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The director Belén Macías is an example. A woman made for the film industry has been forced to develop most of his career in television. The success of shows like Lady , Repúblic ao Princess Eboli have contributed to the continued employment not cinema gave him.
“On television contract work with foreign scripts, but it gives me stability. Cinema is a passionate work ” Belén Macías ensures The Confidential . The director finds many differences between the two media: “The TV is fast paced and fragmented, while the tempo is slower film” he says, emphasizing television experiences riskier Crematorium , which admits have a lot of respect.
On the future of television fiction also seems to have answers, and believes that they should seek more specific audiences to “find a smaller audience but faithful “, but has clearly dependent chain, as” free TV from there to go to the people as possible. “
Dream France
Following a successful film debut , The My Prison Yard , a film produced by the Almodóvar brothers surprised in the official section of San Sebastian Festival 2008, the Spanish film director returns to Marseille . A project that has been slow to materialize six years and speaks the reunion of a girl (Noe Fontanals) with her biological mother (Maria Leon ) and the journey they undertake to France in search of his father.
“It has taken a long time to finish the script. I’ve done in my free time with Aitor Gabilondo , with the time we left our TV projects, “comments on the development of the story. An idea on which worked for over two years without receiving anything in return. “It’s a shame that no aid to the process of writing a script,” criticizes the director.
Macías highlights the difference Marseille with his previous film, and justified as a result of the difficulty of making films in Spain, “ is not a genre film to use , which is very difficult to sell in the halls.”
The project interested at first to a private television channel, began to take shape production, but later froze. After months of waiting, got refloat Marseille through participation Gerardo Herrero and his production Litmus Films.
Director think it would have been easier with more aid “Official institutions should provide more help to the sector. pushed. In the same way that other Spanish industries need to be subsidized, cinema too. ” Stresses the French model , where film culture is taken more seriously: “The cultural exception is possible, but require effort on the part of institutions”
women as actors
Incorporating María León and Toledo Goya , with early Fontanals Noe (a girl that selected by casting over 600 people), facilitated the development of a low budget film that had to be shot quickly. “ Were only six weeks of shooting , which prevented me to have many things I would have liked. Lack of time forced to be more organized, use two camera units and have little time to rest. “
To Belén Macías is very important to assert the role of women in Spanish cinema , “a minority that represents only 9% of the industry and must fight for a greater role.” consider partnerships such as CIMA, with whom he has collaborated are important initiatives that help women to organize and assert its position in the film.
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