El periodista y escritor Manuel Jabois llevó al papel la historia de la trama asturiana del 11-M en “Nos vemos en otra vida” a partir de su entrevista a Gabriel Montoya, Baby, el adolescente de dieciséis años que, junto a Emilio Suárez Trashorras, participó en el traslado de los explosivos usados en Madrid el 11 de marzo de 2004. Ese libro inspira la serie que Disney + estrena mañana, y que ayer se presentó en el Festival de Málaga con los directores Jorge y Alberto Sánchez-Cabezudo y parte del reparto, del que forma parte el asturiano Roberto Gutiérrez (Baby en la adolescencia). Jabois habló con La Nueva España, del grupo Prensa Ibérica, sobre los resultados.
The journalist and author Manuel Jabois turned the Asturias connected story of the March 11 attacks into print, drawing from his interview with Gabriel Montoya, known as Baby, the sixteen year old who, with Emilio Suárez Trashorras, aided in moving the explosives used in Madrid on March 11, 2004. That book now fuels a series released by Disney Plus the day after a Málaga Festival premiere with directors Jorge and Alberto Sánchez-Cabezudo and members of the cast, including the Asturian actor Roberto Gutiérrez, who plays Baby in his adolescence. Jabois discussed the outcome with La Nueva España, part of the Prensa Ibérica group, in a conversation about what the work achieves.
–Are you satisfied?
The writer is asked whether the adaptation and the book meet expectations. He responds by praising the fidelity of the series to the source material. He notes how striking it is to realize that almost everything depicted in the series happened in real life. Seeing the real personalities and their actions on screen is a powerful confirmation of truth, he says, adding that this truth already carries significant value in itself.
–Is the casting convincing?
The interviewer presses on the casting. The actor playing Pol, the alias for Suárez Trashorras in the series, is described as exceptional. The young actor portraying Baby is called extraordinary, especially given his lack of formal acting background, with the result described as astonishing.
–A cinema discovery.
He describes how Baby was spotted outside a hamburger shop. The search for the right person had been lengthy because the role was demanding. The moment they saw him, the producers recognized both his physical suitability and the potential of a diamond in the rough. A blend of luck and talent, the kind that propels great productions, is highlighted.
–What about the Asturias shoot experience?
The narrator recalls visiting the shoot on a single day. The Asturian setting is well captured, and the speaker notes shared cultural threads between Galicia and Asturias, including pragmatic approaches to life and a similar vibe. The work is not confined to Asturias alone; it reflects universal dynamics of families fractured and environments on the edge. The dynamic of a desolate yet magnetic young Baby and Trashorras is emphasized as a potent core of the story.
–How does that fascination begin to glow?
The interviewee credits paternal absence as a key driver. Trashorras serves as a substitute father figure, a man who embodies aspirational power. In a world where boys hang out with peers who have strong fathers or male role models, Baby encounters a man who drives fancy cars, offers social access, and can supply drugs and victims. The fascination grows into a misguided attraction that points Baby toward the wrong path.
–And it does not end in repentance.
The speaker explains that the decision to interview Baby was not a bid to absolve or redeem him. His lack of remorse offers a lens to examine the entire arc. The project avoids excuses and shifts the burden back to the harsh reality that a youth could be drawn toward destructive choices. The series presents clear markers of good and bad, with no room for moral ambiguity about the central act.
–Can the series help preserve memory?
The emphasis is on broad reach and factual grounding. The work presents information obscured by later distortions, offering no didactic stance but inviting readers and viewers to draw their own conclusions. It acknowledges the conspiracy theories and information silos that have followed the events, arguing that the narrative compiles testimonies from the trial that many overlooked. The life of this young man is recounted through exclusive testimony, while the book and series weave together these testimonies with established trial records to present a fuller picture of what happened.
–Did the writing voice evolve in the book?
He notes a shift toward direct verbs and away from adjectives or value judgments. In reporting such a charged story, he seeks precise description over florid prose. This challenge, he says, tested his own voice and influenced how the work was received. The writer admits a rare moment of rereading, finding a pocket edition with a new jacket while acknowledging the tension of revisiting work that was once published as a straight reportage piece.
–If you spoke to Baby again in ten years, what would you ask?
The response emphasizes that while one might build sympathy due to age, there can be no guarantees about a person’s current or future thoughts. The conversation remains cautious, recognizing the limits of retrospective empathy in a case tied to ongoing personal complexities.
–From today’s volatile Spanish politics, is there someone deserving a lengthy interview and a book?
The answer is candid: there are too many to single out; the field is crowded with potential subjects awaiting the chance to tell their versions. This reflection underscores the broader social and political themes that frame the series and the book beyond a single narrative.
–That’s a fair point to end on.