Sin NombreProduction Notes
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Sin NombreSynopsis
Sin Nombre, the winner of the Directing Award and the Excellence in Cinematography Award in the U.S. Dramatic Competition at the 2009 Sundance Film Festival, is an epic dramatic thriller written and directed by Student Academy Award winner Cary Joji Fukunaga in his feature debut. The filmmaker’s firsthand experiences with Central American immigrants seeking the promise of the U.S. form the basis of the Spanish-language movie.
Sin Nombre tells the story of Sayra (Paulina Gaitan), a teenager living in Honduras, and hungering for a brighter future. A reunion with her long-estranged father gives Sayra her only real option – emigrating with her father and her uncle into Mexico and then the United States, where her father now has a new family.
Meanwhile, Casper, a.k.a. Willy (Edgar Flores), is a teenager living in Tapachula, Mexico, and facing an uncertain future. A member of the Mara Salvatrucha gang brotherhood, he has just brought to the Mara a new recruit, 12-year-old Smiley (Kristyan Ferrer), who undergoes a rough initiation.
While Smiley quickly takes to gang life, Casper tries to protect his relationship with girlfriend Martha Marlene (Diana García), keeping their love a secret from the Mara. But when Martha encounters Tapachula’s Mara leader Lil’ Mago (Tenoch Huerta Mejía), she is brutally taken from Casper forever.
Sayra and her relatives manage to cross over into Mexico. There, they join other immigrants waiting at the Tapachula train yards. When a States-bound freight train arrives one night, they successfully rush to board – riding atop it, rather than in the cars – as does Lil’ Mago, who has commandeered Casper and Smiley along to rob immigrants.
When day breaks, Lil’ Mago makes his move and Casper in turn makes a fateful decision. Casper must now navigate the psychological gauntlet of his violent existence and the physical one of the unforgiving Mara, but Sayra bravely allies herself with him as the train journeys through the Mexican countryside towards the hope of new lives.
A Focus Features presentation of a Primary Productions/Canana production. Sin Nombre. Paulina Gaitan, Edgar Flores, Kristyan Ferrer, Tenoch Huerta Mejía, Diana García, Luis Fernando Peña, and Héctor Jiménez. Casting by Carla Hool, C.S.A. Music by Marcelo Zarvos. Music Supervisor, Lynn Fainchtein. Costume Designer, Leticia Palacios. Editors, Luis Carballar and Craig McKay, A.C.E. Production Designer, Claudio “Pache” Contreras. Director of Photography, Adriano Goldman. Executive Producers, Gerardo Barrera, Pablo Cruz, Diego Luna, Gael Garcia Bernal. Produced by Amy Kaufman. Written and Directed by Cary Joji Fukunaga. A Focus Features Release.
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Sin NombreActors’ Commentary
Paulina Gaitan [stars as Sayra]: When I read the script, I realized I had to play Sayra because she was similar to me. I related to her emotional issues, like her feelings towards her father. Sayra is sentimental but strong at the same time; she bottles things up.
She starts to feel something for Casper, and thinks she can help him and change him and give him a better life.
I am Mexican, and Cary [Joji Fukunaga] wanted a Honduran actress to play Sayra, so he offered me the role of Martha Marlene. But I said, “If I’m not Sayra, then I won’t be in this movie.”
In playing Sayra, I added a lot of me so she became very similar to me. It became not, “What would my character think?” but “What would I think if I had to go on such a long trip with my Dad by train?”
I had never traveled on a train, much less on the roof of one, so that was adrenaline; “Get on the train.” “Get off the train.” “Again!” It was cool.
Cary is very helpful because he tells you specifically what he wants. For instance, he would say “Decrease the intensity.” We didn’t improvise very much, which I preferred.
I didn’t know about how Central Americans cross the border by taking the train, and what they go through; we watched videos of it during rehearsals, including of immigrants crossing rivers.
We Mexicans complain a lot about how we are treated in the U.S., but we don’t see how we treat Central Americans, and Sin Nombre shows that.
Edgar Flores [stars as Casper, a.k.a. Willy]: Casper lives from hand to mouth. As the story goes on, he knows he has to sleep with one eye open; in any moment, in any place a shadow could appear that will slit his throat. The only good thing that he can do with his life is to help Sayra cross [into the United States]. That is the only thing. He has nothing left to lose. The only meaning life had for him was Martha Marlene, and when that is lost it doesn’t matter to him if he lives or dies.
In my life, I never, ever thought or dreamt about making a movie. And now I have made one. I have to thank God, and I’m going to get as far as he wants me to. I have discovered something that I am passionate about; playing another life that is not yours, but making it your own. That fills me with life. So now, my dream is doing my own movie.
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I would have liked to do more of my own stunts, but I had to sit and watch. I only got to do one risky scene.
Kristyan Ferrer [stars as Smiley]: To play Smiley, I had to learn some of the signs, jomi, of the Mara Salvatrucha, and how they speak and move and walk. Cary helped with all that, because he did more research than I did – he visited the Mara. He told us about their tattoos and had us watch a documentary about the Mara.
The Mara Salvatrucha 13 [the group that Smiley is inducted into] is not the same as the Mara Salvatrucha 18 [the group seen in pursuit of Smiley and Sol in the barrio sequence]. They may seem like the same signs, but they are completely different.
People may be living in a community where they and their families are being threatened. So they enter the Mara because they know that if they are in it, they have protection; the Mara will look after them and their families.
To perpetuate the Mara, children are important. Smiley thinks that by entering the Mara he’ll be able to do what he pleases. He is a young boy who wants to seem older. Smiley is a regular kid, and you don’t believe that he will do what he does. But he will, he has to, to survive – like anyone in the Mara.
My most difficult scene was when he has to cry; he’s sad because he’s been hit and kicked, but he’s happy because he belongs to the Mara. So he’s feeling pain and happiness at the same time. Cary helped me make the character real and to control my emotions while performing. Playing Smiley, I had to become aggressive; he was another part of me that I thought didn’t exist.
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Sin NombreQ&A: writer/director Cary Joji Fukunaga and producer Amy Kaufman
Q: How did this project take shape for you, as a first-time feature director?
Cary Joji Fukunaga: It came about through my short film, Victoria para Chino, which was about a truckload of immigrants who were abandoned and suffocated in Victoria, Texas. In doing research for that and filming in Mexico, I learned about the Central American side of immigration; when we think of immigration, we usually think Mexico-to-the-United States. But there are Hondurans, Guatelmalans, and Nicaraguans who are traveling north to get into Mexico and then go Mexico-to-the-United States. I knew this was a story I wanted to tell in a feature film. It struck me personally. I wanted to have audiences experience this from a human perspective, one which has nothing to do with politics or agendas about what immigration “means” or what it “should” be.
The Web and newspapers and books have information, but for me it is hard to get a sense of things unless I go in person to see what someplace is like. Now, the short film played at the 2005 Sundance Film Festival, and I was asked to submit a script for the Sundance Lab. I had spent all my time finishing the short, so I had just two weeks to draft the feature script. I drew on the research I had done for the short, but I knew I needed to find out even more about the things that I didn’t know about and write more drafts. I wanted authenticity.
Q: What with the larger scale, were you considering presenting the script for a director to consider?
CJF: No, it was always going to be a project I would direct, and I always planned on filming in Mexico, because that’s where the story takes place.
