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I colori
del Messico
Quando mi proposero di
fotografare il film "Santa
Sangre" di Alejandro
Jodorowsky fui subito
incuriosito dal progetto. Avevo
dei ricordi molto lontani dei suoi
film precedenti, "La montagna
sacra" e "E1 Topo" ma le
immagini più belle mi tornarono
subito alla mente.
Lessi il copione, era una delle
più folli storie che avessi mai
letto, ma anche una delle più
affascinanti, ambientata in
Messico.
Nella mia mente il Messico era
rappresentato dai vecchi film in
bianco e nero, magistralmente
fotografati da Gabriel Figueroa,
con i cieli tormentati di nuvole,
le case bianche le scene
idilliache fatte di sombreri e
chitarre, l'atmosfera tersa e
pulita. Ma già dall'incontro con
Alejandro a Roma e dalla storia
che avevo letto, capii che non era
quello il Messico che lui voleva
raccontare, ma quello
"metropolitano" di Città del
Messico, quello torbido dei
quartieri dove la povertà, la
corruzione e il vizio raggiungono
livelli inimmaginabili.
Alejandro mi volle con sè due
settimane prima dell'inizio del
film, girammo per la città dalla
mattina alla sera, una città di 20
milioni di abitanti, 17 milioni di
automobili, dove lo smog e il
"Santa sangre"
DANIELE
NANNUZZI
When they asked me to do the photography far the film "Santa Sangre",
directed by Alejandro Jodorowsky, I was immediately intrigued by the
project Even though it was many years since I had seen his films "El
Topo"and "La Montagna Sacra", the most striking images suddenly
came back into my mind. I read the script and the story, set in Mexico,
which while being one of the most insane I had ever read, was also one of
the most fascinating.
I had always imagined Mexico as I had seen it in those old Black & White
films so skilfully photographed by Gabriel Pigveroa, with skies full of
fluffy white clouds, white houses, idyllic scenes featuring sombreros and
guitars and a wonderful pellucid atmosphere.
However, from the story I had read, and the meeting I had had with
Alejandro in Rome, I already knew that it was not this Mexico that he
wanted to communicate, but rather the "metropolitan" aspect of Mexico
City itself, the turbid atmosphere of areas where poverty, corruption and
vice reach the most unbelievable levels.
Alejandro asked me to join him in Mexico two weeks before the shooting,
and we walked around from dawn to dusk, so that I could get the feel of
this city that has a population of20,000,000 and 17,000,000 cars, where
smog and noise reach unbearable levels and skyscrapers frame
tumbledown huts and buildirxjs damaged by the last earthquake,
which still look as if they're about to totter over, a city full of disturbing
contradictions, like prostitutes who solicit their clients under the portico
of a church, and kids who are slowly killing themselves by sniffing a glue
that can be bought in the shops for a few "pesos": this was the Mexico of
"Santa Sangre".
Alejandro told me that he had chosen me for the photography because of
"Il Giovane Toscanini" (Young Toscanini), that I had just finished