Reunited for the first time to co-direct the series Love after love in the first 30 years of life Fito Paez, the filmmakers Felipe Gomez Aparicio AND Gonzalo Tabal highlighted that in the biopic that Netflix premiered last Wednesday “the big challenge was to generate something that worked as a story and not that you can read it on Wikipedia“.
According to Gómez Aparicio assures telam“beyond the narrative limits that the format of the series may impose, we feel very supported by Mandarina, Juan Pablo Kolodzjek, Mariano Chihade and Fito Páez. And Netflix has always been present in favor of telling the best believable story possible“.
In the same sense, Tobal observes that “any narration of a life, an autobiography, already implies a reduction to the text. When it comes to writing a screenplay based on an autobiography, as in this case, there is another reduction. And when it comes to producing it, I don’t even tell you, and this generates certain tensions and out there you have to give them a twist depending on the narrative“.
“When we started working we were locked up with Fito for three weeks reviewing and working on scripts and a lot of the talks had to do with that tension between how he remembered things and how to make it work on a narrative level without losing the essence or betray the truth”, expands with telam the author of the films Villegas AND accused.
In eight chapters The story breaks into the world of Argentine rock thanks to a production by the same artist Rosario together with Juan Pablo Kolodziej and Mariano Chihade, From Mandarin television.
With the protagonists of Ivan Hochman (in Páez skin) e Michaela Riera (like Fabiana Cantilo), the story includes other artists like Charly García (Andy Chango), Louis Alberto Spinetta (Julian Kartun) Juan Carlos Baglietto (responsible for son Joaquín) and Cecilia Roth (Daryna Butryk).
Also taking part in the story are Manuel Fanego as the composer’s manager, Gaspar Offenhenden as Fito in his childhood, Martin “Campi” CampilongoEugenia Guerty and Mirella Pascual as Rodolfo, Charito and Belia, respectively father, aunt and grandmother of the protagonist.
Both directors were summoned once the project had already started. “I was on vacation in the Spanish summer where I live. And I got a call from Juan Pablo Kolodzjek. I was already aware of the project and The theme gave me a lot of vertigo due to the respect that the musicians who appear in the series generate in me“recalls Gomez Aparicio.
“That same day they sent me the scripts and I read them all in the same night, while my children slept next to me. This story moved me a lot.which I already knew in part, but which could now be told and which we know why it deserves to be listed”, the director of the film abounds. The perfect David.
Tobal contributes to this call that, “knowing we would be working together, we started to define the dynamic of the work which started by doing all the previous design, casting, working with the creative and technical areas together.”
“Then -he explains- at the time of filming we divided first into weeks and then into days. But we had reached such an understanding that whoever it was was the one to film, we were both comfortable with what I was going to do for the point of understanding where we strengthen between the two.”
them and Fito
-How much did you know about Fito Páez when it came to directing?
Source: Clarin
