As an award-winning actress, director, producer, entrepreneur, and activist, Eva Longoria Bastón has become one the most significant trailblazers behind the camera. She has been directing and choosing projects with purpose that are focused on Latinx and other marginalized communities for over a decade. Longoria Bastón’s past television directing credits include the “ESPN 30 for 30” documentary “Versus,” as well as episodes of “Ashley Garcia: Genius In Love,” “Grand Hotel,” “Black-ish,” “The Mick,” “LA to Vegas,” “Jane the Virgin,” “Telenovela,” “Devious Maids” and “Latinos Living the Dream.”
“La Guerra Civil” is screening at the 2022 Sundance Film Festival, which is running online from January 20-30. More information can be found on the fest’s website.
W&H: Describe the film for us in your own words.
ELB: “La Guerra Civil” (“The Civil War”) tells the story of boxers Oscar de la Hoya and Julio Cesar Chavez, and delves into the historic bout between these two boxing giants. The movie examines the cultural divide that this fight caused in Mexican-American families.
It’s a story about boxing as a means of cultural expression. In this case, it is about who the Mexican-American and Mexican-American communities really are and how sport can transcend borders.
W&H: What drew you to this story?
ELB: I’ve known Oscar for years, and he was the one who actually approached me about directing the film. I remember the fight so well and what it meant to the community, but I wasn’t interested in doing a traditional boxing film.
What did interest me was discussing the identity issues that stemmed from this fight – what it meant to be “Mexican enough,” as well as what it means to straddle the hyphen of being a Mexican-American.
W&H: What do you want people to think about after they watch the film?
ELB: Due to the differences between these two men, and their fandoms, there has never been a more intense rivalry while still uniting an audience for boxing. Many of these cultural identity issues are very similar to what we deal with 25 years later.
I tell this story to remind people that there are commonalities in our differences. It is also a way to bring us together to tackle some of the most pressing issues facing our communities.
W&H: What was the biggest challenge in making the film?
ELB: Because of the nature of the film I wanted to really lean into the intimacy of interviewing the subjects as well as archival footage. This film was made in 2020. To achieve that intimacy, it was important for me to be present in the room with our subjects so we could see the fullness of their representations.
We faced many difficulties and multiple pandemic outbreaks during our shoot. Fortunately, we were able conduct most interviews in-person as everyone was eager and eager to share their memories.
W&H: How did you get your film funded? Let us know how you got the film produced.
ELB: Oscar had been having convos with DAZN about doing a film prior to me coming on board, so I wasn’t involved in those conversations. DAZN was an ideal partner for the film because of their extraordinary pedigree with boxing and telling stories that have global significance.
W&H: What inspired you to become a filmmaker?
ELB: I like the idea that I am a producer and director who fell into acting. When I was shooting “Desperate Housewives,” I was always so interested in what the director and crew were doing that I took every opportunity to ask questions and learn, and eventually I was given the opportunity to direct.
As a producer, my production company and I are focused on projects that elevate the stories of the Latino and other underrepresented communities – and to build a pipeline of talent from a talent pool that is not often used enough in our industry.
W&H: What’s the best and worst advice you’ve received?
ELB: It wasn’t advice as much as a mantra I live by. It’s a quote from Maya Angelou: “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.” I like to encounter people and leave them with a good feeling, a positive feeling.
W&H: What advice do you have for other women directors?
ELB: My advice for any new director is to believe you are ready for the moment. I think we often are afraid that we don’t know enough in that moment, we aren’t ready. We are always ready for this opportunity. It’s possible to say yes and believe in your talent and potential. Learning is only possible through experience, so get out there and do it now.
W&H: Name your favorite woman-directed film and why.
ELB: Anything Ava DuVernay is doing is my favorite. Her gravitation towards strong female characters, whether in “When They See Us” or “A Wrinkle in Time.” Her commitment to telling stories of racial injustice in an effort to shine a light on the issues her community faces is something to be applauded. She has something she wants to say, and she expresses it through her filmmaking.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you creative? If so, how?
ELB: These past two years have been extraordinary. I’ve been privileged enough to be able to continue my work and have been incredibly fortunate to not only act in several projects, but also direct two films, “La Guerra Civil” and “Flamin’ Hot,” which we are currently editing for Searchlight. My time during the pandemic was spent raising funds and focusing attention on frontline workers, healthcare workers and farmworkers. We didn’t need a pandemic to tell us farmworkers were essential. They are there every day to help us keep our food supply running, often without any PPE or vaccines. They are true heroes.
W&H: The film industry has a long history of underrepresenting people of color on screen and behind the scenes and reinforcing — and creating — negative stereotypes. What steps do you believe are necessary to make the industry more inclusive?
ELB: How we see ourselves on the screen is important. We must see ourselves in storytelling. It is essential that our media include narratives that highlight all of our voices.
Source: Women And Hollywood