Tuesday , January 19 2021

"Before we were references, now we're demolishing"



"The most necessary in the state of exile is to restore something normal," says Leonardo Padrón, referring to the opportunity to resume his work to write his first international drama, Amar Muirata, which debuted in style, capture the greatest melody in Mexico – where he lives – As well as among the Hispanic crowd in the US, through Univisión.That crowned a successful career of more than 20 years that placed him as a successful librettist in Venezuela and now transcends boundaries with a start that better ogers were unable to provide.

– "Omar Muirata" started with a very good foot in Mexico and the US, what materials do you think led to success?

I believe that a healthy expectation was created thanks to the amount of elements: the subject, the actors, the promotional images. I guess they speculate. This industry is surprised every day. Nothing is written on stone.

– How dangerous has turned out to be such an extraordinary subject in the telenovela as riddles about what happens after death?

– Dangerous as a stimulant. We writers are always talking to death. We seek to understand this through words. Where we came from and where we are going are the central questions of man. "Love to Death" asks about the mystery that so many popular religions and beliefs try to answer. Is there life after death? Does the soul survive us? What happens if we have a second chance? All these questions are explored throughout the series, based on the story of the Colombian writer Julio Jimenez called "En cuerpo ajeno" which has already been covered on other occasions. This is a very strong argument to which I added additional elements.

– Do you want to focus on designing and developing a project while living in a traumatic situation like exile?

The most imperative in the state of exile is to restore something normal. And above all, the flow of your work. For me it was a fortune to get this opportunity. And I assume that with the rigor and responsibility it demands. The wounds of exile I try to keep inside.

– What are the differences and imagination, the way of developing your work, there is between our Mexican television industry?

Differences? many. Another market, another public, and other cultural values. Another production system is notorious: I do not know most of the players. I had to rely on my eyes with the suggestions that W Studios and Televisa did for me. But a story is always written with the same slogans, here and in Australia.

– What is the distance between Leonardo Padrón of "Amoras de Pinot de Siegelo" and "Omar Muirte"?

"They're more than 20 years, many moons, right? I guess there's a bit more skill, greater control over the tricks of the trade and a higher awareness of what can or can not be achieved. Before we were pioneers, the vanguard, the reference, now we are ruins, so he re-played himself, in a very different context, which I did not expect.

He said that telenovel is a window that looks at the reality of the country, how does "Omar muerte" try it in the case of Mexico?

– From the story of love and the juicy investigation of the transsexual theme of souls, I also wanted to raise the extreme complications of journalism in Mexico. It is one of the most dangerous places in the world to realize the profession. Journalists are constantly threatened, extorted, tortured or killed by drug cartels. I have a piece of Shlomo that embodies this subject.

– think soap opera "Venezuela" remained for a long time at its peak stage and nothing that appears in the word end?

– There is still not even a high stage. The state has entered the abscess as an agony as it annoys. This is the most dangerous thing that can happen to us. That people have no more urgency than to cope with their survival, and that the protest is extinguished by fear and oppression.

– What conclusion would you write about this telenovela?

Classic end. Where the villains pay for their crimes and the good people recover their fullness. I think happy ending has never been so desired. The time of difficulty was exaggerated. We all want to see the end of this dark dictatorship. See the roads, ports and airports collapsed by a tsunami of people returning home. See the opening of santamarías business. The water comes out of the pipes. Giant trucks fill the markets with food. Music hugs this national holiday.

– How many episodes do you think you're missing?

I have time with wounded optimism. The mistakes of the opposition leadership were so numerous that a strong word like "hope" filled with holes and dents. The tyranny, for the time being, deals only with conscientious power. Some chapters are still missing.

– The Mexican visitor is like us or is he different?

– I still do not know it at all. I was shocked only by one visitor who angrily claimed that the teleseria first appeared in the United States than in Mexico. A national outburst. But he did not even bother to discover the reasons.

– How much was your mother's death unable to come to say good-bye to her?

This is one of the wounds I will not forgive the regime. Like me, this situation happened to many people. It hurt without words.

– Are you exile or self-exile?

– Self-exile? It was not on my plan. I have already taken sufficient circumstances. One of the characteristics of all tyranny is deciding on the fate of other humans.

– Do you always live outside of Venezuela or are you sure that you will be able to return to the right conditions to live here?

"Of course, I'll be back." Millions will return. Others, no doubt, will live and remain far away. But I will never give Venezuela my hope.

– Where is the singing in a situation like the one that lives?

In one of your favorite places, which is silence and contemplation. Everything is arranged until he finds his way to breathe in words.

– The reality critic left a side to the poet?

Not necessarily. Poetry helps me understand it better. Poetry constantly asks reality. He shakes it. He interprets it. She nourishes her. Poetry is always resistance.

-Maraca Semprún has been your best fabric of tears and emotional support in this situation?

– He was my great companion. My support is invaluable. Treasure Everything would be very different if we did not have one. There is nothing like the couple navigating the exiled storm.

– What do you want to write after "Omar Muirte"?

– Between what I want and what it touches, let's go now on what it touches.

"He's one of the lovers of death?"

Love is an abyss, always. So sometimes their failure is like the dizziness of death. But if I am honest, the only place worth dying from is literature.


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