1:27:02
He's setting up, like,
a screening room or something.
1:27:04
He was here all day editing.
1:27:05
He wanted his director's cut
or something.
1:27:07
- It's all set.
- OK. Great. Good.
1:27:12
Show time.
1:27:19
- Are you ready?
- Mm-hmm.
1:27:22
Ready?
1:27:25
Yeah.
1:27:32
Happy Endings.
Great idea, baby.
1:27:34
Thank you.
1:27:41
In June of 2002,
Javier Duran returned to Mexico...
1:27:44
to the town he left
five years before.
1:27:47
Coming back here to San Juanito
is strange.
1:27:50
Over there is my house.
1:27:51
Don't film it!
They don't want it.
1:27:54
And my school.
1:27:56
I haven't been back here
in five years.
1:27:58
I can't believe you shot this
across from the Costco. It's wild!
1:28:02
This is the bookend
to the movie. OK?
1:28:03
At the end of the film,
he walks towards camera.
1:28:05
We don't follow him.
It's all in suggestion.
1:28:07
You'll see.
1:28:08
And I got this little girl--
this little Mexican girl--
1:28:10
to shout out, "Javier! Javier!"
like this--
1:28:11
I shouldn't have told you.
1:28:13
This is that improvised part.
1:28:15
- Remember, Nicky?
- Yeah!
1:28:16
This is my speech where you see
that I have a heart, you know?
1:28:19
It's not just the money.
1:28:20
Oh, I didn't see this.
1:28:21
Wanting to do this
for my clients.
1:28:23
They taught us at school...
1:28:25
how to handle a client
who wants a full release.
1:28:29
Polite, but no, thanks.
1:28:33
The first time, I say, "No"...
1:28:36
and the woman--she cried.
1:28:38
Shame.
1:28:40
And I felt bad.
1:28:42
And so, the next time it happened,
I thought, "Who am I to say no?
1:28:46
"This is America.
There's no church here.
1:28:50
"There's only the body
and its dreams."
1:28:52
His words. His words.
I didn't tell him.
1:28:55
"The body and its dreams."
It's genius, man.
1:28:58
Yeah.
1:28:59
And you can tell
by looking at these women...