- 8 months ago
Gael García Bernal es uno de los actores y productores mexicanos más reconocidos del mundo. Bernal es originario de Guadalajara y comenzó su carrera actuando para telenovelas, después de unos años en la televisión Alejandro González Iñárritu le dio el papel en la película Amores Perros la cual fue nominada para el Oscar como Mejor Película Extranjera.
A partir de este momento, la carrera de Gael García despegó y comenzó a aparecer en varias películas mexicanas como Y tu mamá también de Alfonso Cuarón y El crimen del Padre Amaro con Carlos Carrera. Poco después empezó a aparecer también en producciones americanas y junto con su amigo Diego Luna abrieron la productora Canana Films. Sus películas han aparecido en festivales alrededor del mundo y a través de su impresionante trayectoria se ha convertido en un miembro reconocido de la industria cinematográfica internacional.
En este video Gael habla sobre los momentos más significativos de su carrera, nos platica sobre sus inicios actuando en telenovelas, su experiencia cuando grabó con Alfonso Cuarón y otros directores y sobre su proceso para interpretar personajes como el Che Guevara en Diarios de Motocicleta.
A partir de este momento, la carrera de Gael García despegó y comenzó a aparecer en varias películas mexicanas como Y tu mamá también de Alfonso Cuarón y El crimen del Padre Amaro con Carlos Carrera. Poco después empezó a aparecer también en producciones americanas y junto con su amigo Diego Luna abrieron la productora Canana Films. Sus películas han aparecido en festivales alrededor del mundo y a través de su impresionante trayectoria se ha convertido en un miembro reconocido de la industria cinematográfica internacional.
En este video Gael habla sobre los momentos más significativos de su carrera, nos platica sobre sus inicios actuando en telenovelas, su experiencia cuando grabó con Alfonso Cuarón y otros directores y sobre su proceso para interpretar personajes como el Che Guevara en Diarios de Motocicleta.
Category
🛠️
LifestyleTranscript
00:00You know, he says, you know, it's the best experience I've ever had in the film.
00:04And I could also say that and come up to terms with that.
00:09Our life became ten times bigger by making that movie.
00:14My name is Gael Garcia Bernal, and this is the timeline of my career.
00:23Eso que sientes es algo que les pasa a todos.
00:27No, no.
00:28¿Cómo estás? ¿Cómo estás? ¿Mi mamá?
00:58It was a dynamic that I didn't enjoy.
01:07Luisa, por las mamás.
01:09I got involved in that movie because Alfonso Cuarón saw me in Amores Perros.
01:18It was in my last year of acting school.
01:21It was the second script I read in my life, or the third script I read in my life.
01:24So it was wonderful to have such a laugh, you know, reading it.
01:30And then when doing the casting for the other character, they called Diego Luna, who's a friend of mine since we were born.
01:36And we had the greatest privilege of all, which is to work with a lot of rigor and a lot of responsibility with one of your best friends, you know.
01:44And it was wonderful.
01:45So we were involved a lot in the decision-making, or they made us believe that we were involved in the decision-making of the film.
01:52We changed a lot of the syntaxes of how the dialogues were written and everything, you know, through improvisation and everything.
01:59And we would establish them.
02:01And therefore, when we arrived to the set, we had a good ownership of what the characters were and what they were going and what they're going through and everything.
02:09And we got the chance to learn a lot from Alfonso Cuaron, the director, and apart from becoming really good friends, he became a kind of a mentor for me, and even more than a mentor, you know, he became a point of reference in everything I did.
02:23It was a very, very, like, one of the greatest film experiences that, obviously, you only can live once, you know, and we experienced it at a very early age, and it gave us so much.
02:39It was the last type of movie that was shot before cell phones with cameras existed, and that says a lot.
02:52It was shot in a very difficult time in Argentina when there was a big economic crisis, but we were able to pull through and to prepare a lot with a lot of help of people that knew Ernesto Guevara.
03:09And that allowed us to discover what the premise of this movie was, especially through the voice of Alberto Granado, who was Ernesto Guevara's companion in this journey.
03:20One day, when we were in Cuba visiting him before shooting the film, he called us over and talked to us and gave us perhaps the best pointer that anyone can give you, which was, don't try to imitate our voices.
03:34Don't try to give a voice to our voices.
03:38Don't try to give a voice to our voices. No. Tell your journey, as well, of this film.
03:42And the way I understood that is that the film was going to be shot at the same time we were going to interpret Ernesto Guevara's and Alberto Granado's journey.
03:54But, as well, we were going to document our experience of our journey as well, and that was going to be equally as important as that interpretation.
