Interview with Jose Antonio Félez, gold medal in the Forqué 2021

About to receive the gold medal in the 2021 edition of the Forqué Awards, José Antonio Félez, producer of films such as The minimum island, the ball or The great Spanish family, analyze the passage of time in the cinema and contributes its vision on the current state of the industry.

Either by posthumous or in the last bars of a life dedicated to the seventh art, the recognitions in the world of cinema They arrive too late. Therefore, cases like José Antonio Félez are rara opinion, to the point that the producer is questioned, among laughs, his own state of health.

The reality is that the producer is “reasonably well of health” and does not planuncertain”As it was ten years ago, in the middle of the economic crisis; or as it happened two decades ago, when from Treasela pc He gave voice to emerging creators like Achero Mañas to create works as eternal as the Goya for the best film he achieved The ball (2000).

Despite uncertainty, Félez has managed to give the necessary resources that had stories to tell Spanish history. Whether from Tesela PC itself or with Atypical Films, which would found in 2009 with Cristina Sutherland, has been closely linked to filmmakers such as Alberto Rodríguez (The Pilgrim factor (2000), The suit (2002), 7 virgins (2005)…), Daniel Sánchez Arévalo (Azuloscurocasinegro (2006), Fatty (2009), Cousin (2011)…) o Santi Amodeo (Astronauts (2003); Dog head (2006). Not to mention talent, apart from the direction, which has been growing until obtaining outstanding positions in the cinematographic world, such as the director of photography Álex Catalán (The minimum island (2014), THE MAN OF THE THOUSAND FACES (2016) ...), or the screenwriter Rafael Cobos (Group 7 (2012), The minimum island (2014)…)

In this interview, Félez addresses his Gold Medal in the Forqué, but it also reflects on the Time step, the Reality of the Spanish cinema ecosystem and the great needs of the industry by 2021 and the coming years.

Gold Medal in the Forqué 2021

How does it make you feel recognition from the industry as the gold medal of the Forqué award?

With great illusion, since it is an award that you grant, in some way, your classmates. That gives you a special value and meaning. Therefore, I receive it with great gratitude and much illusion.

In the gala itself there will be time for thanks, but ... What do you think have been its essential pillars in your professional career?

Indeed, the thanks of the Forqué gala will necessarily have to be long, since there are many people to thank. There are some names that are better known and others than less. Among directors and screenwriters, I could name Achero Mañas, Alberto Rodríguez, Daniel Sánchez-Arévalo ... then, from the perspective of production, he could appoint Daniel Goldstein, who unfortunately is no longer here; Carlos de Muns, Francisco Lázaro ... All of them were people who were by my side and contributed to the thing going well. Then, we would also have to thank many people of the production team, photography directors, musicians like Julio de la Rosa ... sincerely, It is a very long list and I hope not to leave anyone! And, of course, also Cristina Sutherland, co -founder of Atypica; or Iván Benjumea-Rey, who has been with me for many years. Even so, I leave many people out.

The world of cinema is like this ...

We are talking about a lot of people! Actually, I think the audiovisual, cinema, is a team work. Both successes and failures are made based on many hands and many heads. Of that, you can never forget how good it is. In the end, You always need another to carry out these projects.

Recognitions usually reach the end of the trajectories. But this is not the case, right?

I asked myself the same question! When I told me the news at first I felt a great illusion. However, then I was thinking. Do they see me out of exit? Then, you find out that RTVE was given a few years ago and you are quieter. But no, I really enjoy working, I want to continue doing things and I find myself reasonably good health.

Promoting emerging talent

Even knowing that there are still stories to tell, how would it define its production methodology, that philosophy that, after all, has led the industry to recognize a trajectory?

I would say that doing things with rigor. That is what I have always tried. I learned from Elijah Querejeta: Regardless of the project size, you have to do things well. I have always tried to carry out the projects with prudence, follow some guidelines, repeat with the same people if they also wanted it, and set some goals and maintain them: they can be corrected over time, but they should not give bands.

During the last weeks, it has been said that much of his work has become to publicize and support emerging talent. Has this been one of the main goals of your work?

We found Tesela with that approach: start working with new talent, with directors without experience in feature films, and make a career with them. That was our goal. I did so with Achero, Albero Rodríguez, Santi Amodeo, Daniel Sánchez-Arévalo and so many others. Obviously, over the years, we have continued working with some and, with others, our paths have been separated.

