Alejandro Gonzalez Inarritu
Alejandro Gonzalez Inarritu
Alejandro González Iñárrituis a Mexican film director, producer, screenwriter, and former composer. He is the first Mexican director to be nominated for the Academy Award for Best Director and the Directors Guild of America Award for Outstanding Directing, for Babel. He is also the first Mexican-born director to have won the Cannes Film Festival Best Director Award...
NationalityMexican
ProfessionDirector
Date of Birth15 August 1963
CountryMexico
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When you are shooting in a conventional way, you put nets around yourself. It's very hard to fall and hit the ground. You can always manipulate things to make it not embarrassing. If the scene is a little bit bad, you can polish it or even take it out. You can hide your mistakes.
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When I was sixteen, I was an absolutely romantic guy. I fell in love every week. I mean, I was in love with everybody, but unfortunately, nobody was in love with me.
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When I was about to turn 50, I went into a kind of personal revision and observed my own priorities and what led those priorities in my life. And many things that, in a way, were profound.
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What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in 'Biutiful,' you need that time. You need 60 takes in a scene and a year to edit. It's not realistic to do it any other way.
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We are the only alive creatures that are mortals; the animals are immortal, which is why they live stupidly. We are the only creatures that know that we will die, but that is a gift. It's important because we know we have to take advantage and squeeze life and understand why we're here in the first place.
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To direct actors is difficult. To direct actors in another language is more difficult, but directing non-actors in another language is one of the craziest things that I have done and one of the most rewarding experiences I have had.
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To become a celebrity, a name - and I've actually met some that speak of themselves in the third person - it's scary. They become an object, not a human, complex, questioning thing where the cells are always changing.
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Time starts out as a notion. But after you turn fifty, time is not a notion anymore but a fact that you start feeling clearly, and in a way, it pushes you to become present in the present.
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The problem with the screenplay is that it's not literature, and it's not a film. It's a very weird, technical kind of blueprint that will be absolutely transformed into something else that is not that, you know? Honestly, a screenplay is no literature.
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People talk about the pain of defeat, but I think defeat has a lot of value. I think the wound of victory can be even more damaging than defeat. Very few people really know how to win.
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On a transcendental level, a film is not going to be better or worse because there's a prize behind it. The work will be what it is, with or without a prize.
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Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
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Now is a time where there are so many social networks, such need for validation... you don't have to be a star or a politician to want to have likes or dislikes. Now there is a disease of popularity in the whole society.
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My kid will come home from seeing the latest 'Transformers' movie, and I'll ask him, 'How was it?' 'Amazing!' 'What was it about?' 'I don't know, but it was amazing!'