@mimi , And I agree with him ... you can make a film without any kind of edginess to it, but why bother? I am really looking forward to the film, because I really want to hear all the music. Another local had a significant part in the film, and she is a singer-songwriter, born in Mexico, and has written (years ago) a song about the Deportation. She is a very good friend, and I am utterly thrilled that her song will be used in the film, too. It's only been published here, locally, and needs to get some wider exposure. It was part of my first essay, back at TOP.

#1.1
especially this part. (PS: @Jtc I don't know why Bold B doesn't work inside a blockquote, is that dependent on which browser I use?)

People always use fantasies of our imagined past to understand the present, and we worked with our subjects to evoke this through genre — western, musical, music video, even telenovela. Many of my students worked on the film, and one of them was Sebastián Martinez, who is a talented singer who arranged and recorded haunted versions of the IWW songs we wanted to use. His is the ghostly voice that (lead actor) Fernando merges with over the course of the film. As far as I know, Sebastián’s song is the first recorded version of the long-lost Bisbee Deportation anthem that plays in the credits. The musical aspect connects us to 100 years ago and externalizes the internal drama of the town and its people.

Filmmaker: Several scenes are emotionally uncomfortable, if not downright painful, to watch — especially those involving Fernando, whose mom was deported to Mexico when he was only seven. Did you have qualms putting him, along with several other actors whose ancestors were touched by the deportation, through that? Or did you see this decision as crucial to tying a century-old tale to the present day?

Greene: I always have qualms about making documentaries because the camera brings these things out and forces us to make connections we wouldn’t otherwise make. But that is the value of this project, if there is any. The Bisbee Deportation doesn’t matter unless it relates to our real lives today. Without that connection to now it’s just a shocking story of another time, easily put back away.

Seeing how Fernando did and did not connect his own story to the Deportation was both painful and rewarding for us as well. I’m not sure the dust has settled yet for him or for us to know if it was all worth it. But those are the kinds of films I want to make, ones that embrace the trickiness of making movies in the first place. Why should we make this? Why should anyone make anything? We take for granted that it’s always a good thing to tell stories. But after I called “action,” and we began reenacting the roundup itself in the exact spot that it happened one hundred years prior, and people were taking it all way more seriously than I could have imagined, I kept asking myself that same question — is bringing all this up a good or bad thing?

I still don’t know. But I do believe we all learned something valuable about ourselves, and I hope the audience will, too. It’s probably true that doing something like making this film in this way is better than ignoring our past and disregarding how that relates to our present. But to really know that answer you’d have to individually ask all the folks who worked with us to make it happen. They’d have to tell you their thoughts. Mine only matter a little.

Very honest from Greene. And with regards to the music it will make many here even more curious. Everyone here on C99p would love to see and hear.

Heh, Azzazello, are you playing the bad guy with a gun (I looked it up, the Winchester Yellow Boy carbine, Winchesterv and Ace). I am not sure if I would dare to ask you for an autogramm. Who knows what you would do with them guns and colts when you see me...I better bring some "St. Pauli Girl beer" (from my hometown Hamburg, Germany) with me...to please you. Cheers. I am looking forward to see the movie.

@JtC , and can portray anyone.

#2.1
AZ a lawman? My worldview just crumbled.