Agustí Villaronga Riutort is a Balearic Spanish film director and actor. He has directed a documentary, three projects for television and three shorts, his film El niño de la luna was entered into the 1989 Cannes Film Festival. In 2011 he won the Goya Award for Best Director for Pa negre; the film was selected as the Spanish entry for the Best Foreign Language Film at the 84th Academy Awards, but it did not make the final shortlist. Agustí Villaronga was born on 4 March 1953 in Palma de Mallorca, his grandparents had been itinerant puppeteers and his father was a child of the Spanish Civil War, a fact that would resurface in the director's filmography. Since childhood, his father encouraged his love for films and from early in his life he wanted to become a film director, he made some shorts. Villaronga made his directorial debut in 1986 with the film Tras el cristal, selected by the Berlin film festival receiving critical praise and many awards; the plot follows a former Nazi doctor, now paralyzed and depending on an iron lung to live, who begins to be taken care of by a young man, one of the children he abused during the war.
Tras el cristal shows some of the key elements in Villaronga's filmography: a disturbed childhood marked by violence an early discovery of sexuality. His second film, El niño de la Luna, is about a child who goes to Africa to join a tribe awaiting the arrival of white child God. In 1992 he made Al Andaluz, produced by Segetel and the MoMa of New York city. For some years Villaronga tried unsuccessfully to find financing to adapt a novel by Mercè Rodoreda, Muerte en Primavera. Instead he had to take some commission works. One of these was El pasajero clandestino, a made for television project that lacked the personal characteristics of his filmography. Called by actress María Barranco, Villaronga directed 99.99 a horror film more in synch with his themes, that won some awards in festivals specialized in fantastic cinema. In 2000, Villaronga came back with a project of his own: El mar, a story set in Mallorca about three former childhood friends, traumatized by the violence they experienced during the Spanish civil war, that are reunited ten years as young adults in a sanitary of tubercular patiences.
The key elements in Villaronga's filmography are present in this story: childhood, sexual awakening and violence. In 2002, Villaronga co-directed with Lydia Zimmermann and Isaac Pierre Racine the film En la mente del asesino. In 2005 he directed a music video for French superstar Mylène Farmer's song Fuck Them All. In 2007 he made a made for television project adapting a stage play, it was only until 2010 with Pa negre, when Villaronga achieved wider appeal. This film, winner of nine Goya Award including best film and best director, tells the story of an elven year old boy who growing up in the harsh period of the aftermath of the Spanish Civil War in Catalonia's countryside discovers the world of lies around him. Villaronga followed Pá negre's success with A Letter to Evita, a TV miniseries co-produced by TV3, which recounts a real episode in the life of Eva Perón while visiting Spain in the late 1940s. Villaronga is gay. Anta mujer - Short Al mayurka - Short Laberint - Short Fuck Them All - Music video for Mylène Farmer Agustí Villaronga on IMDb
Rodrigo Sorogoyen is a Spanish film director and screenwriter. He won the Goya Award for Best Director and the Goya Award for Best Original Screenplay for The Realm, he was nominated for the Goya Award for Best New Director for Stockholm, the Goya Award for Best Director and the Goya Award for Best Original Screenplay for May God Save Us. For the short film Mother, Sorogoyen won the Goya Award for Best Fictional Short Film and was nominated for the Academy Award for Best Live Action Short Film. 8 citas Stockholm May God Save Us Mother The Realm Rodrigo Sorogoyen on IMDb
Gonzalo Suárez Morilla is a Spanish writer and film director. In 1963 he published his first novel De cuerpo presente, his 1975 film The Regent's Wife was entered into the 9th Moscow International Film Festival. His 1991 film Don Juan in Hell was entered into the 17th Moscow International Film Festival. In 1984 he acted as the married writer in Pedro Almodóvar's ¿Qué he hecho yo para merecer esto?. In 1987 he directed Los pazos de Ulloa for TVE. At Gijón International Film Festival in 2003, he received the Nacho Martinez Award, he has a son, Gonzalo Suárez Girard, a videogame director, most well known for his work on Commandos. He appears as actor in small roleSource: Official site Interview in 2005 Revista Axolotl Oviedo Express Gonzalo Suarez on IMDb
Carlos Saura Atarés is a Spanish film director and writer. His name, with those of Luis Buñuel and Pedro Almodóvar, forms a triad of Spain’s most renowned filmmakers, he has a prolific career that spans over half a century. Several of his films have won many international awards. Saura began his career in 1955 making documentary shorts, he gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura switched to films encoded with metaphors and symbolism in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film La Caza won the Silver Bear at the Berlin International Film Festival. In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions. By the 1970s, Saura was the best known filmmaker working in Spain, his films employed complex narrative devices and were controversial.