There was no way I could have written Sin Nombre without seeing what I was writing about. So, in the summer of 2005, I went down to Chiapas and Tapachula, Mexico with a couple of friends who had worked on the short, to do firsthand research. We spoke to police. We went to jails to meet with gang members who were part of the immigrant smuggling trade. We went to the borders, and saw rafters on the Suchiate River between Guatemala and Mexico.
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We visited immigrants at train stations and yards and also at shelters, including one that is designated for immigrants who have been injured on trains; 16-year-olds who lost their legs, for example. These are people who were headed north to try for a better life for themselves and their families, and now they had gotten hurt and never made it north.
After seeing them, my friends decided they didn’t want to ride the trains. So I ended up doing that by myself. One night, at 2:00 AM in the Tapachula yards, I jumped on a freight train with two Hondurans that I’d met the night before. I had invited them to stay with me at a hotel rather than wait all night at the station, which was dangerous. We all jumped on and traveled across Chiapas; a lot of what happened on that 27-hour trip – within the first couple of hours – formed the basis for what happens on top of the train in Sin Nombre. The bandit attack that happened not far from us, and the camaraderie with the immigrants, enriched my perspective.
Q: Was there a lot of chaos on the trip?
CJF: Well, if you see drama or crazy stuff, it happens instantly and then it’s gone as soon as it came. What surprised me is how mundane a lot of the journey is – like ordinary life. Here’s the way I learned to look at it from the immigrants’ perspective; whether bad things or good things happen, it’s just another day and everything and everyone is in God’s hands.
If they’re on top of the train and completely dehydrated, they’ll say, “It will rain and we will collect water.” If bandits attack the trains, they’ll say, “We’ll run and then come back to the train when the bandits go away.” Whatever happens, they will roll with it. They don’t dramatize what’s happening in their lives.
Q: That was your purview. So what did you learn from them that motivated your storytelling?
CJF: The immigrants that I met knew that the journey, and the life they were going towards, was going to be hard. I didn’t meet any who thought that the streets were going to be paved with gold in the U.S. That’s not the perspective people have any more. The journey is now one of survival, necessity, and basic economics; at home, they make 45 lempiras a day, and milk costs 15. You have people who can’t make enough money to meet the cost of living or feed their families in their country, where the economy is falling apart.
We would be stopped for several hours, and they would be looking in irrigation ditches for water, along the way. At that point, there is nothing else to do but talk, and I would get asked, “What are you doing here?” I would answer, “I’m writing a story.” The idea that someone would have all the time in the world to sit and conceive and write a story…I’d write in my journal, and some people would say “Good for you” and others would say “Please tell our story.”
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By the end of the trips, I had learned so much and lived some of it myself. So I felt even more responsibility to tell the story.
Q: What does the title mean?
CJF: The title Sin Nombre translates as “without a name,” or, “nameless” in English.
Q: What drives the main characters?
CJF: This movie is about people in our day, in our time, at this very moment. They are living their lives and they have made the decision to try to look for something better. Smiley is looking to be part of a community. Having been raised by his grandmother, he had no male images of role models. Casper, as a member of the Mara, is his example. There may be standard stories of why kids join gangs, yet every case is an individual one.
Casper and Sayra are both looking to reconstruct families they have never had; that theme is set against the worlds of immigration and gangs. When they meet, a trust builds up between them bit by bit. They become linked to each other, yet at the end of the story are in very different places.
Q: Amy, what appealed to you about Cary’s script?
Amy Kaufman: Most of all, how it was based on the real stories that Cary learned about in his travels and his research. For him, it was important to tell the authentic story of how families travel from all over, to try to get to the United States, and we don’t really know just how much is involved in the journey.
For me, it read as a Greek tragedy –
CJF: I see it as a Western, actually…
AK: Either way, there was drama and much of it takes place on top of a moving train with people functioning in an extreme situation – so I knew it would be exciting, too.
I had seen Cary’s Victoria para Chino, which I thought was incredible. When I found out how he had made it – and for no money – I thought, “I have to meet him.” When I did, I learned that he had a feature script, written in Spanish, that he wanted to make in Mexico. I decided I wanted to try and work on it, so I brought the script to Focus Features – where I am based as a producer – and they were enthusiastic about it.
Q: Then it was just that one trip, Cary, that got you all you needed to write the
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script and prep the movie?
CJF: Oh no. I made more trips back to Mexico. The last train I rode was in the summer of 2006, across Veracruz. A year and a couple of months later, we were filming scenes where I had traveled
Q: So you filmed in the fall of 2007 –
CJF: Right, and right where I had been before. We were creating a fiction in spots where the real thing is still happening. The actors would be on camera, and a few feet away there would be real immigrants who had just traveled for days.
Q: What were the challenges of filming?
CJF: During filming, I would sit and wish that I had written a story about two people in a café talking about life and relationships. [laughs] I mean, we had trains, rain, hundreds of extras, nearly daily location changes, blood and other effects. One of the most difficult things was the time it took just to get everything in synch, and realize the mise-en-scene I wanted – all on a tight schedule…
The original plan was to shoot from Honduras all the way to Texas. When we learned how expensive that would be, we knew we couldn’t film all the way. But the locations we filmed at were beautiful. The only sad thing was that we never had time to take advantage of them because we were on to the next one; we weren’t in any one for more than three days, and usually it was just one day. Luckily we also had a second unit capturing parts of areas we had to move on from first.
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Q: Where did you shoot the movie?
CJF: On Mexico City locations that were so diverse; we were able to find so many in a 200-mile radius. For example, Orizaba is gorgeous with its colors and light. The Tegucigalpa, Honduras scenes were filmed in Naucalpan. You see how they built those concrete houses on the edge of a valley…
Q: How did you find the crew to be?
CJF: Amazing. Everyone did their research and would get inspired. Sometimes I didn’t have to say anything; they would just do their thing, and I would get excited once I saw what they came up with. The crew ran like a family; a lot of them had been together on Apocalypto for eight months.
AK: The crew members proved to be incredible, and so supportive of Cary; I would make another movie there in a second. People welcomed us into their homes.
Q: Cary, how did you work out the visual approach for the film?
CJF: Well, since we were mostly using real locations, Pache [the production designer] and I talked a lot about colors and textures. We went for a saturated, yet not overt, palette; there are these natural decaying backgrounds mixed with hot spots of color.
In terms of the cinematography, Adriano and I talked from the beginning about doing less inflected camerawork; no messing with the negative. We wanted the camerawork to be natural and let what happens be the drama.
Q: How did the key actors come together, and how did you work closely with them?
CJF: That was also in terms of it being authentic; we had it written into the contract to make the movie that we would be casting Central Americans. For the principal roles, I wanted people who caught the spirit of their parts. So through [casting director] Carla Hool, we cast people with a lot of experience, like Paulina Gaitan, and people with practically none, like Edgar Flores; she could give me four variations on a scene, while he was in a lot of ways just being him. So it was a good mix for me, and it meant that I couldn’t over-plan a scene – which I don’t like to do in the first place, since I like spontaneity. Yet I can also control the dramatic flow of a scene towards authenticity.
AK: We cast out of Los Angeles, Mexico, and Honduras. Edgar, whom we found in Honduras, brought something raw – and that helped his chemistry with Paulina, who has been acting since she was younger. Those with experience were able to meld nicely with those who had less experience.
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CJF: Exactly; experienced actors can help inexperienced actors through scenes and with feedback. I like to give advice, and not just direct; I’ll ask one of the actors to talk to another one, actor to actor.
