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I personally can't handle frivolous violence. I overreact to it.

Alejandro Gonzalez Inarritu

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Alejandro Gonzalez Inarritu
Age: 61
Born: 1963
Born: August 15
Composer
Director
Film Director
Film Editor
Film Producer
Screenwriter
Mexico City
Mexico
Alejandro G. Iñárritu
Iñárritu
Handle
Violence
Overreact
Frivolous
Personally

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Fear is the condom of life. It doesn't allow you to enjoy things.
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When you get to the holidays, if you think that the holidays will be forever, you just take it for granted. But, if you know that you have just three days at the beach, you will be so happy to be there, every day.
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I respect BMW for not interfering in these projects. They're just trying to support short films with their brand, which I think is great.
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I remember, the first time I saw a [Andrei] Tarkovsky film, I was shocked by it. I didn't know what to do. I was fascinated, because suddenly I realized that film could have so many more layers to it than what I had imagined before. Then others, like Kurosawa and Fellini, were like a new discovery for me, another country.
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I saw what I could [in Mexico City], but we rarely got anything other than big, mainstream American films.
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I think every beautiful tale in the world hides the truth and reveals it little by little.
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When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing.
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Life and death are illusions. We are in a constant state of transformation.
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Really, I'm a neurotic perfectionist. Every single word in the script is the one that I want.
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I didn't have a normal academic career. I never studied cinema. I learned from life.
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I hate superficial violence. It's shallow and stupid, and the impact on the audience is really bad.
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I like to make films, but the only reason I do is because I'm a very bad musician.
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One of the reasons why I agreed to do commercials is that they gave me complete freedom. I just had to have the car in it and write a story around it. I wanted to do something serious set in a Latin American country, but again, it was an exercise in style for me.
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You hear about bombings in other countries, or numbers like 10,000 people died - you hear that number and you think, Well, I saw that yesterday in a film, and that didn't look so bad. Younger viewers, in particular, lose perspective on reality.
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I just wanted to show the migrants as complex humans with flaws and weakness, with good and bad things, and show that they're parents and family men. I wanted to show them with everything, as they are.
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Mexico City is very different now than when I grew up, but I was in the streets all the time - though I was born to a middle-class neighborhood where there weren't a lot of gangs and things. I was always comfortable.
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How can [actors] learn their lines and be honest in front of 30 people and all the lights? It makes me cry sometimes. I can't understand how they can be joking with me 30 seconds before, and 40 seconds later they're giving me all this incredible feeling.
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There's nothing better than being in a film that translates to audiences and makes people think and feel good and walk away with great revelations in their own life of some kind. But when the process and the experience and the fun of that matches, it's a good feeling.
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Maybe next year the government might impose some immigration rules on the academy. Two Mexicans in a row is suspicious. [On Mexican immigrants in the US] I hope they can be treated with respect of the ones who came before and built this incredible immigrant nation.
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It's more enjoyable for me to know that life is finite. Knowing that, I would like to go to a party.
Alejandro Gonzalez Inarritu