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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I think that when we wrestle with death... we start fearing life, because then we come to terms with something that is inevitable.
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I think we do good things and bad things, sometimes simultaneously - or they may be the same thing.
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I'm always surprised when some director says, 'When I saw this film, that changed my life.' I don't have that.
love structural structure works wrote
I love the three-act theory. It works and works beautifully. But you don't necessarily have to structure a story that way: Cortazar and Borges wrote in different structural styles.
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I studied for three years in the theater, and it was a very, very scary experience to direct live, being so vulnerable without the possibility to control things, to be so exposed.
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I think bad movies are made around the world, not just in Hollywood. There are as many bad art films in the whole world as there are bad commercial films.
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It's famous that comedians have a very dark personal state of mind. I think, in my case, it's the same. The only way to get deep is to have a balance, or a counterbalance.
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Many Mexican directors are scared to shoot in Mexico City, which is why there are many stories in Mexican cinema about little rural towns, or set a hundred years ago.
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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!'
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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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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.
prize work worse
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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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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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.