It is said that first love is never forgotten because with it you imagine infinite possibilities in a unique, new and difficult to explain experience. My first love was JIM HENSON, a teacher capable of creating wonders such as THE MUPPET SHOW, FRAGGLE ROCK, THE DARK CRYSTAL and some characters from the emblematic STAR WARS. The love for HENSON was what you have for teachers: from the admiration and complicity of knowing that someone who marks your career also marks your life. That's why I thought it was convenient to tell my trajectory through every sensei I've learned from.
At the moment of truth, being in a couple, in politics or writing stories for wonderful dolls can be lethal if you do not value the day-to-day effort and respect between the parties; it does not matter if you are the CEO of a big company, a middle manager, the mother-in-law, a worker or their parliamentary masters.
The life told by a sensei in its pure state is like a good dictionary where you can find the exact definition to any doubt.
It is very possible that those who do not have any talent, work so that things do not happen, and not because if they happen they can harm them in something, but for a reason as ridiculous as human: because it is not with them that things happen.
I have fun, and a lot of it, doing things that a serious man should not do like giving away knowledge about quantum or using seven different names according to the sector where I work, and not to mislead but to make respect between one identity and another always remain.
HENSON is still my first love and guide. My first sensei. And remembering his teachings, I try to look for fantasy, imagination and sophistication or, what is the same, talent.
Financial and fiscal instruments
It is said that first love is never forgotten because with it you imagine infinite possibilities in a unique, new and difficult to explain experience.
Love, of course, does not have to be something romantic, playful or sexual, which is what we seem to say when we talk about first love. And in fact, mine was nothing of the sort.
My first love was JIM HENSON, a teacher capable of creating wonders such as THE MUPPET SHOW, FRAGGLE ROCK, THE DARK CRYSTAL and some characters from the iconic STAR WARS.
The love of HENSON was what you have for teachers: from the admiration and complicity of knowing that someone who marks your career also marks your life. That's why I thought it convenient to tell my story through each sensei I've learned from.
I arrived at HENSON in an absolutely casual way: When I was very young, I wrote a story entitled THE MOON AS THE BEST ADVERTISING ADVERTISEMENT OF COCA-COLA OR THE END OF THE AMERICAN EMPIRE, which was read by someone close to me and opened the doors to one of its geniuses: SESAME STREET, a program for children, and not so children, where flesh and blood characters coexist with rag dolls, puppets or actors in disguise, and which created real stars of show business, with versions in multiple countries. CTW (CHILDREN TELEVISION WORKSHOP) co-produced in this case with TVE where the protagonists were ESPINETE and DON PIMPON. In the USA, my favorites were COUNT VON COUNT, BERT & ERNIE, SUPERGLOVER or COOKIE'S MONSTER.
To me they were like aliens who taught me something new every day. They took my brain and ordered me to write stories that conveyed the values of their world.
Their journey has been so enormous that, even today, parodies of, for example, legendary films are still being made with them of protagonists; of course, without leaving aside their pedagogical vocation and their particular tributes to their teachers.
During the seven years that I was a screenwriter for the program, I had the enormous luck of sharing works and, above all, learning a lot from other masters, like ROBERT BALSER, another genius who made possible THE YELLOW SUBMARINE, the animation film of THE BEATLES, o RAUL GARCIA, a huge creative who is part of the Spanish who emigrated to Los Angeles to work in the big studios and who, besides having participated in a long list of DISNEY titles, is an essential element of two of my favorite films: WHO FRAMED ROGER RABBIT? and ALLADIN.
That paradise under the sea, livened up with the music of "Sergeant Pepper's Lonely Hearts Club"; the rabbit married to the woman with the most impressive curves ever drawn; or the blue genie coming out of a lamp to grant wishes, are jewels of animation because there are ROBERT BALSER and RAUL GARCIA, but also because there is the talent of a team capable of materializing any idea imagined or to be imagined, working from the respect of some for the talent of others.
Another good lesson: Doing something good can better with the sum of many good ones.
