If the reader has never visited Peru or lived in the country for a while, this one is the kind of movie that would depict the Peruvian soul accurately.
In Peru, a country that is a prison due to the influence of the Communists, Socialists, and Leftits, nowadays the movie is being attacked due to the fact that it has become a box office hit! The Communists, who in past created all kind of weird laws that would legalize all kind of robbery, never left the country. They continue attacking the popular taste when it goes against their own agendas.
The Communist New World Order intends to imprison the whole planet under the code of conduct known as "political correctness", which is psychological warfare against the individuals disguised as "progressiveness."
LA PAISANA JACINTA: EN BÚSQUEDA DE WASABERTO cannot be accepted by the Leftist because its message reinforces the perceptions of the members of those social layers that they eagerly want to ingrained into their cause. The Communists don't want competitors in the ideological arena. So, they are sabotaging the movie. Too much mind independence for the population is bad for them.
Well, if we see that competitors in a competition are disqualified because they are not competent enough as to deal with the demands of the competition without the use of drugs... why as an audience should we accept the message delivered by the ANTI-TRUMP/ ANTI-AMERICA British-American movie KINGSMAN: THE GOLDEN CIRCLE?
According to this movie, the U.S. President, instead of winning the WAR ON DRUGS should lose the war so a lot of losers can live! But the wars have casualties! Why a lot of cheating competitors in the routine capitalist daily life competition should be saved! If they cannot deal with daily pressures they should change their job! They should change their style of living! They should move to the United Kingdom, Venezuela, North Korea, Russia, or Bolivia! If they cannot live according to the demands of their positions in the capitalist system they must move and let capable workers develop their activities! The capitalist system doesn't work better because a lot of workers is not fit to deal with their responsibilities and have to use drugs!
It is incredible that Twentieth Century Fox is distributing such a movie! Twentieth Century Fox doesn´t understand the spreading the idea of forgiving losers will have its business crushed! Losers are good for nothing! So, how do Twentieth Century Fox expect the keep a paying audience? Is Twentieth Century Fox crazy?
Is getting drunk a solution to anything?
I hope that at the Department of Defense, nobody listens to those heavy pot smoking - homosexuals - British operatives - political advisers who can talk to the U.S. President! Only the British would like a movie the promotes defeatism in America! Instead of having a healthy society where everyone can face reality, the British would want an American society where the soul weaknesses are encouraged! If you are not capable of assuming a responsibility at a time you should accept it! But using drugs to deal with "the pressure" is sabotage! Escapism is not an option for Americans! Let the British pretend that they can rule the world with drugs! This is no the American style!
It is obvious that there is an agenda behind this feature film!
Why the U.S. President goes to jail at the end of the movie just because he thinks like a warrior?
Why a member of the Department of Defense is the only one who agrees with winning the War on Drugs?
How many COMMUNISTS are needed to write down a script like this one?
Donald Trump, the U.S. President is under attack right now! The leftists, socialists, Communists, want the support of those losers who use drugs!! The same losers who forced America to leave Vietnam due to their political intervention in Washington D.C.! The Department of Defense is under attack too! It is time to win again! Keep your eyes open! KINGSMAN: THE GOLDEN CIRCLE is COMMUNIST psychological warfare disguised as teenage entertainment!
1)When did you saw, for the first time, the movies as a medium that you could become involved with?
Film has always been a part of my life; I always joke that I came out of the womb holding a camera.
I remember going to see the animated film THE PRINCE OF EGYPT and being upset that Charlton Heston wasn’t playing Moses. I was four when PRINCE OF EGYPT came out… which means that I had already seen Cecil B. DeMille’s THE TEN COMMANDMENTS in its entirety by that age. I was one weird kid.
I made my first film not too long after called IT CAME FROM THE BATHROOM, about a giant monster that emerges from the toilet and kills all of my toy soldiers.
2)What was the attitude of your environment toward the movies? (did your parents liked filmmaking?, did they encourage you to make your own movies?)
I have been extremely blessed with an incredibly positive environment regarding my filmmaking. My mom is a huge movie fan, and my Dad is wonderfully outgoing and expressive in everything he does. In short, my life was a perfect melting pot to create in.
3)You like making a particular kind of movie. Did you experience an inner struggle before accepting the kind of movie you like?
Oh, no, I’ve never experienced that type of struggle. I like what I like and I’m going to make what I like. I had many teachers in school tell me I should write something like a family drama, and my answer always would be “When I am interested in family dramas, I will make a family drama. Right now, I am interested in vampires.”
4)Why do you like the kind of movie that you like to make?
I love fantasy because it is so far removed from every day life. I love seeing how an ordinary person would react when confronted by a giant squid, or a woman who turns into a snake… it just intrigues me.
