As a seasoned filmmaker with roots deeply embedded in Tulsa, Oklahoma, I’ve always found joy in capturing the essence of America on screen. However, the ever-increasing costs of filming within our borders have forced us to expand our horizons and seek greener pastures. Enter Spain, a land that has not only captured my heart but also offered us an unparalleled opportunity for production.
As the foreign unit line producer, then producer of “Game of Thrones,” Duncan Muggoch utilized some of Spain’s breathtaking landscapes and historical landmarks as iconic backdrops for the series. He later returned to Spain as co-executive producer of “3 Body Problem” to film crucial early scenes that were set in China for the Netflix original production.
Steve Squillante, who worked as an executive producer on AMC+’s hit series “The Walking Dead: Daryl Dixon,” also held the position of Vice President for Physical Production at Netflix. During his tenure from 2018 to 2020, Netflix launched and started producing shows like “Money Heist” and premiered early seasons of “Elite.
Currently, he’s based in Spain, filming “Daryl Dixon,” a digital journey across Spain that encompasses its rich culture, despite being set in a post-apocalyptic narrative.
Similarly, Suzanne Mackie, who has worked as an executive producer on shows like “Mad Dogs” and “The Crown,” both of which were filmed extensively in Spain, came back this year to film “stunning” sequences for the Netflix series “The Seven Dials Mystery.
As a passionate fan, it’s no secret why top-tier producers keep returning to Spain: The exceptional crews, captivating locations, and reliable service companies are just a few of the many allures. Moreover, the substantial tax breaks introduced at the start of 2023 make the financial aspect incredibly enticing.
Currently, American film production company, Rebellium Films, is investigating an innovative approach in Spain – the Basque Country’s tax incentive co-productions. This shift comes as escalating production expenses in the U.S. are pushing an increasing number of companies to seek cost-effective alternatives such as European soft money solutions.
EbMaster delves deeper into the Spanish adaptations of “Three-Body Problem,” “The Walking Dead: Daryl Dixon,” “The Seven Dials Mystery,” and Rebellium’s Spanish-made sci-fi thriller “Unidentified Aerial Phenomenon” (UAP).
“3 Body Problem”
According to co-executive producer Muggoch, the popular sci-fi series on Netflix was filmed in Spain due to a unique mountain.
In the village of Guadalupe, situated in south-west Spain near Extremadura, stands Pico Villuercas, a towering peak with jagged ridges, reaching an elevation of 5,100 feet. Atop this peak is a massive radio telescope dish, which first catches the eye of Ye Wenjie during Episode 1 of “Countdown” as she carries logs through the mud. In 1967, Ye Wenjie, a young woman from Inner Mongolia, encounters this peak for the first time. Later in Episode 7, Ye Wenjie revisits the site and finds it rundown and abandoned.
The mountain is accessible via a winding asphalt road that clings to its slope, offering breathtaking vistas of forested valleys sprawling all the way to the horizon’s edge.
According to Muggoch, the motives behind shooting in Spain were quite particular. We required a Spanish mountain with buildings at its summit that could stand in for China. Remarkably, we discovered an ancient army station on the very peak of the mountain. Incredibly, it boasted a paved road leading all the way to the top and offered breathtaking vistas.
For a span of five weeks, the production of “The Three-Body Problem” underwent modifications and construction of additional sets. Following this, filming lasted for a week. The show utilized Computer-Generated Imagery (CGI) to insert a large satellite dish and transform certain structures. Scenes filmed indoors were captured back in London, where the entirety of “The Three-Body Problem” was primarily filmed.
Muggoch mentioned that we scoured the U.K. for similar locations, but unfortunately, none of them offered the breathtaking vistas or the easy accessibility, complete with a road leading to the summit and a fully-equipped film crew on site,” says Muggoch.
The mountain was discovered by Tate Araez, who serves as a location scout for the Spanish division of film company Fresco Films, during their search for suitable locations for “3 Body Problem.
According to Muggoch, Fresco sourced certain crew positions, production tasks, special effects, and local workforces for manual jobs such as road block-offs, construction labor, and greens maintenance. Since it was a relatively modest production, the main filming team was brought in from the U.K.
The show additionally underwent significant Visual Effects (VFX) processing at renowned Spanish post-production facility El Ranchito, thereby surpassing the necessary limit to receive a tax credit.
