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I'm Alejandro Springall,
and I'm here with Bertha Navarro,
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producer of the film Cronos,
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to celebrate the DVD release
of this great first film.
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We'd like to talk about
our involvement as producers.
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How this script came to us,
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how Guillermo del Toro,
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a very young man, only 27 years old,
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convinced us to make his first film,
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which was very important for Mexico,
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a genre film,
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a honor film,
which is very uncommon
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in the Mexican film industry.
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Since we had committed to make a film
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exactly the way Guillermo wanted to,
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we had to search for ways to finance it,
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in a very peculiar fashion for 1992,
because -
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in that big list at the beginning,
ifs mainly private investors.
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This has now become an alternative
form of financing films in Mexico,
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but back than it wasn't done.
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I would like to stress
the great freedom
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that was given to Guillermo
to express himself.
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In order to meet all
of his specific requirements,
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and in order to bring Guillermo del Toro's
obsessions to the screen,
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which can still be seen in his films -
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they started here, in this film -
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this kind of financing
provided total creative freedom
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so we could help Guillermo
achieve this visual strength,
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this narrative which is
so characteristic of him.
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In Cronos you can already see
the key elements
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of his cinematography,
of his obsessions.
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You can see -
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His obsession with religion.
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Yes, all his religious obsessions.
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Cockroaches.
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And seeing things
from a child's point of view.
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This combination
that Guillermo possesses
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of nightmares and innocence.
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Well, as you can see
in the main credits,
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there's a prominent international cast,
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not at all common in that era,
back in '92.
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Well, from the moment
Guillermo finished the script,
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he always wanted to work
with Federico Luppi.
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Luppi had come here to do Tom Mix.
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We contacted him.
We sent him the script.
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In fact, he made a fabulous comment,
because he told Guillermo,
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"its a very 'mineral' script."
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Which none of us understood,
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but we thought it was something
worth appreciating.
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It was his way of telling us
he wanted to do the film.
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He came from Argentina.
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You probably noticed
that Ron Perlman is in the film too.
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They're actors that would work
with del Toro again,
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in his future films.
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Guillermo maintains
this creative relationship
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with his collaborators,
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like the cinematographer, his actors.
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He tends to continue,
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to keep working with the same people.
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He's now working with Ron Perlman
on his last film.
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So -
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Federico Luppi comes back
in The Devil's Backbone,
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and Guillermo Navarro
would work with del Toro
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in several subsequent films.
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And you also produced
The Devil's Backbone.
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It's like del Toro
has one great film in his life,
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and now he's simply
taking care of the details,
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and he keeps preparing himself
through his collaborations
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with the people that he really
believes understand him
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and will be able
to give him what he needs.
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Here.
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And Guillermo, in Cronos,
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has already laid out
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the themes he's interested
in working on in the future.
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Excuse me.
Can I help you?
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- Good morning.
- Good morning.
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What can I do for you?
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Well, definitely,
the obsession here
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with religion
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has a strong autobiographical element.
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The children's relationship
with their grandparents
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is vary autobiographical
for Guillermo too.
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And owing to the lack of -
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There wasn't an industry in Mexico
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that could provid the special effects
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that this film required.
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So it was made
in a very traditional way.
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Open up your little eyes
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This one is still missing.
Put them in groups,
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by size and shape.
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If you provoke them,
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it's worse, Aurora.
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Six pieces were fabricated,
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and each piece moved different parts
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of this sort of Fabergé egg
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that was found inside this statue.
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De la Guardia Enterprises.
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I wanted to point out the work
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on the different locations and sets,
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the work done by Tolita and Brigitte.
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The old paper mill of Loreto
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helped us enormously
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to characterize the bad guy in the film.
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De la Guardia.
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We scouted endlessly.
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We scouted thermoelectric plants
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owned by the Federal Commission
of Electricity, by Water and Power.
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Until We got to this mill, luckily,
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just before it was convened
into a shopping mall.
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And there, we were able to shoot
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many scenes from the film.
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The mill definitely became
a multipurpose stage.
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We had many sets there.
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The same with the house.
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And that allowed us,
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while paying only one rent,
to only one company,
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to construct sets in advance,
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so we could shoot
in one part of the mill
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while we were building
in another part.
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Also, Guillermo didn't need
to travel great distances
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to be able to go -
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He would check
every single plastic bag
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on each of the archangels,
as well as every single archangel.
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Now, for example,
De la Guardia's room
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would appear again,
in a vary similar way,
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in the hospital in the film Mimic.
