Curator & Art
The amateur Spanish filmmaker Fidel Jimenez, better known by his professional circle as FA Jimenez is one of the emerging talents of the current cinematic landscape of our country, however, like many others in his situation, his opportunities are limited to the mass phenomenon few of new artists and cultural support for new projects.
Packed with ideas and enthusiasm, this director from Madrid 26 specializes in direction and screenplay. In 2012 he studied at The Script Factory to train professionally and to fully develop their stories, which delivers all his dedication and personal demands. Throughout his career, he has written dozens of screenplays and directed several of them, how is the case of one of his latest short film Where the cold wind blows which will premiere at the beginning of 2015. Founder of the production company Mad Revolver Shortfilms, FA Jimenez commitment to fight for your projects and see them through.
How do you get inspired for a new story?
The spark comes anytime and anywhere. A person on the street, or a moment in someone’s life, it helps me to see that behind it there’s a story that can be told.
What are your reference managers? And your movies?
Directors: Hitchcock, Truffaut, Kubrick, Welles, Leone, Aronofsky, Bergman, Kaurismäki, Kurosawa, Vittorio de Sica, Woody Allen, Georges Franju and Masaki Kobayashi.
Movies: The Good, the Bad and the Ugly, Psycho, Eyes Without a Face, The Bicycle Thief and Harakiri.
What is your favorite genre?
The suspense. I think it’s the genre that most make to work the viewer for being 100% expectantly. Five minutes of good voltage solved the ballot of a good movie.
Do you consider good preparation for new film professionals?
I am not in favor of academies and schools. The film is not a discipline that is taught, must come from within. Although it is true that the technical basis has to be learned.
Do you think that there are many aid and opportunities in this industry?
The aid that I’ve received are from those people who like to be there and want to know how this works. The opportunities are changing, previously only made films those who had money and now everyone has a camera. The industry is competitive and is very closed, including festivals.
¿Unpaid work, for or against?
In favor. When one loves something so much you do not mind getting paid or not, just want to be there and do it.
How do you see the current situation of Spanish cinema?
I think they’re doing things very well since years. There is a lot of talent, but it is not at all appreciated. Pablo Berger for example, is a genius. The problem is that in Spain we have stuffed into trash cinema and now is difficult for us believing that cinema will see something of quality.
What future prospects have of your career?
I hope to get my proyects forward, and the illusion that has given to me to make the last will push me to do more.
What is Mad Shortfilms Revolver?
Mad Revolver is a modest production I created for my projects move forward. If in the future we got an acceptable level of funding would help other artists who are in the same situation as us, from zero budget.
Is there more friends or enemies in the film industry?
Unfortunately enemies. The film is loaded with overpowering egos. When all start from one point and see that one have more luck than others determines how you’re going to talk about that person. The world of artists is complicated.
How would you define a shoot?
I see every movie as a Western. You are no hints in bullet form, prima donnas dancing the cancan, criminals who water their throats and a sheriff with a headache trying to keep order, is “High Noon.”
What has been your best and worst experience on a shoot?
The best, the first time I said “Action!”. The worst was on a project of which I was not the director but I was the writer and to see how they smashed something that was mine.
An advice for future filmmakers?
Be yourself, don’t let nobody tells you how to shoot your film.