JORDI REDIU

I. Introduction: The Multifaceted Career of Jordi Rediu

Born in Terrassa, Barcelona, Jordi Rediu stands as a significant figure in the landscape of contemporary film production. With a career spanning over three decades, he has produced more than 40 feature films, television movies, and documentaries. Described as a "renowned and acclaimed producer," his influence extends from his native Catalonia to the broader international film community. Beyond his primary role as a producer, Rediu's professional journey is marked by a remarkable versatility. He is a former actor, director, and theatre producer, and his dynamic energy is further evidenced by his pursuits as a DJ, marathon and triathlon runner, and soccer player. This breadth of experience suggests a comprehensive understanding of both the creative and logistical dimensions of artistic endeavors. His profound passion for music, underscored by an impressive personal collection of over 20,000 vinyl records, complements his dedication to cinema, an art form he considers "the most exciting thing in life, after rock and roll."

This diverse background, encompassing performance, direction, and various other disciplines, paints the picture of an individual with a holistic grasp of the multifaceted demands of filmmaking. Such a wide-ranging skill set is not merely a collection of personal interests but likely informs a producing style that is empathetic to creative needs, resourceful in problem-solving, and adept at managing complex productions. His experience as an actor and director, for instance, would provide an intrinsic understanding of on-set dynamics and the requirements of talent, while his theatrical production background implies strong organizational capabilities. This multifaceted profile is further illuminated by his self-description as "a tireless man who feels the urge to keep on learning, considering himself as an eternal student." This commitment to continuous growth is particularly valuable in the ever-evolving film industry, suggesting an adaptive and forward-thinking approach to his craft.

Rediu's deeply ingrained passion for the arts appears to be a primary motivator for his professional endeavors. His enthusiastic comparison of cinema to rock and roll, coupled with his dedication to music, signals more than a professional occupation; it points to a profound artistic sensibility. This personal drive is explicitly connected to his filmmaking philosophy: to create "movies that exceeds the superficial, a sort of cinema that has something pointed to say." This ambition suggests that his extensive body of work is shaped not only by commercial considerations but also by a commitment to artistic integrity and the power of cinema to convey meaningful narratives. This guiding principle likely accounts for his involvement in a diverse array of projects, including those with significant artistic merit and social resonance.

II. Foundations and Early Ventures

Jordi Rediu's extensive career in film is built upon a solid educational and practical foundation. He graduated in dramatic art from the prestigious Theatre Institute of Barcelona, an institution known for nurturing Catalan artistic talent. His formal training did not end there; he actively sought to broaden his expertise through various specialized stages and seminars. These included immersive experiences with Peny Cherns and Sue Weston at the Lamda School in Barcelona, with Pavel Khomski, Director of the Mossoviet Theatre in Moscow, and with Jhon Stassberg of the Actors Studio, also in Barcelona. His pursuit of diverse theatrical techniques is further evidenced by his stage work with Director Genadi Bogdanov on biomechanics, the Meyerhold technique, in Pézilla-la-Rivière, France. Complementing this performance-oriented training, Rediu also delved into the mechanics of filmmaking by attending a script stage at the "Screenwriters School of Barcelona" with Albert Doumentier in 1994-95. His understanding of the business side of the industry was honed through participation in Media Seminars such as "Audiovisual Production & Co-production" in Madrid (1998) and "Creation & Financing" in Barcelona (1999), as well as a Media Master program at The Business School focused on Audiovisual Production. This comprehensive education equipped him with a nuanced understanding of both the artistic imperatives and the industrial realities of cinema.

His entrepreneurial spirit manifested early with the establishment of his first production company, Zeppelins Productions, in 1993. This venture marked his formal entry into the production landscape as an independent force. A few years later, in 1996, he founded Agotadas las Localidades (Sold Out films), a name that itself suggests an ambition for audience engagement and commercial success. These early companies were crucial in shaping his path, allowing him to begin building a filmography and a reputation. Under the banner of Zeppelin Integrals Produccions S.L., likely an evolution or affiliate of his initial company, Rediu co-produced the film *Youth (Joves)* in 2004. This project, a social drama depicting the struggles and aspirations of three young people, was a collaboration with producer Norbert Llaràs and directed by Carles Torras and Ramón Térmens.

The establishment of these two distinct entities in his early career—Zeppelins Productions, which undertook projects like the socially-themed *Youth (Joves)*, and Agotadas las Localidades ("Sold Out films")—points towards an early recognition of the dual demands of the film industry. It suggests a nascent strategy of balancing films with artistic or social relevance with an inherent understanding of the need for commercial viability and audience appeal. This duality, the capacity to navigate both art-house sensibilities and market practicalities, appears to be a consistent characteristic throughout his subsequent career.