As for the stories, in SESAME we used a series of key words to frame our contents: tolerance, solidarity, communication, agreements, honesty, courtesy, admiration, listening, welcome, kindness, attention, admiration, self-esteem, empathy, coexistence, justice, love... or what is the same, respect.
Respect, that's, and was, the recurring word.
There was also another person who taught me respect: GERARDO LOSADA, designer and one of the promoters of LA LUNA DE MADRID, a publication of "la movida de Madrid" where I, almost as a child, collaborated using some pseudonyms, precisely so that it would not be discovered that I was very young.
In LA LUNA I wrote about cinema, with a very different point of view, which is what the readers really liked. For many and many of those who passed through the magazine I was a mascot, for GERARDO LOSADA I was a friend. For me he was a mentor. He always gave me the best advice on how to get hooked on what I was publishing, and also on how to approach many things in my day-to-day life. He was a wise man and an elegant creative. He worked on a commission basis and many clients gave their opinion and did not respect his talent, but he always told me not to worry, and that even this lack of respect should be respected because entering a war of respect only led to absurd battles. He was convinced that by listening to the other side, even if they didn't want to listen to you, you could learn something. I tried to believe this because, at that time, writing "for children" was something that was "second or thrid rate" or not meant for authentic screenwriters. But he said that it was a wonderful and very honourable job that I would feel very proud of when I grew up, because besides enjoying it, I was sure that I was teaching many people, many things.
GERARDO LOSADA was twice my age and died right away, of a heart attack. His words are always in front of me. This is what happens when someone is a real sensei, as well as a faithful friend.
Over the years it is clear that many learned respect by sitting in front of the television with their bread and chocolate, knowing how to differentiate between "up and down", or philosophizing about how to tickle or sharing a bathtub with friends. I feel very proud of what I was able to contribute, although it also makes me infinitely sad, and very unhappy, when I see that their belief that you can learn even from the disrespectful is not fulfilled, especially when I read or watch as others, and others, use as an excuse "their respect", which they believe is only theirs, to spit, encouraging hatred or lack of sensitivity.
At the moment of truth, being in a couple, in politics or writing stories for wonderful puppets can be lethal if you don't value the day-to-day effort and the respect between the parties: it doesn't matter if you are the CEO of a big company, a middle-manager, the mother-in-law, a worker or their parliamentary masters.
In SESAME I also learned what the mechanics of work were, the forging of friendships that last a lifetime and what a money-making machine was. Later, other television programs would come on, and all of them were different LOS MUNDOS DE YUPI or QUE APOSTAMOS , for example... and with all of them I continued learning.
At the same time I had set up my first business by signing the representation of some cartoon production houses in the countries of the EASTERN EUROPEAN UNION. The best thing is that I believe that first business is more guided by the mere intuition and enthusiasm of seeing the sense of animation up close, than by the formality of becoming an entrepreneur.
Intuition and enthusiasm, two elements that must always be taken into account in a good sensei.
One of those artists led me to FUNDESCO, a Foundation linked to the TELEFONICA of that time, where I received a commission to develop an audiovisual experiment using a program that was new to the market and was called SOFTIMAGE, a fast, very easy to use software that is the great grandfather of reverse kinematics to animate 3D characters.
At that time it was clear to me that I wanted to devote myself fully to the world of creation and with ON, -that was the name of the project-, I assumed that technique, protocols or apparently non-creative mechanisms have the same importance as important as the best gag or the most ingenious dialogue.
I wrote and directed something similar to a movie trailer about a family robot with a top-secret mission: while changing diapers, and preparing wonderful dishes of food, I spied on an entire family using sophisticated applications that I had hidden, and then, processing the information, giving an account of that family's behavior to an evil multinational. Could I be a babysitter working for FACEBOOK? The social network hadn't been invented yet, so no. An omen? Maybe, because I don't understand time in a conventional way. In any case, ON, after being praised, was kept in a drawer, and I learned another important lesson: don't get ahead of time, or if you do, accept that until your time and the time of others are on the same line, nothing may happen.
