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What happens with posterity?
because, fundamentally, the Westerner stops enjoying the public's support,
also the level of life in Almería, luckily, because that denotes that the social and economic
growth is evident in this increased province, and that causes it to no longer be so profitable or
so economically favorable to foreign producers to come to run here, more other series of factors,
but those are the fundamentals, other collaterals, because some studies have never been made here
of quality where the filmed material could be revealed and run indoors, also the
black legend that I do not like to give in it, because it is to fall into a manid topic that does not matter
at all that there were many admirers who committed abuses, it is true that there were admirers who committed
abuses, but also external people took advantage, in a certain way, of the negative conditions
that there were here and economic, well, to express more than what was honest to the people who
worked in the cinema, then all this cumulus of circumstances, this subtle cocktail that
towards the middle of the 70s and before the end of the 70s, because the number of
filming descended in a tremendous way compared to the previous period.
Well, Almería is still having the label of film land, but I really do not consider it to be a
film land, but rather it is a decorated film where they are wheeled, they have been shot and
surely many things will continue to be shot, then, well, within that point of view, it is an
advantage to have the natural spaces with the light of Almería, which is precisely what I think
it has brought and continues to bring to people, because there is a denial of the natural wealth that there is
in Almería in terms of locations and variety of them. On the other hand, I think it is a
drawback that it can still have the label of film land because the customs are difficult to
change, the mentality of the people is complicated to change and I think that a little of that mentality
that has made or stopped doing great productions here is the same that we also find,
that is, it is very very common that when someone takes out a camera it quickly sounds the symbol of
the dollar in the head of many people. Almería is a film land and the culture in Almería is not understood
or the essence of Almería itself in the last century without film.
The issue that we are, as always, in a film land, I do not know, I do not know, the truth is that I do not know if that can influence or not, I
think it is not, I think it is a matter of the mentality that there is here in this province of supporting
the film and that it has fed that there are people who want to dedicate to this. For example, in the world of
Corto Almeriense, I think that there is a golden age, there is a lot of talent, there is a lot of
desire, but also true that people who do it a little for love, that people who do it in
plan, I do not like the word to kill, but hey, in plan to kill. With the democratization of
technology, it is true that more and more young people have access to the minimum means to
make small productions, low budget, low-medium, non-ambitious in terms of distribution and
markets, but it is also true that that facility negatively reproduces the quality of the product,
in both terms, they are not consistent with their intentions regarding the means that they use
or the qualities that they really deliver in the end. There are many possibilities to do things, if it is true
that it can be divided a little between the more professional in the sense that you want your
product to be a business, you want your product to have an exit and somehow compensate you and
perhaps if it is true that there is another version that is more like a little because well, I have this
team and I am going to make this product, but I do not think that is wrong, I think it is good because with all
it is learned. I think it has been fundamental also the work that David de la Aguila and Alberto Gómez have
done with the foundation of their 29-year-old production, especially because they have
established a way to make movies through the short film and documentary, in a professional way.
How could you influence the fact that there is a producer here in Elmería? Well, I guess it
gives people the courage to see that some people have been able to live from them,
because we have lived from the company, we continue to live increasingly worse,
the truth is that everything has been done because the conditions are not the same, but to see that there are
people who have dedicated themselves exclusively to live, to produce short films and documentaries,
I guess it will encourage other people to say that maybe I can do it too. If it is true that in the
last years, perhaps due to that flow of people working in the sector, that between the
producers, between the technicians that we are there linked, if more relationships are emerging,
an immeasurable interest is produced by each project and the help between us is constant.
