NOSOTROS LOS NOBLES
Filming, the Ensemble and the Director
"I think that all of us being young and with theatrical experience, we all took our
work very seriously and with a lot of discipline. I say this to emphasize that
making a comedy is very serious work, it requires agility of the mind, analysis
and timing," Luis Gerardo says.
Luis Gerardo aslo talks about the absolute trust that he cultivated with Souza,
Vega and Gil. This allowed the actors to give ideas and solutions to scenes.
They realized that they had the same comic references in series like Friends or
Two and a half men, and that they all understood what those references meant:
"I could say that a third of the things that are in the final film weren't in the script 15
and that they came to life thanks to the trust that Gary had in us and the creative
liberty he gave us throughout the shoot. At the same time we trusted that
everything would come out the way it should, because Gaz is a great director,
and that he know exactly what he wants. This is not that common in the Mexican
film industry, because the director normally sticks to the script".
Karla Souza's opinion about her director was very much along these lines. "One
of his greatest achievements was that if he was certain of what he wanted and if
something was within what he envisioned, then he would go with it. If not he
would not let you change his mind".
"Another great thing about Gaz is his duality. On one hand he has this vision in
which he has been firm about, but he still lets others have an opinion and
express it. Many directors are more selfish, egotistical and sort of dictatorial, and
who believe that they know everything and won't listen to others, they want you
to be their puppet and do as you're told. But Gaz is nothing like this, he is always
open to ideas. That is his best quality, I think".
Another great quality is that he always surrounds himself of professionals,
ranging from the producers to the art assistants, AD's, director of photography,
the editor, and even production assistants; everyone in this film were people with
a lot of experience, which in turn demonstrates Gary's great intelligence. He
knew how to delegate work to whom was the perfect person or department for
the job, and that way he would be able to concentrate on his.
The search for the crew was very similar to that of the casting process: Gary did
not want the most famous names in the industry, for each department, but he
wamted the experienced people with the best disposition.
In the matter of Director of Photography, he began with the most reknown names
in Mexican Cinema and worked his way down, finding along the way, no time in
their respective agendas. So he decided to work with the photographer he had
most enjoyed working with while directing tv commercials: Jose Casillas.
Then came an even harder choice: the 1st
Assistant Director. Gary finally came
to three possibles, but finally came to choose the old school style of the
experimented Laura Pesce. "Laura didn't accept me sending her the shooting
schedule digitalized. She asked me to print the script and give her 12 days so
she could absorb the script and make the schedule. I love it! In this digital era,
we lose the rigor, and I was afraid of losing it, and that is why I brought someone
like her aboard. She managed the ship amazingly".
"I learned a lot from knowing what she expected from me, she would scold me
and told me when I was doing something wrong. I was refreshing. She was the
mother hen on set, from a very different generation than us, this made me feel
protected and connected with traditions in film that she would respect and she
would get offended when the crew did not".
The devotion and support that the producer Leonardo Zimbron, who believed in
Alazraki's story since the beginning, were key to finance the project and make it
a reality. "If I hadn't had my cheerleader Leo, I wouldn't have had the strength to
bear a 7 month rewrite of the script, living only on my mere savings. He hunted
down the financing and went to every meeting".
"And when we finally had the money to make the film, he introduced me to the
most talented names he has met and 'collected' along his career. But most of all
he aloud me to bring new people onboard that even if they didn't have much
experience they had their heart set on this project," the director confesses.
"One of Gary's greatest talents is his vision of a young film industry; fresh and
fun. It is a type of film that has no much prestige in Mexico, nevertheless it has
been important and for the masses in American film history. It's the comedies
and romantic comedies arena, while the obscure and violent films are the ones in
Mexico that get to go to Cannes, and what earns respect in Mexico. But I believe
in Mexico there is a great market for the type of films that Gary and I like to
make. Gary is the perfect director for this, because he has the tools to make it",
Karla Souza says.
If anyone were to ask Gaz Alazraki about the critiques he might get from the
"juniors" that he mocks in the film, many of them his friends, and how he used to
be one, his answer is short an concise: "We all must learn to mock ourselves".
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