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First Cow Screenbox FIRST COW SCREENBOX FICHA NÚM. 2.430 T.O.: FIRST COW NACIONALIDAD: ESTADOS UNIDOS Estreno Screenbox: 21-05-2.021 DURACIÓN: 122’ Estreno España: 21-05-2.021 AÑO: 2.019 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA FILMOGRAFÍA DE LA Cookie: John Magaro DIRECTORA: Mujer con perro: Alia Shawkat KELLY REICHARDT Trapper Jack: Dylan Smith -First Cow (2.019) Lloyd: Ewen Bremner -Certain Women (2.016) -Night Moves (2.013) FICHA TÉCNICA -Meek's Cutoff (2.010) Directora: Kelly Reichardt -Wendy and Lucy (2.008) Guion: Jonathan Raymond, -Old Joy (2.006) Kelly Reichardt -Ode (1.999) Productores: Neil Kopp, -River of Grass (1.994) Vincent Savino, Anish Savjani Música: William Tyler PREMIOS Y PRESENCIA EN Fotografía: Christopher Blauvelt FESTIVALES (selección) Montaje: Kelly Reichardt -Sección Oficial: Festival de Berlín (2.020) SINOPSIS -Film Independent Spirit Awards: Narra la historia de un cocinero Nominada a la Mejor Película, a la contratado por una expedición de Mejor Dirección y al Mejor Actor de cazadores de pieles, en el estado Reparto (2.021) de Oregón, en la década de 1820. -National Board of Review, Estados También la de un misterioso in- Unidos: Top Ten Films (2.021) migrante chino que huye de unos -Festival de Cine Internacional de hombres que le persiguen, y de la Gijón: Premio a la Mejor Película creciente amistad entre ambos en Sección Albar (2.020) un territorio hostil. ENTREVISTA CON LA DIRECTORA Savjani y Neil Kopp. Ellos son los que están al pie del cañón (extracto) y consiguen que todo sea posible; si estamos grabando una escena y necesitamos que aparezca un pez en el arroyo, ellos ¿Puedes hablarnos del proceso de adaptación están ahí y lo tiran justo a tiempo. En una película existen cinematográfica de “The Half-Life”? muchos universos paralelos. En cada frente hay ideas que “The Half-Life” fue lo primero que leí de Jon Raymond. evolucionan y se transforman en versiones nuevas de la idea Gracias a eso, trabajé con él en “Old Joy”. Es una novela original. En la historia, esto se refleja en cómo la galleta pasa que abarca cuarenta años del siglo XIX y tiene lugar en dos a ser un buñuelo y Cookie dice: «Creo que les gustará más continentes, por lo que convertirla en una película siempre dulce» y en un abrir y cerrar de ojos tienes un clafoutis en la había estado fuera de mi alcance. A lo largo de los años, mano. Jon y yo a menudo reflexionábamos sobre cómo podríamos convertir “The Half-Life” en un proyecto factible. ¿Cómo ideaste la estética de “First Cow” con tu director de fotografía de confianza, Chris Blauvelt? Estos últimos años, antes de hacer “First Cow”, estaba Antes de reunirme con Chris, elaboro un libro, una guía visual intentando rodar una película en Europa, ambientada que te lleva por toda la película, escena a escena, que da también en el siglo XIX. Era de un género similar a la una idea del aspecto, el tono y la estrategia básica de rodaje. fantasía y dediqué mucho tiempo buscando pueblecitos Para “First Cow”, revisamos “Cuentos de la Luna Pálida y y empapándome de la obra de Courbet y Brueghel. Ese “La Trilogía de Apu”, que son películas que se desarrollan proyecto fracasó, así que Jon y yo retomamos lo de siempre: en pueblecitos marginales y nos dieron buenos puntos de pensar en cómo podíamos adaptar “The Half-Life”, y por fin partida. Las pinturas de cowboys de Frederic Remington conseguimos idear “First Cow”. nos sirvieron de guía para el color, con azules y verdes turbios y luces de color coral. Chris y yo echamos un vistazo La película comienza con una cita de William Blake: «El a esos libros de imágenes juntos y empezamos a debatir. pájaro, un nido; la araña, una tela; el hombre, la amistad». Repasamos el guion una y otra vez. Chris hace algunas ¿Viene del libro? ¿Consideras que “First Cow” es una pruebas de cámara y prueba los objetivos que tiene pensado película sobre la amistad? utilizar. Mientras tanto, vamos explorando lugares en los que Es una película sobre otras cosas menos bonitas, pero en el rodar. Janet Weiss fue la encargada de las localizaciones. centro está la amistad. La cita de Blake aparece en “The Half- Está constantemente descubriendo localizaciones nuevas a Life” y, básicamente, es el impulso de todo. Fue un gustazo las que vamos a hacer un seguimiento, habitualmente con trabajar con tantos amigos rodando una película sobre la el asistente de dirección, Chris Carroll, con el diseñador de amistad. producción, Tony Gasparro, con Chris Blauvelt y mi amigo y ayudante Mikey Kampmann. Mikey graba las localizaciones “First Cow” también trata sobre crear algo. Cookie y King- con una cámara de fotos mientras que Chris Carroll y Lu se convierten en socios de una ingeniosa empresa: Chris Blauvelt se colocan donde