{"id":72555,"date":"2025-12-08T07:30:05","date_gmt":"2025-12-08T06:30:05","guid":{"rendered":"https:\/\/a-desk.org\/?p=72555"},"modified":"2026-02-26T13:08:06","modified_gmt":"2026-02-26T12:08:06","slug":"conversacion-rosa-verges","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/conversacion-rosa-verges\/","title":{"rendered":"A pioneer who refuses to be recognized as such"},"content":{"rendered":"<p>From her beginning as an assistant (running errands on film sets and learning by observing), Rosa Verg\u00e9s explores her diverse cinematic journey, a journey that has taken shape through practice and curiosity. She worked as a script supervisor, assistant director, and finally, as a director. In our conversation, we also delve into the experiences of other women in film (actresses, editors, producers, and directors) who have given their all for film and have built their careers amidst obstacles, silence, and small victories that have marked the history of cinema.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/IR6IfYOsf6M?si=B0li2ljgzjpCHuUc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>Marisol Gald\u00f3n:<\/strong> Some consider you an early pioneer since you achieved great recognition with your first feature film, Boom Boom, and you were the first woman filmmaker to win the Goya Award for Best New Director.<\/p>\n<p><strong>Rosa Verg\u00e9s:<\/strong> There weren\u2019t as many women filmmakers before as there are now. That is, there weren\u2019t as many women directors. There were always many women filmmakers, that is, producers and especially editors, but fewer women held the position of director and they weren\u2019t very recognized.<\/p>\n<p><strong>MG:<\/strong> In Spain, people always talk about Pilar Mir\u00f3 and Josefina Molina, but they don\u2019t mention Ana Mariscal, for example, who directed eleven feature films and was also an actress, teacher, and producer.<\/p>\n<p><strong>RV:<\/strong> That\u2019s true, and there are even more. There was a Catalan woman named Rosario Pi. There\u2019s always a lot more women to discover. It was a different time.<\/p>\n<p><strong>MG:<\/strong> You started from the bottom, doing everything, including scriptwriting.<\/p>\n<p><strong>RV:<\/strong> I used to be an intern.<\/p>\n<p><strong>MG:<\/strong> What does it mean to be an intern?<\/p>\n<p><strong>RV:<\/strong> That role doesn\u2019t exist anymore. It comes from the vertical union. The intern worked doing \u201cgo and tell\u201d, that is, go find the actor and bring the coffee. My first film was <em>La oscura historia de la Prima Montse<\/em>, where I was the one who was in charge of bringing coffee to Ovidi Montllor, and I began a good relationship with her there. I took the job so seriously that, since Ana Bel\u00e9n was alone in Barcelona, \u200b\u200bI felt I had to treat her to hot chocolate every Saturday and look after her on weekends. Sometimes it happens that people with very different career paths end up getting along very well.<\/p>\n<p><strong>MG:<\/strong> You were also an assistant director. Is that where your passion began?<\/p>\n<p><strong>RV:<\/strong> I\u2019ve had a passion for cinema since I was young. They used to call me a \u201cfilm buff.\u201d Speaking of pioneers, my mother\u2019s sister was Silvia Morgan, a very important actress. She made many films and retired young. She was really beautiful. In those days, being an actress was frowned upon. I was fascinated by film and I\u2019d go around with a little notebook and jot down my thoughts on movies, but I never dared imagine I could make a living from it. I went to university and studied Art History just because there was a History of Cinema course taught by Miquel Porter i Moix.<\/p>\n<p><strong>MG:<\/strong> Just last year you received the Gaud\u00ed Honorary Award\/Miquel Porter.<\/p>\n<p><strong>RV:<\/strong> That was funny because in one of the first days of class, in the main lecture hall of the University of Barcelona, \u200b\u200bhe asked for someone to help him. He was setting up what would become the Generalitat\u2019s film directorate. I raised my hand. His office was in the basement of the Palau G\u00fcell, it was beautiful. I spent a year filing photos, thinking I\u2019d reached the top. Back then you couldn\u2019t study film here. Josep Maixenchs hadn\u2019t yet had the idea of \u200b\u200bcreating ESCAC. I was with him from the beginning. I\u2019ve always felt connected to film education precisely because I couldn\u2019t study film. I had to learn by doing and observing.<\/p>\n<p><strong>MG:<\/strong> Like Orson Welles, who learned by watching John Ford\u2019s The Stagecoach over and over to understand how shots were made.