APADRINA GAYXAMPLE - SUPPORT GAYXAMPLE

GAYXAMPLE EPISODE 10 - NEW BEGINNINGS...

Our nail biting finale means drastic changes for all our main characters and reveals a dark secret.
Don’t miss it!

GAYXAMPLE EPISODE 9 - EXTREME MEASURES, EXTREME SOLUTIONS

Alex comes home and discovers Ivan in a “compromising position”.
Whilst Lluis realises he needs to find other more dangerous ways of making a living!

GAYXAMPLE EPISODE 8 - COCÓ CHAMPAGNE

This week we reveal the stage persona of the talented Coco Champagne.
What will she look like? And Ivan gets some really bad news.

GAYXAMPLE EPISODE 7 – EMOTIONAL TURMOIL

Toni’s sex life is getting pretty hot but is leaving Montse cold.
Whilst Alex and Ivan’s relationship is crumbling into ruins in Episode 7.

GAYXAMPLE EPISODE 5 - TWO FATHERS, TWO PREJUDICES

A naked hunk serves Toni breakfast in bed!
Episode 5 turns up the heat AGAIN!

GAYXAMPLE EPISODE 4 - WORSE THAN THE JUNKIE

Montse and Alicia get caught up in a tense and passionate situation this week.
And nearly get caught in the act in Episode 4.

GAYXAMPLE EPISODE 3 - CONGRESS OR REUNION ON THE TOILET?

Hot and sexy Episode 3 shows us how Ivan and Alex first met!
Not to be missed.

GAYXAMPLE EPISODE 2 - MY FIRST GAY PARTY

Montse invite Alicia to stay at her home with a few restrictions from Toni, her room-mate.
Will Xavi survive his first Gay party?

GAYXAMPLE EPISODE 1 - THE HOMOPHOBIC NEPHEW

Xavi, the cute and innocent country boy whose world is shaken when he discovers his favourite uncle is gay.
Montse, the generous and caring social worker will help the beautiful battered wife Alicia from Argentina.

GAYXAMPLE - LA SEXTA NOTICIAS

Daily shooting diary - EPILOGUE

By beginning of March 2010, we had a working draft of our script and we’d even begun principle casting. Within those first two weeks of casting we actually finished writing the script, and we started working out the scenes. It was also back then when I first met Iván Codón. I’d met him through Giuseppe.  Up until that point I wasn’t sure if he even existed or if he was just Giuseppe’s alter ego or pen name, because I’d never even had a Facebook chat with the man. But there he was in the flesh; a walking, talking, smoking, heck of a screenwriter.

Time has just kind of flown by from the first night of casting and our first draft, to where we are now. As I sit here writing this and enjoying my vacation on this quiet August morning, we are very much in postproduction.

While our production schedule was set, Gayxample as a production itself was never some rigid entity that was strictly dictated by it. It was open to any and all creative input, and allowed to find its own voice as we rolled camera; never compromising creativity or quality to any time or economic restrictions that usually come with the territory. It was a work in progress, if you will, and we all willingly and willfully jumped on board. It let us discover new ways of making film, and showed us that there really is no “one way” to create cinema (although a few guidelines do come in handy).

The production was very centered in reality: organic from the word go. It was influenced by the pace and rhythm of our daily lives and we adjusted to it accordingly, instead of the other way around. We took full advantage of any new technology that could help us not only during production, but also serve as a means for distribution and promotion.

In just a matter of three months, we’ve managed to roll out a full-length project that is over two hours long. We’d just finished casting a month prior to that, and our script was registered shortly there after. If one stops to think about it, you’d think we’ve all lost our minds. And maybe we did a little. One crazy guy in particular named Giuseppe, who would talk about his idea to anyone who would listen, friend and stranger alike. It was an ambitious and contagious project, and as so, it attracted a group of people that would’ve never thought of ever working together. Everyone seemed to have a clear vision of the project in whatever capacity their role in the film would be. And this seemed to snowball into something that anyone who even heard about the project wanted to be a part of it, on either a personal or professional level, or both. People just wanted in, and they were excited about the possibilities.

Very few times did we sit and analyze what we were trying to do. I don’t mean from the actual production of it, or from any creative standpoint during production. I’m talking about the project itself. We didn’t sit there and analyze the scope of our madness. 

I’ve come to two conclusions about our experience. The first one being that the actual audiovisual production and artistic and creative direction were subconsciously influenced by everything around us at the time of production, because our production was very present, and grounded in the “now.”

The second being that when you give in freely to the madness like we all did; giving our hearts and souls without limitations, with almost a blind faith as to the outcome, and opening ourselves up to the possibilities, there was really no limit to what we could accomplish. We can dream of best-case scenarios, and take on the worst, but our reality is that a dream we had last November has come true.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 16: AND SCENE!

Today, dear friends, is our last day of shooting, and that last entry into this blog journal.

It’s been 4 weeks and we’ve once again met up with team A (ÁLEX, IVÁN and XAVI). Eider and Candy (our fabulous extra) are also here.

We began our first exterior shot early, just outside of ALEX’s house, which is really from the first episode (amongst others).

OK, and not to worry, because Rafa is definitely back and he’s in his now signature look: silk robe, black undies, and our collective smiles.

Our location couldn’t have been more perfect, as it turns out there’s a sky bar just next door. So we’d naturally have to go check it out.

Xavi, Kikko, Eider and I were debating life outside of Gayxample. We weren’t completely convinced such a thing really existed.

Our make-up department unloaded their arsenal out on the terrace and set to the task at hand. We had our fair share of looky-loos, but it had become par for the course at this point, and we’d all learned how to avoid and ignore them. Well, most of us anyway, because Kikko seemed to have befriended one of the neighbour ladies, and she looked like the type to start a Facebook fan page for him (if she hadn’t already).

Rafa flaunted his chest down the streets of Barcelona, and Babeth, from even behind the camera, could give Candy precise direction as to what her character needed to be doing.

Oh, and Kikko arrived, shot his scene, and off to the beach he went.

Eider was thrilled to once again dress up as a legalese/not a slut, but Laia was none too pleased someone had made off with her Louis Vitton.

While we did have a few interruptions, like the ambulance that stopped right in front of the doorway we were shooting at, and a few people that stopped right in front of camera to see what was going on, and a couple ladies we asked to walk on the other side of the street for us; it was all and all a pretty smooth and fast shoot. Oh, and it was all shot on a dolly.

We moved to our very last location: Adamo’s attic. It would serve as ALICIA’s home with her as yet unnamed husband (we may not know what his name is, but we know Jose Luis is playing him). The first thing we did upon arrival was take over the terrace and set up the ashtrays and coffee maker. Priorities, people. Priorities.

While they set up the lights and Giuseppe went over the shooting script, Ivan Bertran gave Xavi, Eider and I, massages (it was a stressful day after all).

We cleared the attic of all of Adamo’s personal belongings, or that were too “him”, if you will. We needed to transform the space into something…different.

Mireia once again donned the prosthetic belly, practiced her accent, and we started rolling. Turn the a/c on, please. Thanks.

While Adamo prepared our meal, he shared with us a few stories about a younger (than he already is, of course) Giuseppe. It was quite interesting, I must say.

The food was excellent, as always, and all we needed to do now was film a scene between Xavi and Eider, and we needed to do it before Spain won the world cup and madness ensued, or we’d never be able to shoot the damn thing.

