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VIEWS: 247 PAGES: 14

									SometimeS beneath the ordinary
lieS the extraordinary

alejandro amenábar   presents
                                           photography teresa isasi / design

        oskar santos
directed by
eduardo noriega belén rueda angie cepeda
alejandro amenÁbar                                          preSentS

Directed by Oskar Santos

A MOD Producciones, Himenóptero and Telecinco Cinema production, with the participation of CANAL + España and
the support of the ICAA.
Official selection, Berlin Film Festival (PANORAMA SPECIAL SECTION)


CaSt                                        Crew
DIEGO         Eduardo Noriega               DIRECTOR                          Oskar Santos
ISABEL        Belén Rueda                   SCREENPLAY                        Daniel Sánchez Arévalo
SARA          Angie Cepeda
PILAR         Cristina Plazas               PRODUCERS                         Fernando Bovaira
AINHOA        Clara Lago                                                      Alejandro Amenábar
JUANJO        Marcel Borrás                                                   Álvaro Augustin
ARMAND        Carlos Leal                   EXECUTIVE PRODUCERS               Simón de Santiago
CARLOS        Luis Callejo                                                    Javier Ugarte
VICENTE       José Ángel Egido              LINE PRODUCER                     Emiliano Otegui
HECTOR        Chema Ruiz                    DIRECTOR OF PHOTOGRAPHY           Josu Inchaustegui
TARIQ         Dritan Biba                   PRODUCTION DESIGNER               Isabel Viñuales
                                            MUSIC                             Fernando Velázquez
                                            SOUND DESIGNER                    Ricardo Steinberg
                                            EDITOR                            Carlos Agulló
                                            COSTUME DESIGNER                  Tatiana Hernández
                                            CASTING DIRECTOR                  Luis San Narciso
                                            MAKE UP DESIGNER                  Ana López Puigcerver
                                            HAIR DESIGNER                     Mara Collazo
Diego is a doctor so used to dealing with critical situations that he has become immune to the suffering of others. He
has distanced himself from his work, his wife and his duties as a father. During a highly-charged confrontation with
the lover of a patient, Diego is threatened with a gun. Hours later, he remembers nothing but the sound of a firearm
going off, and the strange sensation of having been hit by more than a bullet. Diego will have to take an irrevocable
decision affecting his own life and that of those he loves.

produCtion detailS
FORMAT: Color 35 mm / 2,35:1
SOUND: Dolby Digital
FILMED: October 13th December 1st, 2008
DURATION: 107 min

alejandro amenÁbar preSentS
For the Good oF otherS
“FOR THE GOOD OF OTHERS is a story that stimulates. The characters and performances are treated in a naturalistic
way, it plays with everyday routine –typical in other works by Daniel Sánchez Arévalo-, and also incorporates a
spiritual element. That combination of normal characters in paranormal situations is very interesting”.

“I’ve started to involve myself more in the production process, but I’ve never felt the need to produce other people
because I think that figure already exists and other people are doing just fine. In this case there was a great
screenplay and a very talented director with an excellent work ethic. More than serve as a producer what I’ve tried to
do is help. Perhaps to be sort of a mentor”.

“There’s something pure about Eduardo Noriega, as a human being as well. I think that helps people connect with his
character. People will be surprised, not only by his acting, but also by such a genuinely touching performance. I was
moved by Eduardo playing an anaesthetized character who finally manages to gain access to his own emotions”.

“Belén Rueda has the freshness and clarity. We knew she could getin touch with the painful side of her character.
The idea was to find the perfect soul for each character and not be guided by whether they were known actors or
not. What mattered most was truthfulness. I think we did something similar in The Sea Inside, where we sought a lot
of truth for each character”.

