April 14, 2023 • 36 mins
On this special episode, Mike talks with Michelle Garza Cervera about her feature film debut, Huesera: The Bone Woman (2022).
The film is now available to stream!
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The film is now available to stream!
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.
Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:05):
Hold you is both its show time. People paid good money to see this
movie. When they go out toa theater, they want cold sodas and
look hot popcorn and no monsters.In the Projection Booth, everyone pretend podcasting
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(01:11):
contenteris he's as rules Nia Sundmaster smilesconverting Mamas in part donds espirit teran cm.
(02:05):
Hey, folks, welcome to aspecial episode of The Projection Booth on
your host Mike White. On thisepisode, I'm talking with Michelle Garva Servera
all about her feature film debut,Who is Sweat the Bone Woman. It
is now available on streaming services.If you like horror films, I highly
recommend this movie. Even if youdon't, I still recommend the movie.
Enjoy the interview. So I amso curious about you and your career.
(02:30):
Can you tell me a little bitabout how you got into filmmaking. When
I was a teenager, I builta strong fascination with films. I grew
up in that home. Both ofmy parents were industrial designers, and I
had an older brother that he's avisual artist. So it was like a
very creative and inspired. In artshousehold, we would go to positions every
(02:52):
weekend or to the Cygnema, andthat was kind of like the constant.
And then teenager I started getting inboth into punk music and films, and
I got very obsessed, like Iwas a kind of team layer that I
would watch like any movie with aweek and like make lists with my friends
of our top hundred films, youknow, like very obsessed. And then
(03:15):
I was that every chance I hadto take a film class, like any
kind of video class, editing,whatever, I would take it. And
I was very sure since I wasvery young that I wanted to be a
film director for some reason, likethere's something that was that I knew.
And then I started taking courses inthe film school here the Nationalton School in
Mexico, courses that they would giveoutside of the university, like whatever,
(03:39):
like like approach to first approach tofilm or a film analysis. And then
I started I tried to getting andI didn't pass the exam and the tests.
So I started working for other filmmakersthat were already in film school,
like doing everything like PA assistant productionand products producer or sistant in art or
(04:00):
whatever. Really like just taking thecoffee. And I worked like that for
a year, and then I passedto the film school in the second time
I tried, and since then Inever went away, and I did many
short films, everything within the horror, Gendra and sci fi. I was
the only one in my grade atleast, we were just victim students.
(04:21):
It's like the public school share andI was the only one within those gendres,
and I stayed there. I kindof first it was kind of like
a rebellious instinct that I had,like I built like a strong passion horror
because it was kind of like notthe arts. I didn't like my classmates
that way. They were all likeyou know, and like all speaking about
(04:42):
Bergman and the CoV Sky, andback then I was very like I didn't
want it to really like that.I didn't know I was there, very
like now I when I go formy horror fiews that everyone here said that
are like lower level or whatever.But then later I understood like that actually
Gandra had like such a strong potentshow. And then some of the best
films ever are Gandra. So itkind of started like I was very young
(05:05):
when I got into film school butthen later I understood how powerful it is
and started doing like a more profoundthan mature investigation on it, and with
every short film, trying to reachthe point to be able to do my
feature. What was the test liketo get into film school? It was
very intense. It was very intense. It's like it's very hard to get
(05:27):
into film school here in Mexico becauseit's very few places, and when it
people want to get in because it'sfree. It's fill on pay. It's
four phases throughout two months or somethings. So first you have like to
like basic knowledge, you know,like a cultural and like literature and like
kind of like the four options kindof questions along exam of that type.
(05:49):
And then the second one it isthat you watch a film. And I
remember that time I didn't pass.We watched Fin and Alexander by Waveman,
and you have to write an essayabout the film. You watch the film
with like five hundred people or something, and then everyone goes outside and has
like two hours to write an essay, and then I didn't pass that second
(06:13):
time I applied, it was anamazing Mexican film called the the Islod Brothers
from like the golden era of cinemain Mexico from the fifties and the Beautiful
Film and that one I passed.And then the third pace is that they
give you a seam and then youhave to to deliver a photo scene out
of four to ten pictures. Youhave to deliver like a out of one
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team for pictures that sell a story. And then the last one is an
interview. But that interview is veryintimidating because you're sitting in a long table,
like they do it in a veryintimidating way. And then like eight
people asking you difficult questions, youknow, like regarding everything personal stuff or
like films. When you want todo it. You can do a film
(06:59):
right now, would it be?You know, it's like an hour long
interview. It's long. But thatwas two thousand and nine when I got
into film school in Mexico, soit was a long time ago. So
you mentioned you have made a lotof short films, and I'm curious,
obviously, I don't think the shortfilms can probably sustain you as far as
income goes. What else are youworking on while you're working on those?
Yeah, I got a lot ofworks different. I did some recording for
(07:25):
a long time for commercials or whatever. Really and and then I also did
films as a script supervisor and Idid some features like that, and that
was very helpful because I did learna lot. But I also worked in
I had many different jobs, likedoing a big special videos for some company,
(07:46):
or like editing, like I wouldjust like I was just all around.
They even worked for some a coupleof years in a company that they
did video mapping, you know,like they would do shows on the pyramids,
and I would do the editing orthe making videos. And yeah,
many I even I even worked ina four friends that had like a bigger
(08:07):
food factory for a while. Soit was I was kind of like jumping.
But I never stopped doing my shorts, so that I was. It
was every time I had like freetime, I would go back to my
scripts or trying to put them together. The wererior crew on those early films,
some of my like the main shorts. I was my short film scene
(08:28):
in film school. So this Tilmschool. The good thing in the film
school in Mexico is that they produced, you like very well produced films.
Like then my first short film itwas shot in sixteen millimeters and then the
second one was thirty five millimeters.So they want you to learn the whole
process. That that implied in thesense that they would give you one can
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or two cans and that's all youhave. So that's kind of like it
goes with a lot of preparation becauseyou can do one take or two takes
for shot. So it was reallya good way of learning. So my
crew was class and the and there'smany actors in Mexico that they go to
these film schools and they they deliveredtheir photos or their their curriculums and then
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you go to the office that thatwas back back then, you know,
like we had like as much asInternet as now. But and then we
would look for them and they woulddo casting calls at school, and the
actors really wanted there were actors andactors that many of them were also starting,
you know, or that they maybedidn't have a lot of words,
so they really wanted to work instudent films, so they would it was
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nobody would charge money for those shirts. And later and I did another short
that more they were more like withinfriends out of school, and I also
got a chance to do a master'sdegree in London. I got a scholarship
here in Mexico from the UK embassyand I went one year there, um
and I did a short film overthere that is a sci fi short that
(09:56):
I really loved called The Arena.That's the only one I have in English?
