Date of this Version

2011

Keywords

Spanish Sound Design, Spanish Cinema, Technology and Spanish Fascism, Film under Franco

Abstract

En 2011, Patricia Hart habló con el técnico de sonido, Iván Marín sobre sus comienzos e influencias, comenzando con el desaparecido ingeniero de sonido, Antonio Illán. Comenta sus experiencias con directores como Fernando Fernán-Gómez, Montxo Armendáriz y Julio Medem, y también relata anécdotas del productor Elías Querejeta. Habla de sus teorías y gustos, y explica por qué un técnico de sonido tiene que ser como “un notario en el rodaje.” Este proyecto fue subvencionado por la Purdue University, y está dedicado a Antonio Illán y Leopoldo “Polo” González Aledo.

English Translation:

In 2011, Patricia Hart spoke with sound technician, Iván Marín, about his professional evolution and his influences, including the late sound engineer, Antonio Illán. Here Marín comments on his experiences with directors such as Fernando Gernán-Gómez, Montxo Armendáriz, and Julio Medem, and he also relates anecdotes about producer Elías Querejeta, and about working with his daughter, director Gracia Querejeta. Marín speaks of his tastes and theories, and explains why he thinks a sound technician should be like a “notary” on a movie set, giving a certifiable and reliable record of all that took place. His project was supported by a sabbatical from Purdue University, and is dedicated to Antonio Illán and Leopoldo “Polo” González Aledo.