A Creative Commons-licensed film produced by thousands of people. Released at the same time on theaters, TV, VOD and for free on our website. Enjoy the experience at www.cosmonautexperience.com
As many of you know, last year we got a grant from the Ministry of Culture to help increase the legal offer on the internet of digital cultural content and help the modernization and innovation of the cultural and creative industries.
Thanks to that grant we were able to make our website and make available all our contents, just as we wanted it: creating a universe, a timeline, offering free webisodes and extra content, behind the cameras material, videodiaries… Everything together, in the order we wanted.
Something like that is the dream of every indie filmmaker that wants or has to take charge of its own distribution, but not everyone can spend the 60.000 euros a website like this costs, or access the grant.
The thing is, as many of you’ve said, those 60.000 euros were paid by everyone. And because of that, we want everyone to be able to use it.
Thanks to the people from Tecnilógica, who programmed the code, and to our designer, you can now download the code of our website and create your own version. Though the landing page of Kolibri Tools is in Spanish, all the info is in English here.
If you’re not an expert, you’ll need someone to help you out (we calculate that with a programmer and a designer to personalize it would be enough) but you’ll be able to skip all the hard work (we had a team of 10 people working for five months).
All the code (and the base PNGs designs, editable on Fireworks) is available at GitHub, a huge open code website, where you can download it or open a “derivate”, so you can make available for the community your own versions.
We’ve also created a repository for all the movies that use Kolibri Tools or that share our philosophy: Kolibri Cinema. Because, as when we uploaded all the raw material of the film, we can’t wait to see the amazing things you do with Kolibri Tools.
The Cosmonaut has not only been a movie, but also a “laboratory”, with over a hundred people working on it on its four years of development, leaving their personal mark and helping it grow. Now we open its doors so you can touch it all and get into the kitchen.
Welcome. We’re sure you will amaze us.
We know many of you are eager to know the final date for the USB deliveries, and we hope we’ll be able to tell you this week, but meanwhile, be wanted to explain a bit more why it’s taking so long (for what we’re really sorry).
Basically, we’re perfectionists. The USB shaped as the Kolibri module was one of our first ideas, it was one of the products we were more excited about and after being so closed to renounce to it, now that we have the chance to make it… we want it to be 100% like we imagined. We want it to be perfect and we want you all to be as surprised for its quality as you were with the Book-DVD.
The problem is that it takes a lot of time, because the US manufacturers have to make a prototype, they have to show it to us, we have to make the corrections, then a new prototype, more photos… So far we haven’t been completely satisfied with the results and we’re worried that the final product won’t be ok. That’s why we keep insisting on improvements.
But while we wait for a new version and for the final date, we wanted to tell you about this, apologize once more, and, also, show you the last images we’ve gotten, so you can get an idea and give us your opinion.
One of the most crazy things we decided to do with the movie was saying, four years ago, that we would upload all the material we shoot. Everything. Every take. The good ones, the bad ones, the ones that haven’t been seen not even in the Eastern eggs…
And we’ve done it.
When we were students, we dreamt of “re-editing films”. Making that the bad guy got away with everything. Deleting that shot that (youthful arrogance) didn’t belong there. To change the meaning of a scene. Deleting a subplot. Transforming something cute into something sinister.
With a lot of skill, some people have done similar stuff. Like the chronologic version of Memento, or that legendary “Star Wars: Episode III.5: The Editor Strikes Back”, that sums up in just one movie the three prequels of Star Wars.
Nevertheless, there’s a huge difference between ripping a movie and cutting and pasting (it’s also f* difficult having the music contaminating the dialogs) and getting all the video and sound takes shot during a month and a half to live the same experience as the editor.
Ey! That scene is not on the movie!
After a lot of hard work and thanks to the exhaustive tagging and classification that Daniel Garcia did with the help of Arturo M. Antolín and Daniel Cascales, all the video and sound material is now, as promised, online on the Internet Archive servers (another people who are simply amazing).
There are many hours of unseen material.
This is the first time in history, that we know, that a feature film does something like this.
Do you want to edit your own version of the movie?
Do you want to transform it into a short film, like Topher Grace did with Star Wars?
Do you want to make a parody, deconstruct it, get to know its secrets?
Do you want to use our HD images for your personal project?
Now you can.
