BROKENEMBRACES

AfilmbyPedroAlmodvar
ASonyPicturesClassicsrelease

OfficialSelection:2009CannesFilmFestival Runtime:128minutes;Rating:R USReleaseDate:November20,2009

East Coast Publicity IHOP Jeff Hill Jessica Uzzan 853 7th Ave, 3C New York, NY 10019 212-265-4373 tel 212-247-2948 fax

West Coast Publicity Block Korenbrot Melody Korenbrot Ziggy Kozlowski 110 S. Fairfax Ave, #310 Los Angeles, CA 90036 323-634-7001 tel 323-634-7030 fax

Distributor Sony Pictures Classics Carmelo Pirrone Lindsay Macik 550 Madison Ave New York, NY 10022 212-833-8833 tel 212-833-8844 fax

1.SYNOPSIS A man writes, lives and loves in darkness. Fourteen years before, he was in a brutal car crash on the island of Lanzarote. In the accident, he not only lost his sight, he also lost Lena,theloveofhislife. This man uses two names: Harry Caine, a playful pseudonym with which he signs his literary works, stories and scripts, and Mateo Blanco, his real name, with which he lives and signs the film he directs. After the accident, Mateo Blanco reduces himself to his pseudonym, Harry Caine. If he cant direct films he can only survive with the idea that MateoBlancodiedonLanzarotewithhisbelovedLena. Inthepresentday,HarryCainelivesthankstothescriptshewritesandtothehelphegets from his faithful former production manager, Judit Garca, and from Diego, her son, his secretary,typistandguide. Sincehedecidedtoliveandtellstories,Harryisanactive,attractiveblindmanwhohas developed allhisothersensesinordertoenjoylife,on abasisofironyandselfinduced amnesia.Hehaserasedfromhisbiographyanytraceofhisfirstidentity,MateoBlanco. OnenightDiegohasanaccidentandHarrytakescareofhim(hismother,Judit,isoutof Madrid and they decide not to tell her anything so as not to alarm her). During the first nightsofhisconvalescence,Diegoaskshimaboutthetimewhenheansweredtothename of Mateo Blanco, after a moment of astonishment Harry cant refuse and he tells Diego what happened fourteen years before with the idea of entertaining him, just as a father tellshislittlechildastorysothathellfallasleep. ThestoryofMateo,Lena,JuditandErnestoMartelisastoryofamourfou,dominatedby fatality,jealously,theabuseofpower,treacheryandaguiltcomplex.Amovingandterrible story,themostexpressiveimageofwhichisthephotooftwoloversembracing,tornintoa thousandpieces. 2.THETITLE The two protagonists, who have taken refuge in a bungalow at Famara Beach, on a mountainside facing the beach, are lying in each others arms on a couch. They are watching,onalittletelevisionset,ViaggioinItaliabyRossellini. The film tells of the collapse of an American marriage the couple are played by Ingrid BergmanandGeorgeSandersduringatriptoItaly.Onthetelevisionweseethesequence inwhichIngridBergmanandGeorgeSandersvisitsomeexcavationsinPompeiijustwhen the workers are carefully digging up the remains of the ancient city, destroyed by the eruption of Vesuvius two thousand years before. Sanders and Bergman witness how the menwhoareexcavatingtherefindthebodiesofamanandawomantogether(perhaps husbandandwife,saysthearchaeologist),whomthelavaimmortalizedwhiletheywere sleeping.TheimageisashockforIngridBergmanwhowalksoffafewfeet,shakenbythe emotion.Theimmortalizedloveofthecouplefromthousandsofyearsbeforemakesher thinkofthedeteriorationandpettinessofherownmarriage.Andshecantholdbackher tears.

Its a simple scene, not at all rhetorical, direct and deeply moving. After seeing it on the television,Lena(PenlopeCruz)hidesherfaceonthechestofherlover(LlusHomar),as moved as Ingrid Bergman although, unlike her, Lena is being firmly embraced by the personsheloves. She thinks shed like to die like that, wrapped in an eternal embrace with Mateo. He guessesLenasferventdesire.Hegetsupfromthecouch,setsuphiscameraandputsiton automatic. He goes back beside Lena, embraces her tightly, the two look at the camera until the flash immortalizes their embrace like the lava from the volcano in Rossellinis film. ButunlikewhathappensintheItalianfilmthiswontbeaneternalembrace.Weekslater someonewilltearupthatphotoandmanyothers. 3.THECREDITS Thecreditsappearsuperimposedonastrangetexture,verydifferentfromthatoftherest ofthefilm.Itsatexturethatshardtoidentify.Theimages,stolen,showacoupleinfront of the camera, around them a group of men enter and leave the frame. The couple are silent,shefacingthecamera,hewithhisbacktoit,barelylookingateachother. These images were filmed, unknown to the protagonists, by the video camera that is linkeduptothePanavisioncamerawithwhichthefilmwasshot.Thisisacontrolcamera toseethetakesduringandimmediatelyaftershootingthem.Itsimagesarentprinted,but thats what I did and the result is the strange texture that acts as background to the openingcredits. In these images the silent couple leave their positions in front of the camera and are replacedbyPenlopeCruzandLlusHomar.Themanandthewomanatthebeginningare thelightingdoublesforPenlopeandLlus. Penlope looks strangely serious, shes concentrating, impervious to whats happening aroundher.InthenextsceneshellhavetocryandIguessshesgettingintouchwithher personal store of grief. Although her hairstyle is inspired by that of Audrey Hepburn in Sabrina, her attitude reminds me of the replicant (Sean Young) in Blade Runner. We canhardlyseeLlusHomarsface,hehashisbacktous,motionless,lookingatPenlope. Theyseemliketwostrangers. Thedirectorofphotographyblocksthecameralenswithhishead,creatingaspontaneous fadetoblack.Thisisafilminwhichthefadestoblackareverysignificant. I chose these images to begin the film because they are stolen and furtive images that establishcinemaastheterritorywheremostoftheactionwilltakeplace.AlsobecauseIm fascinatedbythecasualscenesthatoccurinfrontofthecamerainthosemomentswhen nooneisshooting.Ioftenstandspellboundlookingatthem.Forme,theyarearealshow. Shootstoday(andlifeaswell)arefullofdifferentsizedscreenswhichreflectthefilmand itssurroundingsImfascinatedbyallthesurfacesthatreflectthefilm.Reflectionsadda ghostly,mysteriousqualitytothereflectedimage.