It’s something I learned to do when I was making short films. When I had kids and adults in the cast, I would have them spend time together so they could create a bond that would then come across naturally in a scene.
For example, Tenoch [Huerta Mejía, who plays Mara leader Lil’ Mago] is a natural leader and charismatic, so in the gang scenes I would say to him, “You control your guys and you decide how things are going to happen.” That strengthened the dynamic on-screen. During the writing, I found that character starting to take over scenes; despite all the bad things he does, you still want to like him. That was true of certain gang members I met, too – and with Luis Fernando Peña in playing Sol.
We cast people off the streets, because I had always hoped to cast as real as possible.
AK: We were able to do a lot of on-site casting based on locals who were around on a given day, and were happy to be extras.
CJF: They were, and for the barrio dieciocho [Barrio 18] scene, where Smiley and Sol are in that neighborhood [and pursued by a rival Mara gang], we found three real gang members – two of whom had been part of the Mara. For a scene like that, you don’t necessarily direct; you just set up a scenario and let them live it.
AK: I met with some former Mara who are now living in Los Angeles, because we also wanted to be true to what they have gone through.
The Mara scenes were so important, so it was a challenge to find someone as young as Kristyan Ferrer, who could do everything that we needed him to do. He’s amazing; I think we’ll be seeing a lot more of him.
Q: As the film’s producer, what other challenges did you feel you or the film faced?
AK: Trying to figure out the best way to shoot everything; that was a giant puzzle, what with the trains and the budget and location constraints. Some of the trains in the film were actual trains, and some of them were freight cars that we built on top of flatbed tractor trailers – sort of a “process train,” if you will. In both instances, we had an entire crew with equipment, and cast and extras, atop a moving train car going through actual landscapes. We did do just a couple of process shots.
This was a hard film to make in only seven weeks, given that we spent so much time on the tops of trains. Of course, we had harnesses and safety people, so
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imagine what it’s like for the immigrants who really are traveling on trains…
I have to say that when we met and talked with immigrants, what we found is that they are friendly and open and helpful. Seeing Sin Nombre, I hope that people will have more of an understanding of what immigrants go through to access opportunities that a lot of us are born with; and more of an understanding of how and why people are enticed into the Mara.
Sin NombreAbout the Cast
PAULINA GAITAN (Sayra)
Paulina Gaitan, a native of Mexico, began her career as an actress at age 9.
Two years later, following work with the leading networks Televisa and TV Azteca, she inaugurated her feature film career with Luis Mandoki’s Innocent Voices. She subsequently played a leading role in Marco Kreuzpaintner’s Trade, with Kevin Kline and Cesar Ramos.
Ms. Gaitan has since starred in Andrea Martínez’ Cosas insignificantes and Antonio Zavala’s soon-to-be-released Deseo; she next stars in La mitad del mundo.
EDGAR FLORES (Willy/El Casper)
Edgar Flores is a native of Tegucigalpa, Honduras.
He participated in a national casting call for the first Honduran miniseries, Diferentes a Todos, and was cast. The program was a Promega production, directed by Francisco Andino and produced by Francis Mejía.
Through Terco Producciones, which was responsible for Honduran casting on Sin Nombre, Mr. Flores attended an open casting call and within weeks found himself in front of the cameras, making his feature debut.
He is currently working with Promega, in Tegucigalpa, while also continuing his studies.
KRISTYAN FERRER (El Smiley)
Kristyan Ferrer was born in Mexico City in February 1995. He has been an actor since 2001; he has studied acting, song, dance, and guitar.
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He has worked under contract with the television network TV Azteca, and starred in several television commercials (for both the U.S. and Mexico). He has also had recurring roles on a number of series, including TV Azteca’s long-running Lo que callamos las mujeres.
Mr. Ferrer’s other television appearances include ones on such comedy series as Puro loco, Qué buena onda, and Ya cayó; and the telefilm Milagros, in the lead role.
In recent years, he has also performed in stage plays, such as Beto al Rescate del Tiempo (in the title role of Beto), at the Coyoacán Theatre; and such features as Nick Lyon’s Species: The Awakening and Baltasar Kormakur’s upcoming Inhale (formerly known as Run for Her Life).
TENOCH HUERTA MEJÍA (Lil’ Mago)
Mexico City native Tenoch Huerta Mejía was most recently seen in Alex Rivera’s Sleep Dealer, which won awards at the 2008 Berlin International and Sundance Film Festivals.
One of the subjects of Mónica Maristain’s book 30 Actors Made in Mexico, he has starred in both feature films and short films.
Among his feature credits in Spain and Mexico are Rodrigo Plá’s La Zona, which won awards at the Venice and Toronto International Film Festival, among others; Issa López’ Casi divas; Alan Coton’s Nesio; and, also for Canana, Agustín Díaz Yanes’ Soló quiero caminar and Gael Garcia Bernal’s directorial debut, Déficit.
Mr. Huerta Mejía was named Best Actor at the Short Short Film Festival in Mexico City, for his performance in Alonso Ruiz Palacio’s Café paraíso.
DIANA GARCÍA (Martha Marlene)
Diana García’s first feature for Canana, the executive producers of Sin Nombre, was Gerardo Naranjo’s Drama/Mex, which world-premiered at the 2006 Cannes International Film Festival.
Ms. García has since starred in several features. Among them are Jieho Lee’s The Air I Breathe, opposite Brendan Fraser and Emile Hirsch; Casey Kelly’s The Bracelet of Bordeaux; Issa López’ Casi divas; Rudy Joffroy’s El Camino del diablo; Francisco Laresgoiti’s Villaparaiso; Jorge Ramírez Suárez’ Amar; and Rafael Lara’s Labios rojos.
The Mexican-born actress has also starred in several short films, commercials, and music videos; and was the host of the television programs Big Boutique in
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the City and Adelantadas en el mundial, the latter of which aired on the Fox Life Channel.
LUIS FERNANDO PEÑA (El Sol)
Luis Fernando Peña is one of Mexico’s leading young actors in both the telenovela and feature worlds.
He made his film debut in Carlos Carrera’s hit Un Embrujo, which earned 9 Ariel Awards (the Mexican film industry’s highest honor). He was himself an Ariel nominee for his next feature, Marisa Sistach’s Perfume de violetas; and again for his performances in Fernando Sariñana’s Amar te deule and Gerardo Tort’s De la calle. The latter also earned him honors from the Guadalajara Film Festival and the Mexican Cinema Journalists. Additionally, he has twice been nominated for an MTV Movie Award (in Latin America and Mexico).
Mr. Fernando Peña’s recent film credits include Ernesto Castillejo’s Destinos cruzados; Rodrigo Plá’s Desierto adentro; Eduardo Lucatero’s Corazón marchito; Rudy Joffroy’s El Camino del diablo; and Alex Rivera’s Sleep Dealer, which won awards at the 2008 Berlin International and Sundance Film Festivals.
He has appeared in recurring roles in the television series Clase 406, Lo que callamos las mujeres, Vesinos, and Mujer, casos de la vida real, among others.
HÉCTOR JIMÉNEZ (Leche; Wounded Man)
Born in Guadalajara, Héctor Jiménez studied acting in Tijuana. He began working in theatre, including with Edward Coward’s La Divina Fauna Theatre Company.