If you know about FX you can get crazy and edit a completely different movie.
Download the guide written by Daniel Moreno and you’ll see how easy it is. Every sequence has many takes (and the audio files that go with each one of them) but here it’s all very clear: find whatever you want with the over fifty keywords and the script pages, scrolling through the stills, or by sequences. You can look to the whole movie or look just for what you want.
You have the XML files that will help you synchronize the audio of almost every sequence using Final Cut or Premiere (you’ll have to explore them a bit, but not everything can be so easy).
As soundtrack, if you have your K-Pass, you already know that on “Behind the scenes” you can download the first release of music: the alternative soundtrack by FK Digital Records.
When you have your creation, add it to the group “Cosmonaut Remix” on Vimeo and let us know on twitter. We want to make it the Weekly Remix so every fan sees it.
You’re going to be blown away by how many different endings you can create.
It’s been a month and a half since the premiere and, though time seems to pass in a strange way now that the movie has been released… we still have a lot of stuff to tell you. This post is, somehow, a summary of lots of things and four years of really, really hard word, so if you’re in a hurry we recommend you to make coffee and read it with time.
Before starting, we wanted to contextualize things a bit. The truth is that the premiere has been like a roller coaster and even being aware of what we had on our hands, people have been more critical than we expected. We don’t question it, things are what they are, but instead of getting all blue because things weren’t as happy as usual, we’ve decided to look back and see why we are here today and everything we’ve done during this journey. We believe it’s an exercise worth doing, whether you liked the movie or not, whether it was what you expected or not, and whether you are a fan (thanks!) or not (thanks too!).
The movie that should not exist
That’s what the video before the movie says, as does this section of our web.
“Some time ago we wanted to make a movie, and on the way, reinvent how films were financed, produced and distributed. Search our own path and engage the audience.
They said that we were crazy. That it was impossible. That it was not realistic and that it would never work.
We didn’t believe them.”
But without needing so much poetry, the reality is the following:
When we started The Cosmonaut we were three friends who went to university and had no idea of cinema. On the way…
- We’ve become one of the biggest and more successful crowdfunding projects, starting a trend in Spain that nowadays keeps growing.
- We got thousands of you to get involved, participate, follow us daily, discover all the secrets behind the cameras, save the shooting in just three days.
- We’ve done an extremely ambitious film, not just because of its unconventional narrative but because its incredibly good technical side: sound, visual effects, cinematography, actors… A lot of people is still surprised to see that, specially being a team so young, and the budget we had, because…
- We’ve done it with 860.000 €. The average budget for a feature film in Spain is 3 million, but not only that…
- It’s not just a feature. We’ve produced more than 250 minutes of content: a feature, 34 short films (yes, that’s right), a facebook fiction and a book. And more than 30 pieces of behind the cameras, and audiocommentaries, and photographs, and…
- And what’s more, we’ve done it all. Just us. Usually there’s an external marketing company. Another one edits the DVD. Another takes care of screenings and festivals. Another distributes the movie and commissions the website to someone else. Or licenses the merchandising and that’s it. But not us. We’ve done all this ourselves.
The effort this has meant has been monumental. Epic. And don’t you think we are flattering ourselves, we just want to thank from here our team because they’ve done an exceptional job and so many sacrifices that they deserve a monument.
We’ve never calculated it exactly, but doing this the traditional way would have costed several millions.
And all this stuff is not to justify anything, far from it. We’re terribly proud of the movie we’ve done and of getting it done. As we said on the beginning, this movie should not exist and, nonetheless, it does.
So now that we all know where we come from, let’s get to the point: where we are and where we’re going to.
We’ve had over 80.000 reproductions of the movie on our channels. To this you have to add the two thousand people that went to the premiere in Madrid and Barcelona, plus the +70 screenings all over the world, and the festivals that have screened it, and the VODs data that we don’t have yet. On Canal+ about 10.000 people more watched it.
We’ve already sold, without being in any retail store (that’s it, only on our website) over 400 DVDs.
If we make the numbers as the Ministry of Culture does (2 people per DVD and online reproduction), more or less, the movie has been seen by 175.000 people.
The transmedia episodes have 80,000 reproductions. We multiply by two and that’s… 190,000 people watching the 34 short movies.
· Is that good or bad?
