Guillermo López Aliaga has long drawn interest toward a craft often unseen by the public: the art of film editing. This field, populated by dedicated professionals who rarely bask in the spotlight, plays a crucial role in shaping any cinematic project. López Aliaga, a professor and researcher at the Miguel Hernández University, has taught fiction since 2014 within the Audio-Visual Communication degree. He recently published a book under Tirant lo Blanch, Conversations in the gray supremacy movie editing room, gathering eight leading Spanish editors to share their work across generations.
Over a 25‑hour sequence of pandemic video conversations, López Aliaga condensed 328 pages into eight chapters, presenting the experiences of widely recognized editors. The work, titled The history of Spanish cinema, weaves in experiences, anecdotes, curiosities, and working methods. The contributors include Pedro del Rey, Elena Jaumandreu, Marisa Pino, Teresa Font, Pablo Blanco, Nacho Ruiz Capillas, Fernando Franco, and Irene Blecua. These editors are described as the “shadow architects” of film, whose contributions are foundational to any finished production because the editing room is where the movie truly comes into being.
The book accompanies López Aliaga through a Berlanga fellowship, paving the way for a new, extended research project spanning 18 months with the film academy. The editor notes a persistent concern: there are English‑language and other international essays, yet a lack of Spanish editions that foreground the editors’ voices. His quest is clear: to elevate the profession in Spain and ensure it is seen and valued as a core creative force.
Joan Marimon, a professor of fiction at the Catalan film school ESCAC and author of the foreword, praises López Aliaga’s perseverance. His long journey now opens a window onto a group of professionals who helped shape nearly seventy years of Spanish cinema, from the 1950s to today. The testament is a catalog of insights gathered from a vibrant period of cinematic history.
There are veteran figures among the editors. King Peter, based in Madrid and born in 1931, edited Buñuel and many emblematic titles such as Viridiana, Tristana, and Carmen, contributing to more than 150 films. Elena Jaumandreu, born in Barcelona in 1936, earned admiration from Orson Welles as “the best editor in the world” after collaborating on projects with Saura and others. Maria Luisa Pino, born in Madrid in 1941, worked on international productions including Robin and Marian, and Conan the Barbarian, connecting with figures like Richard Lester and John Milius. Teresa Font, born in 1956, has been nominated for six Goyas and won twice, with credits including Urbizu and Pain and Glory collaborations. Paul White, born in Madrid in 1955, has seven nominations and three Goya wins, including Airbag and The Witches of Zugarramurdi.
Among the younger generation, Ruiz Chapel (Madrid, 1966) has nine nominations and a Goya for Others, while Fernando Franco (Seville, 1976) has been nominated four times as editor and also directed features such as Spring Blessing. Irene Blecua (Barcelona, 1971) began with Day of the Beast and later collaborated with female directors such as Isabel Coixet and Paula Ortiz. She is a founding member of the Spanish Association of Audiovisual Editors (AMAE). The roster reflects a lineage of mastery across decades, with editors contributing to a wide spectrum of Spanish cinema.
Editorial credits highlight enduring partnerships and a culture of collaboration. As a reflection of this dynamic, the book collects anecdotes about the editing process. For instance, Marisa Pino recalls a period on Conan where an abundance of material led the team to hide footage from the director to maintain momentum, while Font recounts scenes from The Day of the Beast where a short sequence required multiple takes to extend the stairway ascent. Paul White describes a different ending for The Witches of Zugarramurdi, one that screenwriters and director agreed could be changed to align with a preferred emotional arc. These stories underscore how editing decisions can reshape narrative outcomes.
Across these memories, the editors emphasize a shared belief: when the image passes into the editing room, the narrative often takes its most revealing form. They also acknowledge that occasional continuity gaps in shot sequences rarely derail a scene if emotion and performance are strong. The craft is presented as an artistic and intellectual pursuit that can elevate a film even when technical precision is imperfect.