Peopleareanexcusetoshowlocations

Peopleareanexcusetoshowlocations:LisandroAlonsoonJaujafromFilmQuarterlybyMeganRatnerIngeborg(VillbjørkMallingAgger)andCapt.Dinsen(ViggoMortensen)seedifferentfuturesFewdirectorspitmenagainsttheelementslikeArgentinianLisandroAlonso.In《Jauja》(2014)thoseelementsincludeforeignconquistadorsintentonaboriginalgenocideinPatagonia.Setduringthe“ConquestoftheDesert,”alate1870smilitarycampaigntowipeouttheindigenousMapuchepopulation,《Jauja》isataleofbrutalfollyandblinkeredmisery.Foreitherside,existenceisprecarious.Inanarrativelesslinearthandigressive,withironiesabundant,Alonsoimpliesbutneverstatesthefilm’scentraltheme:surrenderversusconquest,aweversusfear.Asthefilm’sepigraphnotes,“Jaujawasamythologicallandofabundanceandhappiness.Peoplewereundoubtedlyexaggerating,astheyusuallydo.Theonlythingthatisknownforcertainisthatallwhotriedtofindthisearthlyparadisegotlostontheway.”Intheopeningshot,DanishCaptainGunnarDinesen(ViggoMortensen)perchesbesidehisteenagedaughterIngeborg(VillbjørkMallingAgger)onabouldernearamilitaryoutpostinPatagonia.Aroundthemstraysoldiersrelax,feastingtheireyesonIngeborg.DinesentellshisdaughtertheywillsoonreturntoDenmark,hisstatedplansvisuallyunderminedbytheirposition:shefacesthecamera,heisturnedintheotherdirection.Shesaysnothinginreturn,latertellingherfather,“Ilovethedesert.Thewayitfillsme.”WhenIngeborgsubsequentlydecampswithoneofthesoldiers(AlonsoregularMisaelSaavedra),onlyDinesenseemsnonplussed.Withnoideaeveninwhatdirectiontosearch,Dinesenputsonhissabereddressuniform,saddlesup,andlightsouttofindIngeborg.Forawhile,thefilmfollowsboththerunawaysandthefather,eachpartypunyagainstaclearlyindifferentandinhospitablelandscape,repletewithwildanimalsandbandits.Butfinally,itbecomesDinesen’sfilmandDinesen’snightmare,anoneiricexpeditionintoconfusion,disillusion,anddissolution.BorninBuenosAiresin1975,Alonsoreleasedhisfirstfilm,《LaLibertad》,in2001.Inthatdebutandsubsequentreleases—《LosMuertos》(2004),《Fantasma》(2006),and《Liverpool》(2008)—Alonsoreliedsolelyonnonprofessionalactors,oftenpeoplethathemetinthefar-flungareasofArgentinawherehechosetoshoot.Always,locationprecedesstoryforhim.Shootinginthejungle,TierradelFuego,orPatagonia,hisdocumentary-stylesemi-fictionstracktheordinaryworkofruralsurvival:cuttingdowntrees,slaughteringagoat,cadginghoneycombfromatreetrunk.Intentionandmeaningareleftuptotheviewer.Hislonersdonothingtomakethemselveslikable,yetarecuriouslycompellingevenwhile,say,maneuveringarowboatorwieldinganax.Alonsodetailsthecomplexityofamasteredskill,averydifferentformofintelligencethanintellectualism.Hisfilmsinsistonthevalidityofmakingone’slifeinthewildasatleastequaltothemorecustomarymodernsettingsofofficeorsupermarketforaging.Protagonistssuchasanex-con(《LosMuertos》)oramerchantseaman(《Liverpool》)conveycomplexbackstoriesinthewaytheycarrythemselvesandresistsettlingdown.Thesemenarerestless,definedandimpededbyanarrowmasculinity.Workingfromthumbnailscripts,Alonsooftenlivesamongthosehefilms,guidedbytheircustomsandopentotheirideas.Priorto《Jauja》,eachfilmwassetinthepresentedandusedminimaldialogue,extendedtakes,andvirtuallynoexplanationastowhotheprotagonist—alwaysmale—isorhowhearrivedatthejunctureatwhichthefilmfindshim.EachfilmreliesonaformofcollaborationcontingentonAlonso’sclearabilitytoputnonactorsatease:theyappearsimplytolivetheirlivesonfilm.Muchofthistechniqueremainsin《Jauja》,