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“Comedy Is All Or Nothing”


Previously he was an actor, in Roller Coaster in the 90s. Then came directors, screenwriters, novelists, radio hosts and even panelists, none of whom seem foreign to Sebastián de Caro. You can already watch the new Argentinian film Matrimillas on Netflix, written by Gabriel Korenfeld and Rocío Blanco, directed by De Carro. The two lead roles were assumed by Luisana Lopilato and Juan Minujín, completing the cast with Cristina Castaño, Andrea Rincón, Julian Lucero, Santiago Gobernori, Vicente Urchin, Alain Malisani and Betiana Blum.

He speculates that the word matrifamilias is a union of Latin words. It is a game that proposes to add or subtract points from coexistence. The invention appeared in the fifties in the United States. The one who manages to get the highest score will have “definite” advantages within the duel. The film approaches the contest with much humour, and its director confirmed that there were seven weeks of filming, plus two months of pre-production, as many months of production, later adding post-production.

– What is your identity in this new film?

—I think it’s a very difficult thing to label something, because whatever experience you have, I don’t think all of us who direct it, it’s necessary. But there is something that when there is passion towards the work, it is there and I pass that on to everyone who has made the film. Because it invites you into an extraordinary world that, even as it suggests possible things, it pauses the moment. What about me?: Time, all I could do is just like what I did before to prepare me for this. Avoid mistakes and strengthen the virtues or simple ideas that come before me.

– Juan Minujin’s name also appears in the production…

-Buffalo Films and Tieless Media are the production houses that commissioned the film and Juan (Minujin) is one of the collaborators. Beyond the label, both he and Luisana are very important professionals and have always been committed. It’s like directing Messi, even though I’m not Scaloni. Not being receptive to what they might say is mischievous. He also has a lot of experience and has worked with directors I admire. Everything contributes. They are extraordinary companions, listening to them is always enriching. He contributed from the first till the last day.

—The script is not yours: Did you propose revisions?

Scripts are always changing, from reading to filming. Even if it were mine, everything changes. You have to deal with what’s written when filming, sometimes the script is perfect and other times it’s reality, but other variables can be added. That’s why it’s such an exciting and complicated job. Light or noise can alter the shot. Everything is dynamic.

What was it like working for Netflix?

“It fills me with hope.” It is a dream, no film or series to be made today. This is the ideal scenario. I’ve loved movies since I was eight years old and having Netflix is ​​the best thing that could have happened to me. I look forward to knowing how this premiere, launch and communication scenario pans out. I am very attracted to everything around me.

What do you feel today defines the imagery that seeks to be popular, for better and for worse?

Comedy is all or nothing. Because it interested you, it made you laugh and it inspired you. It is the only genre where the characters can feel something the audience cannot. In horror movies both are the horrified and in dramas they are all the victims. whereas in comedy the more the hero suffers, the more the audience amuses. It’s a different game. I believe life is more like a comedy than a tragedy, in spite of difficult and difficult moments, it is still full of misunderstandings, ridiculousness and non-logic.

—Do we Argentines have a plus for comedy?

—I think because of our European ancestry, where there’s a lot of Italian, Spanish, and Jewish. I am not getting any idea from what I say, we have a tradition of sanyasis and vichitra. This happens both in our literature, in cinema and in theatre. For example, it was a dream for me for Bettiana Blum to be in this movie. A short full turn to close a circle. These are the crosses that fill you with pride and make you the spectator you were.

– How do you see the Argentine film industry?

“I see him getting better every time. There is an excellent level of people in the technical fields. I would like to tell you that those of us who have had the privilege of doing this job are getting excellent professional as well as human warmth and impressive training is. Then you can make movies more or less as you like. Presently you get sound, photography, staging, performances which start with a very competitive base all over the world. We had democratic blockages and economic crises. Nothing like Who doesn’t know. This industrial art—which is cinema—had to face great disharmony. We’ve gone through places that forced us to regress, but today we’re on a much better footing.

—How much does your career in acting help you?

—Today I do not feel like an actor, but the years of study with Cristina Banegas helped me a lot. At the time of joining an actress or actor, this plus is not payable.

How do you manage your creativity in a country like Argentina?

– I’ve been working on this since I was eighteen. I dropped out of high school and got into television, one thing led to another. Earlier I was feeling dizzy, now it is strange to think that how was it earlier. I started very young, you get comfortable, you learn and you don’t always win. Little faith, faith in unconsciousness and instinct.

-Has there been any change between your last film Claudia (2019) and the current matrimony?

“Million changes. Claudia was an independent film that opened BAFICI, which was another dream, with Dolores Fonzi who I admired before filming and now I love. It was wonderful working with her. It’s the other side of the coin Both films were very important and they taught me. I think Matrimony fulfilled me in some way, because it represented filming a script that was already there, like everything else, from the producers To the cast.Today I am more keen on getting projects even though I have my scripts for the film.

-Do you think your genre is comedy?

-20,000 Kisses, Claudia and now Matrimilla are comedy variants, with all their differences. I see myself in films that leave an impression on the characters, I also like horror, but I am more concerned with problems on a human scale. Matrimillas implied the challenge of creating a comedy for the largest possible number of audiences, without losing individuality, or failing to tell what had to be told. It should have an impression and it is interesting. You will be surprised to see the actions of these interpreters from time to time.

“Big brother left me a beautiful memory”

Sebastian De Caro can be heard on Saturdays from 10am to 1pm on Metro (FM 95.1) as a radio host on his program How to Steal the World. His radio history began in 2001 with A Toda Radio, continuing in Perros de la Calle and later in Gente Sexy. Perhaps less known are his publications such as his short stories under the title My Method (2011) or his novels: The New Adventures of a Recent Biologist (2013), The Most Fake Flower in the World (2017) and Cielo Drive (2019).

His first film in 2000, Rockabilly, allowed him to continue filming his own scripts, as he did with Holidays on Earth (2001), At Night They Go to Your Room (2002) or Cut Out (2009). also co-directed as he did. With Piccola Settimana – Semenita or Valeria, a Lynchian film.

But his memories of two seasons of Big Brother (2011/2012) are even more surprising. He assures: “I was part of the panel. I did a total of one: ten weeks in the afternoon debates and the evenings. I was with my dear friend and colleague Mariano Pelufo until today. We already knew each other. It was one of the jobs where I enjoyed the most in my life. It left me a beautiful memory. I had a great time. I won’t do it again, because I’ve already done it, I’ve already been there. I enjoyed it, because it was almost a collective improvisation. We used to argue as if it were a condition that someone whispered something in the other person’s ear. I thought it was a great comedy show. The joke was that we debated it in all seriousness. Every day we made a serious topic out of nothing. I have a very personal political opinion: the danger is not when a program entertains directly, for me the bad thing is to have transcendental debates ”.

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