“FOR THE GOOD OF OTHERS is a film that deals with emotions very close to home. It’s a film about pain. Not only
physical pain, but also emotional pain. It’s a film that takes place in a hospital with terminally ill patients who have to
face the pain of losing something, their condition worsening, etc. Basically it’s a very naturalistic melodrama with an
element of fantasy”.
interView with eduardo norieGa
Every character in FOR THE GOOD OF OTHERS carries a specific weight in the story, it’s a choral film in which
everything revolves around Diego. How would you describe the main character?

Diego is lethargic at the outset. He’s working in the pain unit and is therefore surrounded by pain and death, rarely
are his patients ever discharged. His journey throughout the film is towards increased sensibility. Little by little he
removes the layers of armor he’s been wearing all these years and starts to see sickness, patients and his loved ones
in another light. He experiences an internal revolution from insensitivity to being able to put the lives of others before
his own. His development as a character is extreme, he changes drastically throughout the course of the film and it’s
something that occurs inside him, not on the surface.

What do Diego and Isabel, Belén Rueda’s character, have in common?

Isabel and Diego are connected: by pain, by sickness... for different reasons. And they aren’t necessarily aware of
what the other one is going through. Isabel doesn’t know the details about what’s happening to Diego but she is able
to detect his pain. They’re fragile souls that join together to offer each other help, affection... almost instinctively.
They identify with each other, they’re drawn to each other, they share something familiar.

Surrounded by all that pain, Diego does nevertheless enjoy lighter moments.

A movie like this without moments of humor would be impossible to swallow. It would be unbearable. In fact, the
first sequence of the film is a tremendous declaration of intent. There are characters like my daughter, my father,
Juanjo or Carlos who bring those tiny drops of humor that make the more intense scenes possible. They make you
smile and distract you for a moment. Daniel, the writer, is particularly good at that. He loosens things up, and that’s
good for the audience.

Diego is the main character but the other characters are essential to understanding him. From an acting standpoint,
what was the key to weaving all those stories together?

It occurred to Oskar to have a rehearsal with nine or ten of the main actors. It was the Saturday before we started
shooting. We were seated at a table and we’d get up in pairs, or whoever’s turn it was. It was just an office with
folding chairs but we managed to make it through the entire movie: the car, the accident, the rain, if somebody
died we could see the pain left behind... it was quite a ride, unlike anything I’d ever experienced. It also gave me a
global sense of the movie’s tone. It made all the performances coherent. It made everyone aware of the film we were
making and put us all on the same page, feeding off the same ideas, the tools that came before, to establish a code
between director and actors.

What sticks out in your mind about working with a first-time director like Oskar?

Oskar has no experience shooting feature films but he’s very experienced in the world of film. He’s been on plenty of
sets. He’s a movie buff and movies are his life. Oskar devotes everything to the project, and that’s wonderful because
it’s contagious. There’s a special complicity because he’s constantly asking other people for advice, for suggestions,
for help. You’re considered an experienced actor and he values your opinion, your criteria, and it makes you feel
closer to the process. That enthusiasm is very important. But most of all he´s just crazy, crazy, crazy about filming.

FOR THE GOOD OF OTHERS isn’t an easy film to define, it combines very different elements: emotion, suspense...
How would you describe it to moviegoers?

Yeah, being a thriller gives it structure. But it’s a thriller with fantastic elements and it’s also a melodrama.It even has
elements of tragedy, of Greek tragedy, where the main character has to make a crucial decision that jeopardizes his
own life and that of those around him. I think it’s hard to categorize as a film, which is interesting. When you see it
the story grabs you, the suspense is so visually powerful and exciting that it keeps you constantly guessing what will
happen next.
reality From the other Side
Based on material that will impact audiences everywhere, FOR THE GOOD OF OTHERS takes its hero to the
uncharted territories of Spanish cinema.

“The main character in FOR THE GOOD OF OTHERS receives a gift. I suppose that depending on what kind of
person you are, either it comes with a ibility or it doesn’t. There have to be principles in everything. If you’re capable
of doing something that special, you have to use it well.As is also evident in Agora—, it’s very easy to destroy things.
Nevertheless, it’s wonderful to build on. That’s why I think this character possesses a wonderful gift”, points out
Alejandro Amenábar.