<\/p>\n<p><strong>RV:<\/strong> I\u2019m not like him, he was a genius. I haven\u2019t had that kind of cinephile drive. My thing is observing. For example, right now, on this terrace, I\u2019d like to know what that girl over there is writing or what those people are talking about. I\u2019ve been more inclined to narrate the life I see and feel. It\u2019s a different style, more basic.<\/p>\n<p><strong>MG:<\/strong> I want to focus on the theme of \u201clate-blooming pioneers,\u201d women who are recognized late in life or even after they die. Jane Campion was the first woman to win the Palme d&#8217;Or at Cannes with The Piano, when she was 39. Kathryn Bigelow was the first woman to win the Oscar for Best Director with The Hurt Locker in 2009, when she was already over 50. Is it still difficult for women to achieve recognition as a director?<\/p>\n<p><strong>RV:<\/strong> Jane Campion was already very well-known in Australia. The difficult thing is for a film to break through and become an international phenomenon, to get into a festival, to be appreciated by the jury. The films you mention are good, but if they don\u2019t transcend borders, nobody sees them. That\u2019s what festivals are for, they\u2019re a showcase. Reaching an audience is incredibly difficult, no matter who\u2019s directing.<\/p>\n<p><strong>MG:<\/strong> Do you consider yourself a pioneer?<\/p>\n<p><strong>RV:<\/strong> No, I have too much respect for that word. Alice Guy was a film pioneer, the first person in the world to have the idea of \u200b\u200bmaking fiction rather than documentary. She was Gaumont\u2019s secretary. Gaumont was a French inventor and industrialist, one of the pioneers of the film industry. One day, the Lumi\u00e8re brothers came to show their invention. She saw the first film projected, of workers leaving the factory, of a train that seems to be heading toward the audience. As she left, she said to her boss, \u201cThis is interesting, but why don\u2019t we get some short plays and actors and stage some scenes? I\u2019d like to try that.\u201d And he said, \u201cYou can, but don\u2019t forget your work as a secretary.\u201d<\/p>\n<p><strong>MG:<\/strong> For many years, that was the handicap for women, keeping a job or a family and doing everything else later.<\/p>\n<p><strong>RV:<\/strong> In terms of pioneers, I think women are especially suited to film. Directing a film is like running a family, full of emotions, psychology, food, clothes. All those centuries of listening without being able to speak created a culture of teamwork and of sustaining the spirit. It\u2019s very similar. Women have always been able to express emotions, to cry if necessary. Cinema transmits emotions. In another life, I would like to be a woman and dedicate myself to cinema again.<\/p>\n<p><strong>MG:<\/strong> You\u2019ve directed four feature films but in recent years you\u2019ve been more interested in documentaries, as well as theatrical productions and teaching.<\/p>\n<p><strong>RV:<\/strong> I taught for many years, at Pompeu Fabra University, Ramon Llull University, the University of Barcelona, \u200b\u200bESCAC. I love keeping in touch with people who are starting out and help maintain their curiosity. What interested me most about cinema has been learning and fueling my curiosity. That\u2019s why my work is so limited, I can\u2019t tell a story I don\u2019t believe in. I can only do what I really believe in.<\/p>\n<p><strong>MG:<\/strong> Like all creators.<\/p>\n<p><strong>RV:<\/strong> Well, there are very gifted people who can make films under many constraints. To overcome obstacles and make you believe, I have to believe it myself first. I don\u2019t know if that\u2019s a good thing or a bad thing. Billy Wilder said the same thing. It\u2019s a way of building trust with those who work with you, which is the most important thing.<\/p>\n<p><strong>MG:<\/strong> Do you do commissioned work?<\/p>\n<p><strong>RV:<\/strong> I\u2019ve done a lot of advertising, but it never felt very comfortable. I always wanted to do more. In advertising you have to do exactly what they ask of you, and that\u2019s as it should be. It\u2019s a luxury to be able to do what you truly believe in. Nobody is waiting for you anywhere, you have to fight.<\/p>\n<p><strong>MG:<\/strong> A lot. And find the money.<\/p>\n<p><strong>RV:<\/strong> In every filmmaker\u2019s biography, there are moments of discouragement and unproduced screenplays.<\/p>\n<p><strong>MG:<\/strong> Financing has always been problematic. Directors like Alexander Mackendrick stopped directing because they didn\u2019t know how to ask for money.