![]() Wow, Clara is all dolled up, hair curled and loose, looking sexy in a black strappy dress with the other girls giving out flyers for a night club? and Leo walks by and sees her there. Just then, Max gets a call that Alma is brought to the rich person's hospital. Orlando finds a doctor, sees Doris, hugs her saying that Isela is awake, and goes back in.īack at the poor person's hospital, The Padre comes out with the nurse after baptizing the baby, the nurse tells Esperanza and Max that she will send them the video of it. (I know who I want around me in an emergency, and it’s not the Clod). Orlando reacts, and runs to get the doctor while Claudio stands there stunned. Just then, Isela takes a huge breath and her eyes jolt open. Poor Doris, hanging back by the doorway, hears this exchange and is heartbroken at learning Orlando’s intentions and feelings. Orlando claims that Isela’s last wish was to have Orlando take care of her, but Claudio wants to step up and claim the baby as his own, even giving her his last name. He concludes the interview by sharing his thoughts on how new technologies are creating a new kind of audience, and how their heightened expectations will become a challenge for future filmmakers.This is a super sad episode and the recap is very long because of all the detail.Ī little refresher from way back last Wednesday, Orlando and Claudio are in the ICU with Isela who is on life support, arguing about who will take care of the baby. He explains his immersive museum installation CARNE y ARENA, which explores the lives of immigrants and refugees, and how the virtual reality technology of the piece allows the audience to live a fragment of the refugees’ journeys. As the first Mexican director to be nominated for an Academy Award (for his work on Babel), Iñárritu shares his thoughts on what it means to be associated with his Mexican nationality and how this has shaped the trajectory of his career. ![]() He details the process of making the The Revenant (2015) and the different decisions that made the film a success. Films addressed at length in the interview include 21 Grams (2003), Babel (2006), Biutiful (2010) and Birdman or (The Unexpected Virtue of Ignorance) (2014). Iñárritu recounts his experiences working with a number of the most influential names in Mexican cinema: director Alfonso Cuarón, cinematographer Emmanuel “Chivo” Lubezki, production designer Brigitte Broch and sound editor Martin Hernández. He talks about his 30-year friendship and collaboration with cinematographer Rodrigo Prieto, and how crucial Prieto’s work has been in the movies they developed together. He also talks about his different mentors: Ludwik Margules, Judith Weston, Ernesto Bolio and Thich Nhat Hanh, who have guided him in different ways throughout his life. Throughout the interview Iñárritu shares his most life-changing and life-affirming experiences, including his first romantic encounters, sailing across the Atlantic on a cargo ship, his days as a radio host, the years he spent working in commercial video production and the reasons why he moved from Mexico City to Los Angeles. He reminisces about seeing films such as Chitty Chitty Bang Bang (1968) and American television series such as “The Twilight Zone” and “The Green Hornet.” He reflects on his relationship with his first childhood friend, Pelayo Gutiérrez, whom he credits with sparking his curiosity about cinema and introducing him to the literary worlds of Argentine writers Julio Cortázar, Jorge Luis Borges and Ernesto Sabato. He talks about his position in the family as the youngest of five siblings, his rebellious nature and his early schooldays. ![]() Iñárritu begins by discussing his childhood in Mexico City. It is a co-production with the Getty Foundation’s Pacific Standard Time: LA/LA initiative and is part of the project From Latin America to Hollywood: Latino Film Culture in Los Angeles 1967-2017. Alejandro González Iñárritu is interviewed by María Elena de las Carreras at the Linwood Dunn Theater in Hollywood on August 30, 2017.
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