“The film has a fantastic element, but it addresses very dramatic material. We wanted to give the characters body
and for the supernatural element not to outweigh the human drama. Daniel was able to combine those two genres
very well, giving depth to the characters and the relationships between them. He was also able to inject it with
something that’s very important to such an intense story: humor”, says Fernando Bovaira.

“The director reveals what’s happening to the characters and to the audience at the same time. It’s so real it’s more
like poetry than fantasy. In this case we’re talking about people and emotions but I think Oskar did such a good job
of integrating the real into the supernatural that the result is completely believable. His is a strange, special, film”.
remarks Belén Rueda.

Starring Eduardo Noriega as Diego, a specialist in palliative care trapped in a moment of crisis, FOR THE GOOD OF
OTHERS simultaneously feeds off the experiences of a variety of characters who revolve (some without knowing it)
around an inexplicable element. Three women: Isabel (Belén Rueda), Sara (Angie Cepeda) and Pilar (Cristina Plazas),
also experience similar moments of estrangement from their own lives. Diego’s daughter Ainhoa (Clara Lago), Juanjo,
a young doctor (Marcel Borrás) and Carlos, a very special patient (Luis Callejo), offer him the clarity he needs to
reconnect to reality.

“Diego comes into contact with his power and from there on the course he takes, what he learns from that power,
reconnects him with his own emotions: allowing him to feel again. And feeling again means both suffering and having
a ball. He goes from being someone completely insensitive who’s alien to suffering and pleasure, to someone who
experiences suffering and pleasure to the fullest”,affirms Daniel Sánchez Arévalo.

“Daniel is one of our country’s most talented writer-filmmakers. DarkBlueAlmostBlack, Gordos and now FOR THE
GOOD OF OTHERS are three clear examples of Daniel’s ability to write about emotions. The theme of this movie
carries great weight: the dilemma of having to choose between saving lives or having to sacrifice a loved one. FOR
THE GOOD OF OTHERS offers a majestic solution thanks to Daniel’s audacity”. Álvaro Augustín.

“The characters in this story are good, strong people. But almost every one of them has a moment of weakness
which makes their character noble, because if people were always nice to each other all the time life would be awful.
They’re as brave as they come”, comments Cristina Plazas.

“What happens to Diego opens connections between the other characters. People put up barriers around themselves
so that things won’t affect them: unconsciously but it happens every day. There’s a downside to that, because
you stop feeling pain but you also stop feeling the good things. It’s like being 50% alive. Diego shows us why that
attitude is risky: you end up empty inside. Pain is part of life, part of human experience, and its effect is not always
negative. I think that’s intriguing to see on the big screen. Though I was lucky, my character is exactly the opposite,
she brings light to the story”, explains Clara Lago

“Sara uses her gift to protect herself from pain. Without the gift her life would be torture: resentment, spite, hatred
for everything that has happened to her. The gift is what finally allows her to make sense of it all. Everything
happened for a reason and she has been sent on a mission. The gift is a lifetime commitment”, claims Angie Cepeda.

“I think this story is in some ways is like a fairy tale. In any story where you have a special ability or some sort of
legendary gift, there’s always a downside. If I give you this, you have to do this other thing. Fairy tales have often
referred to the price one pays”, says Eduardo Noriega.

“Diego has killed his own zest for life and is living with a sense of numbness. Life puts him in a situation where
his heart will once again beat with great intensity. He must face situations he’s been insensitive to in the past. His
dilemma is truly overwhelming and he has no choice but to involve himself emotionally because those feelings had
been left partially turned off”, says Fernando Bovaira.
Someone elSe’S liFe
A project hat has ripened over time, FOR THE GOOD OF OTHERS is Oskar Santos’ first feature-length film after
directing the documentary A Trip to The Sea Inside about the making of Alejandro Amenábar’s The Sea Inside. Shot
over seven weeks in several locations around Madrid, the film pays attention to the finest detail, from the script to the
actor’s performances to its completely original visual style.

