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The debate over the success of "Roma" has very little to do with cinema, it's more about "business models," the Mexican director told PTI in an interview.
"Roma", although he is the obvious favorite and recipient of three grand prizes, including the Oscar for Best Director for Cuaron, could not win the first prize for best film, awarded to "Green Paper", arousing strong reactions from film lovers.
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Some have interpreted it as the result of a brawl between Hollywood studios and Netflix, after filmmaker Steven Spielberg had asked the Academy of Arts Cinematography and Science (AMPAS) to change the rules to exclude streaming services from Oscar eligibility.
Although Cuaron does not think the "Roma" were lost because of resistance to the way they were distributed, he thinks the debate has very little to do with cinema.
"There is definitely a debate going on, and for me, this debate has very little to do with cinema, it is only economic models." There is something in these conversations , it's that they use the cinema as a hostage to justify their business model.I do not like that because it's not about it. of their business model, "Cuaron told the United States by telephone in the United States.
The director believes that the search for a balance between economic models will benefit the cinema as a whole.
"A balance between these models and Netflix and, cinema in general, can offer new possibilities for particular types of films that have been neglected in recent years by the theatrical experience," he added.
Cuaron, however, said that he had no "answer" to the question of why "Roma" had been beaten by "Green Paper".
"I can not say that's what happened … I have no reason to support these theories.I mean there are other movies that They prefer or what they call perhaps the best movie of the year, "he said.
"Roma", shot in black and white, is a childhood memory of Cuaron spent in a Mexican suburb and revolves around a maid, Cleo. The film, although shot in Spanish, found universal love, which surprised the director, best known for his Hollywood projects such as "Harry Potter and the prisoner of Azkaban" and "Gravity".
According to Cuaron He created "Roma" to "heal his personal wounds" but was surprised by the "nice acceptance" of the public.
"I'm very happy of course, but I would be lying if I said I'm not surprised," he said.
Did he ask if this had to do with the projection of the working clbad generally ignored in the cinema, the director said: "Probably, but at the same time, I can not be sure that it's all that." is only that.
"Certainly, there was a strong emotional connection with the film … I have to say that in some countries like your country (India) and Mexico, we have such a contrast in terms of clbad.In these countries, the film [19659005] "I was making a film in which I would tell, as honestly as I could, both my personal wounds and my social relationships. injury. Personal injury, concerning my family and myself. But you can not do that without having the context. I was talking about the wounds I shared with society and, finally, what was amazing was sharing those wounds with the rest of the world. "
Those who follow Cuaron's cinema notice the director's fascination with the elements, especially the ocean, which is a recurring theme in" Y Tu Mama Tambien "," Gravity "and" Roma ".
Cuaron said that he was unaware of his affinities with the oceans until it was reported to him.
"I completely ignored it until people started to talk about it.It was not out of will that I decided to do it, but I guess that was not the case. Of course, the oceans have a huge symbolic quality, in terms of who we are in terms of evolution.The oceans are our primary pursuit, we are born through it. .
"Of course, we believe that the water and the oceans, in terms of purification and purity.All purification rituals, in most cultures, are always related to water.We have our rituals and in India, you have the river Ganges, "he said.
The decision to shoot the film in monochrome, which earned him the prize for best cinematography at the Oscars, was also something that came instinctively to Cuaron.
"With 'Roma', I've never questioned the black The film talks about Cleo (a substitute for Cuaron's nanny, Liboria 'Libo' Rodriguez , to whom he dedicates the film.) The project was a souvenir and it had to be done in black and white.
"I come from an older generation, a generation in which I loved watching movies in black and white as a child movie. I was already a teenager when we had our first color TV. So it was normal for me to watch black and white movies. We were used to that. Now, of course, it has become something elegant. It was not like that before. "
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