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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 releaseof this great first film.
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We'd like to talk aboutour 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 veryyoung man, only27years 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 horror 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 verypeculiar fashion for 1992,because -
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In that big list at the beginning,it's mainly private investors.
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This has now become an alternativeform of financing films in Mexico,
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but back then it wasn't done.
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I would like to stressthe great freedom
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that was given to Guillermoto express himself.
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In order to meet allof his specific requirements,
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and in order to bring Guillermo del Toro'sobsessions 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 financingprovided total creative freedom
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so we could help Guillermoachieve this visual strength,
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this narrative which isso characteristic of him.
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In Cronos you can already seethe 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 thingsfrom a child's point of view.
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This combinationthat Guillermo possesses
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of nightmares and innocence.
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Well, as you can seein 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 momentGuillermo finished the script,
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he always wanted to workwith 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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"It's a very 'mineral' script."
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Which none of us understood,
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but we thought it was somethingworth appreciating.
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It was his way of telling ushe wanted to do the film.
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He came from Argentina.
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You probably noticedthat Ron Perlman is in the film too.
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They're actors that would workwith del Toro again,
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in his future films.
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Guillermo maintainsthis 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 Perlmanon his last film.
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So -
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Federico Luppi comes backin The Devil's Backbone,
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and Guillermo Navarrowould 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 Torohas one great film in his life,
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and now he's simplytaking care of the details,
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and he keeps preparing himselfthrough his collaborations
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with the people that he reallybelieves understand him
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and will be ableto 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 interestedin 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 relationshipwith theirgrandparents
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is very autobiographicalfor 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 provide the special effects
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that this film required.
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So it was madein 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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Sixpieces 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 oldpaper 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 Commissionof Electricity, by Water and Power.
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Until we got to this mill, luckily,
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just before it was convertedinto 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 becamea 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 shootin one part of the mill
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while we were buildingin anotherpart.
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Also, Guillermo didn't needto travel great distances
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to be able to go -
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He would checkevery 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 very similar way,
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in the hospital in the film Mimic.
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They're imagesthat stick with Guillermo.
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I think they're imagesfrom his childhood.
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Because they would appearin several of his films.
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And that's Guillermo'smost attractive side -
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We also have to put in perspectivethe fact that this is,
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probably, the only first filmwith such a high budget,
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as well as the fact that we gave himnine weeks to shoot.
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Usually, with first films,
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ifyou go to a location,
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it's because that locationwill provide most of the sets -
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Sure, you have to decorate them,
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but here we builtalmost every single set.
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Therefore, we had to givea 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 appreciatein 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 filmfor a competition
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that took place in Mexico City,
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to try to win, becausethere was a cash prize
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that would be very usefulfor 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 soundtrackand 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 whathe might be able to do in Mexico,
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in this industry,
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that's the reason why he had to gowork in other industries
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which could provide himwith 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 accomplishmentas 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 wasa 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 supportinga great director.
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And that conviction
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is something that gives mea lot ofpleasure,
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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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itgot more expensive than we thought.
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Anyway, looking back,
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all of this was definitely worth it.
210
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But that wasn'tyour onlyaccomplishment, Bertha,
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I think that in this film,besides the director,
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you helped to shapemany more people.
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You can't forgetthis is the first feature film
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of Salvador Parra,
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who has now even won a Goya award.
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Yes.
217
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Also Brigitte, who enjoyedcomplete 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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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 ofyoung peoplewho were assistants
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who are now mainstaysin the Mexican film industry.
225
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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.
229
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And the amount ofpatienceyou showed
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when del Toro and I
231
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were taking the filminto postproduction -
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We were a couple of kids, really.
233
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And you helped and supported us
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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 Los Angeles.
237
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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
239
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with a great composer, JavierÁlvarez.
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And we had to coordinate -
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I mean, it got to the pointwhere we had to coordinate
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between London,Los Angeles and Mexico.
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Please, please.
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Be very careful. I beg you, please.
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Our Father, who art in heaven,
hallowed be thy name.
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00:23:58,313 --> 00:23:59,813
Thy kingdom come, thy will be done
on earth as it is in heaven.
247
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Give us this day our daily bread,
and forgive us our trespasses,
248
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as we forgive those
who trespass against us.
249
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No.
250
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I'm okay, darling.
251
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I'm okay.