Furthermore, the co-production of *Youth (Joves)* with Norbert Llaràs is significant as it marks the beginning of a key professional relationship. Llaràs would later become a partner in Zip Films, one of Rediu's most prominent ventures, serving as its CFO. This early collaboration underscores the importance of building and maintaining strong professional partnerships, a cornerstone of success in the inherently collaborative world of film production. Rediu's ability to foster such lasting working relationships from his initial forays into producing has evidently played a role in his sustained career development.

The Producer's Odyssey

III. Rise to Prominence: Zip Films and Key Productions

The founding of Zip Films in 2002, with Jordi Rediu as a founding partner, marked a significant phase in his ascent within the film industry. Headquartered in Barcelona, Zip Films became the vehicle for a decade of notable productions, many of which garnered international attention and solidified Rediu's reputation as a producer of distinctive and often challenging cinema. He remained with the company until 2012.

Among the standout projects produced under the Zip Films banner was *Timecrimes (Los Cronocrímenes)* (2007). This low-budget science fiction thriller, directed by Nacho Vigalondo, achieved remarkable critical success, evidenced by a 90% approval rating on Rotten Tomatoes and a score of 68 on Metacritic. The film's innovative narrative and taut direction led to multiple accolades, including Best Picture, the Gold Medal of the Jury Award Competition, and the Silver Medal of the Audience Award Competition at the 2007 Fantastic Fest. It also secured the Asteroide Award for Best International Sci-fi Feature Film at the Trieste Science+Fiction Festival in the same year. Furthermore, *Timecrimes* brought recognition for its director, Nacho Vigalondo, who received a Goya Award nomination for Best New Director and won the Newcomer Award from the Cinema Writers Circle Awards, Spain (CEC Medals), where the film also received nominations for Best Original Screenplay and Best Editing. The success of *Timecrimes* demonstrated Zip Films' capacity to nurture and produce genre films with significant international crossover appeal and critical acclaim.

Zip Films also engaged in numerous international co-productions. *Dark Buenos Aires (Negro Buenos Aires)* (2009), a social drama directed by Ramón Térmens, was a co-production between Spain (Zip Films) and Argentina (1971Cine), with Rediu serving as both executive producer and producer. Another notable international venture was *Blank Bullet (Srak Srak)* (2010), a co-production involving Spain (Zip Films), the Israel Film Fund, and Lunatique Films. This film, on which Rediu was a producer alongside Norbert Llaràs, Haim Bouzaglo, and Adi Cohen, won the Israel Award for Best Film in 2011 and received festival awards for Best Editing at the Syracuse International Film Festival.

The company's portfolio also included literary adaptations, such as *Memories of My Melancholy Whores* (2011), based on the novel by Nobel laureate Gabriel García Márquez. This ambitious project was a co-production between Spain, Denmark, and Mexico, directed by Henning Carlsen, and received the Special Young Jury Prize at the Malaga Spanish Film Festival in 2012. Earlier, Zip Films was involved in the Spain-Uruguay co-production *Palabras verdaderas* (2006), a documentary that won two awards. The company also produced the documentary *Fake Orgasm* (2010), a film that explored gender theory and identity, with Rediu and Norbert Llaràs as producers.

This period was also marked by ambitious financial undertakings and significant challenges. Zip Films had entered into agreements for substantial investment from New York-based venture capitalist Adi Cohen, through his entities GC Corporation and a new outfit, Regal Entertainment. These plans included GC Corporation taking a 25% stake in Zip Films for a reported $4.6 million (€3.7 million), with a further guarantee of $22.4 million (€18 million) over five years to invest in three films annually. Regal Entertainment was also to acquire a 75% stake. However, these highly publicized deals ultimately collapsed amidst financial disputes. Rediu stated that Zip Films "never saw a penny" of the promised funds, while Cohen cited "financial irregularities" as the reason for discontinuing the involvement. Despite this considerable setback, which included the dissolution of the Barcelona-based Regal company Rediu was to co-CEO, Rediu affirmed Zip Films' determination to proceed with its own slate. This included plans for an English-language thriller titled *The Body*, which Rediu himself was slated to direct, and continued efforts to establish international co-productions in the $12.4 million (€10 million) to $15 million (€12 million) budget range with companies in the UK, US, Canada, and Germany.

