The ones that were dying, saying, “Use the only thing that I have left, my body.” There is a moment when someone says to Roberto Canessa, “You have the best legs, you need to walk for us.” That’s the idea I’m talking about. And by doing so he understands what is to me the essence of the story, that you and I are the same thing. Basically, he needs to forget the civilization he’s coming from, and adapt to the mountain to discover himself, and to process the shadow that we all have inside. So, it made sense to me, because when you think about what the story’s about in its essence, this is a story of Numa, who is one of the kids that faces the primal fears that we all have: fear of death, to be alone, to not be loved, hunger. It becomes something more metaphysical it becomes something more about the story on a human level, a philosophical level. And the big challenge was, how can I get this spiritual book into a script? Because scripts are about dialogue and action, and I was interested in the inner life of the characters.ĭEADLINE: At what point did you decide on using a voiceover narration via Numa Turcatti, who ultimately passed away before the rescue? We hear his diary entries after the crash.īAYONA: By creating this kind of fantasy where you make the narrator one of the dead, and you use the voiceover of one of the dead, you create a fantasy that somehow has this spiritual take that Pablo Vierci’s book has. So, they sat down together again and wrote a different book where you can feel the weight of time, you can feel the questions that are still not answered. The tale was very focused on cannibalism, the tale was focused on heroism, they didn’t recognize what they went through with those words. ![]() The book was published because 35 years after the accident not even the survivors recognized themselves in the tale. And I think it’s because Pablo Vierci’s book has a spiritual tone that makes it so special, so moving. I was in shock, because I was so moved by a story that I thought I knew. But my surprise was when I read Pablo Vierci’s book, while researching for The Impossible. ![]() ![]() And I grew up watching interviews on television with the survivors. I knew about this idea of cannibalism, that was everywhere, and I was very impressed about the pictures. I was very little, so I only remember when I was a kid that the book was everywhere, every house that you visited. BAYONA: The story is very popular in the Spanish-speaking world. I remember watching Alive, which came out in 1993, and I read the book it was based on, by Piers Paul Read. Kate Green/Getty Images for NetflixĭEADLINE: J.A., you bought the rights around the end of shooting The Impossible. Bayona on the red carpet for Society of the Snow at Venice. I had a commitment with the survivors and fundamentally with the deceased, because there were too people who knew them for 20 years, and nobody who wrote about them.ĭirector J.A. When they came back, Nando Parrado, he was my classmate, he asked me to help him with his writing. So, when they appeared on the 23rd of December 1972, and when we knew the list, the 16 alive, and 29 deceased, everything broke in our heads, and in my mind, and in my emotions. ![]() A plane with all your friends disappeared, there was 72 days of mystery, where my friends and I, who were in Uruguay, who didn’t go in the plane, we thought that they were not alive. I was 22 in 1972, and something like this, a catastrophe like this, everything changed, because at 22 years old you think everybody at that age is immortal. PABLO VIERCI: Well, I went to school with the survivors and with the deceased people, and all memories of my childhood are with them. Bradley Cooper’s ‘Maestro’ Explores The Powerful Bond Between Musical Genius Leonard Bernstein And His Wife Felicia: “This Had To Be A Story About Their Relationship”ĭEADLINE: Pablo, how precious and important was this story to you when you came to write it?
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