theperiodsettingofferingyetanotherfacettoAlonso’scumulativeaccountofinwardlystrugglingmen.Underthefancydress,thecharactersarestilldoingalltheycantosurvive.Murder,incest,alcoholism,andditchingresponsibilityhaveallfiguredintheearlierwork,butthefactthatIngeborgratherthanthesoldierappearstohaveplottedtheirflightmarksadistinctshiftinthefilmmaker’sfocus.In《Jauja》,Ingeborgandtwootherfemalecharactershaveagency—anoveltyforwhichneitherDinesen,theAWOLsoldier,noranyoftheothermenareprepared.Theimagesin《Jauja》arepainterly,sometimesreminiscentofwhatanofficialmilitaryartistmighthavemadeofthescene,butwithatwist:theirlightingismodern,theexpectedsepiatradedforKodachrome.Shotsarecomposedwiththelandscapeasstar,thehumansalmostanafterthought.ParticularlyeffectiveisasceneinwhichMortensenridesatthecamera,thenawayfromit,alongtraversethatmayevenbecoveringterrainwherehehasalreadybeen,thatrendersonepartofthepampasindistinguishablefromanother.Hepersists,determinedtofindcoordinates,tomarshalanobviouschaos.Inonesubtleimageafteranother,Alonsoshowsamanlostintimeandspace.Thecaptain’stravailsarecyclicalproblemsrepeatingacrossnationsandhistories.Inadifferentuniform,Dinesencouldeasilybeappearingontonight’seveningnews.《Jauja》screenedattheNewYorkFilmFestival,whereAlonsowasfilmmakerinresidenceandwherethisinterviewwasconducted.LisandroAlonsoMEGANRATNER:Canyourememberwhenyoufirstbecameawarethatyouwantedtoworkwithimages?LISANDROALONSO:Wow!WhenIwassixorsevenyearsoldmyparentssentmetopaintinglessons.Ididn’tknowifIwasgoodornotbutIthinkIfellinlovewiththeteacher.Itooklessonsforayearandahalf,butonceshedecidedtoquit,Ineverwentbacktopainting.ThatclasscouldbethepointwhenIstartedtolookatimages,colors,figures,andobjectsandwhatever.RATNER:Inotherinterviews,you’vementionedyourparents’weeklytripsoutsideBuenosAirestotheirfarmasformative.ALONSO:Probablythemostimportantthingtomewasthatinthefirsttenyearsofmylifemyparentstookmeeveryweekendoutofthecity.Myfatherhasalittlefarmaboutanhourfromthecity.Ijustrememberbeingsurroundedbypeoplewhowerenotfromthecity,surroundedbycows,pigs,horses,andeatinggrilledmeatfamily-style.DuringtheweekIwouldstillbethinkingaboutthingsthathappenedontheweekend.Icontrastedthecitynoisewiththecountrysounds—andthesilence.IthinkIreallyenjoyedthattimemorethanlifeinthecity.MaybethatwasstuckinmymindwhenIhadtodecidewhattostudyafterhighschool.Igotusedtothinkingmoreingreenthaningray.RATNER:Whatledyoutofilmmaking?ALONSO:Inaway,Ijustwentbacktoimages.IheardarumorthattherewasafilmschoolabouttoopenandIdecided,whynot.I’mnotacinephile,I’veneverbeenacinephile.ButneverthelessIfoundawaytoexpresssomeofmyapproachwithoutsiders,withpeoplewholivefarawayfromcivilization,whodon’thavethesameopportunitiesIdo.Icouldexpresssomeofmyideaswiththecinema.RATNER:Didyouencounteranyresistancefromyourparents?ALONSO:AfterIfinishedhighschool,myfathertoldmedowhateveryouwantbutputsomepassioninitandbegoodatwhatyoudo.Hewasmygrandparents’onlychild.HegrewupinthestateofLaPampa,whereIshotmyfirstfilm(《LaLibertad》,2001).IthinkhelivedthereuntilhewasfiveandthenmovedtosuburbanLaPlata.Hedroppedoutofschool,gambledalot,andlivedonthestreet.Heloveshorses.Afterhemetmymotherhejuststartedtorelaxandcalmdown.HemovedtoBuenosAiresandstartedabusinesscareer.Iknowsomeofmyfather’schildhoodbutIdon’tthinkhewantstotellmealotofthings.Itwasnoteasy,Icantell.WhenItoldhim,“IthinkI’mgoingtostudycinema,”hesaid(headinhand),“It’snotagoodthingforaliving.Youwillnotmakeanymoney.”Butactually,atthattimeinArgentina,lotsofdoctorsandarchitectsweredrivingtaxis.Thefutureisn’tset:nobodyknowswhatwillhappen,especiallyincountriesliketheonewhereIlive.Istartedstudyingcinemabutdidn’tfinishmystudies.Iusedtoworkasasoundassistantinshortfilmsandfeatures,butIdidn’tmakeenoughtosurvivedoingthat.SoIwentbacktothefarmtoworkinmyparents’businesswithmybrothers.WorkingthereIdiscoveredMisaelSaavedra,whobecamethemaincharacterof《LaLibertad》.Ingeborgandhersoldier(MisaelSaavedra)beforetheirescapeRATNER:CanyoutalkaboutyourrelationshipwithMisael,whohasbeeninmanyofyourfilmsandin《Jauja》playsthesoldierwhothecaptain’sdaughterrunsoffwith?ALONSO:He’safriend.He’smorethanafriendtome.HerepresentsmuchoftheluckthatIfeelIhavemakingfilms.He’spartofit.He’spartof—howcanIsayit—myfilmlife,orfilmcareerorwhatever.SoIreallyappreciatedthechancetomeethim.He’slikeasymboltome.RATNER:Canyoutalkaboutthebeginningsof《Jauja》?PoetandwriterFabiánCasasplayedabigpart,right?ALONSO:ActuallyIstoppedmakingfilmsin2008because...Ijustgotboredrepeatingthesamekindofquestionsinthefilm.SoIwentbacktothefarm.Igotmarried,Ihaveakid.IjustchangedmylifecompletelyforfourorfiveyearsuntilIfeltthatIhadareasonnottocompletelygetawayfromfilms.IstartedwritingwithFabiánandhebroughtmecrazyideasaboutcrazyIndians.He’swritinganovelinparallelwiththefilmwherethemaincharacterisadog.ButIdidn’twanttomakeafilmaboutthedog—itwouldnotbeeasy.SoIusedcharactersanddialoguefromhisnovelandputitinthisscript.ThenViggogotonboard.RATNER:WasFabián,yourco-scripter,ontheset?ALONSO:Yeah,formaybehalfoftheshoot,neartheend.FabiánisaveryclosefriendofViggo.Inaway,ViggoisinthefilmthroughFabián.Idon’ttrustwords.Idon’tliketoomanyinafilm.ButFabián’spoeticpointofviewchangedhowIlookatthingsthroughdialoguesandwords.RATNER:Until《Jauja》,youworkedonlywithnonprofessionals,butthistimetherewereprofessionalactorsandaninternationalstar:ViggoMortensen.Wasitatrickytransition?ALONSO:HavingthechancetomixactorslikeViggoandnonactorslikeMisaelmademehappy.EvenifMisaeldidn’tknowwhoViggois.Formeitrepresentsmixingsomeonewhohasnoeducation,who’sbeenworkingwithanaxeallhislife,withViggoandtogetherweconstructsomethinginthefantasyofcinema.Therearealsotheaterpeopleinthecast,andsomecrewmembers,peopleI’vebeenworkingwithfortenorfifteenyears.RATNER:Allthosedifferentlifeexperiencesareakindofundercurrenttothefilm.Wasthereanytensionaroundthedifferences?ALONSO:TherewasrealtensionandIusedit.BeingaroundViggo,youfeelnervousbecauseheknowsalot.Inawayhehadtoslowdowntolettheotherpeoplefollow.It’sagoodthing,especiallyforthisfilmwhichisaboutaforeignguyfromDenmarktryingtogetmakecontactwiththesoldiers,theIndians,andthatpartofthelandwherenobodyrules.Itwasatimewhenpeoplewerenotsocivilized,especiallyinourplace.RATNER:HispostureandattitudehaveanorthernEuropeanformality,moreappropriatetoDenmarkthanthepampas.ALONSO:Yeah,hedoesn’twanttotakeoffhissword,hismedal,andhisjacket.Heistryingtounderstand.Hethinksifheunderstandshewillgetanswers.That’shislogicalwayofthinkingbecausehecamefromsomeotherplace.Butitdoesn’thelphimtofindtheanswersthathe’slookingfor,withhisdaughter,ortounderstandwhatishappeninginthatplace.AndIguessthatViggodiditinaverygoodway.LookingforIngeborg,Capt.DinesenonlymanagestolosehimselfRATNER:Evenoffhishorse,hemovedaroundasifheweretryingtomaptheterritory,togetafix.ALONSO:He’stryingtoorganizethingsthatcannotbeorganized.RATNER:Certainlyhe’snotthefirstinvadertotrythat!Yourpreviousfilmsweremoreobservational,lessovertlyfictional;notleastbecauseofthehistoricalsetting,《Jauja》seemstomarkanewdirection.ALONSO:Thethemesof《Jauja》areverydifferentfrommypreviousfilms.IntheotheronesIjustworkedmorewithrealtimeandwithobservingrealpeopledoingthingsthattheydoeveryday.Inthisfilmthere’smorefiction.Intheway,itlooksandinthewaypeopledealwitheachother—andit’smuchmoreartificial.IthinkthatispartlybecauseofTimoSalminen(AkiKaurismäki’scinematographer).TimoisFinnishandhasaparticularwayoflookingatnatureandhisownwaytoapproachthepicturelighting.SomuchinKaurismäkifilmsisfakeandartificial.Ifyouseemywork,it’scompletelytheotherwayaround,soformeitwasagoodcollaboration,justtogetoutfrommypointofviewandconnectwith...classicalnarrative.Andithelpstorememberthattherearesomanywaysofdoingthings.ManytimesIdidn’tunderstand,butTimotoldme:youjusthavetocreateanillusion.Thisiscinema;itdoesn’thavetobereal.Forme,thatiskindoflikecommittingsuicide.ButlittlebylittleIstartedtoenjoythatthisisanillusionandyoujusthavetomaketheaudiencebelievealittlebitinthatanditwillworkwell.RATNER:Thatfeelingofanillusion,ormaybebetter,delusion,startswiththeextraordinaryopeningshotofthefatheranddaughter,nestledtogetherbutfacingoppositedirections.Wasthathowyouplannedtobegin?ALONSO:Itwasinthescript.Thescriptwasonlyliketwentypages.Afterweshotallthepages,thesoundmanCatrielVildosolaapproachedme—he’slikeabrothertome—andsaid:Ithinkwe’restillnotfeelingtherelationshipbetweenthefatherandthedaughter,maybethereissomethingwecandotogetthemelancholicfeelingaboutthosetwoacross.IstartedtalkingwithViggo.ThenextdayViggocametomeandsaidcanwedothis:hewrotethelines.RATNER:Youareopentoideasfromtheactors?ALONSO:Everybodyhasasay.Idon’tliketodecidemanythings,soeverybodycansuggestanidea.Ipickthecrewverycarefully.Notjustanybodycanbeinit,butonceyouarepartofthefamily,everybodycantalkandsaywhatevertheywant.It’slikeafriends-and-familything.Andwelivelikethatduringtheshooting.Ilikeitthatway.RATNER:Justtostaywiththeopeningabit,Iwasstruckbyhowmuchyoucommunicateaboutthefatheranddaughter.AndIngeborgisalreadyescaping,ifonlyintoabook.ALONSO:ThebookmighthavebeentherebecauseVillbjørkMallingAggerisnotanactressandmaybeneededsomethingtoholdinherhands.Youneedlotsofluckinmakingafilm.Forinstance,wecouldn’tputViggo’sfull-faceoncamerabecauseofcontinuityproblemswiththebeard.Itwasn’tfullenoughyet.Viggosaidlet’stryitwithmyback.Youfocusmoreonthegirl’spresenceandnotonViggo.Andit’slikeapaintingyouknow.RATNER:There’sasun-washedfeelinginthefilm,akindofoverexposure.ALONSO:Actually,Ididn’tmakethatdecision.Ijustpickedthelocations.Timomadethecolorcorrection.He’stheonewhodecidedtosaturatethecolors.Butmostofthatwasalreadyprintedinthefilm.Hejustadjustedsomeofthecolortemperatures,youknow,andthat’soneofthethingsthatIreallylikedabouthiswork.IfyousawthelastKaurismäkifilm,thereisanon-naturalisticwayoflightingandusingcolorwhichIlikealot.Especiallyinaperiodmoviethatitshouldbelitbythefire,orbycandles,andyoucanfeelthatTimoputthisbiglightonthescene,creatingagreatdistancebetweenwhatyouexpectandwhatyousee.It’sambiguousinaway,no?RATNER:Itmakesitfeellessspecificallyofoneeraoranotherbecauseofitsgeographicalandtemporaldisorientation.ALONSO:Thecolorworkedtocreateauniqueworldthatonlyfunctionsinsidethemovie.Itdoesn’tcomefrombooksorhistory.That’swhythemaincoupleisDanish.ThemoreconventionalchoicewouldbeEnglish,butIdon’twantpeopletostartcomparingthingstobooks.OnlythreeorfourmillionpeoplespeakDanishsoit’sakindofexoticlanguage.Ilikehowitsounds.ItalsoreferencestheScandinavianorNordicVikingcolonizadores.Youknowtheywerethefirstones.RATNER:Youbewildertheviewer.There’snoclearsenseofwhereweareorwhattheseoutsidersareuptoinPatagonia.ALONSO:Youwanttoknowwhatthey’redoingthere.Evenatthebeginning,CaptainDinesensaystohisdaughter:wedon’tbelonghere,weshouldgoback,soonwewillleavethisplace.Idon’tknowwhatthehelltheyweredoingthere.Ithinkthey’vebeencontractedbysomegovernment.Ortheyjustranaway.Therewerepeoplewhohadcommittedallsortsofcrimeswhoweresentawayratherthanbeingputinjail.Wedon’tknowwhathappenedtothegirl’smother.It’sanopenquestionthatdoesn’tmatterforthefilm.RATNER:Youworkedwithtwoeditors.Didtheyeditwhileyouwereshootingoronlyafter?ALONSO:Firstofall,Ishotthewholethinganddevelopedthefilm.ThenIwaitedacoupleofmonthstoeditthefilminmyownhomewithGonzalodelVal,arelativeofmymother’swho’djustfinishedcinemastudies.Sixmonthslater,Istillwasn’tfeelingsecureabouteverything,soISkypedwithNataliaLópez.Ineededanoutsideviewabouttheediting,aboutwhetherornotthefilmworked.It’sabout120scenes,that’sall;notsomany,thoughalotforme.Thefilmcreatesitsownspaceandtime,arealitybasedonrhythmandtiming.It’salmostahypnosis.Andthenyoucanusewhateverhappens:whetherit’salittletoyorwhatever,itcancreateabigimpactontheaudience.Yougo“real,real,real”and—suddenly—somethinghappenswhichisnotreal.Thecontrastmakesyoupaymoreattention.Youseethatthingscanchangeinaradicalwayinaminute.RATNER:Youplacedemandsonyouraudience.ALONSO:Imakeitforme.That’stheaudience.RATNER:You’vetalkedaboutusinglongtakestogiveviewerstimetobeinthefilm,tothinkaboutsomethingelseandthencomebackintothefilmthey’rewatching.ALONSO:Idon’tthinkthattheyarelong.Iliketohavethetimetothinkaboutwhatishappeningonscreen,tohavethesenseofsomeonebehindthecameratellingmethefilm.Otherwise,Ifeelthatsomebodywantstotakemebythenoseandmakemesmelldifferentthingsindifferentsituations,andthat’sall.Igetboredwiththat.Ireallyenjoynotunderstandingwhatishappeninginfrontofmyeyes.I’muncomfortablebecauseitforcesmetopayattention,toputmyselfinsomeoneelse’sshoes,andtolearnsomethingaboutmyself.SometimesIjustgetbored,butthat’snotbad.Imaynotenjoyafilm,butIcanbecuriousaboutit.Icanaskmyself:whydidittakesolongtotellmeaboutthislittlething?Anideamaystaywithyouthroughallthemoviesyouseeafterthisone.Forme,that’showcinemaworks.Justtofeelsomeexcitement,thattherearestillmysteriouswaystotellthings.RATNER:Eachimageisaboutmorethanitscurrentcontext,right?Eachtimeanyoneviewssomething,theyarebringingtheirexperiences,bothofotherfilmsandoflife,toit.ALONSO:Iliketofeelsomekindofaestheticpleasure.Probablyit’smorelikepaintingthannarrative.IliketohavethetimewhileI’mwatchingafilmtounderstandwhatishappeninginsidethemaincharacter’sheadorwhatIwoulddoinhissituation.MaybeI’mveryslow,butIneedtimetounderstand.Butpeoplearesecondary.Thelocationiscentral.RATNER:Atarecentpressconference,youspokeaboutfilmmakingasameanstospendtimewithpeopleyouwouldnotordinarilyencounter,becauseittookyououtofyourfamiliarsurroundings.Yourearlierfilmswerecontemporaryandobservational,butin《Jauja》you’vemadeaperiodpiece.Iwonderwhetheryourownsenseofdisorientationintheearlierfilmsinfluencedthisproject?ALONSO:It’sacomplicatedquestion.Iputthecrew,theactors,andmyselfinunexpectedplaces.Wedidn’tknowwhatwewouldgetorhowIwoulduseaparticularimageorframe.Butthat’sfine,it’senjoyable.Withmyfirstfilm,IrealizedthatIdidn’tcontrolmorethantwentypercentofwhatwasgoingon,butneverthelesseverybodywasreallyexcited.In《LaLibertad》wetooksomerisks,wedidn’tcontroltheimagesbutIreallylikethatsensationwhenI’mmakingamovie,knowingIwilllearnalotfromthemovieortheimage.ThereareactuallyalotofquestionspeopleaskmeaboutmyfilmsforwhichIdon’thaveanswers.I’mnottryingtobeanidiotoranarrogantguy.Ireallydon’tknowhowIchoosethisorthat.Whenyouseesomepaintingyouneveraskwhythisblueorred,orwhatisthistriangleorcircle.Itiswhatitis.RATNER:Didyoudoalltheshootingatonce?ALONSO:ThelastpartofthefilmwasthefirstthingthatIshot,in2012.WestoppedforayearwaitingforViggotoconfirm.Thenhehadroominhisfullschedule.Itwasariskystructure.Ienjoythat:ifthefilmsaregoodattheend,that’swonderful,butiftheyarebad,they’renotgoingtokillanyone.IfIlearnsomethingduringtheshootingthat’sthemostimportantthingtome;that,andtobeworkingwithotherpeople.Whenyougetoutofyourhomeandyouspendtwomonthsjustlivinglikegypsies,youdependonothers.There’snophone,nointernet.Itfeelslikeanicefamily.RATNER:Afunctioningfamily?ALONSO:Ordysfunctional.ButtosharethatfeelingwithaguylikeViggoandwithnonprofessionalactorsmademefeellikeweareallonthesamelevel.Wewereworkinginaseriouswayonthefilm.There’snoboss.AndIreallyliketofeelthatway,asifeverythingcouldbethatway.RATNER:Didhavingsuchabigstarthrowthingsoffbalance?ALONSO:Viggowasthefirsttowakeupatseveninthemorning.Hegotthetripodandstartedknockingonallthedoorsandsaid:it’stime,let’sgo.Duringdinnertime,he’djustdisappear.Wesaid:wherethefuckisViggo?Hewasdoingthedishesforthirty-fivepeople!SothatwasquiteanexperienceformeandforthepeopleIworkedwith.TheythoughtthatsinceViggoisastarhewasgoingtobeapainintheass.Atfirst,everyonejudgedhim.Butbythesecondweek,everybodywashavingdrinkswiththeguy,completelyinlove.Hetookariskbeinginthefilm.Hetoldmehelikedmyfilms,especially《LosMuertos》,butheworriedbecausehereadthatIneverknowhowtheywillend.Iwillappreciatehisriskformyentirelife.IfeelveryluckytogettoknowanactorandaproducerlikeViggo.RATNER:Doyouhaveideasforwhatyoumightdonext?ALONSO:(Shrugs)Idon’tknow.AmIgoingtoshootwithsomeprofessionalactorsagain?Idon’tknow,probablyyes.AmIgoingtoawildlocation?Probablyyes.ShouldImakethenextmoviemoreartificialorgobacktothemoreobservationalcontemplativeway?Idon’tknow.I’mcurioustokeepgettingfartherfromthewayIlive,sonexttimeIhopetobeneartheAmazon.It’slikeadreamformetogetinsideoftherealjungleandseewhathappens.RATNER:Haveyoubeentherealready?ALONSO:No.Ionlygo[toalocation]onceI’mshootingorIgetblocked.ButonceIfinished《Jauja》,Iimmediatelybeganthinkingofthejungle,probablybecauseinthisfilmtherewerenotrees.Iliketobesurroundedbygreenandtrees,togetasenseofwhatitmusthavefeltlikefourhundredyearsago.RATNER:Youopen《LosMuertos》withaviewoftrees,inandoutoffocus,verymuchlikeachild’sview.It’scertainlynotacitydweller’sview.ALONSO:IprefernottoshootinBuenosAires,butIkeepaskingmyselfwhyineveryfilmIchoosetoshootpeoplefarfromcivilization,farawayintime.ButIguesswearenotthatdifferentfromthoseguys.Itmightseemlikethere’salotofdifferencebetweenaNewYorkerandanIndianguywhodoesn’tknowhowtoread,butthey’renotallthatdifferent.Author’sNoteSpecialthankstoJohnWildmanoftheFilmSocietyofLincolnCenterforhelpinarrangingthisinterview.