I come from a family where aesthetics were always valued: my grandfather, an office worker, had been doing photography since the 1930s; my father, a Spanish teacher and a good photographer himself, painted watercolours. I became interested in cinematography quite early, around 7 or 8. It was near the ocean, in dazzling spring morning light; the street ran east-west, the sun was still low. My father put a Kodak camera in my hands and wanted me to understand the difference between frontal light and backlight, the effect of silhouettes. That moment stayed with me — the realisation that where you place the light source changes everything about how you perceive a subject.
Later, as a teenager, I became fascinated with Super 8 and started making short films with friends. I was drawn to the image more than to storytelling — I wanted to understand how light and lenses transformed reality into something emotional.