 4.EDITING The plot of Broken Embraces dramatizes the importance of editing, its direct relationship with the director and the fragility of the film if someone gets between the editingandthedirector. Editingisintheoriginofthenarrative,itisthecinematicnarrative,strictlyspeaking. I edited my first sixteen films on a moviola. So Im paying homage to that machine, so closely linked to my cinematic biography, and to all the magnetic and photographic materialsthatnewtechnologyhassweptfromtheeditingrooms. Itisntbychancethattheresacloseupofthecoreofareelrewindingfrantically,andthat this image dissolves to that of Mateo hurrying down the studio steps. Both movements evolveatthesamerateandinthesamedirection.Bothhavethesamecenteranditsthe samepassionthatdrivesthem. But I dont want to be nostalgic, above all I dont want to be paralyzed by nostalgia. Im willing to embrace the new techniques, in the same way that Mateo embraces on the television the kiss that is so digitally enlarged it looks totally broken on the screen. It is preciselytheflickeringofthepixelationthatmakestheimagesoforceful. 5.MAKINGOF The protagonists of Broken Embraces are shooting a comedy, Girls and Suitcases. Mateo Blanco is the director and Lena Rivero is the protagonist. Judit Garca is the production manager and Ernesto Martel, Lenas lover, is the producer. Ernesto Martel Juniorisinchargeofthemakingofvideo. Mateo falls in love with Lena from the moment he sees her, the same thing happens to Lena (although shes living with Martel and the tycoon is madly in love with her). Years before,JudithadaloveaffairwithMateoandstillhasntgotoverit,althoughthatdoesnt preventherfromworkingwithhim,infactsheshisrighthand.ErnestoMartelisabroker (from the generation of the financial boom of the 80s) with lots of money and few scruples.Heisntaproducer,butasLenashowsaninclinationforThaliasart,heproduces Mateosfilminadesperateefforttoholdontoher.ErnestoMartelsson,namedafterhis father, is a childish young man who likes cinema and men, in particular Mateo. Martel Senior commissions Martel Junior to make a documentary about Girls and Suitcases, whatwouldnowbecalledamakingof,thatwayhecanspyonLena.Hisonlyproblem isnt moral, but technical. The first videos have got terrible sound. Martel Senior improvisesandreinventsdubbing,hiringaneutrallipreader. All these elements are typical of a comedy, but Broken Embraces is a drama with very darktouches,morelikea50sthriller. AlthoughmorallyIdetestthewayMartelisusingthemakingof,amerepretextinorder to control all of Lena and Mateos movements on and off the set, I like the idea that the making of is a parallel narrative to the original (the film which it reflects), an

independent,furtivenarrative.Ivealwaysdreamedofmakingafilmwhosestoryisseen through a making of. A Making of reveals not only the technical secrets but also the secrets of the people responsible for cooking up and coordinating the fiction, at times embodyingit.Itturnsthoseresponsibleforthefictionintofiction. The ideal making of should strengthen and complete the original story. But it can be dangerous(allfictionisdangerousandalsotherapeutic,thatswhywefinditirresistible), itsalivingmaterial,movedbyitsownimpulseswhichcanonlybetamedandtransformed ifyousubmitthemtoediting.MartelSeniorsees the filmed materialinitsrawstate. He projectsthevideotapesjustastheycomefromhissonscamera,supervisedonlybythelip readingautomaton. When Lena comes into the large sitting room of the mansion and finds Ernesto Martel, with the lip reader, viewing her violent argument with Ernesto Junior, Lena becomes a duplicateofherself,thewomanwhofromthescreenconfessestoMartelthatshedoesnt lovehim.Atthatmoment,themakingof,producedbyMartelwithperverseintentions, turnsagainsthim.Lenaleaveshimdoubly,onthescreenandfromthedoorofthesitting room,behindhim.AsaresultofMartelsharassment,thehumiliationandpainwhenLena leaveshimisdoubled. 6.DUPLICATION(NOTDUPLICITY) ThedoubleisoneofthehallmarksofBrokenEmbraces.Thedoublenotinthesense ofamoralterm(ambiguity,duplicity),butasduplication,repetitionorenlargement. Thefilmbeginswiththeimageoftheprotagoniststwostandins.ErnestoMartelJunior duplicateshisfathersbehavior,eventhoughhesthelastmodelhewouldliketoimitate. When his father dies, Martel Junior plans to take his revenge on his memory with a film thattellshowhisfathercrushedanddestroyedhimwhilehewasalive.Eventhoughhes homosexual, Martel Junior got married twice, like his father. Hes got two children who hatehimasmuchashehateshisfather(inthischaractersconstructionthereareechoes ofthestoryofHemingwayandhissonGregorywhoasayoungboylikedthefeelofsilk andtaffeta,andwho,afterdrinkingmorethanhisfather,huntinglargerelephantsthanhe had hunted and having had more children than the writer had, ended up having a sex change when he was almost sixty, fifteen years after the death of his famous father). MartelJuniorsstoryisntasterrible.Afterhisfathersdeath,heunconsciouslycontinues toimitatethepaternalbehaviorhedetestssomuch. Themaleprotagonisthasgottwonames.WhenblindMateostartstocallhimselfHarry Caine,hedoessotoescapefromhimself.Hisrealityisunbearable.Hecanonlysurviveby supplantingorduplicatinghimself. Beforetheaccident,HarryCainewasalreadyaprolongationofhimself.MateoBlancohad playfully invented the pseudonym in order to sign the scripts and stories he wrote. Like manyauthors,fictionwasarehearsalofreality. Adirectorwhocantdirectandwhomoreoverhaslostthewomanheadored,hasonlygot grief and despair to look forward to; if he wants to survive hell have to do so through imposture.