Known to audiences for his role fighting alongside Jack Black in Jared Hess’ Nacho Libre, for which the duo received an MTV Movie Award nomination, he has appeared in several other films. Among them are Luis Mandoki’s Innocent Voices; Ignacio Ortiz’ Mezcal, which won 5 Ariel Awards (Mexico’s equivalent of the Oscars); Jason Friedberg and Aaron Seltzer’s Epic Movie; Robert Englund’s Killer Pad; and, most recently, Fernando Rovzar’s Navidad, S.A.
Mr. Jiménez has just completed a reteaming with Jared Hess on the new film Gentlemen Broncos, with Michael Angarano and Jermaine Clement.
About the Filmmakers
CARY JOJI FUKUNAGA (Writer/Director)
Cary Joji Fukunaga graduated from the University of California Santa Cruz. His film work as a writer, director, and cinematographer has taken him around the world – from the Arctic Circle to Haiti and West Africa.
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He has received several prestigious grants, including a 2008 USA Rockefeller Foundation Fellowship; the John H. Johnson Film Award; and a 2005 Princess Grace Foundation Fellowship. He also received, in 2007, a Katrin Cartlidge Foundation Bursary.
Mr. Fukunaga wrote and directed the short film Victoria para Chino, which screened at the 2005 Sundance Film Festival. It was honored with over two dozen international awards, including a Student Academy Award and an honorable mention from BAFTA’s Los Angeles chapter.
An MFA candidate from New York University’s Graduate Film Program, Mr. Fukunaga marks his feature film writing and directing debut with Sin Nombre.
AMY KAUFMAN (Producer)
Amy Kaufman has worked on some of the most notable films of recent years, in both production and distribution capacities.
Her production company, Primary Productions, is based at Focus Features in a first-look deal, yielding Sin Nombre as its first film.
Ms. Kaufman established Primary in September 2005, after segueing from her position as executive vice president, production at Focus. She had been with Focus since its formation in the spring of 2002, as the production executive supervising, among other films, Fernando Meirelles’ The Constant Gardener, starring Ralph Fiennes and Academy Award winner Rachel Weisz; and Jean-François Ríchet’s Assault on Precinct 13, which was released by Rogue Pictures. On behalf of Focus Features International, she was the creative liaison with El Deseo, the production company owned by Agustín and Pedro Almodóvar, coordinating the overseas sales and distribution for El Deseo of Pedro Almodóvar’s Bad Education and Academy Award-winning Talk to Her, as well as Isabel Coixet’s My Life Without Me and The Secret Life of Words.
In her previous Focus capacity as executive vice president, acquisitions and co-productions, Ms. Kaufman had worked on such Focus films as Alejandro González Iñárritu’s award-winning 21 Grams; and Sofia Coppola’s Academy Award-winning Lost in Translation.
Immediately prior to the formation of Focus, Ms. Kaufman was senior vice president of acquisitions and co-productions at Good Machine International, part of the independent film production company Good Machine. While handling international sales in Europe and Latin America for GMI, she executive-produced Alfonso Cuarón’s Academy Award-nominated Y Tu Mamá También. Before joining GMI in 1997, she worked at Miramax International.
At Primary, she is developing films both within and outside of the studio system, ranging from specialized films to genre movies. Ms. Kaufman is concentrating on working with new international and first-time filmmakers.
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The Primary slate includes an update of the vampire thriller Near Dark, to be produced with Michael Bay’s Platinum Dunes, for Rogue Pictures; the political thriller The Whistleblower, to star Ashley Judd; and Everardo Gout’s Mexican thriller Days of Grace.
Ms. Kaufman is also producing a short film for Swarovski Entertainment to be directed by Shekhar Kapur and is developing three features with Swarovski.
GERARDO BARRERA (Executive Producer)
Born in Mexico City, Gerardo Barrera attended the Centro Universitario de Estudios Cinematográficos (CUEC). During his cinema studies, he learned about the production, distribution, and exhibition of independent Mexican movies. His subsequent career in the movie industry has encompassed feature projects that have originated from all over the world.
In 2001, he became the Director of Production of the Instituto Mexicano de Cinematografía (IMCINE), which produced and co-produced features and shorts with Mexican film industry participation.
Since 2005, Mr. Barrera has been working exclusively as an independent film producer through his own company, Creando Films. Creando’s development slate includes Martin Hardy’s Amor Chiquito and Felipe Cazals’ Chicogrande; and, in pre-production, Francisco Athie’s El Baile de San Juan.
His most recent film as producer was Patricia Riggen’s sleeper hit Under the Same Moon (La Misma luna), which world-premiered at the 2007 Sundance Film Festival. Mr. Barrera has been a producer or the unit production manager on many film and television projects filmed fully or partially in Mexico.
PABLO CRUZ (Executive Producer)
Pablo Cruz studied film theory at the London College of Printing, and moved on to film production work in Africa and other countries. In 2001, he founded the commercial agency The Lift in Barcelona.
In 2005, Mr. Cruz returned to his native Mexico to start the production company Canana in partnership with Gael Garcia Bernal and Diego Luna.
Canana has made nine films in the space of three years. Among their features have been Gerardo Naranjo’s Drama/Mex and Voy a explotar [I’m Going to Explode]; Mr. Luna’s directorial debut, the documentary J.C. Chávez; Mr. Garcia Bernal’s directorial debut, Déficit; Jorge Hernandez Aldana’s El Bufalo de la Noche; Agustín Díaz Yanes’ Sólo quiero caminar; Israel Cárdenas and Laura Amelia Guzmán’s Cochochi, which won the Grand Jury Prize at the Miami Film Festival and the Discovery Award at the Toronto International Film Festival, among other honors; and Sin Nombre. Currently in post-production is Rubén
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Imaz’ Cefalopodo.
Also in conjunction with Mr. Luna and Mr. Garcia Bernal, Mr. Cruz founded the traveling documentary film festival Ambulante Gira de Documentaries. Now in its fourth year, the festival brings foreign and domestic documentaries to communities all across Mexico.
In 2007, Variety cited Mr. Cruz as one of its “10 Producers to Watch.” DIEGO LUNA (Executive Producer)
Audiences worldwide took note of Diego Luna with his starring role in Alfonso Cuarón’s Academy Award-nominated Y Tu Mamá También, opposite Gael Garcia Bernal. The two lifelong friends joined with producer Pablo Cruz to form the production and distribution company Canana. Additionally, the new film Rudo y Cursi, written and directed by Carlos Cuarón, reteams the two actors onscreen.
In addition to Sin Nombre, Canana’s other feature projects thus far have included Gerardo Naranjo’s Drama/Mex and Voy a explotar [I’m Going to Explode]; and Mr. Luna’s directorial debut, the documentary J.C. Chávez. The latter, exploring the life of legendary boxer Julio César Chávez, world-premiered at the 2007 Tribeca Film Festival. Canana’s El Bufalo de la Noche (The Night Buffalo) and Sólo Dios Sabe (Only God Knows) both premiered at the Sundance Film Festival and were directed, respectively, by Jorge Hernandez Aldana and Carlos Bolado. Mr. Luna appeared in both films, and next starred for the company in Agustín Díaz Yanes’ Sólo quiero caminar.
He began his professional acting career on the stage, at age seven. At age twelve, he made his television debut in El Abuelo Y Yo, which led to roles in such shows as El Premio Mayor, El Amor De Mi Vida, and La Vida En El Espejo.
