‘The road’ broken by Borja Soler, Nacho Lavilla

By | October 18, 2022

CANNES — Atreus Player’s Premium Original, “The Road” begins in 1993 when the lead characters’ time ends.

A star DJ on Valencia’s Ruta de Bacalo, Mark’s heart is no longer in it. He visits the family home and sits in his bedroom, still plastered with teenage memories, trying to connect with the young man whose music made him passionate. For Sento, clubbing is now a job. Tony thinks it’s time to go home.

“The Road” (“La Ruta”) then flashes back, to a moment where the classmates first met in 1981, and enjoyed a certain innocence. Even a flashback to 1981 has a retelling sequence in the first episode, though many viewers may not cotton to it.

As in the rest of the world, the first series of requests from Spain for international streams may be slowing down in many cases. Innovation in Spanish TV production, however, shows signs of slowing down. Also coming to market at Mipcom, “Rappa” qualifies as a classic rural murder mystery, and then breaks that subgenre’s rule book. “Offworld”, another Movistar+ original, is a co-series written by some of Spain’s most talented screenwriters with the help of a different director, each episode set in a world after a major blackout.

Given its pedigree, you’d expect something different from “The Road.” Atresplayer Premium, Atresmedia’s SVOD service, premiered “Veneno” and “Cardo.” Spanish Caballo films include Rodrigo Sorogoyen (“Riot Police,” “Like Beasts”), the partners behind “La Ruta.”

“Atresmedia series have all had a great international run. We are lucky to have the most successful Spanish series in the world led by ‘Veneno’, ‘Money Heist’, The Cook of Castamar, ‘Alba’,” said José Antonio Anton, Director of Content at Atresmedia TV.

In the run up to Mipcom, Difference He spoke with series co-creator and director Borja Soler and producer Nacho Lavilla at Caballo Films.

Why tell the story backwards?

Soler: For me, this series was the first great discovery and it responds to a very obvious reason: the desire of the viewer to go from darkness to light in these twelve years. To achieve this, it had to start in 1993, which was the prime year of the music scene.

This de-contextualized shot from the first episode works well to tell the reunion of a group of friends in their thirties, with many open wounds and a devastating sense of loss along the way.

The film celebrates youth in many ways, demands maturity….

Solar: It was a constant question in the development process; Do you remember the first parties? We were very interested in remembering ourselves at sixteen, especially the years when everything was new and we lived with great intensity. We realized that most of our best memories are connected to those special nights with our friends; A holiday, a trip… We brought back photos of those nights when we were still teenagers and realized that we were different people. We became our parents.

The way

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What were the instructions for the guide?

Soler: Of the eight episodes, two were directed by Belen Funes, the other two by Carlos Marquet and four by me. When I thought about what kind of directors I wanted to involve in the process, it became clear to me that I wanted those who put the direction of the actors first, who have the sensitivity and precision to find the pulse of the script. On our character of time. This was one of the biggest challenges of the series, and Belen and Carlos did exceptionally well.

From a technical point of view, there is also a formal commitment to embellishing the emotional and vital pulse of the characters. In the early episodes, the camera distances itself from the characters, a calm and stylized camera, but as we approach the final episodes, the camera lets go as we grow younger with the main characters. The idea is that at the end of the series, the viewer will feel that he is part of the group.

‘La Ruta’ plays on Atresplayer Premium. Premium is an overused term. But what do you highlight as the main episodes in the series?

Lavilla: Everything comes from the script. We didn’t want to green light the product until we were sure we had a story that was original and original. The next step was the undisputed casting. From there we wanted to shoot different places in Valencia, avoiding the use of sets. As the series covers 12 years of music, we have made an important commitment to use extensive music licenses. But without a doubt, it is the vision of the directors that gives the content a premium character: Borja, Carlos and Belen present a very cinematographic vision and method of work, which contributes to the richness and diversity of the content. Each episode is a different movie. I think in that sense the series would benefit greatly from their artistic input.

Where do you want to see Caballo’s films in two to three years?

Lavilla: We give maximum attention to each project. We don’t build our products with Caballo in mind. Our value is to remain a boutique enterprise, to put all our love and care into each product and to be able to demand the same of ourselves in each one. We don’t want to overwhelm our production capacity. Perhaps our biggest ambition right now is to increase our production scale. This allows us to grow our audience organically with compelling stories, find ingredients that strengthen global collaborations, and thus reach more people. This in turn gives us more resources and increases our value.

Category: tv

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