This will also happen: "I do not see in the series the freedom of cinema"

In this interview, the owner and CEO of the Gaditana producer This will also happen, Álvaro Ariza, describes his great commitment to film rooms in a context in which television fiction for Cup platforms much of the efforts of the Spanish audiovisual industry, materialized in great successes such as ‘La Infiltrada’, ‘A Funeral of Locos’, ‘The Benestone Family’, ‘Nobody Earth’ or ‘from Little Riding Hood’.

In 2019, Spain was going through one of the sweetest moments in Production terms. The great state of exhibition health It was complemented with the growing investment of video platforms on demand in European territory, which they were looking for Partners international under a movement glocal To expand your series catalog originals In a fierce battle for differentiation in a saturated market. In this maelstrom of Anglicisms that we have already internalized in our day to day, a producer born by and for the Movie theaters: This will also happen.

Nobody's land, A crazy funeral, The Benestone family, The Caracol House, The shelter, Fierce wolf, Without you I can't, From Loba Loba, Your mother or mine, THE MAN OF THE SACO or the recent Goya winner for best film The infiltrator They account for a production directed to the general public, with great stories capable of capturing the attention of the Spanish viewer and family comedies that have exceeded half a million spectators. All, moving away from platforms To opt for a classic model of Coproductions aimed at the premiere in salas, a model that demonstrates its viability for ambitious productions in a context of continuous redefinition of the preferences of the spectators.

Álvaro Ariza, responsible for the producer, part of her passion for cinema to build a producer based on her convictions with the freedom how motor industrial and creative. Su recorrido, análisis de la actualidad y ambiciones a corto y medio quedan reflejados en una conversación sin medias tintas, en la que se refleja con rotundidad cómo los largometrajes creados para las salas continúan arrojando oportunidades.

Cine vs. televisión: una decisión sencilla

Esto también pasará nace en un gran año para la producción española: 2019. ¿Cuáles fueron los primeros pasos de la productora en este contexto?

Aunque me dedico al cine desde 2010, creé This will also happen, un sello más personal, para dedicarlo exclusivamente al cine. La película con la que arrancamos, en coproducción con México, fue The Caracol House With Macarena Astorga: the first film that was filmed post -confinement in Spain, with Javier Rey and Paz Vega. Then we roll Fierce wolf In Cádiz, a remake of Big Bad Wolf, Israeli movie nominated for Óscar that Tarantino described as “Best film in the world” in 2014. Then we did The shelter, from Little Riding Hood to Loba, no one land, a funeral of crazy, the infiltrated ... And now we have several projects more than we will start very soon.

I always say that those who dedicate ourselves to real cinema We do it because We love him. It is not a sprint, but a background race.

In the last two years we have put more than two million people to the rooms. We are supercontent with the reception of the projects of both critics and the public, a recognition of hard and beautiful work. I always say that those of us who really do it because we love him. It is not a sprint, but a background race. It is a beautiful path that I am enormously proud. I make cinema because I like to make cinema, Not because of the consequences it brings, either the reception of the project at the box office, criticism, the Goya or at any festival.

At that time, much of Spanish production was turning to the field of television fiction given the opportunities provided by national and international platforms. Why did you bet on cinema at this time?

It is something that everyone has asked me. He had already made series. In 2017, we did Forgive me Lord, the most watched series in Spain, and later State Secrets, One of ours ... I have made series that have led me to work very well and be very comfortable, but I needed count stories, do not generate content.

It is true that the series have taken a more attractive concept based on prestigious directors to make film, but in series format. But when we promote this it will also happen, that 180 degree turn had not yet occurred. I had the need to tell stories, to travel, see a movie in another country that would fall in love or tell the stories I had in my head like Nobody's land.

I have done Series that they have taken me to work very well and be very comfortable, but I needed count stories, do not generate content.

In the series, everything was very fast. I had the feeling of being manufacturing and generating "content", a word that I hate. For me, everything revolves around stories. I have done all dedicating them Honey, sensitivity and heart; Seeing how they evolved without any pressure. We dedicate five years to see the light in cinemas Nobody's land, while I had made series should have done fifteen at that time.

From the platforms and chains, what is requested, and with all the need and reason of the world, is content. I don't think that with the rhythm they have, I could tell what I want with this care and dedication. At that time, I knew that the only opportunity I had to do what I do was in the cine.

In the world of series is there less space to develop and tell the stories? Is there less freedom in these contexts than in cinematographic creation?

Yes, there are projects to which the platforms spend time, but there is very little space for it, just one or two projects. In addition, construction is different. When I shape a story, I surround myself with creative people that I consider to be in the project, covering the creative part with a good screenwriter, director or cast. I never see in the series all the freedom in the cinema.

In it cine Yes I have the freedom To tell the stories with the people I want, with the harmony we need and a Rhythm of evolution of projects marked by us.

