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Majority of ‘Guardian of Dragons’ filmed at home in Llanes, reveals filmmaker

Abraham López Guerrero, an animation director born in Madrid but raised in Asturias, is creating waves in the animation genre with the premiere of “Dragonkeeper”, the first Chinese-Spanish macro production directed by Salvador Simó and Jianping Li. The film is an adaptation of Carole Wilkinson’s novels and took more than seven years to complete with a budget of 24 million euros. López previously won a “Goya” for best animated short film in 2021 with “Blue & Malone: impossible cases”.

Three quarters of ‘Guardiana de Dragones’ were created in Asturias, specifically in López’s home in Llanes. López is currently working on a novel called ‘Mare Monstrum’ inspired by Asturian and Celtic mythology. His next project, ‘The Impossible Journey’, will also feature elements from Asturian folklore.

The acceptance of ‘Dragonkeeper’ has been positive, with López emphasizing that it is a powerful film despite having a fraction of the budget of major animation studios like Pixar or Dreamworks. The collaboration with Chinese partners was crucial for the film’s success, showcasing a mutual benefit relationship.

López describes the filmmaking process as a long and intense journey, with more than seven years dedicated to the project. As an animation director, he worked closely with Salvador Simó to bring the fantasy world of ‘Dragonkeeper’ to life.

‘Dragonkeeper’ is a classic adventure film reminiscent of 80s movies like ‘The Goonies’ and ‘Indiana Jones’. López highlights that the film’s narrative is universal yet respectful of Chinese culture and mythology, making it appealing to a wide audience.

The film was created using computer animation techniques but required meticulous manual work to bring the virtual characters to life. López emphasizes the importance of creating a real heroine in ‘Pin’, inspired by his own daughter’s natural growth and empowerment.

López expresses his concerns about the impact of mobile devices on young audiences and the importance of understanding the changing media landscape. He also shares his thoughts on the potential of Artificial Intelligence in storytelling, cautioning against misuse of technology for cost-cutting purposes.

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