The good thing was that I was able to show it to JRDG.
Does anyone remember what was revolutionary about the wonderful poster for EXPO 92 or the one made at that time for AMNESTY INTERNATIONAL?
JAVIER ROMERO, JRDG' s alma mater, and his team, were the ones who gave birth to them. And, for me, a new lesson: to know that the most authentic modesty is that of those who enjoy not only working for very important people or brands (NBA, IBM, SONY or TIME) but also appreciate doing so with little ones like me. I was given a unique opportunity and we were able to design together HATMAN, a dystopian series set in the near future, where deaths followed one another by hundreds of thousands in New York, where a disease produced by climate change caused destruction on all continents and where we were forced to live in a confined world from which we were relatively saved by technology and virtuality. Something that was called science fiction then and looks like a documentary today, doesn't it?
The idea was to make a co-production between the United States and Spain. JAVIER ROMERO presented the American part to DISNEY, where it was well received as it carried the graphics of their theme parks, but the Spanish production company did not have much intention of spending and everything was put on hold. Even today we are still talking about moving forward, and for me a new point to note in the notebook of things to assimilate: even if you have a genius next to you, -in this case one of the best designers on the planet-, choose your money partners properly. Maybe with their lack of vision they make the projects last forever.
My first moment of unemployment arrived, and the incessant search to find a place to pay bills from.
I sent mountains of resumes, -if, at that time, you didn't send an email or use LinkedIn-, with small samples of what I had done up to that point.
I was helped by CRISTINA MARTIN, another sensei, who worked at the CONGRESS OF THE DEPUTY. A woman whose head is splendidly furnished and whose I hope that one day she will decide to share her experience with everyone, as well as with her friends. It would be something shocking and very revealing to know how the house of those in charge works.
I only received four replies, which I still keep today, and I swear I did not remember writing to any of them: A publishing house that asked me if I would be willing to go into writing about desire (what a nice way to call the porn story); a refrigerator factory that thanked me for my time and asked me to come to Galicia to be part of their marketing team; a film school where they expected me to tell them the secrets of the relationship between ERNIE and BERT and, finally, a television production company linked to EMILIO ARAGON and some friends.
A new step in my work checklist: No matter how mysterious the meeting point with your future employer may be, always thank them for having noticed you, even if it was because of a confusion, and think that in the near present or in the uncertain future it may be basic to take up again the kind answer they gave you. A job is always a job, and more so in moments of desperation. In fact, in different periods of my life, I have resorted to three such proposals. And the one that had nothing to do with creativity took me, years later, to one of the loves of my life.
I decided on ZEPPELIN TV, which is the name of the production company, and I went into a surrealistic adventure creating delirious stories to make innocent characters known, where he worked as an actor, writer and / or director, and so we could enjoy RAFA CAMINO being part of the Guinness Record of goat-ball throwing; CATHERINE FULOP cross half of Europe in a few seconds and with colleagues who came from other times; or MARIBEL VERDÚ denying being the cause of the separation between Lady Di and Prince Charles of England and, in passing, we discovered, besides a very young and elegant actress, a person just as fantastic. There were many other characters and finally, INOCENTE, INOCENTE, which was the name of the show, received the TELEVISION ONDAS AWARD that year. A huge success. And again a great experience to have: laugh with the people, not at the people. Whether it's in life or at work. Laughter is therapeutic and it also allows you to sleep peacefully. When you laugh at people it is usually from arrogance and ignorance, and that only leads to ruin or possible tragedy.
A lot of offers came out of those laughs, but I had been thinking for some time about going over to the side where the diero moved and the projects were decided, or as my creative partners used to say, to the "dark side", so even though I had been in the business for years, I had to get to know that back end first hand.
The first thing that came up was organizing, managing or producing events, while I kept writing.