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They're images
that stick with Guillermo.
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I think they're images
from his childhood.
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Because they would appear
in several of his films.
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And that's Guillermo's
most attractive side -
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We also have to put in perspective
the fact that this is,
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probably, the only first film
with such a high budget,
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as well as the fact that we gave him
nine weeks to shoot.
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Usually, with first films,
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if you go to a location,
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it's because that location
will provide most of the sets -
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Sure, you have to decorate them,
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but here we built
almost every single set.
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Therefore, we had to give
a director with such a strong vision
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enough time to prepare,
along with his collaborators,
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down to the last detail,
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which I think we can appreciate
in each frame and in each cut,
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and we needed those nine weeks.
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Are you looking for something
in particular?
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It's unique.
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It's not my money.
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I'll wrap it for you.
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We did two re-recordings,
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a temporary one,
which we urgently needed
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in order to submit the film
for a competition
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that took place in Mexico City,
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to try to win, because
them was a cash prize
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that would be very useful
for finishing the film.
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And that's how it happened.
We completed the film with that prize.
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And we redid the soundtrack
and everything.
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- Of course.
- And yours too.
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- How about this one?
- No.
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- And this one?
- That one.
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That one.
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You like it too?
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A present.
And thanks to both of you.
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Good luck.
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No, honey, it's not chocolate.
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Something like this happens
once in a lifetime.
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Once in a lifetime.
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Well,
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nothing happened.
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Look, it's funny.
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What do you think it is?
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Here, Guillermo, in his first film,
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reached the limit of what
he might be able to do in Mexico,
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in his industry,
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that's the reason why he had to go
work in other industries
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which could provide him
with more resources, more options,
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and the specialized technicians
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that would allow him to create his films.
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Stay away from it.
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Don't be scared.
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Don't be scared.
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Get me a box.
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One, two, three.
And one,
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two.
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One, two, three.
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Now, listen carefully.
This is seven in four.
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We'll start with this leg, Manuelito.
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And one, two, three and four,
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five, six and seven.
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One, two, three, four.
Don't grunt, Manuelito.
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- Excuse me.
- And...
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I think if I had an accomplishment
as a producer,
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it was being aware
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of the stature of the talent
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that Guillermo already had.
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I mean, I sensed that there was
a great director there,
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and, well,
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I was proven right,
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both by time and by his career.
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And I'm very happy about that.
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It's almost...
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the biggest reward
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that I had making this film,
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to see that I was supporting
a great director.
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And that conviction
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is something that gives me
a lot of pleasure,
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to have insisted on it,
to have seen it through.
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We did have lots of money problems.
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We couldn't finish the film at one point,
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it got more expensive than we thought.
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Anyway, looking back,
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all of this was definitely worth it.
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But that wasn't your only
accomplishment, Bertha,
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I think that in this film,
besides the director,
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you helped to shape
many more people.
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You can't forget
this is the first feature film
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00:20:31,063 --> 00:20:34,522
of Salvador Parra,
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who has now even won a Goya award.
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Yes.
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Also Brigette, who enjoyed
complete creative freedom
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to showcase her skills as art director.
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All the collaborators in Cronos
have made great careers for themselves.
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00:20:51,625 --> 00:20:55,619
Guillermo Navarro is already working
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in the big leagues,
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Brigitte has an Oscar,
Parra, like you said.
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There were a lot of young people
who were assistants
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who are now mainstays
in the Mexican film industry.
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And also yourself.
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You have done many films.
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There's also the postproduction aspect,
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which is worth mentioning later on.
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And the amount of patience
you showed
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when del Toro and l
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00:21:34,502 --> 00:21:36,664
were taking the film
into postproduction -
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We were a couple of kids, really.
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And you helped and supported us
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00:21:44,261 --> 00:21:50,257
so we were able to pull the film through.
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The postproduction was truly complex.
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It got developed in Les Angeles.
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And the music was done in London.
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Del Toro traveled to London.
It was recorded at Church Studios
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with a great composer, Javier Álvarez.
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And we had to coordinate -
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I mean, it got to the point
where we had to coordinate
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00:22:12,790 --> 00:22:15,373
between London,
Los Angeles and Mexico.
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Please, please.
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00:23:37,833 --> 00:23:40,575
Be very careful. I beg you, please.
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00:23:56,560 --> 00:23:58,221
Our Father, who art in heaven,
hallowed be thy name.
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00:23:58,312 --> 00:23:59,802
Thy kingdom come, thy will be done
on earth as it is in heaven.
