00:17We're a bunch of bad kids if you put us all together.
00:20Hi, I'm Leslie Grace. I play Irene.
00:24I'm Juan Daniel Garcia Treviño. I'm Liborio.
00:27I'm Jonas Cuaron. I'm the director.
00:31One of the most beautiful things about working with Jonas and all of his team and all of his cast
00:39was that there was just a foundation of mutual respect and safety, I feel,
00:51like emotional safety and creative safety.
00:55It was a very collaborative set.
00:58But everybody felt, I felt like everyone needed to dance with each other for the thing that we were shooting.
01:05We all knew that from the moment that we read the scripts,
01:07that there's a lot of magical realism in the film.
01:11There's a lot of breaking boundaries with the elements of the film just inherently.
01:17And so we all really needed to lean into each other.
01:23Yeah. And so Jonas created a very, he was just a very calmly confident director.
01:30And so he created this space where we could always ask questions.
01:33We could always just feel like there was, and if we had an idea,
01:40there was space to talk about that before we were in the moment.
01:44And that just made it all the more, I don't know, safe to be able to exist
01:49and like settle into all of these absurd things that we were shooting a lot of the time.
01:54And it felt, I felt very protected by the leadership.
02:00One of the things that I loved about any director, and specifically about him,
02:06is that he understands what he wants.
02:09That is very important.
02:11You can, I, some people, I'm a musician also,
02:13but when I go to the studio, I go to record.
02:16I understand what I'm doing.
02:18I don't go there to see what happens.
02:20That nonsense about capturing magic,
02:22it's like trying to put the perfume back in the bottle.
02:26You know, you don't know what's going to happen.
02:28You have time, you have a schedule, you have a budget, you know.
02:32So some people work that way, that's fine if it works for them.
02:35I like to see a director who understands what he wants or he wants.
02:39And at the same time, the other thing is that he is open
02:44to suggestions, ideas about what he understands,
02:48that he feels may create a better result.
02:53So the moment I got there, I knew that immediately.
02:58And that is wonderful because it allows you to try to fulfill his view, his vision.
03:05It's always a director's film.
03:07It's not an actor's film.
03:09It's a director's film.
03:10And you want to be sure that you, that he, the director, the guy driving the bus,
03:19he knows where he wants to go.
03:20Because I don't want to be in a bus that goes nowhere.
03:39He said that he trained for three months for the boxing, but the street truly trained him for this.
03:49Like, he lived a little bit like Livorio his life.
03:53So life trained him for that role through punches, kind of like the character.
04:01I don't, I didn't know what I was going to do.
04:04I don't think he did either until he started hearing it.
04:08And he, and he, it was like being in a band and you, like a new musician in the band,
04:13you start playing.
04:14Okay.
04:14That's not what we've been playing, but I'll make it work in this, you know?
04:18Like, and so we established a rhythm that, was that a good?
04:23Yes.
04:23Okay.
04:24And it's like, are you a little flat there?
04:26Are you a little sharp?
04:26Or, you know, can, and I kept asking, what do you want?
04:29Because I'm here to serve you for this, for this film.
04:32And that worked out really well.
04:35Unless he came at me with an ax, I thought I was doing okay then, you know?
04:38It was like.
04:40Well, during the development, I kept going back and forth because I kept finding more
04:45magical ways to, to, to show Liborio's imagination.
04:50But also, honestly, during the set, you know, I think the storyboards were great for having
04:55a, a base on how I wanted to push the movie visually.
04:59But then I like got confronted with such real actors and like, you know, like their, their
05:08performances, I wanted them to be honest and the way the camera found them.
05:12I also wanted them to be grounded and real and honest.
05:16So many times we arrived with a preconceived notion of what we wanted and we found even
05:22more expressive ways to tell it.
05:24I mean, I think as a writer, I've always been a rewriter, so I never really know I'm ready.
05:29I think what's beautiful about the process is I was rewriting even through the editing,
05:35but during production, even with them, you know, like Ruben.
05:38Ruben came and, you know, I mean, he brought great ideas for the character.
05:42And also, I mean, he's, he's a poet, you know, Ruben in his own way.
05:47So I was so happy of having the, the great opportunity of like reworking the dialogues
05:53with him, you know, Juan Daniel would like come to the scene and, you know, there were
05:58voiceovers that were meant to be voiceovers.
06:00And like he pointed out, like, at this moment, I feel like I need to look into camera and say
06:05this, so in a sense, I think there was a point where I never felt I was ready to shoot
06:11it,
06:11but we knew we had to do it and we just jumped for it.
06:14And then we just kept fine tuning it along the way.
06:18Okay.
06:31Okay.
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