Yes, it is true that there can also be differentiated as groups, that is, I do notice that there are certain
categories, but also antiquities in terms of the sector in the province and really if they are
a little different. Well, I think that each director here in Elmería goes to each one in their
account, but because each one has their own personality, to create their own project,
they have their own mission, but we are aware that we need help from everyone. So, for example,
when I realize my project, I have not doubted in asking for help from any friend who is doing
the same as me. And in that sense, yes, and if it is that at the end of everything we are left with,
if not, we help each other, who will help us? I think that if we can talk about an attempt to
recover from the audiovisual sector, in the dates in which we meet, what happens is that sometimes
those efforts are shown to be relaxed or are insufficient or long, it is seen that they are
ineffective. I would be stupid to deny the past that there is, but what I know that is true,
what I consider right now is a slab, a slab that weighs a lot in the sector, that weighs a lot
in the institutions and that it would have to be disembarked from much prejudice in terms of that,
to make the sector dynamic, because one of the problems that I see in the sector is that there is no
business fabric around the audiovisual sector, especially dedicated to the more professional sector,
the more defined sector, advertising, and the sector that can, and that in fact demands the
higher-end systems. Well, I think that as a whole, because for that to happen, there has to be a market,
there has to be an infrastructure that in fact already in Marguerite, in Barcelona, every time there is more,
that is to say, the people who are formed here, I suppose, where they tend to be placed if their
intention is to continue living in Almería is on local networks or on local televisions or
in the media of local communication, where creativity is quite zero. So I do not know, I imagine
that there is another type of advertising communication companies, especially that allows you to
through advertising, videoclip, to be able to do other types of more creative things.
The most recurrent exit that a boy or a girl who likes to do is to work on a
local television, in Almería is the recurrent exit, that collaborates with a producer or
to build your own producer. In a local television, well, you see, 99% of those who had
closed, my colleagues are working on other things that have nothing to do with what
was uploaded until four years ago, and those who have the producer end up working, making
vodas, vodizos, business videos or something like that, those who are lucky to eat with that,
of course it is difficult to maintain their creativity with something like that, right?
I think that if we are providing something, we are not recognizing enough, nor in the
way of support, that is to say, the fact that we do things that have a certain repercussion,
and are really interested in someone from Almería, well, I would support you so that we can
do more and better each time, and it is not being like that.
It seems that sometimes each of the different administrations was on different paths, and
also, often, the private initiative does not end up hitting the table in the right
way to mark the path to follow by all these administrations. I think it is about
a process in which we must now be optimistic and where we have taken steps, I insist, very
important, but that we are in the right time to already configure a kind of route sheet
that marks the path to follow and that the efforts of all those agents are still being made,
on the one hand, of the private initiative, on the other hand, of the public administrations,
and it is fundamental, I always say this launch of this idea, it is fundamental that the
people of Almería, the citizens, be the first to take that into account, value it and
re-indicate it.
I, as a producer, I have to thank the people of Almería, because for the productions
that we have been able to produce in the past three years, we have always had support
from the people, both at the level of figurations and theater, as well as from the neighbors.
That is, I remember, I was shooting 10 muñecas at five in the morning, and that a neighbor
told us that he would prepare us coffee, and that, well, especially when you are with a
group of directors, they do not give a damn on the street, they always thank you.
For example, compared to Madrid, where I am used to shooting more, here I see that people
like to take the shooting much better, they are more involved, they make everything as easy
as they can, they leave you things, they leave you houses, they leave you equipment, things that
you do not like, people are already a little scared of so much shooting and they do not give you
so much ease.
I think that in the last years, despite the fact that things are going worse, in terms
of economy and so on, I think that the cortometrajista, the filmmaker, the lover of the sixth
art, is demonstrating much more than the institutions, much more.
I think that we will always be short on public institutions at the time of power, first
an industry that is very expensive, an industry that is very expensive and that, on many occasions,
the citizen does not perceive himself as he has to perceive himself, or the talent that there
is behind it is not known, and all the work that there is at the time of making a production.
If there is something that helps us a lot to get ahead of our projects, they are the
public help that has been, by the way, if we talk about the provincial level of the
Elmería deputation.
I suppose that the Elmería deputation is not all the deputations at the Andalusian level,
not all the deputations give money to producers of their provinces or producers of their provinces
to produce cortometrajes or to produce documentaries.
I think that perhaps that is the mentality of that administration, of the sub-functionaries,
of the people who do this type of initiative, because I suppose that this is the story that
we have, related to the cinema.
It is possible, it is possible, direct taxes, and in the end you realize that if you have
given ten, you have six left, more or less, six and something, but they are not ten.
And sometimes, with the smaller songs, like the three thousand layers, you have to have
something, but really what you have is how to take care of your fingers, and it is a shame
that the quantities are lost, because with twenty thousand euros you could have given two or
three projects a little bigger, because I would have preferred to give more projects, as
it matters to me, that in the end that is only redundant in the quality of the production,
that is to say, it does not mean that what is done is bad, it means that what is done
will not have great means, it will not aspire to be very visual.
