mexican directors

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Guillermo del Toro Gómez born October 9, 1964, is a Mexican American film director, screenwriter, producer and novelist. In his filmmaking career, del Toro has alternated between Spanish-language dark fantasy pieces, such as the gothic horror film The Devil’s Backbone (2001), and Pan’s Labyrinth (2006), and more mainstream American action movies, such as the vampire superhero action film Blade II (2002), the supernatural superhero film Hellboy (2004), its sequel Hellboy II: The Golden Army (2008), and the science fiction monster film Pacific Rim (2013). His latest film, The Shape of Water, won the Golden Lion at the Venice Film Festival and is scheduled for an American release on December 8, 2017.

In addition to his directing works, del Toro is a prolific producer, his producing works including acclaimed and successful films such as The Orphanage (2007), Julia’s Eyes (2010), Biutiful (2010), Kung Fu Panda 2 (2011), Puss in Boots (2011), and Mama (2013). He was originally chosen by Peter Jackson to direct The Hobbit films; he left the project due to production problems but was still credited as co-writer for his numerous contributions to the script.

Del Toro’s work is characterised by a strong connection to fairy tales and horror, with an effort to infuse visual or poetic beauty.  He has a lifelong fascination with monsters, which he considers symbols of great power.[3] Del Toro is known for his use of insectile and religious imagery, the themes of Catholicism and celebrating imperfection, underworld and clockwork motifs, practical special effects, dominant amber lighting, and his frequent collaborations with actors Ron Perlman and Doug Jones. He is also friends with fellow Mexican directors Alfonso Cuarón and Alejandro González Iñárritu, collectively known as “The Three Amigos of Cinema”.

When del Toro was about eight years old, he began experimenting with his father’s Super 8 camera, making short films with Planet of the Apes toys and other objects. One short focused on a "serial killer potato” with ambitions of world domination; it murdered del Toro’s mother and brothers before stepping outside and being crushed by a car. Del Toro made about 10 short films before his first feature, including one titled Matilde, but only the last two, Doña Lupe and Geometria, have been made available. He also wrote four and directed five episodes of the cult series La Hora Marcada, along with other Mexican filmmakers such as Emmanuel Lubezki and Alfonso Cuarón.

Del Toro studied special effects and make-up with special-effects artist Dick Smith. He spent 10 years as a special-effects make-up designer and formed his own company, Necropia. He also co-founded the Guadalajara International Film Festival. Later in his directing career, he formed his own production company, the Tequila Gang.

In 1997, at the age of 33, Guillermo was given a $30 million budget from Miramax Films to shoot another film, Mimic. During this time, his father, automotive entrepreneur Federico del Toro, was kidnapped in Guadalajara. Del Toro’s family had to pay twice the amount originally asked. The event prompted del Toro, his parents, and his siblings to move abroad. In an interview with Time magazine, he said this about the kidnapping of his father: “Every day, every week, something happens that reminds me that I am an involuntary exile [from my country]

Del Toro has directed a wide variety of films, from comic book adaptations (Blade II, Hellboy) to historical fantasy and horror films, two of which are set in Spain in the context of the Spanish Civil War under the authoritarian rule of Francisco Franco. These two films, The Devil’s Backbone and Pan’s Labyrinth, are among his most critically acclaimed works. They share similar settings, protagonists and themes with the 1973 Spanish film The Spirit of the Beehive, widely considered to be the finest Spanish film of the 1970s.

Del Toro views the horror genre as inherently political, explaining, "Much like fairy tales, there are two facets of horror. One is pro-institution, which is the most reprehensible type of fairy tale: Don’t wander into the woods, and always obey your parents. The other type of fairy tale is completely anarchic and antiestablishment.”

He is close friends with two other prominent and critically praised Mexican filmmakers Alfonso Cuarón and Alejandro González Iñárritu.[15] The three often influence each other’s directorial decisions, and have been interviewed together by Charlie Rose. Cuarón was one of the producers of Pan’s Labyrinth, while Iñárritu assisted in editing the film.

Del Toro has also contributed to the web series Trailers From Hell.