Mr. Luna continued his stage work in such productions as De Pelicula; La Tarea (based on Jaime Humberto Hermosillo’s movie of the same name); Comedia Clandtina; and El Cantaro Roto, for which he accepted the 1996-1997 Masculine Revelation Award from the Association of Theatre Reviewers. Under the direction of Antonio Serrano, he performed Sabina Berman’s Molière. He recently produced The Complete Works of William Shakespeare in Mexico, after winning the 2001-2002 Best Comic Actor award from the Association of Theatre Reviewers for starring in the same show.
His early movie appearances included Julian Schnabel’s Before Night Falls; Luis Estrada’s Ambar, Erwin Neumaier’s Un Hilito De Sangre; Gabriel Retes’ Un Dulce Olor A Muerte (which took second prize at the Havana Film Festival); José Buil and Marisa Sistach’s El Cometa; and Fernando Sariñana’s Todo El Poder and Ciudades Oscuras.
Mr. Luna has since been seen in such movies as Steven Spielberg’s The Terminal; Julie Taymor’s Frida; Kevin Costner’s Open Range; Gregory Jacobs’
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Criminal; David Attwood’s telefilm Fidel; Hugo Rodríguez’ Nicotina; David Trueba’s Soldados de Salamina; Oliver Parker’s Fade to Black; Harmony Korine’s Mister Lonely; and, most recently, Gus Van Sant’s Milk (also for Focus Features), starring opposite Sean Penn.
Mr. Luna has also starred in a number of short films made by students at CUEC and CCC, including Javier Bourges’ El Último Fin Del Año, which won a Student Academy Award.
GAEL GARCIA BERNAL (Executive Producer)
After working as an actor in his native Mexico since childhood,Gael Garcia Bernal made his feature film debut in Alejandro González Iñárritu’s Academy Award-nominated Amores perros. His breakthrough performance in the universally acclaimed film earned him a Silver Ariel Award (Mexico’s equivalent of the Oscar) as well as a Silver Hugo Award at the Chicago International Film Festival, both as Best Actor.
Mr. Garcia Bernal’s next film role was in another globally celebrated feature, Alfonso Cuarón’s Academy Award-nominated Y Tu Mamá También, starring opposite his lifelong friend Diego Luna. For their performances, the two friends were jointly voted the Marcello Mastroianni Award at the Venice International Film Festival.
He subsequently starred in the title role of Carlos Carrera’s Academy Award-nominated romantic drama El Crimen del padre Amaro [The Crime of Father Amaro]. His performance earned him the Silver Goddess Award for Best Actor from the Mexican Cinema Journalists, as well as a nomination from the Chicago Film Critics Association for Most Promising Performer.
Mr. Garcia Bernal was next seen starring in Walter Salles’ award-winning The Motorcycle Diaries, also a Focus Features release, and for which he was a BAFTA Award nominee for Best Actor; Pedro Almodóvar’s La mala educacíon [Bad Education]; James Marsh’s The King; Michel Gondry’s The Science of Sleep; Fernando Meirelles’ Blindness; and Alejandro González Iñárritu’s Babel, for which he and his fellow actors received a Screen Actors Guild Award ensemble nomination.
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He will next be seen in Lukas Moodysson’s Mammoth, starring opposite Michelle Williams; and in Jim Jarmusch’s The Limits of Control, also a Focus Features release.
Mr. Garcia Bernal and Mr. Luna joined with producer Pablo Cruz to form the production and distribution company Canana. Additionally, the new film Rudo y Cursi, written and directed by Carlos Cuarón, reteams the two actors onscreen.
In addition to Sin Nombre, Canana’s other feature projects thus far have included Gerardo Naranjo’s Drama/Mex and Voy a explotar [I’m Going to Explode]; Agustín Díaz Yanes’ Sólo quiero caminar; and Mr. Garcia Bernal’s directorial debut, Déficit. Canana’s El Bufalo de la Noche (The Night Buffalo) and Sólo Dios Sabe (Only God Knows) both premiered at the Sundance Film Festival and were directed, respectively, by Jorge Hernandez Aldana and Carlos Bolado.
ADRIANO GOLDMAN (Director of Photography)
Sao Paulo-born Adriano Goldman was recently the cinematographer on the Brazilian incarnation of the popular Canadian Shakespeare-themed series Slings & Arrows for producer Fernando Meirelles’ 02 Filmes, and is currently shooting the second season of the series Sons of Carnival.
He got his start as a camera operator, and soon after directed and photographed his first short, Is Reinaldo Still Swimming? The film won the top prize at both the Sao Paolo Fotoptica Video Festival and the Festival Internacional del Nuevo Cine Latinoamericano in Havana, Cuba.
Over the next decade, Mr. Goldman worked in the commercials and music video world, forging a strong relationship with MTV Brazil, and directing the inaugural acoustic program Unplugged as well as Sepultura's rendition of "Orgasmatron," which won the International Viewer's Choice Award at the MTV Video Music Awards. He was cinematographer on the concert films Memories, Chronicles and Declarations of Love (for acclaimed female vocalist Marisa Monte) and Kaya N’Gan Daya (for Brazilian superstar Gilberto Gil), directed by Lula Buarque.
In 2002, he shot the first season of the TV Globo/O2 Filmes hit series City of Men, and was honored with the ABC Trophy for Best Cinematography in a Television Series. Mr. Goldman also was cinematographer on the feature version directed by Paulo Morelli.
He next was director of photography on the series Alice and (the first season of) Sons of Carnival, directed by Cao Hamburger; the latter earned him his second ABC Trophy. He won a third Trophy, this time in the feature film category, for his cinematography of the same director’s The Year My Parents Went on Vacation.
Mr. Goldman’s other feature credits as cinematographer include Guel Arraes’ Romance; Lula Buarque’s Casseta & Planeta: The Cup Is Ours; and Bruno
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Barreto’s Romeo and Juliet Get Married. The next film he will be director of photography on is Tony Goldwyn’s Betty Anne Waters, which will star two-time Academy Award winner Hilary Swank in the title role.
CLAUDIO “PACHE” CONTRERAS (Production Designer)
From a self-taught education in Mexico, Claudio Salvador Contreras Ramos began working in different art fields. These ranged from performance art (“El Sindicato del terror”) to installations. One of the latter, “E=mc²,” brought him honors from the Encuentro Nacional de Arte Joven.
He then began working in the art department on feature films, including John Frankenheimer’s telefilm The Burning Season and Alex de la Iglesia’s Perdita Durango (as set decorator).
As an art director, Mr. Contreras designed television commercials, music videos, and short and feature films. Among the latter were Arturo Ripstein’s Así es la vida and La perdición de los hombres.
He has won two Ariel Awards (Mexico’s equivalent of the Oscar), as part of the art direction/set decoration team on Luis Estrada’s Ámbar and Jaime Hermosillo’s De noche vienes, Esmeralda.
Mr. Contreras now works as a production designer, and as such his feature credits have included Francisco Vargas Quevedo’s award-winning El Violín and Agustín “Oso” Tapia’s Club Eutanasia; and, among other projects, Shakira’s music video “Illegal.”
LUIS CARBALLAR (Editor)
Mexico City native Luis Carballar began his career as an assistant editor, and was then a freelance editor for such media companies as San Pedro Post and Adela Producciones.
He directed a daily music video program, Sobrexpuesto, before supervising cinematography of singer Luis Miguel’s tour covering Venezuela and Mexico.
In 1995, he joined the production house Z Film, owned by Alejandro González Iñárritu. For the latter director, Mr. Carballar then edited the feature Amores perros, which earned him the Ariel Award (Mexico’s equivalent of the Oscars) from the Academia Mexicana de Artes y Ciencias Cinematograficas.