SeveralofthecharactersinBrokenEmbracesworkinfilm.Ivealwayssaidthatforme film is representation of reality and at times is its most faithful reflection, its duplication. Even though, the moment they are finished, all films are the past, I see premonitory qualities in them. Its a theory that appears frequently in my filmography. In Matador, thetwoprotagonistsgointoacinemawhereDuelintheSunisbeingshown.Theyarrive justattheend,whenJenniferJonesfiresatandinturnisgunneddownbyGregoryPeck, withwhomshemeldsin(another)eternalembrace.Thefemalelawyerandthebullfighter inMatadorseetheanticipationoftheirownendonthescreen. SomethingsimilarhappensinBadEducationwhenMr.BerenguerandthedevilishAngel gointoacinemaasanalibiinordertokillsometime,whilengelsbrotherisdying,the victimofexceptionallypureheroin whichboth ofthemhavegiventohim,thecinemais showingtwothrillersDoubleIdentity(byBillyWilder)andThrseRaquin(byMarcel Carn).Bothtellofcrimesbylovers,similartotheonetheyhavecommitted.Thecinema maintains a very vivid awareness of crimes carried out by lovers who were induced to committhem. When they leave the cinema, Mr. Berenguer (the lover who has become a criminal), overwhelmed,laments:Itsasifallthefilmsweretalkingaboutus. Filmandreality:Tworidetogether PenlopeCruzplaystwocharactersinBrokenEmbraces.Magdalena,awomanwhois toobeautifulandtoopoortoresistthepoisonedgenerosityofthetycoonErnestoMartel. AndPina,hercounterfigure,theprotagonistofGirlsandSuitcases. 7.GIRLSANDSUITCASES I wont deny that Girls and Suitcases is freely based on Women on the Verge of a NervousBreakdownButitisntaselfhomage,Ihopenooneinterpretsitlikethat.WhenI waswritingthescriptIdecidedthatMateoBlancowouldbefilmingacomedybecauseitis the opposite genre to the drama the protagonists are living. In that way their problems wouldtakeongreaterrelevance,andtheefforts,forexample,byLenatoachievethelight, sparklingtonethatcomedydemandsaremoreobviousandpathetic.Ionlyneededthree or four sequences of Girls and Suitcases to act as background to the main story and I thoughtthebestthingwastoadaptsomeofmyownmaterialinwhichIcouldmovewith totalfreedom.ThatswhyIchoseWomenontheVergeofaNervousBreakdown. Once we were in the penthouse of the new Women on the Verge of a Nervous Breakdown(curiouslyweshotthisduplicationinthesamecornerofthestudiowhereI filmedtheoriginaltwentyyearsago)Ihadgreatfunadaptingmyself.Theexperiencewas soinspiringIwroteandfilmedmoresequencesthannecessary.Icouldntincludethemin thefinaleditbecausetheirtoneistheoppositetothatofthegeneralnarrativeandtheyd be disconcerting. Id imagined as much when we were filming them but I couldnt resist thetemptation.FortunatelytherellbetheDVDandtheyllbeincludedinitasadditional material.

In this new version of Women on the Verge of a Nervous Breakdown Pina isnt an adaptationoftheroleplayedbyCarmenMaura,butratheroftheroleofhermodelfriend Candela.ThecharacteralsohasechoesofHollyGolightlyfromBreakfastatTiffanys,the mostmoderningnueofcinemaandAmericanliterature,althoughthehairstyleisthatof anothercharacterplayedbyAudreyHepburn,Sabrina. Most of the female roles Ive written in my life are a mixture of my mother and her neighborsinLaMancha,mixedwithGolightly,theGiuliettaMasinaofLastradaandthe ShirleyMacLaineofSomeCameRunning(V.Minnelli)andTheApartment(B.Wilder). All those women are inside Penlope, so are their opposites, the grandes dames of Americanfilmnoir,GeneTierney,LindaDarnell,ConstanceBennett.Penlopecanbeany ofthem,andalsoSofiaLoren,MagnaniandClaudiaCardinaleandalltheheroinesofItalian neorealism,astylethathasalwaysbeenaninspirationtome. 8.NOIR When Lena falls into Ernesto Martels clutches she has all the attributes of the femme fatale, dark, ambitious beauty, a humble past and a family in a precarious situation, the intelligencenottoresignherselfandtotakerisks;butshehastoomanyscruplesandshe lackscynicism.HerloveforMateoprecipitateshertragedy,eventhoughshewouldhave eventually left the tycoon and he wouldnt have allowed it. Lena isnt a femme fatale, shescondemnedtomisfortune. Mateo,LenaandErnestoSeniormakeupatypicalnoirtrio.Thethreelovefiercelyand oneisverypowerful,violentandunscrupulous.Combustionisserved.Thetrioisflanked by Judit Garca, who brings treachery, a secret son and a guilt complex to the group, ingredientsthatwillmaketherelationshipbetweenthefoureventhicker. Film noir is one of my favourite genres. Id already moved in that direction in Live Flesh and Bad Education and Ive done so again in Broken Embraces. The scene of ErnestoSeniorsfeet,walkinguptoandthenawayfromthedooroftheroomwhereLena is, followed by the scene on the staircase are definitely noir. After an hours narrative, thesceneonthestaircaserevealsthegenretowhichthefilmbelongs,andthatsensation ofblacknessdoesntleaveusuntiltheend. 9.UPANDDOWN Thestaircaseisarealcinematicicon.Itsuggeststheideaofdisplacement,andmovement is what differentiates cinema from photography. I remember the staircase which the pregnant Gene Tierney throws herself down in Leave Her to Heaven (John M. Stahl), alongwithl,byLuisBuuel,thebestfilmaboutthemadnessofjealousy.Iremember Richard Widmark tying a paralytic woman to her wheelchair with a telephone wire and pushing her from the top of a staircase because the woman refused to reveal her sons whereabouts,inKissofDeath,byHenryHathaway.Ahorrifyingthrillerandahorrifying RichardWidmark.

ThestepsinBattleshipPotemkinbyEisensteinarethemotherofallsteps,undoubtedly, the most impressive scene with steps that cinema has ever given us. Brian de Palmas tributeinTheUntouchablesisalsomemorable. Andtheoperaticgrandeurofthe finalsceneofTheGodfather,PartIII orthegreat red staircaseonwhichVivienLeighlosesherbabyinGonewiththeWind.OrNormanBates andBabyJane(AnthonyPerkinsandBetteDavisinPsychoandWhatEverHappenedto BabyJane?,respectively)twodeadlycharactersifyoumeetthematthetopofastaircase. Gothicterror,epicdramaandthethrilleraregenresthathavemadethemostofstaircases. Butsohavethecrazycomedyandthemusical.IrememberanumberinBusbyBerkeleys ZiegfeldsGirlthatconsistedexclusivelyofagroupofyoungladies,amongwhomwere LanaTurnerandHedyLamarr,comingdownendless,windingstairs,whileplacedinside enormouscostumes. Withoutintendingtocomparemyselfwithalltheabove,Ifeelveryproudofthestaircase sceneinBrokenEmbraces,asequencethatisthebackboneofthenarrative. 10.THEPHOTO Onceagain,duplicity. InLanzarote,LenaandMateoarelookingattheimpressiveGolfoBeach.Mateoistaking photos,whileLenaembraceshimfrombehind.Theydontseethem,butdownbelow,on thebeachofblacksand,anembracingcouplemirrorsthem.Mateodiscoversthemwhen heprintsthephoto(theeyeofthecameraseesfartherthanthehumaneye)andpinsiton the wall of the bungalow where they have taken refuge. The photo reflects Mateo and Lenas situation better than any other image does. They are fugitives, alone in the immensityofthevolcanicisland,meldingonewiththeother,blendingintothelandscape, likethecoupleinthephoto. I had taken the photo which we used nine years ago, on my first visit to Lanzarote. The islandhadbewitchedme.Idneverseensuchdramaticcolorsinnature.Formeitwasnta landscape,itwasamood,acharacter.FromthatmomentIwantedtofilmthere. MyfirstvisittoLanzaroteoccurredataveryspecialmoment.Mymotherhaddiedafew months before. My spirits, still in mourning, found reflection and consolation in the blackness of the island, a kind of soothing energy. I was more aware that my mothers deathhadmademeintoanadult. Just as in my youth Id been trapped by the technicolors of the Caribbean, my trip to Lanzarotefirstdevelopedmyfascinationforblackandthemoresombersemitonesofred, green,brownandgrey.Asconfirmationoftheislandsmystery,ItookthephotoonGolfo Beach. Like Mateo, I hadnt seen the couple embracing at the bottom of the photo. I discoveredthemwhena24hourdevelopingstoregavemetheprint.Thelandscapewas incredible but what really struck me was the discovery of the couple embracing, alone, minuteagainsttheimmensityofthelandscape.ObsessedasIamwithmywork,(thinking perhaps about the photo taken in the London park in Blow Up which, when enlarged, revealed a body hidden in the bushes) I imagined that there was a secret behind that

