David Matamoros • Zentropa International Spain
by Sergio Ríos Pérez
30/04/2012 - It would be much easier to list the sectors in which David Matamoros hasn't worked during his life than those in which he has. Since his degree in law and his beginnings in music, right up until his current job as producer for Zentropa International Spain, he has worked in television, in training (he teaches production, marketing, and distribution at Barcelona's ESCAC), on studies about the film sector (co-writing EGEDA's Audiovisual Panorama from 2002 to 2004), in the public sector (responsable for Catalan Films & TV co-productions from 2005 to 2007), and in production (for Benecé, where he produced, among others, Ingrid [trailer] by Eduard Cortés and The Condemned by Isaki Lacuesta). His next projects are Menú Degustació by Roger Gual and Vulcania by José Skaf.
Cineuropa: What phase in film production do you find most rewarding?
David Matamoros: I think the creative phase is magical. I find being able to work side by side with the director and the screenwriters really exciting. It's a moment of absolute freedom, escape, and victory. When you're creating, it's as if there are no limits.
What was your reaction when you were offered the job to be in charge of the Spanish subsidiary of Zentropa?
Their call took me by surprise and left me with a feeling of stage fright and excitement, right in the middle of a personal crisis. Peter Aalbaek Jensen is one of the most inspiring and generous persons that I know. The producers working for Zentropa are impressive on both a human and professional level: Sisse, Louise, Meta, Madeleine, Maria, Bettina, Liisa... It was a great opportunity to have a source of inspiration, of positive energy. After thinking about it, I decided to risk it and to try to be part of the Zentropa family, to be able to learn from them, as well as bring them my Mediterranean view of life.
What is your editorial line?
It's a theme of executive creation: I try to mix emotion with market rationality. A screenplay needs to bring something on the emotional level, it's the only way to be able to give something back to society - but without forgetting the rules of the market. I know that if a project inspires me, it becomes a must and I will be able to make it viable. Not all projects are for all producers. Not all films are for all distributors.
Spanish film production is going through a phase of uncertainty. What do you think of the situation?
Happiness does not depend on reality but on our interpretation of it. The more you are negative, the less opportunities come your way. I try to be optimistic. This has happened before. It may seem like it's the end of everything, but later it will pass.
However, not providing alternatives is politically irresponsable. Investing in the film industry is a good decision, for the financial return among other reasons. There is nothing more powerful than an idea. Investing in the film sector is investing in industry, culture, jobs, and the future.
What expectations do you have of the event Producers on the Move?
I'm very excited. Other colleagues have been, and time has shown that it's a good initiative. Short term it means seeing your photo in various Cannes publications but, away from the media focus, it's also about networking with all those who are or have been Producers on the Move. Medium and long term, they become your European family, your references, trustworthy people that you can rely on. The good thing is that everybody wants to work and do things. With this spirit, you can find opportunities.