He won Special Jury Awards for La Prima Cría Cuervos in Cannes. In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Bodas de Sangre, Carmen and El Amor Brujo, in which he combined dramatic content and flamenco dance forms, his work earned numerous awards. He received two nominations for Academy Awards for Carmen and Tango, his films are sophisticated expression of time and space fusing reality with fantasy, past with present, memory with hallucination. In the last two decades of the 20th century, Saura has concentrated on works uniting music and images. Saura was born in Huesca, Aragón, Spain on 4 January 1932, his father, Antonio Saura Pacheco, who came from Murcia, was civil servant. His mother, Fermina Atares Torrente, was a concert pianist; the second of their four children, Carlos had an older brother, Antonio Saura, two younger sisters and Angeles. Antonio became a well-known abstract expressionist painter. From their parents, the four siblings received a liberal understanding education.
Because his father worked for the Ministry of the Interior, the Saura family moved to Barcelona, and, in 1953, to Madrid. Saura’s childhood was marked by the Spanish Civil War, during which the Nationalists fought against the Republicans. Saura has vivid recollection of his childhood during the war, he evoked some of them in his films – the games he played, the songs he sang, as well as darker memories of bombings and hunger and death. He was taught to read by a priest – a relative whom his parents sheltered from anticlerical extremists. At the war’s end, Saura was separated from his parents and sent back to Huesca to live with his maternal grandmother and aunts, he described these relatives as “right wings and religious” who imposed in the child the antithesis of the liberal education he had received in the republican zone. In 1957-1958, Saura created Cuenca. In 1962 his film Los Golfos was recognized for its strong sociological impact, to aid Spanish youth by tackling the issue of juvenile delinquency in Madrid's poorest districts.
Four years he was honored at the 16th Berlin International Film Festival, where he received the Silver Bear for Best Director for his film La caza. In 1967, his film Peppermint Frappé received the Silver Bear for Best Director at the 18th Berlin International Film Festival, he won the Golden Bear in 1981 at the 31st Berlin International Film Festival for his film Deprisa, Deprisa. The films La prima Angélica of 1973 and Cría cuervos of 1975 received the special prize of the jury at the Cannes Film Festival, his film Mama cumple 100 años was nominated for the Academy Award for Best Foreign Language Film at the 1980 Academy Awards. Saura become known for movies featuring flamenco and other traditional dances, his Flamenco Trilogy of the 1980s includes Bodas de Sangre, El amor brujo featuring the work of Spanish flamenco dancer Cristina Hoyos. He made the movies Flamenco and Fados, his 1989 film La noche oscura was entered into the 39th Berlin International Film Festival. Saura considers his film on surrealist master Luis Buñuel to be his best cinematic work.