252
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I'm okay.
253
00:26:03,854 --> 00:26:05,364
Good morning.
254
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Good morning.
255
00:26:28,212 --> 00:26:30,722
- I'm reading.
- There's too much light.
256
00:26:32,967 --> 00:26:34,757
It's incredible, you know?
257
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Baby Vizcaína died at 92...
258
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Do you like it?
259
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No.
260
00:26:49,192 --> 00:26:50,732
You look...
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different, a lot younger.
262
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Exactly. That's the point.
That's how I feel.
263
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Where's Aurora?
- Don't you want breakfast?
264
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I'm not hungry.
265
00:27:07,043 --> 00:27:09,803
Hey, do you like it or not?
266
00:27:09,878 --> 00:27:11,918
- Yes, I do.
- Good.
267
00:27:12,549 --> 00:27:14,089
I'm glad.
268
00:29:11,709 --> 00:29:15,709
DE LA GUARDIA ENTERPRISES
ANGEL DE LA GUARDIA
269
00:29:59,131 --> 00:30:00,971
Hi, Mr. Gris!
270
00:30:01,049 --> 00:30:03,889
How are you? Okay?
271
00:30:03,969 --> 00:30:06,809
You destroyed my shop!
272
00:30:25,950 --> 00:30:28,740
You don't know
what you're getting yourself into.
273
00:30:39,463 --> 00:30:42,013
Almost 40 years ago,
274
00:30:42,090 --> 00:30:44,090
I found this manuscript.
275
00:30:45,136 --> 00:30:46,636
Forty years.
276
00:30:46,720 --> 00:30:48,390
They are the notes,
277
00:30:49,140 --> 00:30:51,640
the inscrutable writings
278
00:30:51,726 --> 00:30:54,056
of a 16th-century alchemist.
279
00:30:56,396 --> 00:30:58,146
It's a fascinating text.
280
00:30:59,901 --> 00:31:01,821
It's written backwards, in Latin.
281
00:31:03,029 --> 00:31:07,409
It describes a very peculiar mechanism,
282
00:31:07,491 --> 00:31:11,411
an invention that prolongs the life
of the person who uses it.
283
00:31:11,496 --> 00:31:13,406
But there are rules,
284
00:31:13,498 --> 00:31:15,918
precise and very strict rules
285
00:31:15,999 --> 00:31:17,999
about its usage.
286
00:31:25,259 --> 00:31:28,389
- An insect?
- That's the stroke of genius.
287
00:31:29,472 --> 00:31:31,932
An insect is trapped in the device.
288
00:31:32,016 --> 00:31:33,976
It's like
289
00:31:34,060 --> 00:31:36,020
a living filter.
290
00:31:36,687 --> 00:31:39,647
You think so?
I mean, after all these years.
291
00:31:46,530 --> 00:31:50,030
Who says insects aren't
God's favorite creatures?
292
00:31:51,619 --> 00:31:53,619
Christ walked on water,
293
00:31:53,703 --> 00:31:55,373
just like a mosquito.
294
00:31:56,248 --> 00:31:59,168
The matter of the resurrection
295
00:31:59,251 --> 00:32:02,841
is related to ants, to spiders.
296
00:32:03,380 --> 00:32:07,300
They can remain inside a rock
for hundreds of years
297
00:32:07,384 --> 00:32:09,764
until someone comes along
and frees them.
298
00:32:09,846 --> 00:32:11,346
Of course.
299
00:32:12,180 --> 00:32:15,770
All of this is very enlightening,
but why tell me?
300
00:32:27,071 --> 00:32:29,741
I'm dying, Mr. Gris.
301
00:32:32,701 --> 00:32:34,541
I'm going to show you something.
302
00:32:35,954 --> 00:32:39,924
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 --> 00:32:49,258
Look carefully, my friend.
305
00:32:49,342 --> 00:32:52,142
Half of my body is here, in this case.
306
00:32:54,264 --> 00:32:55,934
And the other half
307
00:32:57,559 --> 00:32:59,229
is already on the menu...
308
00:33:01,272 --> 00:33:05,192
or is being devoured
right now, while we talk.
309
00:33:05,275 --> 00:33:07,235
No! That's mine!
310
00:33:08,487 --> 00:33:09,607
You used it?
311
00:33:11,198 --> 00:33:14,078
You used it?
- It was an accident.
