“Of spare parts and DREAM Acts 2.0: La Vida Robot Revisited” — #SaveDACA

“Of spare parts and DREAM Acts 2.0: La Vida Robot Revisited” — #SaveDACA

In my first conversation with President Trump on Inauguration Day, I thanked him for the positive things he had said about the Dreamers. He looked me in the eye and said: “Don’t worry. We are going to take care of those kids.”

Despite many of the terrible immigration policies this Administration has put forward, I have always held out the hope that President Trump would keep his word and “take care” of the Dreamers. After all, the President told America, “we love the Dreamers.”

But today’s announcement from Attorney General Sessions was cold, harsh, threatening, and showed little respect, let alone love, for these Dreamers.

Starting this countdown clock will require Congress to act fast to stop rolling mass deportations of hundreds of thousands of young people—students, teachers, doctors, engineers, first responders, servicemembers, and more. Families will be torn apart and America will lose many of our best and brightest unless Republicans join with Democrats to right this wrong immediately. I first introduced the Dream Act sixteen years ago to ensure these young people could stay here, in the only country they’ve ever known. Now Congress must act on this bipartisan bill, and act now. These families cannot wait.  

— A statement from U.S. Senate Democratic Whip Dick Durbin (D-IL), ranking member of the Judiciary Subcommittee on Immigration. 

The intent of the Deferred Action for Childhood Arrivals (DACA) policy signed by President Barach Obama in June 2012 was to allow undocumented immigrants who entered the country as minors to receive a renewable two-year period of deferred action from deportation and eligibility for a work permit. As of 2017, an estimated 800,000 young people, also referred to as “Dreamers” (after the failed DREAM Act), enrolled into the program. As for September 5, 2017, DACA is no more. Now, they face an uncertain future, whether they enrolled into the program or are no longer eligible for its protection.

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Political Cartoon by artist Lalo Alcaraz, 2017

Living in fear as an undocumented individual is just one of the many realities faced by millions of people living in the United States today. Historically speaking, to be an immigrant is to be responsible for all the societal ills and woes of a nation. We’ve seen what humanity can do when it vilifies and turns against “The Other,” that group of people who become the target of genocides and “final solutions.” How anyone can venerate such monsters, as witnessed in Charlottesville, Virginia last August is beyond the pale. Yet, we have only begun to see the ramifications of a president who has inspired those living with white privilege to exact a sense of revenge, of taking back a country they feel has gone to the dogs. That’s what many of us are to certain sectors of America, animals unworthy of being deemed human.

Since Trump took office, he’s made an art of playing to the cheap seats, that coterie of angry trolls sporting those damn red caps with the legend “Make America Great Again.” His propagandist rhetoric continues to target journalists, Women, the Muslim community, Black Americans, the LGBTQ community, the Latino Community, anyone who just isn’t white. He targets anyone with a brain able to deduce just how dangerous his screaming brat mentality really is for us all.

Trump wants to be worshipped, not challenged, even by those he chooses to marginalize. He demands your respect, although he’s done nothing to earn it. To challenge him is to stir his pitchfork mob of fans while most the members of his political party of choice opt to stick its head in the sand or stay silent. All fear to lose their moment of power, even if it means sacrificing the greater good of the nation. I often wonder who will stand up for anyone if most of the nation is excluded from the bullshit Trump country club our president and his acolytes have chosen as its manifest destiny for our nation.

Our most treasured national icon, the Statue of Liberty, is an ageless beacon, offering shelter from the storms of inhumanity elsewhere. Trump has turned our borders into the frontline of class and racial warfare, its motto is “Keep Out. You Don’t Belong Here.” If we are now known for turning people away, mercilessly deporting the rest, how will that not stop the war on terror? How will it not inspire new groups to target this great nation with their own brand of wrath? We cannot keep punishing the many for the sins of the few who refuse to honor decency and peace.

This entire nation owes its very identity and soul to the millions of other immigrants who have risked life and limb for decades to secure a better life for themselves and their families. To believe otherwise is absolutely un-American. Perhaps if those who fear “The Other” understood that not everyone who dares to call America their new home is a criminal run amok. Perhaps they need to be reminded of the ones who come here for a specific reason, to find their version of the American Dream. Like my parents. Like many of my friends’ parents and families. Who knows what immigrants can offer this nation in terms of innovation, inspiration, and beneficial to us all lucky enough to be citizens of the United States. Perhaps they need to know that not everyone who comes here is looking for a handout or abusing the social welfare system. I offer one reminder for your consideration.

In 2005, writer Joshua Davis penned an extraordinary article for Wired Magazine chronicling the lives of four undocumented teen boys from Arizona. What made them unique? They bested universities such as MIT and Harvard to win a robotics prize at UC Santa Barbara. Titled “La Vida Robot,” Davis’ meticulously written story of Cristian Arcega, Lorenzo Santillan, Luis Aranda and Oscar Vazquez’s journey to victory was truly the stuff of Hollywood films. A decade later, that film, rechristened “Spare Parts,” was produced.

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From left: teacher Allan Cameron, Lorenzo Santillan, Oscar Vazquez, Cristian Arcega, Luis Aranda, and teacher Fredi Lajvardi. Photo: LIVIA CORONA

Directed by Sean McNamara and starring George Lopez, “Spare Parts” benefited from the momentum of the early DREAM Act (DACA) era, when the Latino voice had never been more urgent in terms of our national narrative. While the film relied on the “feel good” tropes of the underdog story, it did not shy away from the fact that these “illegals” are not the enemy in this ugly, paranoid era of fear mongering and reactionary politics.

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Writer Jorge Carreón with Oscar Vazquez and his wife Karla on the New Mexico set of “Spare Parts” in November 2013.

I had the privilege of meeting journalist Joshua Davis and the real boys of Carl Hayden High, interviewing them and their cinematic counterparts for Pantelion Films. Along with producer and star George Lopez, they first expressed the importance of the Latino imprint in terms of mainstream films. However, their ultimate goal was to not only provide quality entertainment, it was to also illuminate an essential community still undervalued or unfairly marginalized by some Americans.