So how did who Ecer come about? Around that time that I was
about to go to London? AndI know I already had like five or
six shorts, and I knew Iwanted to give the step to my feature,
and I knew I wanted it tobe horror. So the horror was
before the taking the you know,deciding what story I wanted to tell.
(10:20):
But back then, I my mompassed away in two fourteen, and I
was still very affected by that,and I feel like all the process of
understanding her and motherhood throughout her lossgot me also to good thinking my grandmother's
you know, and and that tookme to one of them that she was
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a woman that let her household.So I grew up with a very dark
image of her. I only knewthat that she had left. I didn't
know her name, her picture,anything. She was like a completely canceled
person at home and kind of creakedher the concept of her made me very
fearful of becoming some one like that, you know so. But then later,
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thanks to to all this process thatI went going through, I started
asking the uncomfortable questions you know abouther, about her life, and it's
really crazy what happened when you haveaccess to a story you know, with
all their arristas, and I understoodshe really had a very difficult situation that
was kind of very hard to judge. And I knew back then like,
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oh my god, this is thepower of the narrative, the power of
the stories, how it can changea complete concept of a person or a
family. So I was like,Okay, I need to make a film
that gives justice to these kind ofcharacters that we don't want to look at
or that we deny on our families. And that's how it started. And
then thanks in that company that Iwas working doing video mapping, I met
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my co writer in a trip toa and we became very close friends and
she gave very great feedback to theidea that I went building for Wes and
that that was twenty seventeen and westarted writing together. It was like thirteen
versions of the script and little bylittle. It was a long path.
Little by little we started getting peopleand colleges that they would believe in the
(12:11):
story and ourselves because it was ourfirst feature. And that's how that's how
it started. Yeah, how didyou manage to get funding for it?
So in Mexico, and what isvery different than in the US. Here
here we have the Mexican Film Instituteand without that, like ninety percent of
films would Mexican films wouldn't wouldn't exist. I mean at least most of the
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outhorall Mexican films like history wouldn't existwith that public funding because there's not such
thing like there's not really big companieshere like in Hollywood that can uh found
you know, like or have thatinvestment to do films. So but now
with a platform that is changing.No, but but most of the films
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have Mexican Film institu suport So it'skind of like the same thing as film
school here. Like you you haveto prepare your script and a whole submission
application I guess, which is verylong and very bureaucratic and many people of
me so you have to sometimes tosubmit several times and there's certain amount of
(13:16):
mundia from the tax incentives that goesto films in Mexico. So around one
hundred, one hundred and fifty filmsare produced several years thanks to that.
So you have to go through thatprocess and there's like a committee that picks
the pro project. So we wantone fund that is for first features,
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that is like a historical fund,which for for example, Chronos from and
we want that. And unfortunately wewere the last generation because due to the
pandemic, that's fun got eliminated,so we were the last batche. It's
very small funding, but for usit was great, you know, and
it's more than enough to make afirst feature in Mexico. And then we
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got another fund to complete more ofthe financial necessities. And then we also
want a copy production fund with Perubecause we've seen the Latin American countries there's
a lot of cop production contexts,you know, so you sub me it
also, it's like and we wantthat. And that was great because some
of some of the colleagues, likethe script supervisor and the sound recorder that
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yeah, like the sound guide andone of the actors came from Peru.
And Delgay was more funding as well, so it was years or years of
that, but at the end wemanaged to put it together and then thanks
to our distributors in the US,which are x Ysive Films, we got
the extra funding that we needed tobe able to finish with a post production.
The film looks gorgeous. It isso well shot and just every single
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frame looks terrific. I mean,can you tell me a little bit about
your crew and your cinematographer. Ofcourse, she's amazing, Like That's why
I picked her, because even herstill photos, she has something that is
very instinctive or magical. Right,There's sometimes I see her frames and I
see every color there, Like she'svery colorful, and she makes it in
(15:11):
a way that is very like mytalks with her, all with very emotional
and symbolic and that's what I loveit. We really don't we really don't
focus on the technical aspects when we'reanalyzing the script. We actually just recorded
an episode for a a horror seriesthat is coming up soon and we work
together as well. And what wedo her name is Nur Rubio, is
that we analyze everything and every transisionfrom the emotional and the symbolic ways,
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and then we managed we decide togetherwhere the camera goes to tell the story,
and then we we do create alot of like rules, like color
rules of like the symbolizes this andthere's like a lot of a lot behind
west that is full of meaning forus. And it was a very long
process. We did the shooting severaltimes, and we would go to the
(15:58):
location, like both the scouting locationsand that once we picked it with our
phones and we would edit on camera, you know, like how we would
tell the scenes. Like very isvery little space for a provisation because we
had very limited budget, so wereally planned everything out of and and then
of course we had great actors andallowed us to change some of our decisions.
(16:21):
But it's very enjoyable and she's veryas I was saying, she was.
She used to be an actress beforeshe actually she was an actress for
soap operas and like, and soshe has something that is very emotional and
very that I love that of ludThat is very little technical talk, you
know, and she of course sheknows a whole technical thing, but that
she goes with her team and arrangedthat after all our crazy talk. Yeah,
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we also really wanted to build aharmonious domestic world full of like pastel
colors, like very apparently pretty,like very safe space, but then make
that qualifying. So we we werereally actually for some of the horror scenes,
we were like, no, let'smake this as if it was like
the like the first light of theday, you know, like the morning,
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the early morning, instead of likethe classic night horror scene, because
we wanted to give that light horrorher aspects of that, I guess.
