others, and then I started to review the text and gave it all back again, until I had to conclude as the day came when Felipe Cadenasso, the narrator, had to recite it. If it wasn´t for that, I would still be shaping it. Another difficult point, but more anecdotal, was that at the time I found the location to record the match, I parked the car to a place right next to it (and with similar characteristics). Then, when I left the car I realized that the place where we had parked was more appropriate for the scene and I tried to remove the car. But, the car got stuck because of the snow. So we had to make the scene in the place that we chose in the first place and then take care of the car. Finally, we took a couple of hours to take out the car, with the help of a not very nice keeper that treated us like a really stupid beginners. What camera did you shoot on? Your shooting style is very "agile", and at the same time your shots reveal a strong sense of composition. Can you describe your process? My strong or at least where I feel most comfortable is in the assembly, so that when I was recording Ithought of making several takes of the shooting that may help me later. I thought about keeping the shaft, because in that way I wouldn´t have problems editing and it will work in a way more agile. I worked some plans twice as the belt that made Andrea Tapia, art director, had the problem that the weapon could not be removed at once, so I decided to record the sequence with gun in the belt and then with the gun in the hand. On the other hand, the sound we decided with Antonio Del Favero helped a lot to give the agility, because we want to use the gunshot with more level and insist with a whistle which stays in the ear usually after a trauma. Thereby, the sound helps to distract to the sequence and, therefore, streamline the same action. Can you speak a bit about your background, and how Epitafio came together? I study Visual Arts in Chile, from there comes the video, then I quit the personal work for four years and spent a couple of years studying audiovisual in Argentina. The, I worked on several short films, especially as a photo assistant so I learned a lot about cinema itself.
A still from Epitafio
Getting back to Chile I decided to create afilm producer called ANDES EMPIRE, with a filmmaker friend Gabriel Del Favero. We started producing our videos and to make video clip and some others videos to make some money. During the production of those videosI became more interested in sex and pornography and during these last years I have think over the issue through several languages, engraving, installation, photography, painting and video. As for the latter, in 2011 I made a very significant video called “Discurso por la educación 05 de Junio 2011” (Education Speech, June 5, 2011). The video runs (out of focus) the last 38 years of the history of Chile, stopping at land-