“Black humor makes us turn our backs on the things that scare us”

Diego San Jose is a screenwriter for film and television experienced in comedy behind successes such as Eight Basque surnames anyone Ghost Hunters. series creator Come on Juan, vote Juan And Come on dearstarring Javier Cámara, San José joins this Friday (18:30) at the UA Headquarters in Alicante to comment on one of his favorite films, reptile showWithin the scope of the cult film festival RetroKult Fest, held until the 29th.

Say what reptile show this is his favorite movie. What do you have after 40 years?

It doesn’t matter how much time has passed. The value it had for me has fascinated me more than ever because of what it meant when I was a kid, and because it was the first horror movie my parents let me see, and maybe because it came with that forbidden halo. Its importance has nothing to do with its cinematographic value, which I consider to be high, but its value on my personality, which is fundamental.

No terror but black humor applied it. Is this the best formula for editing?

I would never dare to say that this is the best formula. I think there are excellent fictional stories that are drama. income, documentaries… In the end, good or bad stories, whatever their genre. Yes, it’s true that dark humor is probably one of the most helpful genres, because it allows us to make fun of serious issues and approve of things that scare us, and I think the victory is doubled because you laugh and above all you get it. Weigh things that would otherwise be too sacred, too heavy.

By some luck, he got his start in comedy as a screenwriter. When did you realize you had the grace of storytelling?

I couldn’t tell you because I don’t think anyone is fully aware that this is funny. It would be a little silly to think this was funny, but as time went on and they kept calling me from one concert to the next, I realized that I could make a living out of it, more than that. is more important. There I had the prime luck in my life to stumble upon a few successful programs to be there at the right time. But yes, I came across the script by accident and never chose comedy by pure chance, and I still don’t think I’m funny.

Do you miss Juan Carrasco, the hero of your trilogy?

Yes, I will always miss Juan Carrasco because he is the fictional character I have devoted the most pages to in my life, the character I think is the most correct, even if it is a lie. I spent more time with him, wrote more pages for him than others, so without wanting to sound like I’m out of my mind, I can say that sometimes I felt like a family member, as if it were real. or a friend who is no longer here but whom I love dearly, to whom I owe so much and I am so grateful.

Don’t you feel like it’s his comeback in the election campaign now?

No, because when we wrote season three, we were very clear that real politics should be separated from what we wrote. It’s not a good job to focus on real politics, because Spanish politics has long been so grotesque and has a grotesque tone, so you can’t compete with it. Fiction needs to be reasonable and believable, and I believe real politics is neither reasonable nor credible, it just gets real.

What do you think he will vote for in these elections?

No idea. We’ve always clearly seen that the best way to make the show good is not to turn Juan Carrasco from a political party into propaganda, not to use a fictional TV series to talk about our political affiliations, but to try to make one. The parody as a concept satirizes politics and democracy as a whole.

There seems to be a desire to hit the ceiling in the show and I think the ceiling is too far

Unlike foreign TV series about politics, is the Spanish series successful only in comedy?

I don’t think it has anything to do with comedy, it’s more what we don’t do. There is no tradition of political fiction in Spain, they don’t just work from satire, but rather less comedy. I don’t think we are more limited than other countries to talk about politics, but it is true that we cannot compare ourselves to the British or North America to name two countries where our democracy is much younger and where there is a lot of political debate. sherry; ours is a growing child and there was already a tradition in other countries that we couldn’t match. Our fiction still has time to paint our politics.

What did you learn from Borja Cobeaga?

Borja has been fundamental in both my professional training and personal training. He transcends the boundaries of the colleague or creative duo because he’s been the person who has been close to me for almost my entire adult life, in whatever form: when we work together or apart, just when we’re having dinner or sharing something. I cannot express what I learned from someone with whom I spent so much time, but I would not have done this interview if I had not met Borja Cobeaga so long ago.

Are we living in the golden age of the show or are we living in a bubble?

I don’t think it’s a bubble because it’s been said for so long that it’s been said that a bubble isn’t made of a weak material, soap. Perhaps something solid and quite broad is that there has been a shift in the way television editing is done in this country and all, above all, and that payment platforms are introducing a narrative that opens up to more subtle tones, opening up to say something. more ambiguously, even more aesthetically pleasing, and audiences were able to find more demanding niches among the many options. I believe this model is here to stay and I don’t believe it is a bubble at all. One may think how many TV series are released each month, but how many books or records are released each month? There seems to be some kind of desire for the series to hit the ceiling, and I think the ceiling is too far.

Are you afraid of Artificial Intelligence in your work?

No. We are in a typical cycle where we have all the fears of a technological merger, which happens to us with almost everything that is coming, and I think artificial intelligence should be regulated and given a legal framework so that it cannot be abused or abused. plagiarism, so that people get paid for their work, even if it’s remixed with artificial intelligence. But I would like to think that it will also bring us many good things.

Consider a writer’s strike like in Hollywood.

It’s very complicated because the industry they have there is very different from ours. To begin with, membership in the writers’ association there is mandatory, and they are tremendously organized, and here we are fewer in number, in a smaller industry, much less structured and with incomparable power. From here all the screenwriters see with gratitude, because what they change from there will obviously and selfishly turn out to be positive for all of us who weren’t there.

Source: Informacion

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