Camera

Teo Escamilla

Born 1940-10-23 · Sevilla, Spain

Teodoro Escamilla Serrano; Seville, 1940 - Matanzas, Cuba, 1997 Spanish cinematographer. In contrast to directors of photography who were concerned above all with creating their own style, Teo Escamilla was always in favor of a patient craftsmanship in cinematographic lighting that allowed him to adapt it, scene by scene, to the director's vision and to the specific story. He began his professional career as a photojournalist for publications such as Cine en 7 días, El Caso, the Madrid newspaper and the magazine Sábado Gráfico, and later as a television operator. In 1964 he became assistant cameraman on Llegar a más (1964, Jesús Fernández Santos) and the regular second operator for Luis Cuadrado, his mentor and teacher, whom he succeeded after his retirement due to illness in 1976 as director of photography on the films produced by Elías Querejeta. He debuted as first operator in Las violentas (1974, Fernando Miranda), to later take over from Juan Antonio Ruiz Anchía in El desencanto (1976, Jaime Chávarri), and from then on developed an intense work that would make him one of the most outstanding operators in Spanish cinema. He frequently worked on films by filmmakers such as Carlos Saura, Jaime Chávarri, Jaime de Armiñán (with whom in 1979 he founded the production company A punto, later Serva Films), Víctor Erice, José Luis Borau and Manuel Gutiérrez Aragón, among others. For Carlos Saura's El amor brujo (1986), he received the Goya award for best cinematography. After directing two short films, Quiero ser mayor (1976) and an episode of the collective film Cuentos para una escapada (1979), in 1983 he debuted as a feature film director with Tú solo, a story set in the world of bullfighting, which received the Special Mention for best new director at the San Sebastian International Film Festival, although his career as first director did not continue.

Acting credits

6.3

In their spare time, after their studies or their work, children and adolescents between the ages of eight and sixteen meet at the School of Bullfighting in Madrid to learn the Art of Cúchares: Torear. In their stomachs there is no hunger as in the past, their dreams do not lie in having a farmhouse and being famous. Their only dreams are to be in front of a bull, animal with which death goes, fact of which they are fully aware, as their teachers continually remind them. These, retired bullfighters, some by age, others by force and all with their bodies full of scars produced by the horns of a bull. The nude bullfighting scene is fascinating without being exploitive, and it serves as an analogy for the vulnerability these young bullfighters have when in the ring with the bulls.

You Alone

1984

Behind the camera

6.3

You Alone

1984

6.3

You Alone

1984

9.0

A grandfather, a veteran communist militant, runs away on his birthday with his granddaughter Adriana.

Felicidades, Tovarich

1995

9.0

With the help of drawings and comic strips. brings together short films, on children's themes, in which rights that children and adults should enjoy are defended. For the first time, a whole series of important Spanish directors meet to make a children's film.

Cuentos para una escapada

1981