It’s A LOT for a movie that hasn’t invest a single penny in promotion nor has followed the commercial circuit and was released just seven weeks ago. To put it in context, in its first weeks Carmina o Revienta was seen by 70,000 people (counting as we have). In the two years that’s been online, Porque hay cosas que nunca se olvidan, the most awarded short film of all time, has been seen by 300,000 people on youtube.
· So does that mean that you’ve made as much money as Carmina o Revienta?
Far from it. You have to take into account that we haven’t had a movie theater or DVD distributor, that our movie is online for free encouraging viewers to choose how much to pay, if they want (what has blocked many commercial options) and that we are not Paco León (a million followers on twitter against our 8,000).
· Ok, we want numbers.
Of course. We’ll publish them as soon as we’re done doing the figures of this first stage and then every few months. Most of the income will come on the second stage, when we start the international sales of the movie (we’ll tell you more on that later). What we can infer from the figures we have so far is the following:
- The “share to view” system has been a success, getting lots of people to know about The Cosmonaut, but it still has to grow a lot more. We’re going to do everything we can so millions of people watch The Cosmonaut, not just tens of thousands, though it’s a job that takes a lot of time and effort.
- The “pay what you want” model works, but worse than we expected. This can be because of a million (literally) factors. What do we think? That it’s a combination of two things: the movie is not a mainstream movie (we knew that already) and it’s a model still too new that needs time so the viewers understand the repercussions of a new relationship between creators and viewers and what that means on an economic support level. This will take its time and we hope to see this change applied to our movie. As in other many obstacles we’ve faced, being the first one has its risks.
It can also be related to the fact that many of those viewers already helped financing the movie, the way our website is designed (always respectful, without getting bothersome, without asking for things twice or trying to “trick” the viewer) or the percentage of people who are used to pay on the Internet.
The percentage of people that has chosen to make a donation through our website is of 0.38% and the average donation is of 4.41€. We’ll see how this figures evolve on the next months.
- That our tools to ask for the movie in your city and organize a screening also work well: over 70 screenings in 12 countries, people paying to watch the movie, unique experiences created for those screenings… But the promotion needed to get more screenings and the management for each one of them is enormous and, unfortunately, we’re less and less people on the team as the time passes.
- That all the innovative aspects of the project (crowdfunding, where we were pioneers; transmedia, where we’re also being pioneers; distribution, the same) is interesting for a lot of people and that makes that (besides all the universities and cinema and business schools where we already are case studies, and the books and thesis written about us, and the people that talks about us) there’s a lot of interest from festivals to screen the movie and putting on the table these issues. Just on september we’ll travel to Stockholm, Malmö, Marseille, Paris, Toulouse, Almería, New York, Kazakhstan and Moscow (again). This makes the movie keep growing.
The release of the movie was a small earthquake. Two things have happened:
- We’ve received savage reviews. Most of them, we understand. We’ve done a non-narrative film, which not everyone likes. It’s also a kind of poetic movie, far from the commercial conventions. Far from it for us to want to be pretentious, as some people has said. It’s a movie that comes from a personal view, which you connect with or you don’t, and lot of people hasn’t connected to it. We understand it and we’re sorry some of you haven’t liked it.
- On the other hand, we’ve also gotten some incredibly amazing reviews. People that has come to us after the screenings, moved, to congratulate us. People that has been deeply moved and has seen the movie several times, immersing themselves in the universe we’ve offered them. The reactions have been very extreme on both sides so it’s quite difficult to assess if we’ve done a good or a bad movie. Time will put it in its place but it’s been and keeps being an amazing experience to see how much some people have liked it. Though it’s always difficult to face bad reviews, every good one makes up for them.
We are truly proud of something and it’s that every single review says the same: “On a technical level, the movie is impeccable”. Sound, music, direction, acting, visual effects… the most heard commentary is “everything works perfectly, except the script”.
And why are we proud of something like this? Because we feel that with the “basics” we’ve done our part and everyone agrees that in those aspects the movie is good, even above the average. So we feel we’ve done a good job on that part, as not everyone can like a movie, and there’s a very personal and subjective element both while doing it as while enjoying it.
A transmedia project. Rethinking how to tell a story.
What we believe:
- We believe the Internet, the different screens we interact with, how disperse and chaotic information is and lots of other factors related to how information moves and gets arraigned… it’s changing the way we watch thing.
