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Just as a parent exists as long as the child exists, for me a sensei has his meaning when he offers his knowledge to a student.

 

That act, regardless of what the counterpart is or is not, is generous by its very nature, because education is the basis of everything. If the sensei, in addition to offering us his knowledge, teaches us to think by seeing things differently, his work will remain forever and ever.

If there is one thing I have learned over the years, it is that no matter how much you learn, or how much you become a sensei to others, you will always be a student.

Executive Production

& Direction

Sensei is, perhaps, one of the most beautiful words that have best defined my career because I have always felt, and still feel, a need, as vital as eating, to learn and acquire the greatest knowledge.

In the same way that a father exists as long as the son exists, for me a sensei has his meaning when he offers his knowledge to a student. That act, regardless of what the counterpart is, or does not have it, is something generous by its very nature, because education is the basis of everything. If the sensei, in addition to offering us his knowledge, teaches us to think by seeing things differently, his work will remain forever and ever.

In order to be a true student, one must find a sensei who is just as authentic, and I sincerely believe that this is the most complex part that we will face in our lives, whether it be in the professional, sentimental, or any other area of our existence that has meaning.

Like a train that only passes once, both the student and the teacher must know which station to be at and pick up the signals so that that moment becomes an experience.

I was lucky to find my sensei when I was 25 years old, and I say lucky, because I, who because of my trajectory until that moment could not even consider myself a student project, became welcomed and protected until I became what I am right now.

My sensei left part of his life to dedicate it to me and he did not do it from the evidence or the magnificence, like so many others, but from the humility and letting me stumble, teaching me to get up, physically and mentally to, from the honesty and always looking for the common good, make our worlds coincide.

My sensei left part of his life to dedicate it to me and he did not do it from the evidence or the magnificence, like so many others, but from the humility and letting me stumble, teaching me to get up, physically and mentally to, from the honesty and always looking for the common good, make our worlds coincide.

My life has never been complicated. I have always had an extraordinary family by my side, and not only because I have my parents, my sister, my wife and my children like a pineapple and always by my side, but because that sensei has become one more in the family without being one, enhancing in me what I never thought I could have, so that after years and years of teaching, something would explode inside me and I would realize, without realizing it, that I had become the sensei of others. A small, part-time sensei, perhaps, because circumstances leave me no other way, although he claims that I have nothing as a small child and partiality is an illusion.

When I read EDUARDO MEDINA's mission statement, and he asked me to be by his side in this adventure, I immediately volunteered because I saw myself reflected in him, as if he were my old self looking for someone to capture my potential and help me develop it.

In my case, the learning was oriented towards what was a passion to achieve, and which today is my profession.


I started with a PRACTICAL COURSE OF CINEMATOGRAPHIC WRITING at ALMA (ASSOCIATION OF LITERARY AUTHORS OF AUDIOVISUAL MEDIA) and, immediately after, in another one that with the title of DRAMA FOR BUSINESS, gave training for managers in interpretative techniques. The course was held at LA CASA DEL ACTOR and for me everything was new, exciting, vibrant and magical.

He absorbed everything, empowered it and lived it as if it were unique, and after that course came others on PRODUCTION, FINANCE and CINEMA DIRECTION .

Soon after I started working in the production of MARKAB CREATIVOS, a company that made events related to the film and television industry. 

There I was able to conduct the Galas of the FESTIVAL DE CINE ESPAÑOL DE MÁLAGA, in cooperation with CANAL + ESPAÑA, and those of the FESTIVAL INTERNACIONAL DE CINE IBEROAMERICANO DE HUELVA, together with TVE, with whom there would also be the presentation of the GOLD MEDAL TO ANTONIO BANDERAS in Malaga and the GOYA AWARDS for the ACADEMY OF THE ARTS AND CINEMATOGRAPHIC SCIENCES OF SPAIN (all presentation videos together with MOLINARE).


I produced the LA CASA DEL ACTOR AWARDS, the UNION DE ACTORES AWARDS and I also directed the opening show of the MATCH RACE (SAILING WORLD CHAMPIONSHIP). All in one year.