Why choose that approach to the new creators?

I liked to believe that there were new stories. As the novel directors had complicated access to sufficiently good production conditions, our goal was to provide them with those means for their raw operas to have everything they had to have. Then, if we were both satisfied parties, we could move on and make a second or third film. And there has been luck, because with some of them we have a long career! It must also be taken into account that this tour made with directors has also been carried out with technical team; People who are now a reference in different departments began with me. Álex Catalán, in photography; Manuela Ocón, to the Production Directorate; Fernando García, to the costumes ... It is something that I feel very proud.

Cinema: Eternal uncertainty

Ten years ago, he defined the film industry with the term "uncertainty"

I think that It has not varied…

How do you see the industry today? Is uncertainty?

I see her the same. Everything is uncertain. It is true that we do not live a financial crisis as ten years ago and that there is a great activity. In fact, at the series, the big operators commission great projects, but it is also an uncertain situation. Because? ¡Because everything changes very quickly! By varying everything so fast, not only the technique, but also the form of consumption, tastes, habits, distribution, relationships between the different agents of the audiovisual ... there is great effervescence, but we must ensure that industry and production can be maintained over time. In addition, a very important aspect is the need to meet renewal. We must ensure that films are continued, and that those made are plural and varied, which is something that I think has been lost. Ten years ago films were made with much more diverse approaches, of different sizes and with very different objectives and themes. My feeling is that right now that has been lost. Before we had real jewels. Now, I think that is at risk.

During 2021 tapes such as Bravío flash, sacred spirit or even The belly of the sea with innovative approaches despite the low cost of their proposals. However, it is true that they have barely had a tour or recognition by academics, as shown in the nominations of the Goya ...

That is what I mean! You have chosen the examples very well. I would say that before it was much easier to achieve some visibility and distribution for those products. Now it is much more difficult, so there is a problem there. The change in the industry was produced by renewal. There were new people who arrived and had different proposals and visions. In addition, you could do it with a team that was starting. For this sector it is very important that new blood arrives. Cinema is still a trade. We cannot forget that. Time and experience to achieve high levels of professionalism is very important. Professionals must arrive from below, learning from others who have gone through their place before for that renewal. I think things are different now.

Do you consider that from the industry the focus on top -level projects supported by large media groups and that has caused that support for novel creators could be neglected?

Honestly, who is in charge of production has objectives that will always be perfectly lawful. If I need kitchen furniture, I do not commission bath furniture. What I defend is that there have to be spaces so that, through different mechanisms, products with different approaches can be made. I think the two worlds can live together. In recent years, in part because of the globalization that happens in all areas, large companies have been created in the audiovisual sector. Obviously, these agents will do what they consider to achieve their objectives. Even with everything, the necessary thing is that the ecosystem lives; that these great actors and promoters of the market live together, and that on the other hand there are small companies that can make more handmade or different products. And, of course, these products will have to have their certain diffusion and visibility. That is the important thing! There is public for it.

Tomorrow

A determining change for the audiovisual industry is approaching: the new audiovisual law. In your opinion, what critical points should be faced with greater urgency to help companies as atypical to overcome their present and future challenges?

It is a very complex issue. Even so, I would emphasize that the Norma should be balanced. That is what you have to get. The audiovisual ecosystem is very delicate and any exaggerated action can produce imbalances. And those imbalances are not desirable.

Briefly addressing the technique, have they already begun to boost projects using virtualized production techniques? What is your opinion about this type of solutions as much as a producer and spectator?

From Atypical, we are already using all this type of resources. What was previously filmed with green or blue fabrics are now made with LED. We use this technique simply to make car sequences, since the system allows you to put the camera in any position. The truth is that we have not gone beyond this application. However, it is true that this technology, to make films of a certain genre such as science fiction or futuristic, gives impressive possibilities. I think it will be more important. But I sincerely believe that It does not work for all kinds of films. Having physical locations with their imperfections and materiality give production a very important character.

Atypical works on several projects, such as the movie Model 77 by Alberto Rodríguez the Series as Those of the last row or The snow girl For Netflix. Where do your future initiatives go? Will you continue working hand in hand with big platforms?

Beyond Model 77, of which we are in the postproduction phase, we have made series with different platforms such as Movistar or Netflix. For now, we plan to continue combining the two types of production: those in which the initiative starts from atypical, and then other orders proposed by the different platforms.