247
00:23:59,897 --> 00:24:01,683
Give us this day our daily bread,
and forgive us our trespasses,
248
00:24:01,774 --> 00:24:03,435
as we forgive those
who trespass against us.
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No.
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I'm okay, darling.
251
00:25:39,371 --> 00:25:41,157
I'm okay.
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00:25:48,380 --> 00:25:50,166
I'm okay.
253
00:26:03,854 --> 00:26:05,344
Good morning.
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00:26:10,694 --> 00:26:12,184
Good morning.
255
00:26:28,212 --> 00:26:30,704
- I'm reading.
- There's too much light.
256
00:26:32,966 --> 00:26:34,752
It's incredible, you know?
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00:26:35,302 --> 00:26:38,044
Baby Vizcaína died at 92...
258
00:26:43,894 --> 00:26:45,384
Do you like it?
259
00:26:47,815 --> 00:26:49,101
No.
260
00:26:49,191 --> 00:26:50,727
You look...
261
00:26:52,486 --> 00:26:54,648
different, a lot younger.
262
00:26:54,738 --> 00:26:57,571
Exactly. That's the point.
That's how I feel.
263
00:27:01,870 --> 00:27:03,827
Where's Aurora?
- Don't you want breakfast?
264
00:27:03,914 --> 00:27:05,575
I'm not hungry.
265
00:27:07,042 --> 00:27:09,784
Hey, do you like it or not?
266
00:27:09,878 --> 00:27:11,915
- Yes, I do.
- Good.
267
00:27:12,548 --> 00:27:14,084
I'm glad.
268
00:29:11,708 --> 00:29:15,702
DE LA GUARDIA ENTERPRISES
ANGEL DE LA GUARDIA
269
00:29:59,131 --> 00:30:00,963
Hi, Mr. Gris!
270
00:30:01,049 --> 00:30:03,882
How are you? Okay?
271
00:30:03,969 --> 00:30:06,802
You destroyed my shop!
272
00:30:25,949 --> 00:30:28,737
You don't know
what you're getting yourself into.
273
00:30:39,463 --> 00:30:42,000
Almost 40 years ago,
274
00:30:42,090 --> 00:30:44,081
I found this manuscript.
275
00:30:45,135 --> 00:30:46,625
Forty years.
276
00:30:46,720 --> 00:30:48,381
They are the notes,
277
00:30:49,139 --> 00:30:51,631
the inscrutable writings
278
00:30:51,725 --> 00:30:54,057
of a 16th-century alchemist.
279
00:30:56,396 --> 00:30:58,137
It's a fascinating text.
280
00:30:59,900 --> 00:31:01,811
It's written backwards, in Latin.
281
00:31:03,028 --> 00:31:07,397
It describes a very peculiar mechanism,
282
00:31:07,491 --> 00:31:11,405
an invention that prolongs the life
of the person who uses it.
283
00:31:11,495 --> 00:31:13,406
But there are rules,
284
00:31:13,497 --> 00:31:15,909
precise and very strict rules
285
00:31:15,999 --> 00:31:17,990
about its usage.
286
00:31:25,258 --> 00:31:28,376
- An insect?
- That's the stroke of genius.
287
00:31:29,471 --> 00:31:31,929
An insect is trapped in the device.
288
00:31:32,015 --> 00:31:33,972
It's like
289
00:31:34,059 --> 00:31:36,016
a living filter.
290
00:31:36,686 --> 00:31:39,644
You think so?
I mean, after all these years.
291
00:31:46,530 --> 00:31:50,023
Who says insects aren't
God's favorite creatures?
292
00:31:51,618 --> 00:31:53,609
Christ walked on water,
293
00:31:53,703 --> 00:31:55,364
just like a mosquito.
294
00:31:56,248 --> 00:31:59,161
The matter of the resurrection
295
00:31:59,251 --> 00:32:02,835
is related to ants, to spiders.
296
00:32:03,380 --> 00:32:07,294
They can remain inside a rock
for hundreds of years
297
00:32:07,384 --> 00:32:09,751
until someone comes along
and frees them.
298
00:32:09,845 --> 00:32:11,335
Of course.
299
00:32:12,180 --> 00:32:15,764
All of this is very enlightening,
but why tell me?
300
00:32:27,070 --> 00:32:29,732
I'm dying, Mr. Gris.
301
00:32:32,701 --> 00:32:34,533
I'm going to show you something.