What I believe is that not only can a project be done with subvention, because that somehow
makes it more comfortable for you, perhaps that I do not think that nobody would do that in Almería,
that I think that everyone is very responsible, but I always think that subvention is a fundamental
help, but that you also have to put, that you have to look for private financing, or
you as a producer, or other producers.
The ideal, I think, is that more than subvention, the sector would be subvention or favoring
that there would be a real industry around the sector so that each one could look for life.
Perhaps we have not moved too much, perhaps we have been very slaves to subvention,
and we have not moved to the private companies, perhaps we have to move more and look for,
although I am a pessimist, I do not think that at this time, I do not think that anyone
wants to support such dangerous investments as cinema, where it is very difficult to recover
what is invested.
When you have managed to raise awareness to private companies, to invest in cinema,
because in some way that is going to bring benefits to you, little by little you begin to create
a mouthful in which people trust and participate economically, or by supporting through hotels,
restaurants, etc., that way of producing, right?
I think that the role of the local administration is becoming increasingly relevant, but at the
same time complicated, right?
There are many factors that come into play, and I think that sometimes there is a certain process
of bureaucratization that makes things difficult, so I think that on the one hand they are trying
but I have the doubt of whether they are really achieving it.
It is clear that you have to try to do things right, legally, but in the end there are so many
obstacles, and I am very sorry that you do not agree with me, we always have that discussion,
I tell you, come to the dark side of the guerrilla, but to me those times of hope, of having
to depend, apart from that I have that responsibility to see if this story is a whim of mine, because
you have to pay it to people.
I am attentive to every public contest that there is, both at the national level as a
Andalusian level and as a provincial level, and of course, they are cartridges that one has
to take, I am not against that they are given that help, what I am against, perhaps,
is that those helpings are so necessary, really, to do it.
What I would like is that here there is an industrial entramad in the film, in which
with collaborations or with a much lower cost than that of bringing a team from outside,
then anyone can face the project of the embarking that it was without having to depend
on that help.
There are a lot of people who are here, each one wants to dedicate to this, who have
material in a province, because that is our public help, the exchange of favors that we
can do each one at the time of doing any short film, whatever, the availability that people
have, because they want to learn, because they want to get into the
farms that we have already formed. Currently, the situation that is happening in the province
of Almería, because really there are a lot of people who are having a very bad time,
who do not even have to start the month, I do not say finish the month, and therefore,
when they see many people who have their pension for film activities or cultural activities,
because many times they do not understand it, but it is a very important element of generation
of wealth and that it can repercute in the benefit of all the admirers, especially a very
important element of the generation of interior wealth of each person.
There is a moral responsibility to defend the culture, I think that people are not defending
the culture as it should be defended, the culture must not be politicized so much, to the
level in which it is being politicized, because that will not bring us anything good, nothing
good. Of course, the culture must be a red-handed weapon to defend certain values,
but the result is that again we do not talk about wrong, not about the process, not about
the process.
They understand that an administration is a company, there is a company that has to have
the benefit and the culture does not give benefits, never given and never will, because there is
culture when there is benefit, there is culture, there is the voice of your love and then it
will not be the voice of the creator, it will be the voice of the politician who is suppressing
you.
The messenalgo ended in Venice, at least for the part of the administration, it does not
interest the administration, the culture, for nothing.
There are cultural projects to which a lot of presuppositional parties are dedicated,
which does not reach so many people.
There are institutions that decide to spend public money on x things, the best thing is that
you have to stop thinking, stop thinking about who our young people are, where they want
to go and what are the tools that we have to give them, but I see too much jungle, too
much jungle and the jungle already knows what happens, the law is stronger, is not it?
The public institutions, the public entities, we have to bet on our province and we have
to be a reference to the issue of training in this type, it is true that the private industry
or the private organizations are betting on a stronger way than the public institutions
and therefore that is a good news also because a private company that starts and that can
bet on something, on the formation of young people so that they can be dedicated to the
cinematographic or audiovisual issue, that is very important for the province of Almería.
In the last 14 years, since we are 19, it is called school of image and sound, that is
how everyone told you that you know it, here in Almería, and outside of Almería, because
we are a school that breaks borders, breaks borders because of the anxiety of the
own teachers of the school, because of the own students, where we are a great family.
