Internationally recognized award-winning director Sergio Navarretta’s career started with Looking For Angelina, a true-crime feature accompanied by a social action campaign to highlight domestic violence. Striving to create socially conscious projects that examine the human condition, his films balance relevance, inclusivity, and warmth with entertainment. Navarretta has directed several award-winning short films, including The Fortune Cookie, Over a Small Cup of Coffee, and En Plein Air. He also worked as a producer, service producer, and executive producer under his own company banner, S.N.A.P. Films Inc., as well as for various international clients. His movie The Cuban, starring Oscar winner Louis Gossett Jr., is a touching story of human connection and the power of music. We had the opportunity to speak to him about the project, his career, and more.
Thank you for agreeing to catch up with Occhi Magazine. Firstly, how did you get into filmmaking?
It is my absolute pleasure. I became addicted to the notion that I could impact and affect people’s emotions and moods from early on when I started music lessons at the age of five. First, I studied the accordion, then vocals. I was terribly shy and suffered from debilitating anxiety (although I did not know it at the time). I found extreme comfort in music and discovered a language that was both powerful and effective. Music was my sanctuary and the place I went to for comfort and solace. Since those days, I knew I wanted to be in show business in some capacity. I think, on some level, I realized I could make my mother happy and change her state instantly when I performed. That was powerful.
When I was in my late teens and early twenties, I studied acting and had aspirations of getting into filmmaking. But, growing up in Toronto, I had no exposure to it, nor did I have any direct connection to the industry. I grew up, like many, thinking only Hollywood-made movies. In my twenties, I owned a clothing store, spent time playing with my band, and launched an independent record label. My whole life was about creativity in some capacity. I met a film director who had just made his first movie with some friends. I didn’t know it was possible. I became so fascinated by him and what he had managed to accomplish, I worked pro bono with him for a few years just to learn as much as I could. I also worked as a freelance journalist for a syndicated news service out of Rochester, New York. That experience afforded me a unique opportunity to interview my heroes and to attend press conferences at the Toronto International Film Festival. I sat, listened, and learned as the masters described their process of making films. It wasn’t until a serendipitous encounter with director James Cameron at a Titanic premiere that I finally had the courage to set out to make my own movie. His advice hit me like a lightning bolt. He said if you want to be a director, pick up a camera and shoot something. A few weeks later, I put an ad in a Toronto paper, and over a hundred people showed up to help me make my first short/feature film, called Over A Small Cup of Coffee. That film was invited to premiere at the Egyptian Theatre on Hollywood Blvd, and I never looked back.
Who has been your greatest influence in the industry, and why?
I had many mentors over the years and people who have influenced me. I would probably say the person who has influenced me the most was Jan Harlan, Stanley Kubrick’s executive producer, and brother-in-law. Jan happened to attend the premiere of my first feature Looking for Angelina, and his encouraging words that night were life-changing. We eventually sat on industry panels together and our friendship gave me a unique look into the enigmatic world of the master, Stanley Kubrick. I learned that to be great at anything, one needs to be extremely and obsessively passionate and focused. I have been very fortunate in my life to not see limitations and I have the unreasonable belief that all things are possible.
The Cuban has been so well received and embraced by critics and the public alike, but what has been your proudest moment in filmmaking, and why?
Because The Cuban was the most recent, and probably the most personal, of my films – I would say it has been the proudest moment in my career to date. I had the opportunity to work with some of my favorite actors, to shoot in Cuba and I had the chance to do a deep dive into themes that are incredibly personal to me. It was a very cathartic experience. I think the release of The Cuban was timely given that the film was released during a pandemic and at a time when elder care was on everyone’s mind. I guess my team and I were not the only ones thinking about it. We premiered the film at the Pan African Film Festival in Los Angeles, and I will never forget the audience’s response. It was incredibly moving and emotional. We had five sold-out screenings, won two of their top awards, and really kicked off what would end up being an Oscar nomination campaign. It was a dream come true.
We’re here to talk primarily about ‘The Cuban’. Please share with us the origins of the storyline and what audiences can expect?
It really began around the tail end of my time as one of the executive producers of Arctic Dogs, an animated feature. Although it was an incredible experience with the marquee cast, the schedule was long and arduous and I had a burning desire to get back in the director’s chair. Around the same time, I had met Ana Golja at an industry event and we expressed interest in working together. I suggested we work on a short film for creative satisfaction and wouldn’t have any of the commercial pressures of the business. Ana and her partner, Taras Kolton, came up with a concept about a grandson and his relationship with his grandfather, based on a dream Taras had. Once the writer, Alessandra Piccione, came on board to write and produce the film, it evolved into a short film version of the current movie. I had always imagined Louis Gossett Jr to play Luis from inception. After a series of, shall we say unconventional methods, we finally were successful in attaching him. Mr. Gossett’s involvement opened the pathways to what the film eventually became. It also gave me the confidence to reach out to other powerhouse talents such as Shohreh Aghdashloo, with whom I’ve always wanted to work. Sometimes, as filmmakers, we spend years in development hell trying to push boulders up mountains. In this case, the film was barrelling forward on its own, pulling us with it. We held on for dear life and I am grateful we did.
There’s a synergy between you Ana Golja, and Louis Gossett Jr. I understand, you’ve all experienced loss of elderly loved ones from debilitating diseases. How did this impact your approach to this project?
