Gaz Alazraki Director of "Nosotros Los Nobles" ("We Are The Nobles")

In Mexico, the last 6 months have been a box office boom.  What’s unusual is that filmgoers are flocking to the Mexican movies produced in their home country, not the Hollywood blockbusters.  Leading the renaissance is "Nosotros Los Nobles" ("We Are The Nobles") directed by Gaz Alazraki.  In March it broke the 11 year old all-time Mexican record, until it was replaced last month by a new box office champ.

“We Are The Nobles” opens in the United States on Friday, November 1st.  The satiric comedy tells the story of a rich father who teaches his three kids a lesson through an elaborate hoax where the family loses their fortune.  I spoke with Gaz Alazraki who himself comes from a prestigious Mexican family, but learned harsh truths while studying in the U.S.

Michael Carvaines:  Congratulations on all your success. 

Gaz Alazraki:  Thank you.  It’s an exciting time right now.  Audiences have renewed faith in movies made in Mexico, by Mexican filmmakers.  It’s great that they are taking these chances because it opens the door for more opportunity.

MC:  Where did your idea originate?

GA:  I attended film school in the United States and worked as an intern.  I was a nobody and was hazed, and experienced a meritocracy for the first time in my life.  When I moved back to Mexico, I wanted to live according to my means.  But no else did.  Certainly not my friends who worked for their family businesses.  They behaved very entitled, very demanding.  Not sensitive to their workers.  They wouldn’t have acted that way if they had seen what I’d seen.  They never were on the other side.  I wanted to capture that feeling.

Writer-Director Gaz Alazraki

MC:  What were some of your influences?

GA:  The old screwball comedies of the 1930s.  Great Depression-era cinema had a way of skewering the rich, and I wanted to capture that feeling of rich vs. poor.  So movies like “It Happened One Night,” “His Girl Friday,” and “The Philadelphia Story.”  I also watched the comedies from 1980s to develop the rhythms of the classic comedic structure.  “Trading Places” and “Arthur” were two big influences.

MC:  Describe your writing process.

GA:  I spent two years writing the script.  Revising over 18 drafts.  When I hit a wall, I brought in two screenwriters to collaborate.  Then in the editing room, I removed 30 minutes that I wished I’d cut out from the script.  It would have saved time and money.

MC:  Yeah, it’s funny how that works in hindsight.  Were you consciously writing for a Mexican audience?  Or isn’t there a difference?

GA:  I wanted to write universal characters, but in a Mexican way.  Good archetypes, that the world would appreciate.  I didn’t want to alienate other countries.  In that regard I was influenced by “Clueless” which is set in Los Angeles, but showed characters anyone could relate to.

MC:  Was it difficult getting the movie released in the United States?

GA:  It proved to be harder than I expected.  I showed it to various distributors who are used to foreign films being more art-house.  This was more “Hollywood” so they didn’t know how to market it.  Then some of the Spanish language companies weren’t sure because it doesn’t have major stars in it.  Finally the movie’s getting released in the U.S. but only in limited markets at first.  The distributor has to protect their investment because of piracy concerns, since it’s been out for so long in Mexico.

MC:  What’s next for you?

GA:  Several projects.  I’m planning a TV series in Mexico.  I’ve also started my own production company for Mexican films and filmmakers.  And I’m also developing an English language film for U.S. actors.  So a little of everything.  I’m chasing all of them.

Click HERE for showtimes and tickets in your area.