“I wanted to produce” La Ballena “because it has many nuances and layers. What happens to Charly, embodied by Julio Chávez, ranges from confinement, depression, love, frustration, ” says Maximiliano Córdobaone of the associated producers who present this work based on the film for which Brendan Fraser He won an Oscar award.
“It is to see in family and generate debate about obesity or discrimination, it is also a great love and conviction story. Julio leaves his place of comfort and has a very complex preparation, several hours of makeup, prostheses to get to the character having weight and transmit that breathing and confinement ”, Continue Cordova.
Julio Chávez He embodies a writing teacher who fights obesity and isolation, while trying to reconnect with his daughter. They complete the cast Laura Oliva, Carolina Kopelaff, Máximo Meyer and Emilia Mazer, and has direction of Ricky Pashkus. It opens in May on the Paseo la Plaza. We talked with Cordova, who is also the producer of child success “The Zenon farm.”
Journalist: What interested you of “La Ballena” to want to produce it? Maximilano Córdoba: The more aging I realize that I don’t know anything, when I believe it, I am wrong. I was surprised by the interest in “La Ballena.” One looks for interesting things to offer but until you have people sitting there, there are no guarantees. When I saw the movie “La Ballena” I loved it, I was curious and investigated. It was a very white movie for his songs, so I looked for the book and I thought we were wonderful, that we rely on the theatrical version, which is crudest. We were mobilized with the themes that the work touches, I saw the movie many times and the book and every time I do it a different approach appeared.
Q.: What are those issues that you play?
MC: It has many nuances, it depends on how you look, at the moment you look at her, the mood. What happens to Charly has a global and family impact, without knowing it, what happens to his character ranges from depression, confinement, love, frustration. All this generates attraction to want to see it again, we need to be able to raise awareness about many issues, such as obesity or depression, it is also a great love and conviction story. It is to see with family and generate conversation and debate issues. Be curious to ask and see what can happen to the other, discrimination and loneliness appear. That is, there are all condiments to compete in a market as varied as Corrientes Street.
Q.: How did Julio Chávez choose in the protagonist and Ricky Pashkus in the direction?
MC: He is a great director and teacher, people leave him pigeonholed in the musical but he has great sensitivity, he also knows Julio a lot and knows how to take him and where to mold him. I had dreamed with Julio but I didn’t know if he was going to encourage. It happens with many consecrated actors that cost them to leave a place of comfort. Here there is a very complex previous preparation, several hours of makeup, prostheses to arrive that the character has weight, breathing and confinement that generates this type of obesities. Julio not only accepted but fascinated, not having to convince an actor of what project makes the way easier.
Q.: Production years ago “La Granja de Zenón”, how do you explain the world phenomenon?
MC: This creation of Roberto Pomar represents us worldwide, is a brand in more than 370 products worldwide. Go in theatrical version 14 countries every year, we have the local cast, in Spain we make 60 presentations every year, there is our own team in Mexico, Peru, Chile and trying to close annual agreement with the USA. I never lived something like that, only You can tie with Les Luthiers, was born in Constitución and was exploited globally. It works very well because there is a 100% Argentine gaucho with all the characters, a creative group with Sebastian Irigo in the direction. It has 70 million subscribers on YouTube and had to tie it at the theatrical level. Every year we offer a different show and 4 years ago it is the first to collection of children.
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Q.: What is the secret of success?
MC: That unites generations. I see many shows of different licenses and I feel outside, without participation, instead here, everyone sing the same and understand. It is our language, music that generates a unique and familiar encounter that does not give it other licenses. In this show you enter singing and ends excited and dancing. It has a 360 road that includes the YouTube chapters, the purchase in toy store of the characters and the theater. We approach what is called Nostalgia brands.
Q.: How do you see the Argentine theater inserted in the world?
MC: The theater is a phenomenon that never dies and has something that will never give, the living. We have in Argentina more theater rooms than of film, it is of extreme quality that is exported to the world, Spanish companies transfer to the Gran Vía local works, the same Mexico, we have wonderful quality actors. This year we have to find a way that the public who has migrated for economic reasons can return to the rooms. The theater generates culture, learning, we must stop thinking that the good is outside.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
