{"id":1809,"date":"2025-10-22T01:44:06","date_gmt":"2025-10-22T01:44:06","guid":{"rendered":"https:\/\/diegoquemadadiez.com\/?p=1809"},"modified":"2025-10-22T03:11:46","modified_gmt":"2025-10-22T03:11:46","slug":"pilot-interview-ical-agency","status":"publish","type":"post","link":"https:\/\/diegoquemadadiez.com\/es\/pilot-interview-ical-agency\/","title":{"rendered":"Interview with ICAL Agency"},"content":{"rendered":"
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An Interview with Diego Quemada-Diez<\/h2>

by Agencia Ical
<\/strong>www.agenciaical.es<\/a><\/span><\/h3>

\"\"<\/p>


Interview in English
<\/strong>(Translated from Spanish)<\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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How long did you live in Burgos? What memories do you have of your time there?<\/b><\/h5>

I was born in Burgos, and a few days later we moved to Logro\u00f1o. When I was eight, we moved again to Barcelona, where I grew up. I often visited family in Burgos and Villatoquite, a small village where my grandparents had a house. I can still recall the smell of the hayloft, memories of walks through the countryside, the threshing floors, the churches, and Miguel Delibes.

<\/p>

When and why did you decide to emigrate? Have you ever thought about returning to your homeland?<\/b><\/h5>

It was a combination of family circumstances and the fact that, at that time, the Spanish film industry was very closed off to newcomers. There were no film schools, and I couldn\u2019t afford to study abroad. With my father unemployed and my mother recently deceased, there was no choice but to emigrate \u2014 to look for new horizons.

<\/p>

With your short films, you\u2019ve participated in several Spanish festivals. Do you often return to Spain?<\/b><\/h5>

With my first short, I was at the Gij\u00f3n Festival \u2014 the only one I was able to attend. Hopefully, I\u2019ll be able to go more often now.<\/p>

Normally I return to Spain once or twice a year to visit family and friends.

<\/p>

What was your first professional contact with cinema? How did that opportunity come about?<\/b><\/h5>

I thought that the best way to learn and make money at the same time was to work in film \u2014 to prepare myself for directing. I started as a runner at a small commercial production company in Barcelona. Shortly after, I met Isabel Coixet and worked as her production manager on many commercials. Meanwhile, we were dreaming of making quality cinema.<\/p>

My first real film job was on Land and Freedom<\/i>, as Barry Ackroyd\u2019s camera assistant \u2014 he\u2019s Ken Loach\u2019s cinematographer.

<\/p>

How did you get to work on <\/b>Land and Freedom<\/b>? What did that experience mean to you?<\/b><\/h5>

I got the job through some producers from Madrid, Inma and Yousaf. Since I spoke English and knew how to load film magazines, they gave me the chance. It also helped that I had seen almost all of Ken\u2019s films.<\/p>

The experience of Land and Freedom<\/i> was unforgettable for everyone who had the privilege of being part of it. We dreamed of a better world \u2014 one that\u2019s still possible \u2014 and the struggle continues.<\/p>

Ken has a unique way of making films: the actors don\u2019t know the script, he shoots chronologically\u2026 and somehow everything comes together like magic. He\u2019s always very humble, always taking risks, always searching.

<\/p>

A year later you worked on Things I Never Told You in Oregon. Was that when you decided to move to the United States?<\/strong><\/h5>

Isabel went to Portland in search of the soul of American independent cinema. At that time, we were crazy about Gus Van Sant. I went there too, and then decided to stay and learn as much as I could.<\/p>

Back then, there was a lot of great filmmaking in the U.S.: the Coen brothers, Sam Raimi, Gus Van Sant, Coppola, Scorsese, Frankenheimer\u2026 Things have changed \u2014 today I think the most interesting cinema comes from everywhere except<\/i> the U.S.

<\/p>

How was your experience at the American Film Institute?<\/b><\/h5>

Positive. It\u2019s a conservatory, so the approach is very practical. I graduated in cinematography but attended all the directing, acting, writing, and editing classes.<\/p>

The best part was that when I made my first AFI short as writer\/director, I had complete creative freedom. Normally AFI places a lot of restrictions on directors, but since I was enrolled as a cinematographer, they didn\u2019t care what I did \u2014 which worked out perfectly for me.