When we embarked on the journey to make The Cuban, I had just lost my father and was still reeling from the shock. I guess the film was created partly as a way to honor him and to deal with my mourning. When we started, our team built a strategic partnership with research and care institutions like Baycrest Hospital in Toronto, as well as the Alzheimer’s Society of Ontario, that are at the cutting edge of research on the powerful effects of music on the brain. We were given access to videos that featured dementia patients who behaved aggressively or who were completely catatonic. Their response to music they recognized or that resonated with them was dramatic. I also did my own research by meeting individuals with dementia and I observed their reaction when music was played for them. I found this coming to life moment incredibly challenging to portray, and I needed to see it happen for myself. It feels like you are watching a miracle unfold, and Mr. Gossett played it so powerfully. His performance is subtle and nuanced. Many caregivers have commented at screenings that it portrays the disease quite accurately. I give a lot of credit to the writer, Alessandra, who did a lot of research and was able to give us a framework to work with.
Louis Gossett Jr. has a magnetic presence in the movie, supported by a great cast. Please tell us more about the casting of the film and the production.
Generally, I dislike the traditional casting process and auditions. I know sometimes it’s inevitable, but my preference is to get to know actors as people and study their work. Breaking bread or meeting over espresso is a lot more conducive for me than sitting in a casting room with a bunch of people behind a table scrutinizing the actor’s performance. That’s no fun.
Regarding Louis Gossett Jr: we were persistent. We chased him down at the Toronto International Film Festival, then I reached out to mutual friends including a Toronto lawyer named Ralph Lean who contacted him personally. We also made several attempts through his manager at the time. Eventually, we heard back and Mr. Gossett said he was interested in playing the role! It was a magical moment. I will never forget the day I flew to LA to meet him at his Malibu home to discuss the project for the first time. I was struck by the numerous awards on the mantel, including his Oscar for An Officer and a Gentleman, the poster of Roots, and his Emmys. For the first few minutes, I was overwhelmed. I shared with Mr. Gossett how Roots had profoundly affected me. My parents had made me watch it when I was a kid and I never forgot it.
We had dinner at an oceanside restaurant and had a great chat not only about the movie but about life and his career. A moment would not pass without a fan or someone acknowledging him. It was incredible. There I was having dinner with a living legend who shared stories with me of his time at the Actors’ Studio and hanging out with the likes of Marilyn Monroe and Marlon Brando. There are not too many people that can say they studied with Marilyn.
We must talk about the film’s score. Please tell us more about the selection of music and its importance to the production?
I had the great fortune of having a friend who hosts a show on Jazz.FM Radio in Toronto named Walter Venafro. I reached out to him one day and told him what we were up to, and he immediately connected me to the world-renowned Cuban-Canadian pianist Hilario Durán. I attended one of Durán’s concerts and was completely blown away. Not only is he brilliant, but he is also a very sweet and humble person. Having Durán attached attracted top-notch Cuban musicians who all contributed to the score. I had the good fortune of having much of the music recorded before shooting the movie, so that really helped me visualize and shape the scenes. We also used the score as music therapy on set between takes. Music has that power to transcend language and to shift your mood. It is one of the few tools I can use to get everyone on set onto the same frequency in an instant. The soundtrack also helped get me in the right state of mind every morning before entering the sacred space of the set. Afro-Cuban jazz has the ability to transport you. It transcends beyond race, socio-economic status and is a beautiful melding of cultures.
I’m particularly drawn to how it highlights the power of music. Research shows that music can have a beneficial effect on brain chemicals such as dopamine, which is linked to feelings of pleasure, and oxytocin, the so-called “love hormone.” I recall playing live music to a relative in a hospital and witnessed the amazing response firsthand. How much research was undertaken before filming?
There was a lot of research done. Each one of us on the team approached it from our own perspective. As a director, I wanted to know what the experience looked like, so I focused on the videos and on meeting dementia patients first-hand. Alessandra, the writer, also spent months interviewing top doctors and researchers who explained the effects of music on the brain. She really used that research as a basis for the script. I think we all learned so much about the power music has on us, both negatively and positively. I don’t think a day goes by where we aren’t playing music in the house. We have certainly seen the effect it has had on us during the pandemic. Virtual concerts and streaming services helped to uplift our spirits in a way that nothing else could.
The film, whilst very entertaining subtly touches on so many important societal issues, from religion, cultural identity, to sex and gender politics, health, and family relationships. What do you want the viewer to take away after watching this movie?
The main thing I would want the viewer to take away is to never take life for granted. To live in the present moment (something I learned by necessity in Cuba), and to appreciate our elders. They have a lot to offer society, so the idea of locking them up in a facility may not always be the best decision, and certainly, the pandemic has taught us that.
What were the most challenging aspects of making this film?
The most challenging aspect was shooting in Cuba. The notion that you plan everything, have a clear vision and then have your crew execute on that vision simply does not work in Cuba. You have to be superfluid, quick on your feet, and take things as they come, day by day. I learned a lot about the art of letting go. For true creativity to reveal itself, sometimes you need to get out of your own way.
What projects are you currently working on?
Under my S.N.A.P Films Inc. banner, we have optioned a book from a best-selling crime writer which is being turned into a series, we are developing an animated feature film with a spin-off TV series, and I am finally developing a very personal film project set in Italy that I am excited to take on. Besides the filmmaking aspects of my career, I continue to engage in speaking on the business of creativity, I enjoy mentoring emerging filmmakers and this year I am launching a podcast, which will be a resource for both established and emerging filmmakers.
Where can we find out more about you?
- Instagram: @sergionavarretta
- Twitter: @sergiodirector
- Facebook: Sergio Navarretta
- Clubhouse: @sergiodirector
- Website: www.sergionavarrettadirector.com
Photo by Lindsey Nemeth
About Author
