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Santa sangre

Comentarios: victor_m@cimat.mx
Santa Sangre es, en cierta forma, la consagración de Alejandro
Jodorowsky (Chile, 1929) en el terreno fílmico. Esta consagración no
está relacionada con la fama, el reconocimiento o el culto del
director, algo ya ganado con anterioridad por Jodorowsky con películas
como Fando y Lis (y toda la controversia generada en su estreno), El
Topo (confesamente admirada por John Lennon) o La Montaña Sagrada, por
mencionar las más conocidas. La consagración que se menciona está
relacionada más bien por el hecho de abordar temas de mayor
complejidad y profundidad (trascendencia, como gusta decir su
director), sin renunciar, por supuesto, a la imaginería visual,
barroquismo, surrealismo o extravagancias a las que nos tiene
acostumbrados.

La escena inicial nos muestra a Fenix, un hombre recluido en un


sanatorio mental, renuente a aceptar su condición humana. Las razones
de este comportamiento se encuentran en su niñez. El elemento
Freudiano es evidente.

La niñez de Fenix (el niño mago) la vivió en un circo, al lado de


su padre Orgo (el lanzador de cuchillos), su madre Concha (trapecista)
y varios personajes extravagantes (una mujer tatuada, un enano, una
niña muda que hace pantomima). Al mismo tiempo, Concha es líder de una
secta que profesa el culto a una santa, a la que le fueron cortados
los brazos por sus violadores. Su lugar de adoración, una iglesia
hecha de lámina y cartón, donde guardan, recolectada en un estanque la
sangre de la santa, "santa sangre". Irónicamente, Concha comparte el
destino de la mujer objeto de su culto, sus brazos son cortados por su
esposo, quien luego termina suicidándose frente a la mirada de su
hijo.
De vuelta al presente, Concha reaparece con su hijo, solo para
volverlo esclavo de su voluntad. Fenix se convierte en sus brazos y
manos, manos que actúan, tocan el piano, y matan. Así, Fenix va de un
encierro a otro, sin embargo hay claridad en su vida, hay inocencia
que se remite de nuevo a su niñez (el enano del circo, la chica muda),
inocencia que al final lo salva. Aún queda la duda: en una mente
enferma, tan confundida como la de Fenix, ¿cuál es la realidad y cuál
la fantasía? Al parecer es una interrogante que Jodorowsky mantiene.

Hay secuencias cautivadoras e inolvidables, llenas de una extraña


belleza. La perfecta armonía entre los brazos de Fenix y el cuerpo de
Concha, su madre, como si parecieran uno solo, o la secuencia en el
cementerio donde las víctimas de Fenix (o de su madre, mas bien)
emergen de sus tumbas para reclamar a su ejecutor. También hay escenas
inolvidables por su extravagancia (la muerte y funeral de un elefante,
por ejemplo), el sello distintivo de su director.

Al paso de los años y ahora que Jodorowsky está más dedicado a


otras cosas que no tienen que ver con el cine, es interesante saber lo
que significa para él esta película. En una entrevista menciona: "En
cada película, deposito todo lo que soy, también lo que no soy.
Búsqueda, todo es una búsqueda. Una búsqueda de expresión, de
conocimiento, una búsqueda de emociones, diferentes búsquedas. La
Montaña Sagrada es una búsqueda de identidad. Santa Sangre es una
búsqueda emocional..."

Santa Sangre es una película que merece toda la atención y


admiración, la obra maestra de Alejandro Jodorowsky, un director
afortunádamente atípico dentro del cine.

Santa Sangre (México, 1989)


Dirigida por Alejandro Jodorowsky
Escrita por Alejandro Jodorowsky, Roberto Leoni y Claudio Argento
Con: Axel Jodorowsky (Fenix), Blanca Guerra (Concha), Sabrina Dennison
(Alma), Guy Stockwell (Orgo), Thelma Tixou (Mujer tatuada), Adan
Jodorowsky (Fenix de niño), Faviola Elenka Tapia (Alma de niña), Jesus
Juarez (Aladin).
"I am not normal". The Guardian Interview by Steve Rose. Tomado de
http://film.guardian.co.uk/interview/interviewpages.

