Interview

Rodrigo Moreno-Fernandez

Director of EL Lloron

We would like to express our sincere gratitude to the director Rodrigo for taking the time to answer our questions.

Whole team of Liverpool Indie Awards is wishing you the very best in all your future projects. We hope to see more of your exceptional work in the years to come. Thank you once again!

Can you tell us about your submitted project and what inspired you to create it?

I think I was 12 years old, sitting on the last bench alone at my Grandmother's funeral when I noticed a man entering the parlor. He wore an old, ragged black suit, and I could still see some of the repaired stitches. He slowly and respectfully approached my mother, who had made all the arrangements. She immediately recognized him and pointed to a bench, indicating that he should sit there.
The man walked in and pulled out the card containing my Grandmother's obituary. Suddenly, without any hesitation, this man started pouring his lungs out, crying and shouting my Grandma's name. "Alicia!! Alicia!!"

Years later, at my Father's funeral, I understood the profound significance of this man's role. He was a revered figure known for providing these emotional services, a testament to the respect and honor we bestow upon our departed loved ones.
Perhaps this is the first level of the story I wanted to tell with this short film. Within the confines of Mexican society, it is of extreme importance that at least someone mourns for you at the end of your days. As I delved deeper into this, I discovered another profound level of meaning. I wanted to approach the concept of 'buying their essence,' a practice where people try to define their lives even after they have left, often through elaborate funerals and memorials.

Some say that we define ourselves only after we die. We are someone now, but we are constantly evolving through the choices we make in life, and it's only when we have finished existing that people will say who we were. Existence precedes essence, so Satre said.
But, in all honesty, this is also a story about my relationship with my Father. I never understood him better than when he passed away. I genuinely believe that it is through remembering that we truly comprehend the magnitude and influence that someone has over our own lives. The shape of my character was formed by the many interactions I had with him. This story is, in some sense, a way for me to cope with his death, but also to ensure I remember the time I finally understood him. So, we decided that the style of our movie should mimic a memory, hence the nostalgic color. We have presented you with a collection of characters living in the past. They wear the same outfits as their ancestors and reject "keyboards" or anything that would make them evolve.

What was your creative vision for this project, and how did you work to bring that vision to life?

I wanted to make a comedy rooted in this tradition. The purpose was to bring levity to a subject that is so difficult for many, saying goodbye to our loved ones. We wanted to slow down the jokes, rely on the imagination of the audience, and make sure the jokes were not too heavily weighted on the speed, but on the insight they bring. We are proposing that the audience capture the essence of the film through balancing the deep subject and the light silliness of a man who cries for living.

It was always our intention to shoot it in Black and White. Why? Because the ending had to be revealing, in another spectrum, like the mind of Felipe (our protagonist), who, after going through this journey, now sees in color the meaning of his job and the comfort he should bring to his patrons, not by crying but by saying goodbye to our loved ones properly.

How did you collaborate with the rest of your team, such as producers, writers, and cinematographers, to ensure the project's success?

As a director, sometimes your job is not to set elaborate camera shots or intricate movements but to ensure the tale is being told. One must set one's ego aside and not interfere with the story. Our job was to create an atmosphere of collaboration and exploration.

I let my crew and cast propose ideas; create their own version of this world. My job is to find the right common ground and set the tone of the film as the film itself dictates it. Collaboration is not about making everyone feel happy, but finding common ground and accepting that some ideas are better than yours. The movie decides that.

What were some of the biggest challenges you faced during the production, and how did you overcome them?

To me, filming a movie you have had in your mind for years is such an incredible thing that, honestly, any challenge that you find during and after it is also an opportunity to enjoy the art of cinema. We shouldn't see this as hard work; we should see this as a playground in which we get to express ourselves.

If you push me to find the most difficult thing, it would no doubt be the passing of our beloved actress Rene Victor. The movie, as it talks about saying goodbye to our loved ones, has now become our way of dealing with the loss of her. Rene was such an amazing human being who gave it all in front of a camera, which is hard for us not to miss her. But, as our movie proposes, we have to remember her as the beautiful human being she was, formed by the laughter and joy she brought as a singer, dancer, movie star, and for those who got to be part of her world, as an incredible friend.

Can you discuss any specific moments or scenes in the project that you are particularly proud of, and why?

Many, but perhaps the last scene. Seeing it come to life became such an amazing experience that when we were filming, there was not a single face that was not holding a big smile. The moment became a stamp on my career as a filmmaker.

Looking back, is there anything you would have done differently, and what lessons did you learn from this experience?

I can't say there are things that I would have done differently, because those mistakes brought me the knowledge that I need. To me, learning from them is such a joy that I would do it again, just to have that feeling of being human.

I learned to be patient, to listen to the actor's instrument. To pay attention to how their minds work and be there for them when and if they need you.

Can you describe a project that you are particularly proud of and why it stands out to you?

It sounds cheesy, I know, but all of my films are together in my mind as one big movie. I loved them all equally and can't help feeling proud of how my career has progressed through the years.

I sometimes look back at them and realize how much I have grown as a filmmaker, but also in the way I see cinema. I realize how many ways I've discovered to tell a story.

What advice would you give to aspiring directors looking to break into the industry?

It's hard for me to give advice to anyone, given that I myself am still learning. But if I ever met my young 20-year self, I would tell him: "START, don't let this world beat you down and take away the dream of making them."

I can't help but think about "what ifs."

How did you approach working with actors to bring out the performances you wanted for the project?

The performances, although comedic, are intended to make us think about ourselves after we leave this earth. Felipe, played by Bobby Soto, is a weak soul until he understands his Father's essence and the nature of his profession. His mother, Doña Maria, played by Renée Victor, offers guidance by referencing the past and tradition. Don Bernal, played by Valente Rodriguez, is the Funeral Parlor owner who drives the story forward, introducing conflict. Finally, the local priest, played by Eric Anderson, reveals a part of Felipe's Father hidden from him, which makes him understand his essence.

How did you approach sound design and music for the project, and what was your collaboration like with your composer or sound designer?

To me, it's another human sense we take advantage of during the movie. I wish smell and touch would also play a role when watching a movie. We tend to think only the images are the ones to consider, but making the audience feel also depends on the type of noise they are hearing.

How did you handle feedback or criticism from your team or audience, and what changes did you make as a result?

Oh man! Touchi subject. I try (emphasis on "try") to be separated when it comes to criticisms. I learned the hard way not to get your feelings involved, but it is hard. You see, to me, my stories are part of me; all of them are based on something I experienced or a part of my life. So perhaps the best way to approach them is as if they were terms of endearment, that slowly creep in on you to make your movie feel better. Who knows, I am not the master and commander of my feelings.

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