Issue link: https://digital.copcomm.com/i/1490572
For the Zocalo scene that ends with Silverio climbing up a huge pyramid of bodies, the scene was divided in two parts. One part was shot in the plaza without the set elements and the second shot with the pyramid on a stage. The crew recreated a big area of floor matching the one of the plaza, and in the middle of that we built a huge structure painted like a charcoal rock in which we made the tableau of extras in costume with pre-Hispanic props and symbols, blood, earth and pigments. Extensive historical research was done for this tableau. It was a very powerful image. The film had a great crew. Set decorator Daniela Rojas and her team did a fantastic and obsessive job, as did the props department. Almost every one of the fifty-one sets created for the film was big and epic, and it was possible because of the solid construction crew leaded by Supervising Art Directors Carlos Jacques and Roberto Bonelli and Art Directors Ezra Buenrostro and Carlos Cosio. Pedro Alanis, the lead scenic painter, is a true artist with a lot of experience, and the storyboards made by Edgar Clement were superb. So, the production was supported on all fronts during the twenty weeks of shooting. Shooting during COVID made things harder. The project was forced to stop three times. I guess that the big takeaway can be summarized in one word: Malleability! Working with Alejandro and Darius Khondji has been one of the richest experiences in my career. And having the chance to work with costume designer Anna Terrazas again inspired me every day. Alejandro always pushes the film medium forward and, in this case, we all jumped on the train with him, literally and metaphorically. ADG A. MEXICO CITY STREET STOREFRONTS. SET PHOTO. B. MEXICO CITY STREET. PRODUCTION STILL. C. PYRAMID OF BODIES. PRODUCTION STILL. D. DESERT BALUSTRADE. PRODUCTION STILL. E. DESERT BALUSTRADE. PRODUCTION STILL. A B