There is something magical in a filming. Time passes differently, and there is a kind of intangible line that cuts a kind of police cord … Albero, although no one steps it if it is not orchestrated. In the courtyard of Banderas de Sevilla, one of the locations of the Hispanic city where the second season of ‘Berlin’ is recorded, the unexpected and successful prequel to ‘The paper house’, there are people who walk like in an ad, slowly and many times, and in the dead angles, between tents, they are bruised and run from one side to another, mounting and dismantling. It is February near the Alcazar and the Andalusian city has as many queues as monuments because the tourist no longer knows of high or low seasons. Maybe that is also for climate change. It is cold in the shade but, when there is no, it costs to look at the sun in the face.
Pedro Alonso, the alter ego of the title of the Netflix phenomenon, seems immune to everything at temperature, despite being in the south and being Galician. When Rueda transforms into Andrés de Fonollosa, he sits with the cross leg in front of his squire Tristán Ulloa on a table with a Vichy paint tablecloth, groomed with his broken white linen suit, and meticulously shakes his feet with suede suede moccasins; When the cameras go out, change the gesture. It puts on a black coat, padded. He gets up, closes his eyes and speaks to himself, repeating the text, perhaps, or remembering some phrase of that ‘Fausto’ of Goethe that he wears in the jacket pocket, with the score almost by the end, next to a notebook with several markers and scribbles. “I call him the doll because he is always so well planted and so well combed …”, says Inma Cuesta, Candela, “the fire” that will steal the dream of David Copperfield of white glove in this second assault. “He has peeked the balcony and the sun has come out, that is the metaphor of his character,” replies the Vigués actor, seductive, still involved in his role as a gallant with the new incorporation of the series, in which Marta Nieto and José Luis García Pérez will also be.
The filming, for some, are almost a ritual. Pedro Alonso’s goes to cover his mouth with his hands, as praying or thinking, before each essay. He makes a fuss, somewhat dawned, with his hand. He repeats it. And another one. Close your eyes and male a secret language. He sits, with his hands hanging between his legs. They make up and comb him. And he is ready to look and how inma Cuesta cannot look away. “We are going for them,” he spends a face of rage to Ulloa as he is fanned with the fictitious premises letter in his hand, such as plotting the plan they will carry out. A plan of which, by the way, they still know. “We have read only four scripts,” Alonso excuses himself. And Ulloa, who “is still the ciutti of Don Juan, the Sancho del Quijote,” jokes with his compatriot for the styling of Veronica: “A total Galician has become, speaking of things without saying absolutely anything.”
Tristán Ulloa and Pedro Alonso roll the second season of Berlin in Seville
The clampa announces the tempo. Scene 17, Tomas 1 and 2. They have just started recording in Seville, shore below the Guadalquivir, through the Plaza de España and the neighborhood of Santa Cruz, but will also pass through Madrid and San Sebastián, which will simulate being the Andalusian city. There will be topics, they anticipate, but not Sanfermines as in ‘Mission Impossible’. «It is a series that has an international aspiration and you don’t stop selling something sublimated. There is something here of opera, mythology too. Pulp myology or how to say. That is, it really is a symphony that goes a point and peak above reality almost always, ”he describes, involved in his romantic record, Alonso.
Above reality, the solo debut of Berlin also flew, a character who died in the second season of the phenomenon ‘La Casa de Papel’ and that, after the end of the series, has had a second chance with the prequel that premiered two years ago and became the third Spanish title in the ranking of the most watched in non -English speech of Netflix. A milestone. The renovation was shot. “Not everyone could have said that we were going to survive the first with a change of gender so reasoned but so dangerous,” explains the protagonist, who will have the rest of the band that assaulted Paris with a romantic comedy and now aspires to “turn” to the dark side, “with more rock and roll.” «There is an awareness that what is being done is pure and hard entertainment, but with excellence and a plus. The fact of being entertainment does not have to have a minor type of connotation, quite the opposite, ”says Ulloa. Success and its mysteries …
– I want to believe a little in magic. There is some magic that accompanies the … – it takes, again, Alonso.
– There is an absence of complexes that we have always had to address in certain dimensions or certain genres. And when we were doing the first season, I had the feeling of being making a Spielberg movie all the time. And then you see the characters, the camera that is approaching, and these movements so recognizable in the great adventure film productions, of a lifetime and, suddenly, you have the feeling of being making ‘the Goonies’. Yes, ‘Los Goonies’.
-Yeah. And then always with a point of … with a plus of a certain Mediterranean madness.
The magic.
The robbery, a mystery
Of the theft they prepare in this second season, which will have eight chapters and will be shot in about nine months, there is still no clue, only a certainty: «Everything that comes out is technically documented. The screenwriters always do a job of a lot of documentation so that technically the plan is possible, Álex [Pina, el creador] For that it is very obsessive, until all the pieces do not fit it ». And Ulloa, who tells the comparisons with the professor of ‘La Casa de Papel’ that so many have wanted to see in his character, is still determined to deny what Belarra told Rajoy about the grace of the Galicians: “It is very afraid that the scriptwriters have those heads.”
«Prepared to roll, gentlemen. This does not give for more. Everything was perfect in the essay, everything is perfect to roll, ”shouts, a coach.
The plan, whatever, machines in the courtyard courtyard near the Sevillian Alcazar. Two extra pairs take a wine and a cane at the tables next door. As if it were not the national sport in Spain to gossip whoever, especially if they are close, Tristán Ulloa and Pedro Alonso, others, plot something like experts, whispers and with the face of knowing something. “Let’s go for …”, release Berlin. And laugh, with that laugh between elegant and evil. It is not seen but, apparently, Inma Cuesta throws at that time clothes from the balcony that is supposedly his house. Ulloa gets up. And Berlin looks at the yellow and white building, that of the geraniums and the buganvillas and the flamenco costumes hanged, suddenly reached by a spark of the fire of the character of Cuesta.
“Much slower, but like three times slower,” says someone behind a monitor. “Your look, Pedro, is fine, that transition is beautiful,”
And Pedro Alonso, Alonso de Fonollosa, Berlin, keeps his eyes, just look at the actress, looks at the camera. The magic.
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