I grew up in a big family, in a small town in Tarragona, Spain. My mom is one of 10 siblings, and i as an only child, have always been very tight with my uncles, aunts and cousins, 40 of them in total. I remember family reunions where conversations ranged around various topics, and my only concern was to not miss a thing and observe how it affected each one of them. Those days, when i was surrounded by adults and troubles beyond my comprehension, triggered my interest in conflicts between grownups. I would dissect it as something basic: feelings. I wanted to be an expert in the topic, like a doctor, or a scientist, that works with tools named people and emotions.
I started the screenplay after I got to New York. I had already understood that what is natural and basic is also complex, and it fascinated me. “american autumn” would be my “first time”. The familiar frenzy of kristin griffith and diane keaton in interiors or nicole kidman and jennifer jason leigh in margot at the wedding had been part of my education during my teenage years. As the child of divorced parents, i felt a connection with the work of noah baumbach and early woody allen. My mind was full of images of people walking wrapped in big trench coats through central park, surrounded by mustard, camel and maroon colors… what i feel as the american autumn. This aesthetic is part of my own definition of beauty and i wanted my films to capture it. I thought a lot about nestor almendrós… one of my unfulfilled dreams is to have worked with him. I credit him for my longing of a time that i didn’t experience but feel as mine.
I wanted to write about reunions gone sour for broken families, groups of friends going through bad times, something i have gone through and know to well; although, i didn’t want to film it in an obvious way, i believe in the balance between reality and fiction. Most times reality feeds from a magic or surrealist concept, which allows you to understand it through a new point of view and i put in what i thought was funny and touching.
I’m 22, technically a grown-up, still surrounded by adults. We shot during 4 days in the winter of 2012 in new jersey.
Director: Albert Moya
Production Company: Les Films sur Mer /
The End Production /
Les Jours Tristes
Screenplay: Albert Moya
& Silvia González Laá
Executives Producers: Alberto Amilibia &
Zac Darvish & Jordi Labanda
Producer: Rob Leitzell & Albert Moya
Cinematographer: Rob Leitzell
Art Director: Jordi Labanda
Production Design and Costumes: Olga Miasnikova
Hair & Make up: Kate Tsang&Joel Yapching
Editor: Andy Hafitz
Score: Ben Thorne