A Quote by Emmanuel Lubezki
I was able to shoot a movie like 'Tree of Life' because I had done 'Y Tu Mama Tambien.' The camera needed to capture that sense of freedom and joy and life you have when you're young.
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On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.
Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.
'Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.
I saw 'Y Tu Mama Tambien' with my mom. It was really awkward.
In Mexico, audiences want to see a big discussion around a film - what we expect from Hollywood films worldwide is more of an entertaining show. 'Y Tu Mama Tambien' was a road movie and comedy, but it had a very strong political connotation that sparked a discussion in Mexico that is still going on.
Since 'Y Tu Mama Tambien,' I started to spend a lot of time in the United States, and my son was born there.
I asked the producers when I was doing 'Y Tu Mama Tambien' if they could give me a VHS recording of the film that I could show to my family, because in Mexico and Latin America, when you do a film, you don't expect anybody to see it, especially not in the cinema.
I'm a sucker for movies about uncommon friendships: 'Midnight Cowboy,' 'Harold and Maude,' 'Scarecrow,' 'The Last Detail,' 'Y Tu Mama Tambien,' 'Jules and Jim,' 'Rushmore,' 'Stand by Me.'
I was not aware of how much I loved 'Canoa' until I saw it after doing 'Y Tu Mama Tambien' and realized that my voice - over about the story's historical context - that narrator - came from 'Canoa'.
It's a cliche, but Americans are puritanical. In their movies, they are scared of sex, but they overindulge in violence. I could have cut a G-rated version of 'Y Tu Mama Tambien' that would have pleased the American ratings board, but it would have been five minutes long.
What we want is another sample of life, which is not on our tree of life at all. All life that we've studied so far on Earth belongs to the same tree. We share genes with mushrooms and oak trees and fish and bacteria that live in volcanic vents and so on that it's all the same life descended from a common origin. What we want is a second tree of life. We want alien life, alien not necessarily in the sense of having come from space, but alien in the sense of belonging to a different tree altogether. That is what we're looking for, "life 2.0."
The movie business was changing, I didn't want to turn 60 in the job. I picked 60 as an age where you are young enough to have a new life but not so young you can wait. And I had this incredible need: I had been so blessed in life and I wanted to give back. So I left Paramount with great joy, I have to say, and with great fondness for the memories I have in the movie business.
Freedom of life does not mean disorder of life, does not mean chaos, and just everyone doing anything he wants. That is not the freedom of life. The tree, when you give it a chance, protect it when it is young, will grow straight, because it has developed its own resistance; but the moment you make it delicate, then it gets crooked.
Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.
I was really excited because I had never ever in my life done anything like this [Romeo + Juliette], and at such a young age it was like, "Wow, my dreams are coming true, I'm already in a movie at the age of 12."
I like the ending of the movie [War Horse], simply because it's such a demanding scene emotionally, and yet [the look] is all done on camera. I like the work not to be manipulated digitally. And it's all done on camera [in that scene].
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