“FOR THE GOOD OF OTHERS has a complex storyline, in a mirror. The audience follows the hero through the story
knowing only what he knows, although these things have happened to other characters earlier in the story. You
have to somehow decipher what’s happening and you always feel like you’re a little behind. You’re constantly trying
to figure out what will happen next. Working on the screenplay was complicated and so was reaching a final cut”,
recalls Fernando Bovaira.

“We wanted to make a movie that was an intense and constantly emotional journey hat would entertain audiences
without neglecting to tell a story with plenty of human, social, ethical and moral elements. A journey that would blow
people away both emotionally and as entertainment. Sometimes that can mean through laughter, suffering, fear or
excitement. We want the story to capture you and make you feel hat would person than you were before you saw
it”, says Daniel Sánchez Arévalo.

“FOR THE GOOD OF OTHERS is a film about the dual nature of reality. In life, good and evil always walk hand in
hand: the positive and the negative. We’re always there, between the two extremes. It’s fascinating to see that on
screen”, says Angie Cepeda..

“This film reduces us to our most basic human instincts: to the need to always have someone important in our lives.
We are shaped as people by our loved ones, all the people who make up our little circle. I think one of the film’s
main attractions are the questions it poses. We wanted the audience to fully understand the hero’s dilemma and ask
themselves what they would do in his place”, points out Oskar Santos.

“At Telecinco Cinema we love working with first-time directors. When you take a chance on a director’s first movie
and it works out, it’s triply rewarding. It has happened to us on numerous occasions and I think FOR THE GOOD OF
OTHERS will make the list even longer. I honestly think audiences will be pleasantly surprised by FOR THE GOOD OF
OTHERS. It’s an exciting, intriguing and surprising film...”, Álvaro Augustin tells us.

“FOR THE GOOD OF OTHERS is a journey that leads to self-awareness, where you end up realizing life is just a flash
of light between two eternal spans of darkness and you have to make the most of it while you can.And that loving
others is what makes it all worthwhile”, says Fernando Bovaira.
interView            oSKar SantoS
On paper, Diego and Eduardo Noriega don’t seem to have very much in common. When did you first realize he was
the right actor?

We had a lot of doubts about the leading role. We were looking for someone between 40 and 45 years old, with a
certain gallantry. Daniel had thought of Belén while writing the script, Fernando agreed with him and was even the
one who proposed Eduardo for the part of Diego. I didn’t see it. And Eduardo didn’t see it either. He was six or seven
years younger than the character at the time and had a very young-looking physique. We weren’t sure he’d be able
to pull off a character in his forties, a man with more life behind him. We decided to do a make-up test, seeking an
integrated look so people wouldn’t be seeing Eduardo Noriega in make-up the whole time. The audience has to feel
that the character is real. The test went wonderfully. And Eduardo did an amazing job in this film. When we started
rehearsing, he immediately went along with my suggestion to go with the flow and improvise more, and he ended up
doing some mind-boggling exercises in improvisation. We all followed our little path to believing it would work.

In their portrayals of Diego, Isabel and Sara, In their portrayals of intense emotion and exhilarating flashes of humor.
Did you feel comfortable directing actors in such different ranges?

The wonderful thing about working with Daniel is that apart from great story structure and knowing how to mix
genres, he adds comedy which is essential in a film as dramatic as this one. Certain things were lost in the cutting
room in the interest of narrative balance. But he always builds characters who bring charm, light to the film. In this
case Clara, Marcel, Cristina, Egido and Callejo. Ainhoa and Juanjo had a double task: to give body and conflict to
their own characters, and to humanize Diego. The day before we started shooting I proposed not a theater-style
dress rehearsal, but a general run-through where they could be actors and also watch their counterparts perform
scenes from the screenplay as well as some improvised ones. It created an energy between us that made us feel like
we were part of a group, that each character was an important piece of a whole. We went through 70% of the script,
it went great, they had a blast, and when we had lunch after they talked about their characters and about the story
as a whole. It went so well that I’d like to do it again in future films.

