About Nobody´s rose. Reflections

By Javier Vallhonrat

Hi Ignacio. Thanks for the blog. It is fantastic that you share your references.

I do not know if a-psychological film is referred to the Welles´ comment about psychoanalysis ... What do you mean? The mix between instinctive a-psychological cinema sounds powerful but I would like to know more or I making it up. The concept of instinctive cinema is clear. You explaine it well with references about black American cinema and Carl Mayer. Reading what you say about Daniel and Manuela, both driven by their impulses, fits very well there.

If a-psychological visual language refers to evoke rather than the explanation, quite right, but explanatory psychology is too painful for the arts in general.

Well, follow the blog and tell you something.

A hug, Javier

Javier Vallhonrat.

About Nobody´s rose. Reflections

By María Hilla

“Nobody´s rose” is a separate Project, it is the first full-length film project that addresses Univers Media Project after a career of more than ten years in the territory of short fiction film and documentary.

Throughout these years, Univers Proyecto Media S.L has built a modest but steady course and illusion leads us to ask ourselves a more ambitious project.
Also, throughout the work credibly, we have consolidated a recognized professional and technical team from which we can constitute a serious and rigorous project. “Nobody´s rose” is a solid Project and it is based on a script which has been worked over five versions since 2004 and we are convinced that it will form a film that will not go unnoticed. It's a risky project, non-commercial, non-teaching, which seeks new language elements from their own film language.

The production of “Nobody´s rose” is modest, because we have not managed our project to interest any production company or any institutional channel, except to the Junta de Comunidades de Castilla-La Mancha. This represents a major setback because we have to make a minimal approach in order to make the film. Proposed initial run for the summer of 2009,but we have moved it one year, to summer 2010 in order to try to get more financial support. But things are not right. The closure is complete. In most cases not even produce a response from the producers but the silence, limbo, that says a lot of territory to tread, the professionalism of our cinema. In this situation we have toyed with the possibility of not making the film, a question that remains open until the end, but we want to avoid at all costs. We believe in the project and the vitality of this story, although it is far from the keys that operate today producers in general. The sacrosanct "romantic comedy" as sought by producers is away, of course, "Nobody´s rose," a story hard and raw but has the keys to appoint his time. This is not a movie that claims the "entertainment" but artistic expression, the dramatic power of tragedy, of life.  


FILM INVENTED
We are aware of, somehow, the necessity to invent the movie. Perhaps the first film by a director and a producer has to be invented, is not something that happens to everyone, this is clear. However, the citadel which has been the Spanish film forces us, at least to us, to do so. With passion, complicity, vocation, love and respect to the cinema as an art form we intend to work and put the best position to tell this story.

BLOG
This active blog is proposed to make a follow-up prior to the filming process, and there are reflections of all team members wishing to do so, also from friends and readers as well as the screenwriter and director. We discuss locate documents, technical and artistic ideas, suggestions for setting sound and music, etc. 

María Hilla, productor.

about Nobody´s rose. Reflections

By Eva García Donate

I just read it in one sitting, which means that I've been waiting. The plot keeps you waiting to the next event, that opens the curiosity to know more. Hypotheses are made about the relationships of the characters that appear.

I like that the horizon of the stories is not linear, and life is not linear itself. I am very interested, a question that lingers as you close the last page, in the reflection on the idea of fate. As in Greek tragedy, the pool of tragedy will be his fight against an inexorable fate, the cruel fate to which nothing is possible.

I've loved all the characters,and particularly, Manuela and Sinesio. They have the power and aura of special people and I think so starkly in intervening in their dialogues, leaving behind a residue of mystery, most is silent to what they say, something in common in both , they stand as the center of attention.

His counterpart is Daniel, a kind of man without a will, a perfect Bartleby (I love this metaphorical figure and I feel very identified with him) plays an important role, balancing the scales against invasive weight that occupe Manuela and Sinesio.

You include details on the scene that I think are suggestive, as the photograph of the bandaged body, I brought to mind a picture of Frida Kahlo that I've always been a disturbing effect. Or Lilliputian space inhabited by Monk, party room, half life...These are details that serve as visual half-open doors, projecting part of the story to unknown places that fail to be completed or closed. Like Carver's stories, such painstaking detail microhistories drawn from domestic and floating on an uncertain future.

The hardest part is that you have left, take this wonderful script to fruition. But in my humble and "crystal" opinión, the base you've built is very interesting.

thanks for entrusting me reading the script

Eva García Donate