Entrevista Foto por Jon Ariztimuño

Publicado en mayo 2014 | Foto por Jon Ariztimuño

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Iñaki Ariztimuño y la comedia de la vida

El co-creador de la exitosa serie de TV ‘Aquí no hay quien viva’ habla sobre la génesis de historias, la TV en una España golpeada por la crisis y las posibilidades — y peligros — de las nuevas tecnologías.

por Suan Pineda
Entremares Magazine

Madrid • Sentado en un atiborrado café del barrio de Aravaca durante un soleado día de estío madrileño, Iñaki Ariztimuño observa el entorno a través de sus gafas de sol. “Las imágenes siempre se [me] han grabado”, cuenta el co-creador de la exitosa serie televisiva “Aquí no hay quien viva”, que durante sus cinco temporadas batió récords de audiencia alcanzando a 10 millones de espectadores. “Veo a las personas como personajes”.

Quizá sea esta habilidad que lo ha acompañado desde la niñez el ingrediente que lo llevó a construir esa (a)típica y adorable comunidad de vecinos cuyas desventuras constituían el corazón de la serie más vista de la primera década del siglo XXI en España, según datos de la Entidad de Gestión de Derechos de los Productores Audiovisuales.

Y es que “Aquí no hay quien viva”, encabezado por un elenco de lujo con actores de larga trayectoria como Loles León, Luis Merlo y José Luis Gil, captó con un humor ácido y ojo crítico la idiosincrasia madrileña (por no decir española). “Fue un exitazo porque el espectador veía que los personajes se asemejaban a su propia realidad, a lo que ellos vivían en su entorno”, dice Ariztimuño.

Prueba de la vigencia y la relevancia de la serie es que casi 10 años después de la emisión de su último capítulo, el programa no sólo sigue cultivando altos de niveles de audiencia en sindicación sino que también ha captado la atención de la cadena de televisión estadounidense ABC, que está en negociaciones para adaptarla.

Sobre todo, “Aquí no hay quien viva”, que con otros programas de ficción contemporáneos, demostró que la producción nacional podía competir con — y muchas veces desplazar a — programación extranjera en el gusto de los televidentes. Transmitida en decenas de países en Europa y Latinoamérica, la serie coral de personajes cementó no sólo un tono y un ritmo característicos sino que también creó frases que se han enraizado en el decir popular como el “un poquito de por favor” del portero Emilio (Fernando Tejero) o el “punto en boca, ¡hombre ya!” de Paloma (León), la esposa del presidente de la comunidad, ávida de poder.

Con series como “Periodistas” y “Médico de familia” en su repertorio de realizador y guionista, Ariztimuño sigue lleno de proyectos, nunca perdiendo de vista y siempre observando el mundo que lo inspira. En una conversación con Entremares Magazine, Ariztimuño habla de la actualidad de la televisión española, la importancia de la narrativa en un mundo de nuevas tecnologías y la traducción del humor en una pantalla chica cada vez más globalizada.

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Entremares Magazine (EM): Tu trayectoria en la televisión lleva más de dos décadas con series como “Periodistas”, “Médico de familia” y, por supuesto, “Aquí no hay quien viva”. ¿Qué te atrajo a la televisión, al mundo audiovisual?

Iñaki Ariztimuño (IA): Desde pequeño lo que sabía era que yo estudiaba y no me quedaba con el texto [sino] que me quedaba con las imágenes fotográficas de lo que estaba pasando en mi clase de tal forma — no sé si me aburría mucho en clase o no — que me dedicaba como un pájaro a saltar de cada esquina a cada esquina de la clase. Era como tener una cámara en cada esquina y verlo como si fuese un fotógrafo o un arquitecto. Me imaginaba la perspectiva: si estoy aquí ahora, si me coloco allá, cómo nos veíamos a nosotros mismos. Entonces jugaba a eso y me abstraía de tal forma que lo retenía en mi cabeza con una fuerza increíble. Y entonces me decía el profesor “¡Iñaki!” Y no me había enterado de nada de la clase (ríe). Por eso siempre he sido mal estudiante. Pero las imágenes siempre se me han grabado.

Durante muchos años era increíble porque yo veía a una persona en un ascensor en un hotel bajando dos minutos y si esa persona me asustaba, me llamaba la atención, de repente pasaban cinco años y me encontraba con la persona y me quedaba así mirando y titititi como si fuera un ordenador y me acordaba que lo he visto. Ahora ¿qué me pasa? Me he hecho mayor o ya tengo tantas [memorias] de estas que no retengo ya, mi disco duro lo expulsa (ríe). Pero me ha pasado durante muchos años: Veo a las personas como personajes.

EM: ¿Fue así como surgieron los personajes de “Aquí no hay quien viva”, por ejemplo?

IA: Sí. Así surgen: en la convivencia, de convivir en distintos pisos o casas con compañeros de trabajo. Lo que me pasaba era que como yo venía de una ciudad más pequeñita a la gran capital me encontraba con una persona y aparte de fijarme físicamente cómo era, me imaginaba la vida de esa persona …y yo me creaba una película. Como yo trabajaba en series de ficción y todos los días iba a grabar 10, 12, 14 horas en unos estudios de ficción, yo pensaba que los personajes que yo me encontraba [en la vida real] eran más interesantes que los que me escribían en los guiones. ¿Por qué? porque en la ficción en esa época en España se reflejaba lo que se creaba en las series americanas. Y las series americanas eran personajes que no tenían maldad, eran personajes blancos, el personaje no podía decir un insulto, un taco, o decir algo que agrediese al espectador. Eran series muy infantiles. ¿Y qué pasó? que cuando yo empecé a escribir las personas que yo me encontraba en mi vida diaria eran mucho más humanas: uno escupía, el otro insultaba — porque en España se insulta mucho (ríe) y se es muy maleducado—. Todo eso lo iba poniendo en un papel y en ese recorrido se generaron unos personajes y en ese recorrido también conocí a Alberto Caballero, que es el que escribe los guiones actualmente de la serie que continúa [“La que se avecina”] y que es el sobrino de un productor de televisión muy importante en España.