As for the formation, I personally have been a teacher here in Almería for several years,
also this other year outside in Málaga, with which I can also compare a little of what
is inside and outside and in that sense it is true that I consider that the few initiatives
that are here in the province at a private level, public, in the courses of formation that
are held together by Andalucía, for example, in the best of cases, they are short.
The people who realize that they like cinema sooner or later end up going to the province
because we do not have a formation with specialist teachers who are going to teach you that they
have had experience in short films, that they are going to teach you in every sector of the
world of cinema, we do not have a rigid formation.
For example, I have done much less than in the Almería schools, there is nothing related
to all that cinematographic history that happens here, I would not say a complete or
concrete signature, but yes, that part of when history is taught to them, that it is also
taught that history occurred here, there are enough elements, there is enough documentation,
to be in the own films, so that all that goes by introducing, first of all, the children
who are of vital importance, we who are already several hours, it costs us more, then
in the young people who fall in love, who know that the importance of what has happened
here for years, who also use it, who know that it can be part of their future.
We have a great advantage, we have to be at the last, in a public training, because
unfortunately it is not usually at the last, because there is a protocol of performance
before buying a team, you have to do a project, that project has to be tested together, it
has to go to another team and then there has to be money so that that team can buy,
two years have passed and it has been only this, and the software at 6 months is old, here
in the school, no, here in the private schools, in the majority, the ones that we worry about
because the student is always at the last, it has to be invested, there is a lot of way to
remember, hopefully the training of the people who work in audiovisual, that each time more
and with an incredible strength and with a wonderful spirit of people who are very young, with
a lot of desire to work and with work capacity, because they could support more, specifically
in the training, not only technique, but in the artistic training as well.
I think that the training is clearly deficient and I think that if really the politicians
are interested in investing in cinema as an industry of the future, actually in the
present, it is not.
One of the first steps that they should take is to try to have a good school of cinema
with more professionals, with directors, well-known, and above all, the training that is done,
be it a platform for launch, so that you are really interested in the medium, be good,
you can go out to study a cinema wherever you want, but a good school with a minimum base.
I imagine that we do lack a better training, but just as it is necessary that they can live
here, good professionals, that they can stay in Almería all year working and being
good camera operators, good photo directors, good sound technicians.
It is that, as a whole, there is a lack of private initiative, there is a lack of private initiative
to create a, I have never thought about it, to create a small school of scriptural writing,
for example, of creation of projects, in short, of so many things that are not done here.
It is necessary to combine an adequate training in our province of Almería, to enhance
that cinematographic training in the province of Almería, but also offer that opportunity,
that opportunity to be able to develop, I insist, that creativity or that talent that
has a lot of Almería in it, and that they have loved it, and allow me the expression,
since they were little, their parents, their grandparents, everyone in the province of
Almería has something to do with the cinematographic industry.
We always have the focus, because we return to have, at least here in Almería, a new
and allow me the expression, a new digital gap, in that sense, that is to say, not everyone
has something to do with it, in this case, not everyone has access to this school, okay?
It is a private school, it is a school that has a cost, and not all parents or not all future
students can allow me to access this profession.
I think that in the end, the local talents, when they think that this is their future,
and when they think that this is more than a hobby or a hobby, to be or want to be
an officer, they end up going out, at least going to a bigger city, to a Seville, to Madrid,
out of Spain.
If they have returned to Almería for a short period of time, even realizing that here they
are taking time, that here they will never find work, that here what comes is always organized
from outside.
The professional who really wants to dedicate himself to this, and who wants a first line
formation, has no other option, is that the option only goes out of the province.
I think that the Almería & Cortón Festival is essential for what has happened, and for
us to do things.
It seems to me that if in the Almería & Cortón Festival we had not done anything, because
in some way it is like a platform that we see close, right?
And it has motivated us, it has motivated us a lot, to me and many people I know.
Well, above all, in principle, what it does is incentivize people to go out and shoot,
whatever it is, because it gave me little, but first of all that, it makes it develop a project
and it has a reason to take it to Cabo, so that later you can see it in a place like
before the Cervantes, now the Maestro Padilla, right?
The Almería & Cortón Festival, I think it helps, I convinced them, that is, the Almería
& Cortón Festival helps, because for the people who make a short film, it is a platform
or it is an escape to be able to exhibit its short film, that is, it is not the same as
a short film and that in your city or in your province you do not have a festival and you
make a short film and you have to put it in a pub or in any place that is going to be very
few people who see it, that in a festival that is perhaps already being awarded, many people
will be able to see it.