5)Obviously, making your movies take time, effort, and resources. Are you satisfied with the results?
Yes, I am very happy when I complete a film. Of course, as time goes on and I grow, I look back at certain films and cringe! But I think that is with any artist…
6)Right now, do your movies recover the investment?
I really haven’t had a budget before – so – yes! They do recover an investment of $17!
7)If you had financial freedom (up to 10 million dollars) to make a feature film, what kind of movie would like to do? Do you have a pet project right now?
I have a habit of not letting my pet projects percolate in the future: I end up doing them immediately.
There was an entire summer where I was obsessed with the AIRPORT films of the 1970s. I wanted to make my own version, but everyone kept telling me to wait until I had a budget for an actual plane.
I threw out that idea and made it anyway – transforming a hallway at my school into a cockpit.
8) What is your attitude toward the monetary aspect of making one of your movies?
Awful. I’m not a businessman and I never intend for my movies to make me rich or famous. Of course, an actual budget would be ideal to pay my volunteer actors… and to have actual sets and the like…
9)How do you gather your production team and the actors? Do you pay them? Do they work for free?
I’ve been constantly blessed to be surrounded by friends who are WILLING to be in my productions and be paid in food, experience, and an IMDB credit. It helps that most of them are actually actors, themselves. If I had a budget, they’d be the first to be paid.
10)How long does it take to edit one of your movies?
This is a good question that I probably don’t have an exact answer for! Haha. I edit while I am shooting, so there really isn’t a period of “Pure Editing”. A month? A month and a half?
11)Do you use storyboards to shoot the movie according to the images inside your head or you adapt the camera viewpoint to the circumstances? Or are you imitating the images from other movies?
A bit of all of those, actually!
For action sequences, I think it is vital to have storyboards.
I’m inclined to see what the scenes present themselves in rehearsal – maybe an actor will come up with an idea that didn’t even cross my mind while writing, and then I can adapt from there.
And yes, some scenes of mine pay tribute to films that have come before and so I replicate certain shots in my own way.
12)How long do the actors practice the lines before shooting? Do you organize collective readings?
Preferably I like to have the entire cast together to read through the entire script at least once, but this is very rare. The hardest part for me as an independent, low-budget filmmaker is that my actors are purely volunteers and are giving up their free time to work with me: having them all show up on time to film one scene is a miracle so I try my best not to waste time.
Ideally, I will tell them the scene(s) we will be shooting a few days beforehand and they show up with their lines memorized. Of course, sometimes the actors called for that day have last minute change so their schedule and I am forced to shoot other scenes with the actors who do show up! When that happens, those that did show up are forced to learn their lines in a hurry, and I am forced to come up with shooting ideas for a scene I was unprepared for.
13)Do you admire specific movies or filmmakers? Which ones?
It really takes a lot for me to dislike a film. I love science fiction and fantasy.
I adore the Hammer Films of the 50s, 60s, and 70s. Terence Fisher is my favorite director along with (off the top of my head) Billy Wilder, Hitchcock, James Whale and Howard Hawks, among many others.
From the modern filmmakers I’ve been most impressed with the films:
Birdman, Rogue One, The World’s End, Scott Pilgrim vs. the World,
14)How do you see yourself in the filmmaking world in 2,022? Do you have specific goals to achieve?
If I could continue making films, I would be entirely happy. If I could be making money from them: all the better.
A RETROSPECTIVE DEVOTED TO THE GREATEST FILMMAKER EVER! THE COMMUNISTS COULDN'T DESTROY HIS CAREER AND HIS LEGACY!
The National Library of Peru is celebrating its 196 years! It film forum has organized a retrospective devoted to Leonidas Zegarra, The Anticommunist Filmmaker. Mr. Zegarra is one of the most talented filmmakers ever! According to the IMDb STARmeter, as a Peruvian filmmaker he many times ranks only behind Luis Llosa, who has developed a film career in the U.S.
The movies that will be projected can be seen at IMDb for free, too. So, the Americans interested in watching the feature films and shorts can do it, too. There is one movie that has not been posted at IMDb, though: "Chesu mare: Bullying diabólico" (2014).
Acording to knowledgable sources, new events are being organized to honor the filmmaker Leonidas Zegarra. Let's wait and see! This artist who promotes an American intervention in Venezuela in order to wipe out the Communist regime, deserves our respect!
WHILE THE COMMUNISTS STEAL PRIVATE PROPERTY AND CONTROL THE MEDIA, THEY ALWAYS ACCUSE THE CENTRAL INTELLIGENCE AGENCY OF "DESTABILIZING THE COUNTRY" INSTEAD OF RECOGNIZING THAT THEY ARE THE ONES WHO ARE CREATING HELL ON EARTH.
