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Bertha Navarro (born 1943) is a producer and director known for her creative partnership with writer-director Guillermo del Toro. Navarro was born in Mexico City and is the sister of Academy Award-winning cinematographer Guillermo Navarro.
Bertha Navarro is known for Pan's Labyrinth (2006), Cronos (1992) and The Devil's Backbone (2001).
- Producer, Director, Actress
- Bertha Navarro
Bertha Navarro is known for Pan's Labyrinth (2006), The Devil's Backbone (2001) and The Thin Yellow Line (2015).
Nov 10, 2007 · Navarro is well known for championing tyro filmmakers, especially Antonio Urrutia and his Oscar-nommed short “De tripas, corazon,” and his debut feature “Asesino en serio” (I Murder Seriously)....
- Gregory Nava on The Surprise Oscar Nomination For Best Original Screenplay
- David Villalpando on The Dangers of Shooting A Church Scene in Aguacatenango
- Gregory Nava on A Real Incident Inspiring The Washing Machine Scene
- Gregory Nava on Sears Refusing to Lend Them Washing Machines For The Film
- Gregory Nava on Armed Men Shutting Down Production in Mexico
- Gregory Nava on Steven Spielberg Being Impressed by One Particular Scene
- Gregory Nava on The Difficulty of Getting Rodents to Act
- Zaide Silvia Gutiérrez on Shooting The Rat Scene in Silence
- Gregory on Why The Film Resonated with Audiences and Critics
It’s a pretty historic script, in the sense that it was nominated for an Academy Award, and this was the first independent film that got an Academy Award nomination, and it was pretty shocking when it happened to us, because we weren’t even expecting that. It was incredible, because there was no Oscar campaign for El Norte. It had been released in ...
We were almost killed in Aguacatenango, Chiapas. It was a very dangerous place. Gregory Nava wanted to film inside the church in Aguacatenango. It’s the scene where Zaide lights the candles inside the church, and Gregory chose that location. It’s a wonderful place, but the indigenous people were a little drunk because it was dos de noviembre, the D...
We were working with the Kanjobal community of Mayan refugees, and they were mainly at that time, as you see in the film, working in downtown Los Angeles in sweat shops, and Luis Marroquín, who was one of the men we were working with, said, “We’re helping you, why don’t you help us? Our young women, they don’t like working in the sweat shops, so we...
When we went out to shoot the scene, we thought, “Ok, people are loaning us stuff and helping us with things, and the washing machines are from Sears,” and Sears went, “Sure, we’ll help you, let’s see the scene.” So we sent the script to Sears, and we got a message back saying, “No, you can’t have these machines for your movie,” because they didn’t...
That huge hacienda down in Morelos, where we were shooting the scene with the men being killed by the army, that was the day that the men came to shut the movie down because it was politically too heavy an image. There were wars in Guatemala and El Salvador, and the Mexican economy had collapsed, and they were very tenuous that Mexico would go into...
It turns out that rats are very finicky, very particular, and very hard. As a matter of fact, after this movie was released, I got a phone call from Steven Spielberg. He said, “I loved the movie,” and that’s when I met him. I went to his place, and we watched the movie together. But after saying, “It’s wonderful, I really loved it,” he asked, “How ...
Rats just come to the set and start preening themselves and they look cute. I talked to Ron Oxley, and I said, “I want them to run and attack, so how do you do get them to do that?” He said, “The only way to do it is to have them on the set, you have to have a dummy camera, doubles dressed like Zaide and David, everything has to be exactly the way ...
I would like to say that, in the tunnel with 200 rats, I didn’t want to get in, because I’m rat-phobic, but my Producer and Director convinced me to go in. But I remember that we couldn’t scream or make any sound, because the rats were scared of us, so we had to shoot silent, just miming our faces for the screaming, and then we made the sound at a ...
I was reading an essay recently where they were talking about these various films that came before El Norte, like Salt of the Earth and Border Incident, and none of them had any impact, and suddenly this film was a tremendous hit and had lines around the block. As I said, it played for a year. This essay was speculating on what did El Nortehave tha...
Sep 12, 2019 · Nava has devoted much of his career to chronicling the Latinx experience; he directed Selena, and cowrote the screenplay for Frida. But El Norte was his breakout film: It became the first...
Read all about Bertha Navarro with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide.
