 01:22:21,836 --> 01:22:26,047 I hope it came that Pedro is so nuts he could have killed them 995 01:22:26,174 --> 01:22:28,250 I'm not sure it does come across. 996 01:22:28,384 --> 01:22:31,303 My wish is that the audience would think 997 01:22:31,429 --> 01:22:34,680 the guy is so crazy, he can murder those two people. 998 01:22:34,807 --> 01:22:41,012 It's interesting because the character still has several surprises for us in store. 999 01:22:42,106 --> 01:22:45,974 It's this combination 1000 01:22:46,110 --> 01:22:49,859 of wanting to still do good, 1001 01:22:49,989 --> 01:22:53,904 and absolute self-interest. Motivated by both. 1002 01:22:54,035 --> 01:22:57,902 - This is shot in Parras. - The Wild Bunch location. 1003 01:22:58,039 --> 01:23:00,613 Where the horses fall down the sand dune 1004 01:23:00,750 --> 01:23:03,704 during one of the transitions in The Wild Bunch. 1005 01:23:04,754 --> 01:23:06,830 - Extraordinary location. - Beautiful. 1006 01:23:16,307 --> 01:23:18,549 This particular piece of music 1007 01:23:18,684 --> 01:23:21,804 was the cause of an ongoing dispute 1008 01:23:21,938 --> 01:23:25,686 between Zander Schloss and the actor Del Zamora. 1009 01:23:27,235 --> 01:23:30,153 Because Del came up with the... 1010 01:23:30,279 --> 01:23:32,605 Da da da da! 1011 01:23:34,450 --> 01:23:36,526 And Zander just did all the other music. 1012 01:23:36,661 --> 01:23:39,449 And somehow Del didn't get a credit for the... 1013 01:23:39,580 --> 01:23:41,372 Da da da da! 1014 01:23:41,499 --> 01:23:45,450 But I would like to go on record as saying that those 1015 01:23:45,586 --> 01:23:49,964 da da da da, four notes, were thought up by Del Zamora. 1016 01:23:51,843 --> 01:23:53,919 They sound more like Beethoven to me! 1017 01:23:57,098 --> 01:24:00,182 At the beginning of the third or something! 1018 01:24:06,023 --> 01:24:12,644 So at this point, gathering the stash that he has 1019 01:24:12,780 --> 01:24:15,070 hidden away in the desert 1020 01:24:15,199 --> 01:24:19,411 we don't know exactly how long he's been putting the stash together 1021 01:24:19,537 --> 01:24:23,701 I would think a year or so. I think he's been at it for a while. 1022 01:24:36,262 --> 01:24:39,180 And the Virgin Mary on the wall of the whorehouse. 1023 01:24:39,307 --> 01:24:42,925 Little shrines to the Virgin Mary everywhere in this film 1024 01:24:43,060 --> 01:24:45,136 just like in Mexico. 1025 01:24:50,693 --> 01:24:55,107 - Coming out the door is our... - Extras Casting, Rene Maruri. 1026 01:25:52,296 --> 01:25:57,801 I love the texture, in terms of the production design, in this particular set. 1027 01:25:57,927 --> 01:26:00,252 That and the house of Pedro. 1028 01:26:03,099 --> 01:26:07,809 It has a colour palette that is unusual for films. 1029 01:26:19,240 --> 01:26:22,823 And the designer of this film 1030 01:26:22,952 --> 01:26:26,737 went on to do a variety of films with us and with other people, 1031 01:26:26,872 --> 01:26:33,706 and ended up spending about ten times the budget of El Patrullero 1032 01:26:33,838 --> 01:26:36,708 on the art department of The Mask of Zorro. 1033 01:26:36,841 --> 01:26:42,001 Some of the locations... I don't think you can see them clearly in the film, 1034 01:26:42,138 --> 01:26:45,092 but some of the locations that she designed 1035 01:26:45,224 --> 01:26:48,059 Cecilia designed a mine set for The Mask of Zorro 1036 01:26:48,185 --> 01:26:51,472 that's a square mile of construction. 