How would you specify your work? What characterizes your film?
Stop Motion animation, I really like being able to work frame by frame and create something from scratch with thousands of images. It is something that has
fascinated me since I was little. I know that there are much less complex methodologies when it comes to animating, but this one, in particular, makes my mind escape and I can work calmly, it could also qualify it as a kind of therapy for my psyche. The colors, I think that this is something very noticeable in the film since there are only three. Black and white represent light and darkness, extreme dichotomous thinking of good and evil, emotional catastrophe or euphoria. And red, in addition to representing the blood for which we are alive, is my fetish color. It is a color for which I feel a feeling that is difficult to describe, like loving a person, like an extension of my being that extends beyond my vision to shape other shapes. Later, the scenes fluctuate between calm scenes and more depressing scenes, some even where the monologue speaks to the viewer from the first person about the internal dialogues that inhabit the mind of a suicidal person.
Why did you decide to become a filmmaker?
I think that was the next step I needed to take. I used to only work as an illustrator and I saw the images too static, I needed to give them life in some way. And this is a bit curious as well as funny. This is my third job, my second job, Seven Flavors, has been awarded numerous times and that makes me proud of it. But in the past, I was in animation school because I really wanted to be trained as an animator academically. But let's say that I have a somewhat difficult character to work in a team (there are only two of us in the team, the sound technician and composer and I, who play the role of director, producer, animator and illustrator). So after having some kind of misunderstanding with the school management team they decided to expel me from the school. And they told me a phrase that every time I
receive an award I remember it "you will never be able to dedicate yourself to the world of animation." And because my passion was so great to learn, I started my
self-taught career in animation. In order to be able to fully dedicate myself to it and that was what I got. Maybe the road was harder, but the end is the same. I did not have the support of any academy or school when it came to doing my projects and that is why they have also rejected me in some festivals, but I will always keep my head held high to be able to say that I have come this far alone and without anyone's help, more than the effort that my soul had to be able to produce animations.
Who is your greatest role model?
It's going to sound like a cliché, but my maternal grandmother. She was a single mother in times when Spain was under a dictatorship and she raised six children
working without a husband, when most women could not work. She was a nurse at the military hospital and she was a woman who never, never saw her cry. She
always faced problems without fear, she was the head of the family and she made it known. Unfortunately she died a few years ago but I still talk to her every time I
go to the cemetery and I tell her everything about her. I am a person who is not Catholic, I am not even baptized, but with my grandmother I do feel that she is
watching me from somewhere else. She taught me that you have to be brave in this life, fight for what you want and do everything possible to get it. And enjoy life,
enjoy it a lot. Because we don't realize the value she has until you look close to losing her. That's why you have to enjoy every second doing what makes you
happy and that's why I became a filmmaker.
Which movies are your favorites? Why?
Satoshi Kon. I love how he works on mental health at Perfect Blue. I also really like his work Paprika and the anime Paranoia Agent. Tekkonkinkreet (both the manga and the movie), the movie is by Michael Arias. I have a kanji tattoo on my face for this film, so you can imagine how this film influences my life. Apart from animation works, I really like the films of Haneke and Carlos Vermut, especially his work, which was one of the few works that managed to move me inside with his magnificent Manticore. It's very difficult for a movie to stir my feelings, I think they hadn't been able to for years and with this one, Manticore, I literally cried in despair. A true masterpiece.
Where do you look for inspiration for your films?
Of the experiences lived and the darkness that one day I lived. Especially for this last project, but I always tend to look for inspiration inside my head. Sometimes
when I'm stressed, very stressed, there comes a level where I have hallucinations and I got used to them so many things I do are part of hallucinations that I had or
more developed. Reading also helps me find inspiration, watching a lot of movies (I try to watch a movie every day before going to sleep) and above all trying to
support independent filmmakers, which I think is where we often miss out on audiovisual gems because we can't see them online. platforms like HBO or Netflix.
How would you rate current filmmaking?
It is changing, feminism is gradually being introduced into the cinema and it is something that we can appreciate in many movies or series where the protagonists
are no longer just men. Also the inclusion of racialized people, people belonging to the LGTBQ collective. As a person who also belongs to the LGTBQ collective, I am glad to be able to see movies where the protagonist is gay, thus normalizing other types of affective relationships on the big screen. But I would make an aside and bet more on streaming platforms for independent cinema and not so much for high-value productions. I think there is a gap that continues to divide the second-rate filmmakers because they don't have enough money for better marketing and the first-rate ones who even have subsidies from the state.
What are your next projects?
Finishing the Sound of the Shadow long film, which would make the short then it would be kind of a teaser. The project is to take it to a duration of about 80
minutes to finally be able to present to the public my first film produced solely by two people. It's been a pretty fun and unfinished adventure. Because the short is in
English, but the film will be in Galician, which is a language that is only spoken in a region in the north of Spain, where I was born and grew up. One of my mother
languages along with Spanish. During the Francisco Franco dictatorship (1939-1975) this language was prohibited and there are still people who have this language and the use of it very stigmatized, that's why I want to do it in my native language. Because I think we need more audiovisual culture, even if I later subtitle it into English or other languages. I want my mother language to reach other countries and take an interest in it, that they know that we have a culture other
than Spanish, that Galicia was mistreated for years by the dictatorship but like a flower it blooms again even after years has withered.
Sound of the Shadow
The animated short talks about the real pandemic experienced in Spain since 2020. The whole world is suffering from an economic crisis, but also a health crisis in the field of mental health. Sound Of Th Shadow is the reflection of pain, anger, frustration, the blood of thousands of people who suffer mentally and many commit suicide and people who suffer from mental disorders.