director's cut bio
Alonso is proficient at a few things, but talking about himself is not one of them. Having said that, he feels that if talking about oneself it is most convenient to do it in the third person, so he will do that. He will add that talking about himself in the third person feels like he’s writing about a fictional character. Alonso is not fictional. He is real. After all, he wrote this, and he couldn’t have written it if he weren’t real. If that were the case, that might even make you—the reader— fictional as well. And he assumes the reader doesn’t want to be fictional. So there, we are all real here. If there are any fictional readers out there, please do get in contact with him and he’ll get you sorted.
Back to Alonso. In his early 20s, he was working as a self-taught musician in San Francisco and the idea of scoring films appealed to him. Wanting to learn more about the medium he wanted to write music for, he signed up for Film Production and Cinematography classes at City College of San Francisco. His interest in cinematography and directing grew and he continued to study and shoot film. In 2005, he moved to Spain, where he studied and shot some more. He’s directed and worked as a cinematographer on various fiction films, music videos and commercials. Many of these works have screened in festivals around the world. Even won some awards.
Alonso enjoys the collaboration of a tight crew and loves the challenge of creative problem-solving magic that a tight team and crew can bring. His experience shooting, directing, editing, composing and writing enable him to approach each project with a wide-angled view, whether he’s shooting, editing, directing or scoring. He’s always looking to meet and work with curious and creative minds.
Fun fact (widely based on the reader’s—fictional or otherwise—concept of fun): As a young Bruce Lee fan, Alonso and his brothers used to make highly choreographed martial art films in their living room using the family High 8 camera—the same one the family took to Disneyland and that witnessed all those early karate tournaments. Their short films included in-camera edits, ‘Mellies’-style disappearances, overhead shots, the whole nine yards… Reckless abandon in youth is a wonderful thing.
Feel free to drop him a line if you’d like to work with him or just say hello. Hello!