From the embrace of harmony to the "hopeful" kisses.
From the drama of reconciliation to comedy and love in the middle of sanitary chaos.
From the first HBO original series to the first Spanish series premiered on Disney +.
The year of the
Aitor Gabilondo
pandemic
is a leap from the unstoppable success of
Patria
to
Besos al aire,
which opens this Friday.
How do you go from a drama like Patria to making a romantic comedy? It was all very temporary.
Our lives were interrupted by this and we might have been tempted to fall into a drama.
Of that there is already enough, what we wanted was to lighten the weight that this situation was having.
It was a necessity to bring out this positive part of people, but the change in style is considerable, especially with the expectations that Patria has left. With expectations you can't do anything because they don't depend on you.
I try not to look at what I have already done, but to think about what I feel now and what I want to do later.
Patria has been very good but it is over and we have to keep telling new stories. His career is quite difficult to fit into a genre, in fact.
It has very different things. I like to tell stories, but I don't like repeating myself.
What interests me and I think may interest the rest is what I want to tell.
It is true that when it seems that you have found a formula you have to repeat it and repeat it, but that does not interest me.
(...) What there is an imprint on my career because I am interested in the most primary and intense human conflicts. You have placed Patria as the end of the cycle in your life.
Why? I'm a loudmouth and this is too intimate.
It is an end of the life and human cycle because it has coincided with the arrival of the Covid that has made me reflect on myself and surely with these series the end of a way of working has come, now I need to rest and see what I do later.
I am not clear about it.
And I'm not saying it negatively, they are all cycles. Is independent cinema your future? I like to walk along different paths, that may be one and I think it's not just me because many people will look for stories in other places. young people, for example, as you have said before? I think so because that model lulls the avalanche of productions.
People will always need to be told different stories, not clones. Is a series bubble being created that can explode? That can happen, you can get overwhelmed and lose interest, that will depend on how the platforms handle marketing and your own power of communication.
The finer they are, the better they will connect with the public. Are great projects buried under so much novelty? You have to value and give time to stories that not everything is fast food, we cannot be more addicted to changes in the catalog than to the stories.
And, in the middle of that stoppage or that "necessary" turn in Gabilondo's career,
Kisses al aire
, produced by Mediaset,
intersects
with the pandemic as a backdrop.
Eight romances between the chaos and deaths
left by the coronavirus.
Leonor Watling and Paco León, in Kisses in the airDisney
Now that the expression pandemic fatigue is used a lot, why a series about Covid still with him in our lives? When we came up with this story it was in March, during the first confinement, and we believed that a year later it would be a memory and we we would have released.
In any case, the pandemic is a framework in which we frame eight love stories, we talk about the pandemic but from the most optimistic point of view. Do we now need that more optimistic vision? We intend to draw lessons of humanity and goodness that it has given us. Taking out this extreme and painful situation and how an unexpected and unlikely pandemic love arises between characters who in other circumstances would not have known each other. There will be those who also criticize that this is sweetening reality.
In addition, although they are love stories, not all end well. Have we dehumanized the health community?
Have we forgotten that they have a life outside of their work? When you start talking so many times about something, you end up objectifying it until it looks like a product.
You forget that behind there are people, they are not just newspaper headlines.
Paco León and Nuria Herrero, at the Disney hospital
Life beyond work, an almost unexplored situation in this pandemic.
From the toilets to the cashier, passing through the butchers.
A sector that Gabilondo knows well from his childhood in San Sebastian by family tradition and that is a conjunctural character in
Patria
and in
Besos al aire
.
"Without the family carnage I would not have done this career."
Why does it matter? I'm definitely a loudmouth.
Stories and gossip have always interested me.
There I saw all kinds of people passing by with a need to tell their story and I understood its therapeutic and cultural value.
It broadens your mind, you understand people's motivations and fears, it is pure oral tradition.
With that fictions are created, this is not a laboratory.
Carnal psychology
, the one that sustains the career of Aitor Gabilondo, in the process of change.
According to the criteria of The Trust Project
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