In April 2008, del Toro was hired by Peter Jackson to direct the live-action film adaptation of J. R. R. Tolkien’s The Hobbit. On May 30, 2010, del Toro left the project due to extend delays brought on by MGM’s financial troubles. Although he did not direct the films, he is credited as co-writer in An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies.

On June 2, 2009, del Toro’s first novel, The Strain, was released. It is the first part of an apocalyptic vampire trilogy co-authored by del Toro and Chuck Hogan. The second volume, The Fall, was released on September 21, 2010. The final installment, The Night Eternal, followed in October 2011. Del Toro cites writings of Antoine Augustin Calmet, Montague Summers and Bernhardt J. Hurwood among his favourites in the non-literary form about vampires.


On December 9, 2010, del Toro launched Mirada Studios with his long-time cinematographer Guillermo Navarro, director Mathew Cullen and executive producer Javier Jimenez. Mirada was formed in Los Angeles, California to be a collaborative space where they and other filmmakers can work with Mirada’s artists to create and produce projects that span digital production and content for film, television, advertising, interactive and other media. Mirada launched as a sister company to production company Motion Theory.[19]

Del Toro directed Pacific Rim, a science fiction film based on a screenplay by del Toro and Travis Beacham. In the film, giant monsters rise from the Pacific Ocean and attack major cities, leading humans to retaliate with gigantic mecha suits called Jaegers. Del Toro commented, “This is my most un-modest film, this has everything. The scale is enormous and I’m just a big kid having fun.” The film was released on July 12, 2013 and grossed $411 million at the box office.

Del Toro directed “Night Zero”, the pilot episode of The Strain, a vampire horror television series based on the novel trilogy of the same name by del Toro and Chuck Hogan. FX has commissioned the pilot episode, which del Toro scripted with Hogan and was filmed in Toronto in September 2013. FX ordered a thirteen-episode first season for the series on November 19, 2013, and series premiered on July 13, 2014.

After The Strain’s pilot episode, del Toro directed Crimson Peak, a gothic horror film he co-wrote with Matthew Robbins and Lucinda Cox. Del Toro has described the film as “a very set-oriented, classical but at the same time modern take on the ghost story”, citing The Omen, The Exorcist and The Shining as influences. Del Toro also stated, “I think people are getting used to horror subjects done as found footage or B-value budgets. I wanted this to feel like a throwback.” Jessica Chastain, Tom Hiddleston, Mia Wasikowska, and Charlie Hunnam starred in the film. Production began February 2014 in Toronto, with an April 2015 release date initially planned. The studio later pushed the date back to October 2015, to coincide with the Halloween season.[

He was selected to be on the jury for the main competition section of the 2015 Cannes Film Festival.

Del Toro directed the cold-war drama film The Shape of Water, starring Sally Hawkins, Octavia Spencer, and Michael Shannon.[29] Filming was set to begin on August 1, 2016 in Toronto,[30][31] but del Toro confirmed on his personal Twitter account that filming would begin on August 15, 2016.[32] Production was officially announced to have begun on that day and wrapped twelve weeks later, the film is currently in post-production.[33] On August 31, 2017 the movie was screened and premiered in the main competition section of the 74th Venice International Film Festival where it was awarded the Golden Lion for best film, making Del Toro the first mexican director to win the award[34][35].

On July 21, 2016, it was reported that del Toro will retire from producing for projects that he isn’t creating or directing himself.

At the D23 Expo in 2009, his Double Dare You production company and Disney announced a production deal for a line of darker animated films. The label was announced with one original animated project, Trollhunters. However, del Toro moved his deal to DreamWorks in late 2010. Trollhunters was released to great acclaim on Netflix and “is tracking to be its most-watched kids original ever

3

In Mexico today we celebrate the National Day of Mexican Cinema (Día Nacional del Cine Mexicano) and to celebrate here’s a list of 10 films directed by Mexican women:

1.       No quiero dormir sola (2012) Natalia Beristáin

2.       Cinco días sin Nora (2008)  Mariana Chenillo

3.       Los insólitos peces gato (2013) Claudia Saint-Luce

4.       Fecha de caducidad (2011) Kenya Márquez

5.       Nos vemos papá (2011) Lucía Carreras

6.       Sabrás que hacer conmigo (2015) Katina Medina Mora

7.       Las buenas hierbas (2010) María Novaro

8.       Tempestad (2016) Tatiana Huezo

9.       Todos queremos a alguien (2017) Catalina Aguilar Mastretta

10.    Perfume de violetas (2001) Marisa Sistach

Extra:

Bellas de noche (2016) María José Cuevas

anonymous asked:

But you have know idea how much the team at Pixar researched about Mexican culture. From my visit to Mexico music was a huge part of the culture and musicians used the guitar alot. Unfortunately Guillermo del Toro's (producer of BOL) movies haven't been doing well. And (director of BOL) Jorge isn't barely known. Also coco is Co directed and written by Adrian Molina. Someone of Latino origin. I'm sure he understands the culture. Using the same holiday isn't really a rip off.

I have no issue with Pixar doing a well researched film on Dia de Los Muertos. My problem is that Disney and Pixer outright passed on A Book of Life and then decided “never mind we will do it” and then couldn’t even be bothered to hire an actual Mexican director. And then decided to have a plot very similar to The Book of Life, a film they, again, rejected because it would not get interest in America. 

I am also not going to just forget the fact Disney grossly tried to copyright “Dia de Los Muertos”, they literally tried to copyright a Mexican Holiday so they could make money of it. It would mean actual Mexicans would have to pay Disney to use Dia de los Muertos. This is gross. It would be like a Mexican film company trademarking Christmas. 

I am Latina myself. There is a difference between being Latino and being Mexican in this case. Dia de Los Muertos is a Mexican Holiday and they should have hired an actual Mexican director to actually do the project. 

Again I am not going to stop people from watching this. Am I glad to see our cultures getting more attention, yeah. But I’m also not going to let Disney get away with what they did just because of whom they are. We need to hold companies accountable.  

This isn’t about Pixar not being able to make a film like this. It is about the shady history behind this film and Disney’s treatment of A Book of Life before practically ripping it off.  

twitter.com
AcademiaCineMx on Twitter
“#Tempestad de Tatiana Huezo, es la elegida para representar a México en los @PremiosGoya y Premios Oscar ( @TheAcademy ) 2018. ¡Enhorabuena!”

Tempestad, directed by Tatiana Huezo, has been submitted to represent Mexico at the Goyas and the Academy Awards in 2018. It is the 4th directed or co-directed film by a woman that represents Mexico at the Oscars. 

anonymous asked:

So, what is the deal with tumblr's weird beef with Pixar's new movie Coco? I see a lot of people complaining about it and I don't get why

That’s actually a really interesting subject, because there’s quite a lot to unpack there:

1: Earlier into the films production, Disney tried to trademark the phrase “Dia de los muertos”, the Mexican name for the Day of the Dead holiday that the movie is based around. Naturally this resulted in justifiable outrage and disgust from Mexican citizens and fans at a company trying to trademark a holiday that holds great significance to their culture. Thankfully Disney quickly backed down after realizing how stupid they had been, but it still left many people bitter and weary of how the movie was going to turn out.

2: You heard of The Book of Life? It’s another movie based around the same holiday released about three years ago. It was generally well received by critics, but had something of a broken base reception among audiences for a variety of reasons, and made just shy of $100 million at the worldwide box office on a $50 million budget, making it only a very modest success at best. Though it has a passionate fandom especially here on tumblr.

Part of that has to do with the fact that it was directed by Jorge Gutierrez, a talented Mexican director and animator probably best known for creating the Nickelodeon show El Tigre. He’s a nice guy from what I’ve seen and very passionate about his culture and his works.

Tumblr and many social justice advocates are very passionate about pushing for a wider range of diversity in the media, and that includes behind the scenes and supporting the work of minority creators in Hollywood and the entertainment Industry in general (And understandably, it is an important cause).

So when Pixar announced the release date for a film also based on the Day of the Dead holiday, directed by a white man, fans of The Book of Life and Jorge became immediately salty over the prospect, since with Pixar’s pedigree even if the movie turned out not well received it was all but guaranteed to make WAY more money and get far more publicity from both the general public and the animation community than the Book of Life did, maybe even having a shot at winning best animated feature Oscar due to the academy’s bias towards Disney and Pixar due to their general disregard to animation as a legitimate art form worthy of their attention.

