Cinema has shaped my life.
From childhood?
Yes, I was born in a cinema in Alaró owned by my father, I grew up in the Hollywood video store, I inherited the Casablanca, I wanted to be a film director.
…And he ended up co-founding Filmin.
Yes, the video store of our time. In all stages of my life my partner has been the cinema.
He gave it strong.
I was a restless and lucky spectator because the cinema did not end in the theater, it continued at home. My father had video stores.
They had their moment.
Many of us witnessed the closure of the town cinemas. Luckily we were able to celebrate the opening of the neighborhood video stores.
How was the atmosphere?
Spaces where people not only went to spend the afternoon but also to learn: sentimental and vital learning. Many of us have been trained by watching movies; in my case, behind and in front of the counter.
Viewing and recommending?
At the age of six he went to the movies every Friday, and at 10 he was already behind the counter recommending movies.
So he watched movies that he didn’t have.
Yes, I had an understanding and generous father, and seen from today’s perspective, radical. He allowed me to see Platoon at the age of nine and Atáme at 11, powerful vital lessons.
What movie marked you?
I will always love you, with Ingrid Bergman, who talks about a marriage that breaks up. I saw her at the age of 14 without really understanding her, but she taught me the signs of a crisis in a couple, something that decades later I have been recognizing in my own life.
Did he have acne and was he chubby?
Yes, like so many teenagers in the eighties. That is why the cinema, in my case, sometimes functioned as a guide and other times as a refuge.
Behind the counter at 10 years old, were they taking you seriously?
I was 10 or 20 years old, when they asked me to recommend a movie I would ask: “What is the last one you have seen that you liked?”, and with that answer and seeing the face with which he arrived, if he was tired or was restless, he was right.
But it was a child.
cinephile While my parents slept I would sit in the living room to watch movies one after the other. At the age of 21 I learned the business when I inherited the Casablanca video store.
Why so early?
My father died. I was studying film in Barcelona and I had to combine it with business. Video stores lived their splendor between 1980 and 1989, but when private televisions were born it ended, until people got tired of Las Mama Chicho.
And they return to the video store?
Yes, second moment of splendor, from 1994 to 2003. I took charge of the video store in 1999 when clients came to spend the afternoon. I spent all the money from the transfer inviting them to dinner to close that period well.
What happened to your father?
He had a heart attack playing tennis at the age of 55 and I grew up suddenly. I had to fight the sadness and the feeling of failure when I realized that he was not going to be a film director, aware of my limitations: there were people who did it much better than me.
Or try?
The job of directing requires provocation, conviction and a self-esteem that is proof of all kinds of failures, and I had too many insecurities. But fortunately I have served as a distributor and prescriber.
It has created a model and award-winning platform.
What we have achieved in 16 years was unimaginable in Spain and is unimaginable in Europe.
I congratulate.
In this country it has been repeatedly said that there was not enough public for auteur cinema; Filmin’s success proves otherwise.
What have been your learnings?
Often we lack self-criticism and we have plenty of self-destruction.
Are movie theaters dead?
They are still alive, but it is time to return to the neighborhoods: without proximity, the closure is near.
Theaters earn more selling popcorn than tickets.
The key is to find the balance. It is important to earn money selling cinema, combining culture and entertainment.
In which country is cinema enjoying the best health?
France is the benchmark, capable of training in cinema from childhood, so there is interest in all kinds of cinematographic culture. But the UK is also doing a great job with community theaters and public film libraries in towns and cities.
Currently you spend more time selecting on the platforms than viewing.
I say that we suffer from the syndrome of the great museum tourist: a lot to see and little time, so you end up with what you have already seen or with what is recommended. But I celebrate the restlessness of having a lot to see.