In an interview to an online film magazine, he says about Buñuel y la mesa del rey Salomón: “That’s the greatest film I’ve made. I like the film but nobody else seems to like it. I'm sure, but only he would have loved it. Everything you see in the film is based on conversations I had with him.” In 1990, he received the Goya Award for the best director and best script for ¡Ay, Carmela!. He was chosen as director for the official film of the 1992 Olympic Games of Marathon. In 2008, Carlos Saura was honoured with a Global Life Time Achievement Award at the 10th Mumbai International Film Festival, organized by the Mumbai Academy of the Moving Image. In 2013, he was given a Lifetime Achievement Award at the 18th International Film Festival of Kerala. Carlos Saura was married three times, he first married Adela Medrano in Barcelona in 1957. They had two sons and Antonio. On 27 December 1982 he married Mercedes Pérez, they had three sons, Adrián and Diego. Bet
Fernando Rodríguez Trueba, known as Fernando Trueba, is a book editor, film director and producer. Between 1974 and 1979 he worked as a film critic for Spain's leading daily newspaper El País. In 1980, he founded the monthly film magazine Casablanca, which he edited and directed during its first two years, he is the editor of Diccionario del Jazz Latino. Among other awards, he has won the Academy Award for Best Foreign Language Film with Belle Époque in 1994, the Goya Award as Best Director three times and a Silver Bear for Year of Enlightment at the 37th Berlin International Film Festival. Miracle of Candeal won the Goya for Best Documentary, Chico and Rita won the Goya for Best Feature Animation. In 1999, The Girl of Your Dreams was nominated for the Golden Bear at the 49th Berlin International Film Festival. In 2011 he won the Award of the Hungarian National Student Jury for Chico and Rita at the 7th Festival of European Animated Feature Films and TV Specials; as a music producer he has won two Grammy Awards and four Latin Grammy Awards.
He is the father of Jonás Trueba. 1980: Ópera prima 1982: Mientras el cuerpo aguante 1983: Sal gorda 1985: Sé infiel y no mires con quién 1986: El año de las luces 1989: La mujer de tu vida: La mujer inesperada 1989: The Mad Monkey / aka Twisted Obsession 1992: Belle Epoque 1995: Two Much 1998: The Girl of Your Dreams 2000: Calle 54 2002: The Shanghai Spell 2004: El milagro de Candeal 2009: El baile de la victoria 2010: Chico and Rita 2012: The Artist and the Model 2016: La reina de España 2000: Calle 54 2002: Lágrimas Negras 2003: We Could Make Such Beautiful Music Together 2004: Bebo de Cuba 2005: Bebo 2006: Paz 2007: Live at the Village Vanguard 2008: Juntos para siempre 2009: Caribe - Michel Camilo Big Band 2010: Española Fernando Trueba on IMDb Official web by Trueba Fernando Trueba Productions web
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision; the director has a key role in choosing the cast members, production design, the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film; the film director gives direction to the cast and crew and creates an overall vision through which a film becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a film director; some film directors started as screenwriters, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches; some outline a general plotline and let the actors improvise dialogue, while others control every aspect, demand that the actors and crew follow instructions precisely.
Some directors write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors appear in their films, or compose the music score for their films. A film director's task is to envisage a way to translate a screenplay into a formed film, to realize this vision. To do this, they oversee the technical elements of film production; this entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, excellent communication skills are a must. Since the film director depends on the successful cooperation of many different creative individuals with strongly contradicting artistic ideals and visions, he or she needs to possess conflict resolution skills in order to mediate whenever necessary.
Thus the director ensures that all individuals involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure", it adds to the pressure that the success of a film can influence when and how they will work again, if at all. The sole superiors of the director are the producer and the studio, financing the film, although sometimes the director can be a producer of the same film; the role of a director differs from producers in that producers manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio. Directors play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut.
In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission; the director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is considered to be a stressful and demanding one, it has been said that "20-hour days are not unusual". Some directors take on additional roles, such as producing, writing or editing. Under European Union law, the film director is considered the "author" or one of the authors of a film as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a film director's film reflects the director's personal creative vision, as if they were the primary "auteur". In spite of—and sometimes because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
Some film directors started as screenwriters, film producers or actors. Several American cinematographers have become directors, including Barry Sonnenfeld the Coen brothers' DP. Other film directors have attended a film school to get a bachelors degree studying cinema. Film students study the basic skills used in making a film; this includes, for example, shot lists and storyboards, protocols of dealing with professional actors, reading scripts. Some film schools are equipped with post-production facilities. Besides basic technical and logistical skills, students receive education on the nature of professional relationships that occur during film production. A full degree course can be designed for up to five years of studying. Future directors complete short films during their enrollment; the National Film School of Denmark has the student's final projects presented on national TV. Some film schools retain the rights for their students' works. Many directors prepared for making feature films by working in television.
The German Film and Television Academy Berlin cooperate