“Spare Parts” opened in January 2015, renewing attention on the lives of Vasquez, Arcega, Santillan, and Aranda. Over the course of a decade, the group from Carl Hayden High School inspired countless newspaper and magazine pieces. Writer Davis followed up his “La Vida Robot” article with a book, also titled “Spare Parts,” catching up on the lives of the boys. Director Mary Mazzio was inspired by the Hayden students to create the documentary “Underwater Dreams.”  The quartet was also included in “Dream Big,” an IMAX feature-length documentary about engineering achievements. Even the team’s famed robot Stinky had its moment when it was put on display at the film’s premiere at the Smithsonian.

“When Mexico sends its people, they’re not sending their best. They’re not sending you. They’re not sending you. They’re sending people that have lots of problems, and they’re bringing those problems with us. They’re bringing drugs. They’re bringing crime. They’re rapists. And some, I assume, are good people.”

— President Donald J. Trump during a campaign speech, June 16, 2015. 

Yet, with all the attention and praise for their underdog story, life after high school for Vasquez and several of his classmates has not been without its complications. As of 2014, Vasquez was able to secure his American citizenship after a challenging decade that saw him return to Mexico at one point. His return to his homeland meant a 10-year ban of re-entry to the U.S. It was or the assistance of Senator Dick Durbin, D-Ill., who helped overturn the ban, allowing Vasquez return to the States with a visa. Enlisting in the U.S. Army, Vasquez saw combat in Afghanistan before returning and finishing his college education. Now a U.S. citizen, he and wife Karla moved to Texas with their family, where he works in an engineering-related job with BNSF Railroad.

Dreamers in Action
Photo: Livia Corona

Aranda was already a citizen when the team won the robotics contest. Arcega and Santillan both attempted college careers but ultimately were forced to drop out due to the changes in Arizona state law that required all students without legal status to pay out-of-state tuition fees. Today, Santillan runs a catering company with former classmate Aranda, appropriately called Ni De Aqui, Ni De Alla. Translation? “Neither from Here Nor from There.”

“The Making of ‘Spare Parts'” featurette produced by Jorge Carreon @ Monkey Deux, Inc., edited by Steve Schmidt and Drew Friedman for Pantelion Films.

The effect of this unilateral executive amnesty, among other things, contributed to a surge of unaccompanied minors on the southern border that yielded terrible humanitarian consequences. It also denied jobs to hundreds of thousands of Americans by allowing those same jobs to go to illegal aliens. —

From U.S. Attorney General Jeff Sessions statement on the Trump Administration’s rescinding of DACA, September 5, 2017, 

As of  September 2017, the more than 800,000 undocumented children brought to the U.S. by their parents are awaiting the other chancla to drop now that “President” Donald J. Trump has announced the end of DACA. Its effect will be catastrophic, breaking families apart and ending opportunities, like finishing an education or gainful employment, that have been hard won. What we stand to lose as a nation, however, is on par with a lobotomy.

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The hope generated in 2012 when President Barack Obama signed this bold piece of legislation into effect was designed to protect them from a growing sense of paranoia and fear stoked by members of the GOP, and especially, Trump. They don’t know who are the Dreamers affected, nor do they care. Trump’s campaign engaged classic fear-mongering tactics, stoking the fires of intolerance with his supporters. It didn’t matter if the facts were true or not. The lack of employment, our border safety, our homes, our lives, we were all under attack by this scourge of evil from Latin America or elsewhere. We smirked that Trump could never be elected on such a brazenly racist and xenophobic platform. No one was laughing as the election proved otherwise. Now we have the sound of fear and it is palpable. (That American-born Latinos even voted for him because they deemed “her” unpresidential and untrustworthy is a testament to self-loathing that deserves its own essay. I say to them now, “Look what you’ve done to your brothers and sisters in blood. Shame on you.”)

As the child of immigrant parents, I am beyond angry. As an American citizen, I am ashamed. I wasn’t raised to hate people. I was raised to believe in the innate good of humanity, because good can flourish, even in the direst of times. Yet, to be told that I’m not good enough to be an American because of my Latino heritage or my sexuality is enough to make me want to take up arms. This is not the America that raised me and I’ll be damned if I let it harm anyone else out of fear and intolerance. What Trump offers is not the American Way. It is HIS way. That’s not good enough, not for this beautifully diverse nation.

Immigrants are not here to eradicate white history or white privilege. Nor are they here to tear this country asunder. That is a total lie to keep the status quo of xenophobia. We excuse the horrors of white terrorism, but movements like Black Lives Matter are deemed dangerous, inspiring legislation to declare such movements as being illegal.

American history was never just white. It is every color and creed and orientation, no matter how hard people try to obfuscate it. We are at a crossroads that will have consequences for generations to still to come. What we lose by excluding the many undocumented individuals now forced to live in the shadows again won’t be felt immediately, but it will be felt. Nothing stirs up a public more than paying for the poor decisions of our leaders. And we will pay for the loss of DACA is many ways, socially, morally and economically.

We are deporting the wrong groups of people. To be silent is to be complicit in this cruelly interminable series of unjust and un-American traitorous political acts. If we continue down this path of eradicating those deemed unworthy of citizenship, we will cease to be the United States of America. We will become the Dishonorable States of Trump, a soulless and rudderless nation offering nothing but a smirk, hatred, and violence to the world that once looked to us for guidance, protection, and inspiration.

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Ana Rice, 18, of Manasas, Va., holds a sign that simply reads “SHAME” outside the White House. Sarah L. Voisin/The Washington Post

**Now that the DACA program has been shut down, here is a breakdown of the Trump decision and what people should know:

Some DACA recipients won’t lose their DACA on March 5, 2018: People who have DACA now and whose DACA doesn’t expire until after March 5, 2018, will continue to have DACA and the work permit that comes with it until the expiration date of their DACA.

It’s too late to apply for DACA: The president ended the program so from Wednesday (September 6) on no more applications for DACA are being accepted.

A deadline that shouldn’t be missed: People whose DACA expired Tuesday, September 5 or will expire Wednesday, September 6 through March 5, 2018, can renew their DACA, but they must apply by October 5.