<\/p>\n<p><strong>RV:<\/strong> That\u2019s where the producer comes in. I\u2019m the daughter of an editor and I understood that a book was a manuscript on my father\u2019s desk. If one day it became a Delibes or a Matute it was because a publisher saw the potential. Filmmakers also need a producer who believes in them. These days, there are online platforms, big streaming studios, they all have the same business model, and it\u2019s hard to see the creative side. McLuhan said in 1964 that information overload makes you ignorant. Today, there\u2019s so much content and so much access to movies. The problem is no longer funding, because you can make a film with a phone. The challenge is reaching an audience, communicating, connecting those who want to film with those who want to watch.<\/p>\n<p><strong>MG:<\/strong> Are you going to direct another feature film?<\/p>\n<p><strong>RV:<\/strong> I\u2019m currently working on a documentary about a guitar. Yesterday I presented a music documentary that\u2019s part of a NUIC project about composing through mathematics. It brings together different disciplines.<\/p>\n<p><strong>MG:<\/strong> Music and mathematics have always been close.<\/p>\n<p><strong>RV:<\/strong> Of course, science and art always flirt.<\/p>\n<p><strong>MG:<\/strong> And teaching?<\/p>\n<p><strong>RV:<\/strong> Not anymore. There\u2019s a gap between my cinematic influences and those of 17- or 18-year-olds.<\/p>\n<p><strong>MG:<\/strong> But, as in literature, there are classic works that will always be there.<\/p>\n<p><strong>RV:<\/strong> Yes, but there are films that no longer stand the test of time, for example Kubrick&#8217;s A Clockwork Orange, Lolita, because of how women are treated. The portrayal of women in film is what has changed the most.<\/p>\n<p><strong>MG:<\/strong> Is it appropriate to judge from a current perspective?<\/p>\n<p><strong>RV:<\/strong> I didn\u2019t say that. I focus on what is being done, how it\u2019s being done, and what is being seen. There\u2019s a gap between what an 18-year-old sees and what I see, although there are still curious people who are earning a place in the industry.<\/p>\n<p><strong>MG:<\/strong> Is there anything you want to add?<\/p>\n<p><strong>RV:<\/strong> Right now, there are many very talented women in film who are beginning to be recognized. You can choose from several films in theaters (it\u2019s better to see them in a theater than on a streaming service). I think it\u2019s time to say: \u201cI saw it in a cinema,\u201d \u201cI was at the theater,\u201d \u201cI was at the concert.\u201d We need to share emotions with other viewers.<\/p>\n<p><strong>MG:<\/strong> Socializing. Thank you very much and good luck with your projects!<\/p>\n<p>&nbsp;<\/p>\n<p>(Featured Image: Alice Guy-Blach\u00e9. Source: <a href=\"https:\/\/www.instagram.com\/efemeridefotografica\/\" target=\"_blank\" rel=\"noopener\"><strong>@<\/strong>efemeridefotografica<\/a>)<\/p>\n<div class=\"html-div xdj266r x14z9mp x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x9f619 xjbqb8w x78zum5 x15mokao x1ga7v0g x16uus16 xbiv7yw xat24cr x1uhb9sk x1plvlek xryxfnj x1c4vz4f x2lah0s x1q0g3np xqjyukv x1qjc9v5 x1oa3qoh x1nhvcw1\">\n<div class=\"html-div xdj266r x14z9mp xat24cr xexx8yu xyri2b x18d9i69 x1c1uobl x9f619 x5lhr3w xjbqb8w x78zum5 x15mokao x1ga7v0g x16uus16 xbiv7yw x1lziwak x1n2onr6 x1plvlek xryxfnj x1c4vz4f x2lah0s xdt5ytf xqjyukv x1qjc9v5 x1oa3qoh x1nhvcw1\">\n<div class=\"x1i10hfl x9f619 x3ct3a4 xdj266r x14z9mp xat24cr x1lziwak x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz x6s0dn4 xjbqb8w x1ejq31n x18oe1m7 x1sy0etr xstzfhl x1ypdohk xl56j7k x1y1aw1k xf159sx xwib8y2 xmzvs34 xcdnw81 x1epzrsm x1jplu5e x14snt5h x1obq294 x5a5i1n xde0f50 x15x8krk x972fbf x10w94by x1qhh985 x14e42zd xt0psk2\" tabindex=\"0\" role=\"button\">\n<div class=\"x6s0dn4 x78zum5 xdt5ytf xl56j7k\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"html-div xdj266r x14z9mp x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x9f619 xjbqb8w x15mokao x1ga7v0g x16uus16 xbiv7yw x1e56ztr x1uhb9sk x1plvlek xryxfnj x1c4vz4f x2lah0s x1q0g3np xqjyukv x1oa3qoh x6s0dn4 xmixu3c x78zum5 xl56j7k\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>From her beginning as an assistant (running errands on film sets and learning by observing), Rosa Verg\u00e9s explores her diverse cinematic journey, a journey that has taken shape through practice&#8230;<\/p>\n","protected":false},"author":2957,"featured_media":72394,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[7111],"tags":[5750,7154,7493,7494,7492,7495,7491],"coauthors":[7112,7113],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - 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