"I am not making hot dogs". Entrevista con Alejandro Jodorowsky


por Sam Mcabee & Forestter Cobalt. Tomado de
http://www.5minutesonline.com

"I am not normal"


Alejandro Jodorowsky has made three cult films, writes esoteric sci-fi
and claims he will live to 150. Steve Rose met him

Friday November 22, 2002


The Guardian

Many film-makers have profited from the wild and vivid imagination of
Alejandro Jodorowsky, but Jodorowsky himself is not one of them. He
has made three classic cult movies - El Topo, The Holy Mountain and
Santa Sangre - and he has had a significant influence on popular
culture over the past 35 years, from Mexican cinema to the making of
Alien, the imagery of Marilyn Manson and even the development of mime.
But he hasn't made a penny out of it.

A Chilean-born Jewish Russian, Jodorowsky has described his films as


the equivalent of psychedelic drugs. They mix surrealism, mysticism
and warped violence, and have invariably been too esoteric, too
pretentious or too graphic for popular consumption. They are, however,
filled with unforgettable images: the conquest of Latin America re-
enacted by costumed frogs; a circus elephant's funeral, complete with
giant coffin; a master duellist whose weapon is a butterfly net.

His film-making techniques were similarly unorthodox. He regularly


used non-actors he found on location, and there are tales of him
putting them, and himself, through gruelling experiences for the
camera. Rumour has it he would make them drink one another's blood,
film real violence rather than staged and dangle himself off rickety
rope bridges in the desert. Allegedly, he even killed 300 rabbits with
his bare hands for one scene.

Separating truth from fiction, or even the past from the present, has
always been a problem with a figure like Jodorowsky. Today - silver-
haired, smartly dressed and surrounded by cats in his book-lined Paris
apartment - he looks every bit the senior artist. However, his
contempt for linear thought is undiminished.

"Listen," he says. "I can make this interview like a normal person. I
am not a normal person. I am living in a normal body, but my mind is
not normal. When you speak about my past, I have no past. You see the
person I am now - I am 74. My wife is 37 years younger than me. I
don't feel the difference. My consciousness is without limits more
than when I was 40 or 50. I don't regret any past. I am not there. I
am not sorry not to make pictures, because I know one day I will do
it. I intend to live 150 years. I am only in the middle of my life. So
when you say what do you think about the past? Nothing! It's done!"

This much we do know. Having directed theatre in Chile and studied


mime in Paris with Marcel Marceau (for whom he claims to have invented
the famous "I'm trapped inside a glass box" routine), Jodorowsky
filmed his no-budget 1967 debut, Fando y Lis, from a half-remembered
play by his surrealist associate Fernando Arrabal. The film generated
censure and death threats in Mexico. But Jodorowsky didn't come to
international attention until two years later when he released El
Topo, in which he plays a black-clad gunslinger in search of
enlightenment.

The film was seen by John Lennon, who advised Apple manager Allen
Klein to buy the rights to it, and introduced the first screening of
it in New York. El Topo became a permanent fixture of late-night
hippie cinema for the rest of the decade and a favourite of the
emerging New Hollywood generation, particularly the likes of Dennis
Hopper and Jack Nicholson. Hopper's ill-fated follow-up to Easy Rider,
The Last Movie, was inspired by Jodorowsky's spontaneous, free-ranging
methods, as well as his mystical and anthropological concerns. At one
stage, Hopper invited Jodorowsky to his studio in Taos, New Mexico to
help him finish the movie.

"When I see the rushes - not very clear, but some beautiful scenes,"
Jodorowsky remembers. "He had a lot of material and six editing
machines, but he could not do it. In one or two days I cut it myself,
but I think Dennis didn't want another guy making his movie, so he
rejected it and made his own. It was not so good. Later I asked him to
be in Santa Sangre, and he said no, just like that."

Meanwhile, Lennon had persuaded Klein to put up $1m to help Jodorowsky


make another film, The Holy Mountain. Like El Topo, it was a spiritual
quest, this time following a Christ-like figure (Jodorowsky, again)
seeking immortality. "El Topo was normal, The Holy Mountain was
abnormal. My ambition was enormous. I wanted to make a picture like
you would make a holy book, like the Bhagavad Gita or the Tao Te
Ching. I went very far."

Jodorowsky hired a fashionable guru to prepare him, performing


mystical exercises and experimenting with LSD and magic mushrooms (the
only time he has taken drugs, he says). He put his cast through a
similar process, keeping them in a house together for two months and
allowing them only four hours' sleep a night. The result was even more
extravagant than El Topo, and although it was never shown in the US,
it became an underground hit in Europe.

