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A day with the scriptwriters of “Al Fondo Hay Sitio”: How are the episodes of the successful series written?

There are eight scriptwriters, I am the head of the team”, comments Aranda after detailing that this list of brilliant minds is completed by: Nena Bravo, Juan Armesto, Yashim Bahamonde, Pablo Guerra, Sebastián Gordillo, Cinthia McKenzie and Guillermo Aranda.

We get together to talk about what will be done that week, that is, about five chapters. When we are more fluid and creative we finish early and go home for lunch. Each one takes the responsibility of writing one of the chapters with the ideas that have been contributed in that meeting, which in fact is super valuable.”says McKenzie.

In these encounters, unexpected twists, memorable dialogues, and endearing characters that inhabit the universe of “Al Fondo Hay Sitio” are born. Each scriptwriter contributes his essence and his own perspective.

We divide the work by chapters, by weight and by piece. Everyone knows how to write about all the characters, it’s not that you write about the one you like or identify with the most. To endure daily writing, because it is a fairly intense pace, we have to know the characters perfectly. Then, Gigio takes care of the editing”Guerra agrees.

Beyond being a simple work team, these artisans of emotions are like a family: they share laughter, challenges and dreams.

Each screenwriter has a different work dynamic. While some feed their creative essence with the stillness of solitude, others prefer to listen to music or watch past episodes of the series in order to become more involved with the story.

It’s a very solitary job, I laugh alone, I walk, I talk, depending on what I’m writing. If there is any doubt, we write or call each other to find out where the scene was or to join the chapters.”Bravo comments. “And neither the ideas nor the creativity end because in that moment of madness you hear the characters talking in your head. They help you follow the path, they practically tell you where you should take them to make the most of them.”, clarifies Aranda.

In the vast universe of “At the bottom there is room”, each scriptwriter has a very personal way of writing and empathizes with a special character. McKenzie, for example, identifies and flows more with love stories, especially those that remind her of his youth. He enjoys writing about Alessia (Karime Scander), July and Jimmy. Gordillo leans towards Félix Panduro (Carlos Solano), the guachimán of the story, and Diego Montalbán. “He is a villain with many dimensions, who can appeal to drama with the same ease as comedy.”, he clarifies.

Leave me with Joel (Erick Elera), Pepe (David Almandoz) and Tito (Laszlo Kovacs), because precisely the situations they go through are always on the side of comedy, which is the fuel of this series” says Bahamonde. While Armesto clarifies that he feels a special affection for Don Gilberto because he reminds him of his father. “It has an interesting ambivalence. He is from the mountains and uses the same words as my dad”.

In the case of Bravo, he claims to feel a special fascination for Francesca Maldini, for being a powerful and proud woman. “I like Francesca with Diego, Charo with Coqui, I like dramas, stories of love and fights, when horrible things are said, without shouting or insulting each other.”, he emphasizes.

Likewise, everyone agrees that the scene that caused the greatest shock to both the public and them was the demolition of the Gonzales house by Miguel Ignacio de las Casas at the end of the eighth season.

That time we were all present at the filming. The general commotion was felt. Everyone cried and felt, precisely, the end of the home that had welcomed those characters.“, he says.

_How do you develop the scripts?

I start at seven am. At that time I concentrate better. Until noon I already have great progress. “I write on Wednesdays, Thursdays and Fridays.” Bahamonde specifies. “After Monday’s meeting it is a closed day for me. On Tuesdays I do structure and dialogue on Wednesdays, Thursdays and Fridays for ten to twelve hours a day”McKenzie highlights.

“PDue to the speed at which we worked, at some point I wrote up to 30 pages, and unlike Yashim I didn’t work in the morning. I write better at night”says Gordillo.

“I have been changing over time. I normally spend two and a half days to make my scripts. Currently I write from 11 pm to 4 am, I have to have a multiphase sleep,” Guerra highlights.

Something special happens to me. On Tuesday I finish the structure and on Wednesday I write from 8 am”says Armesto. “I don’t have a schedule, I can stay up until 4 am writing. I have tried for my own sake to have days off, but I can’t. I already gave up [ríe]”Bravo concludes.

_How do you work on a season finale? With the same dynamic as every day, but with the emotion of living precisely that last chapter. It takes us longer, and everything is done in total secrecy because the endings tend to leak”Yashim clarifies.

_What would be the dream ending of this story? With the death of the characters”, concludes Gigio Aranda. That, fortunately, is still missing.

Source: Elcomercio

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