Ariel Winograd: “Coppola was the representative of Maradona and the ’90s”

“We ended up filming on the balcony of Coppola’s house and the facade of the apartment in Libertador. We arrived and there was the table with chopped cheese and in the middle, the vase. “Everyone wanted a photo with the vase,” account Ariel Winograd, series director “Coppola, the representative”, available from today on Star +.

With six 45-minute episodes, the series has Juan Minujin as Coppolawho is seen between his hectic private life with a full-time job as a manager that leads him to deal with the unusual consequences of Diego Maradona’s actions.

They complete the cast Monica Antonópulos as Amalia “Yuyito” González; Joaquin Ferreira as Poli Armentano; Santiago Bande as Coppola young; Alan Sabbagh as Mariano; Yayo Guridi as Skinny Hose, Teté Coustarot like herself; Maria del Cerro as Karina Rabolini; Federico Baron as Daniel Scioli; Augustine Sullivan as Carlitos Menem Jr.; Adabel Guerrero as Alejandra Pradón; Nicolas Mateo as Mariano Cúneo Libarona and Gerardo Romano as Monaldi, among others.

Journalist: What attracted you to Coppola to do the series?

AW: I found it interesting because of what the nineties decade was like and to think of it not only as the representative of Maradona but as the representative of that decade. We know what those years were like but there are many generations who don’t, with everything that it implied. Since “Cheese Face”, my first film set in the ’90s, I reconnected with that time and now from another point of view.

Q: What aspects of Coppola’s life are recreated?

AW: The story of the series is based on an investigation that makes a specific compilation to get to know Coppola, beyond the stories that one knows and so many that are on YouTube. From there, six moments from his life were selected and transformed into mini-movies, each with a completely different aesthetic and tone.

Q: Did Coppola watch the series?

AW: Coppola watched two episodes and laughed out loud. The process was free, once it was agreed that a series about his life was going to be filmed, there was not a single question about not telling this or that thing. It was a very playful process because Guillermo Coppola’s life has something of a lot of fiction and on the other hand a lot of history, it is not a series that seeks to generate some mess or provide some unknown information, but based on the information we build a fiction.

Q: What do you remember about filming?

AW: It was one of the funniest shoots of my life, we laughed too much. It was impressive to have gone to film in Naples, it was crazy. We filmed with the Ferrari that they told us was the original. When we started pre-production, the team heads met with Coppola at the house and we wanted to take measures to recreate his house. We ended up filming on the balcony of his real house and the facade of the apartment in Libertador. We arrived and there was the table with chopped cheese and in the middle, the vase. Later we realized that it was not that they gave him a vase just because, but that he collects vases, there were many different ones in the house and everyone wanted to take a photo with the vase. It was the philosopher’s stone.

Q.: Were you a collector before or did you get it after an ex-girlfriend gave it to you because you liked flowers? Coppola said that he won her over by throwing pink roses at her from a helicopter…

GC: It’s all a great fantasy, it’s like “The Big Fish”, in the end it doesn’t matter if it’s true or not, but how you tell it.