Work in the SAN SEBASTIAN FILM FESTIVAL, with CANAL +, especially in the DONOSTIA AWARDS and its Galas, enjoying the closeness of myths. Of some I keep a special memory like AL PACINO (a real gentleman who knew that the fans were part of his work and who gave me a perfect class of what the public expects from your image, and maybe that's why he didn't tie his tie or wear impossible colored shoes), ANTHONY HOPKINS (the most endearing cannibal I've ever met), MICHAEL CAINE (a really funny sly one) or JOHN MALKOVICH (so friendly and everyday that it was hard to imagine him in those roles that turned him into a machiavellian seducer or cynical trickster). I also suffered with others, which is better not to mention. I learned a lot about what to do, and also about what not to do, in direction and production. My main job was to write what the stars were saying, that is, to have the privilege of having their words be mine.
Yes, most of the audience is unaware that many of the artists' interventions and that everything that happens on a stage is written. Our work is quite anonymous and secret, even if you have saved some star from saying some barbarity or a very elitist director gives you a cardboard with several words and drawings, and without explaining anything, as if you were solving a jerofliffic, know that this is the material to write his speech of gratitude for the prize received ... and all in a time of ten minutes before going on stage. Both are real anecdotes, and I discussed them with TERENCI MOIX, who gave me a master class on what writing means. It was delightful for me to listen to him. The life told by a sensei in its purest form is like a good dictionary where you can find the exact definition to any doubt.
Then came the FESTIVAL DE CINE ESPAÑOL DE MÁLAGA, the FESTIVAL DE CINE IBEROAMERICANO DE HUELVA or the production of some GOYA AWARDS or a GOLD MEDAL for the ACADEMIA DEL CINE ESPAÑOL.
I had to do a lot of public relations and I had a lot of time to talk to each department, to those who call themselves famous and also to many other people who were not. With all of them I came to the same conclusion: you can have all the talent in the world, but if there is no money to show for it, little will happen, at most wait for luck to show up or find yourself in the right place when someone needs you. And that's as unlikely as your lottery win.
I directed some commercials and participated in a very atypical film: 11M: TODOS ÍBAMOS EN ESE TREN, an allegation against the Atocha bombings of 2004. I was also one of the founders of DAMA, as a response to the abysmal management of the SGAE, which today seems to continue, even though more than 20 years have passed. If one day we wanted to tell the best of the history of cinema and television in Spain, it would be enough to talk about many of those promoters. Authentic senseis of the art of storytelling. I admired them then and I still admire them now.
One of them, an excellent scriptwriter, as well as a friend, CURRO ROYO, wanted to try his luck and after having written series like MÉDICO DE FAMILIA, PERIODISTAS or CUENTAME LO QUE PASO, he went on to direct with THE DREAMPLAYER, and there I was in the production, together with CECILIO CHAVES.
Another time to consider. Working with people you love is the best... and the worst. In the end, famous respect fixes everything. And another essential thing. We can all recognize a sensei, but he may not know he is one, and even if you tell him, he may not accept it. In that case the important thing is to get him to always be by your side. CECILIO CHAVES is not only a sensei who has yet to accept it, but the most honorable person I have ever known.
I finally took action, placing myself openly on the side of money.
I had earned quite a bit, but audiovisuals are expensive, so the best thing was to go and find more money, and where I could be best.
Hand in hand with another essential reference for me, JULIO VELOSO, head of the CORPORATE FINANCE area of RODES & SALA (currently BROSETA), specialised in venture capital operations and financial law, and considered one of the reference lawyers in Spain in banking and finance, corporate and commercial, I moved to the Canary Islands, attracted by their Economic and Fiscal Regime, with the intention of using it as a lever for financing films, as well as a privileged location for filming, and even with the intention of creating a City of Cinema.
It was two long years of going and seeing, collaborating with the GOVERNMENT OF THE CANARY ISLANDS through ERNESTO YANES, director of TAX POLICY of the la CONSEJERIA DE HACIENDA and later Manager of PROEXCA. Important legal incorporations were achieved that have made it possible for the islands to become a point of attraction for the international audiovisual industry years later. He is to be thanked. Without him it would never have happened.