3: Disney have a very shaky history with representing non-white groups of people and cultures, many of their classic and even recent movies featuring offensive stereotypes or just downright racist stories, the most well known example being Pocahontas, a movie where if you know anything at all about the real life person it’s story is “Based” on, you’d… be pretty insulted, to say the least.

They’ve gotten better at this to an extent this century, Moana for example despite some complaints was pretty well researched and the filmmakers clearly cared about doing their best to respect Polynesian culture. But a lot of people are just suspicious whenever Disney release a work vaguely like Coco made by a white director and mostly white crew. The fact that it’s specifically Pixar making the film doesn’t alleviate this sentiment, since they’re owned by and heavily connected to Disney.

This also ties in with the previous point, where Book of Life fans and people who want to see more support for movies about Mexico and their culture by actual Mexican creators feel embittered about the situation with Coco, to the point of calling it a rip-off based on any even coincidental similarity they perceive between the two films.

Disney did recognise this, and brought on a Latino co-director in Adrian Molina, and a number of high profile Latino consultants including the CEO of the Mexico Heritage Corp Marcela Davison Aviles to help make sure the film was as accurate and respectful to Mexican culture and the traditions behind the Day of the Dead holiday as possible, the director and crew already having done extensive research to have achieved this from the start of production.

This helped alleviate some people’s concerns, but for many the damage was already done and among many here on Tumblr there was lingering resentment both from Book of Life fans and many people who just felt that a film about Mexican culture should have been the work of Mexican creators from the start. So the movie had a hard time winning over much of it’s detractors pre-release.



And, while I think there’s more I could add and probably I don’t know about, I think that covers a lot of the main points.

From what I’ve seen, Coco has been unanimously well received in Mexico upon release, and despite the attitudes of his fans Jorge Gutierrez loved the movie, and was very excited about having multiple animated movies about an important holiday from his culture being made (A sentiment echoed by many Mexican people and fans as to why the complaints about being a rip-off of Book of Life just from being based around the same holiday were unfair and jumping the gun, since how many movies do we have about Christmas and Halloween?).

So, it looks like things turned out fine regardless of the controversy. Now, I haven’t seen the movie. And I’ll say upfront, I’m a white-British guy who only has a basic knowledge about Mexico and it’s culture. I can’t tell you how accurate and respectful the movie is, whether it features any problematic elements or stereotypes and any of that. I probably wouldn’t be qualified to comment on that even after watching the film.

If there are Latino fans who have watched the movie, and are very passionate about their culture and how their people are represented in the media and they take issue with anything in the final product, I won’t argue too hard with them.

I will say though that a movie like this being made, and the way it’s been embraced by the people it’s representing, is a very important thing for Mexican people. We need more movies based on and which lovingly embrace and celebrate that country and it’s culture, now more than ever maybe with the rising anti-immigrant and anti-Latino sentiments in the United States, especially with President Crazy Steve and his “Let’s build a wall to keep those rapists out of our country and save our jerbs!!” nonsense. 

It’s important for non-Latino children to see movies portraying Mexico and it’s people in a positive way, and maybe even more so important for Latino children to see themselves in the media as the heroes more often than they do currently, especially those of immigrant families.

So, with the film now released and the very positive reception it’s got, you know… maybe we can all just calm down a little and accept this as a victory?

Interview like a Boss

At some universities, and specifically Oxford and Cambridge, you will have to be interviewed in order to get an offer. Here are my top tips for making sure you show yourself in the best possible light at interview!

Know about EVERYTHING you wrote on your personal statement

First of all, I’ll return to something I said earlier in this post: your personal statement matters. There is no way of knowing whether your interview will be based largely around what you’ve said in your personal statement or not. When I was interviewed, one of mine was entirely based on what I’d written in my personal statement, while the other had very little to do with it whatsoever!

However, if your interviewer does begin to ask you about elements of your personal statement, you simply have to know some stuff about it! They are, of course, going to try to stretch you out of your comfort zones, so you will be unsure of some of the stuff you are asked. However, your interviewer will expect you to have certainly read the books, covered the material and really looked into any books or pieces of theory you have mentioned in your personal statement!