So, I think that motivates them.
What I can talk about, from the last edition of the festival, which assumed the reputation
and that changed and saw positive things, also other negative things, it was not all good,
but it did surprise us for some things.
And I do notice that they gave us a little more, not of importance, because in the end
every year the official section always has a few short films, there is always a
cube for us and well, obviously that was still the same, but it is that maybe a little
more direct contact with the Almería, but I also saw that it was lost precisely because
what Almería & Cortón had, which was very good, which was the coexistence a little
against the people who came from outside and the Almerías, and that did not happen this year,
but it did not happen because due to the reduction of the budget, almost nobody came from outside
to tell us no one.
That is why the platform came out when I thought that Almería & Cortón was not going to celebrate,
a platform came out on social networks, that in the end everyone was going to work free
so that Almería & Cortón would continue to do it, and that is for something, when someone
works or offers a hand of free work, it is because in the end it is worth it.
In fact, what you want is to foster the universal culture, to foster the cortometrajista, to serve
as a platform so that young directors can reach the long-term, I think that is the
goal of a festival, which conditions at a glamorous level, so obviously you cannot
cost to bring these personalities, but it will not affect anything, nor the quantity, nor the quality
of the cortometrajes that we are going to project.
I hope that the quality of the cortometrajes that we see continues to be maintained, that
really is what I care about, and that is what gives Almería & Cortón the one that is a
well-known festival in the whole world, more than being more or less activities, because
maybe there will be less budget, so it will be more difficult, I would never let
to have a very firm criteria when selecting.
I mean, we can not put anything in it, because it is Almería & Cortón, I think it is not
against ours, not from the image that we also give, and I think there is a good song
that is doing things of quality, and those people must be the scapegoat of the new generation
of cortometrajes from Almería & Cortón.
We are going to be of great help to the people who come from abroad to bring their products
because they know a little about the material that our province has, but we should not
take advantage of that either, we should not depend on that festival.
And that I take a person from Almería who knows how this sector is here, who also has
a school of formation here in Almería, because it seems to me that he is the person indicated
to take this festival.
The proposals that I proposed to him in that contest, almost opposition, to be able to
direct Almería & Cortón were also definitive, and they said, well, Luis Erano is not going to
direct Almería & Cortón because he does not like his proposals.
I am really robbed by cortometrajes, I am really robbed by people who are going to
present their work and I think it is very important for them to make Almería & Cortón work.
The people who work through communication, we have the obligation to open our sections
of the newspapers or our space on television or on the radio for all the people who do
things in the world of audiovisuality in Almería, from people who already have a very important career
as it can be in life.
They make people who are starting, because life also begins one day, so I, for example,
as a journalist and I think my colleagues also, we are very excited when we look at someone
who is his first short, one of his first works, we support him through an article, through
some photos and know that somehow we are giving to meet that person, which obviously
then if he is going to get far away and he is going to be able to get to know him for his
work and for his merits, not for ours, but somehow to know that you can contribute
to that, to communicate those first steps, it gives me a lot of joy.
As a means of communication, if they want to calm down the earth of cinema, because it also
benefits us, it benefits us all.
There the journalists, especially those of us who are in the day-to-day of what happens
in the city, in the province, because I think we have to try to achieve that, to spread
the work that is done, to highlight the Almeriense talent, to raise it and if one day
that gets to really fall in society, then it will be her, the one who continues to fly,
then, to put it in some way, that flag of the Almeriense audiovisual.
You can make cuts or you can make series and distribute them and ask for a space in
Almería to be able to project it and call it means of communication so that the next day
they appear in the press written or digital and we all give our palms on the back
as if we are doing something that mediates and that is worth it.
But I think we have to go a little further, because if not in the end everything is left
in a nucleus of the people who do it.
There is more and more sensitivity in society and especially in the media towards the
shootings that come as news, because it is rare the day that there is no news of cinema
in the press, but we continue to make the same mistakes, they continue to come a little
further to their air, as much as it is talked about at the end of the office, but really
each one is working their air and a joint offer is missing.
