While speaking to variety before winning Donostia’s Career Achievement Award from the San Sebastian Film Festival, Garcia reflected her mixed feelings.
“I’m really happy, but at the same time I’m overwhelmed by the initial responsibility,” she says: “I happened to enter the world of cinema. I work as a production secretary for Pedro Olea’s films,” Pim, Pam, Pam…¡¡
She points out that there was no film school at the time and that it wasn’t even part of her life plan. All she knew was that she was fascinated by the film and loved going to the film, but that felt like a world far from her own.
“It was the first time on a set that we witnessed the magic surrounding cinema. The way all crew members work at a certain freedom, even the organized chaos, at the request of the assistant director, they all went in one direction, like ballet or an orchestra, with perfect adjustments.
She recalls that in the 70s women were relegated to minor positions in the production department, such as secretary or wardrobe, editing, and script supervision. “I happened to be naturally suited to production tasks. And I felt comfortable knowing all the members of the crew and promoting everything related to the work: contracts, registration of workers with Social Security, purely organized tasks, etc. I supported the team and supervision and ensured everything they needed.
Her awards come as the Pedro brothers and Agustin Almodovar celebrate the 40th anniversary of the Eldeseo production company. She has worked on all Almodóvar projects since the 1986 drama “Matador”, and has recently been involved in his latest “Bitter Christmas” (“Amarga Navidad”).
She recalls the first time he met Almodóvar while preparing his short film, “F-F-…Fuck Me, Tim!” “Unfortunately, we didn’t have the funds so we met and had some conversations, but then we were called back to continue working on “Caro Zimenez.” I’m a single mother and I needed an income so I went back to the series,” she says.
She then joined him in “Matador” after already making four films. Since then, she has been involved in all of his projects. From his iconic career-announced comedy “Woman on the Crisis of a Nervous Breakdown,” to the Oscar-winning dramas “Everything About My Mother” and “Talk To Her” and his first English character “The Room Next Door,” she has been involved to this day.
It was a beautiful journey – sometimes incredibly challenging, but as I grew up with him in each film with Pedro and his ambitions and needs increased in each film, I always felt deeply fulfilled. ”
Along the way, they developed a form of communication that is almost telepathic. “Working with him over the years makes everything easier. We understand each other comfortably. We know when one of his ‘yes’ is not really yes. You quickly feel that something will arouse him or not. Sharing the desire not always clearly expressed in words makes that connection and interpretation process much easier. ”
His 50-year career as a producer also includes collaborations with Alex de la Iglesia, Isabel Koysett, Diego Garan, Julia Solomonov, Monica Laguna, Belem Macias, Felix Sabloso, Salvador del Solar, and Luis Ortega.
She shepherds a hand-picked third-party project on board by Eldetheo. This is one of the best films made in Spanish in the last 20 years. Laxe.
“When we make films by other directors, the first thing we look for is scripts that drive us, make us interested, make us laugh, connect with us, and feel like stories worth telling personally. The involvement in these projects is complete.
“And on a personal level, beyond all these key elements, whether or not the story deserves to be told whether it drives me or makes me laugh, what I’m looking for is the kind of relationship I can build with that manager. We want to be a true team.
Reflecting Eldetheo’s future in an industry affected by changes in viewing habits and absolute streaming platforms, she reflects: Sometimes I’ll be with you.
The 73rd San Sebastian Film Festival will be held from September 19th to 27th.
Esther Garcia, credit: Jose Haro