We don’t find very many Spanish films that have been put together as well as FOR THE GOOD OF OTHERS. Is it the
mix of experience and fresh talent?

Each element brings a series of things along with it. For example, the performances are very natural. I asked the
actors to be truthful. But at moments of a particular genre, they know how to give it the nuance it needs. Visually
speaking (scenery, photography, wardrobe...) we needed a balance. I felt that if we made an overly-stylistic film
it wouldn’t work, the performances would clash, like in a picture with a single color scheme (that stuff in modern
films that I love but didn’t consider necessary in this case), but we also had to avoid being too naturalistic. Movies
are movies and real life is real life. I know it’s difficult, but it’s something that was in the script: a fantasy told from a
realistic point of view, something that happens to normal people who tend to react the same way any of us would.
Daniel does a great job with that, he knows how to bring the character down to reality.

How did FOR THE GOOD OF OTHERS first come about?

This film tries to enter the chiaroscuro or shadow of human nature, this idea they’re selling us about being a part of
the whole world. Human beings are individuals and worry above all else about their own lives and those of a reduced
group of people. This is human. I always use the same example when I explain this film: I like watching the news while
I eat. It isn’t always easy because any channel you turn on portrays the world as a pretty terrible place (war, hunger,
suffering...) but I somehow manage to keep eating. But if the phone were to suddenly ring and something awful were
happening to a member of my own family, I would automatically stop eating. This may sound absurd but it explains
what human beings are made of. Nobody wishes ill upon anybody else. Seeing all those people suffer on television is
hard but it doesn’t take away your appetite; nevertheless, when tragedy strikes within our own circle, our lives stop
cold. To deny that is to deny human nature. Why are we like this? Our loved ones mean the world to us. Other people
are other people.

Do you think audiences will identify with the dilemma Diego must face?

I feel more like I’m a member of the audience than a director. And I don’t like being preached at or films with
messages, I like being exposed to new ideas. Alejandro said it in one of his films: I look for films that are capable of
asking questions, not films with answers. Film is interactive and I want a movie to give me room to apply my own
way of thinking. FOR THE GOOD OF OTHERS poses a very simple question to the audience. The film develops
that question in a very suggestive way: Can one live without caring about anybody else in particular? Thinking that
nobody’s any more important than anyone else? We’re defined by a very small group of people... our loved ones,
who shape us as people. That’s Diego’s dilemma, and the one faced by other characters in the film. Can I go on living
without caring about anyone else?
FirSt looK
“Oskar and I studied together and we’ve seen the same films together. Sometimes we admire the same directors,
other times we don’t agree (which is a lot of fun because it enriches you) and we’ve had lengthy debates after seeing
a movie. He belongs to that generation that grew up watching TV and that can tell a story through images. Oskar
always tries to speak through images and not only dialogue, and he’s a brave, skilled narrator. Another quality of his,
and I think this is never given enough importance in this profession, is his work ethic. he ability to throw yourself
into something and keep working and working at it. Oskar is obsessive. As a producer I felt at ease knowing I had a
director giving it his all”. Alejandro Amenábar.

