If there are two names that can be linked to the golden years of Pol-ka, and those strips that marked an era on air television between the beginning of 2000 and the end of 2010, those are the ones from Luciano Castro and Betiana Blum.
Times have changed: it’s been a while since the streaming It is a reality and those daily soap operas that broke the rating and were the subject of talk everywhere are produced by drops. But in the new era of television, Blum and Castro met again in the same set.
It was in the series the good retirementa black comedy by Kuarzo and Flow that vindicates old age and that opens this Thursday on that on-demand consumption platform. Made of 8 chapters of 45 minutesthe story revolves around a group of older friends who decides to live together in the final stage of their lives to protect a great secret.
“The Good Retirement” premieres on Thursday, September 15, on demand.
Castro plays Martín, a 45-year-old guy whose mother, Norma (Mirta Busnelli) falls into a coma, just after expressing a dream to him: spend her last days with her three best friendsLili (Claudia Lapacó), Elsa (María Leal) and Julieta (Blum).
Martín is torn between selling the house that belonged to his father and committing Norma, or fulfilling her wish. Veronica (Mey Scapola), his wife, pressures him to sell it, and thus stop paying rent. He finally decides to follow his instinct and invites the three of them to settle in the house. What Martin doesn’t know but they do know is that inside there is a lot of money hidden.
“He is in charge of everything and at one point I’m like the one who knows everything and knows nothing. So I am constantly in awkward situations with the girls: one tells me something, another tells me another, and I don’t know what to say because I don’t know how far I can speak”, describes Castro.
Luciano Castro and Mey Scápola, partners in life, marriage in fiction.
“My mom doesn’t help me much, my wife hates me because I’m unhappy living behind my mother and I don’t give her a ball… It’s the first series in which I don’t laugh in a single chapter. If I laugh it is in some zone of commitment with my son, ”she adds.
Blum, for her part, defines Juliet in comparison to her other friends. “My character is the most lacking of the four. He is the most hidden too, and I don’t know whether to tell you if he’s the biggest liar. He has lied a lot. And in such deep relationships, lies as thick as hers make the masks fall, ”he starts.
“She is in such a critical situation… the only relationship she has is with a younger woman, an employee who does everything for her and doesn’t finish paying her. She is the trickiest of the four. And she suffers a lot because, of course, you don’t take her from above, ”she adds.
Old age in the foreground
Luciano Castro feels that working with Lapacó, Leal, Busnelli and Blum is like being with the Stones.
the good retirement was created by Martín Kweller and directed by Peter Levati. Mariano Hueter is the showrunner. Castro confesses that together with her partner, Scápola, they were part of the assembly of the series and the cast, which has more well-known names: Gustavo Garzón, Mónica Cabrera, Raúl Rizzo, Brenda Gandini and Andy Kusnetzoff.
“Kuarzo very intelligently offered me to be part of something they already had and they told me, Mey (Scápola) and Maru (Mosca), the producer, to put together the project, the cast. I already knew that the books were good, and putting it together knowing that is easier because it is more attractive. Each one of these beasts that was called was offered something important.”
-What did you think when you read a story about four women over 75?
-Blum: First, my three companions blew my head off. In Europe perhaps not so much, but here (the fictions) are all about boys or young people. So suddenly a proposal like that, from the start, seemed great to me. I have nothing to say about the girls. And then there is the book, which lacks nothing. You have more to hold on to. There is much more to tell.
“My three companions blew my head off,” says Blum.
-Castro: It’s what I also liked about the series, because it debunks the myth that at 60 you’re already retired and that old age is the least enjoyed. They are the Rolling Stones: They do it in every chapter and that’s what throws my character off all the time. They are brilliant, and I hope you see that.
-Betiana, did you feel it as a kind of vindication?
-Blum: No, I saw it as a good idea. As a way to take advantage of the experience. Besides, the four of us are so different, it was very well thought out. When I saw who they were I thought: ‘Is this happening in Argentina?’ I loved.
-Castro: I had worked with Mirta, many years ago: she was my first mom in Como pstill hot, in ’96, before Christ. Y Betiana was my mother in champions. With Lapacó and María Leal, no. It was like a chore for me: working with my partner and my friend who is Mey. We did nothing more than propose, because we did not do production work. I am like a manager, one of the parts.
