GRITO de PIEDRA
Toerisme is het ‘nieuwe goud’, wanneer Lonely planet de fascinerende zilvermijnen in Potosi (Bolivia) ontdekt . De lyrische documentaire met sociaal-maatschappelijke ondertoon, weerstaat de verleiding van interview.
GRITO de PIEDRA (SCHREEUW van de STEEN) brengt op intens observatieve en beeldend artistieke wijze het leven van Gavino en Pedro Montes in beeld. Gavino is een mijnwerker in de Cerro Rico (de Rijke berg) in Potosí, Bolivia. Zijn zoon Pedro, een student van 23 jaar, werkt als een toeristengids in dezelfde mijn. Een plek als Potosí, die eeuwen lang minimaal ontwikkelde, maakt nu een verandering door. De harde realiteit van de mijnwerkers is tegelijkertijd een toeristen trekplijster.
GRITO de PIEDRA trailer
GRITO de PIEDRA achtergrond (Engels)
From the director
Gavino and me. We spent a lot of time together, which was needed to get the best result for the film. In the beginning he and his family were very much aware of me and the camera, but after a while I could start the real filming. In the end it was really difficult to ‘make an appointment’, because he and his colleagues were drunk most of the time (and nobody knew where they were.)
Miguel and Gavino are rolling a real Dutch cigarette that I brought from Holland.
Miguel is the brother of Inez (so that makes him Gavino’s brother-in-law). After Gavino’s first wife died, he remarried with Inez. Pedro (the tourist guide) is his son from his first marriage. Gavino and Inez have 6 more children of which Ariel is the youngest. He became three during the shooting.
To break the ice and to get to know the family, you sometimes have to literally play along. The children were playing ‘blind cow’ outside: a game where you get blindfolded and have to seek the rest. Everyone was very much enjoyed when the tall Dutch guy plays along. Gavino has nine children and I tried to exclude most of them from the film; otherwise it would have been much too complicated (for the viewer).
When Etienne (assistant) first left Potosí, Tanja took over. We had a lot in common and working together went amazingly great. She is a 29 years old Austrian girl that lived in Holland for the last six years to study anthropology. Supporting the film was a good experience for her and I could not have done this without her. When she left after a few weeks, Etienne took over again and there was still much work to do.
‘La Plata’ was my favourite restaurant in Potosí. It was too cold to work in the hostel, so I had to flee to bars or restaurants, that aren’t the best place to work. In this restaurant I spotted most of the material. Here I also discovered that crucial scenes were completely ruined, because of the dust in the camera. I tried to arrange another camera at the local television station. The only camera they had available, was an 1ccd home video camera, which I already brought myself. In the end, an air compressor combined with the 95% alcohol did the job and we could continue the shooting.
After more than 3 weeks translating (of sometimes 14 hours a day) I was exhausted. José Luis (in the picture) was the best translator out of seven that I had worked with. The first translators we worked with actually didn’t speak good Quechua. But because they wanted to make some money, they just created their own story and made something up. We had more than 22 hours to translate. Most of it was a ‘drunk- coca leaves- spanish- quechua mix’. Even Pedro (Gavino’s son) sometimes could not understand what his drunk father was saying.
This is in the third hostel “Maria Victorie”. The longest I stayed in “Compania de Jesus”, but after a while I tried to bypass the routine by just checking in other hostels. The last few days I even stayed in a hotel…. were my money got stolen.
This photo isn’t exaggerating. The last few weeks it was getting colder and colder. Etienne and I had to sleep with our clothes, socks and cap on.
Jackeline -one of the translators- used the Buen Gusto (95% pure alcohol) to warm up her place and we followed her example. With the door and windows closed it would get a little warmer, but there was also even less oxygen. At an altitude of 4200 meters, there is already 60% less oxygen in the air.
By burning alcohol in the room at night, it was indeed a bit warmer, but you’d really wake up with an headache in the morning.
GRITO de PIEDRA credits
60 minuten, November 2006
PRODUCTIE en REGIE
TON VAN ZANTVOORT
CAMERA & MONTAGE
TON VAN ZANTVOORT
GELUID & ASSISTENTIE
ETIENNE VAN NULAND
NICO-JAN VAN DE KOOT
JOSÉ LUIS BURGOS GARCIA
ETIENNE VAN NULAND
ONDERSTEUNING & ADVIES
WOUTER VERHOEVEN, GIEL VAN SCHAIJK
MARCEL MELCHERS, STIJN VAN EEKELEN
ANNEROSE LANGEVELD, MARIJKE DE BIE
MET SPECIALE DANK AAN
THE FAMILY MONTES
GAVINO, INES, JEMENA, PEDRO, ELIZED
EMILENE, DELIA, GENARO, SOLEDAD
SIRLEY, ARIEL & FELIX
MIGUEL SEVERINO & ALICIA
SIMON, SABINA & JAIME CHOQUE
EFRAIN MAMANI, ROLANDO COLQUE
PEDRO (BLANCO) MONTES, WILBER &
MARIO CASTEXS, SAMUEL JAKOBSSON
CHRISTOFFER KREWER, SONJA KEFFER
ADRIAN McCORMICK, CARMEL WIGGINS
RICARDO ARANSILIVIA, LA CASERO
VIVI CARVAJAL, RICHARD LADKANI
KATHERINE HOURELD, COMZINC SRL
FAM VAN ZANTVOORT, FAM LANGEVELD
MARIJN VAN KREIJ, BAS VAN GENUGTEN
SABRINA SANCHEZ, TOINE DE JONG
KURT COOIJMANS, RITA STOFMEEL
ARAM VOERMANS, FRANK VAN MOURIK
ILONA VAN DER REIJT, NGN PRODUKTIES
YVETTE SIERRA PRAELI, FLEUR HENKES
ANNEROSE LANGEVELD EN IEDEREEN
DIE DE FILM HEEFT MOGELIJK GEMAAKT
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