“Things are not like that. That’s not how it is”. This is the phrase that defines Bermejo, one of the protagonists of Regrettable stories, who believes, at face value, that things, as they are better, is as they have been all the holy life. I love giving life to characters who, as in this case, have their thoughts in the antipodes of mine. What I like most about what has been written about Regrettable stories is that it is a comedy as “unpredictable as impossible to classify.” I like it because it leads me to think that, once again, we have made it difficult for the movie classifiers and that what we have done does not look too much like what others offer. I have also read that, in Regrettable stories, “The viewer goes wrong while not stop laughing with laughter”. And this also causes me a huge aftertaste because I have the illusion that, in addition to making people laugh, the film manages to touch the hearts of the audience.
In any case, these findings tend to confirm the idea that Pendelton [la productora del autor]For better or for worse, we have invented our own path and we have never jumped on the train of pre-established norms. Nothing motivates us more than hearing the phrase “this can’t be done” or the classic “things have to be done like this because that’s how they’ve been done all our lives”. We do not even repeat in any film the schemes or protocols that we have designed ourselves for previous productions, no matter how well they have worked for us.
And it is not so as not to get bored, but because we are aware that filmmakers portray and document a world that is alive, constantly evolving, changing tastes, habits and ways of thinking at a speed that is closer and closer to that of of the light. Twenty-three years after our feature film debut with The miracle of P. Tinto, the panorama has changed, and a lot. Here and in the whole world. Movies are made differently, but most of all, they are enjoyed differently, in other places and at other times. Regrettable stories it was written, framed, performed and voiced for your enjoyment on the big screen. That’s how it is. As many know, its premiere was scheduled for April 30 of last year and its debut was to have taken place at the Malaga festival. The confinement took away that premiere and a whole promotional campaign that the producers, enthusiastic, had already launched. The new dates that helped us to shuffle the harsh reality jumped to the following year. And apart from that we were “premiering on top”, noting that the film was at the time, asking to come to light, I have to confess, in all honesty, to leave a year in the drawer was a decision that financially we could not nor consider. If only. We had enough to continue paying until 2025 the debt that our film generated in 2008 Camino. That one of which we are so proud and that most exhibitors, who love cinema above all, withdrew from its billboard a few days after its premiere because with it they did not fill their rooms enough.
I have to confess that leaving the film in the drawer for a year was a decision that financially we could not even consider
In that difficult circumstance, in which of course we were not the only ones, Amazon Prime Video, one of our original partners, who had already entered production to secure the broadcast rights of the film on its payment platform after passing through cinemas, they gave us the opportunity to turn the tables, to do things as they had never been done before. The tagline of the matter could not be more promising: to invent something new. What most attracted us about the plan with Amazon is that everyone around us warned us of the serious risks of such insolent madness: to premiere in November on its platform for its subscribers around the world and, six months later, to jump into theaters. of cinema and offer it to the general public and on the big screen. In other words, invert the windows, subvert the established order, turn everything upside down, touch the balls, change things that are as they are because that is how it has always been. “Crazy, that can’t work, you’re going to bump into it,” that was the general opinion.
Six months later
In Pendelton Films and Morena Films we saw in this proposal, however, a wonderful opportunity to explore a new way of marketing, to make way right now so complicated but yet so exciting. A decisive moment when we think that everything can improve and where we will all have a place. Try a new formula for everyone instead of standing around waiting to see where the wind blows. Work to demonstrate that platforms and rooms can not only coexist, but can complement, enhance, make each other great, exploring new scenarios instead of trying to recover at all costs what worked in the past, although hardly It will reproduce again no matter how much we ask the baby Jesus in our prayers.
Now that the moment has come when they agree to put a sign saying “Six months later …” I have to admit that Regrettable stories on the billboard it has not been exactly easy. But we have succeeded and we are very happy to be able to keep our word to offer the film in cinemas, in a dark room, with the only light that magically bounces off the screen and that will envelop the audience in our madness, music, emotions and shocks. And we keep our promise thanks to those who have understood that their business will evolve, grow and improve from collaboration and the search for new scenarios and for that we are enormously grateful. Because distributors and exhibitors not alight nostalgia, and sadly have closed in band to project Regrettable stories, they are thus admitting that watching a movie in the armchair at home is equivalent to seeing it in one of their cinemas. And they are in error because a movie, that device that provokes laughter and shared emotions, as in a living room, will never be seen anywhere. Long live the cinema!
Javier Fesser is director and screenwriter of lamentable stories, which opens June 11 in Madrid, Barcelona, Alicante, Granada and Kinepolis cinemas in Alcira; in Barcelona in Full cinemas and theaters Palafox in Zaragoza.
Eddie is an Australian news reporter with over 9 years in the industry and has published on Forbes and tech crunch.