We were so set on finishing the scene that we didn’t even notice when it was all over. We began packing all the equipment up like it was just any other day.  Everyone said their goodbyes like we would see each other again tomorrow or next week, and home we went. We left as if tomorrow we’d once again have to shoot all our different angles and reverse angles; as if we’d have all our usual anecdotes waiting for us to bring them to life; or that we’d keep learning about Iván Bertrán  (Ivan the Great) and his crazy adventures, and all the crazy stories we’d endured together while on this filming odyssey.

A good friend of mine told me when we started shooting, that for the next few weeks after the shoot, I’d feel a little empty. That I’d miss everyone and long for the camaraderie that one develops when you share all the creativity, time, sweat and tears that come with making a film together. But it seems he was wrong, because I’m not really feeling like that at all. Maybe it hasn’t ended. Maybe we really will see each other again.

I’m certain that we will.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 15: IVÁN’S TEARS

Today would be our last day shooting at Juan Carlos’ place. We set up the make-up station in TONI’s room, but ran into a little lighting problem, to which Babeth (naturally) came to the rescue. She set up a few lamps, and voila we were back in business. 

Today was going to be Milca’s day. Not only was she going to get to show off her belly (having little Jan make a cameo before he’s born) but she’d also have to endure watching her wife make out with Mireia…and shoot a full on love scene. Because apparently that’s what two women do when they’re in love. Or so I’ve been told.

Before that torture (for Milca, of course) we went back into the kitchen, where the image of Toni Duque making that glorious pot of coffee yesterday,  was still emblazoned in our minds. Today; however, we had TONI (IvánYáñez) making us breakfast in his bathrobe.  We’d already shot TONI’s morning scene -- Where he’s woken up by his alarms, and we had to set the alarm clock to sync up perfectly to go off with his cell phone. Ugh - and it went swimmingly. We could tell he’d be practicing. Even his breakfast scene with ALICIA had gone well; except for forgetting which side of the screen he kept putting the fuit juice bottle. Luckily we caught it in time and it was no biggie.

We then moved on to the kissing scene between Mireia and Babeth (Milca raged), but Mireia was pretty excited because she’d specifically signed up for the project because she’d be able to play a lesbian character, and this was her maiden voyage into kissing a girl; and like Katy Perry: she liked it. The scene was hot, I must say. They really pulled it off, and then Babeth took care of Milca with more than a kiss. Then Alberto, the extra in the afternoon, came in to kiss TONI, so everyone was happy and we made our way out into the terrace where Juan Carlos had once again prepared something delectable.

Luis and Akiras were checking the lighting, and Mireia was practicing how to get into bed with her prosthetic on. It was time for Milca and Jan to shine. With a bit of hesitation, Milca undressed and let us see little Jan in front of the cameras, before climbing into bed.

The ladies needed a little privacy, so we cleared the room of anyone that wasn’t essential to the scene. Ivan Yañez made a few jokes as he parted, to which Babeth told him to shove it where the sun don’t shine, and instantly retracted the statement because she realized he’d probably like that. There were a few other exchanges, but I won’t get into it here. Sufficed to say that part of it was in the script, so you’ll see it on screen.

Apparently the screenwriter isn’t essential to the scene, and I wasn’t privy to it, if only to script supervise. Just outside of camera range, Milca paced back and forth checking to see where the hands were at all times, while the rest of us took the time to have a snack and chain-smoke.  Alberto and Iván took a moment to get better acquainted (or was it reacquainted) for their up coming kissing scene.  The scene after that; however, was an emotional and bad encounter between TONI and MONTSE. Ivan Yañez had prepared this scene for months. He knew it inside out. But today he’d blanked.

All that accumulated tension, and the stress of full on production weren’t helping any. Plus, this would be his last scene of the series, and he’d have to square off with his acting coach, Babeth, with whom he’d been rehearsing all of his scenes.

We went over the script, and Giuseppe went over the choreography with them. We started rolling, but Iván couldn’t get it together; at least not at first. Then, almost as if a light had gone off in his head, it all came rushing back to him like a Celine Dion song: “It’s all coming back to me, back to me now…” you could practically hear coming out of his ears, and then the flood gates opened and he laid it all out on the table for the world to marvel. All the pent up emotion and anger, rage, and nerves exploded into an unrepeatable performance that left us all holding our breath. It was magnificent; A true Tour de Force. When the scene was over the room erupted in cheers and applause. Andrea and I couldn’t even look at each other we were so worked up. It was as intense, if not more so, than the scene between ÁLEX and IVÁN (Rafa).

We took a minute to compose ourselves before we could shoot a few pick up shots, and Iván excused himself to the terrace where he could let out the last of his tears.

The day ended completely on schedule, and performances worthy of any acting prize one can imagine. Even though there’s a week left on the shoot, it could’ve ended tonight and it would’ve been fitting. Still, we know that we’ve only just begun.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

GAYXAMPLE - Trailer 4 English

Daily shooting diary - Day 14: OH, DEAR GOD (this place is in ruins)

The second to last weekend of production. We’re going to condense the apartment scenes with TONI and MONTSE. We’re in Juan Jose’s apartment, and while it was a bit tricky finding the place, it took no time at all to turn his place upside down. All I know is that I’d periodically watch Juan Carlos disappear for a few seconds while he stepped outside and took a deep breath, counted to ten, and then came right back in smiling and refreshed. At least I’m pretty sure that’s all he was doing.

Let me set up the scenario: ALICIA had just jumped out of the shower, hair still wet and with a towel wrapped around her, leaving wet foot prints all over the house. And just to make sure that the water was completely visible to the camera, we decided to add a little extra. The only problem was that we forgot where exactly we’d added the extra water, and as we looked for it, it wasn’t just Mireia’s foot prints on the floor anymore.

The bedroom had been littered with female paraphernalia: panties, bras, dresses, socks, handkerchiefs…some of this stuff was even hanging on the bathroom faucet, and thrown on the floor. The kitchen was besieged, the dining area was littered with gelatin that Luis and Akira (the lighting department) had to use, and the terrace was, of course, turned into our craft service area. I’m not sure how he didn’t end the day screaming “this place is in ruins!”

Mireia walked around making sure her towel didn’t fall off. But really, why all the modesty? If ever there were a place where she could feel safe about her dropping the towel, it was here. She was amongst “girls”. The worst thing that could happen was that she’d drop the towel and we’d all run around the house yelling that she’d cut herself down there... (I have to admit that, that sounded much funnier in  my head. )

We shot the scene in the messy room, and Mireia’s line was supposed to be (in a perfect Argentinian accent) “Oh, dear God.” Well, dear God indeed, because first we shot it and she kept saying it before she was even in the room. Then she was saying it a bit too late. Then we couldn’t understand what she was saying at all. And finally,  it just wasn’t coming out with enough of an accent. Which in the end didn’t really matter, because we soon found out that the microphone wasn’t plugged in correctly and we’d have to reshoot everything anyway. Say it with me now: Oh, dear God!

We figured it was as good a time as any to take five, so we all decided to make our way over to the kitchen and find something to nibble on to help ease the tension.  While there, Juan Carlos showed up from one of his endless runs to the store and started putting groceries away. Looking around as he did, he asked “What are you  all doing in here? Are you shooting something in the dinning room? Do you have everything you need?” To which Giuseppe replied “We’re shooting a scene in the kitchen, baby, and you’re in our shot!” Laughter really is the best medicine.