312
00:33:18,206 --> 00:33:19,206
Angel!
313
00:33:27,464 --> 00:33:29,184
Oh, Mr. Gris.
314
00:33:49,861 --> 00:33:50,861
De la Guardia!
315
00:33:52,990 --> 00:33:55,490
We both have something to lose.
316
00:34:15,805 --> 00:34:17,465
Mr. Gris?
317
00:34:51,798 --> 00:34:53,628
Impossible.
318
00:34:55,719 --> 00:34:57,889
I put it here, damn it!
319
00:35:04,519 --> 00:35:06,899
Aurora! My God.
320
00:35:31,087 --> 00:35:32,587
Aurora?
321
00:35:38,137 --> 00:35:39,927
I know you have it.
322
00:35:42,933 --> 00:35:44,433
Aurora.
323
00:36:14,464 --> 00:36:15,554
Aurora?
324
00:36:15,633 --> 00:36:19,723
Here we havethe presence of the girl.
325
00:36:19,804 --> 00:36:26,314
The presence of childrenin del Toro's films
326
00:36:26,393 --> 00:36:29,063
is a key component.
327
00:36:29,145 --> 00:36:30,265
It's extraordinary,
328
00:36:30,355 --> 00:36:34,105
because the children seem to havemore strength, more wisdom
329
00:36:34,193 --> 00:36:37,743
and betterjudgment, often,than the adults.
330
00:36:37,821 --> 00:36:38,951
That's right.
331
00:36:39,031 --> 00:36:41,701
And it's alsoa more innocent perspective,
332
00:36:41,783 --> 00:36:44,293
which allows him, perhaps,
333
00:36:44,369 --> 00:36:50,879
to enter other dark realms of some sort.
334
00:36:50,960 --> 00:36:53,750
Exactly. A child's perspective,
335
00:36:53,837 --> 00:36:59,047
which is also a logic that'sput forward from the beginning.
336
00:36:59,135 --> 00:37:02,005
Once you're within that logic,
337
00:37:02,096 --> 00:37:05,266
anything could happen.
338
00:37:06,141 --> 00:37:09,521
And it constantly has you -
339
00:37:09,603 --> 00:37:12,863
It's the fresh perspectivewhich all of his films posses.
340
00:37:17,569 --> 00:37:19,449
After looking all over,
I went in the bathroom
341
00:37:19,529 --> 00:37:22,369
and found many little bits of tobacco.
342
00:37:23,242 --> 00:37:25,332
They were floating in the toilet.
343
00:37:25,828 --> 00:37:27,328
Just little bits.
344
00:37:28,873 --> 00:37:31,793
I think he understood later
that destroying my cigarettes
345
00:37:31,875 --> 00:37:33,915
didn't help matters at all.
346
00:37:35,754 --> 00:37:38,224
But at least, I understood
that he was worried.
347
00:37:40,091 --> 00:37:42,801
And he understood
that I had understood.
348
00:37:48,350 --> 00:37:49,850
You know what?
349
00:37:56,400 --> 00:37:58,230
I don't know what's wrong with me.
350
00:38:02,323 --> 00:38:04,583
But I think it's best if we're together.
351
00:39:05,469 --> 00:39:08,219
- Jesús.
- Just a minute.
352
00:39:11,099 --> 00:39:14,189
- I need your help.
- Just a minute.
353
00:39:15,687 --> 00:39:18,977
Hurry up, darling.
We're going to be late.
354
00:39:29,659 --> 00:39:31,789
Who are you, little one?
355
00:39:34,998 --> 00:39:36,498
A god?
356
00:39:44,674 --> 00:39:46,514
You're very good for me.
357
00:39:54,434 --> 00:39:58,774
I don't know why this dress doesn't fit.
I wore it for last year's dance.
358
00:39:58,856 --> 00:40:01,016
I'm almost ready.
359
00:40:01,108 --> 00:40:04,028
How could I change so much
in so little time?
360
00:41:00,376 --> 00:41:02,036
Do you remember?
361
00:41:04,462 --> 00:41:06,262
Do I remember?
362
00:41:06,924 --> 00:41:11,394
My loveI can't believe it's all over
363
00:41:11,928 --> 00:41:18,348
The quality of the filmcontinues to amaze me
364
00:41:18,434 --> 00:41:22,314
in that it was donewith a level of care -
365
00:41:23,816 --> 00:41:26,186
All the -
366
00:41:26,275 --> 00:41:28,895
All the scenes carryan enormous strength.