The ball is in Congress’ court – or Trump’s?: Between now and March 5, 2018, Congress can draft legislation to revive DACA, come up with a substitute or even do away with what the administration has put in place. Some opponents of DACA disagreed with the program being authorized by the president but may support a congressionally created program. Late Tuesday, Trump tweeted that he may “revisit” the DACA issue if Congress doesn’t act.

Legal challenges could play a role: There’s always a possibility of a court case. President Donald Trump came up with the DACA phase out plan under threat of legal action by a group of state officials. A young immigrant and immigration group filed a lawsuit in New York Tuesday challenging Trump’s action. There could also be discrimination lawsuits as a result.

 

Conversations about “The Clan” with the filmmakers and stars

Conversations about “The Clan” with the filmmakers and stars

When imagining Argentina, superficial references to the tango, polo playing and the pop culture legacy of Eva Perón may apply for some. But the reality is you cannot define Argentina in such limiting terms. Its place within Latin America is as complex and contradictory as its neighbors, existing as a country rife with history and invaluable contributions to world history. Yet, to take a closer look at Argentina is to gaze into a mirror that reflects the best and worst of human nature.

From award-winning director Pablo Trapero (“Carancho,” “White Elephant”), THE CLAN is an unflinching depiction of the consequences wrought by Argentina’s dictatorship through the prism of the incredible true story of the Puccio family. A narrative spun with equal parts suspense, action and intrigue, THE CLAN offers an unrelenting chronicle on the manner with which this seemingly normal middle class family afforded its comfortable lives through kidnapping, extortion and murder. With laser-like precision, Trapero carefully and without embellishment ensnares and provokes the audience to think about what they’ve witnessed long after the credits roll. At what point do we lose our sense of morality and ethics? How can people, especially those of a privileged status, allow themselves to be persuaded to commit such atrocious acts in the name of protecting the greater good, like a family’s well being?

Released in Argentina in August 2015 to great acclaim and record breaking box office success, THE CLAN not only reignited interest in the Puccios’ life story, it has been acclaimed for offering a potent cautionary tale for a new generation to process. For the second time in 30 years, the Puccio clan succeeded in rocking the nation with their secrets and lies.

Chronicling a series of abductions that occurred between 1982 and 1985, the film is at once a riveting drama to view in the present and a searing indictment of Argentina’s past. Viewing THE CLAN will lead many to ask the universal question asked whenever monsters are revealed to exist in the most unexpected sectors of society: Why?

It is not enough to say the family simply acted on the father’s wishes to protect their way of life. Sons, daughters, friends, all participated in these crimes willingly, despite the very real possibility of being caught. Even as their moral conscience would sometimes break through, they continued with these deeds without ever their neighbors’ awareness. The lack of a definitive answer as to why the Puccios’ resorted to such wicked deeds may frustrate those seeking a black and white closure to their narrative on screen. And, any clear answers remain with the late Arquímedes Puccio, who maintained his lack of culpability to the end.

Sometimes real life can truly be stranger than fiction. However, in the case of the infamous Puccios, the mind reels. In preparing for the North American release of THE CLAN, director Pablo Trapero, producer Matías Mosteirín, legendary Argentinian film star Guillermo Francella and rising star Peter Lanzani sat down to contemplate several questions about the legacy of the Puccio clan. It wasn’t enough to simply recreate the period details of the era. The filmmakers and cast were charged with a challenging task: to bring humanity and truth to the people and events that defy most sensibilities. In the conversation that follows, it is evident that the commitment shared by the entire production was resolute. EL CLAN may not be a documentary. However, if they learned one thing in bringing Trapero’s vision to life, it is that the reality of the Puccio family retains an all-too-tragic relevance to the time we are living today.

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JORGE CARREON: What do you remember of the Puccios’ era in Argentina? How did that color your efforts in creating THE CLAN? Did you start with wanting to make a statement about Argentina first or capture the essence of the Puccios’ extraordinary story?

PABLO TRAPERO: When I first heard the news of the Puccios, I was 13 or 14 years old. The Puccios were a family that seemed like any ordinary family. Even within their neighborhood, people could not believe they could have responsible for such crimes because the family seemed so normal. Many years later when I was preparing my film “Leonera” in 2007, I started thinking about making a film based on the actual Puccio case, but I only knew the superficial details about the family, nothing else. There wasn’t a lot of information, especially how it related to Arquímedes within the context of the time. During this research process, I began to realize this intimate story was absolutely universal. However, I would also be able to tell the story about an era in Argentina’s history that is not so well known. There have been many films about the dictatorship, those dark years that are part of Argentina, like “The Official Story,” which won an Academy Award® and spoke about the early years of the democracy. And there have been other films, too, that have depicted the years before and after, but not the transition. That step was very painful for the country. For many people, it represented the hope of something new, but also that hope was very weak. Because our past history was so hard, it felt like it was conspiring against it. That’s something I remember from when I was a kid. We felt so much euphoria over the arrival of democracy, but also the fear that it wouldn’t last. There’s even a line in the movie where a character is asked, “How long will this last?” and he responds, “Two years.” That best represents the era and the spirit of some people who were very skeptical about whether the democracy would work. At one point, late in the process, I decided to start with Alfonsín speaking about “Nunca Más,” a statement on how we as a country can never repeat the past again. The case of the Puccio family was a symptom of a sick society. The shift in government is also a symptom of that time. That shift is what brought the Puccios’ story to an end. Hence, there isn’t the role of an investigator in the film because it was not so much the will of someone in particular to catch the family. The political changes are what brought the era of the Puccios, and other people like them, to an end. They became known as “the hand of unemployed labor,” meaning they were individuals who worked for the military who lost their “jobs” once the democratic government was brought in. They began to improvise these privates businesses to continue what they had done for the previous regime. There were several cases like Puccio, but none so extreme because they did not involve their own family members. So, it all happened in reverse. I realized that the film could stand as a testimony to this era in Argentina’s history when I started to understand and investigate the intimate details of the family.

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CARREON: Given the fascinating psychology of the Puccio clan, why not make a documentary about the family? 