And then on the other side,world's like the punk world for example,
that it is usually darker. Wewanted that world to feel free, like
actually that that could be the sagespace in this film. So we were
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kind of like really playing with that. And I just love the whole idea
of the you know, our maincharacter's body changing and then also her body
changing just the way that the bonesand everything moves around because of the pregnancy,
but then also just because of whatis going on with her, possibly
in her mind or not. JustI thought that was so clever. Thank
(17:52):
you so much. Actually, you'revery right, because with pregnancy it sons
like a very important body change,body transformation, but we didn't want that
the field to be focused on theactual pregnancy because we think that we've seen
that a lot of times, andof course that cod with a whole thing,
but we wanted it to be likea psychological like we wanted to represent
the whole entity out of her,of her side, out of her feelings
(18:18):
and emotion that she's going through.So we we build a yeah, exactly
that like the whole entity where it'slike like a FOURD that breaks you apart,
like the fractures your body deep down, like in representation of the kind
of feelings that women go through whenthey're transforming into mothers. We really didn't
want it to be specifically about thebody changes of pregnancy. It was more
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about her whole life or perception.Can you tell me about your lead actress?
Because I think she's in just aboutevery single scene in the film.
She is, Yeah, just inthe flashback she's not. But you know
what, she was unset because theactress, the actresses were more amateur,
and she s helping me out tohelp like the body and like the expressions
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of herself when she was a younga younger, a younger teenager, you
know. So it was great becauseactually she's the one screaming at the teenagers
like the neighbor that screams at theteenagers as her voice. So she went
every single day. We became veryclose friends. She arrived to the project
thanks to the casting director, whichactually the casting director is one of the
witches of the curanderas in the ritualscene, because I convinced her. Her
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name is Rasio Vermont, and I'veseen Natalia before in theater place here in
Mexico. She's big in theater here. And it was a long process.
It was a very difficult process topride our main, our lead character,
our lead actress, and we wereabout to go for someone else when my
casting director was like, please waitfor me, that one more coming,
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you have to wait. I neverwaited and nada yah right, and it
was immediate that we knew that shewas Valeria. I was in completely impressed.
She's a kind of actress that youbelieve that she's fielding a own fracture,
you believe that she's looking into amonster. And she has something that
she's great with the minimal, likewith a small eye change or movement or
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mouth movement, like she says alot with little she has this huge like
pimbour tonight that But I always thoughther, but then she can also take
it to cross to the other sidein town, you know, which in
Mexico sometimes, especially like in AfterAllor artsive films, people or filmmakers are
very scared, scared to cross tocross those tonnel lines because we're very scared
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of so boperous. We were veryscared to become that. But on the
other side, you go to aMexican dinner or family reunion, and that's
how it is. Like people arescreaming like we're not so contained. We're
not like like European tignema. That'snot that's not how our family gathering looks
in Mexico. So we talked alot about that and saying like, no,
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we don't have to be scared ofthat. We really had to have
our characters speak like like naturally,like we speak in Mexico City. And
she's not afraid of that, andshe's not afraid of crossing the lane,
the line to Savage List and breakingdown like all the screens that she was
going through in the ritual scene forexample, and in the woods like she
has. She she's a very preparedactress as well, like she worked a
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lot, like she started a lotso because she started very young. Her
father and both her parents are bigactors as well. But yeah, it's
she has something that is magnetic.Natalia's not fearful of crossing those toneal nines
or limits that many actors are afraidof. I feel like she reaches those.
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She manages, for example, toscream like desperately, you know,
like the perception style and she andshe makes it. You know, I
still believe her, which is tome, and it's theipist. I'm pastery
you're not, like, I don'texactly understand. How does she make it?
You know, it's very perplexing.She brottles so much bodily, embodily
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aspects to that character. You know, like all these feeling that she's holding
a lot of energy and every typeshe can break down. That's something that
she brought and she it can soundvery conceptable, but she made it made
it very tangible on screen, whichwas very impressive as well. You talked
about that end scene or the scenein the forest, and that's one scene
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and there are a few other timesthroughout the film and probably more than I
even realize where you've got some reallyamazing special effects. Can you tell me
about your effects people. I thinkthat we did a good editing job because
there's really not so many effects.We most of it. We didn't had
a lot of fun like money foreffects. For example, it was that
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the most immediately possible. The samewith prosthetics because we had a very limited
budget and so a lot of thefor example, fractures is really like two
movements and like a little bone now. And the sound effect I think it's
many time press sound is more effective. And the editing like brit anything to
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make it look like there's a bonepopping for example of quite in the wood
scene another black blurred faces and erestsof their bodies, but it was really
like dancers, you know, likethat they know how bodies like that,
and an occasions like it's in themiddle of Mexico cities. I would because
even that by the way that Ithought it was perfect. But we shot
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it on in one day and it'sreally most of it is practical. It's
really there and very few prosthetics asbro I imagine, though her belly was
fake. Yes, that looked reallygood though, Oh yeah, that was
amazing. The Belding was that especiallythe battle that's fantastic and that one that
however, artists, our prosthetic artistsdedid. It was hours of work for
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that one, but it looked wet. Yeah. Also like the food seeing
that was like kat that's also aprosthetic at the finger as well, like
the one that breaks that. Thosewere like models out of the actress body.
What was some of the biggest challengesgetting this film done? Staying in
love with a Break for so long, because it was years of trying to
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get the funds of Nega, AndI do feel very proud that I always
thought, like I never let itgo, you know. I was always
sure that someday we were gonna beable to make it, even afraid of
myself losing hope, you know,but if I beat man, I stay
there, you know, and tokeep on pushing. It was very helpful
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to hear other directors and about otherfilms first features, especially that are so
hard together. So I I kindof called it, you know. I
was. I was okay with waiting, you know, and being very patient
and even the pandit affected us alot. We had to push two times
the shooting. It was kind oflike a nightmare. But at the end,
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I'm so happy that we never letit go, you know. So
I think that that's part of thebig thitting. And also so I mean
the right team, you know,because we did I mean I did try
to work with some like bigger collaboration, bigger I mean, like with more
experience, for example. And thething is that you don't look to them
(25:21):
like what they think is a directoris going to be very hard, you
know because again not speaking only ofmy gender, but it of course it
has to do. And Mexico isalso a very sexist country many places in
the world, but there's still alot of ideas of how a directories and
how they manage and the way theyhave relationships, you know, in the
(25:41):
team. And that's different because Iwork in another way. So I really
had that luck to find the rightteam that were that believe in me,
you know, like with my shutfields, they work Okay, she can
do it. And I think thatthat's very valuable because they didn't impose anything
to me. That they really letme work in the way that I wanted
(26:03):
and they protected my work, youknow, and now and they let me
because I am the kind of directorthat I do invited a lot of the
team to work to to collaborate,like they have the script months before the
filming every reactor, so they canwrite a lot of ideas that I actually
take listen, you know. Sothere's a lot of ideas for examples,
(26:25):
from backstories of the actors that youcan't see them in the field. So
so that's that's something that has todo also with the way I work out
From that, I'm very happy thatmy redisters respected because it could have it
could have looked like I went slatinga lot of opinions, but I think
that's part of the cinema process.Well, it was nice that you had
(26:48):
at least you've mentioned your co writeris a woman, or your main actress
of course, your cinematographer. Imean it was it must have been nice
to have women and some key rolesto support you. Yes, also one
of the producers and my editor forexample, the production designer. It was
not that I said like, oh, I'm like all the fads need to
be women. Really they were.They were the stronger pitch. And it
(27:11):
has to do of course, becausealso many of them are mothers, for
example, so they were really wantingto work. They wanted to speak on
a bread about all these you knowthat had like there's no really so much
space for them to talk about it. But there's also a lot of men
involved, like domesticia, so atthe production that sound this a hanger.