We needed a coffee pot and we sent someone to get it at the strip mall down the street. Juan Carlos prepared a fabulous and finger licking lunch, so we decided to make him our own personal chef. He hasn’t accepted, yet, but we’re working on it.

After lunch we made our way over to TONI’s room where we were shooting the next scene, and where he’d be chatting and cruising profiles online (from a previously selected set, of course). The camera was set up outside and the mic was inside the room, with TONI at his desk. We also needed a few off-screen voices, so like Babeth did for Lola’s scene, we all hit the floor.  Babeth and Mireia were hidden behind the door, which really made them sound off screen. I was stretched out on the floor and holding the mic. Just then, Babeth asked “Should I close the door all the way?”,  and Giuseppe answered “no,  leave it open all the way.” All the way open and right smack into my head! Ouch.

When Toni Duque arrived (aka Mr. Ed), Iván Bertrán was out getting something to eat because of his whole gluten free diet, so he missed out on his highly anticipated arrival. When he got back, we informed him that he had a special guest waiting for him in the bathroom who needed his expert hands for full body make-up. When he saw who it was, and completely in the nude – I might add,  he was left with little recourse other than to bow in reverence and offer a genuine “It’s a pleasure to meet you” as he extended his hand and shook Mr. Ed’s disco stick. We expected nothing less, of course.

Toni Duque spent most of the afternoon with a hand towel draped over said disco stick , while waiting for his scene. I don’t think I’ve ever heard of anyone receiving so much applause, being so closely followed, or needing that many takes to make a pot of coffee. But I will say that I was a bit parched after all of that, and could’ve really used a sip.

The evening crept up on us as we filmed the last scene of the day. TONI was at his desk chatting, and the girls flirting on the couch at the start of what could be a beautiful friendship, as Claude Rains would say. We’ll see how this all ends tomorrow.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 13. UNIVERSITIES: DIFFERENT LOOKS

Before filming began, Giuseppe and I visited several University campuses in Barcelona. When a Spaniard thinks of a University, one thinks of lush lawns, cement buildings, long corridors, back packs zooming by strapped to people coming and going at all hours of the day, a little traffic, and mostly, a full cafeteria.

When an Italian thinks of a University, he thinks of a gothic cloister where all the students are in uniform.  We soon realized we weren’t on the same page about this location scouting, when he was fascinated by the Pedralbes monastery.

As a cinematographer, no building or university plaza in Barcelona was going to remind  him of a university. In the end we settled on a modern building that was appealing to the eye, and very filmable: The communications campus of the UPF in Poble Nou. Getting permits to film there also proved to be quite effortless. So that’s where we filmed LLUÍS not going to college.

We took advantage of all the students walking around to make it seem like we were there during exams. Gerard Valdivia came along to help out with anything that we might need, and Andrea made his debut in front of the camera without the safety net of a clapper board, or lifting his pinky when calling out the scene.

Right next to the campus there’s a park perfect for LLUÍS’ trip, with its wide open spaces, and we love our wide open spaces.

We finished early and had the rest of the day off, which coincided with a production free weekend where we’d be taking some studio shots of the technical team shot by Israel.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

GAYXAMPLE - BTV

GAYXAMPLE - XTVL

Daily shooting diary - Day 12: WHATEVER COMES OF IT

It was supposed to be the most difficult day of the shoot. It was the most difficult day of the shoot. We had to shoot all of the Café Teatro Picasso scenes in a single day, and with limited time to do so, having vertigo seemed like the least of our problems.

Giuseppe was pretty nervous and more demanding than ever. And since we all had a tendency to absorb osmotically the emotions and feeling of the people around us, the whole crew ended up nervous. I would walk down the hallway and find Babeth humming Mozart or some chamber music. I think I even saw her position her hands like she was chanting, at some point.

Our make-up department had their work cut out for them. They had to turn Manuel Tello and Joseph into drag queens, while having just finished doing their make-up as men. Oh, and aside from retouching Jasp’s make-up along with all the other extras that had been called in to serve as the audience members in the bar. Gerard Valdivia being one of them (who never failed), and Adamo (whom I kept imagining filming a scene of our own back at his place), along with a few students from the Nancy Tuñon Academy.

Turning Josep into Coco Champagne was no easy task (do you remember the pump incident a few nights back?) Only this time the make-up department had the honor of applying make-up to just about every part of his body, even catching a glimpse of his own brush. They were also under strict orders from Giuseppe to find a foundation color that complimented his skin tone perfectly, and dulled down any trace of masculinity, but not too well, because he was supposed to still be new to this drag queen business. They also needed to get some wax to cover up his eyebrows, (because plucking was completely out of the question) so they could then turn him into a star.

Josep also had a little problem with his bosom; it seemed to be sagging a bit for his taste, but Iván quickly put his mind at ease when he mentioned that Ana Obregón had the same problem. Ruth and Xenia worked on Joseph’s face while Ivan worked on all the extras (I keep trying to tell you that boy has skills).

Marcus showed up for a visit. I guess it’s only natural he’d want to watch his fictional son perform (On stage, people. On stage.)

Manuel Tello paced back and forth on stage going over his monologue. Matias, the theatre owner,  kept trekking back and forth between the stage and the make-up station, making sure that everything was ok, that nobody needed anything, and most importantly, that we were on schedule.

We began the shoot at the bar with Jasp, where Ruth served as an extra. Matias, served her a drink when she hadn’t asked for one (movie magic, I suppose).  Once we’d finished the bar scene, we had a bite to eat. The next scene was in the theatre where we were going to shoot Manuel’s monologue. I could tell he was nervous because he kept forgetting a few of his lines, even though he was in character.  He was so in character, in fact, that when he came on stage he just started improvising and, well, bravo for the best adapted screen play, and whatever comes of it. Because while it was certainly well within character, it wasn’t necessarily on par with what was going on. I’m not the one doing the editing, so I don’t really sweat it. But I’d love to see how they’re going to put this one together from what they’ve shot.

While we waited for Coco to appear (the real Coco -- the choreographer) Giuseppe decided to capture a little audience reaction shots as if Manuel were still on stage. I’d never seen people so dedicated to a scene.  They’d just hear Giuseppe yell “action” , or “maricón”, or  “what I just said” and they’d start laughing their asses off as if someone had literally just told a gut splitting joke. It was fabulous.

Roberto Picasso, who’d been in hair and make-up for a few minutes, served as our MC for the evening’s show. All of our hard work and nervous energy was well rewarded when we finally saw Josep/LLUÍS/Coco Champagne take the stage and perform. Still wobbling a little on those heels, we took out a few scenes where he’d need to come down some stairs, and then cheated the height of a few things to accommodate him. The end result; however, was pretty spectacular. Definitely one of the scenes I’m looking forward to the most in the final product.

We raced against the clock to finish the last scene in the dressing room, and this time it was Matias himself serving as his own extra.

I’d never been more glad to hear the words “ that’s a wrap for the night.” , than I did that evening. Tomorrow is supposed to be another difficult shoot. We’re shooting TONI in the bar O.M.  Juan will be our DP for that. It’s a good start for the series, I must say. In such a dark time, we’ll see where it ends up shining.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 11: PATRON SAINT OF FILMING

We decided we were up for a challenge today. We were going to roll in the middle of full pandemonium, and not care about the crowds anywhere. It was a nice day and we were ready to bring it on.

