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Bio-John Monteagudo If Film is Truth at 24 frames
per second then where does that leave Video? This is the kind of crap that John
Monteagudo thinks about as he searches for the truth through the lenses. Cuban born and naturalized as
an American citizen after his family fled Cuba, the young Monteagudo wanted to
be a philosopher when he grew up, then a writer, then a photographer.
But as he grew up watching films in New York area arthouses he began to
believe that he could combine all three as a filmmaker.
Of course, he was a pretentious son-of-a-bitch but he says that's genetic
so you can't blame him for it. Desperate to break into filmmaking he founded Prozac Productions. It was named after his psychotic cat; whose full name is Prozac, the Manic Depressive Wondercat.
John, himself being emotionally unstable, is saddened by the
fact that his cat died before completing his first independent film... Driven by his desire to be a
filmmaker and to make sure that his cat did not die in vain. John Monteagudo proceeded to apprentice under Dov S-S Simens
of the Hollywood Film Institute, where he received a degree in Filmmaking and a
Producer's Diploma. He also joined
the IDA and IFP where he has worked as a volunteer for the past three years at
the Independent Spirit Awards and also volunteered at the San Diego Latino Film
Festival under Co-Directors Ethan Van Thillo and Fred Salas. His support of Latino Cinema
led him to his destiny. This when he agreed to work for free as a PA, still
photographer and general slave laborer on a Cuban short film called "The
Emerald Cut." It was here that he met Cuban and Puerto Rican filmmakers
working together in pursuit of Cinematic Truth and in particular he met Mario
Gomez Joya. Joya is a Cuban
Cinematographer of many years and films. Including:
"Strawberries and Chocolate" and "The Last Supper." Having
seen everything by Tarantino and Kevin Smith, it was Joya who awakened him to a
world of Cuban and Latino Cinema that he had never known existed.
Films like "¿Who the hell is Juliette?" and the work of Tomas
Gutierrez Alea. In his own self-delusional search for meaning John Monteagudo became convinced that he had the blood of Cuban Cinema in his veins. As he sends out his Documentary of San Diego's independent music scene to film festivals, his therapists insist that his only hope is acceptance into a major festival to force him to deal with the realities of the independent marketplace.
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