Good Films Studios Spain Bets on Long-Term Production at Ciudad de la Luz

When Film Is More Than a Trip

Walking into a workshop at Ciudad de la Luz in Alicante, I was struck by something unexpected: a boat still sitting among the remains of Good Films Studios Spain's first production. It wasn't just any boat—it was the same one used for scenes depicting refugees crossing the Mediterranean in "People of the Book." The boat, now sold at Toronto by Bleiberg Entertainment, serves as a poignant reminder that what we're seeing here isn't just another stopover in Spain's film industry but a genuine attempt to build something lasting.

"I make my own films. I'm not a service producer and I never will be," Miriam Segal told me with conviction, her eyes reflecting the same passion that drove her through three decades of independent production across the U.K., Los Angeles, and Europe.

This isn't just another headline about yet another film set in Spain; it's about an entirely new approach. Segal, who's behind such films as "Good" starring Viggo Mortensen and "The Infiltrator," wants to create not just a place for film shoots but a full-fledged filmmaking ecosystem. With a €19.8 million investment from the Spanish state fund SETT and private partner Orogen Media, her company is planning 20 international features over 10 years.

A New Kind of Production Model

The shift in Spain's audiovisual sector is palpable. For too long, the country has functioned as a location for foreign productions, leveraging its natural beauty and infrastructure to draw big-budget projects—then letting them go. But Segal's approach signals something different. It's about building companies that can originate, finance, and retain ownership of projects from Spain itself.

And it's working. Ciudad de la Luz is buzzing with activity. Production trucks line its 197.7-acre complex. Disney's live-action "Tangled" has taken over a large portion of the facilities, while Good Films Studios Spain has established offices, workshops, and production space of its own. Between them, these two operations account for around 90% of the studio's current occupancy, according to Ciudad de la Luz director Carmen Alfonso.

But here's what sets this apart: instead of a stop-start rhythm, Good Films Studios Spain is testing a new proposition—sustained production. It's an idea that could revolutionize how the industry operates in Spain and beyond.

From Location to Industry

Segal brings more than experience to the table; she brings a vision for how filmmaking can become a local industry. Her company is betting on the long game, not just the next project. With committed financing, she's able to offer pay-or-play deals to actors—something that's been a dream for independent producers for years.

"I've never had an agent ask me, 'Where's the money from?'" she says. "What matters is having committed financing." This commitment allows her to tell agents: "We can offer your client a pay-or-play deal on this film." It's not about casting marquee names for the sake of sales, but rather about building a sustainable model that supports talent and production.

The structure also enables better planning. Segal says committed financing allows them to plan several films ahead, rehire crews, and structure training with greater continuity. "You can actually build an industry rather than just make films whenever you can," she asserts.

A Young, Talented Team

Inside the GFSS offices, a framed clapboard from "People of the Book" hangs alongside memorabilia from Segal's earlier productions, while a notably young team works across development and production. The development team is almost entirely under 30, with younger writers receiving early-career commissions.

The training program follows the same logic. Participants are not unpaid interns but juniors hired on proper wages and placed across departments, with the expectation that repeated productions will move them up the ladder. Segal describes "People of the Book" as "the best crew I have ever worked with across the whole world," and she's proud of the 85% Spanish crew.

For Mamen Tortosa, head of production at GFSS, this is a significant shift: "To have a community, one project isn't enough." Building stronger local crews requires repeated credits and time, but having a producer based at Ciudad de la Luz with a long-term pipeline represents a brutal change—something that could help transform the region into a filmmaking hub.

The Future of Ciudad de la Luz

Alfonso makes a similar argument from the studio side. Good Films' planned decade-long stay provides stability for the facility and surrounding economy while potentially helping justify further investment and attract other producers. The studios expect to remain heavily booked through the end of 2026 and into early 2027.

Ciudad de la Luz already has six soundstages totaling about 118,400 square feet, nearly 30 acres of backlot, and about 120,600 square feet of workshops and storage. Its signature roughly 328-by-262-foot outdoor tank has a natural horizon, wave generators, and a 394-foot green screen.

Segal also sees room to grow, both around the existing stages and in post-production. While final post on "People of the Book" will take her back to London for two or three months, she argues that keeping more of that process in Alicante could make Ciudad de la Luz a more complete base for independent producers.

Building the Next Generation

Segal's vision isn't just about making money; it's about creating opportunities for filmmakers of the future. "We want to change that by embedding paid training into every production, to help build the local industry and develop the filmmakers of the future," she says.

For those watching closely, this is more than a business move—it's a cultural shift. It represents a chance to build not just another film but a new kind of filmmaking community in Spain. And in a time when production is increasingly fragmented and temporary, it's an exciting experiment worth following.

At Ciudad de la Luz, Good Films Studios Spain is betting that staying put can make the difference—a bet that, if successful, could reshape how we think about film production globally.