They described the logistical challenges they faced making the film safely on location.
Can you talk about the genesis of this story?
How did it come about and why did you produce it?
Diego Luna: First came the necessity of doing something.
We are so lucky that our jobs can be about who we are.
This whole thing started as an idea.
Gerardo said lets do something about this.
Gerardo did an amazing piece, the one I personally like the most, which is about an emotion.
That feeling, I believe, was the genesis of this film because its exactly what happens withMiss Bala.
Then, he wrote a script.
Then, there was a film, and thats it.
For us, it all came from the confidence on Gerardos point of view and voice as a director.
The rape scene is difficult to watch.
When you came up with that idea, were you concerned that it was too much?
And then, we said okay, lets not show any of that.
Lets just make precisely the opposite and lets not focus on anything but what happens to her.
So, we were debating all the time about how we could reach those dimensions.
Its a suspense film, but its also talking about this reality.
Its also talking about a girl that gets raped and the macho factor in Mexico just overwhelms her.
We were talking a little about levels.
Yes, when we were shooting it, I felt this is very strong.
I hope it fits in the movie.
At the same time, I knew we were taking all the sexiness out.
I think it’s possible for you to get confused when you see a rape scene.
If its somehow sexy, youll say no way but I like this.
Also, when we were doing it, we had to be very sure that nobody was enjoying it.
And, that goes for many things in the movie.
Lets just ensure this is not like a show to enjoy.
Even the battles, in the sound, we wanted to make them somewhat comfortable for the audience.
For me, its funny when they say The action sequence was great.
I mean, it wasnt designed to be enjoyed.
I guess we get pleasure from seeing destruction as humans.
Luna: But the thing is, there is a glamorized view on the drug dealing situation in Mexico.
We were talking about this, this morning.
The woman is the big trophy these guys get and how cool it is to be one of them.
Just by being in Mexico, it cant be about that.
Its nothing like that anymore.
Everyone has a gun.
Everyone can be dangerous.
Everyone believes he has power, and its a crazy war that we are going through.
I believe that is well achieved in the film because its not judging.
The film is just showing something and every character has his volume and depth.
American gangster films from the 1930s have always romanticized the outlaw.
But the outlaws in this are not romanticized at all and there isnt a clear black and white.
Is that what you were looking to do?
We knew it was going to be dangerous to say something like that.
At the same time, were conscious of the tradition of the cool criminal.
I guess it comes from you guys beginning withScarfaceand all that, the earliestScarface.
At the same time, the problems you have in this country dont relate too much with impunity.
I cannot say.
I dont know that much about the injustice in the U.S., but I do know in Mexico.
I mean, for me, that is one thing.
When we did the research, we found out theres no fun in this.
Its a pathetic world.
They cannot do anything else.
What they know is how to use weapons.
Basically, they are trapped in that.
So they are victims as well?
Naranjo: Yes, absolutely.
I do believe so.
They are victims of a justice situation.
Was it dangerous for you to film this in Mexico?
Naranjo: (to Stephanie) You have a good answer for that.
Stephanie Sigman: I was so focused on my job that I didnt even know.
I mean, I wasnt aware of that.
I wasnt focusing on that.
I felt really safe with these guys.
These guys took good care of me.
Naranjo: But we were not safe.
(laughs)
Sigman: We were not safe, but you venture to be aware.
Naranjo: We tried to do it in the most intelligent way we could.
We said it was a romantic comedy.
The name of the movie we were making back then wasBeautiful Maria.
We would get permits.
We tried to do everything in the best, the quickest way, so as not to attract attention.
And then, the gun scenes, we made them in another state.
That wasnt done in Tijuana.
I dont think we felt unsafe.
I dont think we felt threatened.
Luna: I think the film also is not yet dangerous.
Film is supposed to be this fantasy world that happens while you eat popcorn and everyone comes together.
Its not like being a journalist, which is very dangerous these days in Mexico.
Naranjo: Yes, because we dont use names.
But, until this day, theyve allowed film to be about them.
We were shooting with real police.
The people standing there are real police.
Naranjo: With loaded guns.
Naranjo: You dont kill criminals like this.
You kill them like this.
Just dont show it.
Luna: (laughs) Dont kill the actors.
Naranjo: Yeah, dont kill the actors.
Luna: Its not like weve been in this war for 25 years and there are experts.
On either side, its like theres no expertise around and thats what makes this war so dangerous.
Stephanie, what was it like preparing for this role?
What were some of the challenges you faced?
Sigman: It was my first movie.
I was not afraid of the subject.
I was afraid of not doing a good job.
But I was really lucky because I had an amazing director.
He really gives you everything to work with.
And, Noe Hernandez is a great, great actor.
I think they were so supportive with me that I trusted in the process all of the time.
I think the most important thing was trust.
Naranjo: I told Stephanie that at a certain point you will be confused and rightly so.
The most important thing was to understand when she couldnt take it anymore.
Then, lets take it easy.
Lets not keep shooting.
Thats fine until she heals.
There were also some physical wounds but I guess thats the way.
It was very moving.
I said I dont want you to be in any way expressive.
I certainly dislike the melodrama.
In Mexico, I think it has gone to such expression, like the soap operas.
We even have dogs that talk.
We had no room for that in this.
We are very excessive in how we express ourselves.
Sigman: Sometimes, instead of trying to cry, I tried not to cry.
I really tried not to cry and not to show that much [emotion].
I discovered that its really difficult sometimes.
Do you think that your federal government eventually will rein in whats going on?
Luna: Well, the thing is, there are two questions.
Is the country ready for a war like this?
There are more than 50,000 people who have been killed in the last five years.
No more than six years, lets put it that way.
You have to attack the problem.
Obviously, this is never going to end if the border doesnt work.
But also, we can include the States on this.
It makes no sense.
Were not saying we shouldnt attack this somehow.
But definitely the way its been done up until today is malfunctioning.
Theres some responsibility we share.
We allowed this to happen.
We allowed this to get to this point.
Are you looking at raising peoples awareness in the United States?
Without the demand, you cant expect the suppliers not to produce.
Luna: Also, its because youre talking about such a poor country.
So, how can that be healthy?
How can a relationship between such a rich country and such a poor country be healthy?
Why waste so much money on building such a big wall.
You should invest that in education in Mexico and give people a chance to make their own living.
That would be a smarter way to keep people away from coming.
Everybody has their take on it, but its definitely a worldwide issue.
And, this is part of that.
One of the problems with the border towns is now Americans wont go there.
Are you afraid you would be kidnapped for a ransom?
Luna: Im not afraid.
Its not the first thing that has me afraid, at least today.
But definitely, having kids makes you rethink your whole life, and also you see the issues differently.
Thats why I say we share a responsibility here.
We have to be able to choose the reality we want to live in.
If this is not the one, then we have to do something about it to change it.
I have never been so sad because I dont like what I see when I turn to Mexico.
Thats where my love relations are and thats where I belong.
And, I dont like seeing my country as it is today.
Miss Balaopens in New York and Los Angeles on January 20th.