More than a fictional mother
It speaks of champions of lifethat smash hit starring Osvaldo Laport and Soledad Silveyra that aired from January 1999 to March 2001, and where Blum played Clelia de D’Alessandrothe mother of Castro’s character, Daniel.
Luciano Castro in “Champions of Life”, a Polka hit.
“With Luciano we always have a lot of fun, we get along very well. In champions he was my son and brave he was my daughter’s boyfriendwho was Julieta (Díaz),” says Betiana, who would work with Castro again in heirs of revenge (2011)
-What memories does Champions bring you?
-Blum: That lasted more than two years and I think it’s the strip where I’ve had the most fun in my life. The authors threw us some wonderful ideas. My character had a beautiful madness. She changed her hairstyle with each scene. I would throw away some little thing and in the next book they would take it and develop it. Wonderful.
-Castro: Yes, in my case it was meeting Betiana again. I remember that at the time we they offered to do a separate series with the D’Alessandros: (Osvaldo) “Cacho” Santoro, Julieta Díaz, Betiana and me.
The D’Alessandros from “Champions”: Osvaldo Santoro, Blum and Castro.
-Today would be a spin-off.
-Castro: Yes, because she ran that family constantly. Juliet and I were starting and it was a pleasure, because whatever they told us, we did. We were not afraid of anything. Pol-Ka at its best, you had to cheer to last. And Betiana in a great moment. I then worked with her on brave. Always it was very sobering for meespecially off set.
“Always told me things that no one told me. They weren’t nice, but Betiana told you. She has a son who is my age, and she always told me about him. At some point she speaks to me the same as her son, “confesses Castro.
Old and new television times
Two exponents of that open TV with costumbrista and long-lived fictions, Blum and Castro they are adapting to the new paradigm of streaming. Castro recorded small victories Y the first of ushybrids that were seen by air and today can be seen through platforms.
Betiana comes from filming with Netflix a participation in the film matrimillas, with Juan Minujín and Luisana Lopilato. And he will soon be under the command of Marcos Carnevale in a series starring Martin Bossy.
-The two made a lot of strip, what differences are there with the series?
-Blum: The strip is like doing the conscription. Every day, from very early, and all day in there. Here we also went early, but all times are shorter. In champions It was two and a half years, imagine the number of chapters we did. Here we work very comfortable, very careful. The director planned the scenes very well. It worked almost as if it were cinema.
Claudia Lapacó, Mirta Busnelli and Gustavo Garzón, in a scene from the series.
-Castro: It’s closer to the cinema, yes. In a series you don’t have the vertigo or the requirement of a daily program. In the strip, you drop a soldier from the leading line and you have to write twenty suckers, because you have to go to the air. He has a vertigo that I will saydemands and trains you in a way that when you come to do a series and they tell you that you have to wait 40 minutes, you think: ‘But if I do 16 scenes in 40 minutes’.
“And suddenly someone comes and explains to you how to work, and then you begin to close the ortho”, graphs the actor.
-How are you living as actors this new era of streaming?
-Blum: They are stages. Everything is changing so much… Since we made the strips with (Alejandro) Romay on Channel 9, a lot of water has passed under the bridge. Everything is innovation and change. And the change changes again. Look, the actor’s job is always the same. Maybe it does change for production. What happens is that everything is becoming broader, there are more possibilities of choice.
-Castro: I love it. Because I thought all the cards were already dealt. And I had to go back to work, to reinvent myself, to think of new things, to work with young people who have other rhythms, other ways of seeing and acting. Everything is motivating forward.
-Although it affects the air TV.
-Castro: I don’t mind. He sent me to a place that I did not expect: be one more. Everyone knows me here and I am the protagonist. On the platforms no, you are one more. Being one more being known is an advantage, I know. But there are fifty, sixty like me in the whole world. It’s no longer like when 7 or 8 of us fought for a role. It is an evolution. It’s great.
-At the industry level, do you see it as an expansion of opportunities for everyone?
-Castro: For everyone, yes. It should be more generous at the industry level, because we are not very equitable with the rest of the world. But, well, it has to do with our reality as well. Yes, a door was opened that is immense. There are colleagues who have not had any luck here and have found work abroad and changed their quality of life. That has to do with evolution, with change, with what is happening.
Don’t Trust On this News and Website Maybe it’s Fake
Reference from clarin www.clarin.com