<\/p>

Your graduation short there was awarded by the American Society of Cinematographers. What did that recognition mean to you?<\/b><\/h5>

It was very important to me. Many years earlier, I had arrived in the U.S. knowing no one and without papers \u2014 it was very hard. After years of effort, suddenly all doors were opening\u2026 it was deeply emotional. It allowed me to work as a camera operator with Rodrigo Prieto on 21 Grams<\/i>, and from there, on other films.

<\/p>

Why did it take five years to direct your own project again?<\/b><\/h5>

During that time, I was developing several ideas and shooting a documentary in Mexico about prostitution \u2014 still unfinished. Honestly, since I\u2019ve been producing my own projects, things have gone very slowly. From now on, I\u2019m looking to collaborate with producers; I\u2019ve learned that we need each other.

<\/p>

Have you thought about directing in Spain? Do you plan to make your first feature soon?<\/b><\/h5>

In the future, I\u2019d like to make films in Spain. For now, I\u2019m preparing a film in Mexico. I keep writing. Eventually, I\u2019d love to collaborate with other writers.

<\/p>

You\u2019ve worked on major productions like Any Given Sunday and Man on Fire. How did you get into the American film industry? What are those shoots like?<\/strong><\/h5>

On those superproductions, you feel like a specialized laborer \u2014 a cog in a factory. It\u2019s quite alienating. Each department sticks to its own specialization, like little ants.<\/p>

On the positive side, most workers are professional and dedicated to their craft \u2014 many are true artisans who love what they do.<\/p>

As for the style of those films, I think they use too many cameras, leaving too many decisions for the edit. There\u2019s very little imagination.

<\/p>

You\u2019ve worked with Gonz\u00e1lez I\u00f1\u00e1rritu, Loach, Meirelles, Tony Scott, Oliver Stone, and Spike Lee, among others. Which director have you learned the most from?<\/b><\/h5>

From each, I\u2019ve learned something different \u2014 though with Loach, I\u00f1\u00e1rritu, Lee, and Meirelles I\u2019ve had the closest relationships.<\/p>

From I\u00f1\u00e1rritu, I observed his confidence, intuition, and formal baroque style.<\/p>

From Scott, his dedication and leadership authority.<\/p>

From Meirelles, the importance of choosing subjects that reflect the times we live in, and staying relaxed and flexible during filming.<\/p>

From Stone, his skill in handling the big studios.<\/p>

From Lee, his direction of actors, tireless energy, radicalism, and fight for his community.<\/p>

From Loach, his humanity, idealism, social commitment, realist and risky style, and his discipline.<\/p>

And from all of them, what I\u2019ve learned most is that you must find your own voice \u2014 that everyone has their own process, and there are no formulas. The only thing that matters is following what you feel.

<\/p>

Was The Constant Gardener the production that marked you the most?<\/strong><\/h5>

In a way, yes \u2014 it was the most important for me since Land and Freedom<\/i>. I learned a lot. I always wondered how to adapt that story, though it was Fernando\u2019s film, not mine.<\/p>

I was fascinated by John le Carr\u00e9\u2019s novel \u2014 an action story that also exposes the corrupt practices of the pharmaceutical industry and neocolonialism.

<\/p>

So far you\u2019ve made three short films. Are you planning to shoot your first feature?<\/b><\/h5>

I\u2019ve been thinking about it for a long time. Let\u2019s see if I take the leap this year.<\/p>


Has your poetry book I Dreamed I Found My Octagonal Room been published yet? What texts does it include? What inspired it? What is your octagonal room?<\/strong><\/h5>

The book is already designed and ready to publish; I just need funding for printing. It contains sixteen poems I wrote over the last three years. The title is based on a dream I had about an octagonal room. At the time I was writing those poems, I had many dreams about Islamic geometry \u2014 I was somewhat obsessed with that subject.

