And I invited the writer to get involved with the casting, so we made a very good duo. I was lucky to have this kind of collaboration. Once or twice a week, we had these meetings where I was able to express all my needs and points of view. You went through 36 drafts to get there, though. When there’s a good script, everybody circles. The problem is to get a good idea, that’s more difficult. But it was a bit over budget, so my company put up 25%, so they owned 75%. The budget was a little more than they wanted. Inarritu: After we got the script finished, a new company called Altavista Films - they’re trying to make 4-5 pictures a year - they loved the script and they invested immediately. IW: How was it getting the money for “Amores Perros”? So I think the third story, which was the last one we shot, since we had the experience of shooting two months, it’s the most pure and authentic.
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Personally, I like the third one the best, in terms of how I shot it, because the DP Rodrigo Prieto - now he is going to shoot the Oliver Stone movie - began to got used to the handheld language.
All of this journey has been an experiment to see if things happened the way I conceived them. I think it works, but when I was editing, I missed the energy of the other segments. I changed the way I shot it, more in an orthodox way - still handheld, all the movie is handheld - but the way I shot it was more conservative, as the characters are. People feel like there’s a lot of changes in the second story, not only a change of rhythms, but of social class and tone. Inarritu: I shot the first and the third story with Vision 800, a very grainy material and the middle one with 500, a little more clean stock, because I thought that’s what the story needed. IW: Can you talk about how you shot the three different stories? You used different styles, even different film stocks, yes? I always thought of this as a feature film, divided into three segments. We did not talk about this structure - of three stories, and playing with time - would be three short films in a film. The structure came more from the spirit of the story than a formal decision. IW: The film is really almost three short films. At the same time, advertising gives you a lot of vices, for example, an obsession for a superficial look, but at the same time, it gives you the capacity to synthesize the story - tell a story in one minute. “This journey has been an experiment to see if things happened the way I conceived them.”Īlejandro Gonzalez Inarritu: I began to learn about the camera and the actors. IndieWIRE: How did your work on short films prepare you for “Amores Perros”? Premiere, about style, violence, and sound design. IndieWIRE’s Anthony Kaufman spoke with Inarritu after the film’s New York Film Festival U.S. Acquired by Lions Gate Films, “Amores Perros” opens in theaters Friday and has already launched the career of a new international auteur: Inarritu, a veteran commercial and video director in Mexico, is now on the roster of the LA-based United Talent Agency and was recently named one of Variety‘s 10 Directors to Watch. Three stories, each involving dogs and the tragic relationships of Mexico City’s multiple classes, constitute the film’s complex plot - arrived at after no less than 36 drafts of the screenplay by noted writer Guillermo Arriaga Jordan. Instinct and intuition were his guiding forces - aspects mirrored in the animals that make up the film’s surface connections - and the result is a lively, visceral debut movie that has received awards and accolades the world over. “Too much knowledge and analysis can be paralysis.” That’s why the first-time feature filmmaker directed “ Amores Perros,” his Oscar nominated Mexican success, from the gut. (indieWIRE/ 03.30.01) - “Innocence can be more powerful than experience,” says Alejandro Gonzalez Inarritu. INTERVIEW: Dog Days Alejandro Gonzalez Inarritu's "Amores Perros"
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