“The challenge was to generate something beyond Wikipedia,” said the directors of the Fito Páez series

“The challenge was to generate something beyond Wikipedia,” said the directors of the Fito Páez series
“The challenge was to generate something beyond Wikipedia,” said the directors of the Fito Páez series

As Gómez Aparicio assures Télam, “beyond the narrative limitations that the series format may impose, we feel very supported by Mandarina, Juan Pablo Kolodzjek, Mariano Chiade and Fito Páez. And Netflix was always in favor of telling the best credible story and possible”.

Love after love Official trailer fito paez


In the same sense, Tobal reviews that “any narration of a life, an autobiography, already implies a reduction to the text. When writing a script based on an autobiography, as is the case, you have another reduction. And when it comes to producing it, I don’t even tell you and that generates certain tensions and that’s where you have to give them a twist depending on the narration”.

“When we started working, we spent three weeks locked up with Fito reviewing and reworking the scripts and a good part 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”, the author of the films “Villegas” and “Acusada” expatiates with Télam.

In eight chapters, the story breaks into the world of Argentine rock thanks to a production by the artist from Rosario himself, together with Juan Pablo Kolodziej and Mariano Chihade, from Mandarina Televisión.

With protagonists of Ivos Hochmann (in the skin of Páez) and Micaela Riera (like Fabiana Cantilo), the story includes other artists such as Charly García (Andy Chango), Luis Alberto Spinetta (Julian Kartun), Juan Carlos Baglietto (in charge of his son Joaquín) and Cecilia Roth (Darina Butryk).

In addition, the story takes part Manuel Fanego in the role of the composer’s manager, Gaspar Offenhenden as Fito in his childhood, Martín “Campi” Campilongo, Eugenia Guerty and Mirella Pascual as Rodolfo, Charito and Belia -the protagonist’s father, aunt and grandmother, respectively-.

Both directors were summoned with the project already underway. “I was on vacation in the Spanish summer, where I live. And I received a call from Juan Pablo Kolodzjek. I was already aware of the project and the theme made me very dizzy because of 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. That story generated a very strong emotion in me, which I already knew in part, but now it could be told and known because deserves to be registered”, the director of the film “The perfect David” abounds.

Tobal contributes to this invitation that “knowing that we were going to work together, we began to define the work dynamic that began by doing all the previous design, casting, work with the creative and technical areas together.”

“Then – he elaborates – at the time of filming we divided ourselves by weeks first, and later in the process, by days. But we had reached such an understanding that whoever it was was the one who had to film, we were both calm with what I was going to do for the point of understanding in which we strengthen between the two”.

Télam: How much did you know about Fito Páez at the time of addressing it?

Gonzalo Tobal: I was a big fan of Fito in childhood and early adolescence. “Third world” was one of the first cd’s I bought, and “Love after love” marked my last years of primary school. I always had a lot of affection for Fito, so when the possibility of the series appeared, that motivated me a lot. I knew less about his story of tragedy and pain. I knew about the aunts but not in depth. On that and all the deeper aspects of his story we investigated a lot once we entered the project. In principle, based on the autobiography that Fito was writing, which was still a draft that he shared with us. And also from other readings and materials.

Felipe Gómez Aparicio: The same thing happens to me as to Gonzalo. I was always a big fan of Fito and of all Argentine rock and pop culture. And having the chance to show these great artists to new generations was a great motivator for me. I feel, from my point of view, that we owe a lot to Fito, Charly, el Flaco, Fabi and many more who changed Argentine and Latin American rock forever.

T: What things surprised you and what did you reaffirm?

GT: I was surprised by Fito’s capacity for resilience, how his life is a constant insistence of pain to impose itself and how he always fought it with the force of love. He has a huge heart, something that can be sensed in his songs but is reaffirmed by learning more about his history and him as a person.

FGA: I was very surprised and for the better by Fito’s great sensitivity and love for moving forward in the face of very strong circumstances in his personal life. But artistically when we met him I realized that he did not do anything at all for money and that all his work is motivated by art and a need that comes from his soul. And the search for him goes through there. Sitting down with an artist like Fito, who lowered my line about what he considers to be an artist was something that will stay with me on fire. As we read the scripts with him he was like a pisco-magic act. We cry, we laugh, we hug each other and we all end up immersed in a universe of which we will be eternally grateful to be a part.

T: What achievements do you recognize in having been able to capture the color and spirit of an era?

GT: A very high-level job was done in all creative areas: the setting, the costumes, the characterizations, the casting, the whole team did a tremendous job that is on par with world-class productions. It is something that must be highlighted. Personally, I think that we managed to capture that spirit and that for those of us who have it branded in our memory, it is very enjoyable to see.

FGA: To be standing in front of the band of “Clics Modernos” (Charly García’s 1983 album that for its presentation brought together a very young Fito Páez with Fabi Cantilo, Pablo Guyot, Willy Iturri and Alfredo Toth) all assembled by us and tell them ” action” made me feel like I was really with them. That feeling gave us the pattern that we were on the right track. It was like being in a dream come true.

Source: Ambito

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