Jodorowsky's next project was even more ambitious. Over-ambitious, as


it turned out: a $20m French-financed adaptation of Frank Herbert's
Dune. An impressive team was assembled. Orson Welles agreed to take a
role, as did Salvador Dali, who recommended to Jodorowsky a Swiss
painter called HR Giger for concept designs. Also on the team were
Pink Floyd, French graphic artist Moebius and writer Dan O'Bannon.
After a year of preparation, the project fell through. According to
Jodorowsky, the Hollywood producers realised they could make a similar
picture without a wild card like himself at the helm, and pulled the
plug. Jodorowsky's disregard for the sanctity of Herbert's novel could
also have been a factor.

A few years later, Hollywood was working on its own version of Dune,
with David Lynch directing. Meanwhile, Ridley Scott made Alien with
half the crew Jodorowsky had assembled, including Giger as creature
designer and O'Bannon as writer. Jodorowsky was left behind. His one
triumphant return was Santa Sangre, made in 1990: a customarily
freakish but more accessible circus horror with echoes of Tod Browning
and Hitchcock's Psycho. There were two more failed projects: an Indian
elephant film, Tusk, and an unreleased film, The Rainbow Thief,
starring Peter O'Toole ("I hated him; he was the worst person I ever
met in my life").

"When you don't do something, you shouldn't think of it as a failure,"


says Jodorowsky. "Failure doesn't exist. It's only a change of
direction." Now he has turned to the medium of comic books, where his
imagination can run riot without budgetary constraints. He has several
titles on the go, including an epic sci-fi series, Incal, with
Moebius, and its offshoot, Metabarons, a sort of delirious, space-age
Greek tragedy.

There are plans for a $15m sequel to El Topo, in which Jodorowsky's


friend and fan, Marilyn Manson, is expected to star. But raising
capital is difficult for Jodorowsky, and he has no expectations.

Nor does he have any bitterness, he says, towards those who have made
money from his ideas. "It's not important. What's important is to give
your ideas to the world if you love the world. My pictures are a gift.
I am an honest artist.

"For me, the goal of art is to heal. I see avant-garde art now - it is
all destructive. But I think to be avant-garde, you need to be a
saint. That's why I push my art into therapy. I help people. In the
last six months, three young people who were going to commit suicide
have told me I saved their lives. That is better than making films."

(arriba)
I Am Not Making Hot Dogs
An Interview wit Alejandro Jodorowsky
(director El Topo, Holy Mountain, Santa Sangre)

Sam Mcabee & Forestter Cobalt


Sam: Okay, the first thing that I wanted to ask you about was, where
do you think inspiration comes from? Where do your ideas come from?

Inspiration comes from imagination. And what is imagination? We don't


know. Eh? Is coming from unconscious. That is the truth.

Do you think that ideas become more prominent when, let's say, there's
a collective of people, or do you think that ideas are easier to come
to when you're alone?

The concept of "easy" or "difficult" doesn't exist in the human soul.


It's like a flower. A flower open without difficulty. It's not easy,
it's not difficult, the flower opens. The artistic creation is like
this: like the flowers. You wait, and then the idea open. [Gestures
with his hand like a flower opening.] Like this, no? You don't
construct what you do. What you do is born into yourself. Eh? And then
you need to give the condition, in order to get this...commo sais
this...open. No? That is the truth.
So it's in the same way a sort of--

The truth is I was living in my intellect, a lot of the years. And


then I...I...I...I realize my limits. I have all kind of limits. My
family give me limits. My society give me limits. The world, the
language, the Spanish language give me limits. And then I start to
work in order to broke the rational limits. Lucid dreams, some
experience with gurus, masters, brouhas, searching, meditation,
sometimes I...TWICE I take LSD, TWICE I take mushrooms, with masters,
um, Indian masters, Mexican. Et cetera. And then, in the moment, the
walls of the reason went down. I broke the limits. I make a bridge
between the conscious and unconscious. For me now, they go together,
the two. Now. And then the unconscious is not any more my enemy. It is
my ally - my unconscious. And when I need to have something, I put, I
ask it, no? I want to have an idea [gestures like planting a seed], I
put there, and the open flower, alone. I don't make effort.
How important would you say--

You can prove to me. Ask me something, I can invite something for you
and it is immediately here.

How important do you think reality is in your life? Like the concrete
of reality?

Reality. There are no concrete realities. That also is not true.


