With a film predominantly shot in nature (forests, mountains, lakes, etc) the weather had a great influence on the production. The schedule had to be kept loose enough to accommodate for last-minute location switches, sudden rainfalls and cold temperatures. Similarly, all cast members had to be able to receive and learn new sides of the script on short notice and our transportation was kept to the bare minimum to allow for quicker and more efficient manoeuvring.
Furthermore, with a small team averaging a five-person crew on set each member of the team had to take on various responsibilities and fill a number of positions at any one time. This allowed the production to be extremely efficient with everyone on the crew switching back and forth from different task to get all the required shots by the end of the day.
Shooting at a small airfield in Bad Ragaz was a tremendous experience. Not only were we greeted with great hospitality and passion, but the needs of the production were accommodated to the extreme. We were able to shoot take after take of the Cessna take off while other planes were rerouted to alternate strips and even nearby farmers go out of their way to help us get the shots we needed. A bystander, overhearing director Luis Ventura asking for an old Jeep, not only brought his WWII Willys Jeep to the airfield, but a number of times again for later scenes.
The title of the film is a combination of Tetro (Italian for dark or gloomy) and Rouge (French for Red). Tetro implies a darkness that lies in our characters as well as over humanity after the great black out. Rouge, or Red follows that thought suggestion aggression and anarchy but also symbolizes the warmth and potential that this new future holds.
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