1037 01:26:53,107 --> 01:26:57,058 With working elements, huge wheels revolving 1038 01:26:57,194 --> 01:26:59,105 people in cages, a graveyard... 1039 01:26:59,238 --> 01:27:02,073 Ah! Another shrine to the Virgin Mary. 1040 01:27:31,812 --> 01:27:33,888 This is fake rain, obviously. 1041 01:27:34,023 --> 01:27:38,685 This is one of the more difficult shots just because it involved so much rain. 1042 01:27:40,780 --> 01:27:42,939 It then has to match the following. 1043 01:27:43,074 --> 01:27:46,775 The rain was shot in Mexico City, this was shot in Durango, 1044 01:27:46,911 --> 01:27:50,078 but we have to wet down though, I suppose. 1045 01:27:50,206 --> 01:27:54,501 One of those continuity problems. 1046 01:28:03,386 --> 01:28:06,256 This is based on a shot from R�o Escondido 1047 01:28:06,389 --> 01:28:08,762 directed by Emilio Fern�ndez. 1048 01:28:08,891 --> 01:28:13,138 Again, it's on a tripod. It's one of the few shots on a tripod. 1049 01:28:13,270 --> 01:28:17,731 And there's a tiny little pan that turns a single into a two shot. 1050 01:28:17,858 --> 01:28:22,272 And then as Pedro steps back it becomes a single again. 1051 01:28:27,118 --> 01:28:31,364 This is so much more interesting a way of shooting and composing 1052 01:28:31,497 --> 01:28:36,076 than just close-up of one guy, close-up of the other guy. 1053 01:28:36,210 --> 01:28:40,587 It's also interesting that you see a lot of activity outside the window. 1054 01:28:42,341 --> 01:28:45,094 In fact it contains everything. 1055 01:28:45,219 --> 01:28:49,845 It contains two singles, a two shot and all of the background action, 1056 01:28:49,974 --> 01:28:52,050 but there's been no cut. 1057 01:28:52,560 --> 01:28:54,517 So the focus switches from 1058 01:28:55,187 --> 01:28:57,857 Gomez Cruz at the beginning 1059 01:28:57,982 --> 01:29:01,185 to Roberto Sosa at the end. But they're both isolated. 1060 01:29:01,318 --> 01:29:05,186 Even when they're together in frame, they're right on the edges of it. 1061 01:29:06,907 --> 01:29:09,482 Even though, in a certain way 1062 01:29:09,618 --> 01:29:13,664 he's proving a successful police officer and he's bringing in money 1063 01:29:13,789 --> 01:29:16,992 he's becoming distanced from his own guys as well. 1064 01:29:20,337 --> 01:29:22,746 There's the entrance to the Sierra de �rganos 1065 01:29:22,882 --> 01:29:27,841 which is outside Sombrerete, in Zacatecas. 1066 01:29:27,970 --> 01:29:30,212 An incredible location. 1067 01:29:32,224 --> 01:29:34,799 Along the lines of Monument Valley. 1068 01:29:40,733 --> 01:29:44,814 - And here's another shot on a dolly. - Good grief! Another dolly. 1069 01:29:51,577 --> 01:29:53,819 You can hardly notice it though. 1070 01:30:54,640 --> 01:30:58,721 I wonder how many days we shot here. Was it for just one day or was it two? 1071 01:30:58,852 --> 01:31:00,928 I think we had a couple of days 1072 01:31:01,063 --> 01:31:03,637 I slept in a tent out there one night. 1073 01:31:03,774 --> 01:31:07,855 So we must have had at least two days in the �rganos. 1074 01:31:12,116 --> 01:31:14,192 This is the best kind of filmmaking. 1075 01:31:14,326 --> 01:31:20,781 It was always my dream that we would go to the countryside 1076 01:31:20,916 --> 01:31:23,870 to wild places that you wouldn't normally go, 1077 01:31:24,003 --> 01:31:26,079 and make films there. 1078 01:31:28,382 --> 01:31:31,550 With four northern states... actually three... 1079 01:31:38,392 --> 01:31:44,430 Coahuila, Durango and Zacatecas. Three northern states. 1080 01:31:50,321 --> 01:31:55,315 The helicopter was originally going to be lent to us by the governor of Durango. 