As a line producer or producer, Muggoch filmed “Game of Thrones” in Spain starting from Season 5 and extensively throughout its entirety when the show expanded to new realms in Season 6. The series showcased breathtaking locations that gained widespread popularity, such as the Royal Alcazar of Seville (Martell House), San Juan de Gaztelugatxe in Bizkaia (Dragonstone Castle), and the Bárdenas Reales badlands in Navarre (Dothraki Sea). The Girona Cathedral in Catalonia served as a stand-in for the Great Sept of Baelor.
Muggoch remarks that Spain is outstanding for filming locations, having shot nearly everywhere across the country. He expresses his affection for Spain, stating it offers the greatest variety of any European location. From the northern to central regions and all the way down south, you can find almost anything imaginable,” says Muggoch.
Moreover, “I haven’t found a single city I’ve visited that hasn’t been exceptionally friendly and stunningly beautiful. The Spaniards are known for their warm hospitality.
“The Walking Dead: Daryl Dixon” Season 3
Season 2 ended with Daryl and Carol trying to make it to the U.K. They appear to get there – the trailer has a shot of Stephen Merchant grinning in a London street – but in a major twist, the vast majority of Season 3 is shot and set in Spain.
One explanation for this, as stated by Steven Squillante, a non-writing executive producer during Seasons 1 and 2, is due to the nature of the show ‘Daryl Dixon’.
As a dedicated fan, I’d like to clarify something: This isn’t merely an American series being filmed in France or Spain as a copy. Instead, it’s an authentic American production that has wholeheartedly immersed itself in the rich history of the countries and regions where we’re filming, embracing and even enveloping their unique cultures to its core.
That embrace helped “The Walking Dead: Season 1” become the most-watched show in AMC+ history.
Discussing potential storylines for Season 3, the showrunner David Zabel, along with lead writer Jason Richman and Squillante, explored numerous possibilities, all of which were settings that Squillante was familiar with having previously worked there.
Reflecting on the storyline, Squillante mentions that all locations were intriguing, but Spain stood out significantly following an initial exploration with Zabel, Richmond, and the AMC team. “Spain turned out to be incredibly fascinating,” he expresses enthusiastically. “Everyone was captivated by it. We admired the expertise of the crews, the charm of the country, and the rich landscapes, cities, and cultural aspects that Spain offered us,” Squillante adds. “Season 2 cleverly integrated France into Daryl’s journey and later into Carol’s when she joined him. Now in this season, we are carefully incorporating Spain into our narrative.
The majority of Season 3 production is taking place in Spain, with more than 90% of the crew being Spanish, especially in crucial roles both behind and in front of the camera. Authenticity isn’t just visible on-screen but also off-screen, according to Squillante’s argument.
The TV series “The Walking Dead: Daryl Dixon” is currently being filmed in Spain by Anima Stillking, a new company launched this year by Maria Cabello, who has previously worked as an executive producer for “Kaos” and “Uncharted,” and Silvia Araez, who served as the executive producer on “Guy Ritchie’s The Covenant” and is also the Spanish producer for “We Were the Lucky Ones.
According to Squillante, choosing a country to shoot in is not typically determined by a single decisive factor. Instead, it often comes down to a combination of aspects such as a skilled crew, beautiful shooting locations, ease of securing important spots, and a highly experienced location team – all of which Spain seems to offer in abundance.
The series can be described as a “tale of a peculiar man and woman in an unusual setting.” We often approach it like a collection of separate stories. We seldom revisit the same locations multiple times. As each narrative unfolds, we transition from one location to another. Spain offers a great deal of flexibility for such transitions,” Squillante explains.
Daryl Dixon” traveled to Aragon and was granted permission to film for nearly a week within the ruins of Belchite, a town close to Zaragoza that was devastated during one of the major battles of the Spanish Civil War in 1936-39. According to Squillante, it was “remarkable” or “extraordinary.
In the region of Aragon, they’ve filmed an awe-inspiring train sequence that demands a temporarily closed railway track for safety. Following stops in Galicia and Alicante, the character “Daryl Dixon” will travel to Barcelona, Seville, and Granada next.
Squillante remarks, ‘Spain boasts an extraordinary panorama that I don’t think viewers are fully acquainted with. We aim to leverage our narrative and mobility to offer a glimpse into a broader perspective of Spain.’