The trajectory of Zip Films under Rediu's co-stewardship clearly indicates a strategic emphasis on international collaboration and an adventurous exploration of genres. The consistent pursuit of co-productions across Europe and Latin America was a defining characteristic, allowing the company to access diverse funding streams, tap into varied talent pools, and broaden the potential market for its films. This approach was instrumental in positioning Catalan and Spanish cinema within a more globalized framework. The success of a distinctive genre piece like *Timecrimes* further underscored a willingness to take creative risks that could yield significant international recognition.

The collapse of the anticipated investment from Adi Cohen represented a critical juncture. Such a significant financial disappointment could have proven insurmountable for many production entities. However, Rediu's response—his declared intention for Zip Films to "move forward with its own projects" and his readiness to step into the director's chair for *The Body*—demonstrates a notable resilience and an unwavering entrepreneurial drive. This period of adversity likely provided invaluable lessons, shaping his subsequent strategies in film financing and partnership management, and highlighting a tenacious commitment to his cinematic vision even when faced with substantial obstacles.

IV. Expanding Influence: Entrepreneurial Leadership and International Ventures

Following his departure from Zip Films in 2012, Jordi Rediu embarked on a new phase of his career, characterized by the establishment of further entrepreneurial ventures and a deeper immersion into the realm of international film finance and global production strategies. He founded TuMaCAT films, signaling his continued commitment to production under a new banner. Projects produced around this period or later, such as the Israeli drama *Snails in the Rain* (2013) and the short film *Takbir* (2022), may be associated with this company or his work as an independent producer.

Rediu's influence expanded significantly through his association with several prominent international entities. He is listed as Head-Producer at Regal, a Barcelona-based production company. This appears to be a distinct entity from the earlier, ill-fated Regal Entertainment venture. UK company records for "I DON'T LIKE MONDAYS LTD" list Rediu as a Director, with a correspondence address at "Businesscenters Regal, Barcelona," indicating an operational hub there. A significant recent development in his career is his role from 2023 as Senior Producer and Mentor at Queen Kong Pictures, a company led by Roger Rediu.

His engagement in film finance deepened with roles as Head-Producer for BCL Finance Group and, notably, as Head-Producer in Europe and USA for DCR Financial Group, a New York-based company, also known as DCR Finance Corp. DCR Finance Corp. was co-headed or co-founded by Rediu alongside financier Adi Cohen—marking a renewed or distinct professional relationship after their earlier dispute involving Zip Films—and veteran producer Mark Damon. DCR Finance Corp. made significant strides in the industry, launching a $100 million film and media fund aimed at financing small to midsize films across Europe and the United States. The fund received a substantial $25 million investment from Cinevideotech Inc.

Under the DCR banner, Rediu was involved in financing several high-profile projects. These included providing Prints and Advertising (P&A) investment for *The Last Full Measure* (2019), a Vietnam War drama starring Sebastian Stan, Christopher Plummer, and Samuel L. Jackson. DCR also committed $65 million in financing for a remake of *Sinbad*, slated for production in early 2020, and was involved in completing the financing for the film *Starbright*. Furthermore, DCR backed the development of a feature film version of the award-winning short film *Anna*, directed by Dekel Berenson, on which Rediu had served as an executive producer. Demonstrating a commitment to fostering new talent, DCR Finance Corp. also partnered with the Jerusalem Sam Spiegel International Film Lab (JSFL) to launch a $5 million fund to support projects over five years. Additionally, Rediu is noted as a senior director and shareholder in Regal Capital Partners, a pan-European finance group focused on the film industry.

This period clearly illustrates a strategic evolution in Rediu's career. Moving beyond primarily project-based production, he increasingly engaged with the financial and strategic architecture of international filmmaking. His leadership positions within APX Group, BCL Finance Group, and particularly DCR Finance Corp., underscore a transition towards shaping funding mechanisms and global production pipelines. This progression suggests a deliberate leveraging of his extensive hands-on production experience to operate at a more systemic and influential level within the industry, perhaps informed by the complexities encountered during the Zip Films era.

The re-emergence of Adi Cohen as a key partner in DCR Finance Corp., following their well-documented earlier financial disagreements, is a noteworthy aspect of this phase. This renewed collaboration, alongside an industry stalwart like Mark Damon, points to the pragmatic and often complex nature of relationships in high-level international film finance. It suggests that shared strategic goals, complementary expertise, and the potential for significant mutual benefit can pave the way for new ventures, even after past conflicts. In the relatively insular world of global film finance, such realignments can occur when individuals are perceived as possessing unique or indispensable assets for a new enterprise's success.