1081 01:31:55,451 --> 01:32:01,039 But he ended up having to leave with it to go see some flood in the north. 1082 01:32:01,165 --> 01:32:04,913 So we ended up having to bring the helicopter from Mexico City. 1083 01:32:17,681 --> 01:32:19,841 Again, it's all one shot. 1084 01:32:19,975 --> 01:32:23,760 We talked about breaking the sequence up into different elements. 1085 01:32:23,896 --> 01:32:28,771 But from the arrival of the helicopter, Pedro tracking it 1086 01:32:28,901 --> 01:32:34,607 the landing, another shoot-out, takes off again, all in one take. 1087 01:32:35,699 --> 01:32:41,904 And not one reviewer of this film made any comment about that 1088 01:32:42,039 --> 01:32:44,115 which really surprised me. 1089 01:32:44,249 --> 01:32:50,039 The extent to which people who are professional watchers of films 1090 01:32:50,172 --> 01:32:52,331 don't notice things. 1091 01:32:53,425 --> 01:32:56,260 Even though the film got good critical responses 1092 01:32:56,387 --> 01:32:59,756 of the films I've done, it got the best critical response 1093 01:32:59,890 --> 01:33:02,725 nobody noticed that everything played in a master. 1094 01:33:05,145 --> 01:33:07,636 What it does is it draws you in. 1095 01:33:10,442 --> 01:33:15,733 I suppose it's good in a sense if the technique doesn't draw attention to itself. 1096 01:33:19,660 --> 01:33:24,738 We had one sequence in here of him actually burying... 1097 01:33:24,873 --> 01:33:27,115 Burying the gringo who was just killed. 1098 01:33:27,251 --> 01:33:29,375 But we thought that was useless too. 1099 01:33:30,629 --> 01:33:33,916 It's funny. The elements that you actually need 1100 01:33:34,049 --> 01:33:38,000 to convey a story are sometimes a lot less. 1101 01:33:39,096 --> 01:33:42,881 As long as there's an exploding police car, it's pretty much OK. 1102 01:33:43,016 --> 01:33:45,092 The film's going to be OK. 1103 01:33:46,812 --> 01:33:50,976 But it is interesting. Of all the films that we had done up until that point 1104 01:33:51,108 --> 01:33:54,856 this follows the script just page for page. 1105 01:33:54,987 --> 01:33:57,063 There's no deviation 1106 01:33:57,197 --> 01:34:00,068 I remember one day, we got ahead of ourselves, 1107 01:34:00,200 --> 01:34:03,700 and we had a few hours spare, we were half a day ahead, 1108 01:34:03,829 --> 01:34:06,320 and so we tried to invent a sequence. 1109 01:34:06,457 --> 01:34:10,454 And we shot a sequence with two narcos waiting by a railroad track, 1110 01:34:10,586 --> 01:34:13,837 and Pedro watches them. It was useless. 1111 01:34:13,964 --> 01:34:17,215 It was useless. It did nothing to further the story. 1112 01:34:17,342 --> 01:34:22,052 It's a very tight script, even though it changed, 1113 01:34:22,181 --> 01:34:25,929 but the changes were all done prior to the shooting. 1114 01:34:26,059 --> 01:34:28,895 This is an extraordinary sequence 1115 01:34:29,021 --> 01:34:33,185 because you have the entire vista and the camera's on a crane, 1116 01:34:33,317 --> 01:34:37,149 and then the camera will actually go into... 1117 01:34:37,279 --> 01:34:40,150 It goes underground! 1118 01:34:40,282 --> 01:34:46,700 Also all shot in one take. 1119 01:34:57,090 --> 01:35:00,377 I'm very impressed by the special effects in this. 1120 01:35:00,511 --> 01:35:04,508 We had worked with Marcelino Pacheco who's a wonderful special effects guy 1121 01:35:04,640 --> 01:35:07,926 I was disappointed that we couldn't get Marcelino for this, 1122 01:35:08,060 --> 01:35:11,014 and that we were going to work with the Farfans. 