We spoke w/ Alejandro G. Iñárritu for Bardo, False Chronicle of a Handful of Truths.' He discusses the inspiration for the opening sequence, suspending reality, the most challenging shot to pull off in 'The Revenant,' and more. Read or watch in link.
In Academy Award-winning director Alejandro González Iñárritu’s latest film Bardo, False Chronicle of a Handful of Truths, the filmmaker takes a deeply personal dive into the subconsciousness of the acclaimed, and fictional, documentarian Silverio Gacho. With a narrative inspired by his own experiences, Iñárritu paints bold imagery and surreal sequences through what he describes as very controlled camera work, lighting, and design.
You obviously have many people that want to work with you. However, maybe there's a project you haven't been able to get made. If you could get the financing to make anything you want, what would you make and why? Which of your films actually ended up with the most deleted scenes that are just still sitting in a vault somewhere?IÑÁRRITU: Yeah. There’s many scenes that I love that I shot, and that didn't make it. Even the original version, didn't make it, but I really love it. I'm even considering, maybe, to bring them at some point because there are some of them that are really worth it. Not in the film, but to do something with them.
IÑÁRRITU: I will say that one of the most exciting moments, it was in Revenant, when we were shooting the battle, and the trappers are going toward the boat. It was a huge, huge camera movement with a huge crane, and choreography, and special effects, and water cold. The camera moves with the blocking of every actor, and hundreds of extras, and horses, and fire. It was kind of crazy.
IÑÁRRITU: No, but they should because it was very difficult, that one, because the challenge was that this place was with no AC in the middle of the pandemic. Everybody is sweating, smoking. The extras have the masks, and every take they have to take off the masks. Some takes some of them obviously forgot to take off the mask, so then we have to cut and everybody is coughing. We thought that we would die. It was the amount of tests for 800 people every day.
I used that three times. I use it here, I use it with Peter Gabriel and the Genesis song in the top shot of the bed, and I use it with José José on the beach, too. I think it was a way for me to understand that this guy can talk without moving his lips, or can be mumbling songs inside him without anybody noticing. It was a way to be inside himself, in my point of view.
I'm curious about the editing process because that's ultimately the final rewrite, and it's where every film comes together. Can you talk about how the film possibly changed the structure as you were in the editing room because there are many ways of playing this? There's a famous novel of Julio Cortázar, a genius Argentinian writer, that is called Rayuela. Rayuela is very famous because it's a novel that you can start in the middle, in the beginning, in the end, and no matter where you go in, it's a circular thing and you will understand everything. In a way, I think that this film is a little bit like Rayuela. It's made in circles. There's no Act One, Act Two, Act Three, plot point - no. That doesn't exist.
IÑÁRRITU: It's especially because of that. The canvas, and the paintings that I wanted, with this being a dream, and big events, and intimate events - I think I wanted this to feel cinematic, sensorial, immersive, to get into the dream of some person. In virtual reality, Carne y Arena, I put the people in that.
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