Although it’s a world that has undergone catastrophe, you can still find remnants of culture and history. People may not realize or appreciate the rich cultural and environmental diversity found within a country as large as Spain. There are striking similarities between Spain and California, but travel just three hours by train from Madrid, and you’ll find yourself in Galicia – a region that resembles New England.
“The Seven Dials Mystery”
securing a pivotal location in Ronda, an awe-inspiring mountain town featuring a bridge spanning a chasm, served as the catalyst for “The Seven Dials Mystery” to make its way to Spain, according to “The Crown” executive producer Suzanne Mackie.
In this captivating Netflix production starring Mia McKenna-Bruce, Helena Bonham Carter, Martin Freeman, and Ed Bluemel, I find myself marveling at the breathtaking vistas and the enchanting glow of the mountains. As an executive producer alongside Mackie, I’m thrilled to be part of an action sequence that unfolds across a magnificent viaduct. It’s truly a sight to behold, stunning in its beauty and grandeur.
Originally planned for the opening scene of the Netflix Agatha Christie series, the “Ronda” sequence was penned by Chris Chibnall, the writer behind Broadchurch and a former Doctor Who showrunner, in advance.
Chris Chibnall originated this captivating beginning,” Mackie, who is the producer from Orchid Pictures (a London-based firm she founded in 2020 under a Netflix contract), remarks. For 12 years prior, she served as the creative director at Left Bank Pictures. Chibnall oversees production through his company Imaginary Friends.
Mackie points out that Agatha Christie and James Bond both begin their stories by transporting readers to distant, exotic locations before delving into the plot. This technique, according to Mackie, is a clever device as it immediately establishes high-stakes environments for the characters. Additionally, while the mystery remains veiled, we are given a sense of what has transpired recently.
1925’s “The Seven Dials Mystery,” a quick-witted, grandiose, and swiftly paced drama, shifts to the U.K. and an extravagant country house party. A prank escalates into a homicide at this gathering, only for the narrative to return to Ronda at the commencement of Episode 2. Both episodes open with a captivating, highly complex sequence, a high-stakes scene set in Spain.
As a film enthusiast, I managed to wrap up the entire U.K. shoot during the summer months, took a brief break, and afterward, traveled with a compact team to Spain. There, I had the pleasure of reconnecting with Palma Pictures once more.
Mackie previously held the role of Executive Producer on the series “Mad Dogs,” produced jointly by Left Bank Pictures and Palma Pictures of Mallorca, led by Mike Day. This production company was also responsible for the Sky 1 hit that aired from 2011 to 2013, spanning four seasons. Later, Palma Pictures took on the production duties for “The Crown,” which ran from 2016 to 2023.
Since it turned out that a brief segment needed to be shot in Spain, I suggested: ‘It’s crucial to connect with Palma Pictures as I have collaborated with them extensively over the years. They are familiar faces, and their work is exceptional.’
It was Palma Pictures that secured shooting permission for the key location in Ronda.
Mackie shares, “When we worked on our project in Spain, many talented individuals from ‘The Crown’ were part of our team – people we had previously worked with and trusted. One pleasure of filming in Spain is the exceptional quality of the crews. The people are remarkable, and the infrastructure is robust.
Spain can serve as a stand-in for Spain itself, just like Mallorca in “Mad Dogs.” Similarly, it has the versatility to represent a wide range of real or fictional landscapes from different parts of the world.
Regarding “The Crown,” Mackie reminisces that instead of filming in South Africa, they ultimately filmed in Spain. Interestingly, various Spanish locations served as stand-ins for an Australian sheep ranch, Athens, and even Hollywood.
As a devoted fan, I’d put it this way: “I’ve always found Spain to be incredibly versatile when it comes to the diverse terrains required for filming. Filming ‘Mad Dogs’ there felt like we were pioneering modern-day productions in Spain – an experience that truly resonated with me and my team. We all agreed, ‘This is a perfect fit.’ I can’t help but envision Spain playing a significant role in my future projects.
“UAP”
“UAP,” a sci-fi thriller, could have shot multiple places in the world.
Featuring Joel Courtney (“The Kissing Booth”), Celeste O’Connor (“Ghostbusters: Afterlife”), and Charlie Evans (“Leave The World Behind”), the film revolves around a 4th of July gathering of old friends at Lake Tahoe, which takes an unexpected turn when an Unusual Mysterious Incident lands nearby.