There is no reality. Listen, everything you are seeing here [gestures
around the room], this girl, this table, the lake, the walls...in
fifty more years will be not here. Not even us. Nothing, in fifty
years. Nothing will be there. No? It's an illusion. It's like a dream
all that. It's changing. Then there are no concrete realities. They
are very different, changing in every second. And the what you call
concrete reality have the same principal of dreams. There is no
difference between reality and dreams. It's exactly the same quality,
the same construction. When you come to consciousness, when you are
out of the dream. Eh? That is what I think. I tell you I will say the
truth. And then, myself, I learn, I didn't came like that. One day, I
have your age, I was dreaming, and I became lucid inside the dream,
and I said, I am dreaming, into the dream. And I started to make lucid
dreams, from then on my life. And I make experience inside the dream,
though my consciousness opened. When you ask it to me, Who you are, I
don't know who I am now. I am a conscious, without definition. Eh? I
have no definition -- myself. I am into that [gestures at his body],
but I am not that [gestures at his body]. I am into my personality,
but I am not my personality. I am into inside my language, but I am
not my language. I have no nationality. I have no name. I have no sex.
I have no...no...no definition. No? And when you are like that, you
can walk into the concrete "reality", and you are walking in a dream.
And in that moment, miracles start to happen. No? Miracles. Because
everything outside is a miracle, but you don't see that, the miracles,
you are not, maybe you is, but not every person, they are not able to
see, they are not out of the dream, they are not lucid. Eh? Okay, this
is my answer. [Laughter.] About concrete reality.

I read something about when you were getting ready to shoot "El Topo",
you searched out the landscapes that related to the dreams of the
earth--

I want to say, "El Topo" I made 30 years ago. I was not me--he's a
person who died. Now I die, I was reborn. I'm not me, but I respect
the person who make "El Topo". But he was searching. He have not, he
have not find himself, he make the picture in order to find himself.
And when I was in that time there, I went with a jeep, with a
photographer, in the north of Mexico, in some state of dreams, like a
dream, no? And finding places, like dreams. Because in the Mexican
industry, they shot the pictures all the time in the same space, in
the same landscape--very easy for them. I have to find new landscape,
new places. I did that, but in a state of dreams. I find that, no?
When you come with the camera, always I shoot reality. In Mexico I
shoot in the street, in the middle of thieves, of criminals. I make
"Santa Sangre", and I was in the worst part of Mexico, very dangerous.
And then we speak with the chief of thieves, and he became the person
we pay to him, he became the person who sees the way, who makes sure
nothing happens.
Protection--
But it was very dangerous, very dangerous. But when you come with your
picture to reality, reality, it starts to be a dream. Nothing is any
more real with a camera. You can invent reality when is a commercial
picture, or you give a miracle to reality when it is an artistic
picture. Everything is better, is beautiful. Eh? And then when I
direct the picture is not myself. I am completely different. When I
make "Santa Sangre", always like that I sleep for hours, for days. I
don't speak with anybody. I don't want to see friends. In reality I
don't sleep with my woman, don't make love, only dedicate to the
picture, not to speak with anybody only when I am shooting, in a state
of ferocity. Criminal ferocity. In order to do that, you know, because
in movies, the only person they say have any real idea, they have an
anus. You know what is anus? Asshole. [Makes image with hand.] They
have an idea, they have an asshole. They have an asshole, and this is
his idea. And then you need to say "Shut up! I don't want ideas here,
stop the speak!" Huh? "Is me that is shooting. Close your mouth!"
Everyone have an idea: actor have an idea, the photographer have an
idea, the technician have idea...everybody want to collaborate! But
the real picture is like a poem. You need to do your picture. That I
am doing. I am like a criminal, fighting all the person, in order to
do whatever I want. The producer comes...is awful.

Forestter: Who are you now? You say you are a different person for "El
Topo", a different person for "Holy Mountain", how?

Even my child you see in "Holy Mountain", or in "Santa Sangre", one


child now have 20 years. The person who cut their arm is married with
two children. Another of my children who was there 24 years, died, not
anymore here. And then everything changes, is not anymore. Eh? Every
one of them, my sons, they are not the same anymore. Eh? That is what
I am saying-life is changing. In every day life we think we are
identical, we are never changing, we are very proud. And then we
change, we are not the same. The problem is, some person dies, and
dresses as a person living. They dress like a person in the 60s, for
example, they are the same. They never change because it is like they
died. And a person who wants to have a soul, dies and is reborn. No?
Is reincarnation in yourself. To die and to reincarnated in yourself,
and then you are a new person. You come from the death of yourself,
and you are a new person, and you have a new life, new ideas. And you
continue to create. In the masonry, they put you inside a coffin, and
then you go out in the... Benedictinos monks, Catholic monks, when you
go inside the order, they cut your hair, they wash your feet, they put
a new name that doesn't resemble this one. They are symbols in order
to say you died, and you were reborn into a new being, no? More
extense. Maybe I am not answering what you ask?
Forestter: How you kept being reborn between each movie, or--

