After making us jump from our seats as screenwriter of such films as Mientras duernes or Welcome to Harmony, and being part of great projects like The Machinist, Darkness, the REC saga or The Last Days, Alberto Marini has directed his first films, Summer Camp, a co-production between Spain and the United States produced by Filmax, The Safran Company, Pantelion Films and Rebelión Terrestre, that also counts with Jaume Balagueró as executive producer.

This Italian producer and director, settled in Barcelona, a horror movie lover, has shared with us his opinion about the current situation regarding shooting in our city, an opinion at times very critic that we take into consideration in order to keep improving Barcelona as a set.

How was the experience of directing your first film? Would  you repeat with another project? Or will you go back to the role of executive producer? 

To date, directing Summer Camp was the most beautiful and enriching  professional experience I’ve ever had. If I’m allowed, I see no reason  not to repeat it. If I’m allowed...

Most of the films you've worked in are terror movies. Is it a vice to make horror movies?

When I was a child, I had two dreams: to be a veterinarian and to be a horror filmmaker. Luckily for many pets, I didn't study veterinary medicine, but for the misfortune of many viewers, I'm working in the film industry instead. I feel privileged to have fulfilled one of my dreams. If it were up to me, all movies should have at least a couple of litres of blood and a chopped of  head.... but I understand there have to be all kind of movies too: the world is not perfect.

How do you assess the experience of shooting an American style film like Summer Camp in Catalunya?

The advantage of this genre is that it uses a language without borders, universal in terms of storytelling. Aside of the language and nationality of the actors, giving an American look and feel to the production was not too complicated. In fact there are many examples of this genre with an American style shot in Europe. What really matters is the quality and professionalism of the team and, in  words of our American partners, in Catalunya we have top professionals.

In the last few years you have led the production of many projects that have shot in Barcelona. What was decisive for choosing this city and not another one?

I love Barcelona. I am here for fifteen years. My daughters were born here and I would like to continue living here. Said that, if we film here frequently is because the content fits. Also, I prefer to be as close as possible to home and to work with professionals I know. But I must say it is not easy to film in Barcelona.

Most of the projects of your filmography have had the co-operation of the Film Commission. In your opinion, where do you think we can improve to be more effective?

Don’t get it wrong, but I think there’s much to improve. In my opinion Barcelona is still one of the most complicated cities where to film. Much more complicated than other cities like Rome, Madrid, New York, Toronto, Tokyo ... and also more complicated than  smaller cities such as Seville and Turin (my hometown). The main problem is uncertainty. There is no clarity on what can be done and what not. Everything must be negotiated, with long (and unviable) time in advance. The Film Commission works with great energy but it has no real power over the final decisions. There's not an efficient dynamics, especially when you want to bring international large budget productions here. This kind of productions want quick and clear answers. In general, filming here is perceived as a nuisance for the city and not as a business, employment and promotion opportunity. If the policy continues being "You can shoot in Barcelona as long as you don’t bother the neighbours", Barcelona will never be an easy and desirable set... despite all the interest from abroad to film here. We are missing many opportunities, and that's a shame.