04:04Making it, Walter Salles said, you know, guys, we will never experience this again.
04:10And Rodrigo de la Serna says it now, you know, it's the best experience I've ever had in a film.
04:15And I could also say that and come up to terms with that, thinking that there's not going to be a greater experience than that one, because all of a sudden our home became bigger.
04:30You know, our life became ten times bigger by making that movie.
04:37What kind of injustice, right?
04:42I'll never be sure. That's my dream.
04:50This film has a story within a story, within a story, within a story, and the character that I get to play had many layers to it and had many personalities to it, as well.
05:01So, it was wonderful to be able to play these kind of different personalities and these different rhythms and these different musicality for the character.
05:10And as well, it was challenging to do an accent from Spain in the 70s, you know, from a certain area, you know.
05:17And I have very clear images of what, you know, of certain points, you know, especially when my character is singing,
05:23Quizás, quizás, quizás, quizás, it is a very, I don't know, it's a very iconic kind of moment, I guess.
05:32And for me, definitely, in my life, it was.
05:34Quizás, quizás.
05:37My name's Selvis. My mother told me about you.
05:40No, you're making a mistake.
05:42This is my family and that is my house.
05:45As soon as I read the script, I was so, so, so, so incredibly, wah, interested in doing it.
05:51It had to do with an issue that I enjoy a lot talking about, which is otherness, foreignness, you know, in a sense.
06:00You know, la otredad, no?
06:02It was one of the most alone experiences of making a film, that one, compared to all the others,
06:07because, in a way, I needed it.
06:10I needed to be on my own, you know, just there in Austin.
06:14We were shooting it and I had a lot of moments to be with myself, to read, to investigate, to try out things.
06:24I made songs for the character, you know, I made these things that one does as an actor, you know,
06:29to kind of build a character, things that can help you.
06:32I wouldn't say lonely, but in an alone way, you know?
06:35I've got to find a way of...
06:37Go back to...
06:38What?
06:39Oh, no.
06:40To work?
06:41No, no, no.
06:42It's only a dream.
06:43We don't have to work in dreams.
06:44No!
06:45Nothing is for real!
06:46I actually met Michel Gondry in a party.
06:48He called me to talk about this film and I loved, you know, everything that had to do with this film from the beginning,
06:57because he's a director that puts all the elements there at play and then we have to solve, in a way, the puzzle.
07:05One moment that I remember really well is my character was surprised in Charlotte Gainsbourg's apartment.
07:10And so she came into the door and I had to hide.
07:14And there was no place to hide.
07:16How do we solve this?
07:17Because in the script there were other...
07:19I don't know, there were...
07:20It was a little bit more of a puzzle that kind of we couldn't work out and didn't make sense.
07:26And I remember just having this impulse of jumping into the bed.
07:31You know?
07:32What are you doing?
07:33As if I could mimetize myself with the bed sheets or something.
07:39When I did it, it was like, wow, this is...
07:41Yeah, that's the way that one hides when there's no place to hide.
07:44You just do this, you know?
07:45Just like go like...
07:47Like, okay, here I am, okay.
07:49My only regret is that I didn't learn properly to speak French back then.
07:55I understand it, but I don't, I'm not...
07:58You know, I need a few drinks on top to be able to speak it, like, supposedly thoroughly, you know?
08:04Begin our silent symphony.
08:07All of a sudden I received an email saying that there was a series that was gonna happen in Amazon.
08:20That was something that was, you know, was like, wow, how does that exist?
08:23What is that, you know?
08:25Isn't Amazon something, you know, that sells, you know?
08:29I mean, and they went, oh, they're starting to do their streaming service.
08:32And I was like, oh, that was weird.
08:33And that was not long ago.
08:34And back in the day, it seemed like something very odd already for me, you know?
08:39I was like, wow, this is weird, but excellent.
08:41Nicer, I don't know if I can do this.
08:43This is not about you.
08:45It's not even about me.
08:47I think Rodrigo is the person I would like to be.
08:50It's a character I miss, you know?
08:52I miss...
08:53I miss him.
08:54I miss playing him.
08:56What was nice is that playing this kind of genius that at the same time was very obnoxious
09:00and very kind of bothering, but then all of a sudden it became really wonderful and fun,
09:06and you just wanted to hang out with him all the time.
09:09So I miss him.
09:10I miss Rodrigo.
09:11I wish I could be like him in my day-to-day life.
09:15The most amazing opportunity of anyone's life, I think, is to conduct an orchestra.
09:21I'm doing something that people have been preparing since they were born, you know?
09:25And I'm just doing it out of this instinct.
09:27So I always had to come up to the podium and say sorry to begin with to all the musicians
09:36and tell them sorry for what you're about to see, but they played along, literally.
