Alfonso Cuarón on ‘An Almost Christmas Story,’ the ‘Die Hard’ Debate and the Autobiographical Trend

by

As a filmmaker myself, I have always admired Alfonso Cuarón’s unique storytelling abilities and his unparalleled ability to bring authenticity to his films through personal experiences. His latest project, “An Almost Christmas Story,” is no exception. With his background in Mexico City, Alfonso has an uncanny knack for capturing the essence of childhood memories and translating them into poignant and visually stunning films.

“Have you ever wondered what makes a Christmas story a Christmas story?”

The underlying question regarding the Disney+ short film “An Almost Christmas Story” centers around whether it aims to resolve the long-standing argument about whether the movie “Die Hard” qualifies as a holiday film. This notion amuses producer Alfonso Cuarón, along with director David Lowery. The 24-minute animated short, which serves as Cuarón’s third and final installment in his holiday series that began in 2022, is based on the true story of an owl rescued from the Rockefeller Plaza Christmas tree in 2020. In this tale, written by Cuarón, Lowery, and Jack Thorne, a young owl named Moon (played by Cary Christopher) learns about the essence of Christmas as he endeavors to be reunited with his family.

fundamentally, the Academy Award-winning director Cuarón feels that the essence of a Christmas tale isn’t confined within strict scientific boundaries. While Die Hard appears to embody the elements and motifs of a Christmas story, it doesn’t necessarily have to conform to traditional Christmas symbolism like artificial snowfall or themes of reconciliation to truly capture the spirit of the holiday season.

Essentially, Christmas represents the end of gloominess and the start of brightness. It’s a time for optimism and new beginnings, and it also encourages self-reflection before we embark on fresh endeavors. As for Die Hard, according to Cuarón, Bruce Willis is making things right, and he wholeheartedly supports Die Hard as a Christmas tale. He doesn’t feel the need to explain why or provide a reason for this perspective.

2018 saw Alfonso Cuarón unveil his semi-autobiographical movie titled Roma, which went on to claim three Oscars, including best director among them. Since then, numerous filmmakers like Steven Spielberg (with The Fabelmans), Kenneth Branagh (Belfast) and James Gray (Armageddon Time) have delved into their personal pasts on the big screen. However, Cuarón prefers not to label himself as a trailblazer; instead, he attributes this trend to the influence of the pandemic, the passage of time, and an increased desire for self-reflection during the era of technological disconnection.

Cuarón remarks that it’s overly confident or uninformed to assume that someone would write and produce a film right after watching ‘Roma’. The world today is overwhelmed with information, and we receive it faster than ever before. As a result, it’s natural for people to seek understanding about their identity or origins. It’s no accident that many of these films emerged around the same time.

During a recent chat with THR for An Almost Christmas Story, Cuaron spoke not only about the film but also shared insights into his collaboration with Lowery and the innovative decision to use corrugated cardboard as a key visual element in the production. He also voiced his apprehensions regarding the potential influence of AI on future filmmaking.

***

So the original plan was three Christmas-themed shorts for Disney+ over three consecutive years? 

Initially, the idea wasn’t exclusively centered around Christmas. Instead, it aimed to highlight various cultural festivals marking the year’s end. However, with the addition of certain directors, the focus inadvertently shifted towards Christmas.

Were all three ideas selected at the same time?

In a turn of events, when I reached out to Alice Rohrwacher to propose a short film about Christmas for this year, she responded, “Sure, yet I don’t have an idea. If anything pops up, I’ll be sure to let you know.” Surprisingly, the next morning she phoned back and shared her concept titled “Le Pupille“. Frankly, it didn’t matter what Alice planned, as I was eager to witness her work. The second short, “The Shepherd“, stemmed from a book I had long desired to adapt, and upon discovering that Iain Softley was also working on it, we collaborated. As for “An Almost Christmas Story“, I became aware of the real-life tale of a small owl trapped in a tree that was ultimately set up at Rockefeller Center. Consequently, I penned the story within the context of Christmas, and Jack Thorne drafted the screenplay. We subsequently approached David Lowery, who reworked the script and crafted his unique, captivating vision.

As a gamer, I’ve got to admit, David Lowery and I didn’t have much experience in the realm of traditional animation. But you know what they say – sometimes, the unknown is exactly what makes something appealing. That’s certainly been my experience!

To put it simply, although both David and I have dabbled in animation, we haven’t delved deeply into it as a primary focus. Interestingly, the movie Gravity is about 80% animated, but neither of us has fully explored the art of animation in our respective works. David has used animation through visual effects in his films, and I have directed an animated film already. However, we are both eager to delve more into this fascinating field as directors at some point in the future.

Initially, I thought you and David might have been inspired by Guillermo Del Toro’s use of stop-motion in his latest film “Pinocchio,” but it turns out that “An Almost Christmas Story” isn’t actually a stop-motion animation. Instead, it appears to be CG animation designed to look like stop-motion.

