WITH Felix Viscarret (‘A Life Not So Simple’, ‘Homeland’) and nely reguera (“Maria and others”), they received the scripts TV series ‘Galgos’ It was already written, but the portrait of a family business with those dynamics was captured immediately; Characters full of nuances, contradictions, and extremes… and a character that makes him so close to himself. That’s why they argue it’s fiction. Movistar Plus+which will premiere on Thursday the 18th. This is more than a Spanish ‘Succession’, for it is a portrait of an Iberian company of which we all know certain cases, and it explores the nature of a family business relationships, which usually do not go beyond the third stage. generation .
“We are interested in how you relate to your mother when she is also your boss, when the anger your mother inflicts on you is told by your boss, when you tell your boss that if you refuse to go to the family dinner,” Viscarret reasons. “There were family sagas in ‘One Hundred Years of Solitude’ as well, and they cannot be compared with us and ‘The Flintstones’. There are many stories about the before and after of the family, but this is our story and those who watch the six episodes will see the personality and unique characteristics of the Somarriba family,” he said. continues.
Agile rhythm and irony
And among these family stories there is often room for the soap opera, a subgenre inspired by the ‘Galgos’.‘ with its agile rhythm. Reguera says: “That was already in the scripts. A family that spends the series fighting to try to get through things, to try to survive what’s happening to them as a company, so you see them in a vortex all the time.” “, the director elaborates. And they wanted to stay true to this when it came to staging: how they followed them, how they went with them, not only in the shooting but also in the editing, how the person practically enters the middle “Immediacy, not getting lost in possible introductions or presentations and constant movement “The idea of being in the state responded to depicting the characters in the moment,” he continues.
It was about shooting scenes from the perspective of the protagonist in that scene, his reaction rather than what was going on. “To be close, but without going overboard, so that it won’t be too dramatic for us to be on top of them all the time, but instead there will be a certain distance that will allow for that irony, that subtlety, that humor. To be secretly present, but at the same time to empathize with them.” ” Luxury players couldn’t let it be any other way. “They had to be given the maximum possible freedom, they had to be allowed. It allows them to move and the camera to adapt to their movements,” says Reguera.
luxury players
‘Casting’ was already off when they entered the project, but they couldn’t be more proud of their cast. Three actors with Goya, like Adriana Ozores (for “Hour of the Brave”), Argentinian actor Oscar Martínez (for “Illustrious Citizen”), Patricia Lopez Arnaiz (by “Ane”), also Luis Bermejo (Nominated for ‘Magic Girl’), Marcel Borràs, María Pedraza and Jorge Usón, among others. “It was like added value for us. Are you saying that the scripts with these great characters and these hilarious dialogues will be played by actors of the caliber of Ozores, López Arnaiz and Martínez? It was a luxury, which made it impossible not to embark on this adventure,” Viscarret recalls. That’s why he went on a family vacation after finishing ‘A Not So Simple Life’ and Reguera didn’t stop after ‘The Volunteer’.
The director, who plays two strong female characters in ‘María (y los otros)’ and ‘Lavolunteer’, values the strong women in ‘Galgos’. He likes to paint a general portrait of everyone, especially both Carmina and her daughter Blanca, who is not a typical character. “It shows both through their contradictions. I liked how it portrayed Blanca as a woman who loves her job and company but doesn’t go to the park with her son, showing her doubts without intending to make any conversation. “There are contradictions and even a certain sense of guilt in the character that this creates,” he says.
“And in the case of Carmina,” he continues, “I like to see how she tries to compromise in some way; how she continues to be the mother, the partner, and then suddenly becomes the president. And I like to see how everything changes.” There’s something they particularly like about the series: When he changes his position, his relationships with the rest of his family inevitably change as well.
There is no good or bad
The truth is that It wasn’t a story of good guys or bad guys That was part of the appeal of the story. “These weren’t black or white scenarios, but they showed you very human, very complex characters. many nuances with many contradictions… Maybe he can be more classist or less classist, or have a more contemptuous attitude in a crisis, but the same person can also be very empathetic, compassionate or generous towards someone else. “This duality exists in real life,” says the director.
Moreover The irony spread by the dialogues Seems like something worth considering. “This kind of humor is fun. We already laughed at some of Gonzalo and Julián’s trips while reading the scripts. “This seemed to us a vital and fundamental anti-history that had to be measured so that history was naturalistic and not exaggerated,” Viscarret admits. It was important don’t fall into stereotypebut this element humor or comedy? It had to be present. Despite the drama the Somarribas went through, “You had to take care of it, indulge it, because that’s what made the show so entertaining.” Sweet spot. Like their cookies.