367
00:41:28,988 --> 00:41:34,778
The scale of del Toro's ideas
368
00:41:34,868 --> 00:41:38,038
is always huge.
369
00:41:38,122 --> 00:41:41,962
You have to build enormous sets,to deal with complex arrangements.
370
00:41:42,042 --> 00:41:45,632
There's never a simple scene
371
00:41:45,712 --> 00:41:47,632
in Guillermo's films.
372
00:41:58,516 --> 00:42:01,096
That's what architects call vectors.
373
00:42:01,186 --> 00:42:03,596
- That's amazing.
- That's it?
374
00:42:03,688 --> 00:42:06,898
The small parts
always support the large ones.
375
00:42:06,983 --> 00:42:10,493
- But what holds it up?
- It's not a play on words. The pillars...
376
00:42:10,570 --> 00:42:13,660
- Teacher.
- I'll be right with you, Manuelito.
377
00:42:14,157 --> 00:42:15,987
- Cheers.
- Cheers.
378
00:42:39,515 --> 00:42:41,015
What's wrong?
379
00:42:41,809 --> 00:42:43,439
Is something wrong?
380
00:42:43,520 --> 00:42:45,610
- I'll be right back.
- Where are you going?
381
00:42:45,688 --> 00:42:47,188
To get a drink.
382
00:43:29,399 --> 00:43:30,859
It's hot.
383
00:43:30,942 --> 00:43:32,692
This always happens to me.
384
00:43:33,778 --> 00:43:35,778
- Are you feeling better?
- Yes.
385
00:44:03,182 --> 00:44:05,192
Every time I drink, I have to pee.
386
00:44:06,102 --> 00:44:09,192
I've been listening to this music
since I was a little boy.
387
00:44:09,857 --> 00:44:11,777
What a fucking decadent party.
388
00:44:12,734 --> 00:44:14,324
Really.
389
00:44:14,403 --> 00:44:16,243
Give me a fucking break.
390
00:44:16,905 --> 00:44:19,155
Look what they did here.
391
00:44:19,241 --> 00:44:21,371
The party got crashed
by some Argentinean
392
00:44:21,450 --> 00:44:23,950
or a Peruvian, shit.
393
00:44:24,454 --> 00:44:28,214
You break your back all year long
to go to a nice party...
394
00:44:28,292 --> 00:44:29,462
Fuck.
395
00:44:30,126 --> 00:44:31,786
I'm leaving.
396
00:45:23,888 --> 00:45:28,728
Nine, eight, seven,
397
00:45:28,809 --> 00:45:31,899
six, five,
398
00:45:31,979 --> 00:45:35,319
four, three,
HAPPY NEW YEAR - TIGERS CLUB
399
00:45:35,400 --> 00:45:37,950
two, one!
400
00:46:00,175 --> 00:46:04,135
It has been a pleasure,an honor for Day Radio,
401
00:46:04,220 --> 00:46:06,140
to bring to your homes
402
00:46:06,222 --> 00:46:10,352
the traditional live broadcastof the Tigers Club annual party.
403
00:46:10,434 --> 00:46:15,114
We're always thinking ofyouand wishing you the very best.
404
00:46:15,190 --> 00:46:19,860
May all your New Year's resolutionshave a mostjoyous outcome
405
00:46:19,945 --> 00:46:22,315
and open the mostwonderful paths to you.
406
00:46:22,405 --> 00:46:25,365
Here, in HPLM's sound booth,
407
00:46:25,449 --> 00:46:27,789
we feel honored, overwhelmed -
408
00:46:27,869 --> 00:46:30,999
yes, why not say it -overwhelmed with joy
409
00:46:31,081 --> 00:46:34,671
to hear from you,to answeryour calls.
410
00:46:34,750 --> 00:46:40,050
Mrs. Lorenza wants to send herwarmest regards to the whole family.
411
00:46:40,132 --> 00:46:43,512
And she wishes the very bestfor us all.
412
00:46:43,592 --> 00:46:46,512
Mrs. Lupita Raquelsends everyone her wishes
413
00:46:46,595 --> 00:46:50,465
for glory to God in heaven,peace on earth and goodwill.
