I continued with Francis [Ford Coppola], working with him again on his next film, which was Tetro, which is a family story set in Argentina, in Buenos Aires. But it's a reworking of a story that could just as well have been set in New York, about an Italian immigrant family, which is to say, his own family, arriving in the new world and things happening. Because of financial considerations, again, tax breaks and other mysterious things that I'm not too up to date with, we wound up not only shooting it in Argentina, but doing all the post-production in Argentina. And the… Short of the final mix, we brought the film back to Napa, which is where Francis Coppola has a mixing studio on his wine estate, and so we did the final mix back home, so to speak.
But basically, I was gone for a year, living in Buenos Aires. Fortuitously, my daughter had moved to Buenos Aires with her husband a year or so before that, and so I was there with her, and my son, Walter, was working as an assistant on Tetro, and my wife flew down a number of times, so we were all together as a family in Argentina, which was very nice. I'd never been there before. It's one of the perks of working in film – is you get to experience things that you would not experience otherwise, particularly because you're working, you're not a tourist, you see things from a certain perspective that you would not ordinarily see, and I appreciated that.
