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SÉRIE SERIES 2022

Jaime Olías, Pablo Sanhermelando Blanes • Registi di Cómo mandarlo todo a la mierda

“Volevamo parlare della ricerca della libertà quando si è giovani e delle conseguenze che può avere”

di 

- I registi della nuova serie originale spagnola per HBO Max ci raccontano le motivazioni alla base del progetto e il loro interesse nel ritrarre la generazione Z

Jaime Olías, Pablo Sanhermelando Blanes • Registi di Cómo mandarlo todo a la mierda

Questo articolo è disponibile in inglese.

After arriving in Spain last year, the HBO Max platform has produced the original series How to Screw It All Up [+leggi anche:
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, directed by Jaime Olías and Pablo Sanhermelando Blanes, which has just premiered at the 11th edition of Série Series. We spoke to the filmmakers about their first major fiction project, a refreshing and insightful take on Generation Z, starring a cast of first-time actors.

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Cineuropa: How did the idea for this project come about?
Jaime Olías:
It didn't come from a specific place. Pablo and I have known each other for a long time and have similar interests. We were interested in making a series for young people because we think it can be a very turbulent time in your life. We liked the idea of writing a story that was not set during the school year, but during the summer holidays. We wanted to make a series in a road movie format and talk about the search for freedom when you’re young, and the consequences this can have. From all this we came up with the original premise of How to Screw It All Up.

Pablo Sanhermelando Blanes: We were mostly interested in developing youth stories that portray youth itself, in this case Generation Z, beyond the premise.

How long did the project take to develop?
PSB:
We started developing the series towards the end of 2019, but when the pandemic hit, everything came to a standstill for a few months. Filming took place in Spring 2021, which lasted about a month, and then we started a very long post-production process. We finished the music for the series relatively recently, which was very important to us.

It has been a very complicated search to find all the songs that properly reflected what was happening on screen. The series has no original music, but 27 or 28 tracks by urban music artists. For a series of six 20-minute episodes, this is a very high number, but it has been one of the key aspects of the project. That's one of the things that everybody points out, that kind of music that is so different and so close to the generation that we are portraying. Also, the music constantly moves between the diegetic and the extradiegetic.

Are there autobiographical elements in the work?
JO:
There always are. I really like to put a part of myself in all the characters, even covertly. I always try to put myself out there a little when I write. There is something autobiographical, but the truth is that we have not experienced the setbacks and plots that the characters go through. I was able to go on a school trip abroad [laughs]. It is true that I had a lot of inner life when I was young, so I feel very identified with the protagonist and her personality.

What was the casting process like? Did you have trouble finding the main actors?
PSB: We saw a lot of people. We wanted to find actors and actresses who had exactly the same energy as the characters. It was a very long process, but when we met the six protagonists, we knew immediately that it was going to be them. Especially Naira Lleó, who plays Alba. Jaime called me and said, "Pablo, you have to see this screen test, we have her.”

JO: Almost all the actors are amateurs. They are 17 or 18 years old and have only been in the audiovisual sector for a short time. These kids are extremely talented. There were one or two who had filmed other things, but this was the first big role for the female lead. When I saw her, I fell in love with her, because she has so much strength.

Do you feel like there has been a change in the consumption model in Spain? The data confirms that young people have not returned to the cinema after the pandemic.
JO:
I think so. Platforms are seriously changing how we consume audiovisual content. The choice is huge, and that is something I value as a consumer. In Spain, ten years ago you could only watch what was on television, where series were made for all audiences. I love the genre; I like people to gamble and take risks. Platforms allow for that. And our protagonist recently said in an interview that she does not go to the cinema. That's a bit sad. We have to find a way for cinema and platforms to work together, to find new ways for people to keep going to the cinema.

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