Error parsing XSLT file: \xslt\[SEO]Metas.xslt LolaFilms - A CRAZY DREAM. Andrés Vicente Gómez.

A crazy Dream

JOSÉ LUIS GARCÍA SÁNCHEZ 400X222

JOSÉ LUIS GARCÍA SÁNCHEZ.

My favorite director is José Luis García Sánchez. His human quality, integrity, generosity, sense of humor and solidarity towards others make of him the best person I know. I first met José Luis in the 1970s, before the death of the dictator, but we didn't run into each other professionally until I started working with Trueba and he took me seriously as a producer. With him I have produced "La noche más larga" (The Longest Night) -the aforementioned project about the executions by firing squad, which I had felt tempted to offer to Saura and almost shot with Chávarri. It is one of my favorite movies and I wouldn't mind filming it again. We also did "Tirano Banderas", a project in co-production with Víctor Manuel, and "Tranvía a la Malvarrosa" (Tramway to Malvarrosa), based on a novel by Manuel Vicent, "La marcha verde" (The Green March) and six or seven more projects. He is one of the few directors who, resorting to talent and efficiency, makes the impossible possible.

 

 

GERARDO VERA 400X222

GERARDO VERA.

Gerardo Vera, whose professional relationship with me took shape as an art director in the films by Saura and Trueba, became a movie director at my side. I recall that he decided that himself on the day he said to me: "Don't worry, Andrés; if I decide to be a director some day, you'll be my producer". I am really happy that Gerardo decided that and with him we have done: "La otra historia de Rosendo Juárez" (The Other Story about Rosendo Juárez), from the Borges's series, "Una mujer bajo la lluvia" (A Woman in the Rain), "La Celestina", "Segunda piel" (Second Skin) and "Deseo" (Desire). Gerardo is probably one of the film directors who most needs a producer, despite the fact that his devotion and obsession for work should suffice for him to make his own productions. That is because he is a very special, extremely cultivated and a very sensitive director and artist, which isn't always compatible with the harsh work involved in production.

 

 

BIGAS LUNA 400X222


BIGAS LUNA.

I first met Bigas Luna in 1989. At the time I was reading the novels from the "La Sonrisa Vertical" (The Vertical Smile) collection -"El pecador impecable (The Impeccable Sinner) was one of them - and I bought the rights for "Las edades de Lulú" (The Ages of Lulu), written by Almudena Grandes. Luis García Berlanga, who I have always admired as a director for "El verdugo" (The Executioner) and "Plácido", was the president of the jury that awarded a prize to that work and, for some time, kept declaring in a provoking manner that he would like to make a pornographic film. I thought that making such a movie with Berlanga would be impossible, but I saw that the novel offered the possibility of demystifying some of the myths surrounding the so-called "Movida madrileña" (The Madrid Night Scene). Berlanga turned down my proposal for him to direct the film but suggested that I offer it to Bigas Luna. When I phoned Bigas, he assured me that for several days he had been thinking about calling me to work together on a project and that he hadn't done so because he didn't know me personally. I asked him to read "Las edades de Lulú" and a few days later he came to Madrid. He told me that in principle the novel was of no interest to him but that he wanted to work with me in some other project. That was the beginning of a joint-collaboration whereby we didn't just film "Las edades de Lulú", but also: "Jamón, Jamón" (Ham. Ham), "Huevos de oro" (Golden Balls), "La teta y la luna" (The Tit and the Moon), and "Son de mar" (Sound of the Sea). In fact, we almost filmed "Perdita Durango" together too. We have a tacit commitment to continue working together and preparing other projects for the future. After filming "La teta y la luna", Bigas thought that for us to work together again we had to spend some time apart, that he had to work for other companies and wanted to make films involving other styles. Although I don't like such experiments (I am very possessive) I must admit that he was right. I think that Bigas is the best Catalan film director in the last few decades and that, although he is reluctant to use narration in his films, he has a lot of talent and intuition and tells his stories with the camera as few others can.