Listen: Roma, Cuaron, Mexico City discussed on The Frame
"KPCC podcasts are supported by Warner Brothers pictures, presenting the emotionally authentic. A star is born directed by Bradley Cooper. Starring Cooper, lady Gaga and Sam Elliott for consideration. And all categories. From the Mon broadcast center at P C. See this is the frame, I'm John horn. And thanks for joining us today on the show Alphonso Coiro own for his latest movie, the Mexican filmmaker not only returned to his home country, but also returned to his childhood Roma which is named for the neighborhood in Mexico City where quarantine grew up takes place in the early nineteen seventies. When he wasn't yet a teenager. The story is largely about the people who cared for own and his siblings, their parents whose marriage was crumbling at the time and in particular their nanny who goes by Klay, oh in the movie her life in an outside of the family home forms, a large amount of the story in Roma to shoot the film, Cuaron painstakingly recreated, his childhood home. He even tracked down the family's old furniture, which relatives had dispersed across Mexico and veracity was so important to him that he cast actors who looked like all the real people from his. Childhood for the co character who is of indigenous descent, he cast a non professional actor a young teacher named Yalta operate Roma unfold, slowly almost like a dream. It's shot in black and white. And there is no musical score. Instead what you hear are the sounds. The sounds of the home. The sounds of the city and the sounds of the world outside the family's front door. Roma had its North American premiere at the telluride film festival, which is where I caught up with quorum. He not only wrote and directed the movie, but also was cinematographer. I tried the camera to be as objective known as not even objective is almost like a goes that he's subserving looking at the past and gliding through the posits originally. I wanted to come to be very state, even when it's moves not having any shaky kind of situation. I wanted to feel more like Morris if he's hunting you memories, very tricky. In terms of what we remember what we forget what we choose to. Remember what we choose to forget. And that's your escalating your own memory looking at furniture that you've imported to make this film. I suspect talking to your siblings your own nanny. What was that process like about what you had misremembered or forgotten? What does that reveal about your own life that you hadn't really fully understood before? Well, that's the thing is when you confront your memory confront from the standpoint of your present. And also with the with all the preconceptions that we build up into who we are. And you go back, and yeah when a part of the process is not to question memories. I believe at the beginning. But then I start talking particularly. With the real life clay because I didn't want it to be about. The is very clear film is not about me. You know, he's a witness maybe eighty percent of the scenes that are in the film. But the film was not about me it was about her. So that was the most important thing for me was that. So this has picked of memory that I in my memory. She was his nurturing being and she was this woman. That was always around me and. I think that for the first time, I've realized that. She is a woman. You know, she's a woman with. Is a woman and also women from different social class and from indigenous background. And I think that heightened all the. Older are painted the wrist of standing of the rest of the memories of that period's. How would you seen it differently when you hadn't seen her as her own person as Ron woman he was different visas because he's when you think look if you are thinking about your mom and remembering your mom.."