furtive embrace and that I had the photographic evidence of it. I wanted to know everythingaboutthecouple,oratleastsomedetailwithwhichtospinafictionalstory. IlookedforthecoupleduringtheremainderofmystayonLanzarote,butIcouldntfind them.IimaginedtheirsituationandIwrotevariousfictionaloptionsthatendedwiththe solitaryembrace,butnoneofthemwasofinterest. I went back to Lanzarote and searched again in its volcanic landscape for a story that wouldincludetheembraceonGolfoBeach,withoutfindinganythingthatsatisfiedme.The secretoftheembracewasreluctanttorevealitself.Istillhadtheisland,asasetting.Itried tointroduceitintoallthescriptsIwrotefromthenonbutIdidntfindthestorythatcould includeituntil20072008,whenIfinishedthescriptofBrokenEmbraces. Lanzarote would be the island where Lena and Mateo hid, Famara their refuge, their Pompeii,andtheroundabouttheirVesuvius.TheywerethecoupleonGolfoBeach,asLena tellsMateowhileshecutsandpeelsfruitinthekitchenofthebungalowinFamara. 11.PARENTSANDCHILDREN.THEMONOLOGUE Oneoftheimportantthemesinthefilmistherelationshipbetweenparentsandchildren, maternityandpaternity.Thefamily,inshort. The monologue of The anthropophagous councilwoman, which will also appear on the DVDasashort,isthechildofGirlsandSuitcases.WecouldsayitsaspinoffofCarmen Machisbriefbuthilariouscharacter. I didnt film it in order to include it in Broken Embraces, although it complements the film,butonceitwaswritten,andeventhoughIdidnthavetime,Ishotitinoneday.Itwas aprank,awhimandaliberation,somethingIvecommittedinotherstagesofmylifeand whichIhadntallowedmyselftodoforalongtime. InthemonologueabouttheeroticfantasiesofacouncilwomanforsocialaffairsIrecover thatfree,playful,verypoliticallyincorrect,irrepressible,crudetoneofthePattyDiphusa oftheearly80s.Iconfessthatitwasarefreshing,liberatingexperience,andanenormous pleasuretoseehowthegreatCarmenMachiperformedit.Iwasalsodelightedtoseethat that tone is still there, that it hasnt disappeared with maturity, the grey hair and the headaches. 12.DECLARATIONOFLOVE Cinemaplaysaveryimportantroleinallmyfilms.Idontdoitasapupilreveringthose directorswhohaveprecededhim.Idontmakefilmsinthestyleof.Whenadirectorora filmappearsinoneofmine,itsinamoreactivewaythanasasimplehomageoranodat thespectator.

I could give a lot of examples. When in Women on the Verge of a Nervous Breakdown Carmen Maura has to dub a sequence of Johnny Guitar, Im not paying tribute to Joan Crawford or Sterling Hayden or even to Nicholas Ray, one of my essential directors. Im usinghismarvellous,heartrendinglovescene(Lietomeandtellmethatyoustilllove me the way I love you) in order to accentuate the loneliness and abandonment of THE character.Carmen(Pepa)isadubbingactress,soisherloverIvn.Thatmorningheisnt withher,dubbingSterlingHaydenashewassupposedto,becausetheyvebrokenupand he is avoiding her. Ivn went to the studio before she did so as not to meet her, and he dubbedhispartalone,onaseparatesoundtrack.Pepahastolistentohisvoiceoverthe headphonesandslotinherreplies.Shewillneveragainhearwordsoflovedirectlyfrom Ivns lips. She can only listen to them over the headphones, in a recording studio. Her loneliness and abandonment are more obvious through the famous scene from Johnny Guitar. Attimes,thebestwayIcantransmitacharactersfeelingsisbydoingsothroughcinema, usingwordsthatanotherauthorwrotebeforeIdid. In High Heels, Victoria Abril and Marisa Paredes talk in a courtroom in the Supreme Court.Marisa,themotherandstar,ishorrifiedandcantunderstandwhyherdaughterhas accusedherselfpublicly (onthe TV newsprogramwhichshepresents)ofthemurder of herhusband,whowasalsohermotherslover.Inordertoexplainhowshehasfeltabout hermothersinceshewasalittlegirl,VictoriatellsherascenefromAutumnSonata,in whichLivUllmanhasanunusualvisitfromhermother,afamouspianist,andsheplaysa sonata to flatter her and in her honor. The mother (Ingrid Bergman) thanks her unenthusiastically and then sits down at the piano and explains how that sonata should reallybeplayed.Andthatdemonstrationisthegreatesthumiliationthemothercaninflict onhersubdued,insignificantdaughter. IcouldhavesaiditwasahomagetoBergman,oneofmyfivekeydirectors,butthatisntso (my great excitement about the stage version of All about my mother opening in Stockholmhasgotnothingtodowithmyvanity,butwiththatfactthatitsperformedin thesamelanguagethatBergmanspoke).WhenVictoriaAbrilrecountsthescenetoMarisa ParedesshefeelsasinsignificantandhumiliatedasLivUllmann.Intheendsheadmitsthat she accused herself publicly on television of having murdered her husband, not just to coverupforhermother,whohadkilledhim,buttogetherattention.Totellher,withsuch anexcessivegesture,howmuchshelovedher. InBrokenEmbracesIalsousethetransparentsimplicityofRossellinisVoyagetoItaly to show the effect on LenaPenlope of the discovery of the couple burned to death in Pompeiitwothousandyearsearlier. IfeelitsthefirsttimeIvemadesuchanexpressdeclarationoflovetocinema;notwitha specificsequence,butwithawholefilm.Tocinema,toitsmaterials,tothepeoplewhogive alltheyvegotaroundthespotlights,totheactors,editors,narrators,thosewhowrite,to thescreenswhichshowtheimagesofintriguesandemotions.Tofilmsastheyweremade atthemomenttheyweremade.Tosomethingthat,althoughyoucanmakealivingfromit, isnotonlyaprofessionbutalsoanirrationalpassion.