So it was kind of like veryit was a very diverse, to be
(27:33):
honest. When was the first timeyou get to see it with an audience.
We got a lot of test screeningsDaska, he said, yeah,
with my editor. She's great.She's an amazing editor, like a teacher
for me. We had like mademe order twelve screenings with two people,
you know, like they would giveus notes, but like unofficial, unofficial
(27:56):
screening we had you know, thefestival, it's a horror festival in Mexico,
and we had almost one of thelast cuts. We had a little
screening with like thirty people. Thatwas I was so vervous and because that
back then we didn't know if itwas good or like we were just like,
oh, like my little film,Like it was great. It was
(28:18):
very good. Sit back, itwas. It was very stressful, of
course, but it was great atthen. The first official one one was
seeing Treveca on our premier. Itwas great. It was I don't remember
it like with honestly, I was, so it was that I remember it
like flashes like and very lost.It was very intense, and I mean
(28:38):
the actress came a careter like theproducers. It was it was great.
What was the reaction like? Itwas very good? Yeah, I mean
back then we had no idea wewon the two awards that we were nominated
at Treveca. I was only veryhappy to see that people went outside,
like very excit, I don't know, an explode party. After across slipcord.
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It was approaching the actress and myselfbut one talk, so we thought
like, okay, we're having agood reception and then maybe was starting to
pop out and they were. Theywere very positive, so we were okay,
my god, this is working.But it were really not sure what
to expect. And then I cameback to Mexico. I was working in
a TV series, directing some episodesin CROs Arito who was to be And
(29:21):
then they called me back my mydistributors X YC. And they were like
a trave guy, it's asking foryou to come back for the A work
SERI work And I was like noway, no way, and hay and
the production in the TV series letme go and night and I was there
for twenty four hours maybe less,and we got the two hours I was
(29:42):
expecting one. But it was alsothat it was the best beast new narrative
director and I was like the bestemail director. It was really a high
night moment. It was very,very very exciting. Of course, that
helps out out for us to golike good distribution and at at reaching other
(30:02):
people. Plus of hoops myself andmy team that the right way is ready
to follow unibods because everybody for sometime, everybody would tell that we were crazy,
like our project eight tho cents.So now it's like, okay,
all that imposter syndrome. We werevery right of really trying to fight it,
you know, because we we hadthat we deep down we thought we
(30:26):
had something good, like we hadto work for this, but it could
have been the other way. SoI'm very happy that we didn't shoot.
What are you working on now?So I'm about to actually go into production
soon for my next feature, whichis funny because I started reading also with
Avia in two nineteen, so itwas two years after we set that we
(30:47):
started. It's also horror and it'sbased in the southeast of Mexico, and
I know where my grandparents were from. And we won the funds the same
week that we were marrying that Treveca, so that's wild. And we've been
rebriding because it's a very complex project. I didn't know what I was gonna
get it into when I decided mygoodly horror story. I mean to me
(31:12):
like, yeah, no, Praftand I and I have all those kinds
of stories. But now that we'rereally getting into detailed, I was like,
oh my god, what did wedo? This is sound complicated,
but we're breaking out our nets andwe we've been rewriting five or six times
so reading the script, but we'regetting to it like we were reaching the
point that we really liked that I'mabout to film around October and feel that
(31:37):
so very a very lucky, youknow, because honestly, like it's you.
It's very usual that filmmakers in Mexico, when they have a first film
that goes well, they the nextdeputy that they go to the US.
That's kind of like a common thing, and and of course eventually I would
love to be able to work there, but part of me, I'm very
(31:57):
happy to try to for ourselves.So so that I feel making world in
Mexico, that we can also stayhere at Dreevious here because they do well
also in other countries. Do youknow, like why do we always have
to go to the like, youknow, to try to unify our voices
when we can from everywhere the worldtelling stories, you know. So my
(32:17):
dream of course is that. Imean, of course every feelmaker wants that,
but like like a style of Koreanfilmakers that they are able to stay
on alpot over and you know,like that's always like everyone's like, oh
my god, how do it?You know? So for now, I'm
just very happy to have the child, like my second features, best of
(32:38):
luck with it. I'm so excitedto see it and excited to see what
else you do after that. Thankyou so much. I mean, like,
let's see I feel for now,I do want to stay in Horror
or Gendre for a while because itfeels like like a long term investigation.
But let's see where life next me. Well, Michelle, thank you so
much for your time. It wasa great talking with you. Thanks to
(33:00):
you, my dad. It's reallyhonored. I'd like, I know your
podcast and I know it's Jelly andDarry so I feel very honored that doing.
But I didn't need to talk toyou, said that it's great to
meet you. You're Jaffee ra andI dropped Jaffee Slum and you're gonna be
(33:50):
talding. You're so pretty when you'rethaf you're supporting me. FA to me.
Oh, your bones gotta let onmy sheet. You're the phone I'm
(34:40):
talking to preaching, preach about kissing, chiss if I'm a soda. If
I'm be a soda, I'm insoda, trying to want to span the
mark. Make me my sails.Said, your bones gotta let on my
(35:16):
sheet. You're a bone my sheep. Your boss gotta let on my machine.
