Wednesday , August 4 2021

"Before we become a reference, now we are debris"

"The most important thing in the situation of exile is to restore something normal," Leonardo Padrón said, referring to the opportunity to continue his work and write his first international drama, Amar a muerte, which debuted in style, capturing the greatest song in Mexico – where he living – through the Televisa network, as well as among US Hispanic audiences, through Univisión. Thus a successful career crown of more than 20 years which placed him as a librarian who succeeded in Venezuela and now surpasses the limits with the beginning that a better complement cannot provide.

– "Amar a muerte" starts with a very good foot in Mexico and the United States, what ingredients do you think result in success?

-I believe that healthy expectations are generated thanks to a number of elements: themes, cast, promotional images. I guess they are guesses. In this industry people are surprised every day. Nothing is written on stone.

– How does the risk of approaching a subject so unusual in the telenovela as a puzzle about what happened after death?

– Very risky as a stimulant. We writers always talk to death. We try to understand it through words. Where we come from and where we go are important human questions. "For love to death" asks about mysteries that so many popular religions and beliefs try to answer. Is there life after death? Does the soul save us? What will happen if we have a second chance? All these questions are being explored throughout the series, which are based on stories by Colombian writer Julio Jiménez called "En cuerpo ajeno" and which was discussed on another occasion. This is a very strong argument that I have added other elements to the further dimension.

-Do you want to focus on project design and development while undergoing traumatic situations such as exile?

– The most important thing in a situation of seclusion is to restore something normal. And, most importantly, your workflow. For me it is good luck to accept this opportunity. And I consider it with the accuracy and responsibility it demands. I am trying to keep the exile wounds inside.

– What are the differences and similarities, in how to develop your work, is there any among the Mexican TV industry and us?

Difference? Many. Other markets, other public, other cultural values. Another production system Something also famous: I don't know most actors. I have to trust my eyes with the proposals made by W Studio and Televisa for me. But a story is always written on the same basis, here and in Australia.

– What is the distance between Leonardo Padrón from "Amores de fin de siglo" and "Amar a muerte"?

-They are more than 20 years old. Many months, right? I think there is little skill, mastery is greater than trading tricks and greater awareness of what can or cannot be achieved. At the same time, television has changed a lot. What is calculated and how it is calculated in Venezuela, before we become pioneers, pioneers, references. Now we are rubble. So he has played back himself, in a very different context. I did not expect it.

-He said that the telenovela was a window that looked towards the reality of the country, how did "Amar a muerte" try it in the case of Mexico?

-Share of love stories and juicy exploration of the issue of soul transmigration, I also want to increase the extreme complications of journalism in Mexico. This is one of the most dangerous places in the world to run the profession. Journalists are permanently threatened, extorted, tortured or killed by drug cartels. I have a whole plot that embodies that theme.

– Think that the "Venezuelan" soap opera has long survived in its peak stage and nothing has emerged from the Final word?

– There isn't even a high stage yet. This country has entered chaos as suffering because it is annoying. That is the most dangerous thing that can happen to us. That people have no more urgency than dealing with their own survival and the voice of protest is extinguished thanks to fear and oppression.

-What is the end you will write for the telenovela?

– A classic ending. Where criminals pay for their evil and good people restore their fullness. I think a happy ending has never been so desirable. Time of difficulty has been excessive. We all want to see the end of this creepy dictatorship. See roads, ports and airports collapsing due to the tsunami of people returning home. See the opening of the santamarías business. Water coming out of the pipe. Giant trucks fill the market with food. Music Hug National holidays.

– How many chapters do you think you don't have?

-I have time with hurt optimism. The opposition leader's mistakes are so numerous that the word as strong as "hope" is full of holes and dents. Tyranny, meanwhile, only cared about keeping himself in power in the most immoral way. Some chapters are still missing.

– Mexican critics are similar to us or different?

– I still don't know at all. I was just shocked by one critic who angrily claimed that teleserie was first aired in the United States rather than in Mexico. Nationalist explosion. But he didn't even bother to find out the reason.

– How far is your mother's death and can't come to say goodbye to her?

-This is one of the wounds that I won't forgive the regime. Like me, that situation has happened to many people. It is wordless pain.

– Are you exile or seclusion?

– Self-exile? It's not in my plan. I already mentioned enough circumstances. One attribute of all tyranny is deciding the fate of other humans.

-Do you always live outside Venezuela or are you sure that you will come back under the right conditions to live here?

-Of course I will be back. Millions of us will return. Others, without doubt, will make a living and stay away. But I will never give Venezuela hope in my destiny.

– Where is poetry in a life-like situation?

-In one of your favorite places, namely silence and observation. Everything is deposited until it finds a way to breathe through words.

– critics from the left side for poets?

Not necessarily. Poetry helps me understand it better. Poetry permanently questions reality. He shook it. He interpellates him. It eats it. Poetry always fights back.

-Mariaca Semprún has been your best cloth of tears and emotional support in this situation?

-He has become my good friend. My invaluable support. Treasure Everything will be very different if we don't have it. There is nothing like a couple to navigate the exiled storm.

– What do you want to write after "Amar a muerte"?

– Between what I like and what it touches, let's go now for what it touches.

"Is he one of those who love death?"

-Love is a chasm, always. That is why sometimes their failure resembles death vertigo. But, if I'm honest, the only decent place to die is love in literature.

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