414
00:46:50,559 --> 00:46:51,519
How beautiful.
415
00:46:51,601 --> 00:46:53,021
You.
416
00:47:15,916 --> 00:47:18,416
What the fuck does
the old man want with it?
417
00:47:20,505 --> 00:47:22,295
He never told you?
418
00:47:38,272 --> 00:47:42,942
He thinks it will help him live longer.
419
00:47:58,668 --> 00:48:00,418
Leave me alone.
420
00:48:00,503 --> 00:48:02,633
Do what you have to do,
but leave me alone.
421
00:48:47,717 --> 00:48:49,217
Get up!
422
00:50:26,649 --> 00:50:28,319
So quiet.
423
00:50:32,112 --> 00:50:34,282
My God, so much blood.
424
00:50:36,201 --> 00:50:38,081
All that blood is mine.
425
00:50:40,664 --> 00:50:42,164
I'm dying.
426
00:50:44,166 --> 00:50:45,666
Unbelievable.
427
00:50:47,295 --> 00:50:49,165
Everything's upside down.
428
00:50:50,173 --> 00:50:51,843
And I'm dying.
429
00:50:53,676 --> 00:50:55,176
Alone.
430
00:50:56,346 --> 00:50:57,676
Alone.
431
00:50:58,180 --> 00:51:00,140
Don't let me die today.
432
00:51:01,475 --> 00:51:03,805
I'm in so much pain.
433
00:51:05,271 --> 00:51:08,731
I can endure a lot more.A lot more.
434
00:51:13,070 --> 00:51:14,740
Oh, Aurora.
435
00:52:36,528 --> 00:52:39,158
Wow, Tito. Wow.
436
00:52:40,282 --> 00:52:42,622
The forehead is turning out...
437
00:52:42,701 --> 00:52:44,201
perfect.
438
00:52:45,871 --> 00:52:47,621
It looks totally normal.
439
00:52:49,250 --> 00:52:52,090
It's your best work yet.
- Fuck, yeah.
440
00:52:52,170 --> 00:52:54,000
There's a technique to this.
441
00:52:54,755 --> 00:52:56,665
I'm giving it shape,
442
00:52:57,341 --> 00:52:58,681
texture,
443
00:52:59,469 --> 00:53:01,049
color.
444
00:53:05,517 --> 00:53:07,307
You have to be a fucking artist.
445
00:53:08,936 --> 00:53:10,436
Yes.
446
00:53:11,106 --> 00:53:14,226
But don't go to so much trouble.
We're going to cremate him.
447
00:53:15,567 --> 00:53:17,067
What?
448
00:53:17,696 --> 00:53:20,566
Fuck me! What do you mean
we're going to burn him?
449
00:53:21,699 --> 00:53:26,039
You should've told me before
I fixed the fucker, God rest his soul.
450
00:53:26,870 --> 00:53:30,080
Nobody respects my work here.
Why didn't you guys let me know?
451
00:53:30,165 --> 00:53:31,915
You! Why didn't you let me know?
452
00:53:33,711 --> 00:53:35,671
The widow changed her mind.
453
00:53:37,381 --> 00:53:39,801
It looks like the guy
didn't make preparations.
454
00:53:39,883 --> 00:53:42,643
He didn't buy a niche,
or a grave plot, nothing.
455
00:53:42,721 --> 00:53:44,391
They're all the same.
456
00:53:45,014 --> 00:53:47,354
The bastards think they'll live forever.
457
00:54:06,202 --> 00:54:07,502
Motherfucker.
458
00:56:54,828 --> 00:56:56,498
Look at that.
459
00:56:58,206 --> 00:56:59,996
Was it a lively wake?
460
00:57:05,047 --> 00:57:06,967
We won't send you to heaven like this.
461
00:57:07,050 --> 00:57:09,550
Naked, with lipstick smudges all over.
462
00:57:10,510 --> 00:57:12,390
They'll think you went whoring.
463
00:58:54,406 --> 00:58:55,906
Here you go, buddy.
464
00:59:17,263 --> 00:59:20,183
Come in, sir. Come in.Make yourself at home.
465
00:59:23,186 --> 00:59:27,106
Tito, Mr. De la Guardia is -
466
00:59:27,189 --> 00:59:28,939
was a friend of the deceased.
467
00:59:30,359 --> 00:59:33,199
He wants to see the body
one last time.