irán los actores y yo fijo preparar y vender buñuelos y galletas. Se presta mucha las escenas. Blauvelt está siempre haciendo listas y Carroll atención al proceso y me pregunto si ese aspecto de la dibujado mapas. Entre todo esto, saco algún momento a película ha reflejado tu propio interés por él. solas en los espacios ya construidos antes de rodar. Suelo Todas las películas se centran mucho en los procesos a la trabajar en ese espacio con los actores y hacemos algunos hora de desarrollar sus temas, y sí, al dirigir una película ajustes de lo que pueda quedar sin concretar, aunque para obviamente eso se ve reflejado en todos sus aspectos. Es entonces Chris y yo ya tenemos una base bastante sólida. el sexto largometraje que hago con los productores Anish La cámara está a ras de suelo en “First Cow” y se emplea una en la producción? relación de aspecto similar a la de “Meek’s Cutoff”, aunque Muy buena pregunta. Queríamos contar una historia sobre en un espacio visual muy diferente. La estética de la película unos inmigrantes, un cocinero y un marinero en una tierra es muy íntima y angosta, sin verdaderas panorámicas ni desconocida. Ahora bien, estábamos rodando una película en la planos de paisajes. región del Pacífico Noroeste de alrededor de 1820 y queríamos Es curioso que digas que es angosta. Chris Carroll tiene asegurarnos de que sus habitantes de la época estuvieran la sensación de que el bosque es muy claustrofóbico. Es debidamente representados. Además, son un grupo muy poco claramente más cerrada que en “Meek’s Cutoff”, que se rodó representado en el cine, por lo que la responsabilidad era en zonas desérticas. En ese caso se trataba la amplitud y la aún mayor. Tuvimos una suerte inmensa de haber dado con extensión del paisaje, y el marco cuadrado era un modo de personas tremendamente generosas en el museo Chachalu crear angustia, de no saber qué pasará después, no poder y en el programa lingüístico del Grand Ronde, donde nos ver qué traerá el mañana. “First Cow” también se rodó en informaron acerca de sus familias y su historia. Nos ayudaron 4:3. Vemos muchas escenas de excavación y búsqueda de con las traducciones y nos recomendaron libros y películas alimentos, las hogueras están en el suelo, el colchón en el que muy útiles de sus archivos. duerme Cookie: todo está cerca del suelo. El formato cuadrado funciona bien para los árboles altos en exteriores, aporta Una noche ocurrió algo precioso mientras grabábamos audio intimidad a los interiores y favorece también a los personajes. con James Lee Jones y Orion para una escena en la que King- El formato en cuatro tercios no busca grandeza: es un formato Lu negocia con un hombre por un viaje por el río. Hablaban más bien humilde. en la jerga chinook, una lengua comercial que desciende del idioma chinook. Estábamos en una furgoneta con el intérprete En “Meek’s Cutoff” hay cierta iconografía del wéstern que intentando que pronunciaran bien y me di cuenta de que se puede aprovechar o evitar. El periodo y la localización de muchas personas del equipo (la microfonista, la técnica de “First Cow” es bastante menos emblemático y familiar para sonido, el supervisor de guion) estaban atendiendo a las la mayoría de los espectadores. Hay una frase en el guion especificidades del idioma y de su pronunciación, y podían sobre cómo «nuestro momento aún no ha llegado». ¿A qué participar en la conversación y preguntar qué querían decir tipo de referencias visuales recurriste para esta producción y algunas palabras o cómo sonaban. Cada actor que tenía que para el diseño del vestuario? hablar la jerga tuvo que darle su propio enfoque. Espero que al La historia de “Meek’s Cutoff” se desarrollaba en 1845, por lo menos nos hayamos acercado. que teníamos fotografías con las que trabajar. Cada vez que configurábamos una cámara, era como decidir entre oponerse ¿Quién cocinaba en realidad las galletas y los buñuelos para a un tema recurrente o apoyarlo. Es lo que caracteriza el el rodaje? género wéstern y demuestra lo fuerte que es el lenguaje visual. Sean Fong, que trabajaba en el departamento de atrezzo con Para “First Cow”, como tiene lugar en 1820, no teníamos fotos, Paul Curtin. Sean se encargaba de preparar los buñuelos y las solo unos cuantos grabados de los primeros exploradores de galletas, solo con los ingredientes que hubieran podido tener la región. Investigamos principalmente los escritos de la época en aquella época. y lo que se ha ido transmitiendo a través de historias. [La diseñadora de vestuario] April Napier tuvo que averiguar qué La música de William Tyler es ambiental y evocadora, y llevaban a la espalda quienes se iban de casa y a qué tendrían apenas suena nada que pueda ser ajeno o posterior a ese acceso a lo largo del camino.
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