Upon being given the privilege to peek at an old photo album, Sergi Rubió reached the conclusion that Montse Caminal had in fact gotten more beautiful, and best of all expressive, with the passage of time. This anecdote was written into the script, thus appearing in one of the scenes; the same in which the old photo album was allowed to play a part.
On the very first day of shooting, one scene in particular needed to be shot in a hurry as the rain began to fall directly on the crew in the middle of filming (this on top of the rain which was already scheduled to appear in the shot as one can see in the final cut of the film)
One outdoor sequence was still scheduled for the very first day of shooting, just as it began to rain heavily. It was decided that the scene would be shot interior and the crew proceeded accordingly by first preparing the indoor lighting. However, as soon as everything was set to go, the rain stopped and the crew found itself basking in sunlight which suddenly made it possible to shoot outdoors as originally planned.
The story doesn't stop there though, as the shoot was suddenly plagued by new weather- related obstacles of a visual nature, as evidenced by a lack of continuity on the part of the sun which began darting back and forth from behind the passing clouds. Watching the sequence now, one begins to understand how, in the very same shot and despite clever editing, the changes in natural lighting became uncontrollable and therefore inevitable.
Having recently suspended a project due to a gap in budget, it was in the same year, 2012, that Sergi Rubió decided he wanted to make another short film. If necessary, both he and Mr. Carles Guarch were willing to tighten their belts, even more so this time around. Then, a circle of friends -in other words a social network, that and a restaurant (which doubled as a residence) located in the mountains. Both filmmakers had therefore a set which did not need building, one essentially inspired by the family that lived there day in and day out, an important factor which informed the other sets used for the actual shoot as having an authentic quality to them, as if they had been built especially to fulfill the needs of both the script.