What happened to me

Just to prove my point here, I will give you an example of what happened during one of my interviews. I had mentioned in one sentence a Mexican director whose films I had found interesting. I had actually only seen two of his films.

My interviewer, having discussed another element of my personal statement, then paused and said:

“Right, hmmm… Let’s talk about Iñárritu…”

(Iñárritu was the name of the director!)… We then discussed his films for the remaining half of the interview!

Read through your personal statement and highlight any possible weaknesses!

Fortunately, the day before my interview, I had taken the time to go through my personal statement and had thought about any elements that my interviewer could possibly pick up on that I would struggle with. I suddenly realised that I actually knew very little about Iñárritu!

Thank goodness, I then read up a bit about him online and found a great quotation from one of his films that I memorised, so that I would be able to use it in any conversation we had about him… Then, guess what!? I was able to use this quotation in my interview, and I was able to deal reasonably well with the questions I was asked.

Don’t Panic!

Having said all that, your interviewer (especially if you are a science or maths student) may ignore your personal statement altogether. If that happens, don’t panic.
Equally, if you are asked a question that you aren’t sure about… Sorry, when you are asked a question that you aren’t sure about, stay calm, feel free to take a few seconds to think about your response before blurting out something stupid and talk your interviewer through your thought process.

This is the most important piece of advice I can offer for interviews…

The interviewer wants to see how you think, so tell them!

You may get the answer to a question wrong. You may not say the answer the interviewer was looking for. This, actually, doesn’t really matter! They want to see how you think and so you must make sure that you talk them through your thought process.

Be able to change your initial ideas based on information you are given

This is also a really key part of your interview. Ultimately, the interviewer wants to see if they think they will be able to teach you. So, the chances are they will want to see how you are able to adapt your ideas when they give you information you weren’t previously aware of.

You shouldn’t necessarily change your mind altogether, but you may be able to say something like:

“Well, I suppose that given what I said about X (what you said initially), if we bear in mind Y (what the interviewer just told you), we can see that X is compounded by Y / is working in tandem with Y…”

… You get the idea. You must be able to be flexible in your thinking, without changing your mind every two seconds. The interviewer wants you to be adaptable, but also not totally indecisive!

Producer: First I just want to say how much we all adore the film. 

Director: Thank you. 

Producer: the whole concept is just fantastic, retelling the Greek myth of Orpheus in modern-day Rio de Janeiro is simply inspired. 

Director: I’m happy to hear you say that. 

Producer: We do have some notes about the title. 

Director: I like the title. 

Producer: It’s a fine title, but maybe it’s a little on the nose. 

Director: How do you mean?

Producer: Well, “Black Orpheus” feels like one of those first-round-of-brainstorming ideas.

Director: Orpheus is black in it. 

Producer: The accuracy of the title isn’t what’s in question here, but we were thinking maybe something with a little more mystery. You have so much to work with here, Carnival, the music, the pageantry, his love for Eurydice, the character of Death. We’re afraid you might be underselling it. 

Director: But see it’s Orpheus, except black. 

Producer: I’m right there with you, one-hundred percent, but really, for the sake of minimlaism, you can just call it “Orpheus.”

Director: But then people will be like “who’s that black dude, I thought Orpheus was in this.” It’s confusing. 

Producer: You know what, there’s no rush, take your time with it, bounce it around that genius head of yours, you are the artist and I am a mere patron. 

[Director leaves the office.]

Producer: Jesus Christ this thing is going to be a trainwreck. 


Producer: Shame on me for ever doubting you. Whatever project you want, come to me, it’s done. 

Director: Mexican Iliad. 

Producer: …I’m all in, champ.

Director: It’ll be like the Iliad except they’re all Mexican

Producer: Yeah no I got it. 

below the cut you will find roughly #300 small/medium hq, textless gifs of Mexican actor and director Diego Luna, as requested by @roman-winter. none of these gifs were made by me, but I did re-size and crop many of them; if you see your gifs in this post and would like them removed, please message me and I will do so immediately. please like or reblog if you plan to use this!

other resources: Rogue One: a Star Wars Story gif hunts, 48 gifs total (x) (x

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