Sadly, one of the abundant cases that show how the Communists destroy societies is the Peruvian one.
During the 60's of the twentieth century, the Communists, disguised under the name "Peasant Unions" deprived hundred of land owners of their lands. At the end of the sixties, the coward Peruvian Armed Forces decided that "Communism" was the way to go and legalized the actions of thieves. Magazines like "Oiga", would supported the twisted Communist ideals.
While "Oiga", issue 354, December 1969, shows a cover with the title "What the CIA looks for in Chile", in page 33, we can find a letter signed by Desiderio Blanco and Isaac León Frías that states that the movie "En la selva no hay estrellas" directed by Armando Robles, that was recogized at the Second Peruvian Film Festival, should not have been due to its "exacerbated individidualism" ('exacerbado individualimo') that, supposedly, did not assumed the mission expected from a filmmaker in an underdeveloped country. Naturally, the signers do not mention that that "mission expected from a filmmaker" was the support of the communist ideals promoted by the Peruvian Armed Forces. They use other words and descriptions to disguise their intention. Obviously, only a pro-Communist magazine would welcome a letter like that. In pages 8, 9, 10,11, 38, we can find an article with the title "THE CIA AGAINST CHILE, PERÚ, AND BOLIVIA. THE GOAL: TO TRUNCATE THE PERUVIAN MODEL." This article demands (in page 38) that a strike should be investigated because it lasts too long and it points out to the entrepreneurs as the suspects of incentivating the strike. The writer (who signs with the initials "F.M."), pretends that the CIA is sabotaging the Peruvian economy in many ways at the international level.
Why doesn't the writer notice that the Communists themselves are the ones who are destroying the country? Well, the answer is that the Communists are very good at repeating that the Central Intelligence Agency is the one who creates all the problems in the countries they themselves control instead of their own narrow-minded ideology.
So, this story shows that the Communists cannot allow the individual artistic expression, because it is a terrible example that can be imitated by others. Additionally, after reading "Oiga" # 354, it seems that if you expresss yourself making a movie according to your own taste and not the one defined by the Communist censors, them you are an enemy and you work for the Central Intelligence Agency in order to destroy the Communist controlled country.
With Communist rulers, the arts cannot be developed, much less filmmaking. because it can inspire other people to think in ways different than the Communist ones!
The letter published by "Oiga" was the following one (in Spanish):
a los premios del 2do. festival de cine peruano
LA publicación periodística de los premios otorgados por el Jurado del Segundo Festival de Cine Peruano ha incurrido en una importante omisión. Salvo Correo – en su edición del viernes 5 y en el suplemento dominical Suceso del día 7 del presente -, los diarios de la capital han silenciado la fundamentacióin de una posición disconforme en el seno del Jurado.
Hacemos ahora esta aclaración por dos motivos: 1) Porque la totalidad de los miembros del Jurado estuvo de acuerdo en hacer pública la disconformidad de dos de dos de los mismos con el premio otorgado a En la selva no hay estrellas, y 2) porque siendo nosotros los miembros disconformes, queremos que nuestras razones sean conocidas del público interesado.
Podría parecer demasiado radical la opinión de “que la película En la selva no hay estrellas carece de valores cinematográficos y señala rumbos equivocados para el cine nacional”, opinión que sintetiza nuestra disconformidad con el fallo oficial por mayoría. Pero es el caso que en el periodismo nacional ha existido casi unanimidad – a excepción de Hablemos de cine, única revista especializada que se publica en el Perú – en considerar artísticamente valioso el filme de Armando Robles Godoy. Y con el premio otorgado en el Segundo Festival de ine Peruano estos pretendidos valores han conseguido una consagración oficial.
Los firmantes reconocemos la calidad artesanal de la película y el esfuerzo que ésta ha supuesto en su realización, aunque toda su perfección se reduzca a una mimética aplicación de normas de manual. Al mismo tiempo, consideramos que la pelicula ofrece una visión falsa de una realidad que, pretendiendo ser peruana y universal, a la vez, no es ni universal ni peruana. Y una película falsa no puede merecer nunca una distinción oficial.
En el caso de En la selva no hay estrellas, el premio otorgado es más equívoco aún, dado que la película se ubica en el marco de una cinematografia casi inexistente. En el conjunto de una cinematografía más desarrollada, la película de Robles Godoy no tendría la menor importancia. Pero en nuestro pais, el filme es rechazable porque amenaza abrir el camino a un cine ampuloso y complaciente, encerrado en un exacerbado individualismo en el que el realizador cinematográfico no asume la misión que le corresponde en un país subdesarrollado.