Diego San Jose is a screenwriter for film and television, known for his sharp wit and successful collaborations in comedy and genre cinema. He recently joined a discussion at the UA Headquarters in Alicante, presented as part of RetroKult Fest, a cult film festival running through the end of the month. The event celebrated his body of work and featured a conversation about a film that has shaped his creative voice since childhood.
Which reptile show became his favorite movie and what remains after four decades?
The passage of time does not erase its impact. Its enduring value comes from what it represented during his youth, and the fact that it was the first horror film his parents allowed him to see, carried by a sense of forbidden allure. Its significance lies not solely in its cinematic craft, though that is strong, but in how it formed his personal identity and imagination.
Is black humor the best vehicle for editing and storytelling?
A blanket statement about the best form would be misleading. There are exceptional stories across drama, comedy, and documentary. The strength of dark humor is its ability to address serious issues with levity and to challenge sacred or heavy topics. Humor can reveal truths that might otherwise remain unspoken and make the difficult feel more approachable.
When did the talent for storytelling begin to reveal itself?
It is hard to pinpoint the exact moment. The feeling grew as opportunities appeared, and the possibility of earning a living through storytelling became clear. A series of lucky breaks placed him in the right place at the right time, turning script ideas into real work. He came to storytelling through chance rather than a deliberate choice, and he remains modest about his own sense of humor.
Does Juan Carrasco, the hero of his trilogy, still linger in memory?
Yes, Juan Carrasco remains a deeply cherished creation. He is the fictional figure to whom he dedicated the most pages, a character who felt almost real at times. The process left a sense of family and kinship with someone who exists on the page and in the imagination, and gratitude for the opportunities that character brought into his life.
Is Carrasco’s influence visible in current political storytelling or a potential return in elections?
The creators made a clear choice to keep politics fictional rather than use the show as a political platform. Real politics presents a daunting contrast to the crafted world of the series, and fiction should aim to feel plausible without becoming a direct mirror of contemporary campaigns. The aim is to entertain while offering a satirical lens on democracy rather than promoting any real party.
What are the expectations for the show in the current election environment?
There is no firm prediction. The strategy has always been to preserve the integrity of the show by resisting direct political propaganda. The team seeks to honor storytelling by letting satire do its work, poking fun at the mechanisms of politics and the promises of democracy without aligning with any specific agenda.
There seems to be a desire to hit the ceiling in the show and I think the ceiling is too far
Is Spanish political drama distinct from foreign series, and does humor play a different role?
The distinction is not about comedy alone. It is about tradition and approach. Spain has fewer precedents in political fiction, and its storytelling often blends satire with a different tonal balance. While nations like Britain or North America have deeper historical conversation around democracy, Spain is developing its own path. The result is a form of fiction that continues to evolve, painting politics in a contemporary light without replicating another country’s model.
What influence did Borja Cobeaga have on the work?
Borja Cobeaga has been pivotal in both professional and personal development. The collaboration and companionship over many years created a rhythm and trust, shaping the direction of projects and the spirit of collaboration. The depth of learning from that partnership is something he values deeply and carries forward in every new undertaking.
Are we currently witnessing a golden era of the show, or is it a passing phase?
This is not a bubble. There is a tangible shift in how television is edited and distributed, with platforms encouraging more nuanced and aesthetically rich storytelling. Audiences are carving out space for subtler tones and bolder narratives, opening doors to more demanding audiences. The industry seems to be entering a durable phase where ambitious series can coexist with broader formats, rather than peaking and fading away.
What are his thoughts on artificial intelligence in writing?
The concern is balanced with curiosity. The current reality involves rapid technological change and legitimate fears about misuse and plagiarism. A clear regulatory framework is necessary to protect creators while allowing beneficial innovations. He remains hopeful that AI can bring positive contributions to the craft when managed responsibly.
Would a writers’ strike similar to Hollywood’s affect the industry here?
The dynamics differ. The union structure and organizational strength in Hollywood do not have a direct counterpart in this market. Nevertheless, writers in this country are grateful for the protections and achievements that unions elsewhere have secured, hoping for positive changes that elevate creative work while preserving a fair working environment for local professionals.