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Audiovisual producers, meetings with the protagonists? Second season of audiovisual GPS podcast,
The changes of the industry, thenew platforms, the challenges that come audiovisual
producers, meetings with the protagonists?Eva Padrón was born in Barcelona and after
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thirty years she came to live inBuenos Aires. She specializes in advertising production,
in which she worked in Spain formore than a decade. In two
thousand seventeen he produced his first featurefilm, Inés de Oliveira Caesar' s
other skin. With her he returnedto work a year later in Baldío.
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In two thousand nineteen he traveled toTashikistan to film the snail of Saula Benavente.
In two thousand twenty he participated asthe da Improdewser in Pampa Films.
In two thousand twenty- three shefounded the production company Hiperion, together with
Agustín Carbonere, director of the Santo, premiered worldwide in April of that year,
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they were going to exist in Barcelona. What was your relationship with audiovisual
activity? I studied communication sciences inBarcelona. I' m Catalan. I
was lucky enough to have some parentsI convinced to let me study film and
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the truth that I enjoyed the careerand ended up working in advertising that well,
Barcelona is a very large service andadvertising production center in Europe. So
it' s kind of an easyway to get in and that was my
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training and there was some specific pointfact that I decided to start you in
production. I always liked the movies. Then I think that' s why
I also insisted on studying film.I never saw myself in front of the
Chamber, I never saw myself asan actress or as someone I always liked
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and studied script What happens is thatafterwards I felt that the script was nothing,
a very lonely task and I reallylike to talk with which I felt
that within the whole spectrum and ofall the actors that we formed a film
production team, production was perhaps what, of course, I was given the
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best. And why in advertising,beyond or, because precisely because it was
much easier to access audiovisual, audiovisualproduction from advertising. Sure, in Barcelona.
And the reality is that advertising,I am very grateful to advertising,
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gives you as some tools of workand very little time, very intense that
really after, when you pass themto a film production, even times become
a bit eternal. Not then thetruth is it' s a very good
school. Everyone who wants to startand asks me I tell them to start
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in publi because real is how itis hard, it is intense, but
at the same time it gives yousome tools of reaction that are that then
you value them in the film productionthat has other times and a training exactly
matters a traiding exactly and under whatcircumstances you came to Argentina and decided further,
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Well, it will continue here.Of course it' s the question
of the million Julia, what thefuck about that cause if I had been
given a weight for every one ofyou who asked me. Well, the
publicity gave me an Argentine publicist husbandI met in Spain, who is Fabio,
who is my life partner, myfriend or my lover, my everything
and the father of my children,with which it is also the fixed leg
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that allows me to work in cinemaand not have that continuity of work that
I should have like any more conventionallabor. So he' s like the
supporter of my dreams and my careerand sometimes I say I' m a
scholarship student of Fabio' s foundation, then he supports all my work and
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good nothing will make me fall inlove. He' s coming to Argentina
for love. The crisis in Europeoffered us the opportunity to move and in
one of the options to move wasgood air and for him it was going
home and me. Since nothing I' m a bit of a restless ass,
then it seemed very interesting to me. I' ve always come as
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a tourist. Obviously I never thoughtabout it enough to stay and live.
And it' s a fantastic,wonderful country that hugged me hard and gave
me a lot of opportunities and towhich I' m super grateful. And
what caught your attention when you arrivedhere, to settle in to live here
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of the audiovisual activity with respect toSpain, for example, of production models.
Well, there' s something aboutworking with little money or little resources
that forces you to really develop creativitymore, and I think that' s
something I learned based on exercising iton the different projects I worked on.
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It' s not like making bread, no, yes, yes, it
' s very good that it's good. So it seems to me
that this really is something that alsowhen educating children in Argentina, regarding being
able to educate them in Europe seemedto me as very interesting. It wasn
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' t like him, it's not all given, it' s
like thinking and looking for a way, and that develops a way of thinking
that I think is healthy. Obviously, you also suffer, you suffer and
while out there you' re notenjoying it so much. But when you
finish the whole process, that's when you arrive as full of satisfaction,
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because you know where you came fromtoday where you didn' t get
it, so that' s howit makes sense that you don' t
exist. Perhaps because right now,but this is almost a confession of mine,
I say perhaps because right now itis all so difficult that one thinks
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if I could go to Barcelona.I' m clear, but notice that
now good, but set by almosthaving two wars you understand, that is,
they have their conflicts. Also,that is one thing is when you
travel as a tourist too, whichis all wonderful and everything is amazing.