You have to be very important to have the power to say: "No, this is my series and I do it as I want." In the cinema I have the freedom to tell the stories with the people I want, with the harmony we need and a rhythm of evolution of the projects marked by us. In addition, with these projects we can Tree to the market, seeing how it breathes and reacts, which generates an illusion while we expect the feedback Because we have built it in a way that we consider very attractive. Maybe it can be shit, but it is our shit. It is not anyone else.

I am happy to have created this will also happen. It was a before and after for my professional career. Not only do I still maintain the same illusion of when I created it, but also in recent years, we have found very attractive projects that have breathed in the market and in the public. I am especially happy to be able to have this company and surround myself with the people around me.

Building films, always, from co -production

At present, will this also happen continues with the same philosophy of its beginnings?

A person I met, who apart from Cinephile had a brutal trajectory in Hollywood, told me: "When something goes well, you don't move pieces, and when things go wrong, do not move pieces, because it will be then when you stop believing in what really made you get there." Obviously, the producer has evolved, but we continue betting on what we want.

We are undertaking and International turn. There is a movie with a very powerful casting that we are already preparing And hopefully leave.

Now we are very attracted to counting situations inspired by real events And that we would like people not to forget, as was The infiltrated, or current situations such as Nobody's land. We are already rolling Hades operation, which is based on the real history of a tunnel that was built in an industrial ship to connect Morocco and Ceuta. The last two productions allow us to reflect on the effectiveness of the force of order with the fight against drug trafficking, either by land, sea, air or underground.

We are also undertaking a International turn. There is a movie with a very powerful casting that we are already preparing and hopefully. We also premiere shortly There are no jungles left, starring Ron Perlman and shot in English and Spanish.

One of your recurring partners has been Bowfinger, with whom you have signed films such as The infiltrator and A crazy funeral. How did this alliance developed, which starts from your beginnings?

When I was doing series, a well -known actor left me a film script while I was shooting with him. I had a post-it That said: For you, read it with love. The director of Production, Pepe Ripoll, had also received it and said: "Read it, because it is incredible." I did it, I loved it. This happened in 2018 and that year I stayed around.

How good this has sector is that it allows you surround you with pretty people and start doing Things together.

At that time we made a movie that was called Oh my mother!, that we had done it without the construction of film financing. And to do this new film project, which was what I had always thrown, I wondered how I could make it come true. The answer was very simple: surrounding me a co -producer That he had solvency, that his editorial line was attractive and made cinema. It was there when we tried María Luisa Gutiérrez And I meet for a presentation. We tried four times the same year, but it was not possible because we both had a lot of work: I had about eight series and she five films.

In 2019, quieter, I set out to rescue the script, we were able to ally with Bowfinger and that was the beginning of The Caracol House and of our alliance. We have generated ideas that for her were also attractive, building the creative part. Us We complement very well.

Do you consider co -production as its favorite production model?

We surround ourselves with partners who like what they do, and one day we do. The good thing this sector has is that it allows you surround you with pretty people and start doing things together. For example, Glow Animation, with whom we are making an animation film, complementing ourselves in the process.

We go hand in hand and thus relationships are built. When you repeat it is because something we do well, and we have repeated a lot. For example, we do again with Joaquín Mazón the sequel to The Familia Benetton.

Film rooms: unnegotiable for this will also happen

Does the direct premiere to platforms contemplate as an alternative to its current model, based on movie theaters?

Today, nobody is going to take away the tour That I do with the movies. Believe me that I go to all Spain with them. I do not say that it is not open and that it cannot happen in the future, but the feeling that gives you a Film movie with the applause, to be able to present your films or go to do interviews and colloquiums No one is going to take it out. My bet, and that of this will also happen, they are the movie theaters. I love cinema. I go every weekend. I want cinemas.

Internationalization is among its short -term plans. Has the announcement of Trump administration tariffs affected them to the cinema, as it seems to be affecting other companions in the industry?

Today, everything is normal. It is also true that There are no jungles left It is a national and Spanish project, but Internationally drawn With photography director Gabriel Beristáin, who has worked in Marvel films, and with John Perlman as the protagonist. That has been our only way to try that American market.

The feeling that gives you a Film room Fill with applause no me la va a quitar nadie.

Sobre la incertidumbre que Donald Trump está creando no solamente en el cine, sino en el mundo entero, por ahora no estamos viendo que nos pueda ralentizar. Pero aquellas productoras dedicadas al service creo que ya están sufriendo esta situación.

Al margen de sus próximos estrenos y su política de internacionalización, ¿cómo ve Esto también pasará su futuro más cercano?

Ahora mismo nos encontramos en un momento dulce. Podemos elegir las historias que queremos contar e intentar venderlas, y mientras tanto podemos repetir que repetiremos con el equipo artístico y técnico de películas recientes. Estamos muy contentos de los proyectos que nos deparan 2025 y 2026.

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Álvaro Ariza (this will also happen): "I never see in the series all the freedom in the cinema"