A: I was born 37 years ago in Barcelona, that wonderful Mediterranean city. I had a simple and happy infancy and grew up in a mid-class family in a society, Spain in the 80´s, which was open first time in decades and it enjoined a unexpected cultural effervescence. One of my older brothers, photographer, inoculate me the culture virus; a bendition. I always have natural inclination to the all arts although my really passions are music, cinema and literature, in which I spend most of my time.

          A: Fascinated by cinema since I was a child, I studied cinematography in two different places in Barcelona when I could. Like most of people who do this I left the cinema school with my diploma but without any connections in industry. So I wasted my time in several jobs which had nothing to do with cinematography. I achieved a job like camera runner at last, in Dagon a film by Stuart Gordon. It was be produced by Filmax, a mini-major takes roots in Barcelona. Since then I worked in a lot of shootings, mostly of them how video-assist. It was a very instructive time because makes me possible knew the cinema inside and I could look closer the way to work of different filmmakers. A lucky strike to whom want to be a film director. In my first shooting I met Sandra Fernández and we make team sooner. We did some short films and video clips before we shot our first full length feature, “The last of the just”, produced by Filmax. She sent me the final draft of Exorcismus too, and she suggested that I could shot it. Obviously, I accept it.

          A: The idea to shoot another film about exorcisms born inside Filmax, the producer. It has a long career producing fantastic genre films in Spain with a some spirit of innovation. It makes possible some cult movies like REC or The machinist for example. Sandra sent me the last version of the script wrote by David Muñoz. I read it and it liked me very much, its new contributions to this apparent closed genre and the way in that it plays with the conventions. But above all liked me that it tells a strong story about a middle class family who is pushed t olive a real hell in our own house. Everything in the project charms me so I get involved easier. Up to now…

          A: There was a very difficult scenes in all levels. With the actors, every sequences in which the possession was manifested were truly delicate and we must had to work hardly during the rehearsals. Although to count on this marvelous actors did work easier. In a technical way the main sequences - the accident and the whole final scene- required a lot of preparation work and a meticulous plan. The final sequence confined us in a small living-room for a week. And it wasn´t a set!! It was a little hell for us be in keeping with the film.

          A: Yes!! It happens when we was shooting the final sequence, more or less in the middle of the schedule. We was doing a shot of possessed Sophie moving back forced by crucifix. Seeing her fabulous performance while the air wave her hair violently I had shivers. Then I knew that we had something cool in our hands.

          A: I will very glad if we will talk about "Retornados", a new project with Sandra Fernandez and Fílmax in which we are working now. An amazing history full of drama and tension about a mortal disease, his antidote vaccine and what are you disposed to do to get it. Dynamite!!

          A: There are a lot of actors whom I liked working with. Actually it would be an endless list, though I have particular strong attachment for the classic secondarys of 60´s and 70´s. It would be terrific if I can work with actors like Ned Beatty, Burt Young or R.G. Armstrong. Of course if I had the opportunity to work with any screen monsters like De Niro, Hackman, Keitel or Susan Sarandon it would be sensational!

          A: I think that the enthusiasm is very important, feel intense passion for what you do. And I think that the knowledge of the discipline in which you work is very important too. In that way I think that everyone who wants to be a filmmaker should have a good audiovisual background and they must minimal known of cinema history. In my opinion its important to see many films as is possible, bearing in mind that there already was masterpieces in the silent era. For that reason I recommended to avoid all kind of prejudices at the time to face up to this kind of movies. It works for every art form expression, obviously, and of course it´s only my opinion.

          A:Become in a good storyteller is my main goal. To tell histories that being interesting and move and excite the public and in which I could feel involved in one way or another. At the end of the way you had spend a year of your live in each project, and it´s a lot of time to be wasted in anything that you don´t interested for.

          A: In the same way I told before I like to recommend an absolute masterpiece shot in 1924 by Victor Sjostrom, a cinema genius: He who gets slapped and it has an extraordinary performance of Lon Chaney, a great, great actor. The film is a masterly mixture of love, tenderness, drama and comedy and it exudes a kind of refined cruelty that seems impossible right now. Must see. Something more current, is the film The black door by Kit Wong, a little and bizarre jewel.

          A: It´s an authentic pleasure for me to talk to you and I hope could do it again sooner as is possible. I would like to send all your readers a big hug and wish them they discover a lot of good movies.