PEDROALMODVARBIOGRAPHY HewasborninCalzadadeCalatrava,provinceofCiudadReal,intheheartofLaMancha,in the 50s. When he was eight, he emigrated with his family to Estremadura. There he studiedforhiselementaryandhighschooldiplomasrespectivelywiththeSalesianFathers andtheFranciscans. At seventeen, he left home and moved to Madrid, with no money and no job, but with a veryspecificprojectinmind:tostudycinemaanddirectfilms.Itwasimpossibletoenrol intheOfficialFilmSchoolbecauseFrancohadjustclosedit.Despitethedictatorshipthat was suffocating the country, for an adolescent from the provinces Madrid represented culture, independence and freedom. He worked at many, sporadic jobs but couldnt buy his first Super8mm camera until he got a serious job at the National Telephone Company of Spain in 1971. He worked there for twelve years as an administrative assistant,hesharedthisjobinthemorningswithothermultipleactivitieswhichprovided hisrealtrainingasafilmmakerandasaperson. Inthemornings,intheTelephoneCompany,hegotanindepthknowledgeoftheSpanish middleclassatthestartoftheconsumerera,theseventies,itsdramasanditsmisfortunes, arealgoldmineforafuturestoryteller.Intheeveningsandnights,hewrote,loved,acted withthemythicalindependenttheatregroupLosGoliardosandmadefilmsinSuper8(his only school as a filmmaker). He collaborated with various underground magazines and wrote stories, some of which were published. He was a member of a parodic punkrock group, Almodvar and McNamara, etc. And he had the good fortune that his personal explosion coincided with the explosion of the democratic Madrid of the last seventies, earlyeighties.ThatwastheperiodtheworldknewasLaMovida. HisfilmsaretheheirsandthewitnessesofthebrandnewbornSpanishdemocracy.After ayearandahalfofeventfulshootingon16mm,in1980heopenedPepi,Luci,Bom,ano budget film made as a cooperative effort with the rest of the crew and the cast, all beginners,exceptforCarmenMaura. In1986,hefoundedtheproductioncompanyElDeseoS.A.withhisbrotherAgustn.Their firstprojectwasLawofDesire.Sincethen,theyhaveproducedallthefilmsthatPedro haswrittenanddirected,andhavealsoproducedotheryoungdirectors. In 1988, Women on the Verge of a Nervous Breakdown brought him international recognition. Since then, his films have opened all around the world. With All About my MotherhewonhisfirstAcademyAwardforBestForeignFilm,andalsotheGoldenGlobe, the Csar, 3 European Film Awards, the David de Donatello, 2 BAFTAs, 7 Goyas and 45 other awards. Three years later, Talk to Her had the same or better fortune (Academy Award for Best Script, 5 European Film Awards, 2 BAFTAs, the Nastro de Argento, the CsarandmanyotherawardsthroughouttheworldbutnotinSpain). He produced four very special films, highly rated throughout the world for their valour anddelicacy(MyLifeWithoutMe,TheHolyGirl,TheSecretLifeofWordsandThe HeadlessWoman,byIsabelCoixetandLucreciaMartelalternatively). In 2004, Bad Education was chosen to open the Cannes Festival. It received extraordinary reviews throughout the world. It was nominated for numerous awards (Independent Spirit Awards, BAFTAs, Csar, European Film Awards) and won the prestigiousAwardforBestForeignFilmgivenbytheNewYorkCriticsCircleandalsothe NastrodeArgento.

In2006heisawardedwiththePrinceofAsturiasAwardtotheArts.Thatverysameyear he presents Volver in competition in the Cannes Film Festival, where it got the Best Screenplay Award as well as the Best Actress Award for the six actresses of the film, leaded by Penlope Cruz. The film received 5 EFA awards, 5 Goya awards, the Fipresci award, the National Board of Review, and many others (up to 72). Penlope was nominatedtotheBestActressAcademyAward,beingthefirsttimeaSpanishactresswas nominatedforaSpanishspeakingfilm.Uptonow,Volverhasbeenhismostpopularfilm intermsofboxoffice. FILMOGRAPHY 19741979 VariousfilmsofdifferinglengthsonSuper8mm,includingsomeon16mm (Salom) 1980 Pepi,Luci,Bom 1982 LabyrinthofPassions 1983 DarkHabits 19845 WhatHaveIDonetoDeserveThis?! 1985 Traylerparaamantesdeloprohibido(mediumlength,onvideo,forTVE) 198586 Matador 1986 LawofDesire 1987 WomenontheVergeofaNervousBreakdown 1989 TieMeUp,TieMeDown 1991 HighHeels 1992 Accinmutante(Producer) 1993 Kika 1995 TheFlowerofmySecret 1997 LiveFlesh 1999 AllAboutmyMother 2000 TheDevilsBackbone(Producer) 2001 TalktoHer 2002 MyLifeWithoutMe(Producer) 2003 ChillOut!(Producer) 2003 BadEducation 2004 TheHolyGirl(Producer) 2005 TheSecretLifeofWords(Producer) 2006 Volver 2008 TheHeadlessWoman(Producer) 2009 BrokenEmbraces

