"Before we were referents, we are now ruins"


"The most urgent in the exile is to restore some of the usual," said Leonardo Padrón, referring to the opportunity to continue his work and write his first international drama, Amar a muerte, which debuted in the style and captured the greatest melody in Mexico – where She resides – via the Televisa network, as well as among the American daughters, through the Univisión. Thus, he crowns a successful career for more than 20 years, which he has set up as a successful librettist in Venezuela and now exceeds the boundaries from the beginning, which better life could not be guaranteed.

– "Amar a muerte" started with very good legs in Mexico and the United States, which ingredients, in your opinion, have led to this success?

– I believe that a healthy expectation was created with the sum of elements: theme, broadcast, promotional images. I suppose that's the assumption. Every day, this industry is surprised. Nothing is written on the stone.

– How risky has it turned out that the telenoveless approaches such an unusual subject and enigma about what happens after death?

– As risky as stimulants. The writers are always talking about death. We want to understand this with words. Where we come from and where we are, the main questions of the human being. "Loving to Death" is asking about this secret, which many religions and people's beliefs try to answer. Is there life after death? Does the soul survive? What would happen if we had a second chance? All these questions are examined throughout the series based on the story of the Colombian writer Julia Jiménez, called "En cuerpo ajeno", which was covered on other occasions. This is a very powerful argument, with which I added other elements to further clarify it.

– Do you want to focus on designing and developing the project while living in a situation that is traumatic as an exile?

The most urgent in the situation of exile is to restore some of the usual. And above all your workflow. It was good for me to get this opportunity. And I take it with the rigor and responsibility it needs. I try to stay in the hands of exile.

– What are the differences and similarities in the development of your work between the Mexican television industry and ours?

Differences? Many. Other market, other public, other cultural values. Another production system Something, also notorious: I do not know the majority of players. I have to trust my eyes with the suggestions provided by W Studios and Televisa. But the story is always written with the same craftsmen, here and in Australia.

– What is the distance between Leonardo Padrón from "Amores de fin de siglo" and "Amar a muerte"?

– More than 20 years. Many moons, right? I assume that there are some more skills, greater mastery of trading tricks and greater awareness of what is or can not be achieved. At the same time, television has changed a lot. What is considered and how it is considered In Venezuela, before we were pioneers, avant-garde, references. Now we're crumbs. So he tried himself in a very different context. I did not expect that.

– He said that a telenovelal window looked at the reality of the state, how does "Amar a muerte" try in the case of Mexico?

– In addition to the love story and juicy research on the issue of soul migration, I wanted to raise the extreme complications of journalism in Mexico. This is one of the most dangerous places in the world that claims this profession. Journalists have permanently threatened, blackmailed, tortured or killed drugs. I have a whole plot that embodies this topic.

– Think of the mint of the opera "Venezuela" for a long time at its final stage and nothing what the word End means?

– There's not a high level yet. The country was confused as agonized, as it is alarming. This is the most dangerous thing that could happen to us. People no longer had the urgency to cope with their own survival, but the voice of voices was extinguished for fear and repression.

– What end would I write for this telenovel?

– A classic ending. When criminals pay for crimes and good people, they recover their fullness. I think that a happy ending has never been so demanding. The time of distress was excessive. We all want to see the end of this wicked dictatorship. Take a look at the roads, ports and airports that have been destroyed by the tsunami of people returning home. Take a look at opening business santamarías. Water coming from the pipe. Gigantic trucks trading in food. Music Hugs National Holidays.

– How many chapters do you think you have a shortage?

-I have time with damaged optimism. The mistakes of the opposition leader were so much that a word that is powerful as "hope" is full of holes and limbs. Tyranny, however, only deals with the preservation of power in the most valueless way. Some chapters are still missing.

– A Mexican critic is similar to ours or is it different?

– I still do not know that. He was just hit by a critic who angrily claimed that the tele-priest first premiered in the United States as in Mexico. National outbreak. But he did not even try to find the reasons.

– How far is your mother's death, and could not be said goodbye?

– It's one of the wounds that I will not forgive the regime. Like me, this situation has happened to many people. It's a pain without words.

– Is your exile or exile?

– Just exile? It was not in my plans. I have already mentioned the circumstances. One of the characteristics of each tyranny is the decision on the fate of other human beings.

– Do you always live outside of Venezuela, or are you sure that under the right conditions you will return to life here?

Of course I'll be back. Millions will be back. Others, no doubt, will live and stay far. But in Venezuela I will never give it hopelessness in my destiny.

– Where is poetry in a situation like it lives?

-In one of your favorite places, which is silence and observation. Everything settles down until it finds a way to breathe through words.

– Has the critic of reality left the poet by the side?

Not necessarily. Poetry helps me understand better. Poetry is constantly asking about reality. He shook. Interpellates to. Keep it. Poetry is always a resistance.

-Mariaca Semprún was your best fabric of tears and emotional support in this situation?

– He was my great companion. My priceless support. Treasure It would be very different if we did not have it. Nothing like a couple running against a storm that is exiled.

– What would you like to write for "Amar a muerte"?

– What we want and what it touches, let's go now, what it touches.

"Is he one who loves death?"

Honey is always abyss. Therefore, sometimes their mistake resembles the dizziness of death. But, if I am honest, the only place worthy of dying of love in literature.


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