468
00:59:38,534 --> 00:59:40,044
Of course.
469
00:59:40,535 --> 00:59:42,575
Medium or well done?
470
01:01:29,061 --> 01:01:30,561
HE ISN'T DEAD
HE JUST LEFT EARLY
471
01:01:30,645 --> 01:01:32,265
THE FAMILY OF JESÚS GRIS
THANKS YOU
472
01:01:32,356 --> 01:01:34,026
FOR BEING WITH US
DURING THESE TRYING TIMES
473
01:02:08,683 --> 01:02:10,193
Hello?
474
01:02:16,816 --> 01:02:18,066
Yes?
475
01:02:19,027 --> 01:02:20,527
Mercedes.
476
01:03:56,292 --> 01:03:59,172
The world seenthrough the eyes of a child.
477
01:03:59,253 --> 01:04:02,723
Guillermo, deep down, is still a child.
478
01:04:02,798 --> 01:04:08,218
He has retainedthis freshness of a child,
479
01:04:08,304 --> 01:04:10,764
to narrate his adventures,
480
01:04:10,848 --> 01:04:13,058
because he has -
481
01:04:13,142 --> 01:04:16,062
His mind is filled
482
01:04:16,561 --> 01:04:20,111
with strong and brutal images,
483
01:04:20,190 --> 01:04:25,570
and, at the same time,tender and very loving images.
484
01:05:24,880 --> 01:05:28,510
Dear Mer... cedes.
485
01:05:30,344 --> 01:05:33,394
It's very hard to writethese lines to you.
486
01:05:35,682 --> 01:05:37,982
I want you to know that,
487
01:05:39,061 --> 01:05:40,561
somehow,
488
01:05:41,730 --> 01:05:43,570
for some reason,
489
01:05:44,107 --> 01:05:45,777
I'm still alive.
490
01:05:45,859 --> 01:05:48,399
And being alive is verypainful.
491
01:05:49,112 --> 01:05:50,952
I'm burning with thirst.
492
01:05:52,408 --> 01:05:54,828
And everything feels foreign to me,
493
01:05:55,952 --> 01:05:57,452
the day,
494
01:05:58,581 --> 01:06:00,331
this house...
495
01:06:03,252 --> 01:06:04,252
andyou.
496
01:06:06,422 --> 01:06:08,472
Aurora will stay with you.
497
01:06:09,257 --> 01:06:12,597
She will leave you this letter.
498
01:06:14,305 --> 01:06:16,675
By the time you read it,
499
01:06:16,764 --> 01:06:20,274
I will have goneto a kind of appointment
500
01:06:21,603 --> 01:06:23,443
to resolve unfinished business.
501
01:06:24,940 --> 01:06:28,820
If I've lost everything,at least I'd like to know why.
502
01:06:30,445 --> 01:06:33,735
Just today I realizehow much I miss you.
503
01:06:34,616 --> 01:06:38,826
I hope to find you herewhen I come back, willing to see me,
504
01:06:38,912 --> 01:06:41,212
regardless of my appearance.
505
01:06:42,707 --> 01:06:44,207
Love,
506
01:06:45,794 --> 01:06:47,304
Jesús.
507
01:07:43,977 --> 01:07:45,477
Aurora.
508
01:07:55,613 --> 01:07:57,453
For God's sake, what are you doing here?
509
01:07:57,533 --> 01:07:59,913
I told you not to come, Aurora.
510
01:08:01,287 --> 01:08:03,497
Put that away.
511
01:08:03,581 --> 01:08:05,581
Don't you realize they could kill us?
512
01:08:05,666 --> 01:08:07,916
Don't you realize we're in danger?
513
01:10:16,130 --> 01:10:17,130
It works.
514
01:10:18,506 --> 01:10:20,426
I knew you'd be back.
515
01:10:21,759 --> 01:10:25,099
If you're looking
for the missing pages,
516
01:10:25,180 --> 01:10:27,010
you're wasting your time.
517
01:10:27,098 --> 01:10:28,598
I ate them.
518
01:10:31,061 --> 01:10:33,111
You talk about eternity.
519
01:10:33,187 --> 01:10:36,897
Look at me, look at my skin.
It's rotting. It's falling to pieces.
520
01:10:39,820 --> 01:10:42,490
What? What are you talking about?