Then it' s when you getto live and you have to live with
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the little things in the diary,not the ona. They' re cutting
off our train. The train isalso cut off in Barcelona because the facilities
are old. But that' skind of like your friends who live out
there don' t tell you.Things happen, other things happen, that
is, there is insecurity Also,that is, they have some serious migration
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problems, that is, you haveto believe already that the world is so
upside down in any part of theworld that you have to say good,
what I can deal with. Notthen it' s like what I don
' t know. That' swhat I could live with and what I
can handle. Less hurt my soul, but well, yes, obviously,
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in Europe, in Spain there areconditions that allow you to project saving that
here is as more complex. Idon' t know how to make a
budget in Argentina It' s likea dream to understand It' s a
total devague. It' s likeI don' t know, from applying
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to a call until it actually comesout and everything' s transformed and you
' re already sending a budget ofinflation you understand how to update it,
which is like everything. That's very exhausting, very exhausting. And
that you went training here in doingyes to all those issues, you train
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like that. I also trained tohave unions that do not exist in Spain,
they do not have the strength thatthey have here. So you kind
of train all these elements that suddenlyis like ah. Well, I have
to go and tell the project towhom. Ah yes, well or ah
they come to visit me at theshoot. They' re like things one
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suddenly is like nothing curious about.Yeah, yeah, yeah. Now you
are a producer by vocation, orthe way you take look. I think
there' s a saying that's worth and not worth producing. I
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think production, somehow, has tofeel it and I really vibrate, that
is, I love to produce.Yes, and it' s how I
feel like an alchemist, not bygathering energies, by putting together a team,
no, because it' s anenergy issue. I mean, it
' s like you' re ateam beyond talent, you also have to
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measure that the energies of the situationsin the production design that we' re
preparing. So, like it's really, the team building is an
alchemy, but then the budget isa puzzle. Not then, like that
whole gun puzzle thing I love.So yeah, I feel like I'
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m in the right department, thatI couldn' t do anything else.
In fact, when there are needs, one goes and covers becomes a multitasking.
All right, we supply it,but productions like the place where I
sit. And I do think it' s vocational. People are often very
discriminated against, because we are thefirst to arrive, the last to leave
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and we are the prisoners who solveeach other' s kilos. I mean,
when anyone has a problem of nothaving production space, then it'
s like I' m a nurse, I' m a psychologist, I
' m a financier, that is, suddenly, in the same project I
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cover different roles in different departments thattell me all their problems. Well,
here it' s usually said you' ve heard it being producers dealing with
the director' s expectations. Know, deal with the director' s expectations.
I really like working very hand inhand with directors, which is something
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that some producers have also criticized asmaking me very personal. And but I
can' t imagine it any otherway because if these two departments don'
t talk and really don' tcommunicate, there' s little to do,
because then we' re going toshoot and it' s going to
be a disaster. Then I amin that sense of the producers that I
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like to satisfy the needs of thedirector, as long as they are pro
project, that is to say ifyou have to make a complex scene that
are not presumptuous. Well, we' ll cut it off on the other
hand, we' ll look forthe silver on the other hand, or
we' ll cut this off,and this is always negotiated and always nothing
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comes to terms with that creative pawthat' s the director. I don
' t think it' s thesame with the director of photography. All
of a sudden, I mean,first I make deals with the director and
then, because also, all ofa sudden, everyone comes to you with
their stories. I don' twant to place a lamppost and my look,
not really, because this plane we' ve already reduced to just this
then, that is, but yes, it' s psil tails. But
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that saying sounds like a negative,pejorative means. And I really enjoy working
with directors, men and women,directors in general, and the truth is
that I have a very good relationshipand then the proof is that they call
me back later, I mean,and I keep working with them apparently.
So it' s okay now andwhat' s the most challenging and the
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most difficult aspect, the hardest ofa producer' s task, in this
case look to get the resources.Now we are with the next project with
Agustín, which we are thinking wasalready like a PP great in terms of
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a level of production and level ofproject. We came from the saint with
something very small, very controllable andsuddenly we are opening up to a co
- production with agustín carbonedes. Yes, then the procer, which is our
next project, is much more ambitiousand we require help and external allies.
