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
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