302
00:32:35,954 --> 00:32:39,913
The scalpel has been
eating away at me bit by bit.
303
00:32:40,625 --> 00:32:45,165
Chemotherapy, radiotherapy,
psychotherapy.
304
00:32:47,048 --> 00:32:49,255
Look carefully, my friend.
305
00:32:49,342 --> 00:32:52,130
Half of my body is here, in this case.
306
00:32:54,264 --> 00:32:55,925
And the other half
307
00:32:57,559 --> 00:32:59,220
is already on the menu...
308
00:33:01,271 --> 00:33:05,185
or is being devoured
right now, while we talk.
309
00:33:05,275 --> 00:33:07,232
No! That's mine!
310
00:33:08,487 --> 00:33:09,602
You used it?
311
00:33:11,198 --> 00:33:14,065
You used it?
- It was an accident.
312
00:33:18,205 --> 00:33:19,195
Angel!
313
00:33:27,464 --> 00:33:29,171
Oh, Mr. Gris.
314
00:33:49,861 --> 00:33:50,851
De la Guardia!
315
00:33:52,989 --> 00:33:55,481
We both have something to lose.
316
00:34:15,804 --> 00:34:17,465
Mr. Gris?
317
00:34:51,798 --> 00:34:53,630
Impossible.
318
00:34:55,719 --> 00:34:57,881
I put it here, damn it!
319
00:35:04,519 --> 00:35:06,886
Aurora! My God.
320
00:35:31,087 --> 00:35:32,577
Aurora?
321
00:35:38,136 --> 00:35:39,922
I know you have it.
322
00:35:42,932 --> 00:35:44,422
Aurora.
323
00:36:14,464 --> 00:36:15,545
Aurora?
324
00:36:15,632 --> 00:36:19,717
Here we have
the presence of the girl.
325
00:36:19,803 --> 00:36:26,300
The presence of children
in del Toro's films
326
00:36:26,393 --> 00:36:29,055
is a key component
327
00:36:29,145 --> 00:36:30,260
It's extraordinary,
328
00:36:30,355 --> 00:36:34,098
because the children seem to have
more strength. more wisdom
329
00:36:34,192 --> 00:36:37,730
and better judgment, often,
than the adults.
330
00:36:37,821 --> 00:36:38,936
That's right.
331
00:36:39,030 --> 00:36:41,692
And it's also
a more innocent perspective,
332
00:36:41,783 --> 00:36:44,275
which allows him, perhaps,
333
00:36:44,369 --> 00:36:50,866
to enter other dark realms of some sort.
334
00:36:50,959 --> 00:36:53,747
Exactly. A child's perspective,
335
00:36:53,837 --> 00:36:59,048
which is also a logic that's
put forward from the beginning.
336
00:36:59,134 --> 00:37:02,001
Once you're Within that logic,
337
00:37:02,095 --> 00:37:05,258
anything could happen.
338
00:37:06,141 --> 00:37:09,509
And it constantly has you -
339
00:37:09,602 --> 00:37:12,845
It's the fresh perspective
which all of his films posses.
340
00:37:17,569 --> 00:37:19,435
After looking all over,
I went in the bathroom
341
00:37:19,529 --> 00:37:22,362
and found many little bits of tobacco.
342
00:37:23,241 --> 00:37:25,323
They were floating in the toilet.
343
00:37:25,827 --> 00:37:27,317
Just little bits.
344
00:37:28,872 --> 00:37:31,785
I think he understood later
that destroying my cigarettes
345
00:37:31,875 --> 00:37:33,912
didn't help matters at all.
346
00:37:35,754 --> 00:37:38,212
But at least, I understood
that he was worried.
347
00:37:40,091 --> 00:37:42,799
And he understood
that I had understood.
348
00:37:48,349 --> 00:37:49,839
You know what?
349
00:37:56,399 --> 00:37:58,231
I don't know what's wrong with me.
350
00:38:02,322 --> 00:38:04,563
But I think it's best if we're together.
351
00:39:05,468 --> 00:39:08,210
- Jesús.
- Just a minute.
352
00:39:11,099 --> 00:39:14,182
- I need your help.
- Just a minute.
353
00:39:15,687 --> 00:39:18,975
Hurry up, darling.
We're going to be late.
354
00:39:29,659 --> 00:39:31,775
Who are you, little one?
355
00:39:34,998 --> 00:39:36,488
A god?
356
00:39:44,674 --> 00:39:46,506
You're very good for me.
357
00:39:54,434 --> 00:39:58,769
I don't know why this dress doesn't fit.
