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“With ‘Crematorio’ they allowed us to do what we wanted.” We speak with the Cabezudo brothers on the 10th anniversary of one of the great Spanish series in history

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Ten years ago it was impossible to think of a national fiction commanded by the “riot police”, look what you’ve done “or” 30 coins. “Ten years ago, all this began to be possible thanks to ‘Crematorio’, an original series of Canal + adapted to some unimaginable ways to make television in Spain. Ten years later we celebrate our new television remembering the classic series with its two creators, Jorge and Alberto Sánchez Cabezudo.

It all started with you

Taking advantage of the invitation of the creators, together with the Cabezudo brothers, we wanted to remember the times when, perhaps without trying, the guidelines of national fiction changed. Before ‘Crematorio’ everything was episodes without format and exorbitant durations, both of the episodes and of some seasons that seemed to have no end. Let’s travel back in time and stop for a second to contemplate this exemplary construction.

Kiko Vega (KV): Congratulations. 10 years have passed but it seems 25, and not because the series has aged, but because in all this time there have not been many like her.

Jorge Sánchez Cabezudo (JSC): Well, there are beginning to be them, right? Everything takes a while, one boot. Movistar arrives practically at the same time as Netflix, we actually haven’t been around that long.

Alberto Sánchez Cabezudo (ASC): ‘Crematorio’ was made ten years ago and then there was a small pause in the line of those series, that’s why has been able to remain in memory as something very foundational, somewhat isolated. And suddenly in the last three years we find a brutal level of national production. Keep going.

JSC: Be careful, I am not saying that since ‘Crematorio’ was made until Movistar is restarted nothing has been done. All open fiction grows, evolves. In fact, if we were able to anticipate a bit with ‘Crematorio’ it was as a result of a television that was already beginning to be made. When we started ‘Desaparecida’ with Ramón Campos we were already starting to shoot in panoramic and with fields of light, which was something that was not done on TV. What had not happened is that a payment chain, and there was only one, had launched into producing original series for its subscribers.

People who worked in television in Spain were very curious and wanted to try other formats. Now things are made of high quality and with a film bill and unreleased songs. All this can be done because between ‘Crematorio’ and the arrival of Movistar, television was moving, preparing. The Spanish industry is ready to supply the platforms. When we started on “Out of Class,” I never would have thought we were going to have this volume of writers and creators. It has a lot of merit, we are a tiny country.

KV: Over the years something very curious happens to me with the series: I remember it as if it belonged to the vintage HBO classic. Did you consciously want to jump into playing in that league?

ASC: Yes, I think that the opportunity that Canal + and Fernando Bovaira gave us, who was the first to see that Rafael Chirbes’ novel as a series for a payment chain, projected us right there, to the references we were seeing on that moment and that you had to buy on dvd or they began to reach that Canal +. You saw those series and you wanted to tell our baddies, because that was important: we had to tell our story in our own way, but in that format. We wanted to jump into it.

JSC: Not that it happens now, that you compete with that. Now you do a series for platforms and compete with those monsters in the catalog, so we would not have thought of that, of course. We just wanted to do it with a quality closer to cinema. We also lived that other transition: ‘The Sopranos’ was filmed in cinema and we started with Red to record digitally and those cameras later became very common in the cinema. We had the opportunity to do it at that moment, with that novel, with that theme and with the desire to a chain that wanted to differentiate itself of what was done in the open air.

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KV: In regards to work, from day to day on set, was there also a difference compared to what you had been doing before?

JSC: So the whole team knew that we were doing something different, from the first to the last member of the team. Daniel Sosa, our director of photography, came from a series in which they were already trying to change the lighting and bring it closer to the cinema. There they began to take different shooting dynamics, also with a little more time. At times there were many doubts about it, especially because of the time it took for the recordings.

ASC: Everyone felt very involved. Everyone liked the script and the story, and you had to force the machine. It was neither film nor television, you had to adapt to shooting times to the series, and that was the biggest effort in ‘Crematorio’.

KV: It’s almost four years from the novel to the series, are you involved from the first moment in the project?

