Such is the confidence that Sergi Rubió places in the talent of his favorite editor, Lucero Quintela, to whom he prefers to entrust the post-production of everything he directs, as opposed to taking a class in film editing. Deep down, he knows that as soon as he sends the first version of what he has shot, her sharp vision would inevitably reveal an unexpected surprise.
For this new production, Sergi Rubió invested in the type of equipment that would allow him to work solely behind the camera. In this way, he was able to return to the freedom of his adolescent years, where his artistic career began.
When Sergi Rubió was busy convincing Josep Madaula to create this film with him, the painter grew fond of the concept that Rubió was offering him. Both artists were soon to work in tandem: Madaula with his brushes and Rubió with his camera.
When Sergi Rubió was busy convincing Josep Madaula to create this film with him, the painter grew fond of the concept that Rubió was offering him. Both artists were soon to work in tandem: Madaula with his brushes and Rubió with his camera.
On day one of shooting, the first thing that Rubió did when he arrived home was to sit down and actually write the script, composing the two scenes that he had shot that same day, in addition to the scenes that were to shot on day two when he would meet once more with Josep Madaula. Such meetings became a small tradition between the two artists with the goal of finally giving the film a structure and setting the tone for the project's search for meaning.