Then all this effort to summon,disconvince, to transmit the passion and emotion
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for the project that is very good, that we have to do it,
because we want to see it good. For me all, that' s
exhausting. I' d like tohave like silver and chao come on,
so I understand that it' sthe most challenging thing then about the Role
of your Role and in turn,the most difficult thing for me. Yes,
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two things for me, yes,but because in that sense I feel
like more producer of guerrillas you understandas field of going and we film then,
like all that more part of negotiation, of executive, of papers of
tail, here, here. Iget a little bored. It' s
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interesting because at the same time I' m kind of thinking, well,
where we need money from, becausewe need this and I' m here.
I' m here, but I' d like to, like,
think about it and it' llhappen automatically, where that good thing happens
in my head. You asked me. It wouldn' t be my wish,
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because well, it could happen inArgentina, it could happen in Barcelona,
or he' s one of thetwo places. It' s not
perfect either. No. That's why it' s not the times,
of course, it' s movietimes. No, and that'
s kind of the most boring thing. But, well, nothing and what
kind of stories summon you, you' re interested, you' re tempted,
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you like to get in, toproduce. I like the stories that
move me and resonate with me thatI basically love to always step on something
fantastic genre. I like that thecinema has some entertainment, too, that
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' s the documentary. I loveit and I love to delve into a
theme and tell me something like realgood, but not fiction. In fiction.
I like that they kind of tellme something as dark as it is,
but they have a part of entertainment, which is like I feel trapped,
either because of the theme. Ilove magic realism, I love genres,
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I love all genres. I couldtell you I love a cop who
' s a good cop, thatis, when you respect the rules and
it' s pretty pure, sofor me now lately, fantasy, fantastic
movies, magical realism is summoning mepretty good. The Saint listened to you
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and has a lot. The Sainthas things, there is gender crossing,
the Saint has coastline. Yeah,I don' t think they can fit
it into one in particular. Notbecause good has essential supernatural metaphysics Yes,
yes because of that too we alsolearned from that a little bit in pure
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genre festivals. We did very wellin some, but in some who were
very purist, it was kind ofnot a genre movie. It didn'
t happen to us. We havehad different responses within festivals of the same
genre and in festivals that do nothave gender. Tapeli has also worked,
with which yes, the procer comesalso as an indescribable melange of genres that
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is tremendous that when we have tofill in the calls to which we are
applying, it is very difficult becausewe have, as I don' t
know, seven genres in one yousuddenly understand people who have read the folder
told us yes, it is veryrepresentative that they put the seven genres,
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because you already understand that it islike it is everything then like that but
well, always fantastic shoe. Itseems to me like very interesting and those
are the stories that exist another,in particular now, in this vital moment
of my life. Yes, becausein gi what you can' t imagine,
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for example, as a genre producerput him I can' t imagine
everything to me already I told youthat I like my work and I like
challenges. If I suddenly have todo a musical, I' d love
to do good. In fact,in pampa we did a couple of series
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for Disney Plaus that were two musicalsand I had fun. Obviously, I
wasn' t the consumer. Itwas two juvenile series and it wasn'
t my target, but I hadfun doing them. I wouldn' t
consume them. They don' ttalk to me. But if suddenly also
Chassell, the director of the Lan, summons me to make a lala land
two or Bewsley that I go head- on, live good. Here we
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are to dream Julia reality is comingout of the door. For her it
is a very good example, because, moreover, how that film revived the
musical is Beautiful, the director,not like that also Wiplashta also gets you
into that jazz world after a wholeseries in France, which is very good,
also as it claims much music incinema, which I think is a
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key element. I mean, themusic. It' s all things that
aspects of production for you are unnegotiableup to here. Sure, for me
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there' s a matter of respectfor the team, that is, the
team in any department in any ofthis is like a pyramid. Not to
me when I started working and inpubli this is very pyramidal. So the
pyramidal may seem like an ancient medium, because I have come across newer generations
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who see it as being all producerspreparing us because we all have different responsibilities.