“Oskar is very humble and always shuns praise, at times it’s like a disease because apart from being very talented
he’s a very hard worker. I want to always work with directors like him. He’s from the generation that grew up with
movies. They’re not necessarily super intellectuals. They’re movie fanatics, they’ve seen everything, they know it all
by heart, especially more recent films where the visual and audiovisual are more present. I’m referring to Amenábar,
Oskar, Daniel Sánchez Arévalo or Eugenio Mira. Their baggage is cinema, it’s what they know, it’s their field. And
they have an almost innate ability to visualize the film and choose the correct angle for each moment. They’re very
aware of all the different elements involved that have to click within the scene. Not only the size of the shot but
also the angle, the actor’s gesture, his performance, tone, rhythm, the music they intend to play in the background...
they’re constantly seeing the movie. That’s what gives this kind of film its quality. That’s the only way to get it right,
without a general idea of what it should look like it’s hard to get anywhere. Oskar might think I’m exaggerating if I
compare him to Amenábar but I like that they both manage to give their films a personal angle and at the same time
connect with the audience. I think few directors have that talent”. Eduardo Noriega.

“Oskar managed to tell the story with a lot of humanity. The fantasy part hooks people but what I value the most
is the human aspect, the work by the actors. Being able to tell such an unreal story, through human experience”.
Angie Cepeda.

“One shouldn’t generalize when talking about first-time directors. Oskar is Oskar. And people have qualities that can
remain throughout their lifetime. In this case enthusiasm, and at the same time, doubt. Enthusiasm on the surface
seems like just being happy with what you’re doing, but in this case enthusiasm is supported by an exhaustive
amount of work beforehand. Which means any doubt you may have, any unexpected situation that may arise, he
knows how to resolve it, though never too categorically. That’s a very good mix in a director: having worked so much
on where and how he wants his story to go, and at the same time being open to ideas that come from the outside.
If he changes something it’s because he’s convinced he’s making it better. Perhaps it’s characteristic of first-time
directors nowadays, because they spend so much time on their first project. Some don’t want to budge, others allow
the project to keep growing”. Belén Rueda.

“Whenever defending his work to producers he always asked them to take into account that the most important
thing in this film were the emotions, the feelings; that it’s dressed as a thriller but if the human material wasn’t
truthful it would fail. That is something I stressed and I was surprised someone so young could penetrate so deeply
into the story. I have to say I have been pleasantly surprised. Oskar is very thorough and demanding in his work. He
managed to make everyone feel comfortable, and everyone is proud of their work, which is no small feat in a film
with so many different voices”. Fernando Bovaira.

oSKar SantoS                                director
Oskar Santos (Bilbao, 1972) studied Audiovisual Communication at the Universidad Complutense in Madrid. In 2000
he wrote, produced and directed the short film Torre, which won awards at several international festivals. In 2002 he
directed two episodes of the series Urban Myth Chillers, produced by Universal TV (UK) and GTV (France). In 2004
he directed his second short film, El Soñador, and a feature-length documentary, A Trip to The Sea Inside, about the
making of Alejandro Amenábar’s Oscar-winning film. The Sea Inside.

daniel SÁnCheZ aréValo                                                     Scriptwriter
Daniel Sánchez Arévalo (Madrid, 1970) started his career as a screenwriter writing for television shows like
Farmacia de Guardia, Querido Maestro and Hospital Central. After receiving a Fulbright scholarship he studied film
at Columbia University in New York. He has made 15 short films which have received more than 200 awards, including
 a Goya nomination (Exprés), an Oscar pre-selection (Física II) and an Official Selection at the Venice Film Festival
(The Mountaineer’s Guilt).
His first feature film, DarkBlueAlmostBlack, has won more than 50 awards around the world, including three Goyas:
Best New Director, Best Supporting Actor and Best New Actor. In September of 2009 he released his second feature
film, Gordos, shot over a span of more than 10 months (due to changes in physique required of the leading actors).
It has been nominated for 8 Goyas.

eduardo norieGa                                       diego
Eduardo Noriega moved to Madrid to study at the Real Escuela Superior de Arte Dramático in 1992, and it was right
around then that he started collaborating in different short films with directors like Alejandro Amenábar and Mateo
Gil. Stories from the Kronen (1994), by Montxo Armendáriz, marked his debut in a feature film. Since then he has
worked with the most prestigious Spanish and international directors and has been nominated for numerous awards
in Spain and in several other countries.