1123 01:35:11,146 --> 01:35:14,184 But it really turned out good. Farfan did a very good job. 1124 01:35:15,275 --> 01:35:18,609 Here we're also finding our general concept 1125 01:35:18,737 --> 01:35:24,526 that no shoot-out should last more than seven or eight bullets. 1126 01:35:27,871 --> 01:35:31,371 This is the only person who gets shot on camera apart from Pedro. 1127 01:35:31,500 --> 01:35:34,584 All the other violence takes place off screen. 1128 01:35:45,597 --> 01:35:49,513 - The location is truly extraordinary. - It's tremendous. 1129 01:35:49,643 --> 01:35:52,099 And almost unknown. 1130 01:35:52,771 --> 01:35:55,808 How often have you seen this location in a film? 1131 01:35:56,650 --> 01:35:58,726 Well, by now, a few more times. 1132 01:36:00,612 --> 01:36:04,990 I saw a couple of Mexican cowboy films from the 70s that they shot there. 1133 01:36:07,411 --> 01:36:09,736 I think Cisco Kid was also shot there. 1134 01:36:09,872 --> 01:36:13,240 And now it's been a bit known. 1135 01:36:14,751 --> 01:36:18,879 This is the scene that the Federal Highway Patrol in Mexico objected to, 1136 01:36:20,007 --> 01:36:25,132 and the reason that we didn't get the support from them to shoot it. 1137 01:36:27,014 --> 01:36:32,222 It had to do with the fact that Pedro Rojas decides to abandon... 1138 01:36:32,352 --> 01:36:35,888 Ah! He quits and doesn't stay on board. 1139 01:36:36,023 --> 01:36:38,597 This is something they feel very sensitive about. 1140 01:36:38,734 --> 01:36:44,737 The resignation is so high among the cadets that first go out into the field. 1141 01:36:44,865 --> 01:36:47,985 The job is incredibly difficult, incredibly demanding, 1142 01:36:48,118 --> 01:36:51,369 and not a lot of them survive. 1143 01:36:52,456 --> 01:36:58,044 They had conveyed to me that if I had been willing to change this sequence, 1144 01:36:58,170 --> 01:37:00,543 and he had taken a desk job 1145 01:37:00,672 --> 01:37:04,540 that we would have had the support of the Federal Highway Patrol. 1146 01:37:07,804 --> 01:37:13,476 And the way you convey the turnover of these guys, I think, is very clever. 1147 01:37:13,602 --> 01:37:19,391 What we're about to see is one of the best scripted moments in the film. 1148 01:37:19,524 --> 01:37:23,736 It's your description of what we see when we open the draw in his desk. 1149 01:37:28,033 --> 01:37:34,618 All those badges. Without dialogue, you know exactly what the problem is. 1150 01:37:42,506 --> 01:37:44,582 Her kid got bigger. 1151 01:37:49,096 --> 01:37:55,348 The original ending of the film, the one you were talking about 1152 01:37:55,477 --> 01:37:57,553 was a more traditional ending 1153 01:37:57,688 --> 01:38:02,184 in the sense that Pedro and his wife survived, 1154 01:38:02,317 --> 01:38:06,612 but the prostitute, Maribel, died of a drug overdose. 1155 01:38:06,738 --> 01:38:09,776 With the drugs that he gave her. 1156 01:38:09,908 --> 01:38:15,531 And so he feels the responsibility of taking on the children, 1157 01:38:15,664 --> 01:38:19,496 and then goes back home and shows up with the children. 1158 01:38:19,626 --> 01:38:24,087 With Maribel's two children at the house of Griselda. 1159 01:38:24,214 --> 01:38:28,129 But that was pointed out to us as highly unlikely 1160 01:38:28,260 --> 01:38:31,463 Alejandra Liceaga, the Production Manager, 1161 01:38:31,596 --> 01:38:33,886 and Cecilia Montiel 1162 01:38:34,016 --> 01:38:39,438 said that no woman would accept these two extra offspring... 