1. Can you share insights into your journey as a filmmaker, from your early beginnings to your professional career, and how your passion for cinema evolved over time?

 

First of all, to talk about my journey as a filmmaker, it's important to reference the Punk philosophy and the DIY (Do It Yourself) ethos. The whole Punk movement taught us that we could do things, when the rest of the world told us it was impossible. Initially in music, though later we realized this could be applied to other disciplines as well.

 

So, thanks to bands like RIP or La Polla Records and filmmakers like Robert Rodríguez or Sam Raimi, among others, I understood that without big resources and without polished technique, many interesting things could still be done, and one could start creating and believing, above all, believing. That's how I started playing in punk bands and shooting low-budget music videos, also filming my first amateur short films with friends.

 

Over the years and with experience, I think the natural tendency is to want to improve, to professionalize all that creativity, but not with economic or corporate goals, but with the desire to achieve better artistic results closer to those of your favorite creators. I believe that if you start making art with the main goal of wanting to make a living from it, it's because you don't really need to live off it.

 

I think my passion for cinema extends to any discipline. It's the need to express oneself, to create and materialize ideas and concepts, to build.

 

2. Your film "HADO" explores themes of fate, destiny, and the impact of our actions on our lives. What inspired you to delve into these existential questions, and how did you approach translating them into cinematic storytelling?

 

Well, I suppose my life experiences and personal concerns. I'm very interested in human behavior, social psychology, and why we do or not certain things, including the responsibility we have for them.

 

Anyway, to be honest, it wasn't something I wanted to delve into much, at least not consciously. Initially, my interest with HADO was to exercise suspense and stylistic elements, but it's evident that the themes addressed in the short film disturb me in some way, which is why they're there. And I'm glad they're there and are identifiable. I like the idea that the film prompts reflection, no matter how minimal, and can lead to personal or collective debate after viewing.

 

3. How have classic suspense and horror films, as well as renowned directors like Hitchcock, Polanski, and De Palma, influenced your creative vision and filmmaking style?

 

I've always felt a deep attraction to genre cinema. When I was young, I would spend hours in the video store in front of the horror section, and even though I couldn't sleep at night and had a tough time, I loved movies like "A Nightmare on Elm Street" or "The Exorcist." I have to confess that, although I've hidden it for many years, it still happens to me. There are still movies that keep me from resting at night, but I'm still hooked on genre cinema.

 

As a teenager, discovering movies like "The Silence of the Lambs" or "Se7en" made me obsessed with suspense cinema and introduced me to explore classic directors like the ones you mentioned. During the conception of HADO, I had Hitchcock's cinema very present, and at some point, I even visualized it in black and white, as if it were an episode of Alfred Hitchcock Presents. Also, Polanski's apartment trilogy and De Palma's most Hitchcockian thrillers, with their handling of rhythm and suspense, with those slow and long sequences, were key references for me. In addition, everything David Fincher does and what he achieves on an atmospheric level, and the almost surgical way he frames and moves the camera, has been influential.

 

4. Can you discuss your experience navigating between the genres of horror and suspense in your projects, and how you infuse your personal preferences and references into your filmmaking?

 

This is something that practically comes naturally. As I mentioned before, I love genre cinema, and, like many directors, the first thing I do is visualize my projects as a viewer and ask myself, "What would I like to see?" Then I become quite obsessive about it. In other words, as soon as I'm immersed in a project, I'm only interested in and I´m only want to see things that contribute to me, inspire me, and are directly related to what I'm working on at that moment. Just to give you an idea, for example, I'm a lover of the anamorphic format, so, well, there was a time when if I put on a movie and it wasn't in that format, I would immediately turn it off... haha. It's crazy and sometimes it's complicated, although I must say that I'm getting better at it and learning to disconnect, haha.

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5. How do you approach character development in your filmmaking process, ensuring that your characters are compelling and fully realized on screen?

 

I try to create realistic and believable characters. To do this, the first thing I do is give them names and write a whole story behind the characters, from their childhood, their relationship with their parents, what music they like, traumatic events... Everything that has happened to them so far and what may have shaped their personality. I visualize them physically, how they dress, their body language, how they move, and I look for references. For the story to move me emotionally and have dramatic weight, I first have to believe that these characters are real to me. I have to believe that they could exist. Then I try to find common ground with the actors so that the performance flows.

 

6. What techniques do you employ to create an immersive and intense atmosphere in your films, regardless of genre?

 

I try to apply and integrate all the elements of cinematic language: framing, camera movements, rhythm, lighting, color, sound environment, sound effects, and of course, music.

 

7. As a filmmaker, how do you balance artistic expression with audience engagement and entertainment value?

 

As I mentioned before, the first thing I do is visualize the project as if I were a viewer. Then, an important commitment I consider as a creator is to represent other realities in cinema, specifically in genre cinema, showing the diversity that exists in society and making sure that everyone can see themselves reflected in different characters. That's why the characters in HADO deviate from the traditional and hegemonic family model.

 

8. In your opinion, what would you consider a "mortal sin" for a director of horror cinema, and how do you ensure you avoid such pitfalls in your own work?

 

I don't want to take a stand on that. I believe we all do the best we can with what we have. In fact, I admire people who take risks, even if they fail. Directors like De Palma or Shyamalan have made real “junk” as well as masterpieces worthy of geniuses. And some wouldn't exist without the others. I think it's good to make mistakes; it's a learning process. Directors need the freedom to do so.

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9. What challenges do you encounter when translating your creative vision from concept to screen, and how do you overcome them?

 

This one's easy! The budget! Haha.

 

10. Looking ahead, what trends or developments in the film industry do you find most exciting or promising for your future projects?

 

Well, here where I live, in the Basque Country, there are some very interesting grants and institutional support for audiovisual production. Additionally, some tax incentives have been approved recently that seem like they're going to benefit the industry we have here quite a bit. It's a booming industry now and it's expected to keep growing. There's quite a bit of movement.

 

11. What impact do you aspire your work to have on audiences and fellow filmmakers, both in terms of entertainment value and deeper thematic resonance?

 

For now, I'm happy just being part of the crew... haha. I'm content with doing what I do and what I love. If that has any other impact, it would be great, but I don't want to be pretentious either.