Then it' s very easy tobe tidy. And if something tictictic
happens fast like tackling the problem,then, for me there' s some
respect that' s key, so, like, inside the team it has
to flow. I mean, wecan' t disrespect each other, there
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' s no yelling, we don' t talk bad, I mean,
for me that' s a limitthat doesn' t cross. If it
crosses, we' re in bigtrouble, that is, we have to
respect each other, because it happens. Sometimes there are times of tension,
in situations of tension that one canlose roles. Then, of course,
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respect is key to me. Then, nothing, then there are questions of
closing a green budget, that is, under no circumstances accept or good,
at least in my projects. Iam very responsible for not closing in red
or negative, or I walked threevillages, that is, when they tell
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me these things, it tells meto believe them you even understand. It
' s like but you didn't see that you were overbudgeting you understand
because you realize, I mean it' s not like suddenly I' m
three hundred thousand dollars down and it' s like it' s a lot.
You don' t understand, asyou know you authorize and then you
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don' t authorize control of money, respect for people and then also something
that is related to respect for peopleis respect for working hours, not those
eternal days. Suddenly it' slike why if tomorrow we' re not
getting back together, the team hasto rest. I mean, there'
s like something back then. Well, it happened at the Santo that we
didn' t put in an extrahour. We didn' t have money
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either to assume them you understand,but it was like under no circumstances we
' re going to do overtime.Then we have to stick to the shooting
plan. And it' s somethingthat also helped us really take advantage of
filming time. I mean, like, we didn' t fly around and
we had our time to stop forlunch and people were retarded. There were
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even days that left us time andwe were able to put plans of improvisation
that we were there. We saidand we do this and this. But
as if one manages to generate thatgood energy within the team, that then
also transmits in image you understand.It seems to me that there is something
there that if it flows, itflows in all of them then you see
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it also in the final result.The role of woman in easy production facilitated
you, made it difficult for youto look. I am from a generation
that I started to work when therewas still not all this feminist movement now
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that seems very stupid and wonderful tome, nor about quotas, that do
not make me so happy, becausesometimes they have called me and summoned me
for projects because I am a woman. Then I eat ah but you like
it or you don' t likeit as a job. You understand then
there I feel like a little bitthat makes me a little bit of a
noise story. Mostly because of whatI tell you, when I have to
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set up teams, I arm thembecause of what person I consider to be
suitable for work in any of thedepartments. When I have to start saying
it' s not that I haveto make equal teams, then I have
to get two more women into thisI do, but it' s like
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you' re already organically dressed.It' s not the same anymore,
I mean, it' s likewe' re already forcing something of the
same for men. That is,when I never in my life, in
my years of production, I stoppedto think if I was hiring a man
or a woman, I was hiringa professional, a professional that I think
is the right one to do thisjob or to summon him to help me
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with this or the other. Imean, I' m a little surprised,
and I tell you, sometimes Ilike him a little bit. I
know we' re kind of ina pendulum thing and it' s going
to come back and I think it' s really cool with everything, I
mean, I' m totally infavor of the claim, but sometimes,
like, it kind of gave me, it makes me sound like that when
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they call me and summon me becauseit' s like. But you'
re summoning me because I' ma woman. Or you' re summoning
me because you really like the wayI work and you think I' m
the right person to do it.You understand, yes, yes, yes,
and you didn' t feel eitheron this road And I' m
a mother and I had to leavemy children and I went to film and
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down there I lowered the level offilming, obviously, because also for what
I have children and suddenly I won' t understand. That is how you
try in your life to look fora balance. But, for example,
in Tajikistan, it was surprising thata woman was the producer and that she
was sort of marking the riffo abit, like the filming, so there
were, gentlemen not, like notordering yours. No, so it'
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s like they come over here andI' m gonna tell you what that
' s like then, okay.But I never, ever, ever felt
that I ever discriminated in my professionallife. I never felt anything. And
that' s already it' slike it' s been a few years
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and it was all very masculine allwhen a clear equal production was always more
of a woman as well. But, well, then you have to deal
with teams of gentlemen who are toughsome departments. What are the new challenges
for production, producing for platforms orcontinuing to bet on rooms or both.
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I want it to happen for everyone. I' d like us to go
up a little bit. The levelof quality of the products being produced.
A little, I mean, asI don' t know, I just
got back from Touluz' s Latincinema and I saw France' s movie
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board and it was spectacular. Youunderstand, that is, well, because
there are strong policies of defense ofthe local cinema and there is like a
whole story that I understand that itis not new, that it takes years
and years, but well, nowyou are seeing the results and as quality
cinema, that is how I sometimesfeel that like that a movie for a
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platform is like less interesting and itshouldn' t be because the platforms are
the ones that have the resources,they are the ones that are putting in.
