SAE Magazine 13-2

Index film, and when the time they have run out of mon- or have been working with hat by the time they get to original music they have upcoming filmmakers on ate their projects? k more and to hold an open conversations and discus- aluable in order to reflect ects we want to create. akers go, everything is go- st. To think that one can n is very difficult, there is a nd budgets are simply not find and, more importantly, ss ourselves. ces that the Cineteca Na- pendent filmmakers. This our audience directly and e is much more cinema in at is being exhibited at a There is cinema for everyone, filled with rich and amazing stories from all over the globe. I love having alternative spaces in which to exhibit cinema. There is an endless supply of stories wait- ing to be told. We must not lose contact with our audience, if we do, then our whole profession would lose its very fundamental pur- pose. Ideally we should communi- cate an idea from one person to the next. If communication is broken, and I do not know why or to whom you are talking to, there is no point in telling a story. Agreed. Bertha, thank you very much for taking the time to talk to us here at SAE Institute Mexico. My pleasure, hope to visit again soon. n Filmography Bertha Navarro has been involved in over 25 films as Producer, including: Pan’s Labyrinth (2006) The Devil’s Backbone (2001) Cronos (1993) She has also worked as director, actress, and editor. n Infobox To be a creative producer you must have a deep understanding of cinema and of the project one is involved in all the way to exhibition.

SAE Magazine 13-2

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