Hold you is both its show time. People paid good money to see this
movie. When they go out toa theater, they want cold sodas and
look hot popcorn and no monsters.In the Projection Booth, everyone pretend podcasting
isn't borings as in your screen Hills, Yes to stop a sun Montagne as
(01:11):
contenteris he's as rules Nia Sundmaster smilesconverting Mamas in part donds espirit teran cm.
(02:05):
Hey, folks, welcome to aspecial episode of The Projection Booth on
your host Mike White. On thisepisode, I'm talking with Michelle Garva Servera
all about her feature film debut,Who is Sweat the Bone Woman. It
is now available on streaming services.If you like horror films, I highly
recommend this movie. Even if youdon't, I still recommend the movie.
Enjoy the interview. So I amso curious about you and your career.
(02:30):
Can you tell me a little bitabout how you got into filmmaking. When
I was a teenager, I builta strong fascination with films. I grew
up in that home. Both ofmy parents were industrial designers, and I
had an older brother that he's avisual artist. So it was like a
very creative and inspired. In artshousehold, we would go to positions every
(02:52):
weekend or to the Cygnema, andthat was kind of like the constant.
And then teenager I started getting inboth into punk music and films, and
I got very obsessed, like Iwas a kind of team layer that I
would watch like any movie with aweek and like make lists with my friends
of our top hundred films, youknow, like very obsessed. And then
(03:15):
I was that every chance I hadto take a film class, like any
kind of video class, editing,whatever, I would take it. And
I was very sure since I wasvery young that I wanted to be a
film director for some reason, likethere's something that was that I knew.
And then I started taking courses inthe film school here the Nationalton School in
Mexico, courses that they would giveoutside of the university, like whatever,
(03:39):
like like approach to first approach tofilm or a film analysis. And then
I started I tried to getting andI didn't pass the exam and the tests.
So I started working for other filmmakersthat were already in film school,
like doing everything like PA assistant productionand products producer or sistant in art or
(04:00):
whatever. Really like just taking thecoffee. And I worked like that for
a year, and then I passedto the film school in the second time
I tried, and since then Inever went away, and I did many
short films, everything within the horror, Gendra and sci fi. I was
the only one in my grade atleast, we were just victim students.
(04:21):
It's like the public school share andI was the only one within those gendres,
and I stayed there. I kindof first it was kind of like
a rebellious instinct that I had,like I built like a strong passion horror
because it was kind of like notthe arts. I didn't like my classmates
that way. They were all likeyou know, and like all speaking about
(04:42):
Bergman and the CoV Sky, andback then I was very like I didn't
want it to really like that.I didn't know I was there, very
like now I when I go formy horror fiews that everyone here said that
are like lower level or whatever.But then later I understood like that actually
Gandra had like such a strong potentshow. And then some of the best
films ever are Gandra. So itkind of started like I was very young
(05:05):
when I got into film school butthen later I understood how powerful it is
and started doing like a more profoundthan mature investigation on it, and with
every short film, trying to reachthe point to be able to do my
feature. What was the test liketo get into film school? It was
very intense. It was very intense. It's like it's very hard to get
(05:27):
into film school here in Mexico becauseit's very few places, and when it
people want to get in because it'sfree. It's fill on pay. It's
four phases throughout two months or somethings. So first you have like to
like basic knowledge, you know,like a cultural and like literature and like
kind of like the four options kindof questions along exam of that type.
(05:49):
And then the second one it isthat you watch a film. And I
remember that time I didn't pass.We watched Fin and Alexander by Waveman,
and you have to write an essayabout the film. You watch the film
with like five hundred people or something, and then everyone goes outside and has
like two hours to write an essay, and then I didn't pass that second
(06:13):
time I applied, it was anamazing Mexican film called the the Islod Brothers
from like the golden era of cinemain Mexico from the fifties and the Beautiful
Film and that one I passed.And then the third pace is that they
give you a seam and then youhave to to deliver a photo scene out
of four to ten pictures. Youhave to deliver like a out of one
(06:36):
team for pictures that sell a story. And then the last one is an
interview. But that interview is veryintimidating because you're sitting in a long table,
like they do it in a veryintimidating way. And then like eight
people asking you difficult questions, youknow, like regarding everything personal stuff or
like films. When you want todo it. You can do a film
(06:59):
right now, would it be?You know, it's like an hour long
interview. It's long. But thatwas two thousand and nine when I got
into film school in Mexico, soit was a long time ago. So
you mentioned you have made a lotof short films, and I'm curious,
obviously, I don't think the shortfilms can probably sustain you as far as
income goes. What else are youworking on while you're working on those?
Yeah, I got a lot ofworks different. I did some recording for
(07:25):
a long time for commercials or whatever. Really and and then I also did
films as a script supervisor and Idid some features like that, and that
was very helpful because I did learna lot. But I also worked in
I had many different jobs, likedoing a big special videos for some company,
(07:46):
or like editing, like I wouldjust like I was just all around.
They even worked for some a coupleof years in a company that they
did video mapping, you know,like they would do shows on the pyramids,
and I would do the editing orthe making videos. And yeah,
many I even I even worked ina four friends that had like a bigger
(08:07):
food factory for a while. Soit was I was kind of like jumping.
But I never stopped doing my shorts, so that I was. It
was every time I had like freetime, I would go back to my
scripts or trying to put them together. The wererior crew on those early films,
some of my like the main shorts. I was my short film scene
(08:28):
in film school. So this Tilmschool. The good thing in the film
school in Mexico is that they produced, you like very well produced films.
Like then my first short film itwas shot in sixteen millimeters and then the
second one was thirty five millimeters.So they want you to learn the whole
process. That that implied in thesense that they would give you one can
(08:48):
or two cans and that's all youhave. So that's kind of like it
goes with a lot of preparation becauseyou can do one take or two takes
for shot. So it was reallya good way of learning. So my
crew was class and the and there'smany actors in Mexico that they go to
these film schools and they they deliveredtheir photos or their their curriculums and then
(09:09):
you go to the office that thatwas back back then, you know,
like we had like as much asInternet as now. But and then we
would look for them and they woulddo casting calls at school, and the
actors really wanted there were actors andactors that many of them were also starting,
you know, or that they maybedidn't have a lot of words,
so they really wanted to work instudent films, so they would it was
(09:33):
nobody would charge money for those shirts. And later and I did another short
that more they were more like withinfriends out of school, and I also
got a chance to do a master'sdegree in London. I got a scholarship
here in Mexico from the UK embassyand I went one year there, um
and I did a short film overthere that is a sci fi short that
(09:56):
I really loved called The Arena.That's the only one I have in English?
