Sunday, May 17, 2009
Quick, A+E, Movies, Q&A
Carlos Cuarón
A Quick Q&A with the director of “Rudo y Corsi,” in theaters now.
Ivonne Venegas/Courtesy of Sony Pictures Classics.BY CALVIN SON
At certain times in "Rudo y Corsi," instead of focusing on the action on the soccier field, you focus on the reactions of the audience. What made you take that approach?
To me, it is a movie about brotherhood. I mean, soccer to me is a context.
When I was writing the script, I was really concerned about that. I didn’t want soccer to get in the way. Then I saw “Funny Games” by Michael Haneke, which is probably one of the most violent films I’ve ever seen, and no violence happens on camera. I was amazed by that. So I said, “Hey, that’s what I have to do. If I don’t want to make a soccer movie or a sports movie and if I don’t want the sport to get in the way of the drama, I’d better do that.” So what happens is that you understand what is happening on the field by the human emotion, by the people reacting in the stands.
Another thing is, soccer is not a dramatic sport. I mean, baseball, for example, in each pitch, there’s things at stake. There’s probabilities. There’s a lot of things that make it dramatic. American football, the same thing. It’s a small war, two armies, you know, and the strategy. You huddle and all of that, and it makes it very dramatic. Boxing is the most dramatic of them all. It’s so physical. Soccer, it just never stops. There’s no way you can be dramatic.
How much of the little details—like the banana farmers—were inspired by things you’ve experienced personally?
Well, the banana plantation is because I’ve known them all my life. I’ve known that region all my life, and I’ve never seen banana plantations in films. They’re beautiful. And I also wanted to show the way these guys work in Mexico. It’s just like that. I’m not making up the way they cut the bananas and the way they carry them. [Actors] Diego [Luna] and Gael [Garcia Bernal] were trained by real workers.
Are there any moments that stand out to you, being able to work with close family and friends on the set?
There were many moments, you know. Some might enjoy it, some might suffer it, because that’s how films are and what filmmaking is all about. It’s not just one-sided. Whenever a filmmaker tells you that he had the time of his life, he’s lying. I had great times and bad times.