Through ATLANTIA CANARIAS, and together with ROGER CORBI from DRIMTIM, we made the presentation of what was going to be a production platform in Tenerife.
We organized a conference with the intervention of experts who analyzed the real possibilities of investing in funds dedicated to film financing, making a good review of the industry, the Anglo-Saxon business model, its guarantees and the way or manner in which the investment was recovered and the benefit for the investor was obtained.
It is important to remember the list of those who were with us to understand what happened next. And in this sense I think it is good to make a summary of the curriculum of each one of them:
RUTH VITALE, president of FIRST LOOK, founder and co-president of PARAMOUNT CLASSICS and FINE LINE FEATURES, and at the forefront of independent production and distribution for more than three decades She launched the career of filmmakers such as PAUL GREENGRASS, SOFIA COPPOLA or SCOTT HICKS, working also with other established talents such as SAM RAIMI, ROGER MICHELL, JONATHAN DEMME, PAUL W. S. ANDERSON, PATRICE LECONTE or BARBET SCHROEDER. As president of production at VESTRON PICTURES, she made possible DIRTY DANCING, one of the most successful independent films of all time.
MICHAEL SALORT, producer, scriptwriter and director of SYMBIOTIC, a company specialized in new formats. Anticipating the digital revolution, he developed his own content, capturing entrepreneurial talent especially on the Web, performing predictive analytics, web analytics, digital distribution platforms, innovative 360º marketing techniques and applying emerging methodologies.
BONNIE TIMMERMAN, the discoverer, as a casting director of actors such as BRAD PITT, SEAN PENN, BRUCE WILLIS, TIM ROBBINS, RALPH FIENNES, RUSSELL CROWE, DANIEL DAY-LEWIS or LIAM NEESON, and actresses such as JENNIFER GREY, ANNETTE BENNING, HELENA BONHAM CARTER, KYRA SEDGWICK or JULIA ROBERTS. Her career began when a theatre owner asked her to go out and find actresses who were unusual women and she returned with MERYL STREEP and GLENN CLOSE.
BARRETT HAGEN, financial consultant of the multinational PARAMOUNT PICTURES specialized in banking, who gave the keys about the Anglo-Saxon business model of cinema, with worldwide pre-sales and financial insurance, presented the Canary Islands as a unique opportunity due to its tax system.
BRANKO LUSTIG, Holocaust survivor after two years in the Auschwitz and Bergen-Belsen concentration camps, and producer of films such as SCHINDLER'S LIST by STEVEN SPIELBERG or GLADIATOR by RIDLEY SCOTT. In addition to the Oscars, for those two films, he had the most important awards in the industry and that same year he founded SIX POINT FILMS, in his words, "to produce films that encourage people to think". He explained the strategies to be followed from the point of view of a Hollywood Studio, and his relationship with creative people, whether big or small, giving keys on how to turn the Canary Islands into an essential axis of film financing and production. A great teacher and a beautiful person, with whom I continued to maintain a relationship.
JULIO VELOSO and representatives of the main institutions of the Islands were also present: PROEXCA, ZEC, CABILDO DE TENERIFE, AGENCIA CANARIA DE INNOVACIÓN and the GOVERNMENT OF THE CANARY ISLANDS.
So what happened?
Nothing. Absolutely nothing. And as a consequence of nothing, a broken dream, some estrangement from people who did not want to be next to a "loser" and silence, because the pressures coming from that were so strong that we called "nothing" that prevented even being able to do anything but keep quiet. At least at that time.
As a consequence another new golden rule: it is very possible that those who have no talent at all, work so that things do not happen, and not because if they do happen they can harm them in something, but for a reason as ridiculous as human: because it is not with them that things happen.
Our initiative, surprisingly, was attacked from all sides. Even from some professionals who in the morning praised you and in the afternoon wrote against you in a blog, without showing their faces and using their anonymity. They never asked what was going on. They didn't care. All of them had suddenly become expert gurus, or masters of divination, and were giving lessons - as easy as it would have been to ask the source!