I wore it for last year's dance.
358
00:39:58,855 --> 00:40:01,017
I'm almost ready.
359
00:40:01,107 --> 00:40:04,020
How could I change so much
in so little time?
360
00:41:00,375 --> 00:41:02,036
Do you remember?
361
00:41:04,462 --> 00:41:06,248
Do I remember?
362
00:41:06,923 --> 00:41:11,383
My love
I can't believe it's all over
363
00:41:11,928 --> 00:41:18,345
The quality of the film
continues to amaze me
364
00:41:18,434 --> 00:41:22,302
in that it was done
with a level of care -
365
00:41:23,815 --> 00:41:26,182
All the -
366
00:41:26,275 --> 00:41:28,892
All the scenes carry
an enormous strength.
367
00:41:28,987 --> 00:41:34,778
The scale of del Toro's ideas
368
00:41:34,867 --> 00:41:38,030
is always huge.
369
00:41:38,121 --> 00:41:41,955
You have to build enormous sets,
to deal with complex arrangements.
370
00:41:42,041 --> 00:41:45,625
There's never a simple scene
371
00:41:45,712 --> 00:41:47,623
in Guillermo films.
372
00:41:58,516 --> 00:42:01,099
That's what architects call vectors.
373
00:42:01,185 --> 00:42:03,597
- That's amazing.
- That's it?
374
00:42:03,688 --> 00:42:06,897
The small parts
always support the large ones.
375
00:42:06,983 --> 00:42:10,476
- But what holds it up?
- It's not a play on words. The pillars...
376
00:42:10,570 --> 00:42:13,653
- Teacher.
- I'll be right with you, Manuelito.
377
00:42:14,157 --> 00:42:15,989
- Cheers.
- Cheers.
378
00:42:39,515 --> 00:42:41,005
What's wrong?
379
00:42:41,809 --> 00:42:43,425
Is something wrong?
380
00:42:43,519 --> 00:42:45,601
- I'll be right back.
- Where are you going?
381
00:42:45,688 --> 00:42:47,178
To get a drink.
382
00:43:29,398 --> 00:43:30,854
It's hot.
383
00:43:30,942 --> 00:43:32,683
This always happens to me.
384
00:43:33,778 --> 00:43:35,769
- Are you feeling better?
- Yes.
385
00:44:03,182 --> 00:44:05,173
Every time I drink, I have to pee.
386
00:44:06,102 --> 00:44:09,185
I've been listening to this music
since I was a little boy.
387
00:44:09,856 --> 00:44:11,767
What a fucking decadent party.
388
00:44:12,733 --> 00:44:14,315
Really.
389
00:44:14,402 --> 00:44:16,234
Give me a fucking break.
390
00:44:16,904 --> 00:44:19,145
Look what they did here.
391
00:44:19,240 --> 00:44:21,356
The party got crashed
by some Argentinean
392
00:44:21,450 --> 00:44:23,942
or a Peruvian, shit.
393
00:44:24,453 --> 00:44:28,196
You break your back all year long
to go to a nice party...
394
00:44:28,291 --> 00:44:29,452
Fuck.
395
00:44:30,126 --> 00:44:31,787
I'm leaving.
396
00:45:23,888 --> 00:45:28,724
Nine, eight, seven,
397
00:45:28,809 --> 00:45:31,892
six, five,
398
00:45:31,979 --> 00:45:35,313
four, three,
HAPPY NEW YEAH - TIGERS CLUB
399
00:45:35,399 --> 00:45:37,936
two, one!
400
00:46:00,174 --> 00:46:04,133
It has been a pleasure,
an honor for Day Radio,
401
00:46:04,220 --> 00:46:06,131
to bring to your homes
402
00:46:06,222 --> 00:46:10,341
the traditional live broadcast
of the Tigers Club annual party.
403
00:46:10,434 --> 00:46:15,099
We're always thinking of you
and wishing you the vary best.
404
00:46:15,189 --> 00:46:19,854
May all your New Year's resolutions
have a most joyous outcome
405
00:46:19,944 --> 00:46:22,311
and open the most
wonderful paths to you.
406
00:46:22,405 --> 00:46:25,363
Here, in HPLM's sound booth,
407
00:46:25,449 --> 00:46:27,781
we feel honored, overwhelmed -
408
00:46:27,868 --> 00:46:30,986
yes. Why not say it -
overwhelmed with joy
409
00:46:31,080 --> 00:46:34,664
to hear from you,
to answer your calls.