So how did who Ecer come about? Around that time that I was
about to go to London? AndI know I already had like five or
six shorts, and I knew Iwanted to give the step to my feature,
and I knew I wanted it tobe horror. So the horror was
before the taking the you know,deciding what story I wanted to tell.
(10:20):
But back then, I my mompassed away in two fourteen, and I
was still very affected by that,and I feel like all the process of
understanding her and motherhood throughout her lossgot me also to good thinking my grandmother's
you know, and and that tookme to one of them that she was
(10:41):
a woman that let her household.So I grew up with a very dark
image of her. I only knewthat that she had left. I didn't
know her name, her picture,anything. She was like a completely canceled
person at home and kind of creakedher the concept of her made me very
fearful of becoming some one like that, you know so. But then later,
(11:03):
thanks to to all this process thatI went going through, I started
asking the uncomfortable questions you know abouther, about her life, and it's
really crazy what happened when you haveaccess to a story you know, with
all their arristas, and I understoodshe really had a very difficult situation that
was kind of very hard to judge. And I knew back then like,
(11:24):
oh my god, this is thepower of the narrative, the power of
the stories, how it can changea complete concept of a person or a
family. So I was like,Okay, I need to make a film
that gives justice to these kind ofcharacters that we don't want to look at
or that we deny on our families. And that's how it started. And
then thanks in that company that Iwas working doing video mapping, I met
(11:46):
my co writer in a trip toa and we became very close friends and
she gave very great feedback to theidea that I went building for Wes and
that that was twenty seventeen and westarted writing together. It was like thirteen
versions of the script and little bylittle. It was a long path.
Little by little we started getting peopleand colleges that they would believe in the
(12:11):
story and ourselves because it was ourfirst feature. And that's how that's how
it started. Yeah, how didyou manage to get funding for it?
So in Mexico, and what isvery different than in the US. Here
here we have the Mexican Film Instituteand without that, like ninety percent of
films would Mexican films wouldn't wouldn't exist. I mean at least most of the
(12:33):
outhorall Mexican films like history wouldn't existwith that public funding because there's not such
thing like there's not really big companieshere like in Hollywood that can uh found
you know, like or have thatinvestment to do films. So but now
with a platform that is changing.No, but but most of the films
(12:56):
have Mexican Film institu suport So it'skind of like the same thing as film
school here. Like you you haveto prepare your script and a whole submission
application I guess, which is verylong and very bureaucratic and many people of
me so you have to sometimes tosubmit several times and there's certain amount of
(13:16):
mundia from the tax incentives that goesto films in Mexico. So around one
hundred, one hundred and fifty filmsare produced several years thanks to that.
So you have to go through thatprocess and there's like a committee that picks
the pro project. So we wantone fund that is for first features,
(13:37):
that is like a historical fund,which for for example, Chronos from and
we want that. And unfortunately wewere the last generation because due to the
pandemic, that's fun got eliminated,so we were the last batche. It's
very small funding, but for usit was great, you know, and
it's more than enough to make afirst feature in Mexico. And then we
(13:58):
got another fund to complete more ofthe financial necessities. And then we also
want a copy production fund with Perubecause we've seen the Latin American countries there's
a lot of cop production contexts,you know, so you sub me it
also, it's like and we wantthat. And that was great because some
of some of the colleagues, likethe script supervisor and the sound recorder that
(14:24):
yeah, like the sound guide andone of the actors came from Peru.
And Delgay was more funding as well, so it was years or years of
that, but at the end wemanaged to put it together and then thanks
to our distributors in the US,which are x Ysive Films, we got
the extra funding that we needed tobe able to finish with a post production.
The film looks gorgeous. It isso well shot and just every single
(14:48):
frame looks terrific. I mean,can you tell me a little bit about
your crew and your cinematographer. Ofcourse, she's amazing, Like That's why
I picked her, because even herstill photos, she has something that is
very instinctive or magical. Right,There's sometimes I see her frames and I
see every color there, Like she'svery colorful, and she makes it in
(15:11):
a way that is very like mytalks with her, all with very emotional
and symbolic and that's what I loveit. We really don't we really don't
focus on the technical aspects when we'reanalyzing the script. We actually just recorded
an episode for a a horror seriesthat is coming up soon and we work
together as well. And what wedo her name is Nur Rubio, is
that we analyze everything and every transisionfrom the emotional and the symbolic ways,
(15:37):
and then we managed we decide togetherwhere the camera goes to tell the story,
and then we we do create alot of like rules, like color
rules of like the symbolizes this andthere's like a lot of a lot behind
west that is full of meaning forus. And it was a very long
process. We did the shooting severaltimes, and we would go to the
(15:58):
location, like both the scouting locationsand that once we picked it with our
phones and we would edit on camera, you know, like how we would
tell the scenes. Like very isvery little space for a provisation because we
had very limited budget, so wereally planned everything out of and and then
of course we had great actors andallowed us to change some of our decisions.
(16:21):
But it's very enjoyable and she's veryas I was saying, she was.
She used to be an actress beforeshe actually she was an actress for
soap operas and like, and soshe has something that is very emotional and
very that I love that of ludThat is very little technical talk, you
know, and she of course sheknows a whole technical thing, but that
she goes with her team and arrangedthat after all our crazy talk. Yeah,
(16:45):
we also really wanted to build aharmonious domestic world full of like pastel
colors, like very apparently pretty,like very safe space, but then make
that qualifying. So we we werereally actually for some of the horror scenes,
we were like, no, let'smake this as if it was like
the like the first light of theday, you know, like the morning,
(17:07):
the early morning, instead of likethe classic night horror scene, because
we wanted to give that light horrorher aspects of that, I guess.