Manuel Tello came out to meet us. He’d just flown in from Madrid to shoot his scene tomorrow. Today we were shooting all the exterior shots between Xavi and Eider (GISELA in the series): shots of them coming out of a movie, walking along the beach…you know, all very romantic stuff.

Our first setback was from the theatre chain who objected to us filming in front of their property. Then the audio wasn’t coming in clear at all. I mean, not even remotely. We were even picking up the music from the mall, and you could barely understand any of the dialogue. The wind wasn’t doing us any favours either.

We asked a few tourists if we could use the bench they were using that faced the beach, but even the mic’s windscreen didn’t help reduce the noise. We were even picking up the clattering of dishes from the restaurant next door.

We decided to find a different location, but the local authorities had other ideas. The sun was quickly fading and we didn’t have any lighting equipment with us.

While we’d been up for a challenge, it seemed like the day had definitely thwarted our plan to come out victorious. Assessing the situation, we decided to try again sometime during the week.

Faced with starting work on tomorrow’s shoot, we decided the best thing to do was to find the nearest bar and just laugh our asses off. And laugh we did. At everything.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

GAYXAMPLE - Trailer 3 English

Daily shooting diary - Day 10: WHAT HAVE I DONE TO DESERVE IT?

The interesting thing about today’s shoot wasn’t so much the shoot itself, but collateral damage stories behind it. So for now I’ll just say that we shot all the exteriors and finished up at Casa Billy.

We were at the apartment in Poble Nou so Anna and Marcus could get into make-up. Iván Bertrán was once again on board and we had a full make-up department. Catalina was our newest addition to the cast, and she has some delicious dialogue full of memorable one-liners.

It’s Sunday and it’s starting to get hot. People have suddenly realized that Barcelona has a beach. There are plenty of kids at play, running around giggling and carefree, as the city buses steadily drop people off, and pick them back up, on their way to God knows where. A helicopter patrols the beach as the ad on its side reminds us to buy sunscreen. Yes, all the things that make shooting exterior shots such a wonderful experience; especially for the sound department.

Today was just not our day. Anna once again left Poble Nou dressed up like a bad floral arrangement had thrown up on her. But she was working that tired dress, heels, jewels and newly reconstructed face for all they were worth. Just then something catches her eye and asks “Is that my bike? Son of a b!@*h, it is my bike!” Before we knew it, heels and jewelry were flying every which way, as Anna chased down the would-be thief, and starts to pummel him once she catches up to him. We weren’t all exactly sure what was going on but we started chasing right after her, in part because it seemed like the thing to do, and also because we wanted to know what the hell was going on.

Iván got there first and bear hugged the man, squeezing his wrists as hard as he could and then, as if tapping primal rage, let out a roaring “arrrrghhh” right in the man’s ear. When we all go there, we were able to stop Anna from giving this man a total face reconstruction without any of the make-up department’s help, and instead just exchanged some non too pleasant words with the man.

Giuseppe astutely pointed out that the neighborhood wasn’t what it used to be. He recalled that just this week he’d stepped out of his apartment and looked up and down the street wondering where his motorcycle had gone.

Once the adrenaline had worn off, all that was left was to laugh our collective asses off. I mean, where the hell did Iván get all strength, and what the hell was that scream of his? “Gluten free diet my ass” Babeth said.  “I’m guessing that boy’s been getting some protein in his diet.”

As we all laughed, Marcus watched from his V.I.P box on the balcony.

When the fun was over we once again set to the task at hand, and started rolling. Well, us and everyone else.  Nearby neighbors took the time to water down their front porch,  yell clear across the street that someone was shooting a movie just across the way and that maybe they should try and be extras. Yeah, there’s a thought.  They were very nice, even stopping us to tell us how much they loved having us shoot on their block.  Just a joy, I tell you. And, of course, just when you think nothing else can go wrong… it does.  That Murphy and his damn law.  Anna had no sooner uttered the words “All we need is for a damn marathon to come running through here”  than low and behold: Bam! We had one. A stream  of cyclists descended upon us at that very moment and we had to stop rolling for a good while. When they all cleared out, and we set up again thinking nothing else could go wrong a helicopter was nice enough to hover over us as Josep delivered his lines. Testing the fates yet again as he left, Josep turned to the sky and yelled “ is there anything else?” – and without missing a beat, and as if saying “Why, yes. Yes, there is”, the church bells started ringing, signaling the end of mass.  Giorgio noted that the priest must’ve known we were shooting a gay show in the neighborhood and…well, the statement continued, but I’d rather not repeat it here.

Once the odyssey of Poble Nou was over, we headed over to Casa Billy. Anna needed to have her make-up reapplied, and we joked about whether or not she wanted her son to join the Legion of Christ. We had a little fun with the blonde wig Josep had to wear, and when Iván tried it on and looked at himself in the mirror, he turned to Anna and declared “Dear God, I’m Jesus Christ himself. Anna, come to your savior.”

The actors also liked to have a little fun at their own expense. Like this conversation between Josep and Iván, after Josep has his make-up applied.

“Damn, I’m handsome” he says, as we all eye him up and down.

“Yeah, whatever.” Iván replies. “We’ll just leave this for the making of video and title it ‘I don’t have a grandmother.’ “

“But I really don’t have a grand mother” Josep says.

“Oh, no.” I say, never missing an opportunity to chime in.

We got through all the dialogue, making sure we covered all the…say it with me now…angles and reverse angles. We even got Giorgio to climb up later for a sort of panning crane shot. We also watched Giuseppe step in to a scene and tweak it with Josep, and got into it so much that at one point he started cheering Josep on with “Oh, yes, that’s right. Yes, Yes, Bravo, big boy…more. I love it.” He was so enthusiastic in fact, that Babeth came back into the room to find out what exactly was going on. And really, you have to admit that for a crew filming a gay series full of gay actors and crewmembers, she shouldn’t have been surprised if she’d found something. We’d really showed some self-restraint up to that point.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 9: DUSTING FOR PRINTS

Barcelona. Saturday. 9 am. There’s been a crime committed at knife point outside our shooting location. When forensics arrive they immediately set off to the task at hand, dusting for prints and analyzing any possible trace of dna on the scene: doors, sidewalk, hub caps, it’s all analyzed. They bag and number all the evidence, turning the scene of the crime into a giant lab experiment: “Which way did the perp run? Did the body fall here? Yes, they’d definitely come out of the bar, turned and were then stabbed. There was a struggle by the cars, and they must’ve been stabbed around here.” They point at a spot on the ground. “The perp must’ve run in that direction while the victim fell against the car and then the ground.”

I’m not describing a scene from our shoot. This was actually happening outside of the GLBT centre, where our character TONI works. Today he will receive a visit of “somebody” (secret…) and the actual centre staff will be used as extras, headed by their very own president Antonio Guirardo.

As far as production logistics are concerned, I’m happy to announce that our favorite coffee maker has a new spill proof top (although I personally question the need of a top that doesn’t spill).

Babeth, on wardrobe detail, is rummaging through a bag full of t-shirts, looking for Josep coming-out-to-his-parents scene. “Oh, perfect!” she proclaims, and pulls out a white t-shirt. Yes, he’s our little angel.

I went inside and found a spot next to the coffee pot, cup-cakes, croissants and a nicotine fix. When Babeth was finished with wardrobe, Ruth, helped her with make-up duties on the actors. We tested out the mics with the steadi-cam, and even did a little test run with it to try and synch up the camera movement with the pacing of the actors as the walked and delivered dialogue.  One quick pan of the awareness fliers on the table and we were ready to roll, and we did. It was perfect.

