Sergi Rubió



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Barcelona, Spain
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I started making my first films on Super 8 and analog video at the age of 15. Since then, I've never stopped producing my own films.

Inspired by…

  • Sometimes, all I need to start off with is a song in order to imagine a basic plot for my next script. Alicia Keys' Piano & I inspired me to create my film Connie (2004), also based on events from my personal life. As a general rule, each person's life story is always interesting enough to inspire a script. Oliver Stone chose Vietnam, a relevant topic in his youth. Me, I never had a girlfriend in my teenage years. With the memory of conflict and failure still fresh in my mind, I feel I'll always be searching for this lost youth in all the stories I have yet to tell.

Favorite Genres

  • My body of work is often created with melodrama as its' backdrop, filled with visual portraits of environment and moods, almost always without following the accepted classic structure of a script by elaborating and then assembling brief sequences like pieces to a handmade puzzle inside of which impossible romances, farewells and open endings have all proven to be recurring themes in the various works of me.
  • The parallel phase of my career as a filmmaker reflects my work creating documentaries. Starting off with a simple interview, each project quickly becomes a catalyst for an explosion of seemingly unconnected ideas. Only during production and later during post-production do they slowly find their place in the form of a script.

Favorite Films

  • Up the Down Staircase (Robert Mulligan, 1967) Frantic (Roman Polanski, 1988) La Femme Nikita (Luc Besson, 1990) Shadows (John Cassavetes, 1959) Zelig (Woody Allen, 1983) Another Woman (Woody Allen, 1988) Interiors (Woody Allen, 1978) Alice (Woody Allen, 1990) Crimes and Misdemeanors (Woody Allen, 1989) The Purple Rose of Cairo (Woody Allen, 1985) September (Woody Allen, 1987) Shadows and Fog (Woody Allen, 1991) Manhattan (Woody Allen, 1979) Everyone Says I Love You (Woody Allen, 1996) Take the Money and Run (Woody Allen, 1969) Midnight in Paris (Woody Allen, 2011) They Live by Night (Nicholas Ray, 1948) It All Starts Today (Bertrand Tavernier ,1999) The Straight Story (David Lynch, 1999) Shining Through (David Seltzer, 1992) Little Nikita (Richard Benjamin, 1988) Young Sherlock Holmes (Barry Levinson, 1985) Limbo (John Sayles, 1999) The Spitfire Grill (Lee David Zlotoff, 1996) Blame It on the Bellboy (Mark Herman, 1992) The Fourth Protocol (John Mackenzie, 1987) Amsterdamned (Dick Maas, 1988) No Mercy (Richard Pearce, 1986) Year of the Dragon (Michael Cimino, 1985) Alice Doesn't Live Here Anymore ( Martin Scorsese, 1974) Made in Heaven (Alan Rudolph, 1987) Imitation of Life (Douglas Sirk, 1959) Welcome Home, Roxy Carmichael (Jim Abrahams, 1990) The Miracle Worker (Arthur Penn, 1962) Evil Eye (Mario Bava, 1963) The Rain People (Francis Ford Coppola, 1969) 5 Girls (Maria Finitzo, 2001) Best of Youth (Marco Tullio Giordana, 2003) Hannibal (Ridley Scott, 2001) Julieta (Pedro Almodóvar, 2016) The Skin I Live In (Pedro Almodóvar, 2011) All About My Mother (Pedro Almodóvar, 1999) Live Flesh (Pedro Almodóvar, 1997) The Flower of My Secret (Pedro Almodóvar, 1995) High Heels (Pedro Almodóvar, 1991) Tie Me Up! Tie Me Down! (Pedro Almodóvar, 1989) Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, 1988) Besieged (Bernardo Bertolucci, 1998) Imagine: John Lennon (Andrew Solt, 1988) From Russia with Love (Terence Young, 1963) Goldfinger (Guy Hamilton, 1964) You Only Live Twice (Lewis Gilbert, 1967) On Her Majesty's Secret Service (Peter R. Hunt, 1969) Live and Let Die (Guy Hamilton, 1973) Octopussy (John Glen, 1983) A View to a Kill (John Glen, 1985) The Living Daylights (John Glen, 1987) Licence to Kill (John Glen, 1989) Nine 1/2 Weeks (Adrian Lyne, 1986) Man on Fire (Tony Scott, 2004)