He reteamed with the director on the “Powder Keg” short film for BMW’s “The Hire” series; and then edited commercials and videos for a host of filmmakers, including Emmanuel Lubezki and Carlos Cuarón.
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Continuing his feature editing career, Mr. Carballar was again an Ariel Award nominee for Sebastián Cordero’s Crónicas. His subsequent credits have included Luis Mandoki’s Innocent Voices; Simon Brand’s Unknown; Brad Furman’s The Take; and Jonas Pate’s upcoming Shrink, starring Kevin Spacey.
CRAIG McKAY, A.C.E. (Editor)
Craig McKay, born in New York State’s Hudson Valley, has twice been nominated for an Academy Award, for editing Oscar-winning directors Warren Beatty’s Reds and Jonathan Demme’s The Silence of the Lambs.
He has collaborated with the latter director on several other features, including the Academy Award-winning Melvin and Howard and Philadelphia. Mr. McKay’s many feature credits as film editor also include Terry George’s Some Mother’s Son; Liev Schreiber’s Everything is Illuminated; James Mangold’s Cop Land; and Andrew Jarecki’s upcoming All Good Things.
Mr. McKay won an Emmy Award for editing Marvin J. Chomsky’s miniseries Holocaust. Also for television, he has directed the Emmy Award-winning musical special Bubbe Meises: Bubbe Stories and the “The Red Shoes” short film segment of Subway Stories.
He was story consultant on, among other projects, Angus Gibson and Jo Menell’s Oscar-nominated Mandela and Joshua M. Greene’s Witness: Voices from the Holocaust. Another documentary he worked on was Hugo Berkeley and Elizabeth Chai Vasarhelyi’s A Normal Life, as executive producer.
Mr. McKay has served as a creative advisor at the Sundance Institute’s Filmmakers Lab.
LETICIA PALACIOS (Costume Designer)
Leticia Palacios is a fashion and costume designer. She studied at the Jannette Klein Fashion Institute and the Academia Iberoamericana, in Mexico City; and also attended the Istituto di Moda Burgo, in Italy.
She has her own atelier and warehouse, where she develops recycled wear, accessories, and costumes. She creates costumes and styles for movies, theatre, advertising, and audiovisual mediums.
For the stage, Ms. Palacios has designed the costumes of Check point papa and Il Fantasma di Cantervile, for Milan’s Teatro Litta; the El mitote end-of-the-millennium allegoric parade; Ofelia Medina’s play De pasada por Fridonia; the winning San Remo Festival performance of singer Tosca; and Nemi foundation works.
Advertising campaigns that she has worked on include those for Pepsi, Rice-A-
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Roni, Mattel, and American Express (for an ad directed by Jim Sheridan).
Ms. Palacios has designed costumes for, among other feature films, Arturo Ripstein’s Así es la vida and La perdición de los hombres; Agustín “Oso” Tapia’s Club Eutanasia; Paul Leduc’s El Cobrador; and Alan Jonsson’s upcoming Morenita.
MARCELO ZARVOS (Music)
Marcelo Zarvos has composed music for many artistic mediums.
His movie scores include ones for Allen Coulter’s Hollywoodland and Tod Williams’ The Door in the Floor (both also Focus Features releases); Ross Katz’ upcoming telefilm Taking Chance; Rowan
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Woods’ soon-to-be-released Winged Creatures; Bruno Barreto’s Última Parada 174 [Last Stop 174]; Barry Levinson’s What Just Happened; Jieho Lee’s The Air I Breathe; John Dahl’s You Kill Me; Robert De Niro’s The Good Shepherd (co-composed with Bruce Fowler); Robert Cary’s Ira & Abby (which won the Audience Award for Best Narrative Feature at the Los Angeles Film Festival); Matt Tauber’s The Architect (which premiered at the Tribeca Film Festival); Susan Seidelman’s Boynton Beach Club; Paul Dinello’s Strangers with Candy; Charles Herman-Wurmfeld’s Kissing Jessica Stein; Rachel Boynton’s documentary Our Brand is Crisis; Michael Burke’s The Mudge Boy; Hilary Birmingham’s Tully (nominated for 4 Independent Spirit Awards), and Paulo Machline’s Academy Award-nominated short film A Soccer Story. Additionally, he composed the score for Cosmic Collisions, the space show at the American Museum of Natural History’s Rose Center for Earth and Space.
Mr. Zarvos’ dance scores include “Aquatica” (for Pilobolus); and “Divinities” (for Cleo Parker Robinson Dance) and “The Path,” both of which were presented at NYC’s Joyce Theater.
Among his chamber music compositions are the string quartet “Nepomuk’s Dances” (performed at Lincoln Center and the Library of Congress); “Changes,” for wind quintet and piano; and an NEA commission presented by the string quartet Ethel in the fall of 2006.
As a recording artist, Mr. Zarvos has released three critically acclaimed albums on the MA Recording label: “Dualism,” “Music Journal,” and “Labyrinths.” The latter was cited by CDNow as one of the Top 10 Jazz CDs of 1999.
He has collaborated, as arranger and pianist, with the Paul Winter Consort. Mr. Zarvos has also been guest conductor with Sadao Watanabe and the Tokyo Symphony Chamber Orchestra.
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Sin Nombre
CAST
(in alphabetical order)
Big Lips MARCO ANTONIO AGUIRREPolicía Judicial LEONARDO ALONSO
Marera KARLA CECILIA ALVARADONiño #3 JUAN PABLO ARIAS BARRÓNNiño #2 ROSALBA BELÉN BARRÓNMarero SIXTO FELIPE CASTRO
Tierra Blanca Mujer ROSALBA QUINTANA CRUZKimberly MARCELA FEREGRINOEl Smiley KRISTYAN FERRER
Willy/El Casper EDGAR FLORESEl Sipe GIOVANI FLORIDOSayra PAULINA GAITAN
Migrante #1 ARIEL GALVÁNMartha Marlene DIANA GARCÍA
Diana GABRIELA GARIBALDIMarero IGNACIO GONZÁLEZ
Resistol NOÉ HERNÁNDEZYamila LILIBETHMarero JESÚS LIRA
Tía Toña CATALINA LÓPEZEl Turbino HÉCTOR LORTIA
Niño #1 BENNY MANUELDonald FERNANDO MANZANOMarera LILIANA MARTÍNEZ
Abuela Saira MARY PAZ MATALil' Mago TENOCH HUERTA MEJÍAPeluquín EMIR MEZA
Otro Marero EMILIO MIRANDAMarero JOSÉ MIGUEL MOCTEZUMA
La Hermana ESPERANZA PEÑA MOLINAEl Sol LUIS FERNANDO PEÑA
El Bomba IVAN RAFAELEl Scarface GABINO RODRÍGUEZ El Smokey DAVID SERRANO
Horacio GERARDO TARACENAEl Pícaro HAROLD TORRES
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Policía Judicial ANDY VALDEZEl Chino MAX VALENCIA ZÚÑIGAEl Happy NOÉ VELAZQUEZEl Pájaro TULIO VILLAVICENCIOOrlando GUILLERMO VILLEGAS
Barrio 18 JAVIER RIVERA FLORESLUIS ANGEL PAZ FLORESJOSÉ ROGELIO VÁZQUEZ LÓPEZLUIS ANTONIO VÁZQUEZ LÓPEZJOSÉ LUIS MONTIEL LUNAMARCO TOLIO DURAND MARTÍNEZJESÚS HUMBERTO FUENTES PEREZLUIS ALFREDO RODRÍGUEZ SÁNCHEZSILVERIO MENCHAQUE ZÁRATE
and Héctor Jiménez as Leche and Wounded Man
Developed withthe assistance of the
Sundance Institute Feature Film Program
Produced in association with Twins Financing LLC.