410
00:46:34,750 --> 00:46:40,041
Mrs. Lorenza wants to send her
warmest regards to the whole family.
411
00:46:40,131 --> 00:46:43,499
And she wishes the very best
for us all.
412
00:46:43,592 --> 00:46:46,505
Mrs. Lupine Raquel
sends everyone her wishes
413
00:46:46,595 --> 00:46:50,463
for glory to God in heaven,
peace on earth and goodwill.
414
00:46:50,558 --> 00:46:51,514
How beautiful.
415
00:46:51,600 --> 00:46:53,011
You.
416
00:47:15,916 --> 00:47:18,408
What the fuck does
the old man want with it?
417
00:47:20,504 --> 00:47:22,290
He never told you?
418
00:47:38,272 --> 00:47:42,937
He thinks it will help him live longer.
419
00:47:58,667 --> 00:48:00,408
Leave me alone.
420
00:48:00,503 --> 00:48:02,619
Do what you have to do,
but leave me alone.
421
00:48:47,716 --> 00:48:49,206
Get up!
422
00:50:26,649 --> 00:50:28,310
So quiet.
423
00:50:32,112 --> 00:50:34,274
My God, so much blood.
424
00:50:36,200 --> 00:50:38,066
All that blood is mine.
425
00:50:40,663 --> 00:50:42,153
I'm dying-
426
00:50:44,166 --> 00:50:45,656
Unbelievable.
427
00:50:47,294 --> 00:50:49,160
Everything's upside down.
428
00:50:50,172 --> 00:50:51,833
And I'm dying.
429
00:50:53,676 --> 00:50:55,166
Alone.
430
00:50:56,345 --> 00:50:57,676
Alone.
431
00:50:58,180 --> 00:51:00,137
Don't let me die today.
432
00:51:01,475 --> 00:51:03,807
I'm in so much pain.
433
00:51:05,271 --> 00:51:08,730
I can endure a lot more.
A lot more.
434
00:51:13,070 --> 00:51:14,731
Oh, Aurora.
435
00:52:36,528 --> 00:52:39,145
Wow, Tito. Wow.
436
00:52:40,282 --> 00:52:42,614
The forehead is turning out...
437
00:52:42,701 --> 00:52:44,191
Perfect.
438
00:52:45,871 --> 00:52:47,612
It looks totally normal.
439
00:52:49,249 --> 00:52:52,082
It's your best work yet.
- Fuck, yeah.
440
00:52:52,169 --> 00:52:54,001
There's a technique to this.
441
00:52:54,755 --> 00:52:56,666
I'm giving it shape.
442
00:52:57,341 --> 00:52:58,672
texture,
443
00:52:59,468 --> 00:53:01,050
color.
444
00:53:05,516 --> 00:53:07,302
You have to be a fucking artist.
445
00:53:08,936 --> 00:53:10,426
Yes.
446
00:53:11,105 --> 00:53:14,223
But don't go to so much trouble.
We're going to cremate him.
447
00:53:15,567 --> 00:53:17,057
What?
448
00:53:17,695 --> 00:53:20,562
Fuck me! What do you mean
we're going to burn him?
449
00:53:21,699 --> 00:53:26,034
You should've told me before
I fixed the fucker, God rest his soul.
450
00:53:26,870 --> 00:53:30,079
Nobody respects my work here.
Why didn't you guys let me know?
451
00:53:30,165 --> 00:53:31,906
You! Why didn't you let me know?
452
00:53:33,711 --> 00:53:35,668
The widow changed her mind.
453
00:53:37,381 --> 00:53:39,793
It looks like the guy
didn't make preparations.
454
00:53:39,883 --> 00:53:42,625
He didn't buy a niche,
or a grave plot, nothing.
455
00:53:42,720 --> 00:53:44,381
They're all the same.
456
00:53:45,013 --> 00:53:47,345
The bastards think they'll live forever.
457
00:54:06,201 --> 00:54:07,487
Motherfucker.
458
00:56:54,828 --> 00:56:56,489
Look at that.
459
00:56:58,206 --> 00:56:59,992
Was it a lively wake?
460
00:57:05,047 --> 00:57:06,958
We won't send you to heaven like this.
461
00:57:07,049 --> 00:57:09,541
Naked, with lipstick smudges all over.
462
00:57:10,510 --> 00:57:12,376
They'll think you went whoring.
463
00:58:54,406 --> 00:58:55,896
Here you go, buddy.
