
“Buffalo Kids” is a story of Mary and Tom, two Irish orphans in search of their uncle in the United States, narrating their encounters with both friends and foes as they go along the journey. The history of their travels also includes Nick, a boy with cerebral palsy, who also happens to be an orphan and is quickly accepted as a brother by the siblings.
The film depicts the sibling bond that scripts the movie, and quite remarkably it is the bond between Nick and Mary that takes precedence in the film; perhaps it’s not surprising because this is based on a true sibling relationship between Alejandra, co-director Pedro Solís García’s daughter, and his son, Nicolás, who suffers from cerebral palsy.
Nicolás held the picture that he inspired or so tragically never lived to see. In a recent interview with Variety, the film’s co-screenwriter and producer Jordi Gasull has said the 16-year-old was still alive a few days before ‘Buffalo Kids’ gained its filming.
Having spent more than enough time looking for funding for the movie which is by the same creative team as “Mummies”, Gasull was happy to break the news to Solís Garcia that the work was back on. “I remember telling him ‘We have the green light!’ and 15 days later Nicolás passed away,” says Gasull as well as getting emotional during the conversation. But the director (who together with Juan Jesús García Galocha was in charge for film’s production) did get a chance to say it to his son: It’s going to be done. “When Pedro said to Nico “We’re going to do your film” he gave him this look which was like he was very happy,” recalls Gasull. “It was very touching and we dedicate it to [the film] Niko and all the children that suffer cerebral palsy.”
Although León has been the central figure in the development of this film, which is conducted by the Spanish 4 Cats Pictures, A3 Media, and Anangu, it also draws on the personal story of Gasull, who once clashed with a buffalo in real life, and also histories in general. After raking in revenue in Spain, “Buffalo Kids” premiered in the UK and Ireland (distributed by Warner Bros. Discovery) this weekend, having entered the box office in the country of origin.
Prior to the opening, Gasull conversed with Variety about how the film came into being and how it was made as well as whether there are prospects of the film being distributed in North America.
What inspired you to write ‘Buffalo Kids’?
Pedro told me, “I want to do a feature film of the story of my kid.” I told him that this was one of the best ideas ever, however, we had to find a story on which the characters would be based on. He sent me one about orphans that was like “Home Alone” in an orphanage but it really didn’t work. Then a friend of mine said how there was this book about New York orphans in the 19th century. I read it and thought “Oh, my God, here we have a story.” So I began to do some research on real orphans and real stories in the wild frontier and I started feeling that we had something.
After a great deal of effort, we presented the first draft of the screenplay, which included a talking Nick and I recall Pedro saying, “My son has never spoken. You cannot have a character who talks a lot. He has to have a character who communicates through his eyes, period!” In that context, I understood and had some discussions with Pedro and looked for tapes with the real Nick in them. After that, I redrafted the script without any talking to Nick. We sent it to Pedro and he replied: “Now this is my son.”
Did you face any form of perceived discrimination of disability in any manner when you were trying to sell the project for financing or even distributors?
No. It was the other way around. I was told on many occasions that it was a very straightforward and yet well-crafted plot, backed by strong characters. They believed it was a bit daring for the viewers but had no one say to me ‘This is not an endearing character.’ In fact it was the other way around. They said the screenplay is lovely.
Were you surprised by the enormous acceptance in Spain?
I expected us to be a little less successful in the film aye. That is, I was thinking that yes it will do good and we will be somewhere around 600,000 admission euros million [the film has grossed something close to 5.5 million dollars in the domestic market]. It is fair to say, for instance, that I would imagine we would be close to figures of “Mummies,” which was quite easy for me to assume since this is much more a complicated movie this is much more in regards to the theme of the film. That has been a really nice surprise for us.
Which particular scene do you think was most heart-wrenching while making the film?
When they meet the buffalo. Because, a couple of years ago, I had a car crash and hit one of the wild buffalo in Yellowstone. My younger son was crying out loud because he broke his nose, but my elder son went to the dying buffalo and touched it and they were nuzzling for a little while. So I, more or less, spark that image. And I wept when I watched the dance scene with Nick and Mary. Then, talking to Pedro and Galo, one could say, “Great job guys, I cried as a muffin thanks to you, as we say in Spain.” Honestly, there were very few people who are not impressed. They managed to do excellent work. It was a very tough job because it is a pretty ordinary story on a low budget and they managed to convey a lot of emotions and a lot of quality.
How are audience members reacting?
Many people have sent letters to us, written us messages, and reached out on Facebook, through the websites of 4 Cats Pictures and Core Animation. It has been amazing. I have never received such a large income response to any of my films. This has been extraordinary. They are mostly fascinated by Nick’s character in the film and how he is portrayed. They said it was indeed very, very heartwarming step.
Do you think it is frustrating that Buffalo Kids has not been released in the USA market yet considering its success in Europe?
I mean, I’m a dreamer, and I really attach my hopes that it performs well in the UK and that could open up the Anglo-Saxon counterparts, because I consider it to be a film that will be accepted by the US market. Because it’s a real story. It is not a constructed narrative. It’s not: ‘All right, I’ve got a point that I have to make.\’ No. It is not about that. It is about what the story has to offer [and this is why it is completely different]. When I show it to American audiences, American friends, I tell that they have quite emotionally reacted to it. So I hope we will be able to have something there.
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