CASTBIOFILMOGRAPHIES PENLOPECRUZ AfterhavingappearedinLiveFlesh,AllAboutmyMotherandVolver,Penlopehas workedagainwithPedroAlmodvar. AfterstudyingactingatCristinaRotasschool,shemadeherdebutwhilestillateenagerin Jamn, Jamn (1992). In this film she already showed an extraordinary capacity for playingthecommoncharacterswhichwouldbringhersuchsuccessinthefuture,andalso attracted the attention of the most important Spanish directors with whom she would later work. Bigas Luna in the above mentioned Jamn, Jamn and Volaverunt, FernandoTruebainBelleEpoqueandLaniadetusojos(forwhichshereceivedthe Goya for Best Actress), Alejandro Amenbar in Abre los ojos or Agustn Daz Yanes in Sin noticias de Dios. She has also had a more than notable international career which includes The HiLo Country (Stephen Frears), All the Pretty Horses (Billy Bob Thornton), Blow (Ted Demme), Captain Corellis Mandolin (John Madden), Vanilla Sky (Cameron Crowe), Non ti muovere (Sergio Castellito), The Good Night (Jake Paltrow),VickyCristinaBarcelona(WoodyAllen)orNine(RobMarshall). WithNontimuovere,bySergioCastellito,shewontheDaviddiDonatelloawardandthe European Film Academys Peoples Choice Award for Best Actress. The New York Times selectedher,forthatfilm,asoneofthetenbestfemaleperformancesoftheyear. With Volver she won the Best Actress award at the Cannes Festival, ex aequo with the otheractressesinthefilm.ShealsowontheEFAandtheGoyaandwasnominatedforthe AcademyAward,theGoldenGlobeandtheBAFTAawards. HerperformanceinVickyCristinaBarcelonahasearnedhermorethantenawardsanda anAcademyAwardforBestSupportingActress. Shedoesntdiscountthepossibilityofdirectinginthefutureandinthemeantimesheis experimentingwithphotography,oneofherfavouritepastimes. LLUISHOMAR Born in Barcelona 51 years ago, Luis has managed to combine theatre with cinema and television, although he has devoted most of his extensive career to the stage. He studied Law at Barcelonas Autonomous University after which he attended various acting courses:UtaHagen(198687)inNewYorkorJohnStrasberg(1985)amongothers. HewasoneofthefoundersoftheTeatreLliureandwasitsdirectorfrom1992to1998.He has acted in and directed over thirty productions for the company. In 1999, he directed and starred in Shakespeares Hamlet for the Festival Grec. Among the authors he has stagedandperformedareDavidMamet(SpeedthePlow)Molire(GeorgeDandin,Le misanthrope and Lcole des femmes) and Ibsen (Hedda Gabler and The Master Builder),Pirandello(MountainGiants)andThomasBernhard(Histrionics). Hehasappearedinoverthirtyfilms,workingwithdirectorssuchasPilarMir(Elpjaro delafelicidad),VicenteAranda(Sitedicenqueca),MarioCamus(Despusdelsueo, Adosados and La ciudad de los prodigios), Julio Medem (Catica Ana), Montxo Armendriz(Obaba)andJoseLuisIborra(ElsueodeValentn)amongothers.

InLamalaeducacinheplayedoneofthekeycharacters,Mr.Berenguer,andhadagreat success.ThisiswhyhehasnowworkedagainwithAlmodvarinLosabrazosrotos. In1986hewontheNationalActingAward,in2000theSilverFotogramasforTheaterand theButacaAwardforBestCatalonianActorforValentn. BLANCAPORTILLO BorninMadridin1963,shestudiedattheHigherRoyalSchoolofDramaticArtwhereshe beganasuccessfultheatrecareer.ThishasearnedhersuchrecognitionastheLaCelestina andMaxawardsforMadre,eldramapadre,theMax,UnionofActorsandTeatrodeRojas awards for Como en los mejores familias or the Miguel Mihura and Union of Actors awardsforLahijadelaire,bytheprestigiousdirectorJorgeLavelli. She has appeared in some thirty theatre productions. At present she is starring in Hamlet,directedbyTomazPandur,withwhomshealsoworkedinBarroco.JosCarlos Plaza directed her in After Play by Brian Friel, which was a huge success, and Andrs LimadirectedherinHamelin,byJuanMayorga. VerypopularthankstotheTVseriesSieteVidas,Blancahasalsoworkedinfifteenfilms, with directors such as Milos Forman (Goyas Ghost), Agustn Diaz Yanes (Alatriste), BelnMacas(MyPrisonYard)andGraciaQuerejeta(Sietemesasdebillarfrancs).In 2005,shebeganhercollaborationwithPedroAlmodvarinVolver. She was nominated for a Goya as Best Newcomer for El color de las nubes (Mario Camus)andasBestSupportingActressforVolver.ShewontheUnionofActorsawardin thatcategoryforthefilm. AttheCannesFestival,shereceivedtheBestActressawardexaequowiththerestofthe actressesforVolverandtheSilverConchforBestActressattheSanSebastianFestival forSietemesasdebillarfrancs. JOSLUISGMEZ HetrainedasanactorintheInstituteofDramaticArtinWestphalia(Bochum)andatthe JacquesLecoqSchool(Paris).Hedidhisearlyprofessionalworkasactoranddirectorin the main theatres of the Federal Republic of Germany. In 1971 he came back to Spain where he produced, directed and performed in productions such as Report for an Academy,byKafka,Gaspar,byPeterHandkeandTheResistibleRiseofArturoUi,by BertoltBrecht. AfterhisleadingroleinthefilmPascualDuarte,byRicardoFranco,forwhichhewonthe Best Actor award at the Cannes Film Festival (1976), he worked with directors such as Jaime de Armin (Nunca es tarde), Juan Sebastin Bollan (Las dos orillas), Enrqiue Brass (In memoriam), Jaime Camino (Luces y sombras), Jaime Chavarri (Dedicatoria), Manuel Gutirrez Aragn (Sonmbulos), Eloy de la Iglesia (La estanquera de Vallecas), Joseph Losey (Les routes du sud), Pilar Mir (Beltenebros), Carlos Saura (Los ojos vendados and El sptimo da), Gonzalo Surez (Rowing with theWind),MarianoBarroso(Hormigasenlaboca)andMilosForman(GoyasGhosts) amongothers.