- We believe that this, plus the possibility of using different platforms and formats, opens enormous possibilities to a new way of understanding stories. We can tell stories somehow else. Rethink the old ways. Explore new ways.
- We believe this new narrative will be big in the future. It’s not going to replace the conventional narrative, but coexist with it. It’s already doing it.
- We believe that exploring a story from the point of view of a “universe”, where every star or planet has its own entity but also form galaxies and systems and can be understand together or individually, it’s equally or more important than doing it on a lineal way.
Why people wrongly think The Cosmonaut is a transmedia project:
- The Cosmonaut is not a transmedia project because we got in over our head and shot crazily and then we didn’t know what to do with all the material.
- The Cosmonaut is not a transmedia project because we didn’t know how to tell a conventional story in 3 acts.
The way we tell the story was a choice. And we’re really happy of having had the opportunity to explore this new and brilliant way.
What we are sorry for is that so many people is not giving the same importance to the transmedia contents as to the movie. Maybe we can say that’s our fault, because, maybe, we haven’t insisted as much on communicating that The Cosmonaut is not only a movie, but a story told during 3 hours through 36 pieces. And we know this because some people has told us “Wow, after watching all the transmedia contents… I understood a lot of choices… I liked much more the movie and now I feel like I have seen a single movie. Like a unity”.
Is this way of telling a story right? We don’t know. Does it fit in the current way of telling stories? It doesn’t seem so. Does it makes sense? Will it become something normal in the future? We have no idea. As we said, time will put the movie/project in its place, for better or worse.
Which doesn’t mean that we consider the movie is perfect. We can see its defects and we’re trying to contextualize both the good and the bad comments. To learn. To understand. To do it better next time.
Anyway, like with everything new about this project, we keep going patiently. Bit by bit. Without losing the thrill of all this time.
Where do we stand now?
What we have going on right now is the following:
- We get about 30 mails everyday. Some of them are related to some shipping issues we solve. Others are to invite us to talks or festivals and others are about stuff that ends on strategies to keep bringing the movie to more places.
- We’re coordinating all the screenings that will take place from now until october, on all the places we’ve mentioned before and some more. Usually on september everything comes back to life and if two months before september looks complicated, we don’t want to imagine what it will really be like.
- We’re also shipping the Book-DVD. Lots of you already have it at home. Soon, when we have a bit of time, we’ll start negotiating with retail stores (the bigger ones: FNAC, MediaMarkt… and also smaller ones: comics and books stores…). If you know someone who might be interested in selling the Book-DVDs or the USBs, send them our way, please.
- Soon there will be someone new on the team: Pablo Lara. Pablo is going to help us in this new stage of social media. We’re going to think new strategies and look for new viewers wherever they are.
- We’re also getting ready some new events: a remix competition with Innovation Cathedral, VJ Spain and Mira festival; a screening-experience during the Bilbao BBK Live; a weekend project with Vimeo and different special screenings on DIY Days Paris or the New York Film Festival.
- And, specially, we’re working on the distribution strategy of the film.
We want to be honest: there’s something we did wrong. We did it wrong because there was no other way of doing it but now that we’re dealing with it it’s being difficult.
On The Cosmonaut we’ve always worked with the minimum. That means, so you get an idea, something like working eight hours a day for the movie without getting a single penny (and no, no one supports us, to that you have to add the hours we worked everyday on other jobs that allowed us to eat or pay rent).
Obviously, the more important thing for us was finishing and releasing the movie. That was our principal goal because that’s what we owed you all. The problem is that the effort we did for that was enormous. We burned many bridges and now that the movie has been released, as it’s normal, we’ve had to let go bit by bit the team, who need to look for other jobs.
This means that right now our team is even smaller than a few weeks ago. Where there should be 20 people, there’s “3″. And we can’t even be working full time on the movie because, as we said before, we need to pay the bills.
We think it’s also important to tell you something: after six years living adventures together we, Bruno, Nicolás and Carola, the three founders of Riot Cinema, have decided to not continue making projects as a producing company. We feel the need to put some distance and take different paths. It’s been a very intense few years, we’ve grown, matured and changed together and now is time to keep growing apart from each other. We’re still together in everything related to The Cosmonaut and the company will still be legally open to keep managing everything related to the movie even though we’ll be starting different adventures. Maybe in the future some project as amazing as this one we’ll make us come together once again.
