Alejandro Gonzalez Inarritu

  • Mexican director
  • Born August 15, 1963

Alejandro González Iñárritu (; American Spanish: [aleˈxandɾo ɣonˈsales iˈɲaritu]; born 15 August 1963) is a Mexican film director, producer, and screenwriter. He is known for telling international stories about the human condition, and his projects have garnered critical acclaim and numerous accolades. His debut film, Amores Perros, was nominated for an Academy Award for Best Foreign Language Film in 2000, premiered at the Cannes Film Festival and won the Critics' Week Grand Prize. In 2006, he earned Best Director at Cannes for Babel and was nominated for an Academy Award for Best Director and the Directors Guild of America Award for Outstanding Directing.

I define myself from a vision, from a point of view of life.

I have never met a superhero, but why are we so obsessed with superheroes?

You have kids studying master class visual arts who are pushed to make films that will be successful economically; that's what they focus on. So they work for corporate interest instead of artistic expression.

I have been very lucky to have final cut in all my films; everything that is wrong in them is my fault.

I'm less interested in reality. I'm more interested in perception, the truth of the universe that we see.

I studied for three years in the theater, and it was a very, very scary experience to direct live, being so vulnerable without the possibility to control things, to be so exposed.

I think bad movies are made around the world, not just in Hollywood. There are as many bad art films in the whole world as there are bad commercial films.

Innocence can be more powerful than experience.

3D is the way we experience life.

Cannes or any other major festival is basically an animal in its own nature, creating very specific perceptions of films in a moment.

'21 Grams' is only one story told by three different points of view, but they are really physically connected - literally, with the heart.

Good directors don't answer questions with their work. They generate debate and create discussion.

If you stretch tragedy, it will always become comedy.

I started off writing TV adverts. I saw those as rehearsals for a feature film.

When I was sixteen, I was an absolutely romantic guy. I fell in love every week. I mean, I was in love with everybody, but unfortunately, nobody was in love with me.

I think there's nothing wrong with being fixated on superheroes when you are 7 years old, but I think there's a disease in not growing up.

In a world where irony reigns, where you have to separate, protect and laugh at anything that is honest or has an emotional charge, I bet for catharsis. I like to invest emotionally in things. And catharsis, when it touches the emotional vein, can open the doors of even those who protect themselves.

I like to make films, but the only reason I do is because I'm a very bad musician.

My mom had very low expectations for me, and she really had a point. I was a big problem at seventeen. If I had a kid like me, I would have those same expectations.

Freedom comes with a lot of responsibility. When you are by yourself, you have to develop a third eye.

Actors are exposed in a way that nobody else can understand. They are subject to the likes and dislikes of people their entire life, no matter how successful they are. At the same time, in order to be liked, you have to not be yourself. So it's a very complicated human exercise - an alchemy that I have never understood.

From the time we open our eyes, we live in a Steadicam form, and the only editing is when we talk about our lives or remember things.

When you see things upside down, the ego can be extraordinarily funny; it's absurd. But it's tragic at the same time.

Always when you are doing films, the themes swallow you in one way or another.

I never deny a true experience in one shot.

Cinema is universal, beyond flags and borders and passports.

When you have something that is bothering you, and then you articulate, take the time to really express it and see it clearly, to recognize. To acknowledge that is already a liberating energy.

When I was about to turn 50, I went into a kind of personal revision and observed my own priorities and what led those priorities in my life. And many things that, in a way, were profound.

'Biutiful' is not about death. It's about life. It's a hymn to life.

I think films are bigger than structure.

It's harder to make real audio than special effects audio.

We have these ambitions that are very hard to accomplish because life puts us in our place. We have this battle with mediocrity.

Cinema is an infinite medium, so we should take advantage of it, I think.

I realized - and I am probably the last person in the world to realize this - that we live our lives with no editing.

The cavemen, when they saw the antelopes, they had to scratch them on to the caves because they needed to express the immediacy of what they were being affected by - and I love that. That is why I do what I do. I need to express myself.

I have learned that I am a one-woman man.