What were your beginnings in the filming industry?

I started with my father. Both he and his father were chauffeurs for actors. My grandfather took Kirk Douglas in the movie "The Light at the Edge of the World". That was how I started, as an actor’s chauffeur, when I was 19 years old.
The fact of being always on the most "creative" side of this industry, led me to find my place as a location scouter. Well, in those days this figure did not exist. I liked it, and I still like it, to take an active part of the creating process of the projects and this job allows me to do this by taking care of looking for the places where movies are going to be shot.

What do you think is the main attraction that we can offer to international producers to come to Barcelona?
What kind of locations are the most requested by foreign customers? 

I always thought the main reason why they came to roll in Barcelona was for locations, but time and experience have taught me that the final reason is a blend between locations, professionals, the weather, suppliers, etc, have been keystones.
Foreign customers usually ask me for outdoor locations such as streets, parks, roads and beaches, which they combine with interior locations such as houses, bars, shops, etc. Certainly, all those locations are usually related with situations of daily life in some way.

You have been working for both large film productions and advertising spots. What do you think are the main differences regarding the requirements and needs of each other?

I think they are two very different activities, with different goals and requirements. For example, the preproduction and production time needed: commercials are shot with very little time for preparation, and rolled in a few days, even when they are of large format. Instead, films need more time. The team is much larger in film productions, as well as the infrastructure needed that is also much more generous, and sometimes scandalously inadequate for a city like Barcelona.
There are so many differences, and while I’m talking about it, I feel like I’m talking about two completely different jobs.
Likewise the Film Commission involvement in both cases must be different. In the case of an advertising spot, it is necessary a specific and incisive intervention; One flagrant action can be enough to go ahead filming. But in the case of large productions, they require left hand and ability to explain things and to make people understand; it is a work of agreements and alliances.

What is the most surprising and spectacular shooting you have done in Barcelona? And the most complicated?

I feel specially proud of those Christmas Spanish Lotery Campaing with the “bold man” character, and in particular a film by Fura dels Baus, Fausto 5.0.

As a location scouter, what do you expect from a Film Commission?

I expect that them to understand our work and to support us, without getting in trouble with others. The work of the Film Commission is to keep the delicate balance between the audiovisual industry and other industries and communities, both public and private. What I expect is advice, engagement, dedication, and knowledge to inform us and to inform foreign professionals how the system works. In few words, that they should give us some keystones to make our work easier.
And finally, to spend as much time as possible to explain others, not only to those who usually help us, the benefits of our bandwagon of 'Puppeteers'.