PT: I chose not to take the documentary route. The family’s story is incredible and it was tough even writing a script at that time. Would people even believe this story, much less accept them? They would have said, “Trapero has gone crazy and just wrote whatever he wanted.” It was something we talked a lot about with Matías. How much of this incredible story could be credible to the public. The simple truth is I’ve always believed in it as a narrative film and never as documentary. Still, to make this movie, we completed a lengthy period of investigation. The case was well known in niches, but it was not something that people talked about on the street. Those who would talk to you about the case were usually from the previous generations. A book has since been published, just before the premiere of the film. But we have a lot of research material, interviews, conversations, all of which had no place in fiction. Maybe some day we will use it for a documentary material again.

CARREON: Was it a challenge to distill the information you gathered to create a narrative script with impact, but without distorting the essence of the Puccios?

TRAPERO: It was a big challenge for me because it’s the first time I’ve made a film based on a true story. It’s the first time the characters in the film have the names of real people. That’s a major responsibility. The families of the victims will hear their real names. The question became how do we work with and process something that is based on their real lives? For most of the people who see this film, it may seem like a work of fiction but it is based on a true story. It was so helpful to speak with the families of the victims, especially with Rogelia Pozzi and Guillermo Manoukian. We also spoke to the judges on the case, journalists who investigated the story during that time. We also spoke to psychologists who could give us some idea as to the pathology of the case. We went to the neighbors that lived in the San Isidro district. Alejandro’s teammates at the rugby club gave us a perspective as to who he was. In reality and in the film, it was this group who remained the most skeptical that Alejandro could be guilty. They still think it was a gross error.

PETER LANZANI: It’s a really dark story. They did all of these things not only for money, but for power. I think the most sinister thing about them was that they would kidnap people they knew, their own friends or Alejandro’s friends that played rugby with him. It does reflect the decade that Argentina lived during the dictatorship. I didn’t live through it, but I studied it. I know too many people that lost family members or friends.

MATÍAS MOSTEIRÍN: Immediately after the Puccios were arrested and jailed, many people of their status felt they were falsely accused. It took a long time for people to accept that this family, which appeared to be a normal family, of good standing and social mobility, with great moral authority, could even be capable of creating this inferno of intimidation in their own home. Pablo is a very respected cineaste in Argentina and his films are greatly appreciated. Because no one had ever sought to review this story with a fresh perspective, I think his reputation helped in obtaining the cooperation of the people willing to offer their testimonies.

TRAPERO: They offered their most intimate knowledge, people who had been in the Puccios’ home for dinner while they had someone in captivity.

MOSTEIRÍN: The film then began to unfold for us. What usually happens with projects based on real stories, the adaptation process requires many changes. We clearly saw a visible pattern of what could be the movie. Pablo made the correct decision to respect the facts of the actual case and shape them naturally while building the narrative of the film. Because the script is based on court records and testimony from the relatives of victims, and the testimony of lawyers and judges, the film does not try to deny the truth. We did not have to resort to falsehoods.

TRAPERO: Of course we did not have transcripts of the conversations between Alejandro and his father. But we did have letters; we did have an idea as to how communicated. We did not have video, because these were the 80s, before we entered this culture of filming everything. However, we had access to lots of photographs, which were incredibly helpful, not only for the writing process but for the actors, too. They could study and analyze how they stood, how Arquímedes looked at his son. It was a great process, but in reconstructing these lives, we remained as respectful of the elements we had close to us.

CARREON: Why do you think the families and people involved in the research wanted to offer up such intimate details with you?

MOSTEIRÍN: I think for the pain, the need for this story to be recognized.

TRAPERO: They’ve carried many years of great loneliness. Behind this story are many people who sought justice in very difficult circumstances and it cost a lot to be heard. This is a case that eventually proved the criminal responsibility of these people. It was important to have this testimonial. Some people were very uncomfortable with the film being made, which speaks to how difficult it remains for many people, like the rugby club and the San Isidro neighborhood, to face the facts.

CARREON: The Puccio family dynamic is frighteningly normal to view on screen. It certainly magnifies the intensity with how the characters of Arquímedes and Alejandro interact with each other on screen. If one was the monster of the family, the other is depicted as something decided more human, certainly conflicted, but possessing a conscience.

MOSTEIRÍN: The kids had no real future, but Alejandro had a great future ahead. He had a great talent and the prospect of a successful career in the world of rugby. He was also an attractive guy, seductive, greatly loved by his peers. He was someone who had plenty of opportunities in life to develop, which made him privileged in that sense. Yet, instead of taking all these options before him, he chose or could not remove himself from the criminal path traced by his father. We were very interested in why he decided to be a part of what ultimately condemned him to ruining his life.

LANZANI: I think Alejandro knew what he was doing was wrong. No one with common sense would think that kidnapping your friends is a good idea. He was really ambitious. I think it was his decision to make. He was 24, 25 years old, which means he could make his own decision. He couldn’t stand up to his father. He didn’t have the ability to tell him that he didn’t want to continue. Alejandro carried this baggage for the rest of his life. When he tried look back at his past, he was really upset by the fact he betrayed what he wanted for himself.

MOSTEIRÍN: Despite all the information we had at our disposal, we were never going to know the minute-by-minute, day-to-day aspects of their family life. But they had a life of routine like any other, with the same relationships and feelings and moral commandments like all families. It was very important to Pablo to establish that the Puccios’ family dynamic was identifiable to any other. Another important character was the mother, Epifanía. The level of psychological manipulation, emotional and moral subjugation imposed by Arquímedes on his children is evident. However, the mother was much more subtle. She allowed for her children to fall under the mandate of the father. There is a sacrifice here, which makes the mother such a tragic figure in the classic sense. However, if one wants to think today as to how this story is inevitable, you need to think about the double standards of this family. How far can we sustain appearances while living with a secret? All societies create monsters, which appear from one day to the other. And we will always say, “How could this happen?”

TRAPERO: There is a saying in Argentina, “You can not cover the sun with your hands.” There is a time when reality is so strong it is very difficult to pretend that things do not happen.