In 1978, after a period of studies in New York with Lee Strasberg, he took over the management of the Centro Dramtico Nacional, along with Nuria Espert and Ramn Tamayo,andtwoyearslaterthatoftheTeatroEspaol. In1992,hedirectedLavidaessueointheThtredelOdonandthefollowingyear CarmenintheOpradelaBastille,bothinParis. Sincethen,hehasconcentratedontheconception,administrationandmanagementofthe TeatrodelaAbada,openedin1995,wherehehastackledawiderepertory,encouraged thetrainingofactorsandinvitedimportantEuropeandirectors. In2008,hedirectedtheoperaSimonBoccanegra,byVerdi,intheGranTeatredelLiceu. He has won numerous awards, the most notable of which include, as well as the above mentioned Best Actor award at the Cannes Film Festival, the National Theater award, ChevalierdelOrdredesArtsetdesLetters,grantedbyFrance,theKnightsCrossofthe Order of Merit of the Federal Republic of Germany, the Gold Medal from the Crculo de Bellas Artes and the Gold Medal for Merit in Fine Arts from the Spanish Ministry of Culture. RUBNOCHENDIANO Born in 1980, he studied acting with Juan Carlos Coraza, contemporary dance with Michelle Mann, Eileen Standley and Mnica Page, and singing with Ins Rivadedeira, as wellasothercourseswhichenrichedhistheatricaltraining. HehasworkedinhighlysuccessfulTVseriessuchasElcomisario,HospitalCentral,Al salirdeclaseandPeriodistas. In theatre, he has worked for such directors as Antonio Mercero in The Green Fields of EdenandMiguelNarrosinAsessiasosparece,forwhichhewasnominatedasBest LeadingActorbytheUnionofActors. Hehasmadeoverfifteenfilms,includingSilencioroto,byMontxoArmendriz,forwhich hewasnominatedforaGoyaforBestNewcomer,Guerreros,byDanielCalporsoro,La flaquezadelbolchevique,byManuelMartnCuenca,forwhichhewasagainnominatedby theUniondeActores,ChillOut!,byFlixSabrosoandDuniaAyaso,Tapas,byJuanCruz andJosCorbacho,forwhichhewontheElMundoaward,Che,byStevenSoderbergh, MyPrisonYard,byBelnMacasandBiutiful,byAlejandoGonzlezIrritu. TAMARNOVAS Atonly22,hecanboastofhavingworkedwithsomeofthe mostimportantdirectorsin Spain,AlejandroAlmenbar,JosLuisCuerdaorGerardoHerrero,aswellasthisfilmby PedroAlmodvar. HebeganstudyingdramaticartwithJuanCarlosCoraza.HisfirstfilmwasLalenguade las mariposas, by Jos Luis Cuerda (1999) which was followed by The Sea Inside, by AlejandroAmenbar,forwhichhereceivedtheGoyaforBestNewcomerandtheUnionof Actors award in the same category. In 2006, he worked in Goyas Ghosts with the directorMilosFormanandthefollowingyearinUnamujerinvisiblebyGerardoHerrero. HehasworkedinTVseriessuchasCuentaatrs,LaseoraandSietevidas,among others.

HemadehisdebutintheaterwiththeplayLanochebyBernardMariKolts,directedby CarlosNeira. HeisundoubtedlyoneoftherisingstarsofSpanishcinema. CREWBIOGRAPHIES AGUSTNALMODVAR Born in La Mancha, he graduated in Chemical Sciences from Madrids Complutense University. Since1985hehasworkedactivelyincinema.HejoinedthecrewofSinfielynomires con quien (Fernando Trueba) as production trainee. That same year he began his ceaseless participation in his brothers films, working as assistant director on Matador andin1986heandPedrosetuptheirowncompany,ElDeseo. SincethenhehasproducedallofPedrosfeaturefilms(winningtheAcademyAwardfor BestForeignFilmwithAllAboutmyMother)andhasalsoproducedtheworkofother directors(AlexdelaIglesia,MnicaLaguna,DanielCalparsoro,GuillermodelToro,Isabel Coixet,FlixSabrosoandDuniaAyaso,LucreciaMartelandBelnMacas).WithElDeseo, hehasalsobeeninvolvedinnumerouscoproductionswithFrance. ESTHERGARCA Esther,whowasborninSegovia,haswonfiveGoyasforAccinMutante,AllAboutmy Mother, The Secret Life of Words and Volver. She has been production director on overninetyfilmsandTVseriessinceshebeganin1976withCurroJimnez. She has worked in every aspect of production from trainee to executive producer, a positionshehasheldsincethefilmMylifewithoutme(IsabelCoixet). AswellasworkinguninterruptedlywithPedrosinceMatador,shehasdoneproduction work for Fernando Trueba, Mariano Ozores, Luis Mara Delgado, Gonzalo Surez, Emilio MartnezLzaroandFernandoColomo. AspartoftheElDeseoteam,shehasdirectedproductiononAccinMutante(Alexdela Iglesia), Tengo una casa (Mnica Laguna), Pasajes (Daniel Calparsoro), The Devils Backbone (Guillermo del Toro), Chill Out! (Flix Sabroso and Dunia Ayaso) and My PrisonYard(BelenMacas). Along with Agustn Almodvar, she has gone into television production (Mujeres, by Dunia Ayaso and Flix Sabroso) and international production (My life without me and TheSecretLifeofWords,byIsabelCoixet,TheHolyGirlandTheHeadlessWoman, byLucreciaMartel). ALBERTOIGLESIAS

Born in San Sebastian in 1955, he studied piano, guitar, counterpoint and harmony with Blanca Burgaleta and Francisco Escudero in his home city. He broadened his studies in Paris with Francis Schwartz and in Barcelona with Gabriel Brnic. He has collaborated withCarlosSaura,BigasLuna,JulioMedemandIciarBollan,amongothers. He has developed a close collaboration with Pedro since they first worked together on TheFlowerofmySecret,andsincethenhehasbeentheregularcomposeronhisfilms. His soundtracks include Los amantes del crculo polar (Julio Medem), All About my Mother,TalktoHerandVolver(PedroAlmodvar).HehasreceivedsevenGoyasfor hisworkontheabovementionedfilmsandalsoforhisscoresforJulioMedemsfilmsLa ardilla roja, Tierra and Sex and Lucia. He won the European Film Award (EFA) for Volver. He was nominated for the Oscar for The Constant Gardener (Fernando Meirelles) and TheKiteRunner(MarcFoster).HewontheNationalCinemaAwardin2007.Hismost recentworksincludeChe(StevenSoderbergh). In addition to his film work, he has composed symphonic and chamber music and also severalballetsfortheNationalDanceCompany. JOSSALCEDO Themasterofeditors,PepeSalcedohaseditedoverninetyfilmstodate,includingPedro Almodvarsentirefilmography. HewasassistanttoPedrodelReyandPablodelAmoandbeganhiscareerwiththefilm Unamujerprohibida.SincethenhehaswonthreeGoyasforhisworkonWomenonthe VergeofaNervousBreakdown(PedroAlmodovar),Nadiehablardenosostroscuando hayamosmuerto(AgustnDazYanes)andAllAboutmyMother(PedroAlmodvar).He has worked along with some of the most important Spanish directors, including Manuel GutirrezAragn,EloydelaIglesia,PedroOlea,GonzaloSurez,JaimeChvarri,JosLuis Borau,ManuelGmezPereiraandmany,manymore. RODRIGOPRIETO He was born in Mexico in 1965 and has already worked on more than twenty films as director of photography. A specialist in creating atmosphere and in the mastery of chiaroscuro, he is known for his unconventional use of the camera. He has worked with directors such as Curtis Hanson (8 Mile), Spike Lee (The 25th Hour), Oliver Stone (Alexander), Kevin MacDonald (State of Play) and, as well as being director of photographyonallofAlejandroGonzlezIrritusfilms,hehascollaboratedonAngLees lasttwofilmsBrokebackMountain,forwhichhewasnominatedfortheOscarforBest Photography,andLust,Caution.

