I guess the best way to start a shoot not with nearly 39 of fever, but that does not choose one. We had given a hallway Hospital Puerta del Mar which was empty by that time -3 and January 4, 2008 -. Being our first shoot "playing outside", we had some pressure to do well, in a way as professional as possible and, above all, recording all the planes we had decided in preproduction.

The tension was palpable in the air before shooting the foreground was indescribable. Beginning the adventure. Months of preparation script and passed to the stage of now or never always a shooting. Furthermore, the first thing we recorded was traveling Lucia entering the hall. That is, a plane in which Alex choreographed, crouched and out of the frame, opened the door of the hall, Lucy pushed the cart, Jose Nicolas and pushed me to my uploaded in traveling and I operated the camera. Like I say the tension before the plane was incredible, just incredible it was like he disappeared after recording.

From there, everything went more or less smoothly. We were also fortunate that that day was the whole team, so we were able to divide the work so that all out as much fluid as possible. In this sense, for example, while a server brought quite clear how to illuminate each scene, the presence of Jimi, who had come from Madrid, provided suggestive ideas that were incorporated to the points previously. In fact, he almost could delegate regarding the lights, once explained what we wanted, so Henry and I focused on directing.

The chase scene, a là Linch, we recorded with a stabilizer and based lighting dimmers that Nicholas had prepared. That we spend a little improvisation on stage, and quite liked the result.

Finally, note the selfless work of a team who went as they come, he discovered how tired he is a shoot, and commitment of Lucia, who also walked with the flu and ended even running around the hospital ... as point to improve, no doubt, imperative of an assistant director to take away sticks to Henry and me attentive to the camera, actors, sound, noise, people screaming down the hall while shooting ... volunteers pets s! Also, Lourdes makeup could come before suffering ostracism suffered forced many Cadiz, and move to Las Palmas in search of El Dorado, say from work. The difference between having someone on makeup and not have it, it's huge. S volunteers Pets!

The film mount can be perhaps one of the most thankless plots of this world, being, however, the feature that identifies the film for what it is. The script continues to be literature, cinematography drink both painting and photography, and belongs to staging theater. What makes such a film, however, is assembled. That choice of each of the pieces-planes-that come to the editor's room and that will eventually shape the film. Obviously, much of this form will be established both in the script and in the style of the director, but that no mistake about that: as we mount to do a movie or something completely different. I refer not only to structure. Mediocre performances have been resolved more than once in the editing room, unusable planes have gone to waste saving the name of the director, cinematographer, actor, or someone who got the micro level. Being a creative plot, it is curious that never associate a movie to your editor. Director, cinematographer perhaps sometimes screenwriter, actor forever ... but never was an editor of a magazine cover that was not specialized.

The problem is this: A good show is one that is not noticed. This, I say it here, not original, but I entirely agree. Walter Murch and Edward Dmytryk , among others, and bore witness to this in his films and manuals. And some of this know-but in my opinion Murch spends a little when he says he has to be mounted at the right time as the eye blinks, especially if there is lint in the room. It's about getting the work is fluent and in no time the viewer gets out of it. It's called suspension of disbelief (suspension of disbelief) which would consent that a person makes to suspend their critical and enjoy the work (for example, believed that the ships there to enjoy Star Wars). Without this human quality, no movies or theater would be possible, as we would come to the cinema to see, for example, The Bourne Identity, and the movie begins, we would say "this music can not be playing there in the middle of the ocean ... that's not Bourne but Matt Damon, that's not reality, it's a wall with a piece of cloth ... "and we would come out of the cinema to catch clams.

Personally, of all the theories I've read assembly, interviews, manuals, films examined, etc, I like to ride with the basic rules on the chamber axis-hop, etc-and that is the same work that is going asking mounting tempo. It is more intuitive, more feeling, but in the end you realize that it works. I think it has something to do musical intuition on this system. Michael Kahn -tuned to work well filmography-said. In the extras pack of Indiana Jones trilogy there is an interesting interview this teacher in describing how mounts, specifically the sequence of the plane of the Last Crusade. After reading the script, enter the room without preconceptions, seeing each plane, measuring the timing and thinking unconsciously when different options. Interestingly, the result ALWAYS Spielberg likes. Of course, for this you need a director you stand it.