Stunts Coordinator JULIAN BUCIO Assistant Stunts Coordinator BALO BUCIO
Stunts
HUGO AGUILERA
LEONEL GABINO
ANTONIO GARCÍA
CARLOS GÓMEZ
EDUARDO GÓMEZ
JOSÉ MEDINA
JUAN OLALDE
HUGO RAMÍREZ
ALONSO ROSADO
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FRANCISCO VALDEZ
PABLO VINOS
JOSUÉ VIRGEN
Written and Directed by CARY JOJI FUKUNAGA
Produced by AMY KAUFMAN
Executive Producers PABLO CRUZ DIEGO LUNA GAEL GARCIA BERNAL
Executive Producer GERARDO BARRERA
Director of Photography ADRIANO GOLDMAN
Production Designer CLAUDIO “PACHE” CONTRERAS
Editors LUIS CARBALLAR and CRAIG McKAY, A.C.E.
Costume Designer LETICIA PALACIOS
Music Supervisor LYNN FAINCHTEIN
Music by MARCELO ZARVOS
Casting by CARLA HOOL, C.S.A.
First Assistant DirectorsRENÉ VILLARREALVÍCTOR HERRERA
Second Assistant DirectorMARIA DIONI
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Post-Production Supervisors LORRAINE SAMUELGREGOR HUTCHISON
Art Director CARLOS BENASSINIAssistant Art Director AIDA RODRÍGUEZ
“A” Camera Operator RODRIGO CARVAHLOSteadicam Operator RICARDO DENEKE
First Assistant “A” Camera ARTURO CASTAÑEDA Second Assistant “A” Camera PEDRO LEZAMA
“B” Camera Operator JOSÉ GUTÍERREZ First Assistant “B” Camera ISRAEL PAEZ
Second Assistant “B” Camera FERNANDO GUTÍERREZ Loader MANUEL GARCÍA
Script Supervisor ISRAEL PASCOResearch Consultant and
Script Translation GABRIEL NUNCIO Dialogue Coach ERIKA ARCHAGA Sound Director SANTIAGO NUÑEZ
Recordist ERNESTO MUÑOZ Assistant Set Costumers RICARDO VÁZQUEZ
RAFAEL RAVELO Assistant Costumers EDGAR NERI DOMÍNGUEZ
IVAN JUAREZ EMILIO SOLORZANORODOLFO CRUZBRENDA GÓMEZGERARDO LEDEZMACITLALI ZAVALAFORTINO LÓPEZRAFAEL LÓPEZMARÍA DE JESÚS LUNA
Hair and Make-up Designer CARLA TINOCO Make-up Designer ALFREDO GARCÍA
Hair Stylist MARIBEL ROMO Make-up Coordinator VIVIANA DELGADO
Make-up Assistants MARÍA FRANCISCA MARQUEZJUAN CARLOS CHÁVEZCARMEN DE LA TORRE
Body Art Work and Make-up DAVID ZEPEDAABIZAIL MARTÍNEZEDGAR VÁZQUEZMÓNICA FUENTESMAYTE DE LA TORREALEJANDRO VÁZQUEZSALVADOR JACOBOOLIVER ORTEGAJULIAN SILVAISABEL ROJAS
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Body Make-up SANDRA FRIASDELFINO SANTIAGOJASON SOTOJIMENA ROMEROCRISTOPHER TRUJILLO
First Assistant Picture Editors LARA JOHNSTONBRIGITTE RABAZO
Assistant Editor DAN ELORTEGUI Gaffer CARLOS SÁNCHEZ
Electricians VÍCTOR MANUEL RAMÍREZMAURICIO VEGAJOSÉ LUIS SÁNCHEZVÍCTOR ACOSTAALAN HEREDIAJORGE GÓMEZ
Key Grip GUSTAVO COVARRUBIASBest Boy Grip GUSTAVO A. COVARRUBIAS
Dolly Operator RICARDO COVARRUBIAS Grips RAFAEL MEJÍA
RAÚL CORTÉSCARLOS MENDOZASALVADOR DE GANTE
Prop Master GUILLERMO GRANADOS Assistant Prop Master GUSTAVO CASTELLANOS
Armourer JESÚS ALMONTES Special Effects
CoordinatorMARCELINO PACHECO
Special Effects Assistants MARCELINO PACHECO GARCIA ALFONSO PACHECOALEJO VILLAFAÑA
Unit Production Manager LAILA CASTILLO Production Coordinator NORALI GONZÁLEZ
Assistant Production Coordinators
ARCELIA TAPIALOURDES VICENTE
Second Second Assistant Director
JULIAN “CHICO” VALDÉS
Production Liaison for STYM ARNULFO MAYORGA First Set Assistant EDUARDO “CHILENO” RUIZ
Set Assistants SOFÍA GUZMÁNIGNACIO GONZÁLEZ
Production Assistants CARLOS TOPETEJAVIER GONZALEZ-RUBIOHUMBERTO VILCHIS
Assistant to Amy Kaufman NICK KREISS Set Designer LUIS BECERRIL
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Graffiti Artist ARTURO “TULO” PALAFOX Art Department Coordinator JIMENA CONTRERAS
Storyboard Artist RICHIE VICENCIOLeadman ROBERTO “RASTA” REVILLA
Set Decorator OSCAR TAPIA Set Decoration Assistants RENÉ HERNÁNDEZ
ESAU HERNÁNDEZBENIGNO CABAÑAS
Art Department Assistants JESÚS GUARNEROSEDUARDO ZARRAGAVÍCTOR M. SOTO
Supervising Sound Editors MARK GINGRASJOHN LAING
Sound Effects Editor TOM BJELIC ADR Editor ALLAN FUNG
First Assistant Sound Editor JIMMY ROBB Sound Effects Recordist EFRAÌN GARCÌA MORA
VÁSQUEZ Foley Artist STEVE BAINE
Foley Assistant GINA WARK Foley Recordist PETER PERSAUD ADR Recordists COLIN McLELLAN
MATTHEW McKENZIE Re-Recording Mixers KEITH ELLIOT
BRAD THORNTON TODD BECKETTMARK ZSIFKOVITS
Re-Recording Assistant JAMIE GOULD Sound Project Manager ROBERTA BRATTI
Construction Chief GERARDO RAMIREZ Assistant Construction Chief SAÚL RAMÍREZ
Swing Gang ROBERTO PENICHE Painters JUAN JESÚS REYES
GERARDO M. ALVAREZHUMBERTO PERALTA
Chief Carpenter NICOLÁS LÓPEZ Carpenters JORGE VEGA
JOSÉ AMBROSIOVALENTÍN ROMEROJOSÉ ROGELIO URBINAALEJANDRO GARCÍALUIS MANUEL RODRÍGUEZAARON RAMÍREZVÍCTOR NERIA
Head Blacksmith FERNANDO LOVERABlacksmiths ALFONSO RANGEL
BENITO LOVERAFRANCISCO LOVERA
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Location Manager KARL “CHARLY” BRAUN Location Assistants CÉSAR GONZÁLEZ
JORGE REYES Insurance provided by AON/ALBERT G. RUBEN
INSURANCE SERVICESandACE SEGURAKEN BANNISTER / MIKE TURNER
Legal Services provided by SHEPPARD MULLIN RICHTER & HAMPTON LLCROBERT DARWELL LON SORENSON
Clearance Services provided by
ASHLEY KRAVITZ
Music Legal and Clearances by
CHRISTINE BERGREN
Production Accountant ELSA HERMOSO First Assistant Accountant RICARDO MENDOZA
KAPLAN Assistant Accountant JUAN CARLOS GARCIA
Post-Production Accountant MADELEINE WAZANA Video Operator CARLOS SILVA
Still Photographers ENIAC MARTÍNEZVALENTINA SINIEGO
Transportation Coordinator JAVIER GUNTHER Transportation Captain GUSTAVO HERNÁNDEZ
Honduras Casting TERCO PRODUCCIONESKATIA LARAANDRES PAPOUEKCARLOS DEL VALLEGLORIA IRÍAS
Casting Associate RODRIGO URBANO Casting Assistant GENARO HERNÁNDEZ
Extras Casting ALICIA RUÍZ Extras Casting Assistants KARINA ALVAREZ
LUIS A. PORCAYO Animal Handler CARLOS RENERO
Catering CLETUS CATERING Doctor ROBERTO REYNA
Security Coordinator NORBERTO NAVADigital Visual Effects by Mr. X Inc.
