Paco León (Seville, 51 years previous) sits down to speak, sheltered from the morning chilly, on the headquarters of the distributor of his There and again, and sooner or later Luisma is resurrected. During the success of the collection Aida (a decade that closed in June 2014 after 237 episodes), he additionally didn’t enable himself to be vampirized by the character, and took benefit of that impulse not solely to direct movies, however to additionally experiment with distribution channels in Carmina or burst (2012) y carmina and amen (2014). “As I have a bad memory, I am zero nostalgic,” he begins. “But yes, nostalgia is a great weapon.” And from that finish of the stage, he takes refuge in the identical factor: “It wasn’t like in the movie. None of that happened, but it could have happened.” [risas]. The characters are variations of ourselves. Carmen Machi has by no means been to Your face sounds acquainted to me. I insist on my dangerous reminiscence, and that causes me dangerous tips, mixing actuality with fiction. It occurred to me with the Carmina. Which of its moments had been actual occasions and which had been fictions? I’m not in a position to separate them. From the top of Aida I do not forget that we had been very burned out, wanting to complete, and however we had been very unhappy. Come on, emotions of disappointment and reduction.”
There and again, Directed by him, co-written with Fernando Pérez, and premiering on January 30, it’s a skillful twist of metafiction. “When they proposed the project to me, I didn’t finish seeing it. Return to Aida? Until we found the key: to do not only an exercise in nostalgia, but an examination of conscience. To analyze where we were and who we were, a bit of a return to the origins. And I believe that nostalgia in There and back It is in the look, not in the speech. That’s why we have moved the action to 2018, because it was the year it all started: MeToo, political correctness, the cancellation…” Not all of her colleagues embraced it in the identical manner. Ana Polvorosa, who way back made it clear how far behind the collection was, doesn’t seem within the function. “Some in the filming have allowed themselves to be parodied more and others less, and that can be seen in what they appear on screen.”
Before coming into into different issues, he confesses that this examination of conscience has been sophisticated. “Now I’m breathing a little. I see that there is something that works. The film has many layers, and one is the direct, the easy one; it works as a vaudevillian comedy, with many types of jokes, faithful to the spirit and tone of the series. On the other hand, it also houses other layers that interested me. And that has scared me for a long time,” as a preamble to narrating that additional curiosity.
The filmmaker needed to inform “the work of the comedian.” There he delves into his experiences and people of his companions: “Someone who goes through problems has to make people laugh. And that entails a professionalism that sometimes is not seen. You only observe the result, and this process is something very intimate that all clowns and comedians in the world share. I took that to the end.”
Laughter, its necessity, its enjoyment, its use as household glue, additionally seems in There and again. “It even unites you with the audience. When you make someone laugh, you create a bond for life. Of course, there is also its therapeutic work, as in the plot of Edu, who seeks that laughter to narrate his problem [en diciembre anunció que tenía VIH]. Well, in the end, risky because it is not narrative but emotional… cathartic, we all laugh and cry.”
Do we lack laughter in today’s Spain? “I consider in jokes that put you in your house, I’m serious about laughing at oneself. I declare humor as a car to inform issues and to mirror on issues. Laughing and doubting oneself is a really wholesome train.” León does not bring the lesson learned from home, but as he verbally walks through the answer, he builds the speech, looking for the most precise words. This parliament ends like this: “We reside in instances when lynching, cancellation, that persistent ‘let’s examine who’s doing it unsuitable, let’s examine who screws up’ triumph… People have their finger in a short time, everybody takes the torch to burn Frankenstein too quickly. Well, have a look at your self: examine your self and snigger at your self and you’ll enhance. For this cause, lots of the jokes on this comedy are born from the idea of sufferer or executioner.”
Who has Paco León fought against? “Against that misunderstood nostalgia. Fer and I had a good time writing. There was extra worry exterior, within the producers and executives, than in us. I belief quite a bit in my sense of measure, of style, even understanding that that is very relative. I did not come away very traumatized from Aida. My position within the movie, that of glue, is the one I lived. I do know many followers anticipated a protracted chapter, however that has at all times led to a failed product. Like an ex’s intercourse, which is fascinating however not handy. Look, at first I did not even wish to direct the venture. Then it occurred to me opening evening, of Cassavetes. However, we needed to battle to not succumb to the worry generated by the followers.”
Every morning, León opens the nets and finds an avalanche of “Son of a bitch, you’ve killed yourself.” “Aida.” And with out seeing the film. Just for the press summaries. “They have Aida Emotionally, they consider her above all theirs… and she is relatively theirs. It was difficult not to be complacent. Even more so. I finished the script, I gave it to the cast and they didn’t say anything for two days. And 48 hours later, Canco called me and asked me to meet. He came home and told me his fears about some jokes, such as complaining about constantly taking photos. Well, there was the challenge. Let’s see how I counted those moments, without being a complainer about success, without becoming an ungrateful guy. I reassured Canco without knowing it myself. Because yes, I feel that many people love me, but this is not about percentages. Two haters They can ruin your life. “Those things affect me, although, curiously, not in the creative field.”
And but, there may be affection for Aida. “We are going to give that community a gift. You cannot see the public as a client. Many people in the audiovisual structure only see them as… tickets. I don’t understand it like that, but as a creator, until the public enjoys my work, the process is not finished. The thing is not over when making a film, they have to see it [se les escapa un golpe en la mesa]”.
Edu Casanova plays Edu Casanova who is worried because he does not know how his colleagues will take the fact that he has HIV. In real life, the filmmaker made it public on December 18. “From the start, in fact, with him, I knew that I needed to be there. There is a phrase that’s heard that connects together with his feeling: ‘I wish to go to the Pasapalabra to inform Cristian Gálvez that I’ve the bug’. It could also be out of tone, nevertheless it conveys the household. All in all, it was born from Edu’s want, nevertheless it turns into our fictional materials.”
The different main plot, that of the sexual assault suffered by Miren Ibarguren, and the mess through which the actress turns into entangled (the aforementioned sport of sufferer or executioner) speaks to each the business and the general public. “We have all ended up very blissful as a result of it’s a movie with quite a lot of coronary heart and really sincere. And it’s troublesome to see that in such merchandise. mainstream like this. Even much less in Spain,” says León.
https://elpais.com/cultura/cine/2026-01-21/paco-leon-mucha-gente-me-quiere-pero-dos-haters-te-pueden-reventar-la-vida.html