Agnosia, Eugenio Mira
Little Indi, Marc Recha
Vantage Point, Peter Travis
Transsiberian, Brad Anderson
Alatriste, Agustín Díaz Yanes
Wolf, Miguel Courtois
Open your Eyes, Alejandro Amenábar
Thesis, Alejandro Amenábar

belén rueda                            isabel
Belén Rueda started her career as a television host and actress. In 2004 she got her first role for the big screen in
Alejandro Amenábar’s The Sea Inside, for which she won a Goya for Best Actress and many other honors. In 2007
she starred in The Orphanage, a huge box office hit, for which she was also received warmly by the international

Los ojos de Julia, Guillem Morales
8 Dates, Peris Romano and Rodrigo Sorogoyen
The Orphanage, José Antonio Bayona
The Sea Inside, Alejandro Amenábar
anGie Cepeda                                Sara
After studying acting in her native Colombia, Angie Cepeda began working in show business in famous
internationally-distributed soap operas. In 1996 she made the jump to the big screen in Sergio Cabrera’s Ilona Arrives
with the Rain. Since then she has made films in Argentina, Peru, Italy and the United States. She has been living
between Spain and Los Angeles since 2004.

Una hora más en Canarias, David Serrano
Love in the Time of Cholera, Mike Newell
The Hidden, Antonio Hernández
Captain Pantoja and the Special Services, Francisco J. Lombardi
Los protegidos (TV)
Vientos de agua (TV)

CriStina plaZaS                                  pilar
Early on in her career Cristina Plazas was already combining appearances in theater, film and television. Highly-rated
series like Hospital Central and El comisario have made her a familiar face in Spain. Meanwhile her career on stage
stands out for her versatility and recognition.

Go away from me, Víctor García León
Paco’s Men (TV)
Ausias March, Daniel Múgica

Clara laGo                          ainhoa
Clara Lago appeared on the big screen at an early age in Fernando Huertas’ Miserable Life. After that she joined the
cast of the series Compañeros. Her promising young talent was confirmed in Imanol Uribe’s Carol’s Journey, which
earned her a Goya nomination for Best New Actress.

The Hanged Man, Manuel Gómez Pereira
Lex (TV)
El club de los suicidas, Roberto Santiago
Your Next Life, Manuel Gutiérrez Aragón

marCel borrÁS                                   juanjo
Marcel Borrás reached the big screen around the same time he appeared in Spanish living rooms on TV shows like
Serrallonga and Hospital Central. In 2008, Judith Colell gave him his first chance in movies in 53 Winter Days, starring
Mercedes Sampietro and Álex Brendemühl. He has several confirmed releases in 2010, including Animales domésticos
and Carlota’s Diary.

Carlota’s Diary, José Manuel Carrasco
Animales domésticos, Xavi Giménez
53 Winter Days, Judith Colell
Buscando al hombre perfecto (TV)

CarloS leal                             armand
Carlos Leal, the son of Galician emigrants in Switzerland, started his career in music as the leader of the hip hop band
Sens Unik. In 2000 he entered the world of acting in Paris and since then has shot in France, Switzerland, Germany,
Italy and Spain. In 2006 he was named a Shooting Star by the Berlin Film Festival. His work in Snow White was
recognized with various awards, and later Casino Royale was an important step in his career.

There be Dragons, Roland Joffe
Broken Embraces, Pedro Almodóvar
Chef’s Special, Nacho García Velilla
El Internado (TV)
luiS Callejo                            Carlos

Luis Callejo plays one of the most memorable roles in the film, according to his fellow cast members. Having worked
extensively in theater, film and television, Callejo is well known by audiences for shows like Manhunters, En buena
compañía and Paco’s Men. He was nominated for a Goya and received an award from the Unión de Actores for his
role in Princesas.

