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An unusual love story between a man and a woman, between two persons in the middle of their way…


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FICTION

“An unusual love story between a man and a woman, between two persons in the middle of their way…”

A production of MESSIDOR FILMS
EDUARD FERNÁNDEZ • JAVIER CÁMARA

MONTSE GERMÁN • CARME PLA • ÀGATA ROCA


By the Director of “In the city”

“Krampack” / “Nico & Dani”

CESC GAY

I imagined FICTION like a pause in the life of a person.

Ten days where Alex’s life seems to stop and rush out of him.

And with his life left behind, he can contemplate it while marching with an unexpected love that, without a warning, came like him to these mountains.


FICTION is my first love story.

I promised myself to give to this intimist comedy a smile.

Director Cesc Gay

Producers Marta Esteban

Gerardo Herrero

Script Cesc Gay

Tomàs Aragay

Cinematography Andreu Rebés A.E.C

Design Producer Daniel Gimelberg

Editing Frank Gutierrez

Sound Albert Gay

Sound Editing Marisol Nievas

Sound Mixing Ricard Casals
Cast

Alex Eduard Fernández

Santi Javier Cámara

Monica Montse Germán

Judith Carme Pla

Silvia Àgata Roca


Cesc Gay Director and co-writer

Barcelona, 1967

 

EN LA CIUDAD / IN THE CITY Director and co-writer. 2003



Oficial competition of the San Sebastian Film Festival

Goya Best Actor - Eduard Fernández

Best Screenplay Directors and Writers Asociation from Catalonia

 

KRAMPACK / NICO & DANI Director and co-writer. 2000



Semaine de la Critique - Cannes Festival

Special Youth Award - Cannes Festival

Best Director Award - Málaga Festival

First Golden Tesafilm award - Hamburg Film Festival

Fipresci Award - Chicago International Film Festival

Ciutat de Barcelona Award. 2001

 

HOTEL ROOM Co-Director and writer. 1998



Zabaltegui section of the San Sebastian Film Festival

Cesc Gay talks

Does Fiction fit in continuity with your precedent films Krampack (Nico & Dani) and In the City?

Ficción, as well as “Krampack (Nico & Dani)” and “In the City” are films that have a structure in function of characters that don’t express what and how they feel. About feelings that we hold back either consciously or that the essence of the character is contention, the zeal of intimacy in an extreme way, as a way to protect himself from the intrusion of the other or even from the intrusion of himself. Even though these characters belong to different generations and are in different situations and circumstances, in the three films they are build and structured in the same way: the spectator is the only observer of what really happens, the only person able to understand them. The three films are focused on little details, without a main plot structuring the story and the three films have an opening end, without a determinate conclusion. These films intend to leave the spectator in a certain emotion. Just like it happens with the music.


It’s the second film you do with Eduard Fernández, how is your relationship?

I wrote Eduard Fernandez’s character for “In the city” before I even met him. He was the only character of the film that I wrote with an actor in mind. Then I contacted him through my wife. They had worked together before, and his wife also knew mine. I think this made it all easier to develop a more intimate and fluent relationship that the one a director usually has with his actors. A more familiar one. Eduard accepted to play the role almost immediately and that moment was really determining for the whole project.

Our relationship grew during the filming of “In the city” and when it ended I already had him in mind for my next film. Eduard trusted me entirely in an irresponsible way, he agreed to make another movie with me although he knew almost nothing about it and he followed me in my constant changes of direction in the whole process of the writing. I remember his patience, encouraging me when I told him I gave up a script I had almost finished. Time past and finally the script and the idea of “Fiction” became more and more concrete and we started. It has been a process of work really different and the first time I’ve made a film that has only one main character and in this particular case Alex, the main character, was an alter ego of me as he is a filmmaker. I needed more than ever an accomplice, a kind of partner and Eduard has been that all along.

To work with Eduard is easy and difficult at the same time. He’s a very demanding actor to a director; he thinks a lot about everything and he is always questioning it all which causes an important creative tension. This is something I value and I take advantage of it. In fact we have found each other as two obsessive workers and I suppose our relationship is based on this, among many other things…


Is FICTION Autobiographical?

The movie talks about something that concerns a lot of people of our generation that live in couple and have raised a family like Alex, the main character. Cinema would usually approach the subject of the unfaithful one, the one who has an affair and even the one who breaks a family. I wanted to make a film about the things we don’t live, we don’t experience, things we repress and that we don’t even talk about. I think that those things are often felt with more intensity. Once again I talk about intimate feelings that we don’t share. At the end I needed, even though it’s just for the last scene, that the characters express those feelings. It could be autobiographical but it could be to anyone in these circumstances.


How did you approach a chronological shooting?

Being able to shoot chronologically meant to me as well as to Eduard an open door to a certain improvisation; or to a different way of shooting each day. With the faculty of being less prisoners of the screenplay and being able to add things that weren’t planned ahead. It was physically determinant to Eduard. His looks, his physical aspect changes throughout the film and if you have to obtain this in an artificial way the results are never satisfactory.

Barcelona, august 2006

Alex Eduard Fernández

The point is for people to go to the cinema. It's about being successful. Besides, now I am talking about myself.