And then on the other side,world's like the punk world for example,
that it is usually darker. Wewanted that world to feel free, like
actually that that could be the sagespace in this film. So we were
(17:30):
kind of like really playing with that. And I just love the whole idea
of the you know, our maincharacter's body changing and then also her body
changing just the way that the bonesand everything moves around because of the pregnancy,
but then also just because of whatis going on with her, possibly
in her mind or not. JustI thought that was so clever. Thank
(17:52):
you so much. Actually, you'revery right, because with pregnancy it sons
like a very important body change,body transformation, but we didn't want that
the field to be focused on theactual pregnancy because we think that we've seen
that a lot of times, andof course that cod with a whole thing,
but we wanted it to be likea psychological like we wanted to represent
the whole entity out of her,of her side, out of her feelings
(18:18):
and emotion that she's going through.So we we build a yeah, exactly
that like the whole entity where it'slike like a FOURD that breaks you apart,
like the fractures your body deep down, like in representation of the kind
of feelings that women go through whenthey're transforming into mothers. We really didn't
want it to be specifically about thebody changes of pregnancy. It was more
(18:41):
about her whole life or perception.Can you tell me about your lead actress?
Because I think she's in just aboutevery single scene in the film.
She is, Yeah, just inthe flashback she's not. But you know
what, she was unset because theactress, the actresses were more amateur,
and she s helping me out tohelp like the body and like the expressions
(19:03):
of herself when she was a younga younger, a younger teenager, you
know. So it was great becauseactually she's the one screaming at the teenagers
like the neighbor that screams at theteenagers as her voice. So she went
every single day. We became veryclose friends. She arrived to the project
thanks to the casting director, whichactually the casting director is one of the
witches of the curanderas in the ritualscene, because I convinced her. Her
(19:29):
name is Rasio Vermont, and I'veseen Natalia before in theater place here in
Mexico. She's big in theater here. And it was a long process.
It was a very difficult process topride our main, our lead character,
our lead actress, and we wereabout to go for someone else when my
casting director was like, please waitfor me, that one more coming,
(19:51):
you have to wait. I neverwaited and nada yah right, and it
was immediate that we knew that shewas Valeria. I was in completely impressed.
She's a kind of actress that youbelieve that she's fielding a own fracture,
you believe that she's looking into amonster. And she has something that
she's great with the minimal, likewith a small eye change or movement or
(20:14):
mouth movement, like she says alot with little she has this huge like
pimbour tonight that But I always thoughther, but then she can also take
it to cross to the other sidein town, you know, which in
Mexico sometimes, especially like in AfterAllor artsive films, people or filmmakers are
very scared, scared to cross tocross those tonnel lines because we're very scared
(20:36):
of so boperous. We were veryscared to become that. But on the
other side, you go to aMexican dinner or family reunion, and that's
how it is. Like people arescreaming like we're not so contained. We're
not like like European tignema. That'snot that's not how our family gathering looks
in Mexico. So we talked alot about that and saying like, no,
(20:56):
we don't have to be scared ofthat. We really had to have
our characters speak like like naturally,like we speak in Mexico City. And
she's not afraid of that, andshe's not afraid of crossing the lane,
the line to Savage List and breakingdown like all the screens that she was
going through in the ritual scene forexample, and in the woods like she
has. She she's a very preparedactress as well, like she worked a
(21:21):
lot, like she started a lotso because she started very young. Her
father and both her parents are bigactors as well. But yeah, it's
she has something that is magnetic.Natalia's not fearful of crossing those toneal nines
or limits that many actors are afraidof. I feel like she reaches those.
(21:41):
She manages, for example, toscream like desperately, you know,
like the perception style and she andshe makes it. You know, I
still believe her, which is tome, and it's theipist. I'm pastery
you're not, like, I don'texactly understand. How does she make it?
You know, it's very perplexing.She brottles so much bodily, embodily
(22:02):
aspects to that character. You know, like all these feeling that she's holding
a lot of energy and every typeshe can break down. That's something that
she brought and she it can soundvery conceptable, but she made it made
it very tangible on screen, whichwas very impressive as well. You talked
about that end scene or the scenein the forest, and that's one scene
(22:23):
and there are a few other timesthroughout the film and probably more than I
even realize where you've got some reallyamazing special effects. Can you tell me
about your effects people. I thinkthat we did a good editing job because
there's really not so many effects.We most of it. We didn't had
a lot of fun like money foreffects. For example, it was that
(22:45):
the most immediately possible. The samewith prosthetics because we had a very limited
budget and so a lot of thefor example, fractures is really like two
movements and like a little bone now. And the sound effect I think it's
many time press sound is more effective. And the editing like brit anything to
(23:06):
make it look like there's a bonepopping for example of quite in the wood
scene another black blurred faces and erestsof their bodies, but it was really
like dancers, you know, likethat they know how bodies like that,
and an occasions like it's in themiddle of Mexico cities. I would because
even that by the way that Ithought it was perfect. But we shot
(23:30):
it on in one day and it'sreally most of it is practical. It's
really there and very few prosthetics asbro I imagine, though her belly was
fake. Yes, that looked reallygood though, Oh yeah, that was
amazing. The Belding was that especiallythe battle that's fantastic and that one that
however, artists, our prosthetic artistsdedid. It was hours of work for
(23:56):
that one, but it looked wet. Yeah. Also like the food seeing
that was like kat that's also aprosthetic at the finger as well, like
the one that breaks that. Thosewere like models out of the actress body.
What was some of the biggest challengesgetting this film done? Staying in
love with a Break for so long, because it was years of trying to
(24:17):
get the funds of Nega, AndI do feel very proud that I always
thought, like I never let itgo, you know. I was always
sure that someday we were gonna beable to make it, even afraid of
myself losing hope, you know,but if I beat man, I stay
there, you know, and tokeep on pushing. It was very helpful
(24:38):
to hear other directors and about otherfilms first features, especially that are so
hard together. So I I kindof called it, you know. I
was. I was okay with waiting, you know, and being very patient
and even the pandit affected us alot. We had to push two times
the shooting. It was kind oflike a nightmare. But at the end,
(25:00):
I'm so happy that we never letit go, you know. So
I think that that's part of thebig thitting. And also so I mean
the right team, you know,because we did I mean I did try
to work with some like bigger collaboration, bigger I mean, like with more
experience, for example. And thething is that you don't look to them
(25:21):
like what they think is a directoris going to be very hard, you
know because again not speaking only ofmy gender, but it of course it
has to do. And Mexico isalso a very sexist country many places in
the world, but there's still alot of ideas of how a directories and
how they manage and the way theyhave relationships, you know, in the
(25:41):
team. And that's different because Iwork in another way. So I really
had that luck to find the rightteam that were that believe in me,
you know, like with my shutfields, they work Okay, she can
do it. And I think thatthat's very valuable because they didn't impose anything
to me. That they really letme work in the way that I wanted
(26:03):
and they protected my work, youknow, and now and they let me
because I am the kind of directorthat I do invited a lot of the
team to work to to collaborate,like they have the script months before the
filming every reactor, so they canwrite a lot of ideas that I actually
take listen, you know. Sothere's a lot of ideas for examples,
(26:25):
from backstories of the actors that youcan't see them in the field. So
so that's that's something that has todo also with the way I work out
From that, I'm very happy thatmy redisters respected because it could have it
could have looked like I went slatinga lot of opinions, but I think
that's part of the cinema process.Well, it was nice that you had
(26:48):
at least you've mentioned your co writeris a woman, or your main actress
of course, your cinematographer. Imean it was it must have been nice
to have women and some key rolesto support you. Yes, also one
of the producers and my editor forexample, the production designer. It was
not that I said like, oh, I'm like all the fads need to
be women. Really they were.They were the stronger pitch. And it
(27:11):
has to do of course, becausealso many of them are mothers, for
example, so they were really wantingto work. They wanted to speak on
a bread about all these you knowthat had like there's no really so much
space for them to talk about it. But there's also a lot of men
involved, like domesticia, so atthe production that sound this a hanger.