Carlota’s Diary, José Manuel Carrasco
Che: Guerrilla, Steven Soderbergh
Road to Santiago, Roberto Santiago
My Prison Yard, Belén Macías
Princesas, Fernando León de Aranoa

joSé ÁnGel eGido                                       Vicente
José Ángel Egido has enjoyed a successful career including theater, television and film. The audience made him most
popular for the role of Borja in the series Médico de familia, but his presence has enriched other productions in a
supporting role for the small screen (Lorca, muerte de un poeta, Siete vidas, El comisario, Cuenta atrás, Águila roja...).
He has received several awards as a film actor, including the Goya in 2004 for Mondays in the Sun.

Paper Birds, Emilio Aragón
The Blind Sunflowers, José Luis Cuerda
Hotel Tívoli, Anton Reixa
GAL, Miguel Courtois
Mondays in the Sun, Fernando León de Aranoa
mod produCCioneS
MOD PRODUCCIONES is a recently-created audiovisual production company.

At this time the company is involved in its first three projects, which are in different phases of production:

AGORA, directed by Alejandro Amenábar, was released in Spain in October and has become the highest-grossing
Spanish film of 2009. It has been nominated for 13 Goya awards.

BIUTIFUL, directed by Alejandro G. Iñárritu, starring Javier Bardem, was shot in Barcelona. Currently in

FOR THE GOOD OF OTHERS, directed by Oskar Santos. Official Selection, Berlin Film Festival, Panorama
Special Section.

Created in 1995 by Alejandro Amenábar to produce his own short films, the company’s first feature film production
was The Sea Inside (2004), directed by Alejandro Amenábar, which later won the Oscar for Best Foreign Language
Film. Its next production was Agora, directed by Alejandro Amenábar, the highest-grossing Spanish film of 2009.

Currently in the process of releasing FOR THE GOOD OF OTHERS, Oskar Santos’ first feature film, also produced by
Mod Producciones and Telecinco Cinema.

teleCinCo Cinema
Telecinco Cinema set records at the box office in 2009 with films of different genres acclaimed by critics and audiences
alike - Agora, Cell 211 and Spanish Movie- leading the international market after occupying first, third and fifth place
at the Spanish box office, respectively. The quality of these films has earned Telecinco’s film affiliate 32 Goya Award
nominations, the most prestigious honor in Spain, making it the production company with the most nominations. The
films share a page in Spanish film history alongside other highly successful Telecinco productions like Pan’s Labyrinth,
Alatriste, The Orphanage and The Oxford Murders, the highest grossing films of 2007 and 2008, respectively.

Along with the recent release of Hierro, Gabe Ibáñez’ first film starring Elena Anaya, Telecinco Cinema will release
two other projects by first-time directors in 2010 -FOR THE GOOD OF OTHERS directed by Oskar Santos and Verbo,
directed by Eduardo Chapero Jackson, starring Alba García, Miguel Ángel Silvestre and Verónica Echegui- as well as
Agnosia, Eugenio Mira’s thriller starring Eduardo Noriega, Bárbara Goenaga and Félix Gómez; La daga de Rasputín,
Jesús Bonilla’s comedy starring Antonio Resines and Antonio Molero and Rabia, a drama directed by Sebastián
Cordero and produced by Guillermo del Toro.

alta FilmS                         premier pr

Spanish Press                      International press - Berlinale

Tel. 91.542.27.02                  Tel. +49 (0)30 2300 3139/5572
                                   Kothenerstrasse 5 (am Potsdamer Platz)
Verónica Lara                      8th floor, apt 811.
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mod produCCioneS                   Filmax internaCional

PR & Marketing                     International sales

Tel. 91.590.33.31                  Tel. +49 301.2000.1119
                                   Tel. +34 93.336.85.55
Rosa García            Berlin office (EFM): Berlin Marriott Hotel
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pressroom password: agora          Tel. +34.629.185.688

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teleCinCo Cinema                   Tel. +34 629.340.070

PR & Marketing

Tel. 91.396.67.90

Cristina Gascón

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