464
00:59:17,262 --> 00:59:20,175
Coma in, sir. Come in.
Make yourself at home.
465
00:59:23,185 --> 00:59:27,099
Tito, Mr. De la Guardia is -
466
00:59:27,189 --> 00:59:28,930
was a friend of the deceased.
467
00:59:30,358 --> 00:59:33,191
He wants to see the body
one last time.
468
00:59:38,533 --> 00:59:40,023
Of course.
469
00:59:40,535 --> 00:59:42,572
Medium or well done?
470
01:01:29,060 --> 01:01:30,550
HE ISN'T DEAD
HE JUST LEFT EARLY
471
01:01:30,645 --> 01:01:32,261
THE FAMILY OF JESÚS GRIS
THANKS YOU
472
01:01:32,355 --> 01:01:34,016
FOR BEING WITH US
DURING THESE TRYING TIMES
473
01:02:08,683 --> 01:02:10,173
Hello?
474
01:02:16,816 --> 01:02:18,056
Yes?
475
01:02:19,027 --> 01:02:20,517
Mercedes
476
01:03:56,291 --> 01:03:59,158
The world seen
through the eyes of a child.
477
01:03:59,252 --> 01:04:02,711
Guillermo, deep down, is still a child.
478
01:04:02,797 --> 01:04:08,213
He has retained
this freshness of a child,
479
01:04:08,303 --> 01:04:10,761
to narrate his adventures,
480
01:04:10,847 --> 01:04:13,054
because he has -
481
01:04:13,141 --> 01:04:16,054
His mind is filled
482
01:04:16,561 --> 01:04:20,099
with strong and brutal images.
483
01:04:20,190 --> 01:04:25,560
and, at the same time,
tender and very loving images.
484
01:05:24,879 --> 01:05:28,497
Dear Mer... cedes.
485
01:05:30,343 --> 01:05:33,381
It's vary hard to write
these lines to you.
486
01:05:35,682 --> 01:05:37,969
I want you to know that,
487
01:05:39,060 --> 01:05:40,550
somehow,
488
01:05:41,729 --> 01:05:43,561
for some reason,
489
01:05:44,107 --> 01:05:45,768
I'm still alive.
490
01:05:45,859 --> 01:05:48,396
And being alive is vary painful.
491
01:05:49,112 --> 01:05:50,944
I'm burning with thirst.
492
01:05:52,407 --> 01:05:54,819
And everything feels foreign to me,
493
01:05:55,952 --> 01:05:57,442
the day.
494
01:05:58,580 --> 01:06:00,321
this house...
495
01:06:03,251 --> 01:06:04,241
and you.
496
01:06:06,421 --> 01:06:08,458
Aurora will stay with you.
497
01:06:09,257 --> 01:06:12,591
She will leave you this letter.
498
01:06:14,304 --> 01:06:16,671
By the time you read it,
499
01:06:16,764 --> 01:06:20,257
I will have gone
to a kind of appointment
500
01:06:21,603 --> 01:06:23,435
to resolve unfinished business.
501
01:06:24,939 --> 01:06:28,807
If I've lost everything,
at least I'd like to know why.
502
01:06:30,445 --> 01:06:33,733
Just today I realize
how much I miss you.
503
01:06:34,616 --> 01:06:38,826
I hope to find you hare
when I come back, willing to see me,
504
01:06:38,912 --> 01:06:41,199
regardless of my appearance.
505
01:06:42,707 --> 01:06:44,197
Love,
506
01:06:45,793 --> 01:06:47,283
Jesús
507
01:07:43,977 --> 01:07:45,467
Aurora.
508
01:07:55,613 --> 01:07:57,445
For God's sake, what are you doing here?
509
01:07:57,532 --> 01:07:59,899
I told you not to come, Aurora.
510
01:08:01,286 --> 01:08:03,493
Put that away.
511
01:08:03,580 --> 01:08:05,571
Don't you realize they could kill us?
512
01:08:05,665 --> 01:08:07,906
Don't you realize we're in danger?
513
01:10:16,129 --> 01:10:17,119
It works.
514
01:10:18,506 --> 01:10:20,417
I knew you'd be back.
515
01:10:21,759 --> 01:10:25,093
If you're looking
for the missing pages,
516
01:10:25,179 --> 01:10:27,011
you're wasting your time.
517
01:10:27,098 --> 01:10:28,588
I ate them.
518
01:10:31,060 --> 01:10:33,097
You talk about eternity.
519
01:10:33,187 --> 01:10:36,896
Look at me, look at my skin.
