‘Bulls for all’, a veteran and profitable Canal Sur program directed by a trial champion | Culture | EUROtoday

Bulls for everybody It is probably the most watched weekly bullfighting tv program within the historical past of the small display screen since audiences have been measured. It was born in February 2005 on Canal Sur TV —in 2024 it’s going to have fun 20 years on display screen—, 724 editions have been broadcast, which embody greater than 1,600 discipline experiences concerning the preventing bull, the primary protagonist of the printed, and it’s uncommon that the week It doesn’t exceed the community’s common viewership by six factors, which is round 8%. It is a dynamic and groundbreaking program, designed to publicize the lifetime of the primary actor of bullfighting, stuffed with film music, the stellar participation of foremen and cowboys, and shocking and hanging pictures of what’s cooked daily within the cattle farms. courageous: from the delivery of a calf, the ranching duties, the therapeutic of a wounded bull, the seek for one other that has been misplaced or the dying, additionally, of a horse as a result of goring of a cow, as was the case of Captain, property of the rancher Prieto de la Cal, who misplaced his life in entrance of the cameras.

The ideologist, director and presenter of this tv present is a novel character, Enrique Romero (Málaga, 1963), in love with the game of trial – 3 times champion of Spain and 15 instances champion of Andalusia – who was going to be a lawyer till circumstances led him to the bullfighting criticism of the Costa del Sol Diary when he was not but 20 years previous; and from the written press to an ascending pilgrimage by totally different radio stations till he was employed by Canal Sur.

“I had to have been a bullfighter,” he feedback, “because my family is bullfighting: my grandfather and my father, bullfighting horse businessmen; my brother, a bullfighter, and my sister, former president of the Plaza de Málaga, but I had no courage. At least, I have the satisfaction that I earned money when I was a child bullfighting in the backyard of my house. The neighbors cheered me on and gave me candy. In the end, I ended up in journalism because I really like talking and writing.”

Enrique Romero, director, has achieved what appeared inconceivable: making the protagonist of bullfighting a tv determine

Definitely. Romero is overwhelmingly loquacious. He does not want questions. He says that at present he speaks as if he have been within the psychologist’s workplace. He confesses that he’s sickly shy, who attends few social occasions and lacks political contacts because of his extraordinarily introverted nature. If so, he transforms on the display screen; Without any script, he improvises, strikes, gestures exaggeratedly and, with a everlasting smile, tries to seduce the viewer within the studio or within the discipline, whereas hiding on a cliff from the gaze of a bull that sniffs him a number of meters away.

“Mine has been very hard,” he says. “What the program has given me is self-esteem, self-confidence, and the possibility of making many people happy. When I go to a town to broadcast a celebration, I meet my audience and feel the love of the people. In the towns I am Julio Iglesias, who is loved very much by people of all ages.”

It is the worth of recognition, a consequence of the success of this system. But Romero provides that the street has not been straightforward in any respect. After a pissed off bullfighting experiment as a speaking head with a jacket and tie, he rejected the same proposal from Canal Sur TV, they usually confined him for 2 years in an workplace to review tv audiences.

“I felt like a failure and convinced that I had lost the opportunity of my life, so much so that the disappointment cost me angina.”

Ask. Why did you reject this system?

Answer. “If I am the director, I decide the content, and because I have always been very transgressive, I have wanted to open new paths and I have not liked what was established.”

Enrique Romero acknowledges, nonetheless, that as a researcher of tv audiences they did him the favor of his life.

“I learned how television works,” he explains, “what viewers demand and why they leave and enter when faced with a television proposal.”

Action, engine It was his first rehearsal after confinement in an workplace, and he says it was successful (“it was a very visual experiment, very agile and with good music, which became a hit with the audience”).

And from the engine to Bulls for everybody.

“The management of Canal Sur considered that it was too risky an idea,” remembers Romero, “but I was very confident in my analysis, and they gave me carte blanche.”

“The most difficult thing on television is to make an idea that is on paper a reality,” provides the director, and for this he turned to director Valentín Frontela, with whom he has labored for the reason that first program.

“Valentín is the mental mathematician, effectiveness, and I, poetry and creativity; Without him I would not be able to do the program, and without me Valentín would do a different one; We go to the field together, we set it up together, and so on until today.”

“I am a popularizer of the world of bullfighting, a wonderful spectacle unknown to the general public”

The weekly schedule is fastened: temporary abstract of a bullfight, an area for ladies and men from the countryside to advertise this system, a 12-minute report on the bull, and a tribute to probably the most excellent process, accompanied by the track Orobroy. of the musician Dorantes. It consists of few interviews as a result of, within the director’s opinion, they do not work on TV. And all this, seasoned by the incessant actions of the arms and palms of the presenter, who doesn’t cease within the studio, and takes the chance to advertise some merchandising product – they’ve bought as much as 50 merchandise associated to the bull, from key chains to t-shirts and jerseys. – and two books that include a abstract of the printed experiences.

P. Do you take into account your self a bullfighting critic, a communicator, a popularizer…?

R. I present an exquisite and unknown world to most people. I believe I’m a popularizer and not using a essential sense, in contrast to the enfant-terrible I used to be in my beginnings. TV has beastly energy and you may sink a bullfighter. My criticism is ignorance. Anyone who shouldn’t be properly doesn’t seem on this system.

P. Does Andalusian tv acknowledge your success?

R. Since the primary program I’ve achieved a reward: no boss has stated something to me, which is a miracle. I do what I would like, and that’s the greatest recognition.

P. It may be said, then, that RTVA is taurine…

R. “What I have perceived is that hearings work. If you have it, you go ahead; Otherwise, I don’t know what would happen.

P. By the way, you don’t give the image of a trial champion…

R. Yes, that is my second hobby since I was a child. It is a physical and cerebral sport that requires training and concentration. You compete with yourself on a motorcycle in a limited area, and you must maintain balance on winding and steep terrain without putting your feet on the ground. Just a few days ago I lost what would have been my fourth Andalusian championship by one point.

P. But like bulls…

R. Of course not; I have the satisfaction that I won a little money bullfighting in the patio of my house in Malaga that overlooked the street; and then came the success of Bulls for everyone. My mother still doesn’t believe that I can improvise in front of a camera. That’s why I say that I have fueled my career with effort and enthusiasm.

“We have already finished? But if I still have it… ”Enrique Romero believes that he’s in entrance of a digicam and continues speaking incessantly. A sickly shy man who does not look like it; a hyperactive popularizer who has achieved on this time what appeared inconceivable, making the bull a tv protagonist.

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