In every movie, I put everything I am, also what I am not. Searching,


everything is a search. A search of expression, knowledge, a search of
emotions, different searches, no? "Holy Mountain" is an identity
search. "Santa Sangre" is an emotional search--because I was a victim
of my parents. And then I want to research how I feel myself. And I
put everything I am, and then I am empty. I cannot make a picture for
years because what I will say, I say everything. What new? Why to make
another picture, repeat myself? I am not making hot dogs. Who I am in
one picture, another picture, a new story but always the same. Each
cook makes only one picture in his life, each cook, he makes the same
picture, everything never changes. He reproduces himself [motions like
he's making hot dogs]. Why? Why to make 40 pictures? Why? Always the
same. John Ford is fantastic. You see one or two, you see all of John
Ford. They're the same. Why? Well I am speaking of pictures as an art.
When you speak about industry, there you need to make one a year. That
is different. I am not speaking of movies as an industry. You go into
the industry of movies you make sales. You see the new pictures sell.
That is a shame.
Sam: So you make films as a searching device--

Yes! Yes I make films in order to, as an artist makes a film, in order
to give myself, to express, to find something, no? I don't like my
pictures. When I see my pictures I am ashamed. I will never do that, I
don't like.
But did they help you to--

But I don't like because I see all things different. Oh, how I could
do, why I didn't do THAT, why I did THAT, no?
But would you say that they served their purpose? Did you find within
it what you were looking for?

Oh yes yes yes yes yes. A lot. Changed my life, every one of my
pictures changed my life. Even the worst, "Tusk". I make in India,
with a crook. The producer was a crook. He said, You'll have an
artificial elephant as King Kong. He gives me a normal elephant. I
have nothing. It was terrible. But I learned a lot because I start to
work with elephants. Elephants could be our masters. Animals are our
masters. All the totems, the animal totems have a knowledge in them. I
learn a lot in my life this way. Not the picture but the contact with
the elephants change my life. And how...I have time? I will tell an
anecdote? I can? You know, the elephant live 100 years, 90 years. It
have only three persons, all the life he work with them. One who makes
the food, another who wash because the animals they like the water,
and then they're happy, and the number three, the master who is the
karnak, the three. And they work all his life with the elephant. And
when I come there, I see a little man who had a hole here [motioning
to the shin of his leg], and he have not medicine, no nothing. And in
India, he was not a human being. He was dying. And then I say to the
officer, "I want to do something for him." And he say, "Don't do
nothing, because if he die, they will say you killed him." And then I
say, "Let me do something, without permission." And then I went to him
but I don't have nothing only I have a tonic for the hair. And I put
the tonic with alcohol, and creme for hemorrhoids, I put the creme for
hemorrhoids (on his leg) and I pray, in Spanish [says prayer]. And
after a week, he was saved. I saved the guy with that. And then I
start to work with elephants, do everything with elephants. I push the
elephants. I ride the elephants. A lot of things between the 12
elephants, running. And then one day an officer came, and speak very
bad to the karnak, and the elephant did like this with his trunk
[swinging motion], and man went out four meters, with jaw broken. And
then how terrible was an elephant, I did not realize. And the guys
says, "You know you didn't die because I was there." I saved the life
of the man who was all the time with the elephant, saving my life, all
the time. It was a miracle. You know? It was a miracle. I saved the
life of the guy, he saved my life. I could be with the elephants. I
knew the attitude of the elephants was very interesting but I will not
tell that here. Every picture changes your life.
Why do you think you exist? Why do you think people exist?
Why people exist...
Do you have an idea?

Is a game of God. [Laughs.] All that is a game. I don't know if people


exist. The meaning of existence... We need to clarify. Eh?

That's why I'm curious as to what you think.