So, why are we making thesame movie over and over again with
the same actor you understand? It' s like no yes, it'
s our responsibility as professionals to givethe audience and generate audience. There are
a lot of talks and courses ofwhich audience we think for the future.
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I don' t know guys,but it' s that the audience forms
you, that is, with theproducts that you' re thinking about,
so from what place, as professionals, we can contribute our bit of sand
to transform that going like generating anaudience, but with criteria, with stories
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that actually summon them, that questionthem, that I don' t know
like that. And for me peopleare going to go to the movies if
they feel summoned, just like they' re going to see it on my
platform. I mean, for me, I don' t know. I
prefer to go to the movies,but because to me it' s a
ritual and I feel like I'm not interrupting. If I' m
home, I guess I pause,go to the kitchen, get something,
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go to the bathroom one more matterof concentration. I speak from my person.
Then I feel like I go tothe movies and give myself two three
hours to tell me a story andI' m like concentrate that. But
I would love for the platforms tocontribute, because they are the ones that
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can contribute and among all of usthink like products, like a little bit
of better quality, yes that theycontribute even good, in our case,
to the fund of cinematographic promotion.It does not speak this, because that
is an issue that is pending herein Argentina and that in France, in
Spain have developed very clearly. Yes, that is seen in the production they
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do in both countries. Now Iwas also thinking about having the feeling of
always watching the same movie. Thesame thing happens to me and I say
it is true, of course,that there is a responsibility of producers and
directors, production directors, but Ialso start to think if there are no
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certain rules that are setting the platforms, the giant streaming calls, those famous
bibles that say there are. Andthat doesn' t format the product as
well, and it also formats thetastes of audiences. Not sure, they
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are primarily responsible, also because theydecide it is so that they are not
done. I am sure they receivea lot of projects and proposals of all
colors, of everything very different,but also after we have to work and
eat and pay our bills. So, that' s all of a sudden,
you see yourself making a series forDisney plan that well, where two
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teenagers kiss like that and you sayalready, but it' s just that
teenagers don' t look like thatanymore, they kiss like more intent because
they have the stronger hormones. Butno, no, no, no,
let' s show it then allthat like it' s all adding up.
You don' t understand. Thennothing has a lot of apartments that
everyone comes to film you. Everyonethinks from their apartment is like me,
from my experience, it was likemaking two eternal commercials very long of I
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don' t know 120 days offilming. You understand. I' m
very exhausting to have all the time. People are like we already talked about
everything. You trust us that wemake movies all the time. You do
marketing, you do such a utirest, go do your next project.
We filmed this and delivered it tous then it happens to us as well
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that' s how I at onepoint left the advertising because it was like
a chain of fears. Not then, like, suddenly no one was cheering
up. Or fear this, fearthe other give him guys. I mean,
it' s a commercial my oldlady who' s gonna see it.
He' s not going to realizeif this plane better than this plane
is equal to the car without allof us deciding it' s three in
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the morning. Let' s goto sleep You understand. So, like
some of that happens, from thosefears, from not going out, not
risking. So, well, that' s going to chat us, you
see, it' s going tochat us and it' s going to
make us, because that' smore and more chat products yes more exactly.
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Why do you think it' sworth making movies in Argentina? Well,
I think that, for example,a film like El Santo we could
never have made in Spain. Imean, I think it' s something
that I love living here. Ithink Argentina has like that, like a
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heartbeat that since you don' texpect anything from anyone, you have to
get the pampas out of the fire, it drives you to do it.
I mean, that' s alsolike something I feel about Spain, that
' s good. There' skind of something good there and the government
will tell us what to do.I understand we' re here now destroying
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everything. I mean, I don' t want to do the apology of
what' s happening, but mentallythere' s something about the Argentine that
activates and that seems to me tobe nothing magical. I' m married
to a creative, that is,creativity, talent, originality. Nothing is
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totally the DNA of Argentine cinema andit seems to me that a lot of
commercials came out with all this anti- Inca anger and that it is true,
that is, films came to theoscars that is how it is really
within the region a reference. Thennothing. I feel that you have to
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take care of him, you haveto preserve him, you have to support
him. Yeah, whatever it takesnot to destroy it. Not exactly.
Okay. Eva Thank you so muchfor sharing your experiences with us. Thank
you, Julia, a pleasure.