MOSTEIRÍN: Or maintain all is normal.

TRAPERO: I think the film allows the general public, both inside and outside Argentina, to attend an allegory. When a society does not face or covers up the problem, the problem goes somewhere else. Audiences in other countries will confront a shared reality it depicts that has nothing to do with the Argentina of 30 years ago or the Argentina of today. But there is something in the relationship between the context and this phenomenon that generates these events, which unfortunately keep repeating in various societies.

CARREON: Once THE CLAN went before cameras, how did the knowledge of having the survivors of the Puccio clan’s abductions relive such painful events affect the manner in which the film was crafted? The film has a noir-ish aesthetic, but remains quite emotionally charged as an intimate family drama. And many already know the outcome.

TRAPERO: It was a great challenge, because at times the narrative was very extreme. However, if that intimacy is achieved on the scene, you accept it. Every family has a story it wants to hide. Stories exist behind closed doors. I think that also helps the audience feel a connection to the family because it is something we all share. Still, it was a challenge to make a thriller into a melodrama, or maybe it is a melodrama inside of a thriller. I only know that creating just a melodrama was not what I wanted. And there have been plenty of thrillers that are just about kidnappings. The challenge was this crossing of genres. Even at some point there are elements that might be identified as being from a horror film.  There is a lot at play here in relation to what the audience will feel. From getting the audience excited, to being entertained, to feeling anxiety and reflection. All of these things happen when you see a film and that is what motivates me to make them. When it came to THE CLAN, I did think about how I could surprise people start to finish, but not feel so disconnected from the family that they are not emotionally involved because what they do is so extreme. Finding that proximity was really a challenge, but I am glad people are having a strong emotional reaction to the film while being terrified by the history. People do identify with the victims and feel fear towards people who come across as real on screen. These are not actors simply acting. I wasn’t sure if the film would land right or not because of these contrasts, like seeing Arquímedes in an act of violence or being a dutiful father teaching mathematics to his daughter. These are very extreme situations that work to create these shocks of emotion contained throughout the film.

MOSTEIRÍN: It’s a proposition built for the senses. The film has staged scenes. Decisions were made on lighting and what type of lens to use. The production design, the sound, the specific style of editing was also a bit extreme in terms of what we’ve done before. However, I want to emphasize that when we started to make ​​the film, although it is about a very specific case, which happened during a very specific political context relating to our country, we always wanted the film to mean something to viewers around the world.  That was always a goal, and one of the things we had clear was that the narrative had to be as universal as possible. Audiences are able to have an emotional relationship with the film that goes beyond Argentina’s history, beyond the real case, so that people could feel like they are inside this family.  After seeing the finished film, the viewer is inside the home, in the car, they are very close to them. That was a nice challenge to meet.

CARREON: Actor Guillermo Francella delivers an unforgettable performance as Arquímedes Puccio. Audiences have seen him in dramatic turns, but he’s also one of the revered comedic talents of his generation. How did you gain his trust and confidence?

TRAPERO: Before I had a finished the script I needed to have confirmed actor. We had a meeting with Guillermo and I told him, “I want you to do this character. I do not have the finished script, but I want you to tell me if you want to do it. Not only will it be a dramatic character, but your first villain, a guy who terrifies people. Your fans will hate you.” Not all actors have that sort of relationship with the public because it is a difficult one. But that trust and bond with an actor is important to me. My wife is an actress and we have made ​​several films together. That relationship of trust and risk shared by an actor and director in creating a character is one thing I enjoy most about making a film. I knew I wanted Guillermo for the film and from there we established a bond. It was very demanding and very intense.

GUILLERMO FRANCELLA: I have a strong opinion because I also have lived during the time of the Puccios. I was very informed about their story. When Trapero offered me the role, I knew exactly what he was talking about. I lived in that area of San Isidro, I walked by their door of the hundreds of times, never knowing what was happening in there. We were able to construct bit by bit who Arquímedes was with all the information gathered from people who knew him, how we behaved, how he conducted himself, his manner of speaking, his posture, his physical being. It was a very interesting process.

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CARREON: Guillermo, what proved the main catalyst for your being able to inhabit the skin of such this polarizing father figure?

FRANCELLA: The rehearsal process was extremely useful. During pre-production, once the cast was in place, we had many meetings. It was very helpful to get to know each other because were had to generate a sense of chemistry beyond what was written in the script. The rehearsals were essential because there wasn’t much video research material on Arquímedes or the family to properly observe their behavior together. Still, once we were all together, it became very clear what each of us had to do. I worked closely with Trapero on Arquímedes’ calm manner, his cold stare. We tried to make sure he never blinked during a conversation. He had an intimidating stare. We crafted a certain attitude that was affable, sociable, educated and respectable. There wasn’t much in his transition from being the man who helped his daughters with their homework, helping them with their tasks to executing the most atrocious kidnappings. He was a very relaxed person. To find that contrast when he lost his composure, like the shooting in the car because Alejandro would not complete his task? Grabbing him by the collar and slamming him against the dressing room wall at his shop, as well as the argument in jail were the two hardest scenes to complete.

LANZANI: Guillermo had a look that was like from the Devil itself. Pablo understood Arquímedes as being the Devil, not the patriarch of a family.

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CARREON: Peter, this is your first major film role. What proved essential for you in building your understanding of Alejandro?

LANZANI: It wasn’t easy, but I really wanted to try. I love movies and this is my first one and it was difficult, but Guillermo and Pablo helped me a lot. I think the harder the challenge, the better for me so I can learn more. The psychology of Alejandro was the most difficult thing to create, you know? He’s must have been pre-occupied with so many things. The guilt he carried, of having his father always telling him what he had to do and never having the courage to stand up to him. He exposed his soul to do these terrible things and lost himself forever. The intensity this generates in some of the scenes was difficult. It’s a story with a lot of impact. We tried to do our best and work from the details we had at hand. These were clues we needed so people could see the movie like a documentary about the Puccio family.

CARREON: The final minutes of THE CLAN may surpass the violent crimes depicted earlier in the film in terms of impact. What proved the bigger challenge? Was it the climax of the final scene in court or the recreation of the Puccios’ crimes?