ASC: Fernando Bovaira reads the script in the summer of 2008, he offers it to us later and from there we start working on the adaptation. Now it also takes a while to prepare a project, which happens that there are so many that it seems that they are going faster. AND the book was not so clear to adapt, we had to figure out what we wanted to get out of it.

JSC: But it is true that the intention was to finish the scripts before starting to record anything. In this I believe that the series is in line with what we have been doing with Movistar. We were writing for a year to have the scripts written and face the shoot with all the material closed and thus optimize production. Now it can be something faster, yes. Now, before the novel comes out, the rights have already been sold.

KV: Let’s talk about the headline, the song, and the images. Were you clear from the beginning or did it give you headaches?

ASC: It was a bit what you were saying before the HBO moment that was being lived. The intention was to do a cool headboard that was as far away as possible of those who were later seen in the open air. It is true that we think that this type of intro also does a lot to sell you the series, it was something that was on the table at all times.

KV: It is impossible to imagine the ‘Crematorio’ without Pepe Sancho. Were you clear from the first minute?

ASC: It was very difficult. In the processes you always ask yourself things, but the test to know if one was right or not is if you can imagine another boy in that role. AND it is impossible to imagine another Bertomeu other than Pepe. In addition, he was from Valencia and knew that universe, he contributed a lot to the character, but especially to the series.

KV: You used to say that the novel was complex, but the truth is that just like you would “The Zone”, you only have one season of eight episodes. Did you want to keep pulling the thread?

JSC: We were clear here. The series closed in a very forceful way, although there was always the possibility of continuing with those two women inheriting Bertomeu’s browns in the middle of a crisis. But actually 99% of the time we were clear that he would be giving everything in eight episodes.

KV: It was a weekly series, and a little later the fashion for the complete series would arrive. Was that option a possibility at the time?

JSC: That was unimaginable. It was part of the format, of the ritual of viewers with their favorite series of the moment.

ASC: How are things, mind you. We speak of cinema as something romantic, but now even the weekly broadcast is already romantic. Forces viewers to live week by week with those characters During two months. If you follow me, you will be with me these months. You’re not firing me on a weekend. The forms of consumption change, that’s right. I am the first to realize it.

KV: I have the feeling that people only remember “Crematorio” when a good series is released. Do you have that feeling?

ASC: We are excited for people to remember us, of course, but we also enjoyed a lot with “Riot Control”. We are spectators and our health forces us not to constantly look back.

KV: When you did ‘Crematorio’ there was only Canal + and now there are many platforms. Do you notice that now it is easier for you to place your projects?

ASC: There are more possibilities, but there is also more bandwidth, more competition. And with the pandemic there is a very long print queue. Now i think it is a blessing that this level of production exists in Spain, because some of the ones we are trying to close were unthinkable ten years ago.

KV: What are you doing?

JSC: Well, we have several planes flying overhead and we landed them from the control tower. We need series and content but now in a pandemic everything has stopped a bit and you have to rearrange everything a bit.

KV: Come on, let’s go to the last one: What is “Crematorium” to you?

ASC: Pepe Sancho. I remember the first camera test. For me, it gave a dimension to Chirbes’s text that we were very scared. Don’t be pedantic, don’t be at half throttle. Being able to tell what the novel told by doing a genre series.

JSC: The feeling that they open a door for us, that they invite us to reach a new place. A door through which we enter with a great team and with a lot more people and that led us to a place where we were allowed to do what we wanted the way we wanted.

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Two queens for Marvel: Olivia Colman and Emilia Clarke join ‘Secret Invasion’, the series about the Skrulls for Disney +

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‘Secret Invasion’ just added two queens and I think we can already talk about one of the most interesting projects of Wonderful. Olivia colman, monarch in “The Favorite” and “The Crown”, and Emilia clarke, the queen of “Game of Thrones”, are about to join the series that Marvel Studios is preparing for Disney +.

The two actresses would join a cast that already includes Samuel L. Jackson, Ben Mendelsohn and Kingsley Ben-Adir. Let’s remember that Mendelsohn was already presented as the Skrull Talos in ‘Captain Marvel’, where he coincided with Jackson giving life to a younger version of the Nick Fury that we had seen until then (the film took place in the 90s).