I think that every time anyone of us sees Almería in a audiovisual product, in a movie,
in a announcement, in a music video, they are proud of it, they are happy, look at that,
Almería is on my beach, this is the road of Cabo de Carta, this is the church of the
Salinas, I don't know, but I also think that many of you stay there, that is to say, look
how well they have been shooting here, but I think that there is no need for communication,
I think maybe I'm not mistaken, between society in general and between the people who make
cuts in particular.
It was very fascinating the number of people who offered voluntarily, both technically
and at the level of actors for this church, that at that time we were coming down
and I thought it was a great idea to take advantage of all that cinematographic talent
there is in Almería to try to make the audience see the problem we had with the church, but
that it is a project that would be used in many other places in Almería, places that
in fact leave it from the institutions, leave it from both the meeting and from the meetings
and others, such as the Cortijol fraile, the arcazaba that is made by that area, there
are many places in Almería that will be recovered and perhaps the rodalgo with specialized guests,
with actors, with technicians, it is not something that is going to save it, but it is going to be
an escape for people to see the problems we have.
It has improved a lot in that aspect, in the tourist issue, in taking advantage of the
cinematographic history so impressive from the province of Almería to attract many
visitors here who want to know the province in a different way.
Today we are realizing that the service sector is one of the basic pillars of our province
and you have to offer, evidently, to the Almerians the service sector so that they can
get rich, they can create employment for the Almerians of something as important as the service sector
and the service sector and the cinematographic industry gives services, the cinematographic tourism
gives services and all the province of Almería is benefited, absolutely all the province of
Almería.
In this magnificent building that we found, it was called Casa de la Torre, Casa del
Cine de la Actualidad, it is true that it was also abandoned for a number of years and
at the beginning of the 90s, more or less, the Almería City Council decided to buy
this building, what better purpose it has been given than to convert it into this Casa
del Cine so that it can give homage to all that cinematographic history that the province
of Almería had with the cinematographic industry.
It was rented out in the 60s, 61 approximately, by the producer Columbia Pictur, who was
the one who finished the shooting of Loren Taravia, so the first famous websites to
go through this house were the protagonists of this film, such as Alec Guinness, Pito Rotul,
Anthony King and Omar Charif.
The Almerians, I think, even the Casa del Cine, know it a little yet, they do not end
up promoting it. We also spontaneously made a page on Facebook that is called Amigos
de la Casa del Cine, where we put any news that can be reflected on that page, any
activity that is done at the Casa del Cine, but the truth is that it is a bit strange that
we ourselves have more promotion than the institutions themselves and it is a bit weird.
To promote the film in Almería, here the good, the bad, is not about that, it is about
the initiative, that it is clear that it will not come, that has already happened, now we have to
show that it can, it is that not even that is promoted, it is that the people who are not
here in Almería even think that this is a desert and nothing else.
The path of fame can also be a license so that Almería is also making a hole and
that they know the people who come from abroad, especially visiting, and the Almerians themselves,
that Almería is a land of cinema and that around here and that Almería and here have
passed many stars of the cinema and many people who have linked their film career
to our province.
The birth of Malcaminos as a company is a mix of tourism movies because the two
partners that we put in the way of the company, which are the ones that we are currently working
on, we dedicated ourselves to tourism at that time, but previously it had already had
a lot of relationship with the world of the Almerian cinema, we are a reference point,
but it still does not have this new tourist segment, the importance within the context
of the province, which I think corresponds to it and should have, but that we are sure
that by walking the time each time it has more logically, then you have to commercialize
in the commercialization, that is to say, that image, the image must be carried out through
media, now with the internet, it is quite simpler, but then you have to go and present
the product within the provincial context and that we cannot do with small companies,
that has to do with administrations and from there they do and put on the stage and we
do what we do is work on it, I am clear that we have an immense resource that is
without putting in value and that fortunately of the administrations is currently beginning
to walk that path, but I think it could be done more and faster, because I started to
realize that we really had forgotten something very important that was our legacy and from
there, well, we started to work by proposing, we did the first touristic touristic tour of
Almería and which consists of five more generic cartels and from there we went
adding things, well, I really did not realize that this really has an important value and
that more and more people come to visit what is the area, this is a town that has its own
community, in which you can walk, you can ask the neighbors, you met them and they have
a little direct contact with the past, the mini holibu is a great center where it has
support that people come to enjoy, that is, take care of it, this plateau is one of the
things that makes me feel good about all the history it has had, about all the people
that has passed through here and feel me inside this, because it makes me very excited, it is
profitable with effort, I do not know how to sell, I do not know how to get out, I do not know how to
get out, I do not know, people believe that well first, that is, the concept of first getting
the tourists and then they make the story, not the story of the one who has the driver who
arrives to the tourists, we work with tourists, but I do not know, we are always shooting when
they make cuts, they make a piece of film when they make a advertising post and we are always
with clients and when they see it shooting, the nice thing about the park is that it has history and that it
continues to create history. Well, here it has been a few years since nothing was shot and now we have
two or three years that something is being done, they have already said that it can be shot again and well,
they are coming with things, but what is the theme of the film? I have worked in advertising posts,
they have done here what is the company and all those things, but what is in movies, no, because
when I started, what I like is that it has already been shot in this area, there will be people, there are
official organisms that make, among other things, what they can or there are people who become more, but I have never
seen a force, that is, we have four things and we foment them, we move them, we push them,
there is no capacity to see beyond, it has been seen as present, well, maybe there are other
focuses that I have to attend because many things were missing at the level of infrastructure in Almería,
but we already have them or we already had them, now there is crisis, there is crisis, but 10 years ago we already had them
and we were very well, ergonomically, from Andalusia, but they have not been able to think in those 20 or 25
years that they have to go through here that investment of a result and why? Because at the local level,
every four years, politicians change, then who can do a job that will inaugurate another
politician within 12 years? The investment to start an industrial future of the audiovisual would
be to make investments that perhaps do not have any political value in the next decades,
for example, because of a number, in the next 10 years they do not have any political profitability.
Knowing that Almería is a film land that has a lot of culture with the theme of
cinema and that was missing, there was a kind of business vacancy in this city of this kind of
business and it was one of the opportunities that we had to be able to open, it was one of the ideas
that we had to open. Well, what we have done was to start a project, an idea about
art services mainly and looking for the theme of what name to put, something that was representative
of the province and that you had a trajectory not only for the local public, but that you could
transcend borders, because that occurred to us the theme of cinema, which one remembers
from years ago the films of the Spaghetti Wester and when we arrived here we found out that
they were shot in Almería, because that marked us and gave us a sign that if we were
coming from outside we knew it from that point of view and the attention was calling us, because we
believed that it would be a good name to provoke the same reaction in the public. In addition to dedicating
to what is the pure and hard cinematographic tourism, one of the facets that keeps the company
alive and very alive and because of what good part of the year we use our resources as a company
is for cinema, for audiovisual, that is, our work is to locate for directors places that
they need for their film and from there to facilitate them, for example, to put the
documentation of the shooting in tune with the responsible people of that theme in the environment
that the shooting is possible, that the inexperience is eliminated, that things are eliminated that
could not be done and that in the end the shooting because they have it very easy, they can get to
a good end and be able to shoot without damaging these wonderful scenarios that we have, that we
cannot afford luxury for any type of shooting that no one has damaged them. On the one hand,
fomentate on your own and create a series of a series of companies and services that can
satisfy the demands of any producer who comes here to shoot and in addition it is at the same time
retroalimentary and it would be a playful condition for international producers or
even from another point of Spain to say come on let's go to the media to shoot because we know that
there is an infrastructure there, sufficiently important, wide and competent as for us to be able
to approach this project without any type of problem or extra concern beyond what is
complicated in itself to shoot a movie. There have been very few of them, they managed to do the
first place on the route that has previously been mentioned in the film industry, it has been done
a small work for part of the meeting recently about three years ago and well the truth is that
lately we are trying to make a small museum also, let's say, taking advantage of the fact that Eduardo
Fajardo is very close to this area and has a lot of interest in the legacy and giving pictures and
in short, the truth is that it is quite a job of a long time and of a lot of work and of the
administration, the truth is that at the moment they are not at work. Of the public institutions, we have
not received any kind of help or subsidies or anything, that is, all the opposite to us who have
been put into barriers, we are in a very, very difficult time when young people have a project,
an idea to get an end to a business, an idea to create a job or to always create a job,
what they do is put us in trouble, for me it has always been an important part of all our
work is to tell each time with more media from the province with more people from the province and
above all that the people who are making audiovisual at this time of the province are going to be
incorporating those filming between professionals, not because the people who make it in Almería