1163 01:38:39,563 --> 01:38:42,433 From another woman. 1164 01:38:42,566 --> 01:38:46,314 Which, of course, we were somewhat appalled by. 1165 01:38:46,445 --> 01:38:51,404 Naively thinking her maternal instincts would override... 1166 01:38:51,533 --> 01:38:54,321 The fact that they were the children of another woman. 1167 01:38:55,787 --> 01:39:00,698 So we changed the script to something which is much more traditional, 1168 01:39:00,834 --> 01:39:04,962 and what is called in Mexico, casa chica. 1169 01:39:05,088 --> 01:39:08,920 The literal translation is small house. 1170 01:39:09,051 --> 01:39:15,137 What happens is that after a man establishes his first house 1171 01:39:15,265 --> 01:39:20,343 he goes on to establish a second house and a third household, 1172 01:39:21,688 --> 01:39:25,686 and becomes a cacique or an empire. 1173 01:39:25,817 --> 01:39:28,273 And what Malena Doria just said 1174 01:39:28,403 --> 01:39:32,780 is the other thing that an actor said to me, "No Mexican would ever do this". 1175 01:39:32,908 --> 01:39:36,823 One is when Guillermo Rios opens the door for the governor. 1176 01:39:36,953 --> 01:39:39,113 And the other is when Malena Doria says, 1177 01:39:39,247 --> 01:39:41,917 "We'd invite you to eat but there isn't enough". 1178 01:39:42,042 --> 01:39:46,419 She said no Mexican woman anywhere on the planet would say, 1179 01:39:46,546 --> 01:39:49,584 "We'd invite you to eat but there isn't enough". 1180 01:39:49,716 --> 01:39:52,041 But I said, "Leave it in because it's so funny." 1181 01:39:52,177 --> 01:39:55,095 "That you are so mean!" 1182 01:39:55,222 --> 01:39:59,517 Well, I think that the whole point is that 1183 01:39:59,643 --> 01:40:04,685 she's trying to sell the point that they're in dire economic need. 1184 01:40:04,815 --> 01:40:08,600 And obviously, Maribel is going to push the point of 1185 01:40:08,735 --> 01:40:11,440 "What are you going to do with me?" 1186 01:40:11,571 --> 01:40:17,159 And so pressure him into accepting his responsibility as... 1187 01:40:17,285 --> 01:40:19,575 The father of the casa chica. 1188 01:40:21,623 --> 01:40:23,747 The financier of the casa chica 1189 01:40:23,875 --> 01:40:27,791 I like this ending better. It's more ambiguous. 1190 01:40:27,921 --> 01:40:31,457 How is Pedro going to pay for these two households? 1191 01:40:31,591 --> 01:40:34,878 - He doesn't have any income. - He's going to become more corrupt. 1192 01:40:35,011 --> 01:40:37,337 Yeah, he's going to go back to the desert, 1193 01:40:37,472 --> 01:40:40,592 and find the rest of the drugs and sell them. 1194 01:40:40,725 --> 01:40:42,801 But look at him. Look how happy he is. 1195 01:40:42,936 --> 01:40:46,056 He's playing with his wedding ring, he's got a little smile. 1196 01:40:46,189 --> 01:40:50,317 But does he? Yes, he has a smile. Slightly. 1197 01:40:52,612 --> 01:40:55,981 And that's it. Pedro Rojas. 1198 01:40:56,116 --> 01:40:58,986 There are the iguana kids throwing rocks at him. 1199 01:41:00,078 --> 01:41:04,290 And the sign says, "Paying taxes is participating". 1200 01:41:04,416 --> 01:41:06,540 Which, of course, is the ultimate irony. 1201 01:41:09,087 --> 01:41:14,426 But we thought we'd throw it out there for everybody to think about. 1202 01:41:14,551 --> 01:41:19,711 Just trying to drag this country into another world in which it does not belong. 1203 01:41:22,767 --> 01:41:27,145 Actually it's the second film that you've made that ends with children. 