The experience in these jobs, which I dreamed of as a child, was already a reality, and it was time to take another little step. I created my own project, something on a small scale compared to the ones I was doing on assignment or the projects I was linked to, and so, for three years, I directed SCENIA, the only festival in Spain dedicated to film technicians paying homage to CRISTOBAL CRIADO (make-up artist for films such as EL ABUELO by JOSE LUIS GARCI or LAS EDADES DE LULU by BIGAS LUNA); JOHN CABRERA (a man who had specialised as an outdoor location scout for American films and who is remembered as the director of photography for mythical films such as CONAN or WHEN DINOSAURES DOMINATED THE EARTH) or JOSÉ MARZILLI (agent, among others, for JAVIER BARDEM).

The best thing about honoring them is that they all became friends and teachers. Thanks to their wisdom I was able to see the History of Cinema in a different way than it is told. I enjoyed their passion and how they shared it because each one of them projected their soul into what they did.

The Festival made me grow, especially to act properly in decision making and to know that, no matter how much foresight you have, and how much security you have, you always have to solve eventualities. Nothing that nobody does not know but that made me assume as something of my DNA, and that today is vital to develop my production work.


I knew the family of the poet MIGUEL HERNANDEZ and finally got involved to create a company together with a childhood friend, and with EKIYOO MEDIA, to manage the music, theatre, film and literary rights, events and acts related to the COMMEMORATION OF THE CENTENARY of his birth. Coordinate the production of more than 100 actions and events, from  HIJO DE LA LUZ Y LA SOMBRA, the latest album by JOAN MANUEL SERRAT (SONY MUSIC) or LOS FLAMENCOS CANTAN A MIGUEL HERNÁNDEZ with, among other artists, ENRIQUE MORENTE, MIGUEL POVEDA, CARMEN LINARES o PITINGO (UNIVERSAL MUSIC). Also the realization of plays of LA CARÁTULA, PACO MARSÓ, MERIDIONAL, BARAKA, ERRE, MARACAIBO, CRIT, JÁCARA, MIGUEL MOLINA, PLOMO CANDENTE and PARANOIA; the production of two documentaries about the poet, one for TVE with LA MAREA and SATECO, and the other with the FUNDACIÓN PABLO IGLESIAS; in addition to 49 editorial works among which the Complete Works with the publishing house ESPASA CALPE, the translation into Chinese of the work of Miguel Hernández with the MINISTERIO DE CULTURA  and numerous publications at international level stand out.

Always looking to grow at a human and professional level, I moved to Tenerife and there I started working as Advertising Production Manager for PLATO ATLANTICO producing numerous campaigns and advertising spots for the most important commercial brands in the Canary Islands (among others, HYUNDAI, DANONE, MERCEDES BENZ or PLATANO DE CANARIAS), as well as public institutions and the GOVERNMENT OF THE CANARY ISLANDS, for three years.

I also directed and produced the making of the music festival FIMUCITE 2009, where I exposed my most creative vein which, from then on, began to have more relevance.

I was Production Manager of THE DREAMPLAYER for FABULAE CREATIVOS, the incursion in direction, and in English, of CURRO ROYO, screenwriter of films like EL ARTE DE MORIR or TRECE CAMPANADAS and series like EL COMISARIO, PERIODISTAS, MÉDICO DE FAMILIA, ALATRISTE or CUENTAME COMO PASO, a classic of Spanish television.

I was also involved in the production of DENTRO, a short film of which I am particularly proud, and its director, FACUNDO TOSSO.

Back on the peninsula, and with a bag full of human and professional experiences, came the international jump and so I took on different positions in the production of British films that were being shot in Spain such as TOMORROW, film by MARTHA PINSON, produced by EMMA TILLINGER KOSKOFF and MARTIN SCORSESE; TANGO ONE, fim by SACHA BENNETT, with VINCENT REGAN (actor in 300 and TROYA) y GUNNED DOWN, directed by MARK MCQUEEN and with CRAIG FAIRBRASS (CHIFFHANGER) y JAMES COSMO (TROYA and BRAVEHEART).

 

For the last three years I have enjoyed being able to devote myself as scriptwriter and director of some of the video clips of SMOKING SOULS,  one of the rock bands with which I explore other creative lines; and I have co-directed a documentary about the farewell of  LA RAIZ (DE GANDIA AL MUNDO)eleven musicians from various national and musical backgrounds with a very strong presence on stage, which have contents as lyrical as they are vindictive.

 

I have also been Production Director of GAMING EXPERIENCE, producing their events in SPAIN and KATOWICE (Poland), designing some projects like GAMING CRUISE, a cruise focused on the gamer and sports industry.


If there is anything I have learned in THESE YEARS  it is that no matter how much you learn, or how much you become a sensei to others, you will always be a student.