<\/p>

How has your film I Want to Be a Pilot been received at Sundance?<\/strong><\/h5>

It\u2019s been getting a great response from audiences. People tell me they cry a lot; they thank me for making a film about orphans in sub-Saharan Africa, and they ask me to make more \u2014 to keep touching their hearts.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Entrevista Original en Espa\u00f1ol<\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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\u00bfCu\u00e1nto tiempo residi\u00f3 en Burgos? \u00bfQu\u00e9 recuerdos guarda de su estancia all\u00ed?<\/span><\/strong><\/h5>

Nac\u00ed en Burgos y a los pocos d\u00edas fuimos a vivir a Logro\u00f1o, y a los ocho a\u00f1os a Barcelona, donde me hice adulto. A menudo iba a visitar a la familia, a Burgos y a Villatoquite, un peque\u00f1o pueblo donde mis abuelos ten\u00edan una casa. A\u00fan siento el olor del pajar, los recuerdos de paseos por el campo, las eras, las iglesias, Miguel Delibes.

<\/span><\/p>

\u00bfCu\u00e1ndo y por qu\u00e9 decidi\u00f3 emigrar? \u00bfHa pensado alguna vez en volver a su tierra?<\/span><\/strong><\/h5>

Fue una combinaci\u00f3n de circunstancias familiares y el hecho que en aquellos an\u00f5s la industria del cine en Espa\u00f1a estaba muy cerrada a gente nueva. Tampoco hab\u00edan escuelas de cine ni me pod\u00eda permitir estudiar en el extranjero. Con mi padre en paro y mi madre recien fallecida, no hab\u00eda otra para m\u00ed que emigrar, buscar nuevos horizontes.
<\/span>\u00a0<\/span><\/p>

Con sus cortometrajes ha participado en varios festivales espa\u00f1oles. \u00bfSuele regresar con frecuencia a Espa\u00f1a?<\/span><\/strong><\/h5>

Com mi primer corto estuve en el festival de Gij\u00f3n, es el \u00fanico que pude atender. A ver si ahora puedo ir mas a menudo..<\/span><\/p>

Normalmente vuelvo a Espa\u00f1a una o dos veces al a\u00f1o para visitar a familia y amigos.

<\/span><\/p>

\u00bfCu\u00e1l fue su primer acercamiento profesional al cine? \u00bfC\u00f3mo le lleg\u00f3 aquella oportunidad?<\/span><\/strong><\/h5>

Pens\u00e9 que para aprender y a la vez ganar dinero, qu\u00e9 mejor que trabajar en cine, as\u00ed me iba preparando para dirigir. Empec\u00e9 de chico de los recados para una productora de anuncios muy peque\u00f1a de Barcelona. Al poco tiempo conoc\u00ed a Isabel Coixet y trabaj\u00e9 de jefe de producci\u00f3n para muchos de sus anuncios. Mientras, so\u00f1abamos con hacer cine de calidad.<\/span><\/p>

Mi primer trabajo en cine de verdad fue en Tierra Libertad, como\u00a0 asistente de c\u00e1mara de Barry Ackroyd, director de Fotograf\u00eda de Ken Loach.

<\/span><\/p>

\u00bfC\u00f3mo lleg\u00f3 al rodaje de Tierra y libertad? \u00bfQu\u00e9 supuso aquella experiencia?<\/span><\/strong><\/h5>

Consegu\u00ed el trabajo a traves de unos productores de Madrid, Inma y Yousaf. Al saber hablar ingl\u00e9s y cargar chasis me dieron la oportunidad. Tambien ayud\u00f3 que hab\u00eda visto casi todas las pelis de Ken.<\/span><\/p>

La experiencia de Tierra y Libertad fue inolvidable para todos los que tuvimos el privilegio de ser parte de ella. So\u00f1amos con un mundo mejor, que a\u00fan es posible y que la lucha contin\u00faa.<\/span><\/p>

Ken tiene una manera de hacer cine \u00fanica, los actores desconocen el gui\u00f3n, rueda cronologicamente.. y todo acaba cuadrando por arte de magia.. y \u00e9l siempre muy modesto, siempre arriesgando, siempre buscando.

