Regarding the filming locations, Cuarón's idea was that of a complete and exhaustive recreation of the interior of his birthplace and the surroundings of Mexico in the '70s. The art director of "Roma" is Eugenio Caballero, winner of an Oscar for Best Art Direction for "Pan's Labyrinth" (Guillermo del Toro, 2006).
The family house was originally located at number 21 Tepeji street, a building built in the 1930s, but since it was so modified, it became impossible to shoot there. Then the production team found a similar house, which was unoccupied, in the Narvarte neighborhood, and there they were able to film comfortably. The exterior scenes, in which we can see the facades, were made on Tepeji street but in the neighboring houses with different numbers. In addition, some buildings that collapsed during the 1985 Mexico earthquake were added through visual effects.
To recreate what the Cuarón family house looked like, Eugenio Caballero followed the director's own memories and some family photographs. For the interiors, 80% of the furniture that the family still had was integrated, and furniture and objects were searched in five states of Mexico and among the production itself.
The garage seen in the film had to be recreated in the style of the time and for this a craftsman placed the mosaics of the patio and the bathroom with the same technique used then.
Given the changes in the appearance of the Mexican capital, the production needed to build a large set to recreate the family's trip to the old Las Américas cinema and the scene in which Sofía takes Cleo to the hospital. In a space north of the Mexican capital, a film set was created that reproduced two and a half blocks of the city, including access to Cine Las Américas, asphalt, sidewalks, furniture, and vehicles from the XNUMXs and XNUMXs. The backgrounds were added with the chroma key technique. The visual effects team did a painstaking reconstruction of the period setting, adding buildings, fluorescent billboards, and even the same background perspective avenues.
The filming of the Corpus Thursday Massacre was carried out with dozens of extras in the exact place where the events occurred, on the Mexico-Tacuba road and Tláloc and Lauro Aguirre streets. For this, a documentary investigation was used that included newspapers of the time and testimonies of survivors. The area was completely closed for two days, after which the production apologized to the population for the inconvenience caused.

Sound Effects and Songs
It was important to Cuarón that some of the sounds he remembered from the Mexico of his childhood in the XNUMXs be faithfully recorded and mixed. For this he hired Sergio Díaz, who included incidental sounds from the soundscape of that time. These sounds included:

  • The cry of beehive honey sellers
  • The shawm or sharpener's whistle
  • The bell with which the passage of the waste truck was announced
  • The sound of the steam whistle of the sweet potato and banana vendor carts
  • The cries of street vendors
  • The sound of the broom sweeping the sidewalk
  • The sound of water washing the patio of the house
  • The sound of military bands
  • Likewise, radio sounds were included, such as jingles and vintage radio advertisements that were broadcast by Radio Variedades, Radio Éxitos and La Pantera.

In the film, in addition, the following songs were included:

  • I promised you", Leo Dan, 1969
  • "More beautiful than any", Rocío Durcal, 1965
  • I have no money", Juan Gabriel, 1971
  • "Little Black Angels", The Green Cakes, 1974
  • "The ship of oblivion", José José, 1970
  • "Thank you", Rigo Tovar, 1972
  • "The Wanderer", Álvaro Carrillo
  • "The dancing pachuco", Dámaso Pérez Prado orchestra, 1978
  • "Shadows", Javier Solis, 1965
  • "Veronica", Victor Yturbe "El Lollipop"
  • "Yellow River", Christie, 1970
  • I don't know how to love him, Yvone Elliman, 1970
  • "Heart of Melon", Dámaso Pérez Prado's orchestra
  • "Pancha's eyes", Chicontepec trio
  • Mammy Blue, Roger Whittaker, 1971
  • "Borincano Lament", Daniel Santos, 1978
  • "The lover I dreamed of", The Earthlings, 1972
  • "You tell me you're leaving", Carmela and Rafael
  • "Those Were the Days", Ray Coniff
  • "Honey", The Baby's
  • "The Isabeles", Luis Pérez Meza, 1949
  • "The beautiful Indian", Luis Pérez Meza
  • "Zacazonapan", Band Dragons of Zacatepec
  • "The House of the Rising Sun", Javier Bátiz
  • "Lost City", The Revolution of Emiliano Zapata, 1971
  • "Come on (and come on)", The little pearls
  • "Let's talk", The rhythm partners, 1971
  • "My heart is a gypsy", Lupita D'Alessio, 1971
  • "When I fall in love", Angelica Maria, 1968
  • "Sea and foam", tropical Acapulco
  • "The mother-in-law", The Strwch, 1970

Adriana Schmorak Leijnse

"The Malinche" on Wikipedia
"Rome Open City" on Wikipedia
Stroza, Pablo. "Rome. Why the Netflix movie must be seen in the cinema". Published in Border Journalism, December 12, 2018.
"'Roma', the portrait of Mexico from 1970, arrives in Venice", in Millennium, published on August 30, 2018
"Roma, da Netflix: five questions to understand or acclaimed film by Alfonso Cuarón", BBC News Brazil, December 19, 2018.
Rovar, Erick. "Nostalgia and Viking Mysticism in Cuarón's 'Roma'" in Hidden Cinema, December 29, 2018
"Rome (2018 film)" on Wikipedia
"Luis Echeverría Álvarez" on Wikipedia
"Gustavo Díaz Ordaz" on Wikipedia

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