V. Jordi Rediu's Cinematic Footprint: A Filmography Analysis

Jordi Rediu's extensive filmography, built over three decades, showcases a producer involved in a wide spectrum of cinematic works, undertaking roles as producer, executive producer, and associate producer. He has been credited with producing over 40 features, TV-films, and documentaries, reflecting a prolific and sustained output.

His recent and past productions include *El instinto* (2024, executive producer), the TV movie *Miró* (2024, writer), the short film *Takbir* (2022, producer), the TV Mini Series *Jimmy Boy* (2022, associate producer), and the short film *The Secret of the Butterfly* (2022, producer). Looking further back, his credits feature impactful films such as *The Last Full Measure* (2019, producer), the short film *Anna* (2019, executive producer), *Roe v. Wade* (2019, executive producer), *Alpha* (2013, producer), *Snails in the Rain* (2013, producer), *Implosion* (2011, producer), *Memories of My Melancholy Whores* (2011, producer), *Blank Bullet* (2010, producer), *Fake Orgasm* (2010, producer), *Dark Buenos Aires* (2009, executive producer, producer), the critically acclaimed *Timecrimes* (2007, producer), the documentary *Palabras verdaderas* (2006, producer), and the early short *Pa que veas tú* (1998, producer). His commitment to filmmaking continues with a slate of upcoming projects where he is listed as producer, including *Tell Me Why I Don't Like Mondays*, *Shooting Bernarda*, *Webcam*, *Shore Leave* (also listed as an actor), and *Northanger Abbey*.

An analysis of his filmography reveals a remarkable diversity in genre. Rediu has engaged with intense thrillers, science fiction, and horror, exemplified by *Timecrimes* and the planned project *The Body*. He has also produced poignant social dramas such as *Youth (Joves)*, *Dark Buenos Aires*, and the forthcoming *El instinto*. Biographical and historical subjects have also featured prominently, with projects like the TV Movie *Miró*, the true-life war story *The Last Full Measure*, and the controversial *Roe v. Wade*. His work in documentary includes *Palabras verdaderas* and the thought-provoking *Fake Orgasm*. Literary adaptations, such as *Memories of My Melancholy Whores* from Gabriel García Márquez's novella, also form part of his oeuvre. Furthermore, Rediu has consistently supported emerging and concise storytelling through his production of numerous short films, including *Takbir*, *The Secret of the Butterfly*, *Anna*, and *Pa que veas tú*.

Beyond his work behind the scenes as a producer, Jordi Rediu has also contributed his talents as an actor and writer. His acting roles date back to the early 1990s in various TV series, and include film appearances in *Alpha* (as Paco, 2013), *Babaouo* (as Taxista, 2000), and *Pa que veas tú* (as Paco, 1998). As a writer, he has credits on the TV Movie *Miró* (2023), the short film *The Secret of the Butterfly* (2022), and the shorts *El discreto arte de tocar los... a la gente* (2002) and *Pa que veas tú* (1998).

This varied filmography suggests a curatorial approach to production. Rediu has demonstrated an ability to balance commercially oriented genre films, which often possess broader audience appeal, with projects that delve into complex social issues, historical narratives, or artistic biographies. This eclectic selection aligns with his stated philosophy of aiming for a cinema that "has something pointed to say" and "exceeds the superficial". It indicates a producer who is not confined by genre conventions but is instead driven by the potential of a story, whether it is a mind-bending thriller like *Timecrimes* or a reflective documentary like *Fake Orgasm*. This approach allows for a diverse slate that can engage different audience segments while often imbuing the projects with deeper thematic resonance or artistic ambition.

Furthermore, Rediu's own creative contributions as a writer on several projects he also produced, such as *Miró* and *The Secret of the Butterfly*, along with his background as an actor and director, point to a level of creative involvement that can transcend the traditional logistical and financial duties of a producer. For certain films, particularly those he may feel a strong personal connection to or where his specific creative insights are beneficial, he appears to contribute directly to the narrative and artistic development. This blurs the conventional lines, positioning him not just as a facilitator but as an active creative force in the realization of these cinematic visions.

VI. Selected Filmography (Producer Credits)

A comprehensive list of Jordi Rediu's producer credits. Each entry links to a Google search for the film and his name to find more information.

VII. Championing Catalan Cinema and Industry Leadership

A defining characteristic of Jordi Rediu's career is his profound commitment to Catalan cinema and his active role in its promotion and development. His mission is explicitly "to promote Catalan films all over the world, making the kind of movies that exceeds the superficial, a sort of cinema that has something pointed to say." This ambition goes beyond individual film production; it reflects a dedication to elevating the international standing and cultural impact of cinema from his region.