So it was kind of like veryit was a very diverse, to be
(27:33):
honest. When was the first timeyou get to see it with an audience.
We got a lot of test screeningsDaska, he said, yeah,
with my editor. She's great.She's an amazing editor, like a teacher
for me. We had like mademe order twelve screenings with two people,
you know, like they would giveus notes, but like unofficial, unofficial
(27:56):
screening we had you know, thefestival, it's a horror festival in Mexico,
and we had almost one of thelast cuts. We had a little
screening with like thirty people. Thatwas I was so vervous and because that
back then we didn't know if itwas good or like we were just like,
oh, like my little film,Like it was great. It was
(28:18):
very good. Sit back, itwas. It was very stressful, of
course, but it was great atthen. The first official one one was
seeing Treveca on our premier. Itwas great. It was I don't remember
it like with honestly, I was, so it was that I remember it
like flashes like and very lost.It was very intense, and I mean
(28:38):
the actress came a careter like theproducers. It was it was great.
What was the reaction like? Itwas very good? Yeah, I mean
back then we had no idea wewon the two awards that we were nominated
at Treveca. I was only veryhappy to see that people went outside,
like very excit, I don't know, an explode party. After across slipcord.
(28:59):
It was approaching the actress and myselfbut one talk, so we thought
like, okay, we're having agood reception and then maybe was starting to
pop out and they were. Theywere very positive, so we were okay,
my god, this is working.But it were really not sure what
to expect. And then I cameback to Mexico. I was working in
a TV series, directing some episodesin CROs Arito who was to be And
(29:21):
then they called me back my mydistributors X YC. And they were like
a trave guy, it's asking foryou to come back for the A work
SERI work And I was like noway, no way, and hay and
the production in the TV series letme go and night and I was there
for twenty four hours maybe less,and we got the two hours I was
(29:42):
expecting one. But it was alsothat it was the best beast new narrative
director and I was like the bestemail director. It was really a high
night moment. It was very,very very exciting. Of course, that
helps out out for us to golike good distribution and at at reaching other
(30:02):
people. Plus of hoops myself andmy team that the right way is ready
to follow unibods because everybody for sometime, everybody would tell that we were crazy,
like our project eight tho cents.So now it's like, okay,
all that imposter syndrome. We werevery right of really trying to fight it,
you know, because we we hadthat we deep down we thought we
(30:26):
had something good, like we hadto work for this, but it could
have been the other way. SoI'm very happy that we didn't shoot.
What are you working on now?So I'm about to actually go into production
soon for my next feature, whichis funny because I started reading also with
Avia in two nineteen, so itwas two years after we set that we
(30:47):
started. It's also horror and it'sbased in the southeast of Mexico, and
I know where my grandparents were from. And we won the funds the same
week that we were marrying that Treveca, so that's wild. And we've been
rebriding because it's a very complex project. I didn't know what I was gonna
get it into when I decided mygoodly horror story. I mean to me
(31:12):
like, yeah, no, Praftand I and I have all those kinds
of stories. But now that we'rereally getting into detailed, I was like,
oh my god, what did wedo? This is sound complicated,
but we're breaking out our nets andwe we've been rewriting five or six times
so reading the script, but we'regetting to it like we were reaching the
point that we really liked that I'mabout to film around October and feel that
(31:37):
so very a very lucky, youknow, because honestly, like it's you.
It's very usual that filmmakers in Mexico, when they have a first film
that goes well, they the nextdeputy that they go to the US.
That's kind of like a common thing, and and of course eventually I would
love to be able to work there, but part of me, I'm very
(31:57):
happy to try to for ourselves.So so that I feel making world in
Mexico, that we can also stayhere at Dreevious here because they do well
also in other countries. Do youknow, like why do we always have
to go to the like, youknow, to try to unify our voices
when we can from everywhere the worldtelling stories, you know. So my
(32:17):
dream of course is that. Imean, of course every feelmaker wants that,
but like like a style of Koreanfilmakers that they are able to stay
on alpot over and you know,like that's always like everyone's like, oh
my god, how do it?You know? So for now, I'm
just very happy to have the child, like my second features, best of
(32:38):
luck with it. I'm so excitedto see it and excited to see what
else you do after that. Thankyou so much. I mean, like,
let's see I feel for now,I do want to stay in Horror
or Gendre for a while because itfeels like like a long term investigation.
But let's see where life next me. Well, Michelle, thank you so
much for your time. It wasa great talking with you. Thanks to
(33:00):
you, my dad. It's reallyhonored. I'd like, I know your
podcast and I know it's Jelly andDarry so I feel very honored that doing.
But I didn't need to talk toyou, said that it's great to
meet you. You're Jaffee ra andI dropped Jaffee Slum and you're gonna be
(33:50):
talding. You're so pretty when you'rethaf you're supporting me. FA to me.
Oh, your bones gotta let onmy sheet. You're the phone I'm
(34:40):
talking to preaching, preach about kissing, chiss if I'm a soda. If
I'm be a soda, I'm insoda, trying to want to span the
mark. Make me my sails.Said, your bones gotta let on my
(35:16):
sheet. You're a bone my sheep. Your boss gotta let on my machine.
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