TRAPERO: The ending. But it was a challenge to write and it was also a challenge to stage. I worked again with (Julián Apezteguia) my director of photographer on “Carancho.” I proposed to the entire crew that we create a physical sensation for the audience, to bring them as close to the characters as possible. That is why when the camera is inside the car, you are also sitting in the car. When someone is in the bathroom one, you’re positioned right there next to them. In the script there were several long sequences written, like the kidnapping of Manoukian. All of kidnappings were envisioned as sequences that turn you into the victim. The film is primarily told from the perspective of either Alejandro or Arquímedes, except during the abduction scenes. But the final scene is about deciding who is the victim here? Is it Alejandro or Arquímedes?  It plays with that sensation, because you’ve seen the two sides of Alejandro. It was always written this way in the script, but it was a very difficult shot to create. It took many days of filming to complete and some FX work, too.

CARREON: Music plays a key element in THE CLAN, often functioning as a counterpoint to the action on the screen. In some moments, it even provides a layer of dark comedy. How were these classic rock songs of the era chosen?

TRAPERO: Many are songs are of the time, but not others, like Creedence Clearwater Revival and The Kinks. It was all music that was banned in Argentina during the period of the military. Interestingly, from the time of the Falklands, music in English was banned. But families of the middle class did not listen to music in Spanish. It was trendy to listen to music in English, so that speaks a lot of the time. Some tracks were chosen to represent the era, like David Lee Roth was big in 1985 and Serú Girán was a well-known band in Argentina around 1982. Virus was another Argentinian band that represents 1983. We also have Ella Fitzgerald, Creedence, The Kinks, especially with “Sunny Afternoon” (1966), because the lyrics were ironic.

CARREON: No one likes to have their dirty laundry aired, particularly within a fiercely protective community. Yet, THE CLAN was a massive hit in Argentina. Why do you think the film struck such a chord with audiences?

FRANCELLA: We are experiencing “Pucciomania” in Argentina at the moment. Everyone is talking about them. In the media, police investigators, everyone.

TRAPERO: It was great to see the film do so well in Argentina. This can mean that the public will accept movies that do not follow certain formulas. I am very pleased that the public is encouraged to look at these types of stories, to reflect and to leave the theater and discuss with their families what they’ve just seen, to talk about the history of Argentina. The film allows people to reflect on the present, on the internal lives of every family. It was heartening to see in Argentina that the public had the maturity to deal with issues that are disturbing. We all know that Argentina is known for the tango and its constant reflecting on the past. Interestingly, the country has one of the highest amounts of therapists per inhabitant, but I don’t know if that has anything to do with it. For me, the success of THE CLAN is a good sign for these types of films, because it means we can continue making more of this kind.

LANZANI: I think our movies should show the things that happened in our country. The dictatorship was the worst thing. We have moved on away from that period. At least, I hope so. I only want my country to be happy, to be at peace and for the world to be at peace. It’s not so easy, but we will try.

CARREON: What can be said of the surviving Puccio family members today? Were they part of the process? How have they reacted to THE CLAN?

TRAPERO: We tried to reach out to Epifanía, but she would not speak to us. We also tried to speak with Maguila via Skype because we were able to speak to friends of his and Alejandro’s. However, we were unsuccessful. An interesting thing did happen with Arquímedes. THE CLAN was first announced in 2012. I was working on another project at the time, but after the film was released, Arquímedes reached out to the media said he wanted to meet “Trapero because I’m going to tell him the real truth.” When I returned to Argentina to begin THE CLAN, he had died. If I could have spoken with him, I imagine he would have said what he said until the day he died: He was not guilty, that he had nothing to do with these crimes and that he was a victim. But the real question that I would have liked to have asked is why did he do this to his family? Because when you see the movie or even when we were doing research, one can understand that he loved his family in a very special and very crazy way. Everything he did was for his family. But at one point he makes a decision, as you see in the film, that affects them all.

CARREON: Guillermo, do you think you have a greater understanding of Arquímedes Puccio today?

FRANCELLA: No, I’ll never understand him. Never. Even after seeing his testimony. Before his death as an old man, he was already free and living in La Pampa, a province in Argentina. He remained with that arrogance, denying his role in the crimes without any remorse. I hate him more as a result. I’m sure if I were given a chance to speak with him, it would have been a very sterile conversation, without emotion because there is nothing that would make him want to reflect on the past. He worked for the secret service; he fought against progress. When the democracy came, he continued his “line of work” for personal ambition. These kidnappers were shitty people, if you pardon the expression. He spoke of divine justice, but he was already old and crazy. I don’t think I would want to cross paths with him today.

CARREON: How have the families of the victims reacted to THE CLAN?

MOSTEIRÍN: Several have come to the premiere.

TRAPERO: Matías insisted that many of them came to the premiere. A few said things that shocked me, like they felt they “saw” the real Arquímedes on film. That impacted me. But they also felt the film exists, in a silent way, as a tribute to the families and the victims. It is a different way of doing justice. The Puccios preyed on people, denying all reality in their behavior. There was never a moment to apologize to the families, which sometimes happens in these cases. So I think it helped the victims to have a sense of moral compensation, beyond the court. Everyone in Argentina, and throughout the world, can now speak of the cruelty of this family and how the victims suffered the madness of these people.

From 2oth Century Fox International, THE CLAN is now playing in select theaters. 

