My formative years in architectural design and later years spent shooting films on location everywhere influenced my approach to this 100 percent location-based movie. I’ve had many influences as a designer that shaped my work on this movie. And it worked again, and again, take after take, for weeks. In that first moment when it all came together on set, everyone was cheering… especially Eva. Eva had the great idea to not reveal the color red anywhere in the movie until we see the very first Flamin' Hot Red Cheetos spill out of the giant rota0ng chrome tumblers and out onto the line of conveyor belts, it was rivers of jumping red collettes. It was then that we knew it was all going to work as planned. One of the more memorable moments for me on the film was the first time we fired up the assembly line of the Frito-Lay factory set. Some situations we could control, others like the July monsoon rainy season in New Mexico were beyond anyone’s control and disrupted many of our best-laid plans. Needless to say, there were many challenges getting this to the finish line. We had 108 settings and locations to film in just over 30 days. It showed us everything we needed to know without having to sign an NDA. We ended up finding a lot of what was needed via non-traditional resources–personal photo albums from crew members, Cholo holiday blogs, vintage YouTube videos, etc.įrito-Lay factory interiors were never publicly shown or documented back then due to strict protec0ons of their proprietary process, so our Eureka moment occurred when we found a vintage home video on YouTube taken by a 6th-grade girl on a class field trip to a Frito-Lay plant in the Midwest. So one of our big challenges was collecting the huge amount of visual research needed to verify the details of a culture not heavily documented due to the lack of camera ownership in the Chicano community. The film spanned three decades of Richard’s life, the 1960s through the 1980s, from rags to comparable riches. It was a grand 24/7 adventure that produced work we are all very proud of and we became great friends along the way. Eva, Cinematographer Federico Cantini, Brandon, and I became a creative hydra beast tackling every challenge together. She introduced me to Brandon Mendez and invited us to meet up in Albuquerque New Mexico to design the Flamin' Hot production together. There were many similarities to the challenges faced by the characters in Flamin' Hot and much of it was set in the same period, so we already had a creative shorthand when Eva invited me to join what would be her first feature film as director. I first met Eva as my director for the HBO pilot The Gordita Chronicles, a story about an immigrant family in the Dominican Republic who leave everything they know and love to start a new life in 1980s America. She inspired all of us with her personal take on Richard Montanez’s story which was informed by her own life story as a Latina striver from Corpus Christi, Texas, and underdog businesswoman. It's not to say that I'd never want to play one, it would just have to be something so cool and like a really cool character, and then I'd be interested." We have wondered if the genre was overdone too, as recently as January.īlunt said, "We are inundated-it's not only all the movies, it's the endless TV shows as well. She went on to say, "It's been exhausted." "But I don't know if superhero movies are for me. "I love Iron Man and when I got offered Black Widow, I was obsessed with Iron Man. That's just people saying, 'Wouldn't that be great?'"īlunt didn't stop there, making sure people knew that she didn't think these movies or roles were beneath her, but that she wasn't sure the genre could still be fresh. She told Stern that superhero movies are "not up alley." While sitting with Howard Stern this week, Emily Blunt squashed rumors that she and husband John Krasinski would play opposite each other in a Fantastic Four reboot.
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