Andres Avelino Caceres and the Coraceros de Daza scenes

Getting close to film completion.

Three more scenes (that aren't simple though) and a few more for transition between scenes together with chromakey shots and its a wrap everybody!

I brought "Gato" Zapata from Tacna to finish up some scenes with his character Crl, Andres Avelino Cáceres. Some battle scenes were shot back in November 2012 at Tacna and a few close up ones were needed. For they were close up ones, we had to do makeup much tidier.

Caceres lead the Zepita N. 2 batallion at the battle of Alto del Alianza in Tacna back in 1880. The film opens with this battle and his appearance -as one of the most important military icons and heroes of Peru- is simply a must. This cameo is short but memorable to all who knowswho's who and who fought where.

Again, shot up north of Lima where we used to film for about 5 months mid 2012.

Also, this was the first time we shot a few takes of the Coraceros de Daza bolivianos, a cavalry regiment consisting of armored horsemen that wore heavy metal-plated armor taken from the Napoleon times. In fact, Bolivia bought around 50 or more (getting that fact correct) of those to France and had them embedded with their country's sun insignia in the chest. To those who find it odd to see such type of horsemen with looks that belong to a prior era, might find it interesting and may suggest further reading about Coraceros in general here: http://es.wikipedia.org/wiki/Coraceros

On another personal note, very sad to not find my beloved lamb who used to make my stay there more pleasurable. She's been taken away and thinking on what could've been her destiny breaks my heart.

Happy to see the metal-plated construction worked! Coraceros de Daza.

Applying makeup to a bolivian Coracero.

A bolivian Coracero (picture: Patricio Greve)

Zepita No. 2

Carlos Zapata as Cáceres leading the Zepita batallion.

Wardrobe.

The actors and extras at Puente Piedra.

Cáceres.

Starting characterization. Applying the beard hair.

Spirit gum. Step two.

Tinting the fake hair to get a more natural looking tone.

Makeup done: Cáceres is ready to roll!

Editing "Gloria del Pacífico" and a surprise chilean visit

Began editing "Gloria del Pacifico" already. Still some 10 scenes away from total completion but have already sufficient material to start editing. Been doing it for the last 3 weeks.

I'm showing it to only a few thse first scenes and can;t hold back my joy to know its getting in shape pretty well and that it awes the viewer. Showed it also to Enrique Robles, chilean military historian who contacted me a few weeks ago because of the interview I had in the chilean newspaper La tercera and Radio Coorporación. To hear him saying that its superior to what's been done in his own country really sparks a sense of sane achievement, specially knwoing that its been made without any government support nor outside invesment but only my own pocket. Putting heart, soul and life into this has cost me my own health even so....its starting to pay in the end little by little.

Editing "Gloria del Pacífico"

Enrique Robles's visit.

His words in the books he brought me as gifts.

Vicente and Juan Diego's final scenes

Wrapping up the last parts of the war survivor scenes with Reynaldo, Pold and Flor de Maria. I am greatful to Raul Zambrano and family for lending his beautiful turn-of-the-century house for the shots. This is the third time with Pold, fourth time with Reynaldo and first with Flor de Maria. Pleasure working with them. Always nailing it.

This time we finally used that old trunk I bought at the Surquillo antique/flea market back in 2011. While looking for old stuff for these scenes I stumbled across the trunk and saw it as a perfect prop for Vicente's memories placement. Beautiful one. Pricey but worth every cent. At the cachina I got myself after much searching some very old newspapers dating from the very early years of the XX century up until 1929, specially the ones that talked about the Plebiscito, the Tacna and Arica situation and the "chilenización" that took place in those decades after the war.

Beautiful old trunk. Perfect for Vicente's memories.

Newspapers from the Tacna captivity decades. This dates to 1911.

A thorough search worth every penny.

After two and half weeks staying there and being close to all those amazing places that Barranco offers is such a gorgeous experience, specially knowing it was a war zone back in early 1881. Much of the houses similar to this one were burnt down in the big fire after the Lima siege. Raul lives there almost since he was born in the late 60's but his family lived there even longer and he was telling us all those stories his grandfather said about the house and the backyard specially. The backyard consists of a wooden pergola surrounded by dry old soil covered with fallen leaves that drop from creepy looking fig trees. We were all waiting at night when there was time for some relax and beers for some gnomes to appear as the tales go. Funny stuff. His grandfather also mentioned something about a big hole in the back where many old rifles and tunnels connecting to the side houses were found during some gardening many decades ago. The rifles were from the war and were put there with silverware and precious stuff the owners hid as the chilean soldiers ransacked it all.
Being an old neighborhood, Barranco is not only a sight to see but also a plethora of stories and old tales from the war.

Coming home now. Feeling a bit stuffy and have runny nose. Seems like a big cold is about to come.

Flor de Maria's makeup session.

Script walk-thru.

Juan Diego and his mother.

Scene check up.

Panoramic view.

Vicente's wife. An old "rabona".

Final day at 4:09am. A full day and a half film session.

Reynaldo and Pold: Two generations and their views of the past.

Starting the second week of filming on-location at one of the most beautiful districts in Lima: Barranco. Started with short shots of Chilean soldiers dismantling and destroying the electric batteries that power up the mines in Arica.

At last, working on one of the few remaining scenes of the film with Reynaldo Arenas and Pold Gastello as Vicente and Juan Diego respectively. Funny fact that I asked them to be in the film around a year ago and finally the time has come. Pold plays Juan Diego, Vicente's only son and Reynaldo plays Vicente, an ill bed-ridden, 75 year old war veteran beaten by life.

Doing the part of a war survivor and his son, Reynaldo and Pold are such a joy to work with. This is our third film together and so much like the fact that I get to work without the pressure of time and space as we are filming in a turn-of-the-century house in Barranco, just a block away from its plaza and close to all the old and warm places Barranco is so much loved for. We all (but actors) stay to sleep here as we start very early. Love old houses. Some here think there's some stuff going on at nightime but haven't heard or seen anything.

Their parts are truly vital, as their scenes delicately knit and connect all the dots for all the duration of this feature.

Making a 1929 room.

Making Reynaldo look 75.

Script go-thru.

Mustache.

Vicente's dormitory.

China ball as a fill light.

Making gray hair.

Screen capture: Reynaldo as Vicente. 1929.

Screen capture.

Screen capture: Pol as Juan Diego, Vicente's son.

Screen capture.

Screen capture: Letters from the past.

Screen capture: Teachings.