CASTLIST Lena:PenlopeCruz MateoandHarryCaine:LlusHomar Judit:BlancaPortillo ErnestoMartel:JosLuisGmez RayX:RubnOchandiano Diego:TamarNovas Lenasmother:ngelaMolina Concierge:ChusLampreave MadameMylene:KitiManver Lipreader:LolaDueas Edurne:MariolaFuentes Chon:CarmenMachi Model:KiraMir Julieta:RossydePalma Alex:AlejoSauras CarlosSanpedro RamnPons CoteSoler MartaAledo CarlosLeal ChemaRuiz DaniMartn AsierEtxeanda JonsPappila JavierColl JuanBautistaCucarella LyngDyrup EnriqueAparicio EnriqueVargas VivianaEspinosa FernandoLueches FernandoIglesias JavierGiner CarlosGarcaCambero BinaDaigeler CREWLIST Writtenanddirected:PedroAlmodvar Producer:AgustnAlmodvar Producedby:EstherGarca OriginalScore:AlbertoIglesias Editing:JosSalcedo DirectorofPhotography:RodrigoPrieto,ASC,AMC ArtDirector:AntxonGmez ProductionManager:ToniNovella DirectSound:MiguelRejas SoundEditing:PelayoGutirrez Mix:MarcOrts MakeupArtist:AnaLozano

HairStylist:MassimoGattabrusi CostumeDesign:SoniaGrande AciegasperformedbyMiguelPoveda CastingDirector DirectionAssistant DirectorsAssistant ScriptSupervisor 2ndDirectionAssistant DirectorsAssistant 3rdDirectionAssistant DirectionTrainee ProductionDirector ProductionCoordinator ProductionCoordinatorsAssistant CashierPayer ProductionAssistants 2ndProductionAssistants ProductionTrainees CameraAssistant 2ndCameraAssistants VideoTechnician VideoTechnicianTrainee StillPhotographers BoomOperator 2ndBoomOperator Decorators SetDecorators 1stArtAssistant 2ndArtAssistants DecorationCoordinator Props SetProps PreparationSetProps PreparationSetPropsAssistant Painter DecorationLabourer DecorationTrainee CostumeDesignerAssistants

LuisSanNarciso GuillermoEscribano LolaGarca YuyiBeringola DanielRivero FerrnRial FernandoLueches AndreaVzquez CecilioCaparrini SergioDaz CovadongaR.Gamboa VernicaDaz PilarPrez FedericoRozadillas ConchaFontenla MarinaH.Molini IsraelMendoza JuanLuisdelaPuente MirellaCuesta JuanLeiva lvaroGarca PabloSnchez FalkwyndeGoyeneche MiguelngelVias PaolaArdizzoni(A.F.C.) EmilioPereda(A.F.C.) JaimeFernndezCid RodrigoMerolla PilarRevuelta MartaBlasco MaraMatey SoniaAranzbal ClaraNotari NuriaMun JuanjoGracia EstebanArranz AntaLen IakiRubio SusanaFernndez ZaloaZiluaga JuanI.Viuales GonzaloAnso MikelIzaguirre JoostdeJager EstebanVieytes TaniaWahlbeck JessCalzada CarlotaCasado MacarenaGarca

 CostumeDesignerTrainee 1stMakeUpAssistant 2ndMakeUpAssistant 1stHairStylistAssistant HeadofElectricians Electricians Jefedemaquinistas Maquinista EfectosEspeciales Jefedeespecialistas Especialistas Diseogrfico StudioGatti DiseadorcartelesLaltimaKunda MadresParalelas Coordinadorapostproduccin Ayudantesdemontaje Montajedesonido Montadordedilogos Ayudantemontajedesonido Auxiliarmontajesonido Ayudantemezclas Tcnicodegrabacindeefectossala EfectosSala EfectosVisuales Supervisin Composicin Laboratory ColourGrading DigitalMolding FinancialManagement ProducersAdvisor ProducersSecretary ProductionSecretaries

LucaLpez JoaqunMontull MaraLacambra EvaQuilez YaelFernndezMaquieira MnicaMiguel FernandoBeltrn MarceloSanEugenio JosReboul EnriqueGarca AlbertoSnchez CarlosMiguel RobertoMiguel ReyesAbades scarAbades CsarAbades DanielReboul JoaqunVergara JordiCasares OscarAbades AntonioLemos CaminoCapelln ngelGmez KatiaFernndez JuanGatti JuanSnchez GabrieldeBoca IsidroFerrer AscenMarchena ManoloLaguna RosaOrtiz LaBocina lexF.Capilla EduardoG.Castro IakiSnchez MarioGonzlez PatrickGhislain JulienNaudin ElRanchito EduardoDaz InmaNadela SonsolesL.Aranguren BaharCetin DavidEsteve RamnRamos EzequielLarr FotofilmDeluxe MiguelPrez YolandaHurtado DiegoPajuelo MauricioDez AdelaDonamaria YuririaMontero

 Publicity PublicityAssistant InternationalRelations InternationalRelationsAssistant Materials Accounting AccountingAssistants Administration O.N.C.E.Advisors O.N.C.E.Trainers HospitalsAdvisor LlusHomarsTrainer LanzaroteCrew ProductionManager 2ndProductionAssistants 2ndCameraOperator CameraAssistant Props OnSetProps Painter MakeUpAssistant SoundAssistant

CeciliaMaric DborahPalomo MercedesGonzlez BrbaraPeirAso LilianaNiespial JavierRuiz BeatrizGordo AranchaYusti SilviaSancho MaraPazSancho AidaYusti MercedesSelgas LibertadPeris CarlaDaz DianaG.Jimena RafaelLorenzo AlmudenaGmez MarinaLpez JavierHeras MngelesPrezChica RafaBautista ChusSanPascual GraceAyaso DomingoGuadalupe IsmaelCurbeloPampa BelnLamuedra GustavoBrito MaraGarcs JoaqunManchado LuisLattanzi IsabelTristn AlexisSantos GastnAmarilla HaridianNbrega ngelFraguela