do not know that they are, but because our production capacity here at the provincial level is very
small but many people are going to incorporate these external filming that comes with especially
much more money and they are a little taking the rhythm of a more professional filming than
the ones we are used to here for us that is a premise and we want it to happen more and more
every time, that is, we are going to double our effort every time so that the people of Almería
incorporate those filming. Well, it is difficult to say if it is really getting the
issue of bringing foreign investors, on the one hand we know what production is, we know that every
year they come out in figures, they make studies, they shoot ads, they shoot music videos, especially a
lot of advertising, less and less feature films, less and less products of this type and if something
more than 7 television, I think that in the case of concrete Almería I think that it is still missing
that more people come from outside and above all that it is repercussions because the truth is that sometimes
there are filming and but maybe they are very limited, they are for a very short time, they are teams that
also come from outside, with which they do not repercute in the professionals of Almería that
there may be and they would not know how to tell you to what extent they are coming from outside or not because
the truth is that they are things that are known a little later and when the filming has already passed
you will find out that they have been shooting here, maybe there is also something more of a
transparency in that sense, to know when someone comes and why he comes and what he comes. The German
of Almería Cine we could say we could place it in December of 2000 when in Almería
the manager Sergio Leone was made and there we realized that we coincided with the genre but
totally with that, people from Almería that we did not know and that we saw the same need that
we did not need to find information about localization, in short, we needed to be in
contact with each other and share the passion but then we realized that there was a lot of
knowledge in Almería, in the city, the own people from outside that there were in the group
taught us a little the pride of our land that we needed and our purpose from then on
was to promote and spread that world of cinema, the history of cinema in Almería since then
then to spread our own research and routes through the province and above all the promotion
of Almería del cine what I intended with those books was on the one hand to give a affectionate
tribute to characters between anonymous quotes but very well known in the city that with his
tessón with his hainko with his effort with his perspicacity they made in a certain extent possible
the dream of the history of the cinema in Almería without all these people who are behind the
cameras because maybe it would not have been possible to have made practically no movie since they
go through all the trajectory through all the periplo that has had the cinema in the province
of Almería to tell its life and its personal history also involved reflecting on the general
history of the cinema in Almería and in the case of Amarilla as well as the footballer because
another theme was also played as is the football in the province that there are many people who
are interested of course and in the case of the Spanish of the monster what I proposed was to continue
with that same line of tribute and increase the trajectory of different in this case filmmakers
technicians actors and actresses and mention it through the cinematographic genre that everyone
assumes is the western.
What do you think about the future?
The future, maybe right now...
I don't know, I don't know...
Well...
What do you think about the future?
The future is obviously uncertain, especially because
as a sector or as an industry, we don't have any autonomy.
We still depend on public and subventions.
I have hope that in some way this favors doing more ingenious things,
more than it's worth it, and sometimes they do too many things
that don't have much interest.
We have to try to print a minimum of professionalism and quality
to what is done here, so that in some way,
when we project it outward,
so that it doesn't just look like a regional product,
when we project it outward,
that can really bring a benefit.
And because of the tourism office, the deputation,
the housing, when they see that it's really
serving as a product to make them know the locations
and everything we have in Almería will be when
maybe private companies want to start investing.
We want the cinema in Almería to not be a speculation.
We want the cinema because there is a lot of talent.
There is a lot of talent in Almería, in Andalucía, in Spain,
and outside of our borders as well.
And we want Almería to be an opportunity,
not to be a speculation of absolutely nobody.
The mistakes that Almería has had,
and the Almeriences for with the cinema in our province,
I think we have to avoid it.
But it is also true that the scenario that was previously,
in the scenario that is currently, the world is more globalized,
there are much more locations, there are many more countries,
therefore, emerging countries,
cinematographically speaking.
And therefore, we have to be very skilled,
we have to have the feet on the ground,
but also offer our opportunities that are in the Almería province
without making the mistakes that the Almeriences made,
and above all, many people who came to take advantage
of the Almería province that, of course,
is now going to happen, first because the world is not the same,
and second because of the institutions,
we must allow it under a concept.
In a world of communication,
there is a lack of communication between
those who are in the administrations
and those who live the day-to-day outside of it.
I think there should be more communication
to get more things, to produce more,
because if we are always going to be talking about management,
management, management, management, management,
we don't produce what we manage.
Thank you.
Thank you.