<\/span><\/p>

Un a\u00f1o despu\u00e9s particip\u00f3 en el rodaje de Cosas que nunca te dije, en Oreg\u00f3n. \u00bfFue entonces cuando decidi\u00f3 dar el salto a Estados Unidos?<\/span><\/strong><\/h5>

Isabel se fue a Portland buscando el alma del cine independiente americano, en aquella epoca estabamos loquitos con Gus Van Sant. Y me lanc\u00e9 para all\u00ed, luego decid\u00ed quedarme por esas tierras, tratar de aprender el m\u00e1ximo posible.<\/span><\/p>

En USA en aquella epoca hab\u00eda cine muy bueno: los hermanos Coen, Sam Raimi, Gus Van Sant, Coppolla, Scorcese, Frankenheimer. Las cosas cambian, hoy creo que el cine mas interesante viene de todo el mundo menos de USA.

<\/span><\/p>

\u00bfC\u00f3mo fue su paso por el American Film Institute?<\/span><\/strong><\/h5>

Positivo. Es un conservatorio, con lo que el enfoque es muy pr\u00e1ctico. Me gradu\u00e9 en Cinematograf\u00eda pero iba a todas las clases de direcci\u00f3n, actuaci\u00f3n, gui\u00f3n, montaje. Lo mejor fue que cuando rod\u00e9 mi primer corto en AFI como escritor\/director tuve completa libertad creativa. Normalmente AFI pone muchas restricciones a los directores. Al ser cinematogr\u00e1fo les daba igual lo que hiciera.. lo cual me vino muy bien.<\/span><\/p>


<\/span>All\u00ed su corto de graduaci\u00f3n fue premiado por la Asociaci\u00f3n Norteamericana de Directores de Fotograf\u00eda. \u00bfQu\u00e9 supuso aquel reconocimiento?<\/span><\/strong><\/h5>

El premio fue muy importante para m\u00ed. Ha ce muchos a\u00f1os llegu\u00e9 a USA sin conocer a nadie, sin papeles, fue muy duro, y despues de muchos a\u00f1os de esfuerzos, todas las puertas se abr\u00edan.. fue muy emocionante. Me permiti\u00f3 trabajar como operador de c\u00e1mara con Rodrigo Prieto en 21 Gramos, y de ah\u00ed en otras pel\u00edculas.

<\/span><\/p>

\u00bfPor qu\u00e9 tard\u00f3 cinco a\u00f1os en volver a dirigir un proyecto propio?<\/span><\/strong><\/h5>

En este tiempo he estado investigando varias ideas, desarroll\u00e1ndolas. He estado rodando un documental en Mexico sobre prostituci\u00f3n, a\u00fan inacabado. La verdad es que estos \u00faltimos a\u00f1os al haber producido los proyectos yo mismo, voy superlento. A partir de ahora busco colaborar con productores, he aprendido que nos necesitamos mutuamente.

<\/span><\/p>

\u00bfHa pensado en dirigir en Espa\u00f1a? \u00bfTiene en mente dar el salto al largo?<\/span><\/strong><\/h5>

En el futuro me gustar\u00eda hacer pel\u00edculas en Espa\u00f1a. De momento ando preparando una peli en Mexico. Sigo escribiendo. Eventualmente me encantar\u00eda colaborar con otros escritores.

<\/span><\/p>

Ha participado en superproducciones como Un domingo cualquiera, El fuego de la venganza. \u00bfC\u00f3mo consigui\u00f3 entrar en el engranaje del cine norteamericano? <\/span><\/strong>\u00bfC\u00f3mo son esos rodajes?<\/span><\/strong><\/h5>

En esas superproducciones se siente uno como un obrero especializado, como una pieza en una fabrica, es bastante alienante. Cada departamento en su area de especializaci\u00f3n, como hormiguitas. En terminos positivos, la mayor\u00eda de los trabajadores son profesionales y dedicados a su trabajo, muchos son artesanos y aman lo que hacen.<\/span><\/p>

Respecto al estilo de esas pel\u00edculas, creo se usan demasiadas c\u00e1maras, demasiadas decisiones se dejan para el montaje. Hay muy poca imaginaci\u00f3n.