Guide to the Marvel Universe on Disney +: how to watch in chronological order 'Scarlet Witch and Vision' (WandaVision), 'Falcon and the Winter Soldier' ​​and all the films and series of the MCU

As for Kingsley, Ben-Adir (not to be confused with veteran Ben Kingsley) is playing the villain, but no details about the character have been revealed. I’d bet on a crazy Skrull leader who wants to win back the honor of his people and conquer Earth to make it his new home.

There is also no information on the story beyond that it revolves around the Skrulls, a race of aliens who change in a way have been using their abilities for years to infiltrate Earth. This may explain the strange behavior of some celebrities …

“Secret Invasion” is written by Kyle bradstreet And, at the moment, it does not have a release date but it is expected to be ready by 2022.

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Square Enix Says Company Not For Sale Following Acquisition Rumors

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Square Enix has said it will not consider selling the company, and has not received any offers after a report indicated that “multiple” potential buyers were interested in an acquisition.

CTFN reported that two bankers had indicated that several potential buyers were interested in buying the developer / publisher behind Final Fantasy and Outriders. The news was subsequently reported by Bloomberg Japan, prompting Square Enix to respond.

“Bloomberg reported today that there is interest from various buyers in acquiring Square Enix,” a press release reads. “However, this report is not based on any announcement by Square Enix Holdings Co., Ltd. We do not consider selling the company or any part of its business, nor have we received any offer from a third party to acquire the company or any part of its business. deal. “.

Of course, both sides of this story may be true: There may well be Square Enix stakeholders, and Square Enix may not be willing to sell the company. That said, analyst David Gibson pointed to the idea that they could be bankers trying to “boost business” at Square Enix.

To back Gibson’s idea, Bloomberg later reported that Square Enix shares rose 12% after the report was released, its biggest rise in eight months.

Video game acquisitions have been big business recently. In fact, in the last year alone, Microsoft bought ZeniMax Media for $ 7.5 billion. For its part, Epic Games bought Mediatonic (Fall Guys) and EA acquired Codemasters after Take-Two showed interest in the developer.

What’s more, Japan has been seen as the natural next step for some of the major gaming companies. And Xbox CEO Phil Spencer recently denied the idea that Microsoft was in contact with various developers in Japan for possible acquisitions. On the other hand, Sony has had to counter the idea that the company is bypassing Japan, although we have recently seen the historic Japan Studio reorganize the company this year, causing a massive exodus of developers.

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Amazon cancels MMORPG Lord of the Rings after dispute with Tencent

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An Amazon spokesperson confirmed that following Tencent’s acquisition of Leyou, “they have not been able to secure the terms to continue with this title at this time.” Amazon has canceled its MMORPG game set in The Lord of the Rings that was originally announced in 2019.

As reported by Bloomberg, Amazon Game Studios was developing the game with Leyou Technologies Holdings Ltd, a Chinese studio that was bought by Tencent in December 2020.

Negotiations between Amazon and Tencent have sparked a dispute that has ended resulting in the cancellation of the game.

An Amazon spokesperson confirmed that following Tencent’s acquisition of Leyou, “they have not been able to secure the terms to continue with this title at this time.”

The development team will be moving to other projects, and Amazon shared its disappointment at not being able to carry out this ambitious project.

“We love the Lord of the Rings franchise and are disappointed that we are unable to bring this game to fans,” said an Amazon spokesperson.

This game joins Breakaway and Crucible as other projects canceled by Amazon Game Studios, which in turn was the subject of another Bloomberg report detailing the dysfunction and struggles the studio has been grappling with in the recent past.

Amazon is still working on an MMORPG in development called New World, although so far it has been subject to several delays and is now scheduled to launch next August 2021. We were able to test New World a few months ago and we will tell you what this ambitious looked like draft.

For fans disappointed by this cancellation, they should know that Turbine’s Lord of the Rings Online is still running and they can still look forward to the series that Amazon is developing for Prime Video, in addition to the Lord of the Rings: Gollum game that is. also outside. Developing.

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