We went to have lunch at Marquette. Later on that afternoon we’d be shooting at Casa Billy, a beautifully restored 19^th century building that was now a B&B, that would be the shot as LLUÍS’ parents (NURIA and FRANCESC) house. Anna and Marcus would be waiting for us there.

We decorated LLUÍS’s room in a sort of impersonal way, except for the Madonna and Gaga posters that really needed to be on his walls (Josep loved Gaga’s poster so much that he insisted on taking it home for himself). Josep also brought over some pictures from when he was a kid, and Babeth and Milca placed a picture the three of them had taken together some days before, in a nice frame. Those, coupled with the really bright, festive flower arrangement, were the main focal points of the room.

One of our main challenges for the scene was Anna’s make-up, because we had to age her to be old enough to play LLUÍS’s mother, NURIA. Luckily, Ruth, worked her magic with the silicone and make-up, to transform Anna. It was really quite impressive.

While all of this was going on, the rest of us were busy shooting a scene in LLUÍS’ room. In this scene he’s supposed to be apartment hunting online, and Josep, being the computer geek that he is, had mocked up a few apartment ads on a completely fake website. I’m not sure how he didn’t get any hits or emails asking for more info, because the site was that good.

As soon as Marcus arrived we sent him off to wardrobe and had him turned him into a Papa , after we’d turned Anna into a flower arrangement, and Josep into a little angel.

Marcus didn’t have all of his dialogue memorized, so Babeth came to the rescue like she had when Lola couldn’t moan for herself, and hid behind a chair to feed Marcus his lines.

We had a problem with the camera dolly, so we had to improvise a little. In the end it was all down to blocking and dialogue. I can’t stress enough how important it’s been to have such creative liberties on this project, because it’s really stepped up the quality of our shoot. It’s a shame that Anna’s role isn’t bigger, but we will take what we can get.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

GAYXAMPLE - Trailer 2 English

Daily shooting diary - Day 8: CAMEOS, SWEAT, AND TEARS

OK, it’s official. I’ve decided to make my debut in Gayxample. OMG, right? Hold the applause. It’s almost as exciting as a new Kylie video. I can hardly believe it myself. I have to confess that I was really against it when I was first approached about it. I wouldn’t even hear of it. I didn’t even know what they wanted me to do because even they didn’t know what they wanted me to do. I may be a writer, but one still has their image to maintain. So naturally, when I finally decided to take the plunge and let the acting bug nibble at me, I went with what I know best: Me. I picked out my scene and we shot it today. Prepping for it was hard, but I was a trooper and really went for it. I was ready and willing for Iván (Bertán, of course) to work his magic on me and the Samsonite size bags under my eyes. I had faith in him, and I knew there was no challenge too hard for the man. In fact, the harder the  better, was his motto. Words to live by.

We are once again at Iurantia (I love this place), filming a scene where MONTSE and ALICIA meet. While I’m not here in an official capacity (just as a casual observer. I mean, who doesn’t like to watch, right? In a professional setting, of course) I did take the opportunity to welcome our newest and third make-up artist, Ruth, into the fold. It’s really the beginning of the end for her,  because we’ve just professed our eternal love for one another, and all the hell and damnation that it entails.

Laia also decided to join the rest of us, and the staff of Iurantia, to serve as extras for this shot. Toni, on the other hand, was still holding out on us, and Babeth and Mireia didn’t disappoint.

The shoot was a breeze and we were finished right on schedule. In the process we happened to discover the sprinkler system Mireia was passing off as her eyes. That girl could let the waterworks rip on cue.  No picture of a clubbed baby seal could’ve made this woman’s mascara trail down her cheeks like remnants of a scorched soul, quite the way she did on her own. The image still burned into my eyes. They were both spectacular.

Keeping up with the schedule, we said goodbye to the girls (even Milca) and we went to the now infamous Poble Nou apartment. Evidence of yesterdays party still lingered, and since we had to clean up anyway, we figured we’d take advantage of it and shoot a scene between ÁLEX and XAVI.

Rafa also showed up,  even thought a) he wasn’t scheduled until later, and b) like any good diva, announced he couldn’t stay past 6 P.M.

Milca entrusted me with the taking the stills for the shoot, and I started playing around with the camera and taking some crazy shots, which I’m sure will probably never make the light of day unless someone can figure out what I was pointing at.

The important thing to note; however, is that the scenes between ÁLEX and XAVI went off without a hitch, and every angle was covered and shot (again, because you know we love those reverse angles).

During this whole thing, Rafa decided he would take a quick cat nap on the set where he’d be shooting his next scene. It was apropos if you considered that the scene called for him to wake up from a nap, make his way to the bathroom in his undies (the boy must think we only cast him for his body, which couldn’t be further from the truth) and get back into bed.

When Kikko and Xavi’s scene was wrapped, Giuseppe said it was time to wake Rafa , for which Iván Bertrán practically leaped out of his chair to volunteer.

-- I’ll wake sleeping beauty for you with a kiss, or a light touch up here and there, since that’s really what I know how to do best. – the eager beaver announced.

Once we’d shot the undie scene, Biken showed up, who had a sex scene to shoot with him. Only a few of us were lucky enough to watch those two in action, particularly how Biken was able to get Rafa as hot and bothered as he did. Even Kikko hadn’t been able to bring this side out of him. Biken worked that boy over so good (quite on purpose, he later confessed) he was making things grow that should be growing, and taking this shoot right into  “speciality”  theatre screenings only, if you know what I mean.

Amidst all this fooling around, we did shoot one of the most intense and emotional scenes to date. Kikko asked for a few moments alone to prepare, and Rafa was able to emote enough emotion to bring out Kikko’s most intense and powerful performance. I’m not sure if it had anything to do with this being the last scene that Rafa and Kikko would have together, but they just gave it their all and really put it out there. We’ll have to wait and see how it comes across on screen, but as someone who witnessed it first hand, I can honestly tell you that it was powerful, completely engrossing, and it made me very proud to have been able to witness it.

Hair’s standing on end, a lump still in my throat, and a crooked smile painted on my face, I bid you good night. Next week is specially dedicated to LLUÍS.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 7: THIS IS A PARTY

I suppose you’ve probably seen the fliers around town and hanging at the local bars and clubs, and in the local trades: Party at ÁLEX’s house. For the first time in our shoot, we’ll have all the characters together in one place, at the same time.  Exciting!

We also have to welcome the newest addition to the family, or new make-up artist extraordinaire, Xenia. Our call time is for 3pm at the apartment in Poble Nou. Along with the full cast, we’ve also assembled an even greater number of extras. The Omni present Gerard Valdivia, Gerard Cambra (who did the casting for one of our main characters), Marc, Josep, Iain, David, and a few of the guys from the sauna shoot, along with a new group of girls, were all there. In total there were about 20 extras, who along with the full cast and crew, their collective body heat, the lamps, and all the panels we installed to block the afternoon sun/bake us, turned this party into a mix of dark room and Finnish sauna, with everyone in black tie.

Babeth was just as nervous as every time she had screen time, even though she’s usually everyone’s acting coach (amongst a host of other things she does, as you may have observed), when it was her turn up at camera, there was no calming her nerves. Mireia was radiant, and the rest of them…well, they all looked divine.