I learned the unspeakable about infamy and losing any prestige or that the years, and a job well done, were useless because there is nothing worse than shamelessness and laughter at the expense of anyone. After all, that lack of respect, which makes those who do not know how to do anything think they are clever and important, is what makes them think they are clever and important.
Not only was I questioned, but also those masters who have left films that are now the intellectual heritage of humanity. We even had to show a video of BRANKO LUSTIG, because a character as sinister as he was powerful doubted that this old man with a kindly look was the same one who was picking up the golden statue in Hollywood while SPIELBERG was applauding him. No, there is no need to think badly. I was not accused of the sinking of the Titanic or the assassination of Kennedy. The important thing was to create the doubt, that something remains. Something that has always been used and that today we are tired of seeing everywhere. There is little point in denying that they will always continue to attack. Of course, that same media questioned condoms as a means of protecting against AIDS in Africa. Nothing to object to. Everyone on their own side and the respect in which they can give it.
PACO MESA, in its book EMPRENDEDORES EN CANARIAS, gives an account of part of that history.
Then came other projects, and as the rule says, one out of ten comes out. The rest wait for a better time... or they don't come out.
SPACE KIDS SCHOOL is the one I remember best, a series developed with CARLOS LIROLA and an extraordinary creative team in Malaga, set in a school run by dinosaurs that had left Earth a few million years ago in the first case of abduction from the galaxy.
I must confess that I was inspired, and very much so, in my time of study at the University. I had graduated in CIENCIAS DE LA INFORMACION at the UNIVERSIDAD COMPLUTENSE DE MADRID , and I also tried it in LAW and POLITICS, although I gave it up because I realized, too soon, that it was a strange combination that was difficult to carry out with dignity, at least from the ethics that I respect. The years have shown me that I was not wrong.
I have learned a lot alongside anonymous people and also alongside well-known and recognized people, or those who are in an intermediate field, and to whom much is owed without almost anyone knowing it. ENRIQUE MARTÍNEZ is one of those brilliant minds, and together with him I dedicated many hours to the development of CINEGAMES where the world of video games and sports in movie theaters were allied, and at the same time those spaces were used for educational and business events.
After the Canary Islands came Mexico, next to greats like RENE ALAVEZ of ANGELES INVERSIONISTAS, who introduced me to law firms like TAILOR PLAN, with clients like CARLOS SLIM, and with whom I created financial products in different Latin American countries and also worked on security issues for investment at an institutional level.
In Tenerife I set up a new company, EKIYOO MEDIA, with which I produced various projects for the CENTENARY OF THE POET MIGUEL HERNANDEZ, including two albums: one for UNIVERSAL MUSIC (LOS FLAMENCOS CANTAN A MIGUEL HERNANDEZ: PARA LA LIBERTAD) and another with JOAN MANUEL SERRAT (HIJO DE LA LUZ Y DE LA SOMBRA) for SONY MUSIC. The best memory: JORDI TELLO, an executive of the discography from whom only by observing him I learned a lot about the music industry, and a man who not only believed in his work, but did it with a lot of enthusiasm, always with a point of creativity and no ego, even though we had to deal with more than one brave bull. The best thing was to discover him when he became a RICK BRENDAN and his DOCTOR AMOR, a fun pop band proposal, which I signed up for on more than one occasion.
From EKIYOO I also helped some companies to develop, among them one where, after three years of daily and direct work, I achieved figures of more than six zeros of investment and made it possible for more than 20 people to receive their salaries during all that time, I found out that apparently it had all been a fantasy or something that existed only in my imagination and in the middle of a trial I found out that I was nobody in the company, even though my card said I was the General Director, and there were hundreds or thousands of proofs to the contrary. Of course, perjury is a crime, and I'm sure there's a new chapter in that, so: Coming soon to your screens. The good thing is that you can always learn from bad experiences. This company had all the makings of a unicorn. For me today it is one of the most disappointing cases I have ever had close by and at the same time most revealing of how a brilliant idea can be diluted into nothing.