Randy Wayne and Talia Bella from Rebellium Films in Oklahoma, who were responsible for “Wild Indian” titled “UAP”, didn’t have a particular location in mind when they chose to film in Spain, apart from creating a simulated version of Lake Tahoe.
They played a crucial role in initiating a fresh international business model for less extravagant U.S. shows, other than “No Body Problem,” in Spain. This involved collaborating with the Federation Spain and Eduardo Carneros, a Basque producer, who established a local version of an LLC, called AIE in Spain, to capitalize on significantly increased tax credits in the provinces of Alava and Bizkaia in Northern Spain.
In Alava, UAP was granted a 50% tax credit, which is often considered one of the best tax credits globally according to Wayne. Following the deduction of structuring fees, the production will net around 33% to 35% of this amount, as he further explained.
As a passionate cinephile, I’m thrilled to share that in October, my beloved studio, Rebellium, premiered its postpartum horror tale “The Beldham” at Spain’s Sitges Festival. Simultaneously, our coming-of-age drama, “The Book of Jobs,” had its debut at the Mill Valley Film Festival in the United States. This month, we completed production on a third Rebellium project, “40 Dates & 40 Nights,” right here in Houston. The anticipation is palpable!
As a film enthusiast based in Tulsa, I’ve had the privilege of capturing stories across various U.S. locations. Yet, there’s something truly special about filming here that has won my heart. However, the escalating costs of production within the United States have forced us to cut back on our budgets. Consequently, we embarked on a quest to broaden our understanding and started exploring tax incentives worldwide. After careful consideration of 25 potential schemes, we found ourselves drawn to the Basque Country. This is how our global journey unfolded.
Bella and Wayne, co-owners of Rebellium Films based in Oklahoma, selected four exceptional European production and service firms for potential partnerships. All were impressive; their intelligence was evident. However, a personal connection and financially viable figures made Federation Spain stand out as their preferred choice.
It was beneficial in the case of Federation Spain that Juan Sola, a longtime resident of Los Angeles and previous producing partner of Jaume Collet-Serra, resides there.
As the primary liaison for FS in Spain, Mark Albela took on the role as a producer for various film projects, including Ridley Scott’s “Exodus: Gods and Kings” and serving as co-producer for “Sexy Beast,” “Sahara,” and “Kingdom of Heaven.
On Independence Day in the United States, “UAP” events occurred. Leigh Romero, the location manager, and production designer Mafe Muñoz did an outstanding job transforming homes and surroundings into distinctly American settings, as noted by Wayne.
Starting on November 11th, our production, UAP, plans to film for six weeks along the coast of Biscay Bay, specifically in Alava, Bilbao, the capital of Bizkaia, and Getxo. This shooting spree will take us from Bilbao all the way up the coastline. Excitingly, our entire crew hails from Spain – our Director of Photography (Hermes Marco), editor (still under negotiations), as well as everyone involved in post-production.
Wayne remarked that the level of skill in Spain is remarkable, as we brought on board just five actors and a director,” implies the statement.
The depicted situations can be quite challenging, like one in which a large American semi-truck is hurtling along a street towards an unsuspecting child. “We utilized Visual Effects (VFX), Sound Effects (SFX), stunts, and drone operations,” notes Wayne. “Everything went smoothly,” adds Wayne.
The depicted scenes can be quite daring, for instance, one involving a large American semi-truck swiftly approaching an unsuspecting child on the road. “We had visual effects (VFX), sound effects (SFX), stunts, and drone operations,” recounts Wayne. “Everything ran smoothly.
He comments that the project has surpassed their anticipations,” he says. Living in an apartment in Bilbao, Bella, along with their child, finds the city appealing as everything is easily accessible by foot and there’s plenty to explore. On weekends, they’ve ventured to Valencia, Málaga, San Sebastián, and even France, all reachable within two hours – something that can’t be found in Oklahoma.
Next March, Rebellium intends to shoot a high-profile film featuring an acclaimed director and actors, across locations including Bilbao, Romania, and New Jersey.
Wayne states that ‘UAP’ is essentially a trial ground for Spain,” he says. “Given that we can shoot films in Spain with a top-notch team and considering the cost of living compared to our current location – we aim to produce many more movies here in Spain,” he continues.
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2024-11-27 17:52