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ANIMATED CHAPTERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 23 16 13 10 5 3 1 27 30 34
Introduction
Crash
An intersection in Boyle Heights
Lucha's Childhood
Lucha's Quinceañera Song
Mariachi Plaza, Boyle Heights
Jameson's Story
Jameson Portrait
The 2nd Street Tunnel, Downtown Los Angeles
The Reunion
A Rehearsal Studio in the Arts District
First Kiss
Hollenbeck Park, East Los Angeles
Angel's Point
Angel's Point, Elysian Park
Love and Fractals
The Floating Nebula
The Corn Fields, Los Angeles State Historic Park, Chinatown
Wedding
City Hall, Downtown Los Angeles
The Next Years
The Phone Call, Part 1
Traversing between the Arts District and Boyle Heights
A Fortune
Chinatown Plaza
Orlando's Story
Orlando's Fairwell
Evergreen Cemetery
Interlude (Car Wash)
AirStream Trailer, Elysian Park
Passengers
The Roadways, Elysian Park
The Experiment
3rd Street and Broadway
Despair
230 Center St, Arts District
The Disappearance
The Red Notebook
Utter darkness
The Other Woman
The Bradbury Building, Downtown Los Angeles
Hades
Bowtie Parcel, Los Angeles River
Breakthrough
Lucha and Orlando in Love
Historic Core, Downtown Los Angeles
Lucha Portrait
Alongside the LA River, Interstate 5
Orlando In Love
Orfeo
The Million Dollar Theater
Orlando Portrait
Libros Schmibros Book Store, Boyle Heights
Farewell From the Roof Tops
Rooftops, Toy Factory Lofts, Biscuit Lofts, Ito Building Tower, Arts District
Old Age Like a Dream
The Phone Call, Part 2
Chavez Ravine, Elysian Park
Finale
The Central Hub

Orlando's Fairwell

Location: Evergreen Cemetery
Orlando: Timur Bekbosunov/Orson Van Gay II
Sarita: Kirsten Ashley Wiest and Carrie Mikuls
Violas: Cassia Streb and Lauren Baba/Andrew McIntosh
Guitar: Omar Torrez
Music by Veronika Krausas
Text by Janine Salinas Schoenberg
Before leaving Los Angeles, Orlando pays his last respects to his wife Sarita at the cemetery. Memories of her and strains of the music they loved commingle witht he quiet, serene landscape.

Notes from Director, Yuval Sharon:

“This chapter depicts Orlando’s farewell to LA and the ghost of his wife Sarita, who we meet in the animation directly preceding this. The limo here sets the tone for a funeral as it drives through Evergreen Cemetery. Two violas accompany their farewell as Sarita exits and stays among the gravestones. As the car drives, Sarita appears elsewhere in the cemetery played by another performer (the dancer Carrie Mikuls). One by one the car empties…but it doesn’t end mournfully. A guitarist enters the empty car and sings Lucha Reyes’ ballad ‘Por un amor’ as the car completes its journey.

“We left Mexico in search of adventure. Lovers with a collection of one-way tickets. Until we ended here, in a city so vast and gray. But still we saw its color and its magic. Driving with you down these streets and highways felt endless. All we needed was each other. In you, I saw myself. In you, I saw the man I could become. The world felt smaller. And I knew that I belonged.”

“The original concept was going to be for musicians and singers to be all around the cemetery, which audiences would hear via wireless microphones and Sennheiser antennae (like in Chapter 2, Chapter 19, and Chapter 22). But Evergreen Cemetery was the site that gave us the most trouble of any: they never, ever responded to any attempts to reach out to them, even ones officially placed by the Mayor’s office or Councilmember Huizar’s staff. We started reading alarming articles about the owner’s involvement in money laundering and evading the law – which is probably why no one ever returned my calls or responded to my visits to the office. Maybe they thought I was trying to serve the owner papers, and the opera was an elaborate ploy to bring him out. Finally, when the secretary ignored my physical presence in the office in one of the most surreal circumstances I’ve ever experienced, I realized we weren’t going to get anywhere using the cemetery officially.

“Veronika and I worked out an alternative scenario in which all the musicians were in the car, and the limo drove around the cemetery’s perimeter (on normal streets) instead. We went ahead planning for that, but as we got closer to the rehearsal, it was starting to feel too much like a compromise – driving inside the cemetery was obviously so much more powerful. So we decided, ‘Why not try it and see if anyone notices what we’re doing? Maybe if they come out to stop us we may actually be able to talk to someone about it! Maybe with all the musicians in the car they would never notice us?’ So we thought…and in fact we were right. We ended up driving through the cemetery nearly 300 times over 6 weeks of rehearsals and performances without anyone ever noticing.

An early iteration of Red Route locations

“As if this scene weren’t already challenging, the additional complication to the team was figuring out the picking up and dropping off of the singers and musicians. We needed a second vehicle – I dubbed it ‘the getaway car’ considering our renegade approach to the cemetery – that followed the limo and picked up the performers as they left, and made sure everyone was together again for the start of the next rotation. Sounds easy enough on paper, maybe, but the communication between two different vehicles driving through a cemetery that we didn’t have authorization to use only contributed to the madness of this particular scene. A major kudos the assistant stage manager of this chapter, Meredith Kitz, who kept this relay race on track and on time.”

Timur Bekbosunov provides a moment of comic relief for the Hopscotch stage and production managers who watch on monitors behind the scenes