On the opposite side, a new sensei has been discovered before me of late: FACUNDO TOSSO. I had worked with him as a designer and as an assembler. Time and good vibes have led us to other film writing projects where every day I am surprised to discover characters and themes that have the particularity of delving into the most intimate and, at the same time, are very universal, and can easily reach the general public. Time will tell, but I'm convinced that he will be recognized as an elegant filmmaker, not only for being a brilliant technician, but for his inner world and the excellent taste he has in exposing it.
These days, I have just written a book called HAPPY (very appropriate for this time). Stories with characters, who in spite of the adversity, always find a positive point to rescue in their stories.
I had previously written another, like the first book about PEDRO ALMODÓVAR (DON'T T TELL ANYONE/NO SE LO DIGAS A NADIE published by ALCANCES-MUESTRA CINEMATOGRAFICA DEL ATLANTICO), the MANUAL DEL PERFECTO INOCENTE for VMR EDITOR, A GUIDE TO CONSULTATION ON INCENTIVES AND SPECIAL CANARY TAXATION for the PCTT and the CABILDO DE TENERIFE or AFTER HOURS/ CUANDO LLEGA LA NOCHE, published by MONDADORI.
I've even worked as a Negro, as they say in Spain, or in a more elegant way, as a ghostwriter, for others. That is to say, them and them, the name, and the photo on the back cover, and me the words. Something recurrent and habitual throughout my professional career.
I'm still committed to developing an audiovisual business. It will come. And in the meantime I advise on financial instruments, special taxation or businesses associated with intangibles, as well as providing training on these issues.
I have taught at institutions such as the INSTITUTO DE EMPRESA, ALMA, GRUPO RECOLETOS, MINISTERIO DE CULTURA DE ESPAÑA, INSTITUTO DE CINE DE MADRID, MALLORCA FILM ACADEMY or the UNIVERSIDADES MENÉNDEZ PELAYO, ZARAGOZA or CARLOS III in audiovisual matters (Creation of characters, International Audiovisual Financing or Completion Bond) and also others related to Investment and Taxation.
In the Canary Islands I have given specialized conferences sponsored by the GOVERNMENT OF THE CANARY ISLANDS, CULTURA EN RED, ZEC and PCTT related to financial vehicles, special taxation and sectorial business models, being a speaker, besides in events like SUPERHEROES, or together with NOLAN BUSHNELL and IAN LIVIGSTONE (two of the most important world figures in the technological and videogame field), in talks about Talent and Money within the TENERIFE LAN PARTY (TLP).
Lately, I collaborate with different mentoring programs such as ATENEA, through specialized talks for students with high intellectual capacities at the UNIVERSIDAD DE LA LAGUNA (SANTA CRUZ DE TENERIFE).
Besides, I have fun, and a lot of it, doing things that a serious man should not do like giving away knowledge about quantum or using seven different names according to the sector where I work, and not to mislead but to make respect between one identity and another always remain.
I've also been involved in many very interesting projects, even if they haven't materialized (they will some other time) and in some of them real senseis have collaborated. To highlight IAGO ROMAN, another sensei who doesn't know what he is.
EDUARDO MEDINA has taken up the concept of SENSEI to create a company. An excellent initiative. I wish you that, besides being the good person you are, you become the great entrepreneur you want to be. I will support him in any idea that he exposes, even if it is an ice cream shop in the Arctic, because I am sure he knows how to find a point that makes the proposal attractive. Few people like him and with so much desire to do things.
I could continue to give an account of other works, reference others or other senseis. Some of them are here, and they are very friendly, and as one of them says: "The world is not only small, but as those of us who recognize ourselves like to be close to others, and the world becomes even smaller". Others are no longer in this world, although their teaching prevails, and there are also some who prefer to remain anonymous, so I will keep that respect.
HENSON is still my first love and guide. My first sensei. And remembering his teachings, I try to look for fantasy, imagination and sophistication or, what is the same, talent.