1. Can you share insights into your background as a filmmaker and what drew you to the world of cinema?

 

The first experience with the world of film that I remember was during my childhood, watching funny 80s movies like The Gremlins and Ghostbusters. But it wasn’t until I saw The Shining (without my parents’ permission, of course) that my mind was blown. I started playing with a broken Polaroid camera looking through the lens and framing parts of the house. I tried to imitate the camera movements that I had seen in the movie and my head was “set”, in a way, with that language.

2. Your film "The Grandfather" delves into themes of loss, life after death, fear, and hope. What inspired you to explore these subjects, and how did you approach blending horror elements with deeper emotional themes?

 

I have always liked fantasy and horror films. I found it cool to enjoy the movies that scared others. My first attempts were solely focused on terror, but since becoming a father almost four years ago, the idea that time flies began to weigh on me. It feels like it’s been four months and not four years since my first daughter was born. I am terrified of not being there to see my daughters grow up and see time fly by, literally. This has made me become a very present father and the best version of myself (which is really hard; those who are parents will understand what I mean). All those emotional and paternal connections have changed and adjusted my view on terror. I would love to be forever connected to my loved ones and thinking about life after death has allowed me to follow a new type of cinema, one that proposes these themes from emotion, but is still terrifying: have you thought how you would react if your beloved grandfather, deceased for a while, suddenly appeared? What would that reaction be? 

3. How did your previous experience in still photography and motion pictures influence your approach to directing "The Grandfather"?

Much of my previous work was in still photography and the digital format allowed me to explore color, optics and light. I’ve been in photography since I was 16 years old and now, at almost 44 I’m still learning. I think my work in advertising photography has allowed me to explore different scenarios and styles, and I have applied all of this to my work in fiction film. I don’t think it is possible to imagine a story without visualizing it in my head, and when I visualize it I see it with textures, colors and lights. In that sense, it’s a great advantage to be a photographer. 

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4. Can you share any insights into the process of creating "The Grandfather," particularly in terms of visual storytelling and atmosphere?

The movie has three very defined photographic scenes: the first is the radio world, where we opted for warm and soft lighting, giving a sensation of a nice, protected place. I like the lighting of traditional tungsten. We used a couple fresnel 2K of tungsten 3.200K filtered through white cloth diffusers and filled the environment with haze smoke. We filmed with a Sony CineAlta FX6, using promist filters in the lens, ND in the sensor and a high iso ( the FX6 allows 12.000 without evident noise). The mixture of lights and the camera settings gave us the look we wanted.

The second scene is that of the earthquake, where the lights go off and everything has a blue and cyan tint. Here, we basically changed to LED 5.600K lights against the camera and some frontal panels to bounce back the light. We adjusted the camera to 3.200K and  corrected color with color grading.  

 

The third environment is the memories from childhood, where we used 5.600K cold light and the camera at 6.000K which gave us a very warm tone. The use of filters in post helped us achieve this atmosphere of beautiful fantasy and memory. 

 

I try to use fast lenses, f1.8 or f2.0, to help the full frame sensor obtain an interesting depth of field, but they are simple and inexpensive lenses. The 50mm lens we have is from a basic Sony line. I am a firm believer in simple resources. I don’t think it’s necessary to have expensive top of line gear. By making the most of basic equipment you can achieve a great look. The same happens with lighting: we used 5 headlights in total. 

5. Can you discuss your approach to working with the cast in "The Grandfather," particularly in bringing out the emotional depth and authenticity of the characters?

I think the key in acting is naturalness. I am careful when writing the script: I want simple, natural dialogue that sounds real. I use simple language. Then comes casting. I knew Bárbara Saavedra, the actress, because we are friends and there’s lots of her in the character. Bárbara has a special face too, innocent but with character, she has large expressive eyes. We were looking for subtle acting but with an expressive gaze. When your actor or actress fits the character, everything is easier. Lastly, I apply a type of direction that is as clear as possible. We define the tone of the scene, technical instructions for the camera and times, we rehearse once and then record. I find it important to get to the tone as quickly as possible and not have to repeat, since tiredness is the worst enemy of interpretation.     

6. What do you believe is the role of horror cinema in addressing deeper themes and emotions, beyond simply eliciting fear in audiences?

I like “close horror”, the type that tells the spectator “this could happen to you”. Horror, for me, is in everyday situations: an accident close to home, the death of a loved one, a tragedy that changes your life. Not so much an alien from a spaceship in the future: it is unlikely that we’ll experience that, but to be confronted with death, an accident, a tragedy, a sect, a murderer is much more likely. That likelihood is linked to losing what we love and therein lies horror, for me. The idea of Loss is what makes the viewer connect and live our story and this is what I looked for in The Grandfather. 

7. Can you discuss the importance of atmosphere and mood in creating an immersive cinematic experience, particularly in the horror genre?

Without a doubt an immersive atmosphere is KEY. It is not possible to involve the spectator if the photography fails to build the right environment, even in frames where there seems to be no direction of photography. I never forget that the frame, the camera movement, the color, are elements that build the narration. You can tell a story without dialogue or music but without the proper framing I think it is practically impossible. Also, for me, film is art: you paint with light, the sensor is your canvas. There are many genre films in which photography plays a key role, but I will only mention one example: The others, by  Alejandro Amenábar, with Nicole Kidman. The atmosphere of the big house lost in the fog and the cold is a work of art in an immersive atmosphere, achieved in 35mm celluloid.

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8. As a filmmaker, how do you balance your creative vision with practical considerations and budget constraints during the production process?

In Voilá Estudios, our production company, we develop advertising projects, videoclips, corporate videos, etc. and this work has taught us to quantify costs of production pretty accurately. So, when I let my imagination run wild and write a script I usually limit the gamefield before getting too creative: what do we have to work with, what can we count on, what actors do we know that might be interested in our project and what is the potential budget. With that in mind, we develop the story. So in my case I create from within the framework of what is available to us, what we have at hand.     

9. What advice would you give to aspiring filmmakers who want to create compelling narratives that resonate with audiences on an emotional level?

This is nothing new. I would say that there are two key things: the story and the personal touch. Both can be studied and practiced. Find stories that are overarching, that will work at different levels. Work with emotions and everyday things, and from there go to the extraordinary. Then add the personal touch. This is slower to achieve because there are many things that are learned during the journey, which is always evolving for a filmmaker who is constantly learning new things. Developing the personal touch in storytelling, photography, staging, etc, that sets you apart from the rest will ensure that you catch the viewer’s attention. In a group of 100 people dressed in gray, the one dressed in red will stand out. 

10. Looking to the future, what are your aspirations as a filmmaker, and are there any specific themes or genres you're eager to explore in your future projects?

I have enjoyed exploring suspense and horror from an emotional standpoint. I am currently working on two projects, a short film and a feature film, that also delve into these familial topics and expand on what we achieved in The Grandfather. I hope that my movies will be recognized and searched for on streaming platforms or played movie theaters and that this profession will allow me to live well and ensure that my family has everything they need. 

11. How do you hope audiences will perceive and interpret "The Grandfather," and what do you ultimately aim to achieve with your films?

I hope that viewers of The Grandfather can have two cinematic experiences: the first, one of visual enjoyment, that makes them say it had “pretty photography”, “great sound”, “great rhythm”, that makes them feel they watched a movie clearly made with passion, respect and purpose. And second, I would love for someone to get emotional after seeing The Grandfather, remembering a loved one and longing to feel and embrace them again.