09:41And what was interesting is that by the fourth season of Mozart in the Jungle,
09:47I already felt with a lot of confidence to just, you know, learn a piece, prepare it,
09:55and go there and be there, and that was wonderful.
09:59That was incredible.
10:00That was one of the most, yeah, profound experiences I've ever had.
10:08So can you tell me why just a journalist meet up with this American spy on the evil unrest?
10:15He's not a spy.
10:16He's not a spy?
10:17No, it's a show.
10:18It's a show?
10:19A comedy show. It's stupid.
10:20It's very stupid, yes.
10:21It was like Jon Stewart's gonna direct the film. This is what the film's gonna be about.
10:25And I read the book immediately by Maziar Bahari.
10:29Even though it was incredibly crude and terrible what was happening,
10:34it had a lot of comedic elements.
10:37Man, it was such a joy to work with him.
10:39I loved, you know, working with him and playing around with him, you know?
10:44And the energy that he gave us, you know, to keep on going.
10:49He actually is one of those people, those comedians that, you know, we expect them to be funny,
10:55but in real life, which is horrible that, you know, society kind of imposes that.
11:00Now you have, because you make us laugh, you have to make us laugh all the time.
11:03But no, actually, he surpasses all the expectations because he's incredibly funny in real life
11:10and incredibly energetic and intelligent and loving and very good at what he does.
11:18It was wonderful to help him in his first experience as well, directing a movie,
11:23which is another type of animal, you know?
11:25And he managed really well. I mean, yeah, yeah, yeah.
11:30I was approached by B. Unkrich to play this part with already the film more than halfway done.
11:49I had the opportunity to see already some sketches and kind of like the world that was, that had been built.
11:55I was very surprised as well by the very thorough investigation that Pixar had done to make this film.
12:03They were, you know, incredibly conscious and respectful and loving with the concept of the Day of the Dead.
12:12And they also understood something very important about the Day of the Dead,
12:16is that you have to make it your own. You have to give a point of view to make it.
12:21It was very nice to portray our Mexican culture also, you know, in different parts of the world,
12:28and for people to connect with that.
12:30Remember me, though I have to say goodbye, remember me.
12:42I love singing, but I'm not a professional about it, and I would never want to be a kind of a singer by choice, you know,
12:48because it's not something I think I'm good at.
12:53For even if I'm far away, I hold you in my heart.
12:57Through a character I can do it. Through a character I don't care, you know, to play it.
13:04And I've asked a lot of singers what they do, and most singers tell me, yeah, we sing through a character also, you know.
13:11But obviously they train their voices, and it's another kind of approach,
13:14and mine is a very kind of, yeah, completely lyrical approach. We can all sing, you know, in that sense.
13:22The floor. Those are the worst. There are children present.
13:25Who would leave this? From the hotel! They're so rusted!
13:29What's happening? I found stuff from the hotel in the sand.
13:33It was right at the beginning of the understanding of the uncertainty, you know, of the pandemic.
13:40I think what helped us was the fact that we were shooting it in a kind of a classical style of how films were made.
13:47You took your time to do the film, you know, no rush. We had a lot of time to prepare, to put things together,
13:54to organize, to kind of, you know, prepare mentally, physically for something like this.
14:00We had to consider certain things that normally you wouldn't consider in a film.
14:03The whole film spans within 24 hours. The sun comes out in one direction, and the sun sets in the other direction.
14:12What we were, the way we were shooting is that, in the mornings, we would shoot what happens in the mornings in the film,
14:18and in the afternoons, we would shoot what happens in the afternoon.
14:21And that conditioned a lot the way we did the film.
14:25But those are great limitations, man. It's just, it sparks your creativity, you know, and gives it like, I don't know,
14:34it's the origin of an interesting experiment. I think the film is a strong alchemy of different limitations that put together into the storyline.
14:47We, I don't know, created something that hopefully will resonate very strongly.
14:52I always thought, man, the life of an actor is something that I, that really appeals to me.
14:58And I think one of the main reasons is the fact that you can exercise your freedom having fun.
15:04And I want to inspire other people to be able to, to do so in their lives as well.
15:09To promote and to, you know, provoke this search for freedom.
15:14Those are the things that I enjoy about being an actor.
15:22Those are the things that life are the true to life is.
15:24These videos are called the son of the shark elevation.
15:28People like Gary or wife Michael who guess we don't look around the evolvedшие rocks to do to everyday?
15:31At that time, you know.
15:32You're their caring for that.
15:33They're a Pretty tricky part to live to them because...
15:34The people who actually enjoy,
Comments