(p. 1) A hellbent quest for authenticity produced some indelible on-set moments for Alejandro G. Iñárritu as he directed “The Revenant,” his two-and-a-half-hour opus of death, love and improvised surgery in the American West of the 1820s.
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(p. 20) There were enough grumblings from the crew about delays, safety and overall misery that The Hollywood Reporter published an article in July in which one source described the experience as “a living hell.” Ten people either quit or were fired during filming, Mr. Iñárritu said, and he will not apologize for that.
“I have nothing to hide,” he said. “Of the 300 we started with, I had to ask some to step away, to honor the other 290. If one piece in the group is not perfect, it can screw the whole thing up.”
. . .
“Standing in a freezing river and eating a fish, or climbing a mountain with a wet bear fur on my back — those were some of the most difficult sequences for me,” said Mr. DiCaprio, who is considered a strong contender for an Oscar nomination for his performance. “This entire movie was something on an entirely different level. But I don’t want this to sound like a complaint. We all knew what we were signing up for. It was going to be in the elements, and it was going to be a rough ride.”
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In person, . . . , Mr. Iñárritu has the chilled-out affect of a man who meditates every day and loves long walks. The only hint of intensity, and just a tinge of anger, comes when he discusses other movies. Too many of them today are like the products of fast-food chains, he said, ordered up by corporations that prize predictability and sameness over all else.
“What about going to a restaurant to be surprised?” he all but shouted. “That’s the risk that everybody avoids! In the context of cinema now, this movie is a bet.”
Raised in Mexico City, Mr. Iñárritu, 52, is the son of a banker who would eventually file for bankruptcy and end up selling fruit and vegetables to hotels and restaurants. The younger Iñárritu started off as a radio host, playing music and writing provocative, comical sketches with a political bent. He studied theater and learned to direct by shooting brand-identity commercials for a television station. By the time he landed his first feature, “Amores Perros,” released in 2000, he had spent hundreds of hours behind a camera. Then came “21 Grams” (2003), “Babel” (2006) and “Biutiful” (2010).
For the full story, see:
DAVID SEGAL. “That Bear and Other Threats.” The New York Times, Arts&Leisure Section (Sun., DEC. 27, 2015): 1 & 20.
(Note: ellipses added.)
(Note: the online version of the story has the date DEC. 22, 2015, and has the title “About That Bear: Alejandro G. Iñárritu Discusses Making ‘The Revenant’.”)