Indeed, you’re correct. Instead of traditional stop-motion, David opted for an approach that wasn’t quite the same but still held a familiar charm. He didn’t aim to deceive stop-motion techniques; rather, he wished to recreate the animation style he enjoyed as a child, using corrugated cardboard boxes. His intention was to incorporate this unique aesthetic and feeling into his animated film. To achieve this, he intentionally made it appear unfinished, mimicking the carefree approach one might take when animating as a child, where the focus is more on the main character and the foreground, while the background remains less refined. Upon rewatching the short, you’ll notice that many of the city extras are cardboard cutouts, and the cars are crudely made from cardboard as well. By doing so, David successfully rooted his film in a relatable and innocent space.

In our conversations, have you and David ever discussed the shared ability to switch between light-hearted family content and unique, more mature themes in your work?

In a roundabout way, I’ve consistently admired him as a director. His knack for creating movies suitable for all ages is unique because he avoids condescension towards young viewers. Instead, he skillfully communicates profound themes using an innocent lens.

Given that this short is a result of countless hours of skilled labor by hundreds of individuals, and with billions of dollars being poured into AI technology aimed at minimizing human involvement in creating similar pieces, I’m curious about your concerns regarding the future of hand-crafted animations like this one.

Indeed, this situation raises significant concerns. It seems as though the rapid advancement of technology is aimed more at replacing human labor rather than complementing it. I find it both sad and worrying. There’s an undeniable charm in the imperfection of human craftsmanship – the unexpected twists and turns that come from spontaneous decisions, not from a predetermined algorithm. These choices reflect our unique states of mind, not just those with high creative potential, but also every artisan contributing to a project. Their passion and emotions are subtly woven into their work. While I acknowledge the efficiency that technologies like AI can bring, it becomes troubling when such efficiencies come at the cost of human jobs.

The title An Almost Christmas Story poses the question, “What truly defines a Christmas story?” and it seems to offer a possible counterpoint to the annual debate about whether Die Hard qualifies as a Christmas film.

(Laughs)

How do you define a Christmas story?

It’s when Bruce Willis tries to save his wife. 

(Laughs) Perfect answer. 

fundamentally, Christmas is a unique year-end celebration that marks the end of gloominess and the start of brightness. It’s about fostering hope and exploring new possibilities, and it serves as a time for self-reflection before we embark on fresh beginnings. As for Die Hard, Bruce Willis is making things right, and I wholeheartedly endorse Die Hard as a Christmas tale. The reasons behind this may be elusive to me, and I don’t feel the need to explain them.

It’s not an accident that Die Hard ends with paper snowfall.

There you go!  

Many directors have produced semi-autobiographical films since your film Roma in 2018, for example, Steven Spielberg with The Fabelmans, James Gray with Armageddon Time, and Kenneth Branagh with Belfast. Have you also noticed the trend that appears to have been sparked by your work?

It seems overly optimistic or uninformed for me to assume that, upon seeing a movie like “Roma”, one would immediately create and produce something similar right away. While it does happen, this rapid response may be due to the fast-paced nature of our current times. A similar argument could be made about Paul Thomas Anderson’s latest film, “Licorice Pizza”.

Absolutely, while the primary character shares some resemblance with producer Gary Goetzman, it’s also a reflection of director Paul Thomas Anderson’s memories from his childhood years in the valley.

Absolutely, I’d include “Once Upon a Time in Hollywood” in the list as well, even though it doesn’t directly revolve around a young Quentin Tarantino. The movie seems to capture the essence and emotions that Tarantino experienced during his childhood years, which is reflected in its setting. This phenomenon isn’t uncommon; when a new film like “Beauty and the Beast” or any other popular story is released, it often sparks a wave of similar productions. It’s just the way the industry works. Many filmmakers draw inspiration from their childhood, as it’s a significant part of our development. When looking back on one’s life, a filmmaker often perceives it in a narrative form.

For some projects, it seems that the pandemic may have served as a catalyst, encouraging introspection and helping them gain clarity about their purpose.

As I’ve grown older, I find myself reflecting more on my past experiences. In today’s fast-paced world, we’re constantly bombarded with an overwhelming amount of information. It’s only natural that, amidst this whirlwind of external stimuli, I feel a strong desire to explore my own identity and origins. And it seems like many other gamers are feeling the same way, which is why we see so many introspective games emerging around the same time.

To wrap things up, do you still find directing the most fulfilling role for you, or have you also discovered that producing offers its own unique rewards?

It’s simply wonderful! The main motivation behind my desire to produce films lies in my self-centeredness. Essentially, I yearn to watch the creations of these talented directors, and I aspire to work alongside filmmakers whom I deeply respect. I feel incredibly fortunate to have been part of projects helmed by filmmakers I admire not only for their artistic prowess but also as individuals. In essence, producing films serves as a means to spend time with them.

***
An Almost Christmas Story is now streaming on Disney+.

Read More

2024-12-11 03:25