<\/span><\/p>

Ha colaborado con Gonz\u00e1lez I\u00f1\u00e1rritu, Loach, Meirelles, Tony Scott, Oliver Stone o Spike Lee, entre otros. \u00bfCu\u00e1l es el director del que m\u00e1s ha aprendido?<\/span><\/strong><\/h5>

De cada uno diferentes aspectos, aunque con Loach, I\u00f1arritu, Lee y Meirelles he tenido las relaciones mas estrechas.<\/span><\/p>

De I\u00f1arritu observ\u00e9 su seguridad, su intuici\u00f3n, su barroquismo formal. De Scott, su gran dedicaci\u00f3n al trabajo y autoridad como lider de grupo. De Meirelles, la importancia de escoger temas importantes del momento en que vivimos, as\u00ed como la importancia de estar relajado durante la pel\u00edcula, mantenerse flexible, abierto. De Stone, su habilidad para manejar a los grandes estudios. De Lee, su direcci\u00f3n de actores, su incansable actividad, su radicalismo, su lucha por su comunidad. De Loach, su humanidad, su idealismo, su compromiso social, su estilo realista y arriesgado, su disciplina.<\/span><\/p>

Y de todos lo que mas he aprendido es que hay que encontrar tu propia voz, que cada uno tiene su proceso y que no hay f\u00f3rmulas, lo \u00fanico importante es seguir lo que uno siente.

<\/span><\/p>

\u00bfEs El jardinero fiel el rodaje que m\u00e1s le ha marcado?<\/span><\/strong><\/h5>

En cierta manera fue el mas importante para m\u00ed desde Tierra y Libertad. Aprend\u00ed mucho. Siempre me preguntaba como adaptar esa historia, aunque realmente era la pel\u00edcula de Fernando, no la m\u00eda. Me fascinaba el libro de John Le Carr\u00e9, una historia de acci\u00f3n que a su vez muestra las practicas corruptas de la industria farmaceutica, del neocolonialismo.

<\/span><\/p>

Hasta el momento ha rodado tres cortometrajes. \u00bfTiene en mente rodar su primer largo?<\/span><\/strong><\/h5>

Hace mucho que tengo en mente hacer mi primer largo, a ver si me lanzo este a\u00f1o..
<\/span>\u00a0<\/span><\/p>

\u00bfSe ha publicado ya su libro de poemas ‘So\u00f1\u00e9 Encontr\u00e9 Mi habitaci\u00f3n Octogonal? \u00bfQu\u00e9 textos re\u00fane el volumen? \u00bfQu\u00e9 le llev\u00f3 a escribirlo? \u00bfCu\u00e1l es su habitaci\u00f3n octogonal?<\/span><\/strong><\/h5>

El libro ya lo tengo dise\u00f1ado y preparado para ser publicado, me queda encontrar financiaci\u00f3n para imprimirlo. Contiene dieciseis poemas que escrib\u00ed en los \u00faltimos tres a\u00f1os. El t\u00edtulo del libro se basa en un sue\u00f1o que tuve con una habitaci\u00f3n octogonal. En la epoca cuando estaba escribiendo esos poemas ten\u00eda muchos sue\u00f1os de geometr\u00eda isl\u00e1mica, estaba algo obsesionado con ese tema.

<\/span><\/p>

\u00bfC\u00f3mo est\u00e1 viviendo el paso de I want to be a pilot por Sundance? \u00bfLa pel\u00edcula ha sido bien recibida?<\/span><\/strong><\/h5>

Est\u00e1 teniendo muy buenas respuestas del p\u00fablico, la gente me dice que llora mucho, me agradecen que hiciera una pel\u00edcula sobre ni\u00f1os huerfanos en el Africa subsahariana y me piden que haga mas pel\u00edculas, que les siga tocando el coraz\u00f3n.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

An Interview with Diego Quemada-Diez by Agencia Icalwww.agenciaical.es Interview in English (Translated from Spanish) How long did you live in Burgos? What memories do you have of your time there? I was born in Burgos, and a few days later we moved to Logro\u00f1o. When I was eight, we moved again to Barcelona, where I […]<\/p>\n","protected":false},"author":2,"featured_media":1818,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-1809","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/posts\/1809","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/comments?post=1809"}],"version-history":[{"count":15,"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/posts\/1809\/revisions"}],"predecessor-version":[{"id":1855,"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/posts\/1809\/revisions\/1855"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/media\/1818"}],"wp:attachment":[{"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/media?parent=1809"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/categories?post=1809"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diegoquemadadiez.com\/es\/wp-json\/wp\/v2\/tags?post=1809"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}