“Christmas wrapping…” — #bahhumbug

“Bah, humbug” no, that’s too strong
‘Cause it is my favorite holiday
But all this year’s been a busy blur
Don’t think I have the energy

To add to my already mad rush
Just ’cause it’s ’tis the season
The perfect gift for me would be
Completions and connections left from

Last year, ski shoppin’
Encounter, most interestingimage
Had his number but never the time
Most of ’81 passed along those lines

So deck those halls, trim those trees
Raise up cup’s of Christmas cheer
I just need to catch my breath
Christmas by myself this year

Calendar picture, frozen landscape
Chilled this room for twenty-four days
Evergreens, sparkling snow
Get this winter over with

Flashback to springtime, saw him again
Would’ve been good to go for lunch
Couldn’t agree when we were both free
We tried, we said we’d keep in touch

Didn’t, of course, ’til summertime
Out to the beach to his boat could I join him?
No, this time it was me
Sunburn in the third degree

Now the calendar’s just one page
And, of course, I am excited
Tonight’s the night, but I’ve set my mind
Not to do too much about it

Merry Christmas, Merry Christmas
But I think, I’ll miss this one this year
Merry Christmas, Merry Christmas
But I think, I’ll miss this one this year

Hardly dashing through the snow
‘Cause I bundled up too tight
Last minute have to do
A few cards a few calls

‘Cause it’s “RSVP”
No thanks, no party lights
It’s Christmas eve, gonna relax
Turned down all of my invites

Last fall I had a night to myself
Same guy called, Halloween party
Waited all night for him to show
This time his car wouldn’t go

Forget it, it’s cold, it’s getting late
Trudge on home to celebrate
In a quiet way, unwind
Doing Christmas right this time.

“A&P” has its provided me
With the world’s smallest turkey
Already in the oven, nice and hot
Oh damn! Guess what I forgot?

So on, with the boots, back out in the snow
To the only all-night grocery
When what to my wondering eyes should appear
In the line is that guy I’ve been chasing all year

“I’m spending this one alone,” he said
“Need a break, this year’s been crazy”
I said, “Me too, but why are you?
You mean you forgot cranberries too?”

Then suddenly we laughed and laughed
Caught on to what was happening
That Christmas magic’s brought this tale
To a very happy ending

Merry Christmas, Merry Christmas
Couldn’t miss this one this year
Merry Christmas, Merry Christmas
Couldn’t miss this one this year

 http://youtu.be/nud2TQNahaU

“Yo soy más que un aparador…”

“Yo soy más que un aparador…”

Dicen que la envidia es admiración al revés.
Soy lo que soy, soy lo que ves.
Especial y único de la cabeza a los pies.
Fluyo como un pez, me sobra lucidez…

…Yo soy más que un aparador.

“Vivir con miedo es cómo vivir a medias” (Cuentos de la vida real 2)

“Vivir con miedo es cómo vivir a medias” (Cuentos de la vida real 2)

 

En ver las imágenes desde Mexico últimamente, siento una tristeza muy profunda. Se ve miedo, rabia, caos y desesperación. Ha llegado el momento de enfrentar la corrupción y violencia que ha deteriorado la imagen del país.

Vivir con miedo es inaceptable en un mundo moderno. Pero donde hay miedo si se puede encontrar esperanza y el deseo de rechazar lo que nos agobia. No pretendo comparar mis propios miedos con los que se vive en México hoy. Pero si recuerdo el poder que se realiza cuando pierdes el miedo y empiezas usar una voz alta y clara. Es lo básico de nuestro ser.

Era el año 1977 y ese verano fue el momento que terminé mi primera decada como Jorge Carreón Jr. Durante casi 10 años, me quedé con la determinación de vivir al lado izquierda del centro. Solo pensé en cultivar los intereses que eran cualquier cosa menos lo que era normal en Pico Rivera. No tenía muchos amigos, pero eso no me importaba. Quería perderme en todos los libros y películas que podía procesar antes de regresar a la primaria en el otoño. La mayoría de los niños tenían ganas de ir al parque, tomar clases de natación o tener días lánguidos en la playa. Yo quería saber más del artista moderno Andy Warhol y leer mis libros de Nancy Drew. Pero mis planes se quedaron en supsenso cuando mi papá me dijo que yo iba con él y mi hermana a visitar a su familia en el D.F.

Era como si el pusiera un alfiler en el globo de mi sueño de verano.

Así que fui, inocente al siniestro plan que mis padres habían inventado sin mí. Papá sólo tenía dos semanas de vacaciones de la fábrica. Eso significaba que junto con mi hermana, quien mantuvo la primera de una vida de secretos, tendríamos que quedarnos con nuestros familiares durante todo el verano. ¿Y cuándo llego el momento que me enteré de eso? El día que mi papá se regresó a Los Angeles sin nosotros.

Me dio una rabia feroz. Le grité. Lloré. Lo seguí a la puerta de la casa de mi tía en la mejor manera que aprendí de las telenovelas: “¡No me dejes!” Nunca se dio la vuelta. Caminó con buen paso a la puerta sin decir otra palabra más. Nunca me sentí tan lejos de mi vida real en California. Fue demasiado. Casi no hablaba el idioma. Ne dejaba de pensar: “Yo no soy mexicano. ¡Soy americano!” Pero todo mis gritos cayeron en el vacío. Estuve en esta casa sin esperanza para el resto del verano.

Pensando en este momento, me doy cuenta que no sabía ese verano con mi familia mexicana sería un regalo. ¿Cómo podría saberlo? Yo era sólo un niño. No pude ver mucho con mis ojos llenos de lágrimas. Tenía miedo de lo nuevo, de enfrentar la fuente verdadera de mi identidad: México. Nunca paramos de enfrentar lo “nuevo”. Gente, ciudades, costumbres, situaciones, todo lo que nos une como la raza humana. Fue el primero de muchos miedos que tendría que conquistar en mi vida, pero sí los conquisté.

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Tenían que pasar 37 años para entender que la vida es demasiado corta para cualquier sentido de temor. Nacer latino es obstáculo suficiente en un mundo que valora la vainilla sobre el picante. Como ya he madurado, me emociona y me preocupa ver como nuestra narrativa nacional se conforma con la comunidad hispana. Espero contribuir a esta narrativa, para que refleje lo que realmente es ser un american en 2014. No tengo mucho espacio para el miedo con el fin de lograr ese objetivo. El miedo casi me dejo mudo durante todo un verano. Pero yo tomé ese paso que me llevó a un grupo muy especial en este mundo. Me convertí en un americano bilingüe, realizando el sueño de existir dentro de dos mundos que he llegado a representar con orgullo.

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Miércoles, 24 de noviembre. Escrito y subido desde Wayne Avenue Manor en South Pasadena, CA

 

Cuna de víboras.