Visual Effects Supervisor KYLE YONEDVisual Effects Producer SARAH McMURDO
Visual Effects Supervising Producer
DENNIS BERADI
Pipeline Supervisor AARON WEINTRAUB Visual Effects Coordinator WILSON CAMERON
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Digital Compositors BARB BENOITIOAN BALCOSIMIKE KWANPAUL SAINT-HILAIREVISHAL RUSTGIKENNY SALES ARMANDO VELAZQUEZ FRANCO
Lighting & Texturing JEFF CAPOGRECO AYO BURGESSJUNSOO PARK
Animation DAN CARNEGIERigging JIM SU
Dailies Operator ROB PHILIPSOperations DIANA PAZZANO
ADNAN AHMED LINDA MILLARDSAFIA SIAD
Digital Intermediate by DELUXE | EFILM | TORONTO Digital Intermediate Colorist CHRIS WALLACE
Digital Intermediate Producer PETER ARMSTRONG Digital Intermediate Product
ManagerLEE HUGHES
Digital Intermediate Editor DAVE MUSCAT Digital Opticals CHRIS MacKENZIE
MOTASSEM YOUNESPIETRO GALLOERIC MYLES
Scan/Record Supervisor NICK PAULOZZA Scanning/Recording TREVOR LEWIS
TOM MAYCLIM Dust Busting STEPHEN BROWN
JAMIE FRANKLINALISON SCHOUTENTREVOR PICKARD
Main Title Sequences by POSTILLION STUDIOS Dolby Sound Consultant David Berti
Score Produced by MARCELO ZARVOSScore Recorded and Mixed by Richard King
Recording and Mixing Assistant
Hyomin Kang
Conductor Marcelo Zarvos Orchestration Mark Bachle
Daniel CoePHILLIP ROTHMAN
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Score Preparation Mark BachleDANIEL COE
Copyist Mark Bachle Music Editors Rob Bertola
Tim Starnes
SONGS
"Flaca de las Coloradas" Written and Performed by
Dick el DemasiadoCourtesy of Tomenota Records
"Ángel Navideño" Written by
Miguel Ángel González RodríguezPerformed by Pa´lanteCourtesy of Pa´lante
"En el Barrio Va No Hay Gente" Written by Manuel Varet
Performed by VakeroCourtesy of
Sunflower Entertainment/Jeremy Records
"Cumbia del Informe" Written by
Zaratustra Vázquez RuízPerformed by Sonido Changorama
Courtesy of Discos Tormento
"Mecánico"Written and Performed by Amandititita
Courtesy of Sony BMG Music Entertainment (México),
S.A. de C.V.
"Canción Mixteca" Written by José López Alavés
“Tres Veces Mojado” Written by Enrique Franco Aguilar
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“Maquinas Cobardes” Written by A. Lavana “Mu”
Performed by BastónCourtesy of
Mantequilla RecordsS.A. de C.V.
"Déjate Caer" Written by Eduardo Dávalos De Luna,
Román Leonardo Rodríguez López, Alan Alejandro Maldonado Taméz, M.
CárdenasPerformed by Cartel de Santa
Courtesy of SonyBMG Music Entertainment (México),
S.A. de C.V.
"Latino" Written by L. Fernández “MC Luka”,
P. Hernández “Gogo Ras”, I. Barbosa “Kolmillo”Performed by Los Reyes del Pulmón.
Courtesy of Mantequilla Records S.A. de C.V.
"La Última Palabra" Written by Daniel C. Pineda
Performed by Bulmaro Martínez V., Maurilio López GuerraRendition Authorized by
Instituto Nacional de Antropología e Historia
Production Services provided by Creando Films
Produced in association with Scion Films
Produced with Technicians of The Seccion de Técnicos y Manuales (STYM) of the Sindicato de Técnicos de la Producción Cinematográfica de la República
Mexicana (STPC)
Special Thanks
Princess Grace Foundation
Trenes proporcionados por Ferrosur S.A. de C.V.Trains provided by Ferrosur S.A. de C.V.
Gobierno del Estado de VeracruzSecretaría de Seguridad del Estado de Chiapas
Consejo Estatal para la Cultura y las Artes de ChiapasDirección Regional de Cultura San Pedro Sula
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Familia Fukunaga/Brates Lisa Stone Everardo GoutFamilia Grufman/Moncibais Armagan Ballantyne Kunti ShawFamilia Kaufman Eran Merav Freddy TurciosDarren Aronofsky Jake Mahaffy Dunia OrellanaMark Heyman Victoria Mahoney David VivarAngela Cheng Kristen Johnson So Yong KimBradley Rust Grey Kit Hui Jeremiah NewtonDean Sheril D. Antonio Adriana Guillén Elizabeth BullNYU Chair John Tintori Luis Antonio Acosta Carlos PavónFormer NYU Chair Christine Choy Christopher CianciminoAmeer Youssef Elvin Delgado Chacón Rob MeyerProf. Sandi Sissel Prof. William Reilly Andrew MacleanProf. Mick Casale Prof. Boris Frumin Prof. Jay AnaniaCarlos González Castellanos Sol Prof. Milcho ManchevskiJames Rogan El Crosso Lil’ GhostOnaje “Tampico” Lataillade Ginga Mundo Prof. David AtkinsFamilia Nuncio Prof. Emiritus Yvette BiroScott Tuft Patricio Serna Milford ThomasJeffrey Abramson Marco Lara Klahr Rebecca CammisaNicole Jurmo Ximena Hiriart-SchyfterCasa Bosque-Iruegas-González Maria Noriega Fernandez
This film is dedicated in loving memoryto the grandparents of Cary Fukunaga,Miyoko Fukunaga and Trygve Grufman
Photographed on Fujifilm
Copyright 2008 Focus Features LLC. All Rights Reserved.
The characters and events depicted in this photoplay are fictitious.Any similarity to actual persons, living or dead, is purely coincidental.
This motion picture is protected under the laws of the United States and other countries.
Unauthorized duplication, distribution or exhibition may result in civil liabilityand criminal prosecution.
Running Time: 96 minutes
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A Focus Features Release
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