Santi


Do the film you fucking' want. You don't make action movies.

Alex


Well, I'd love to.

BIOFILMOGRAPHY


FICCIÓ/FICTION. Cesc Gay. 2006

Alatriste Agustín Díaz Yanes. 2006

El método Grönholm Mariano Piñeyro. 2004

Obaba. Montxo Armendáriz. 2004

Hormigas en la boca Mariano Barroso, 2004

EN LA CIUDAD / IN THE CITY Cesc Gay. 2003.

Goya Award.

Cosas que hacen que la vida valga la pena Manuel Gómez Pereira. 2003. Best actor Montecarlo Comedy Festival – Barcelona Comedy Festival

El misterio Galíndez Gerardo Herrero. 2002

El embrujo de Shanghai Fernando Trueba. 2001

Smoking Room Roger Gual & Julio Wallovits. 2001

Goya Award. Best actor Malaga Festival

Fausto 5.0 La Fura dels Baus & Isidro Ortiz. 2001

Goya Award. Best actor Bruxelles Fantastic Festival- Fantasporto Festival-Sitges Festival

Son de mar Bigas Luna. 2000
Eduard is also a successful actor in the theatre.
Santi Javier Camara
Why can't two friends have a child?

We live very nearby. We won't argue nor get divorced.

BIOFILMOGRAPHY
FICCIÓ / FICTION Cesc Gay. 2006

Alatriste Agustín Díaz Yanes. 2006

Malas temporadas Manuel Martín Cuenca. 2005

La vida secreta de las palabras Isabel Coixet. 2004

La mala educación Pedro Almodóvar. 2004

Torremolinos 73 Pablo Berger. 2003

Best Actor Malaga Festival.

Hable con ella Pedro almodóvar. 2002

Best Actor European Films Academy.

Lucía y el sexo Julio Médem. 2001


Javier is also a famous and successful Spanish TV sitcoms actor having won many awards in that field.

Monica Montse German


Maybe now, at our age, it's sadder than 10 ago.

I'm a bit sadder too. I mean, you look back, you look ahead, and...


FICCIÓ / FICTION Cesc Gay. 2006

Atlas de Geografía Humana Azucena Rodríguez. 2006


Montse has a long and successful career in professional Catalan theatre.

Judith Carme Pla

Violeta is my Argentinean girlfriend, but I won't tell you her age.

BIOFILMOGRAPHY


FICCIÓ / FICTION Cesc Gay. 2006

EN LA CIUDAD / IN THE CITY Cesc Gay. 2003


Silvia Àgata Roca
Alex

…I believe that if Silvia was cheating on me, or I on her I think I would know it... some detail, something. Such a long time together.

BIOFILMOGRAPHY
FICCIÓ / FICTION Cesc Gay. 2006

Las horas del día Jaime Rosales. 2003

Excuses Joel Joan. 2003
.

Music


1. ARE YOU THE ONE (I’VE BEEN WAITING FOR)

NICK CAVE & THE BAD SEEDS

2. PRELUDE NR 7 OP 28

FRÉDÉRIC CHOPIN

3. NOCTURNE

OUTSIDER


4. ADAGIO FOR STRINGS OP.11

SAMUEL BARBER

5. LOVE LETTER

NICK CAVE & THE BAD SEEDS

6. KINDERSZENEN OP 15 (TRAUMEREI)

ROBERT SCHUMANN

7. JA SEI QUEM SOU

HEBE CAMARGO

8. LIKE A DREAM

OUTSIDER


9. SYMPHONY NR 3 IN D MINOR (Excerpt: 6th movement)

GUSTAV MAHLER

10. L’ALOUETTE  (The Lark)

M. GLINKA by CLARA PEYA

11. ABOVE

BEAUMONT


12. SYMPHONY NR 5 IN C SHARP MINOR ADAGIETTO

GUSTAV MAHLER

13. CLAIR DE LUNE

CLAUDE DEBUSSY

14. NATURE BOY

NICK CAVE & THE BAD SEEDS

15. SOMEONE LIKE YOU

GUY FLETCHER / ROD WILLIAMS

A Messidor Films Production

Aragó 11, ent. 1ª

08015 Barcelona. Spain.

Tel. +34 933 236 940

Fax +34 934 518 618

messidor@messidor.net


Messidor Films was created in Barcelona in 1991.

Ficció/ Fiction.. Cesc Gay, 2006 

Tu vida en 65 minutos / Your life in 65’ María Ripoll, 2006

La Educación de las Hadas/ Education of a fair J.L. Cuerda, 2006

Hormigas en la boca/ Ants in the mouth Mariano Barroso 2005

Inconscientes/Unconscious  Joaquín Oristrell 2004

Nubes de Verano/Summer Clouds . Felipe Vega 2004

En la ciudad/In the City   Cesc Gay 2003

Fleurs de Sang / Blood Flowers   Alain Tanner-Myriam Mézières 2001

Krámpack / Nico & Dani   Cesc Gay 2000

Land and Freedom / Tierra y Libertad   Ken Loach 1994

Le Journal de Lady M/The Diary of Lady M   Alain Tanner 1992


www.ficcio.net

www.messidor.net


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