Cuna de víboras.

“Viven en una cuna de víboras.

La luz se extingue aquí.

La esperanza se muere aquí.

Las mentiras son sus verdades en un mundo frágil, construida con apariencias falsas.”

Esta poema es mi manera de expresar la rabia que siento por dentro. No entiendo como una familia puede portarse a la bestia. La realidad es la naturaleza es más digno que la humanidad.

13.10.14 — Escrito por Jorge Carreon desde South Pasadena, CA

Are we ever too old to dream? — #starsandmoon

 

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That Salamancan glow of summer faded too damn fast. Who am I kidding? I let it fade. Instead of just transferring it back home, I sat around with a look of petulance, bemoaning the American Way. Stupid. So stupid.

Once you’re knee deep in your 40s, I think you’re supposed to be painfully aware of the distance between “then” and “now.” By now we should realize our lives are constant examples of forward motion. That is until we allow ourselves the live in a state of arrested development. Remember, I’m just the guy who cain’t let go. Yet, I’m also the guy who will embrace change when I am left with no other recourse.

I left my job during the summer of 2013 to find a better self.

I returned to the classroom in the fall of 2013 to restore a better sense of self by studying Spanish again, this time at East Los Angeles College.

I ventured to Spain in the summer of 2014 to live out loud with what I learned being a student again, continuing my studies at the Pontificia in Salamanca. My self-esteem was in the process of being rebuilt, gaining strength and perspective. My voice was finally registering with so much hope, creating a narrative of optimism.

Then I went home.

I relapsed…no..willingly wallowed into a pit built with self-pity and binge eating.

I’m sitting here in a hotel room in Primm, Nevada. Watching these words flash across the screen, words given power by my hands. All I can think is, “What the fuck is wrong with me?” Why am I still chasing the same damn demons that I’ve let dominate my life since childhood.

I want to be liked.

I want to be pretty.

I want to be skinny.

I want to be happy.

I want…I want…I want. What the hell? What more can I want, Veruca? I have everything! Yet, why is it so hard to say “I have” and acknowledge the good amassed in this last year? Why return to the scene of my crimes against my own humanity?

We are living in a culture that has turned self-reflection into a business. But I think we are deluding ourselves. It is just a different brand of narcissism, this still being unable to be still. As I sit here with my thoughts, so late into the evening, I can’t help but ponder the obvious. It’s the doing that matters, not paying lip service to a dream you’ve opted to stall because you’re so chicken shit. But what happens when you realize you’ve outgrown the dream itself?

I can compose a narrative on a whim, revising it in my brain like a chewed up wad of gum, mulling it over and over until it loses all flavor. As we wade further into September, I am facing a reality I’ve been too afraid to acknowledge.

Maybe it wasn’t about MY being someone. Maybe it is about inspiring someone else to dare to express themselves in a way that affects us ALL in such a profound manner, it prompts change. That’s a dream worth chasing at any cost because it isn’t about me anymore.

I don’t want to see language devolve into statements constructed with 140 characters or less.  I don’t want a filtered image on Instagram to be the defining record of our time, an image without context or nuance. I convinced myself to be ashamed that I worked this hard to reach only the middle. Truth be told, not all of us can be LeBron. That lofty status is reserved for those who are truly touched by the hand of God. I represent something between extra and ordinary, like so many of us who have the desire to make our time on Earth matter. It’s about the little legacies we leave behind without fear of judgment that counts. It’s accepting that we are SOMEONE, even if it is to a party of one.

What I have discovered at this juncture of my life is that I am deserving of a patch of blue, a landscape of green, a sense of peace and quiet within. I have understood that I possess enough good in this life to allow the optimism I carry inside to not be obfuscated by the chaos of people who only see what they want to see. I don’t want the status quo of being a proxy anything to anyone anymore. Nor will I allow myself to build a fortress of empty calories, sponsored by the folks at Emotional Eating and designed to hide me from the world again. It’s about knowing that we all carry the stars and the moon in our hearts.

Let’s remix this business…

“I met a man without a dollar to his name
Who had no traits of any value but his smile
I met a man who had no yearn or claim to fame
Who was content to let life pass him for a while
And I was sure that all I ever wanted
Was a life like the movie stars led
And he kissed me right here, and he said,

“I’ll give you stars and the moon and a soul to guide you
And a promise I’ll never go
I’ll give you hope to bring out all the life inside you
And the strength that will help you grow.
I’ll give you truth and a future that’s twenty times better
Than any Hollywood plot.”
And I thought, “You know, I’d rather have a yacht.”

I met a man who lived his life out on the road
Who left a wife and kids in Portland on a whim
I met a man whose fire and passion always showed
Who asked if I could spare a week to ride with him
But I was sure that all I ever wanted
Was a life that was scripted and planned
And he said, “But you don’t understand —

“I’ll give you stars and the moon and the open highway
And a river beneath your feet
I’ll give you day full of dreams if you travel my way
And a summer you can’t repeat.
I’ll give you nights full of passion and days of adventure,
No strings, just warm summer rain.”
And I thought, “You know, I’d rather have champagne.”

I met a man who had a fortune in the bank
Who had retired at age thirty, set for life.
I met a man and didn’t know which stars to thank,
And then he asked one day if I would be his wife.
And I looked up, and all I could think of
Was the life I had dreamt I would live
And I said to him, “What will you give?”

“I’ll give you cars and a townhouse in Turtle Bay
And a fur and a diamond ring
And we’ll be married in Spain on my yacht today
And we’ll honeymoon in Beijing.
And you’ll meet stars at the parties I throw at my villas
In Nice and Paris in June.”

And I thought, “Okay.”
And I took a breath
And I got my yacht
And the years went by
And it never changed
And it never grew
And I never dreamed
And I woke one day
And I looked around
And I thought, “My God…
I’ll never have the moon.”

“Stars and Moon,” music and lyrics by Jason Robert Brown

 

Composed on Saturday, September 6 at Buffalo Bill’s Resort and Casino in Primm, Nevada — Posted on Sunday, September 7 from Wayne Avenue Manor in South Pasadena.