Anyway, don’t you worry about the film, we keep being 100% committed to it and we’re not stoping until we’ve tried every single option to take the movie to every possible place on the planet and to try that our team can be paid and our investors can get their money back. That’s our commitment.
This is the distribution stuff we’re dealing with right now:
Lots of festivals hear about us and invite us but we’ve decides to be more active from now on. We’re working with Promofest, a feature film distributor for festivals, and they’re going to help us send The Cosmonaut to every possible festival during the next or maybe two next years. Feature films have a long live on the circuit and with any luck we’ll get some selections and maybe some prizes.
We’re also trying that big festivals like Sitges, Gijón, Sevilla or San Sebastián pay attention to us and screen the movie.
We’ve signed an agreement with an american aggregator called Gravitas Ventures. Aggregators work on getting your movie on all the possible VOD platforms. We’ve already negotiated directly with many of them (Filmin, Yomvi, Nubeox, Filmotech, Wuaki and others) but doing it at an international level is a monumental work and many of them (iTunes, Netflix) don’t even let you do it if it’s not through one of these companies. Thanks to them we’ll be on platforms from all over the world.
- International sales
We’re negotiating distribution agreements on Italy, Colombia and the ex-USSR republics and Russia, but from now on we’re going to leave this to the professionals. We’re closing an agreement with an international sales agent (when it’s closed we’ll tell you about it, we’ve actually had several offers) who is going to try and take our movie to all the possible markets and sell it in all the possible territories. Of course, it’s going to be twice as much work, for they not only have to sell the movie, but also convince local distributors and tv’s of our new model. They’re going to have to invent new ways but they’re as excited as us to try different things and see what happens. On the next months we’ll begin to see the results. As with the festivals, this is a slow process and can take up to two years.
- Blockbuster vs Arthouse
As some of you know, for it created quite a bit of controversy, a famous journalist has been insistently asking us for figures through twitter, almost as if the economic success or failure of the movie, and even worse, the model, depended on the first weekend results.
We want to tell him and everyone else with the same doubts something: on cinema there are as many distribution models and results as there are movies, but you could say that there are two trends in distribution: the blockbuster and the arthouse or indie.
For the blockbuster the results of the first weekend mean everything. Depending on how many people go to those first screenings, you get back much of the invested money. Because of that they spend incredible amounts on promotion (sometimes more than 40% of the total budget) so that first weekend is a success.
In our case, of course, that’s impossible. First of all because our movie is, conceptually, one of the so called arthouse or indie films. As we’ve already said, the risks we’ve taken narratively, aesthetically and monetarily, make it a small circuit movie. Also, because our promotion budget is zero.
The good part is that with zero we’ve got way more press coverage than any other movie of this kind. The bad part is that some people were expecting blockbuster’s results.
The Cosmonaut is going to have a slow growth, an organic one. It will expand bit by bit. It will be screened in lots of places, as it’s already happening. And, if everything goes as it should, it will have returns: sales, guaranteed minimums, screening sales, merchandising…
We’ll tell you all about it, as often as we can. Any doubt or question, you already know where we are. Any idea, the same.
Meanwhile, we wanted to thank you all. Thanks for being there these four years. For the support (economic, yes, but specially moral) and for making possible a project that, we’re sure of it, will keep making noise, as Stas’ transmissions, for a long time.
The last stage of The Cosmonaut begins.
I went to Moscow for the first time four years ago. Thanks to Julia Blatún we visited Star City, I taught a class at MGIMO, we were received at the VKIG and we started a journey that we had know idea how or when would end.
Here are some entries I wrote back then:
Somehow I feel like yesterday a cycle ended, was closed. I went back to Moscow (this was the forth time) with the movie finished, with lots of work behind us and a bit less naiveté but the same illusion we felt that winter we crossed the whole city with two cosmonaut suits that we had bought on the black market ant that will become one of the symbols that kept us going until the shooting.
The premiere couldn’t be better. The screen was giant. The sound perfect. One of the best movie theaters of Moscow, one of the few that shows movies on their original version.
We presented the movie with Julia Blatún, our producer and guardian angel in Russia; Manuel Hernández Gamallo, cultural attache of the Spanish Embassy; and Tatiana Pigariova, culture director of the Moscow Cervantes Institute.