1204 01:41:27,272 --> 01:41:29,941 - Sid and Nancy does too. - That's right. 1205 01:41:30,066 --> 01:41:33,934 But Sid and Nancy is bogus. This is actually authentic 1206 01:41:34,070 --> 01:41:37,357 I don't believe anything in Sid and Nancy anymore. 1207 01:41:37,490 --> 01:41:41,619 But I think that this is a very truthful film and I'm very proud of this one. 1208 01:41:42,704 --> 01:41:46,489 And the closing song is being sung by Tito Larriva 1209 01:41:47,792 --> 01:41:51,577 chicano rocker from The Plugz and Los Cruzados. 1210 01:41:55,383 --> 01:41:59,085 Well, Alex, I must say it's quite entertaining doing this. 1211 01:41:59,221 --> 01:42:01,297 It's been very nice. Thank you 1212 01:42:01,431 --> 01:42:05,512 I know you're very busy producing films, 1213 01:42:05,644 --> 01:42:09,891 and I'm very pleased that you were able to join us here today. 1214 01:42:10,023 --> 01:42:12,644 Any time. This is the best film I ever made. 1215 01:42:12,776 --> 01:42:14,484 The best film I made too. 1216 01:42:14,611 --> 01:42:17,446 - Well, congratulations. - It's a love fest! 1217 01:42:20,367 --> 01:42:23,155 It's the most unified film that I've done 1218 01:42:23,286 --> 01:42:25,410 I'm very proud of Walker 1219 01:42:25,538 --> 01:42:28,790 in terms of what we pulled off and the ambition of it, 1220 01:42:28,917 --> 01:42:35,335 but this is the more unified film, the more completely successful. 1221 01:42:38,009 --> 01:42:42,470 I think it has to do with a lot of different elements. 1222 01:42:42,597 --> 01:42:45,635 It has a lot to do with the style and how it was shot 1223 01:42:45,767 --> 01:42:47,843 I think also the style. By that point 1224 01:42:47,978 --> 01:42:51,394 we'd learned enough about films to establish a style 1225 01:42:51,523 --> 01:42:55,059 which I hadn't done before this 1226 01:42:55,193 --> 01:42:57,399 I'm very pleased about the way it turned out. 1227 01:42:57,529 --> 01:43:01,610 Also, to end our love fest, I'd like to congratulate you on the subtitles. 1228 01:43:01,741 --> 01:43:04,743 Because you did the English subtitles, didn't you? 1229 01:43:04,869 --> 01:43:07,195 That's right. Even though I change them... 1230 01:43:07,330 --> 01:43:10,948 They change somewhat but they're very authentic. 1231 01:43:11,084 --> 01:43:14,086 They're very close to the original language. 1232 01:43:14,212 --> 01:43:18,459 If possible, if the author is bilingual, the author should do the subtitles. 1233 01:43:21,761 --> 01:43:24,466 Now that I've seen the end credits 1234 01:43:24,597 --> 01:43:27,931 my heart goes out to goes out to all these people that helped us. 1235 01:43:28,059 --> 01:43:32,686 Such a great crew. A wonderful crew and a wonderful experience. 1236 01:43:36,401 --> 01:43:39,485 It's unusual to go and make a film 1237 01:43:39,612 --> 01:43:42,864 with the kind of licence that we had to make this. 1238 01:43:49,289 --> 01:43:53,833 It gives you the ability to utilise all your best instincts. 1239 01:43:53,960 --> 01:43:56,333 We were very free, 1240 01:43:56,463 --> 01:43:59,915 and yet, at the same time, also quite disciplined. 1241 01:44:00,050 --> 01:44:04,427 And also being able to... 1242 01:44:06,639 --> 01:44:10,388 get away from this filmmaking by committee 1243 01:44:10,518 --> 01:44:14,054 which is a ridiculous enterprise. 1244 01:44:15,148 --> 01:44:17,639 Yeah, this is the thing I'm happiest with. 1245 01:44:17,776 --> 01:44:21,145 This is the only film I've done that I wouldn't change anything in 110093

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