I have a plethora of questions I want to ask Anna Terrazas: about "Roma," about "The Deuce," where I later, to my dismay, learn she won’t be returning for the final season. She has just had a baby.
"I'm in Mexico City. Let me know what day will be good for you."
"I'm in CET, Central European Time. Are you on Skype?
"We can do it on Wednesday in the afternoon or Thursday morning. Maybe Skype will be good?"
"Your afternoon? There's an eight-hour difference. My 8 a.m. and your 4 p.m.?"
In the end, the schedule flips. Terrazas has to take her son to a doctor's appointment at 5 p.m.
Even while on location shooting, she reveals nothing about her next project. "Eh, what genre?" I ask. I tried. She gives me the silent treatment, zilch, nada. And yet, the conversation drifts comfortably back home. She is glad to be in the city where she was born, after growing up in a tiny, mountain-enclosed town an hour away. Mexico is home, even though she has lived, studied, and worked abroad.
After an idyllic childhood, Terrazas moved to London to pursue a foundation in Art and Design at Central Saint Martins. By 2003, at Parsons School of Design, she was described as "dazzlingly talented," with observers anticipating what the future would hold.
"I start working for Bill Blass in fashion, then I decided I wasn't really evolving in fashion and I wanted to do something else," she says. She returned to Mexico, where a job designing for the theatre opened a new door. From there, she met a director and began working on commercials an experience that eventually led her back to New York, where she landed work on "Rudo y Cursi" (2008). "And that is sort of how I got into the film industry."
It was in film, Terrazas realized, that her creativity truly found its home. Her love for motion pictures soon eclipsed the theatre, setting her on a path toward costume design that would leave an indelible mark on cinema. Her work on "Roma," clothing Alfonso Cuarón’s memories with painstaking authenticity, showcases this vision.
"Cleo was his Cleo. His mother was his mother," Terrazas says, capturing the delicate balance of realism and intimacy that the film required. Every stitch, every fabric choice, became a vessel for memory, identity, and emotion.
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