The idea and impulse for Bastards y Diablos sprang suddenly when two ideas converged for Andrew Perez:

1) He realized that between his American film collaborators and his family in Colombia, he had everything he needed to tell the story of 2 half-brothers that had been churning in the far reaches of his writer brain for years.

2) He had the unexpected inspiration to reveal an alternative identity of Colombia – one that touches on the beautiful landscapes and passionate, heart-driven people, rather than drugs and violence, which are Colombia's exclusive representatives in mainstream American media.

Both ideas – the story of the brothers and the story of the country – became clear over the course of one day.

Andrew was driving Dillon Porter, who had just finished shooting the road-trip movie Blue Highway, across LA to meet an old college professor. They discussed their aspirations to combine adventure with filmmaking and Andrew was struck with the solution to a long-time creative dream: a dramatic exploration of 2 half-brothers who are distanced by resentment and disparate points of view, yet drawn together by loss and a common search for identity. Because he and Dillon had acted together and successfully explored loaded relationships in the past, Andrew saw the opportunity to explore the complexities of two men connected only by a distant father. That night, Dillon and Andrew visited another friend who, by absolute chance, was watching a documentary about Colombian soccer, The Two Escobars. Andrew became engrossed. He remembered cheering for Los Cafeteros in the 1994 World Cup – and the promise of that team, which Pele predicted would win it all. During a sequence highlighting the team’s triumphant World Cup qualification campaign, former players described the passion, togetherness, and creativity that became identified with Colombian soccer during that year. Andrew realized that the way they were talking about soccer was exactly how he felt about ensemble acting. On another level, he awakened to a dormant, uniquely Colombian piece of his identity. That fateful day sealed the soul of Bastards y Diablos; not only would the film explore the complex bond of two brothers and their father, but also the true identity of a country which has been misrepresented for far too long.

The script was written in the United States; the shoot would take place all over Colombia and became its own adventure. Though the screenplay was crafted with specificity, there were unforeseeable events, opportunities, and challenges that required flexibility and improvisation. Andrew knew that A.D. Freese was the perfect director to not only capture these spontaneous moments of humanity, but the beauty of Colombia itself, all in the service of telling the simple, universal story. Their long prior history of collaboration proved a major strength as rewrites fluidly continued through production. Due to the itinerary and shooting schedule, some scenes had to be scrapped or re-written on the fly, and new scenes emerged as the movie revealed itself in the unpredictable landscape of Colombia.

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