I think that all that is a marvelous dream. And we are in that dream,
we are part of that dream. But I think I don't know why we exist. Eh?
But I know what for to do what to exist. I know the finality of man.
That I know. That I can tell you. Man have three finalities. One
finality is to live the same length as the Universe lives. Not to be
immortal, but live the millions of years the Universe lives. That we
want as a human being. We don't want to die before the Universe dies,
we want to die WITH the Universe. That is one. The second is to know
all the Universe completely. Microcosmos, macrocosmos, to know the
Universe. We want that. And number three, to be the consciousness of
the Universe--is the way to be the God of the Universe. That is what
we want [shaking his head]. Every one of us wants that.
Do you think any of that's possible?

It's possible. We are a collective being. We are mortal as


individuals. But as collectivity we can be immortal. No? And the human
race will do it one day. One day we will not anymore United States,
China, Earth. One day that will disappear. We will be human race. And
we will be travelling in the cosmos. There we'll be. Is very good we
are strangers, is not bad. We are eating the Earth. Why? Because we
will destroy the Earth, and be obliged to go out. [Laughter.] And that
is good. This is what I think, eh? I tell you I will say what I am
thinking.
When you think about the possibility of an apocalypse, how do you see
that--

The apocalypse is in my answer. You know, I read the Bible, a lot of


times, completely, New Testament, Old Testament. And the Bible starts
the adventure of the human being when he eats the tree of knowledge-
[interuption: cameracrew distracts Jodorowsky who tells them to
continue shooting his interview and not the scenery outside the
window].

Oh I was asking you about how you view the apocalypse.

Well look, the apocalypse is the ending of history, no? The tree of
knowledge, yes, but the tree of eternity, they don't eat. And God say,
put out of the Paradise, Adam and Eve, because one day they will eat
the tree of eternity, and they will be like gods. Well they go out on
the adventure. And in the ending, the apocalypse, with the destruction
of everything, Jerusalem celestial comes, and in the center what they
have, the tree of eternity. And the humanity, eats the fruit of
eternity, and becomes eternal. That is the message of the Bible. The
apocalypse is positive and not negative. But in order to come to what
we are, we need to clean--our society, our selves. We need to clean,
we need to take out everything, not ourselves. In order to do what we
are. One more. Is not a movie interview, no?
I heard a story that when "Fando and Lis" opened in Mexico there was a
riot?

They want to kill me. Because Mexico making pictures of cowboys, very
awful, very Mexican. And I came to them with a way to do pictures, and
they have a shock. They think it was pornography what I did. That it
was a sacrilege. And then they start to want to lynch me at the
Acapulco festival and then I need to come in a car, they bring me out
to save me. And the director, Emilio Fernandez say, I will kill him.
He have killed all ready two guys. And it was true, he could kill me.
And that night I sent two whiskey bottles, I sent two whiskey bottles,
and he was very happy and we become friends. He forgive me and help
me, etc. That was the biggest conflict.
Did people want to kill you because of your other movies?

No no no, but in Mexico always they cut my pictures. "El Topo" was cut
60 minutes, and the "Holy Mountain" they cut 40 minutes. And when "El
Topo" was at the festival of Cannes, they ask my picture for the
competition very enthusiastic, Mexico didn't want it to represent
Mexico. Not Mexico, is not the Mexican movie. And then I could not be
in the contests. But later they agree, they say okay, they understood.
I change the mind of the young generation. And then they start to make
artistical pictures. They change. I came there as a catastrophe,
because I was doing whatever I wanted. That is a bad idea. But here in
the United States, when I show "Santa Sangre", they cut "Santa
Sangre".

I know--

Why?

That's strange, they didn't cut "El Topo" or "Holy Mountain".

I know, they cut "Santa Sangre". Why? In order to make business maybe.
You have a sense of censorship here.

It's very different here than it is in Europe.

It's incredible!

It's like it's gone back in time.

I went to the video store here, Blockbuster Video, but is awful! They
say, the pictures say "Family Version", as in the plane. I never see a
picture in the plane because they cut the pictures. Incredible no?
Well...

It's like that everywhere now.

Yes but here is more now. First here was very free, in the 70s, 60s,
and now in Europe is free, and here, not. Here is very very now [makes
twisting fist], is Protestant mentality. Very very, a lot. Maybe
they're afraid of violence, the child who kills the child in the
school. But they think is picture that do that. Is not true! It is the
bad organization of the society that do that, is not the pictures. But
always we need to accuse something. You know, the animal you kill, how
do you say in English? You have the animal you kill and say, He is the
guilty.

Forestter: Scapegoat.

And the movies are now that, no? The child violence is because of the
movies, no? Is not true.