In this article I'll talk a little about the personal experience that led Jindama mounting, with some of the problems we encountered in the assembly, how we solve some surprises that you take, and how we decided the outcome. Greetings and chilled gazpacho.

After a few initial months in which the project was spinning in our head, aimlessly, without any clear, concrete history ... Jindama it was still the idea of making a short film of Cadiz invading zombies. So freak, so original. So ambitious. However, little by little, and having confidence that we could do something much more interesting, I let the mash-one days drinking mixed drinks, which is easier-you were going to do a series. I did not know how or what, but it was clear he did not want leave out what I was beginning to see in my mind both aesthetic and weft. And as Henry thought the same, and usually have similar criteria, we decided that Cadiz had potential as a historical plot, decadent city today, unique characters, from people looking for life, etc, that if we could weave a web of intrigue spun the those ingredients in an attractive manner, avoiding opportunistic panfletarismo-and false-of the silver cup, of Cadiz funny for balls, carnival, etc ... could get something interesting.

The best thing about not being sponsored by anyone is that you are free to do as you leave the balls, and that fits well with our way of writing, our critically to see what there is and what there is and our intention to Cadiz capture certain elements of today with the acidity with which we do in bars, beer in hand. Worse, you know, you do not have one where drop dead. But you can not have everything.

And finally, we think that if with all the hype that was being given to 12-that if parriba 12, 12 pabajo, 12 Monkeys, 12-1 against Malta, 12 is good for Cadiz, etc- not be a smart way to get some funding to fitting the plot within that historical episode of Cadiz. Whatever the case, was more likely than if we based in a town of Teruel in the Pleistocene. So, in the summer of last year locked ourselves two months to write the whole story, linking storylines, creating characters, choosing sites, episodes, eliminating tripe and supernatural elements, and leaving something that, at least, to us we would like : thriller, adventure, bad temper, people of Cadiz in an unusual context, some corruption out there and a secret history on the other. It's a list of ingredients that I, at least, I would go to the movies-as long as there no pin Nicolas Cage appeared on that list.

Provincial bet on us to see the trailer, sponsorship level, and was a very welcome, because its commitment to project meant we could buy a camera, something highly recommended if you want to devote to this. With a Staedtler 2b is more difficult. Of the locations that we gave-bars, hotels, etc.-and the selfless work of a team, which already priceless to me makes it all the more worthwhile, 'talk another day.

We think that the structure of the series current productions drank. We swallow from The Sopranos to Lost, to Prison Break, Heroes, The Wire, Carnivale, Dexter ... with the idea of searching related in structure narrative, not to mention that many of these structures are determined by the imposition of advertising. With HBO is different, having no cuts. I can not fail to mention the usefulness of certain acquired online manuals, specifically "Write to TV" Martie Cook, and especially "Writing the TV drama series" Pamela Douglas. Amazing. Obviously, both without translation into Spanish, since the existence of this kind of manuals on home soil is directly proportional to the existence of manuals of bullfighting in South Dakota.

After this period of analysis and deeper into the subject, we had more or less clear. The conclusion, which felt more consistent, was weaving each frame in a series of scenes a few minutes, trying not to get bored, and go interlacing to leave the viewer guessing. We were also aware that the current narrative has changed significantly, with a generation who rarely watch TV if not for sports, and whose patience is over exactly when it ends up lasting a youtube video. In short, we would give the series a lively pace but without saturating.

Just finished the first episode of 35 minutes, which was there, waiting for a response from certain media, that never came, until we decided to take the bull by the horns, cut the episode in several parts, create a website, spice, and bring the series to the place for which it was originally intended: internet. For now, with what is filmed, there are several chapters-up to 7 or so. Let's see if we can continue with the second phase of the project and spend what is written to the screen. By desire, illusion and not be stubborn, but in some sectors believe this is free. Sectors which, interestingly, are those who decide to where the funds go.

Another day will continue with the technical section. How to face the direction, cinematography, editing, etc. ... Greetings from here. Too tourism. Too much.