While everyone finished going through make-up,  and those that were already done rested on the terrace, just waiting to take their places; we decided to role an unscripted and candid moment between ÁLEX and IVÁN, stopping from time to time to hydrate a bit, turn on the a/c, let the extras in that were still arriving , and grab the occasional smoke out on the terrace, all the while waiving down to the passengers below us, who were boarding busses and happened to look up and catch a glimpse of the elegantly-dressed-gay-cluster on the terrace.

We started rolling a little later than expected, which meant we started losing extra’s sooner than we would’ve wanted.  The party was in honor of XAVI, who was not only sweating because of all the lights in the room, but because of the delectable crowd around him. Of course, if your character is straight, you can’t exactly play to your own desires on camera, or even behind the camera. So to XAVI, my hat’s off to you for your integrity and self restraint.

We tried to make the party as true to the script as possible, and as defined  by IVÁN, as totally gay. But we refrained from making it completely stereotypical, so there were no long lines for the bathroom, or long lines that lead anywhere, or dark rooms to form lines in, despite requests from people who shall remain nameless, insisting that we add them.

The reenactment of Gaga’s Bad Romance didn’t interfere with any of the shots. The main characters were already surrounded by a crowd at the time, and we left all the scenes with the cliques that usually form at any gay party worth it’s weight in lube, for the end. They danced without music, they drank without any alcohol, and they talked without uttering a single word. It was a film set through and through: nothing was real. Nothing except for the salad, sandwiches, and cold cuts that seemed to disappear as the night progressed. Also real, were a few number exchanges (hey, they had to do something). I guess in the end the saying that film shoots bring people together will be true. And I should know!

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

GAYXAMPLE - Trailer 1 English

Daily shooting diary - Day 6. MY LEFT FOOT

2pm at restaurant Marquette. We’re let inside to set up for our flashback scene between IVÁN and ÁLEX on the day they met. Fabrizio, the restaurants owner, serves as both host and extra. A sea of every drink imaginable was set to quench our thirst, and all the tables were beautifully set for us to begin the shoot. We were even given a room to set up our make-up station and rest area.

Iván Betrán, Fabrizio, and about ten others would serve as our extras for the day; patiently waiting for all the tedious work that goes into setting up a scene to be done. I’m sad to note that Marcelo won’t be joining us any more. I’m not sure if it’s because he was completely fried yesterday after the sauna shoot, or because of conflicting work schedules. I know that sleeping an hour on the weekends for nine weeks isn’t exactly ideal.

Taking a moment of silence and then diving head first into the task at hand, we picked out what extras would be sitting with whom, and which group would be on Team ÁLEX, and which would be on Team IVÁN. Everything seemed to be settled once, Luna, our resident diva, showed up and declared, “you have to be on Team IVÁN.” And you couldn’t argue with that.  She, like our dear transgender friend, Agrado,  from All About My Mother, helped make the shoot just a little more festive, and not without it’s fair share of anecdotes.

Her mother, Mariana, (who could’ve easily been her sister) let story after story flow out of her mouth as easily as Fabrizio let the wine flow at our table. By the end of it I had enough ammunition for a boat load of script ideas. 

As the camera swooped in lateral movements, capturing angles and reverse angles (because we seem to love that) and gliding from table to table, capturing in cinematic scope and relaying to the audience, along with IVÁN and ÁLEX’s  playful glances, how these two characters succumbed  to desire (a scene I can’t detail here, but you’ll have to tune in to the third episode of the season for).

After we finished shooting and the extras left, Fabrizio served up a feast that could only be described as decadent, and that should serve as both lunch and dinner, because after that we were going to be spending the rest of the evening in front of a building under a highway overpass (a bypass) where we’ll be roaming around looking for a trick.  Yep, just like it says.

Jasp (as MIGUEL, the lucky recipient) arrived with his wardrobe neatly pressed and in a garment bag. Josep arrived ready to be turned into a woman (via make-up, I mean) and to try (with measured success) to tuck back his manhood in an uncooperative pair of panties. Marcus (as FRANCESC, Lluís ‘ father) and his porn ‘stache also arrived to be made over by Laia (a flaming addition to the shoot) who would show him how a man of his stature should dress.

Iván Yáñez, who wasn’t scheduled until much later, also showed up, and served as chauffer, and to lend his car as a resting spot. This time started and stopped without incident.

Having been fed, make-up done, appendages fully tucked (except for Jasp’s, who actually had a cameo) we made our way to the Olympic port. Giorgio (aka atomic ant) and his Vespa lead the charge, even though I must admit, I was a little doubtful about the location.

-- “Is this where we’re shooting?” I asked, as we parked.

-- “Yeah. Why?” Giuseppe asked.

-- “Because it looks like there’s a high school soccer game going on. What are we going to do with them?” I replied.

--“ Sweetie, this is no time to be thinking about your love life.” Iván Yáñez said.

OK. No more questions from me.

Josep tried walking in his heels and was meet with a few insults from a few low lives’s walking by, to whom he replied “If you have to criticize it, it’s only because you secretly love it.”

Laia had spent all week looking for Josep’s shoes. The problem was that Joseph was a size 10 ½ and the only shoes that matched the outfit were a size 9 ½.  So his commitment to the rule was proven when he had to walk in those puppies.  Especially when he would ask Giuseppe if he could take them off in between takes, and Giuseppe would tell him no because his feet would swell up. So he strapped on those 9 ½ pumps and got in the car, did his thing, and got out of the car so Jasp could say his lines. By that time, night fall had crept up on us.

With the L.E.D lights at full blast, tensions running high, and fatigue visibly setting in, especially on our star, we were looking to wrap it up. I was happy to know that Jasp liked his character.  “ I like him because he doesn’t give a damn and he’s a mother fucker”, he said, to which Iván Bertrán replied “he only had two lines.” 

“But I sure know how to pick them”  I quickly chimed in.  Never missing an opportunity to stroke the ego.

Iván also left us with a notion that he was a brilliant story teller. Well, we’d finished another successful weekend of shooting (one of them pretty damn impressive, I might add). Keeping in mind that the metro was about to close and that most of us had a life outside of the shoot, we bid ourselves good night. Not that any of us really lived much outside of it.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya



Daily shooting diary - DAY 5. WANTED: MAKE UP ARTIST

Today is the infamous and eagerly anticipated bathhouse scene.  At our usual call time of 9 am, the entire crew, extras included, meet up at the Galilea spa. I overslept a little (just a tad) and arrived a little later. When I arrived, I found that the all mighty Babeth had already applied full body make-up to all of the actors; that Ivan couldn’t make it, and that one of the make-up artists had a family emergency and we weren’t even sure if she’d be able to make it at all today, or if we’d have anyone taking care of the touch ups later on during the day. While we tried to get all of that situated, Rafa sat nearby, quietly reading a newspaper, somewhat oblivious to the chaos around, and naked as the day he was born except for the tiniest of towels draped around his midsection.  The rest of the sauna was a buzz with extras.

Weeks earlier, we’d held a casting call for the extras alone. The scene needed to be well orchestrated, and we wanted to make sure we not only had those with the best attributes, but also those with the best skill asset to pull the whole thing off convincingly, one might say. Alberto, Txus, Pedro Andrés, Manuel, and Juan Carlos, amongst a few others, were the ones that best met the “demands” of the scene. They’d need to be in the Jacuzzi or walking around the spa without any inhibitions, so as to best capture the authenticity of the bathhouse experience. And if we had a little gratuitous exhibitionism as they strolled the hallways, far be it from us to stifle artistic interpretation.

