As a telenovela that is based upon real events, Pablo Escobar: el patrón del mal presents every part of the production team with unique challenges.
Presumably one of the most difficult things about producing Pablo Escobar: el patrón del mal is that the story is a real one. Therefore, the writers had a basic script and plot that they had to follow, limiting their creativity and limiting the new ideas that they could incorporate into the story. The plot has already been written. The characters have already been chosen. The setting has already been chosen. All of these elements leave the writers in a "box" that dictates their writing.
An interesting element of the production of this telenovela is the costume work that was involved. There are photographic depictions of the clothing that the different characters wore in real life. In one way, this would simplify the work of the costume artists, as they do not have to imagine the characters and create costumes for them. However, in another way, this would make it difficult for them because they have a guide to reference and any deviation from that guide could make the characters seem less realistic.
Another aspect of the production that is already determined is the setting of the story. The story has to take place in Colombia, and it has to take place in the late 1900s. These are two aspects of the story that cannot be changed. This limits the variability that the telenovela can have in terms of the setting.
Another aspect of production that is already determined is the characters. The story of Pablo Escobar has a finite number of people in it. There is a little room for introduction of new characters in his story. Therefore, the writers must work with what they are given. They have to write roles that fit the roles of the characters in real life and there is not a lot of leeway in terms of creativity and plot twists. If a character died in real life, the telenovela has to have that character die.
The final, and most influential aspect of the production is that story of Pablo Escobar has a beginning and it has an end. Writers cannot create more action in the story by adding events in the plot. When the writers had finished writing about his life, there was not the option of writing another season because Pablo died in the last episode!
Can you all think of any other challenges in production that I overlooked?
John! Su blog tiene ideas que me parece muy similar a mi telenovela. Muhteşem Yüzyıl tiene un trauma de eventos y personas reales también. Nunca he pensado en como este hecho he afectado el proceso de escribir y crear la telenovela. Es la verdad; con una historia real hay menos, o al menos una diferente creatividad necesaria, una que usa los eventos y personas reales y hace una interpretación, un atento llevar a vivir en una nueva manera esta historia. Pienso que, para mi telenovela, la historia no restricta a la creatividad, pero ayuda guiar la creatividad a traumas y espacios que no ha ocupado.
ReplyDeletePor ejemplo, en mi telenovela hay un romance entre dos personas, que en la historia real fue imposible que ellos pudieron comunicar cara a cara. Por eso, fue un obstáculo para crear una relación romántica entre estas personas. Pero, los guionistas usan este obstáculo como una oportunidad escribir un romance único: los personajes comunican por cartas secretas y por música que tocan en sus propios balcones, donde el otro puede oír en su sala. Estos aspectos son la fundación de su amor, y crea una intimidad única que nunca podría existir sin el obstáculo de la historia real.
Con este ejemplo también, no es un obstáculo material, de ropa o los lugares reales, pero es un obstáculo de las normas sociales. En la época del impero otomán, mujeres y hombres en el palacio tenia especificas maneras de comunicar y muchas reglas que impedir la comunicación.
No sé, porque nunca he visto Pablo Escobar, pero hay obstáculos similares de tiene una fundación de normas sociales o normas del cartel en este tiempo?
Cómo piensas estos obstáculos también servían como oportunidades creativas?