Oleg Krugliak – Shutterstock
I’ve always said that claim that the Spanish cinema is harmful are precisely those who see Spanish cinema-usually far removed from issues of cinematográficas- and therefore your opinion is so base as mine on stock investments, about which almost ignored all: none. The films produced in Spain, as in most of those countries with a film industry or something like it, we throw a lot of waste each year and give us a few that are not bad or that are interesting and some clearly extraordinary; Well, the latter, perhaps every few years. But with Spanish series , today, is not true: find a really worth seeing seems a utopian aspiration . A pity.
We have to be clear, first, that the television series are also part of the film and audiovisual art, but in a different format to movies that are usually premiere in commercial theaters ., for deliveries, which also resembles that of cinematic sagas
” The X-Files – Fox
On the other hand, the fact is that not wrong the speaking of the vaunted “Golden Age of Anglo television series “, because these not really highlighted as a good film until someone came to move the cinematic perspective in conducting the same , their fancy stuff with trailblazers like Twin Peaks (David Lynch and Mark Frost, 1990-2017) and The X-Files (Chris Carter, 1993 -2016), and until they are truly endowed with the means and the talent for it; without ever demeaning, let us say, the sitcom format of the coolest despite the condescending sound of canned laughter, like Seinfeld (ditto Jerry and Larry David, 1989-1998), Friends (David Crane and Marta Kauffman, 1994-2004), Frasier (David Lee, Peter Casey and David Angell, 1993-2004), Just Shoot Me! (Steven Levitan, 1997-2003) and The Big Bang Theory (2007-present), the good times of The Simpsons (Matt Groening, Sam Simon and James L. Brooks from 1989 to the present), which I should have ended years ago, and Futurama (Matt Groening, 1999-2013), or documentaries wonders as the first Cosmos (Carl Sagan 1980). “Twin Peaks” and “The X-Files’ were the pioneers who adopted the cinematic perspective of” the golden age of the series “
But for this change, would not have seen the greatness of shows like Six Feet Under (Alan Ball, 2001-2005), The Wire (David Simon, 2002 -2008), Lost (JJ Abrams, Damon Lindelof, Carlton Cuse and Jeffrey Lieber, 2004-2010) or House MD (David Shore, 2004-2012), Dexter (James Manos Jr., 2006 2013) and American Horror Story: Asylum (Ryan Murphy and Brad Falchuk, 2012-2013). And excuse me here that does not include other like The Sopranos (David Chase, 1999-2007), Deadwood (David Milch, 2004-2006), Mad Men (Matthew Weiner 2007-2015) or Breaking Bad (Vince Gilligan 2008-2013), but even the first three have unforgivably outstanding, and the last half now: much to do despite priorities.
‘Broadchurch’ – Kudos Film and Television
Neither it would be possible to snag such substantial series as The Walking Dead (Robert Kirkman, from 2010 to the present), Hannibal (2013 to 2015), Broadchurch (Chris Chibnall, from 2013 to the present) The Leftovers (Damon Lindelof and Tom Perrotta, from 2014 to the present) or The Knick (Jack Amiel and Michael Begler, from 2014 to the present), or directly sensational as Game of Thrones (David Benioff and DB Weiss, from 2011 to the present) and House of Cards (Beau Willimon, from 2013 to the present). The five seasons of the Forgotten ‘Camera Café’ may are the best of Spanish series that I found
By contrast, in Spain there are very few series of some quality, and outstanding, none that I have seen . The five seasons of the Forgotten Camera Café (Luis Guridi, 2005-2009) may be the best I’ve found. Seven Lives (Nacho G. Velilla, 1999-2006) highlighted but has aged badly, the opposite of ‘sitcom’ American style in which its makers, Friends were fixed; and the same will happen in all likelihood his tacky spin-off, Aida (Nacho G. Velilla, 2005-2014). Something decent is Cuéntame (Michelangelo Bernardeau, from 2001 to the present), but nothing shines like crazy tasty is the vivacity of The looming (Laura and Alberto Caballero and Daniel Deorador, from 2007 to the present), which has clearly surpassed its mother series, Aquí no hay quien viva (Iñaki Ariztimuño and Alberto Caballero, 2003-2006), without laughter canned; although he seldom goes hand
‘Camera Café’ – Telecinco, Magnolia TV
But you see attempts as Red Eagle (Daniel Ecija, Ernesto Pozuelo, Carmen Ortiz and Pilar Nadal, from 2009 to the present), The time between seams (Susana López Rubio, 2012), Elizabeth (Jordi Calafi and Jose Luis Martin, 2012-2014) and, now, Carlos, king emperor (Jose Luis Martin, 2015), Velvet (Ramon Campos and Gema R . Neira, from 2013 to the present) or Sea plastic (Juan Carlos Cueto, Alberto Manzano, Rocio Martinez and Paul Tébar Llano, 2015) and surprised the planísimo style so outdated and so that look ; it seems that the filmmakers are making digestion less prominent series of the eighties and nineties of the last century. However, I must confess that I also pending Histories not to sleep (Narciso Ibáñez Serrador, from 1964 to 1982) and The man and the Earth (Félix Rodríguez de la Fuente, 1974-1980), Crematorium (Alberto and Jorge Sanchez-Cabezudo, 2011), The Ministry of Time (Javier and Pablo Olivares, 2015). I do not know whether to give an opportunity to Malviviendo (David Sainz 2008-2013). It seems that Spanish filmmakers are making digestion less prominent series of 80 and the 90s of last century
If the Spanish series pareciesen to good British as we could come up with a song in the teeth; or even French The Returned (Fabrice Gobert, from 2012 to present); but the quality of the best US seems unattainable for the Spanish television now. Three basic things are missing from ours: a powerful film schools to train its directors, generous media and real talent in their responsible ; or at least the latter and a decent media, because there is nobody in front of a Spanish series or involved in it now able to right upon with simple close-ups and handheld and overwhelm us, eg The Leftovers as well; all are long shots, shot, reverse shot and holy Easter, mediocre scripts and interpretations solvent usually but not splendid.
‘The looming’ – Telecinco, Alba Adriatica
No great imagination and creativity when it is made; I do not know if those who manage the positions of directors in television are not truly talented and the latter are not given the opportunity or given rarely. But I find it incomprehensible why not look at the most successful foreign series and realize, at least, that must transfer the film to television perspective and develop a true and rich visual planning and move a bit more camera , and that the producers will allow. We must concentrate on the real talent and take the cinematic perspective in our series, which implies
But mighty scripts are harder to find; Needless to write real wit , in which of course have the showrunners earning a deserved recognition in the Anglo world, both critics and audiences, with exceptions like the absurdly sad battered Hannibal . In Spain, however, what happens is that the series does not receive the recognition they deserve, but those that are not normally warrant. And they will not until there is a commitment to true talent and take the cinematic perspective in our series, with all that that entails and requires.
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