Raul was still a bit nervous and unsure of himself being cast as IVÁN’s bathhouse hook up, which showed a bit of his modesty. Giuseppe and Babeth gave him a nice pep talk and we began rolling. It was also the first time that many of us had ever been in a bathhouse to begin with (Marcelo and Giorgio weren’t really sure what to make of all it), but the most interesting aspect of it all was watching Milca and Babeth, two lesbians, in the middle of all that swinging dick, glory hole and condoms. We wondered if there were any bathhouses for women, or if it would even be a good business to get into. From the looks of these two, we concluded there wasn’t much of a future in such idle thoughts.

Something else we hadn’t really factored in or thought about too much, was the costs of an actual film shoot. We’re not just talking budget and cost, but the time, energy and prep that goes into a scene that takes two hours to shoot and only amounts to about a minute of screen time. Most people don’t think twice about the technical aspects and work that goes into the making of even the simplest of scenes or shoots. This happens even with the crew at times. Especially if they’ve been shooting for a few days and they just go back to the same set and become familiar with it all. But coming to a new location and bringing all of the players with you, and then summing up all the time and energy that every one of us has to exude in order to make this one little scene work; one would think it hardly makes the scene worth the effort. And yet, quite the contrary is true. What I’ve come to realize is that the amount of time and energy spent on the project is equal to the quality of the work that’s captured on screen, and that no scene is less or more important because of how much actual screen time it gets. The quality is reflective of the work behind it, whether the duration of a project is thirty seconds or a 2 hour feature.

Once all the equipment was packed and we picked up the guest passes the owner of Galilea had given us, we made our way over to Berro bar, where we were going to shoot a scene with IVÁN, LLUÍS, ÁLEX and CARLES.

When we finished eating, all the extras for the restaurant scene arrived. Some of them we already knew, like Gerard Valdivia, and others like David, Idel and Ursula, were new. My friend Renato managed to make it and be one of the extras walking along the sidewalk outside. One of the first things he asked upon arriving and taking inventory of the extras on set  was  “hey, I get to pick a partner, right?”

We were very grateful that Carlos showed up directly after leaving work, not even stopping at home to freshen up before coming over to help Babeth with the make-up while Iván showed up. And one just really takes notice of these things and can’t help but think that with this crew we really can do it all. What we trip out on is how this group of people who don’t really know each other can come together in support of a project where they’re not getting paid, and still give their all. We are humbled and in awe. To all of them we owe a debt of gratitude.

On the outside terrace there seemed to be a stockpile of scripts, coffee cups, and make-up bottles. The adjacent hallway served as our make-up station, and also as refuge from the relentless sun beating down on us.

Outside, the extras followed the crew as they shot ÁLEX and CARLES’ scene, where  they walked up and down

Casanova street

. They made sure that none of the cables got tangled or that no one crossing the street stood in the shot watching the scene, and that the actors were always well lit.

Others waited inside the bar for us to start rolling the scene with IVÁN and LLUÍS.  Once we did start rolling that scene, it was decided that no one would actually drink anything from their glasses, so as to preserve continuity, and that everyone please remember their exact position during the takes.

It was a pretty meticulous and intense scene that was thoroughly rewarded once Giuseppe yelled “Cut. That’s a good one. We’re done.” The room erupted in whistles, screaming and applause. I now know how an artist feels when he’s on stage and all of his hard work is rewarded with the roar and applause of the crowd: it’s addictive and validating all at once.

On a day like this one, with all of our setbacks, and trying to accommodate everyone, and trying to finish on schedule: I can only say that you are the artists! Now I’m off to bed, because tomorrow we don’t roll until noon.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - DAY 4. TRY IT AGAIN, MONTSE!

Our Gayxample mobile headquarters was once again on the move, this time parked on the corner of Diputació and Casanova. We’d even managed to add a camera car to our caravan (Iván Yáñez’s car, which we’d practically turned into a transformer). Our mobile studio had also turned into a mini hotel suit today, where Milca and her little Jan (ooops I forgot to tell you Milca is pregnant) could rest for a while.

Josep and Iván Yáñez were losing their virginity with us (no, no sex scenes today), as it was their first time in front of the camera for Gayxample. It’s set in TONI’s (Iván Yáñez) car as he drives through Eixample.  It sounds easy enough, but it took us all morning to shoot.

The mounting of the camera on the car, the diffusing silks, antiglare reflectors, testing the audio, setting the camera for the interior car scenes, and the shoot itself, set us back about an hour and a half behind schedule.

Since we couldn’t all fit in the car, only the actors and Giuseppe, who watched the scene through a monitor as he crouched down in the back seat of the car, had to endure the heat, red lights, retakes, and wonderings of whether to drive all the way to Badalona or turn back for more shots. Meanwhile, the rest of us enjoyed a nice glass of wine as we anxiously waited for the actors and director to return and meet us at Berro (another sponsor restaurant).  Once they’d shot all the angles and reverse angles, and because they were starving, we heard that they were practically machines, delivering every line as it was written and not skipping a beat.

After lunch the team split in two. Iván Bertrán and Babeth (this time as an actor) went to the apartment in Bruc looking for Mireia (as ALICIA) and José Luis (as ALICIA’S HUSBAND), who had a scene that afternoon. While they went through make-up and rehearsed, Giuseppe, Giorgio, Iván Yáñez, Josep and I, finished shooting a few scenes between TONI and LLUÍS outside the car.

When we were done, we piled into said car and drove over to meet up with the other team in Bruc. We were happy to see José Luis again, who we hadn’t seen since the table reading about a month and a half ago, and we were also surprised to find Mireia in full prosthetic maternity belly.

The afternoon scenes required some action, suspense, and some comedy all rolled into one. As is often the case, life is often stranger than fiction, and there was plenty of suspense, comedy and action behind the scenes.

Let me set up the scene for you.  The girls are supposed to race out the building and jump into the car and try to start it, and in true movie fashion, it doesn’t start. They desperately try and start it to no avail, only to have it start up again all on its own. So what happens when we try to roll? The car decides to go all method on us and doesn’t start at all. No movie magic assistance needed. We had to call roadside assistance, more out of sheer desperation than conviction, because we’d tried everything to get the damn thing started. We’d pushed it down Bruc Street while Iván Yáñez kept yelling at Babeth to “try it again, MONTSE!”

Hell, we even tried sweet-talking it, and coddling it like every good actor needs. Nothing worked. Until it started up, as it had been scripted, all on it’s own. Not missing a beat, we started rolling. Just then, as if on cue, the tow truck driver arrived, even after we’d called to cancel the call. Oh, and yes, he was in the shot.

All in all, it was anything but a boring today. And as intense and as behind schedule as we were, we managed to shoot all of our scenes.

Tomorrow we have Andy (as CARLES) with us for the first time on set with Kikko; his father on the show. We’ll have an emotional scene where ÁLEX breaks down in front of XAVI, and we’ll also have, for those who enjoy this sort of thing,  a second round of sex scenes between ÁLEX and IVÁN.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - DAY 3. ARE YOU FILMING A MOVIE?

For our first exterior shots we met at 9 am in front of Casa Mila, aka La Pedrera (the Quarry).  We were in our mobile unit headquarters (van) that also doubled as our dressing room/make-up room/craft service/storage/fortress of solitude/and anything else we might possibly need while Gayxample traipsed around the centre of the Eixample , shooting XAVI’s arrival scenes to the big city.