It's rotting. It's falling to pieces.
520
01:10:39,819 --> 01:10:42,481
What? What are you talking about?
521
01:10:51,789 --> 01:10:53,279
Look.
522
01:11:25,907 --> 01:11:28,148
What's happening to me?
523
01:11:28,242 --> 01:11:30,529
You've been reborn.
524
01:11:42,298 --> 01:11:44,164
Why is this happening?
525
01:11:44,258 --> 01:11:46,169
Why this new skin?
526
01:11:46,260 --> 01:11:48,171
And don't answer with riddles!
527
01:11:48,262 --> 01:11:49,969
You talk about insects,
528
01:11:51,015 --> 01:11:53,347
about alchemists, about devices.
529
01:11:54,685 --> 01:11:56,676
But what am I missing?
530
01:11:59,774 --> 01:12:01,264
Blood.
531
01:12:05,988 --> 01:12:07,478
Human?
532
01:12:20,211 --> 01:12:23,579
I can break the device,
smash it to pieces.
533
01:12:34,684 --> 01:12:36,516
I don't give a damn about eternity!
534
01:12:36,602 --> 01:12:39,310
I don't want to live forever.
I just want out of this.
535
01:12:51,993 --> 01:12:53,859
I don't trust you.
536
01:13:04,171 --> 01:13:06,583
I don't think you have a choice.
537
01:13:11,596 --> 01:13:13,257
Give it to me, darling.
538
01:13:13,347 --> 01:13:15,509
Give it to me, I know what I'm doing.
539
01:13:29,697 --> 01:13:30,687
But first...
540
01:13:31,782 --> 01:13:33,272
my way out.
541
01:14:06,067 --> 01:14:08,559
Ready. Cut.
542
01:14:09,570 --> 01:14:11,060
Camera.
543
01:14:22,833 --> 01:14:24,744
My God, Aurora.
544
01:14:51,612 --> 01:14:53,102
Let's go, okay?
545
01:14:53,739 --> 01:14:55,229
Let's go.
546
01:14:56,784 --> 01:14:58,274
Please.
547
01:17:03,410 --> 01:17:04,900
Angel.
548
01:17:54,628 --> 01:17:56,118
Oh, Mr. Gris.
549
01:19:04,365 --> 01:19:05,855
Mr. Gris.
550
01:19:10,537 --> 01:19:12,073
Go on.
551
01:19:12,164 --> 01:19:13,654
Go on!
552
01:20:21,775 --> 01:20:23,186
Come here.
553
01:20:23,277 --> 01:20:24,267
Angel!
554
01:20:27,489 --> 01:20:30,732
What the fuck do I have to do
to kill you?
555
01:20:30,826 --> 01:20:32,942
You've got more to lose.
556
01:20:33,996 --> 01:20:35,782
For me, it's just pain.
557
01:23:54,071 --> 01:23:55,812
Grandfather.
558
01:24:07,960 --> 01:24:09,450
No!
559
01:24:54,381 --> 01:25:00,002
Cronos would go on to be
what gives Guillermo del Toro
560
01:25:00,095 --> 01:25:03,633
his international career,
his widespread reach,
561
01:25:03,724 --> 01:25:07,308
because he has a lot to express.
562
01:25:07,394 --> 01:25:11,763
And I'm sure we'll be seeing
many of his works in the future.
563
01:25:12,274 --> 01:25:13,935
Jesús Gris.
564
01:25:16,695 --> 01:25:21,940
Finally, we gave everything to this film.
565
01:25:22,034 --> 01:25:24,196
We made a tremendous effort,
566
01:25:24,286 --> 01:25:28,245
but we truly gave it a lot more
567
01:25:28,332 --> 01:25:34,999
than what was usually given
to a Mexican film at the time.
568
01:25:35,505 --> 01:25:38,497
Nowadays, when films are made,
569
01:25:38,592 --> 01:25:40,833
it's standard to do it that way,
570
01:25:40,927 --> 01:25:45,387
with those kinds of costs
and more professional productions.
571
01:25:45,474 --> 01:25:48,808
But we were the ones
who blazed a trail
572
01:25:49,478 --> 01:25:51,594
and gave -
573
01:25:52,606 --> 01:25:55,564
again, really gave Guillermo
574
01:25:55,651 --> 01:26:00,191
everything that he needed
to make Cronos possible.
575
01:26:45,909 --> 01:26:50,119
IN MEMORY OF
JOSEFINA CAMBEROS