Of course, if a russian director had done a movie about Spain, shot in English and in another country, I would be suspicious too. So this premiere was the one that scared me the most. How would the viewers react? Would the be horrified? Would they hate it?
When it was over, about 50 people went to the Q&A. The questions they asked were done with the utmost respect and admiration. Not only had they liked the movie, but it actually had deeply moved them. Some of the were asking to themselves: “How can someone that is not russian, that hasn’t lived all this, have captured our essence? The way we look at it?”
Suddenly, a big, tall man come up to me: “I work at the Aviator watches factory. We make the Sturmanskie watches… the ones cosmonaut wear to space. I’ve seen that Andrei wears one on the movie and it’s moved me. Here (while he took out a watch), I want to give this one to you on behalf of Sturmanskie. I’ve loved the movie”.
The word more repeated was “Spasiva”. “Thanks. Thanks for doing a movie like this one”. As I said, I feel I’m closing a cycle. Tonight the movie will premiere on St. Petersburg and its life on Russia begins. And I can only thank Russia back. Thanks for making us live this journey.
We also want to thank and wish honor and a long life to:
Nadezhda Kotova and Anna Chetverikova from 35mm
The Moscow News journal and Rostislav Vyleghzhanin & Olesia Solomatina
As well as Anna Oleynikova, Andrei Slivchenko, Vnukova Irina, Dmitry Semionov
We’ve received about 40 mails like that one, complaining about the delay with the DVD and the USB. All very polite, but stern.
We have to thank you for several things: first of all, how understanding you have all been in your mails; secondly, that you have waited this long to start getting nervous (people usually lose their patience way sooner); and finally that it’s been 40 and not 400 the mails we have received (because we know that even if you haven’t written to us you’re all equally impatient).
Ok, let’s get to it. Dates and why the delay.
DVD – Book
The last page of the book gives us away: it’s been printed for weeks! But, how come it’s not on your bookcases already? Might it be because we’ve complicated everything and we have now to put the DVD inside it? Argh, yes.
We’ve had to synchronize two workflows: editing the DVD (authory, compression, testing it so it works perfectly in every single one player) and printing the book. The books have been printed for a few weeks, but they have arrived just today. The DVDs will arrive next friday. That means we’ll spend the next weekend gluing the DVDs to the books with a lot of care. We promise we’ll post photos.
You’ll beging receiving your collectors edition DVDs during the week of the 17th of june. There’s not much mystery or uncertainty now left (except that our office gets burn down or a meteor destroys the truck that will bring us the DVDs).
This has been more complicated. Designing the usb-ship has taken us a lot of time. We couldn’t get all the detail we wanted originally and you know us: we don’t do things half-assed. So we’ve been working on it for weeks until every detail was as perfect as possible with the budged limitations we had.
Our heads and computers have been working full time on it, we can assure you.
Once the design was finished, a week ago, and with the final colors and materials chosen, it’s been sent into production.
Meanwhile, in Madrid, we’ve produced the fist 16GB USB with all the material at the maximum quality possible. Everything we promised you, and a bit more. It’s all been sent to the manufacturers a couple hours ago.
The first USB we’ll be done this month. To that we’ll have to add the packaging: something really amazing that you won’t threw away, for sure, and some other surprises. With all this, it will all be done and ready to be shipped on july 1st. You’ll start getting them a few days later.
Summing up and apologies
We’re not going to complain again about how difficult it’s doing your own editing, how few people we are and all that stuff. Truth is, this time, we haven’t been up to the task with the timing. But this is also true: when you have them home, you’ll feel it’s all been worth the wait. We are sure of it.
As you all know already if you receive our newsletter, the K-Pass is now in full effect, granting access to our website and all the fiction content, behind the scenes clips, video diaries from the shoot, project timeline, soundtrack, the digital book and many other things we will be adding the next weeks.
To gain access to most of this stuff, you will need your K-Pass information. To get it, you will have to do the following:
1. Go to this link.
2. Type in the email address you gave us when you became a producer.
3. Check your inbox, there will be an email waiting for you there. If you don’t receive it, please check the spam folder.
4. Click on the link that you will find.
5. You will get a new mail with the password. To change it, you need to log in at the store and go to “Personal Information”.