521
01:10:51,789 --> 01:10:53,289
Look.
522
01:11:25,907 --> 01:11:28,157
What's happening to me?
523
01:11:28,242 --> 01:11:30,542
You've been reborn.
524
01:11:42,299 --> 01:11:44,179
Why is this happening?
525
01:11:44,259 --> 01:11:46,179
Why this new skin?
526
01:11:46,261 --> 01:11:48,181
And don't answer with riddles!
527
01:11:48,263 --> 01:11:49,973
You talk about insects,
528
01:11:51,015 --> 01:11:53,345
about alchemists, about devices.
529
01:11:54,686 --> 01:11:56,686
But what am I missing?
530
01:11:59,774 --> 01:12:01,284
Blood.
531
01:12:05,988 --> 01:12:07,488
Human?
532
01:12:20,212 --> 01:12:23,592
I can break the device,
smash it to pieces.
533
01:12:34,684 --> 01:12:36,524
I don't give a damn about eternity!
534
01:12:36,602 --> 01:12:39,312
I don't want to live forever.
I just want out of this.
535
01:12:51,994 --> 01:12:53,874
I don't trust you.
536
01:13:04,171 --> 01:13:06,591
I don't think you have a choice.
537
01:13:11,597 --> 01:13:13,267
Give it to me, darling.
538
01:13:13,347 --> 01:13:15,517
Give it to me, I know what I'm doing.
539
01:13:29,697 --> 01:13:30,697
But first...
540
01:13:31,783 --> 01:13:33,283
my way out.
541
01:14:06,067 --> 01:14:08,567
Ready. Cut.
542
01:14:09,571 --> 01:14:11,071
Camera.
543
01:14:22,834 --> 01:14:24,754
My God, Aurora.
544
01:14:51,612 --> 01:14:53,122
Let's go, okay?
545
01:14:53,740 --> 01:14:55,240
Let's go.
546
01:14:56,784 --> 01:14:58,294
Please.
547
01:17:03,410 --> 01:17:04,910
Angel.
548
01:17:54,628 --> 01:17:56,128
Oh, Mr. Gris.
549
01:19:04,366 --> 01:19:05,866
Mr. Gris.
550
01:19:10,538 --> 01:19:12,078
Go on.
551
01:19:12,165 --> 01:19:13,665
Go on!
552
01:20:21,775 --> 01:20:23,185
Come here.
553
01:20:23,277 --> 01:20:24,277
Angel!
554
01:20:27,490 --> 01:20:30,740
What the fuck do I have to do
to kill you?
555
01:20:30,826 --> 01:20:32,946
You've got more to lose.
556
01:20:33,997 --> 01:20:35,787
For me, it's just pain.
557
01:23:54,072 --> 01:23:55,822
Grandfather.
558
01:24:07,960 --> 01:24:09,460
No!
559
01:24:54,382 --> 01:25:00,012
Cronos would go on to bewhat gives Guillermo del Toro
560
01:25:00,095 --> 01:25:03,635
his international career,his widespread reach,
561
01:25:03,725 --> 01:25:07,305
because he has a lot to express.
562
01:25:07,395 --> 01:25:11,765
And I'm sure we'll be seeingmany of his works in the future.
563
01:25:12,275 --> 01:25:13,935
Jesús Gris.
564
01:25:16,695 --> 01:25:21,945
Finally, we gave everything to this film.
565
01:25:22,035 --> 01:25:24,195
We made a tremendous effort,
566
01:25:24,287 --> 01:25:28,247
but we truly gave it a lot more
567
01:25:28,332 --> 01:25:35,012
than what was usually givento a Mexican film at the time.
568
01:25:35,505 --> 01:25:38,505
Nowadays, when films are made,
569
01:25:38,593 --> 01:25:40,853
it's standard to do it that way,
570
01:25:40,928 --> 01:25:45,388
with those kinds of costsand more professional productions.
571
01:25:45,475 --> 01:25:48,805
But we were the oneswho blazed a trail
572
01:25:49,478 --> 01:25:51,608
and gave -
573
01:25:52,607 --> 01:25:55,567
again, reallygave Guillermo
574
01:25:55,651 --> 01:26:00,201
everything that he neededto make Cronos possible.
575
01:26:45,910 --> 01:26:50,120
IN MEMORY OF
JOSEFINA CAMBEROS
41869
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