Alejandro Gonzlez Irritu is a Mexican film director. He started his career as a DJ in 1984 at the top-rated Mexican radio station WFM. In 1988 he began composing music for six Mexican feature films, including Garra de Tigre (1989). He studied filmmaking in Maine and Los Angeles,…more
The first non-white Director to win consecutive Oscars for Best Director.
He and Alfonso Cuarón are the only Mexican winners of the Best Director Oscar. They were also consecutive winners.
One of four people to win back-to-back Oscars for Best Director (the others are: Lewis Milestone, John Ford and Joseph L. Mankiewicz). Iñárritu is the first to do so since Mankiewicz in 1950 and '51).
In Amores Perros Iñárritu allows himself to appear a few times: in the editorial where Daniel works, for example, verifying a magazine cover, having some of the TV spots he made in the 90's when he was a publicist shown in the movie; and in the last scene, "El Chivo" names the dog he rescued (Formerly known as "Cofi") "El Negro", in allusion to himself.
The title of 21 Grams comes from the work of Dr. Duncan MacDougall, who in the early 1900s sought to measure the weight purportedly lost by a human body when the soul departed the body upon death. MacDougall weighed dying patients in an attempt to prove that the soul was material and measurable. Although MacDougall's results varied considerably from 21 grams, for some people this figure has become synonymus with the measure of a soul's weight.
Amores Perros, 21 Grams and Babel are often called "Iñárritu's Death Trilogy".
Many people called Amores Perros the "Mexican Pulp Fiction" due to it's interlocking stories.
Babel was filmed in locations in Morocco, Japan and Mexico in English, Spanish, Japanese and Arabian.
To prepare Naomi Watts to her part in 21 Grams they went to therapy with people who had lost kids.
He defines 21 Grams as a film about loss and about hope.
He worked in 21 grams with a budget ten times bigger than in Amores Perros
His film Amores Perros won a British Academy Award for Best Foreign Language Film on 2001.
In Amores Perros are three different stories. In those he used different stocks: the first and third stories were shoted with Vision 800 and the second one with Vision 500.
In the scouting of locations for Amores Perros, outside of the house where the dogfights take place, was assulted along with all the crew.
Just before the release of Amores Perros he was named by Variety one the 10 Directors to Watch.
With Oliver Castro he directed the promotional videoclip Amores Perros (De Perros Amores), performed by Control Machete and Ely Guerra. This song appears in the soundtrack of Amores Perros.
He needed thirty-six drafts to finally get to the defenitive script for Amores Perros.
He started directing commercials and music videos.
He is also known as "El Negro" (The Black)
In the auditions for Chieko, the rebelious deaf and mute teen Japanese girl in the film Babel, Iñárritu had to use a translator from English to Japanese and another from Japanese to deaf language. Sometimes Iñárritu's questions were answered with responses that didn't match with the question, being, according to him, "part of the essence" of the film. At the end Rinko Kikuchi got the Chieko's part.
Babel was one of the favorites to win the Palme d'Or in the 2006 Cannes Film Festival, but at the end lost against The Wind that Shakes the Barley by English director Ken Loach.
Iñárritu earned the Best Director Prize (Prix de la mise en scène) at the 2006 Cannes Film Festival for his film Babel beating heralded Spanish director Pedro Almodóvar and his film Volver.
Amores Perros won an Oscar nomination for Best Foreign Film as well as a BAFTA Film Award for "Best Film not in the English Language", the Critics Week Grand Prize and Young Critics Award at the 2000 Cannes Film Festival as well as many other awards from festivals and societies around the world.
His film Amores Perros is called in some English-speaking markets Love's a Bitch.
Amores Perros (2000).
Powder Keg (from The Hire) (2001).
11'09'01 - September 11 (Mexican segment) (2002).
21 Grams (2003).
Paris je t'aime (segment 4th Arrondissement) (2005).
Iñárritu: (On why did he not record an audio commentary for 21 Grams) I don't like them. I feel that if you have to explain something it loses strength. It's like a magician trying to explain his magic, in a way. Those kind of things make me feel like I've lost something special about the film. The film should explain itself.
Iñárritu: With Babel I wanted to explore the contradiction between the impression that the world has become quite small due to all the communication tools whch we have, and the feeling that human beings are still incapable of expresing themselves and communicating amongst themselves on a fundamental level.
Iñárritu: Innocence can be more powerful than experience.
Iñárritu: Too much knowledge and analysis can be paralysis.
Iñárritu: (About Amores Perros) This journey has been an experiment to see if things happened the way I conceived them.
Iñárritu: (About insecurity in Mexico City) If you go out for dinner, you don't know if you will return. It's crazy, It's crazy, it's very sad. Everything is so corrupted and the policemen are the worst. You see a police at night, run!
Iñárritu: I am a guy that has a lot of hope. But to arrive at the light, you have to go through a very painful or dark process.