An important tip: when you are watching the film and you are logged in with your K-Pass we don’t ask you to share the link or donate (of course!) But if you close the window, you will return to the request screen. This is solved by just refreshing the page. Reload it, and when you press “play”. The screen won’t appear again.
And that’s it! With your email address and password you will be able to log in to the K-Pass and all its web content. If you have any problems (like it says your email doesn’t exist), you can write to this email and we’ll try to solve it asap :)
The Barcelona premiere’s hangover has been long, not only because we ended the party well into the next morning after an epic night, but because we’ve also had a mentar hangover. Getting to the first great goal, the premiere, after four years of really hard word, can exhaust anyone. One feels a bit empty and even though we’ve kept working like crazy we felt like “woah, I need holidays”.
There are still so many thing to do that we’re not taking any break now, as we’re just starting the second stage of the project: bringing the movie to as much people as possible. We have to start negotiations to distribute it around the world and agitate all the wasps’ nest that we can so everyone keeps talking about the movie until infinity and beyond, until there’s no one left that hasn’t watch it.
We’re also traveling all over the place to different screenings of the movie. We’re telling you all about this journeys though our social networks, in case you want to be up to date with The Cosmonaut’s adventures.
Soon we’ll tell you more things, we’ll publish the first numbers, announce little surprises and we’ll keep trying to make your movie even more important. Meanwhile, we leave you with a little visual chronicle of what happened in Barcelona’s Premiere.
Thanks to Air Europa, part of the team travels to Barcelona for the premiere :)
There’s nothing better than working late in a place with wifi and cool beer ;)
We started on friday with the Think Thank, that could be followed by streaming
Simon Klose, director of the documentary of The Pirate Bay, participated all day long on our Think Tank and joined us for a few cosmobeers afterwards ;D
Getting everything ready on the CCCB on Saturday…
People waiting for the big moment
The transmedia previous to the movie starts
Nicolás, Carola and Bruno introducing the movie and pressing The Button
After the movie, the beautiful credits by Vení :’)
Q&A with the team, via stream, and the cosmonaut suit draw!
Some of the team on the photocall :) And afterwards… party!
The next day the guys from Arròs Movie cooked us an amazing paella
And once the Cosmonaut has been set free…
…we go back home, to keep working.
Once again, we have to thank lost of people: the CCCB, for lending us their amazing space and making it all so easy, Gloria Vilches, Inés Garriga and her team, Alberto Tognazzi, Marc Prades and Kike Doatis, Antoni Roig and his amazing team at the UOC, all the speakers of the debate and the Think Tank. And, of course, Just Eat, because thanks to them we could all have dinner with all the people that came to the premiere!
It wasn’t as we had dreamt. IT WAS BETTER.
Over a 1000 people. Thousands of smiles. Applause. Tears. The perfect ending for a journey of four years… that has just begun. We wanted to tell you a bit of what we lived that day with a few images :’)
The Cosmonaut on the giant screens of Callao City Lights :’)
Part of the crew on the photocall. Carola was missing because she was doing producer stuff ;)
The only photo where Carola is not on the phone
Carola, Bruno y Nico introducing the movie to a thousand people…
The Kolibri on Callao :’)
After the movie…
All the crew prepared for the Q&A
Luís Enrique, the cinematographer, answering questions
Steve Galache (Sasha) translating for Katrine and Max
Telepizza arrives!! They gave us 150 pizzas so everyone could have dinner.
That’s the right way to “support culture” ;)
And afterwards… Party at the Larios Café with Cosmonaut Mojitos by Forcevital. They were incredible!
On the premiere, with so much to say, we didn’t have the time but we want to thank everyone that helped us make all of this. Thank you, the producers and investors, the team that has sweated blood to bring you this movie; thank you Pepephone, Entropy Studio, Forma Pro and Pecera, without whom we wouldn’t have been able to finish the movie, thanks to Callao City Lights for taking us in, to Playthenet for lending us their screens, Cocktails Forcevital for taking care of the +500 mojitos we asked for, and to Larios Café for letting us dance until the morning in one of the best parties we remember.
And two days later… Well, thanks to the tickets Air Europa gave us, half the crew flew to Barcelona for the Worldwide release. We’ll tell you all about it soon ;)