González, by far the most vibrant on-screen presence, is embodied by Aron Hernández, the actor chosen through casting to put himself in the shoes of the singer-songwriter. In the background, the military dictatorship permanently stalks the lives of the musicians and their environment. As shown in the first chapter of the series (exhibited privately at the closing ceremony of Sanfic Industria), the band performs in places where it does not find an audience in the same tune, while invitations arise that produce doubts, such as the possibility to touch on giant saturdays. With The voice of the ’80s (1984) under the arm, in the plot the group faces the most intimate and global adversities. “Luckily we were able to give them time to learn and be comfortable with the instruments,” says the showrunner about an extended preparation period due to delays caused by Covid.
And also obviously this balance between the points of view of each of the characters ”, he indicates, referring to“ really understanding why the characters acted as they acted ”.Īnother challenge, as in all musical biopic, was the display of the scenes on stage, for which they had the rights to the songs of the group and the studio work of Pablo Ilabaca and Felipe Salas, in addition to the interpretation of the three main actors. And it was in the whole writing process that we managed to find the tone, which I think was the most difficult. “We started writing by recounting the same historical moment, but I think we were not so clear about what we wanted to talk about with the series. Written by screenwriters Enrique Videla and Luis Barrales, in collaboration with filmmaker Dominga Sotomayor, the series solved puzzles as the project took shape, until it was shot at the beginning of this year under the direction of the Peruvian Salvador del Solar and the Colombian Carlos Moreno.Īt the gates of its premiere, set for the Saturday, JanuOn the Movistar TV platform, as detailed by the company to this medium, Lombardi stops at the main obstacles cleared by production. “What we gain is being able to go into a specific moment in the life of Los Prisioneros with much more depth and detail, and not try to recount their entire life,” he adds.
It seemed much more interesting to me to focus on a certain period ”, he explains to Worship the Peruvian director Joanna Lombardi, showrunner of the fiction of eight half-hour episodes that united Movistar with the local producer Parox ( Invisible heroes, The replacement). “ We didn’t want to make a show that went through all of its stages too quickly just so we could tell the full story.
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