It was starting to look like it would rain, but the sky seemed to be keeping it zipped up for us at the moment, and that wouldn’t be the only thing looming over us on that early morning of March 10^th.

Gaudi’s architecture always proved to be the perfect setting for wandering tourists, who could easily be spotted because they looked liked someone had taken them off an assembly line and outfitted them with a digital camera, sandals, shorts, a desperate need of a tan, and probably instructed them to move about the city in flocks, like geese migrating to the nearest photo op; all with a map firmly in hand and -- most importantly -- an innate sense of when not to walk into a shot.

Babeth and I became impromptu transit officers, security detail, tourist directory, and answered the never ending “are you filming a movie?” -- all in the name of art.

We tried several shots of XAVI in front of La Pedrera while the sun played hide and seek with us; with tourists walking in and out of our shots, with a reflector – without a reflector. And then the sky unzipped and relieved itself.

It was then that a cab ran over a motorcyclist and Babeth donned yet another hat, and became a beat reporter: “Yes, Charlie, I’m standing outside of La Pedrera in Gayxample, where earlier today…”

All the while, Xavi, waited for all of this to be sorted out and someone to yell “action.” Although, I must say, that these delays inadvertently played well into the overwhelmed feel that XAVI’s character should be experiencing after arriving in the big city. That, at least, had gone splendidly.

By the time we got to Enric Granados our extras were waiting for us. Idel and company were there, Gerard Valdivia, and a little later, Maria, who would point a lost XAVI to his uncle’s house, arrived.  Once Christian showed up we were set. As artistic director, Babeth (who’s now donned at least 5 different hats) gave Christian and Gerard (kisser 1 and kisser 2) a few minutes to get better acquainted before cuing them to shove their tongues down each other’s throats.

Just then the city’s street sweepers showed up trying to make a cameo of their own, but Babeth (yet again) used her powers of persuasion, and our shooting permit, to get them to come back a little later while we shot the scene.

All that hustling about makes a crew hungry. It was definitely time to eat.

One of our sponsors is the restaurant Lurantia, so we went there; where aside from a delicious meal, we had the added pleasure of witnessing Marcelo drift off to la-la land, as he fell asleep before the end of the first course.  We all watched him in utter fascination. The day had definitely taken its toll on Mr. Jack-of-all-trades, and we knew there was more to come. Rafa would be waiting for us at 3 pm in Poble Nou with the new make-up artist.

Ladies and Gentlemen: I’m afraid I must get serious for a moment. It is my distinct honour to introduce to this blog and to the Gayxample shoot, the incomparable, authentic, Mr. Gluten free, muse of muses: Ivan Bertran.

At first it seemed he was a little too flamboyant. But take after naked take (in a professional setting, of course) we came to discover his true genius. He has a bright future ahead of him.  He doesn’t have a manager at the moment, in case anyone wants to scoop him up.

We were once again back at the apartment in Poble Nou with Rafa and Kikko in full body make-up, and revving to go. With only a skeleton crew, we made short work of shooting all of Álex and Ivan’s bed scenes.

Tomorrow we have a full day of more exteriors with new actors, new equipment, a car mount, a new restaurant, and probably more than a few  “are you filming a movie?”

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - DAY 2. ACTION

We were back at Poble Nou before 9 am. Despite all of yesterdays setbacks we stuck to the production schedule as Andrea had laid it out. We decided to shoot all the pick up shots over the holiday weekend.

Most of the scheduled scenes today are bed scenes. Mostly intimate scenes and not so much sexual ones, per se. Well, mostly not. I mean, yeah, there’s definitely some sex.

Babeth and Andrea laid out a wild assortment of wardrobe items on the bed, like a shopping mall had tastefully exploded on to it and sorted it out according to size, color, brand, and style.  This was all done to choose the appropriate wardrobe for each scene, let the actors try them on, and have Milca get some stills.

Meanwhile,  back at the ranch, I was sitting out on the terrace enjoying the new craft service area, courtesy of Babeth; having a smoke and a drink (my own natural habitat) and watching Giuseppe, Marcelo and Giorgio go over the script. While Xavi and Kikko rehearsed, Rafa once again donned his costume: silk robe, form hugging undies, and our collective smiles. What a package.

Most of today’s scenes were from the first episode of the season. We were a bit unsure as to how best to introduce each character while making sure their relationships were clearly defined. With Xavi,  and Rafa’s character, IVÁN, it wasn’t really an issue. These two characters don’t know each other and meet for the first time in this episode, and both of the actors had just met a few days prior, so their unfamiliarity seemed to work with the energy of the scene.

As far as Kikko is concerned; his first foray on screen clearly defined the line between method acting and whatever the hell else the rest of us mere mortals were doing. In the scene his character was just waking up from a nap, so naturally it required an actual nap…and being alone…and silence, and, of course, turning off the lights. Only to moments later be beckoned back in to the bedroom (after an alarm had gone off) and finding Norma Desmond herself stretched out upon the bed, eager for her close up. “I’m ready. Light me” he said, as the camera fell in love with the little bugger, and proving beyond a shadow of a doubt, that Madame truly is the greatest.

There were a couple more bed scenes. One of them had IVÁN and ÁLEX discussing XAVI’s arrival, which you could’ve sworn was straight out of a 1950’s sitcom. It had both of them in bed, reading and going on about their relationship like an old married couple, which they then carried off the set. Mind you, part of that was in the script, but the moment Rafa walked on set with his sleep mask on his head and got into bed, I swear it seemed like a Lucy-esque type of prank, and I was waiting for Ricky’s “Lucy, you’ve got some splaining to do” to pop out of somebody’s mouth. Only, to be fair, I don’t think either one of them had figured out who was playing whom; Lord knows we didn’t have a clue.  Hell, there was even a discussion about it on set. It almost made us want to shoot all of this off camera business, because it was like being transported to an alternate universe, and damn it, I wanted proof! Alas, we didn’t, but not because we didn’t want to.

The sex scene; however, was another matter altogether (their first).

The setting: the make up had been applied, Xavi had just finished shooting his scenes, and Giorgio, a little hung over from the previous evenings festivities, luckily didn’t have much of a lighting set up. Now, we’d planned for this to be an intimate setting, but by the amount of people lined up to watch us shoot this scene, you’d swear Apple was releasing a new iphone or something. I may have even seen a tent.

OK, so there we were in our intimately packed set going over choreography, hand placements, exploring nude bodies, getting caught up in the sensuality of the script (let us remember, it’s all in the script), with the tension in the room  so thick you could cut it with a knife -- and more nervous than a whore in church (from both the actors and  the eager audience members) -- we were ready to roll.

Kikko was listening to last minute instructions from Giuseppe. Rafa was clear with what he needed to do, and all was set. Camera rolling. Sound rolling. Marker up. And as soon as we heard that click, Kikko pounced on Rafa like white on rice. And Rafa,  not one to miss a beat, said “Sweetie, can we at least wait for ‘action’?” – Cue laughter.

After that explosion of laughter, any and all tension dissipated and it was back to business.  Marcelo had his work cut out for him in trying to keep up and capture what those two boys were doing and undoing on that bed. We’ll probably reshoot it at some point, with less tension, less of an audience,  and when the two actors really are more at ease with each other. As for everything else; the day was perfect.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya