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Pedro Paramo
Pedro Paramo
Pedro Pramo
Escrita y dirigida
por Mateo Gil
Basada en la novela
de Juan Rulfo Pedro Pramo
Pedro Pramo
EXT. COMALA:
FONDA DE EDUVIGES
NOCHE
Escrita y dirigida
por Mateo Gil
Basada en la novela
de Juan Rulfo Pedro Pramo
Written and directed by
Mateo Gil
Based on the novel of
Juan Rulfo Pedro Pramo
Aos cuarenta del siglo pasado. Alentado por su madre en el lecho de su muerte, Juan Preciado viaja
cargado de ilusiones en busca de su padre, a quien no conoce. Pero al llegar a Comala, el lugar
donde le dijeron que viva, slo encuentra recuerdos Los recuerdos de todo un pueblo en torno
a ese hombre, Pedro Pramo: de cmo se convirti en el patrn de la hacienda ms importante de
la regin; de cmo mat, extorsion o utiliz a todos sin escrpulos; de cmo se enfrent a la
revolucin; de cmo, por culpa de su frustrado amor por Susana San Juan, termin por pudrirse en
vida y Comala entera con l. Tanto es as que Juan empieza a sospechar, a su llegada, que todos
los que habitan ese lugar no son otra cosa que almas en pena
Sinopsis / Synopsis
The past century, the forties. Pushed by his mothers petition on her deathbed, Juan
Preciado sets out on a hopeful journey. He leaves in search of a father he has never
seen. He arrives at Comala, the town where he was told his father lived, but all he
finds are memories The memories of the small town are centered on the man called
Pedro Pramo, the owner of the largest ranch in the region. A man without scruples
who killed, forced and used men and women alike; a man who stood up to the
revolutionaries and who, through his frustrated love for Susana San Juan, ended
up rotting while still alive and dragging all of Comala with him in his downfall.
Juan soon stars suspecting that all those he meets in the town are lost souls
Entre los amantes y estudiosos de la novela de Juan Rulfo parece haber bastante
acuerdo a la hora de considerar como su principal virtud no slo la famosa palabra
justa de Rulfo, sino tambin la compleja estructura narrativa, en la que se suceden
en orden no cronolgico mltiples momentos y puntos de vista. Mi propuesta,
al contrario que anteriores adaptaciones y guiones, pretende hacer tambin de
esta caracterstica uno de sus principales atractivos.
Por un lado, creo que el espectador de cine ha alcanzado el nivel de comprensin
visual suficiente como para seguir sin problemas una narracin desestructurada
y encontrar adems en ello (en la reconstruccin mental del tiempo real) una
fuente ms de emocin. Por otro lado, dados los personajes y la historia de Pedro
Pramo, al ordenar linealmente el material se pierde inevitablemente el sentido
trgico de lo narrado, la sensacin de un destino inexorable que aplasta a todos
los personajes como una losa, y la de un tiempo estancado que se repite una y
otra vez, como una especie de sopa en la que flotan los recuerdos de los muertos,
los murmullos.
As pues, la que propongo es una pelcula fiel a la estructura del relato original
cuya emocin depende en gran medida del montaje. Y para ello, sugiero apoyarnos
por una ambientacin histricamente realista y alejada de folclorismos, una
interpretacin sobria y ajustada a los magnficos dilogos de Rulfo, y un tratamiento
visual que remita a un cierto tipo de western tardo: formato panormico, una
contrastada fotografa en color que refleje el paisaje descrito con tantos matices
en la novela, resaltando el azul del cielo en contraste con el ocre de la tierra, y
una cmara cuya altura vare entre el pecho y el cinturn, es decir, que ruede a la
altura de las emociones, con el resultado de un ligero ngulo
contrapicado en los planos cortos.
The followers and scholars of Juan Rulfos novel seem to agree that its main quality
does not reside solely in Rulfos exact wording, but in the complex narrative structure
that allows this extraordinary story to take place, seen from different point of
views, without a set chronological order. My proposal, contrary to previous
adaptations and scripts, is to turn this peculiarity into one of its main attractions.
On one hand I think spectators are visually mature and capable of following an
unstructured narration without too much effort, and I think theyll find in this
style (through the mental reconstruction of real time) another source of emotion.
And on the other, considering the characters and the story of Pedro Pramo, if we
order the material linearly, the narration automatically loses its tragic sense, the
sensation of an inexorable destiny that bears down on the characters like a
tombstone, and the feeling that time has stopped, that it repeats itself over and over
again, like some sort of liquid in which the deceased mens and womens memories,
their whispers, float.
That is why I wish to make a film that will be faithful to the structure of the original
novel and in which emotions will depend largely on the editing. To this end, I
suggest we use a realistic historical atmosphere far from folklore; a sober
interpretation that will remain close to Rulfos magnificent dialogues, and a visual
treatment with reminiscences of some late westerns: panoramic format, a sharply
contrasting photography reflecting the landscape so magnificently described in
the novel, enhancing the blueness of the sky and strongly contrasting with the
ochre colored earth. Our images will try to reach the space between chest and belt,
where emotions lay, resulting in a slight downward angle in close ups and medium
shots.
Mateo Gil
GUIONISTA Y DIRECTOR
SCRIPTWRITER AND DIRECTOR
EXT. COMALA:
LOMAS VERDES DE ALREDEDOR
DA
Afrontar un proyecto cinematogrfico de la envergadura de Pedro Pramo, es para cualquier productor un enorme reto por todo lo que representa la
emblemtica obra de Juan Rulfo en la literatura latinoamericana y universal.
Enamorado de este inmenso relato, he perseguido durante aos un texto que dejara fluir para el cine su historia y sus personajes sin romper la magia que
los envuelve.
EXT. COMALA
SURROUNDING GREEN HILLS
DAY
El tratamiento visual que afronta Mateo Gil sobre la novela es el ms fiel y conmovedor que he ledo, empujndome a tomar la decisin de afrontar esta
pelcula, la cual creo tendr un resultado y una repercusin digna de la novela.
Al hilo de la fidelidad con la historia viajamos a Mxico, donde guiados por el director artstico Eugenio Caballero y su diseo de decorados, encontramos
el total de las localizaciones deseadas. All, en los campos y haciendas vividos por Pramo y Rulfo, se desarrollar nuestra empresa conjunta, apoyados
por los personajes mgicos de Comala, por su aspecto y su acento.
Andrs Santana
PRODUCTOR EJECUTIVO
EXECUTIVE PRODUCER
Con un presupuesto estimado de 7.000.000 de euros (gracias a que los decorados naturales encontrados suman ms de las tres cuartas partes de la
pelcula) nace nuestro proyecto con afn de coproduccin entre Europa y Latinoamrica, y que con el apoyo de Sogecine y el prestigio de sus ya
innumerables xitos, nos har llevar a buen cabo el ambicioso propsito en el que nos embarcamos.
To embark on a project with the scope of Pedro Pramo is a tremendous challenge for any producer considering the importance of Juan Rulfos emblematic
novel, not only in Latin American literature but also universally.
I fell in love with the novel years ago and ever since I have tried to find a script that would let the story and its characters flow in images without losing
the magic that surrounds them.
The visual treatment given to the novel by Mateo Gil is the most faithful and moving I have ever read. This prompted me to make this film, which I believe
will be worthy of the novel.
Our wish to remain faithful to the novel made us travel to Mexico where, guided by art director Eugenio Caballero and his designs, we found all the locations
we were looking for. Our venture will take place in the land and ranches where Pramo and Rulfo lived, sustained by the magical characters of Comala,
their physical aspects and peculiar accents.
With a budget of 7.000.000 euros (natural locations represent three fourths of the film) this project was also born from our wish to carry out a coproduction between Europe and Latin America. We hope that with Sogecines support and its countless successes, we will be able to accomplish this ambitious
production.
The visual idea on which the project is sustained will show Mexico
in all its strength and contrasts, away from typical folklore.
On one hand, we have the Jalisco locations with the hills, rural
towns and cultivated fields and, on the other, the decadent 19th
century architecture of the haciendas that reflect the contrast
between the austere life of the people working outside, in the fields,
and the desperate opulence within the Mexican ranches.
Most important of all is to show the passage of time. The story
spans 50 years and three generations; it is a witness to a civil war,
the revolution and all the subsequent upheavals. Obviously, this
will define the architecture and the design of the sets, so that we
are able to understand and know the characters and their habits
by means of their surroundings.
To enhance the passage of years, the color palette will be carefully
chosen and change according to the time each sequence is set in.
Colors (as well as the characters) will lose intensity and sharpness
under a coat of dust as time and the story move on.
EXT. COMALA:
CALLE REAL
DA
Eugenio Caballero
DIRECTOR ARTSTICO
ART DIRECTOR
EXT. COMALA:
CALLE REAl
NOCHE
Juan Preciado levanta la mirada, lentamente,
temeroso para descubrir que est rodeado por
cientos de siluetas negras como el ms all.
Mateo Gil
EXT. COMALA
MAIN STREET
NIGHT
Juan Preciado raises his eyes slowly and fearfully He
sees that he is surrounded by hundreds of silhouettes
as dark as the beyond.
Filmografa / Films
Direccin / Director
Guionista / Scriptwriter
Eugenio Caballero
Filmografa / Films
Director Artstico / Production Designer
El laberinto del fauno. 2004. Guillermo del Toro
Crnicas. 2003. Sebastin Cordero
Asesino en serio. 2001/2002. Antonio Urrutia
La mano del zurdo. 2001. Carlos Salces
Seres humanos. 2000 . Jorge Aguilera
Santitos. 1998. Alejandro Springall
Love always. 1997. Jude Pauline Eberhard
Sogecine
Amongst other:
Filmografa / Films
Vacas. Julio Medem
En rodaje / Shooting
Take 2000
Filmografa / Films
La caja (2006). Juan Carlos Falcn
Adriana ( 2005). Margarida Gil
El Coche de Pedales (2004). Ramn Barea
El Viaje de Carol (2002). Imanol Uribe
O Rapaz do Trapzio Voador (2002). Fernando Matos Silva
Lena (2001). Gonalo Tapia
Juana la Loca (2001). Vicente Aranda
www.pedroparamothemovie.com
CO-PRODUCTION CONTACT:
Gustavo Ferrada: gferrada@sogecable.com
Simon de Santiago:simons@sogecable.com
In Cannes 2006:
Riviera, Stand# M5/N6
Tel: +33 (0) 492 993 330
Fax: +33 (0) 492 993 331
Head Office:
Leganitos 47, 7. 28013 Madrid. SPAIN
Tel: +34 91 758 31 30 Fax: +34 91 758 31 63
www.sogecine-sogepaq