Today the world is fixed: Leonardo Sbaraglia and Charo López talk about the film

Today the world is fixed, by Ariel Winograd, has Leonardo Sbaraglia and Benjamín Otero in the central roles. Accompanies them Charo Lopez, who plays Yani, a key character in the endearing story of a man who produces one of the most bizarre programs on TV.

From one day to the next his life changes drastically, when he meets again from another place with who he believes is his son. The references to Paper Moon, by the recently deceased Peter Bogdanovich, weave the account of the proposal, about which we wanted to know more details and we spoke with Sbaraglia and López.

—What did you like the most about your characters?

—Leonardo Sbaraglia: That David is a character whose beauty is that he transforms; Based on the circumstances that life puts on him, the entire board where he was comfortable falls apart and he is forced to live with something that he had never lived with. And he realizes that this coexistence makes him more human, makes him a better person and he gave me a lot of tenderness when reading the script. I did not hesitate, with Wino we have wanted to work together for a long time and now he has become a friend. I am very happy to work with him, it seems to me that he understood the character very well, he tells it to him, to me, to everyone, in a metaphorical way and it’s good; because he is a guy who is realizing that in the very scale of life they have to weigh more.

—Charo López: What I like about the character is that he is surprising, that he is apparently a clueless person, he always believes that one thing happens when another happens. But at the moment he has to specify and when the situation becomes heavy he is very lucid and reacts in an unexpected way: I liked that game. She is like a pizpireta, half flown, not with the innocence of an Amelie, half in the clouds but when she has to go down she does it with everything and she becomes very powerful in a moment; I liked having that bow to play a lot, of a character that seems silly but is not.

—And in a moment it becomes more relevant because it puts the cards on the table …

—CL: And in a very noble way and imparts a justice to other stories, genre, Yani has its great scene.

“The movie puts them in a different place.” In your case, Leonardo, why did you do so little comedy in Argentina? And you, Charo?

—LS: Because it did not happen and surely there was a certain prejudice on my part, certain fears that were extinguished. I really wanted to work with Wino, the closest thing to comedy I did was Impostores with Leticia Brédice, in which we were directed by Juan Bautista Stagnaro for Fox; later I did my participation in Vinyl Days, El gordo y el flaco, in the 90s. But it is true that it is what I did the least and it is a genre that I like a lot, I love it, I feel very comfortable there and I think now the pot has been uncovered, in fact we already have another project with Wino.

—CL: I felt that, from the first moment I met with Wino, that I was learning something that I don’t know, different from what I was doing. Cinema is another profession that I was used to; had that extra of wanting to learn and I joined a very large team, thinking that I had never done anything this way, with such great actors and that thanks to Wino we understood that the important thing was history, working on the micro, in every word, every scene. I was not distracted at all from the specific objective that was to act.

—Not looking at who was around …

—CL: Zero, it happened to me later when I saw the movie and understood that it was mega. And obviously when I was going to meet Leo, I was nervous in the elevator, but everything was very nice and Wino told me one day that this was like a family where you could talk about everything. And it was so. For example, I had never worked with a child, and between scenes the game and the good vibes were sustained, especially with Benjamin, who should be more comfortable and better, with him we played many little Chinese arm wrestling between scenes.

“How did you connect with Benjamin?”

—LS: Working with a child has its complexity. You don’t ask for anything like adult interpreters, you have to take advantage of the best of that identity, that tenderness, that transparency, that honesty and at the same time patience; because practically the dynamics of filming gravitate around its patience, the time limit it has and the very fragility of the non-professional, there we have many elements to which we must adapt.

“Feelings that are finally released?”

—LS: A lead the situation, the truth, what to say that has not been said. But the important thing is that it is being released and that people are encouraged to go to the movies, that is the most important thing, because it is a film that will meet the expectations they have. It is a very nice movie to watch, fun, tender, at the same time it makes you think about your own life, parenthood, it has many beautiful ingredients and now people need to be encouraged to go to the cinema to see it, just as it is encouraging to go to the theater.

—CL: I really want the movie to be seen. At the time, the work vortex made it a film that was there, but now it has become much more important, wanting people to return to theaters, from my very personal place.

—It’s a family movie plan, vacations …

—CL: Movies at the cinema are unforgettable. It is very difficult for you to forget a movie that you saw in the cinema, that’s why you are not at home, the folklore of the cinema, to go; I am very romantic about the screen, the dark and stuff.

“By 2022 are there more movies in sight, Charo?”

—CL: No, there is no cinema in sight, but I am with a series that Santiago Korvsky is going to direct with a character that amuses me a lot. It’s a comedy, so in February or March we start with that; I am with my head in the new character, that there is nothing more beautiful than being with my head in a new character.

Charo López, the female orchestra

While the world is being fixed today, the multifaceted Charo López was until recently on Public TV, doing podcasts, theater, radio and much more.

“At what point do you rest with the thousand things you do?”

—No idea (laughs), at the moment I’m resting a lot because we finished recording the Public Television, I’m not doing shows at the moment and that relieves me a lot.

“Is there a medium that you are not on that you would like to explore?”

—I would like to do more cinema. Now that I have tried “that sweet” and I love it, I am in love with making movies; I wish I can do more, I would love to.

Sbaraglia remembers China Zorrilla and tells what historical character she would like to embody

Owner of a unique talent and charisma, which positioned him as a benchmark of his generation, Leonardo Sbaraglia worked with directors such as Pedro Almódovar, Olivier Assayas, Marcelo Piñeyro, Anahí Berneri and Daniel Rosenfeld, among others. Diario Hoy reviewed with him one of his most beautiful films and his next steps.

—I would like you to tell me something about Kisses on the forehead, a wonderful film, directed by Carlos Galettini and in which you shared the screen with a great cast of figures such as Carolina Papaleo, Erica Rivas, Claudio García Satur, Alejandra Flechner, and nothing else. nor anything less than with the unforgettable China Zorrilla …

—It is based on a work by Jacobo Langsner, A Daisy Named Mercedes, and the most important memory I have of that film is China Zorrilla, she was a great person, a great actress, but above all a great person, and I had the privilege of work and share that with her. It was a difficult experience, I was very young, I came from making Wild Horses, it was difficult to tell that relationship between an old woman and that boy, to see how that love could be understood, but I think beautiful things were achieved, and I take the privilege of working with a really great one that was China.

—You have already played a young Jorge Luis Borges, you were in The Night of the Pencils, you recently played Guillermo Coppola in Maradona, a blessed dream, but there were not many times you worked playing a well-known character or an icon of politics, history, our country or the world. Do you have or do you dream of embodying a real character?

—There are many in Argentine history, it would be good, I don’t know what character, but a great film production about indigenous extermination in the desert in the 19th century, that story is incredible and it would be good to give space to that part of Argentine history.

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Helen Hernandez is our best writer. Helen writes about social news and celebrity gossip. She loves watching movies since childhood. Email: Helen@oicanadian.com Phone : +1 281-333-2229

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