A Alberto le conté el proyecto, le gustó y empezamos a darle más forma porque él era un guionista profesional, o empezaba a serlo. Entre Alberto y yo perfilamos esos personajes y la diferencia entre lo que existía en ese momento en la tele y lo que nosotros hicimos es que los personajes eran políticamente incorrectos. Es decir, había dos homosexuales porque en la vida real hay homosexuales, había unas señoras mayores que arremetían contra todo porque ya estaban en sus últimos años de vida y ya no tenían miedo, ya decían lo que les daba la gana, había profesionales que estaban en edificios antiguos en Madrid en donde se aunaban las generaciones. Era como un pequeño laboratorio de personajes. Y de ahí fuimos sacando a los personajes que luego se hacían en la serie.

Tuvimos la suerte de estar en el sitio adecuado en el momento adecuado porque el tío de Alberto, José Luis Moreno, se asoció con la Editorial Planeta y Planeta compró parte de Antena 3. Entonces le pidieron contenido a este productor y este productor le preguntó a su sobrino qué teníamos por ahí. Y teníamos este proyecto que ya estaba bastante desarrollado. Se firmaron cuatro capítulos y tenía que pasar [el análisis] de audiencia y si no pasaba se lo cargaban y si pasaba lo de audiencia continuaba.

Y al final se hicieron 90 capítulos y fue un exitazo porque el espectador veía que los personajes se asemejaban a su propia realidad, a lo que ellos vivían en su entorno.

A partir de allí… todas las series que han tenido éxito nadie se podía creer que los personajes (en series policíacas o lo que sea) son personajes perdedores que al público le generan ternura. Allí yo creo que está la clave: que tú generes personajes que te emocionen, que te puedes reír, pasar la aventura con los personajes independientemente de si es guapo, feo, alto, rubio o si es médico, policía. Lo mismo pasa con la literatura: si te emocionas con los personajes y te engancha el ritmo pues tienes al lector ganado.

EM: Uno de los aspectos que me enganchó de la serie es su especificidad: retrata con precisión y por ello con inevitable humor (a mi parecer) la idiosincrasia madrileña, el día a día de la vida en un edificio de la ciudad. “Aquí no hay quien viva” parece remitir o aproximarse a lo que es esencialmente, particularmente español.

IA: Esta serie se ha emitido en países latinoamericanos donde la cultura y la idiosincrasia [son] diferentes, es decir, ya empezando por el lenguaje, el español de un colombiano o panameño o peruano es español pero son matices diferentes y palabras diferentes para no decir más cosas. Aquí en España hay una cosa que se repite mucho y es que parece que estáis enfadados cuando habláis, parece que es una cosa anecdótica pero es real. España es una multitud de muchas comunidades donde las características son totalmente diferentes por la geografía de montaña, el Mediterráneo donde se aglutina la personalidad de una comunidad, una forma de entender las cosas, de hacer las cosas. Es una riqueza importante. Los romanos decían que la Península Ibérica era un conjunto de pueblos siempre en disputa entre ellos y seguimos así (ríe). Entonces cuando llegas a la capital y todas esas personas que se han criado en distintas comunidades se juntan se produce un efecto de miedo, de conocimiento y desconocimiento, de cómo se comporta el otro. Cuando se juntan en la capital y tienen que convivir es un choque, es una explosión de distintas formas de entender las cosas, de hablar, y la forma de decir las cosas es bastante agresiva. Y luego creo que hay una socarronería — una palabra igual muy española — que es como la flema inglesa pero con más mala leche, o sea un humor más negro. Eso que se da en la serie, se da en la comunidad de vecinos de “Aquí no hay quien viva” porque yo te digo algo siempre con segundas o te las lanzo y más que sutilmente como igual pasa en otros países (por ejemplo, en México yo te estoy diciendo una cosa y el subtexto de esa cosa es que quiero decir otra, o sea, si te estoy diciendo: “Qué pelo más bonito, qué bonito”, te estoy diciendo: “Me quiero ir contigo”). Aquí es más directo, no hay tanta sutileza, hay más ironía, más acidez. Y por eso parece que estamos todo el día enfadados, estamos todo el día uno cagándose en el otro (ríe). Somos así.

EM: La serie tuvo bastante éxito en Latinoamérica.

IA: Sí, pero más en unos [países] que en otros. Creo que en Argentina, en Chile tuvo mucho éxito. Pero, por ejemplo, en México (no tengo los datos o las estadísticas) no tuvo tanto éxito. Es interesante analizar el porqué y es una cosa cultural. Sería interesante analizarlo, por ejemplo, para crear proyectos audiovisuales que sean posibles de venderlos en todo el mundo, para intentar hacer un proyecto más global. Al final la cultura audiovisual se está globalizando entonces sí que creo en productos que se pueden vender o ver en todo el mundo porque realmente todo el mundo ya tiene acceso a las distintas culturas y a las distintas claves de las culturas.

EM: Uno de los aspectos fundamentales que tienen las series de televisión de éxito es que a pesar de utilizar elementos globales y universales no corren el riesgo de diluir el contenido. ¿Cómo afecta globalización el contenido de la televisión?

IA: Lo estandariza. Por ejemplo, en el mundo la gastronomía española es la número uno. Una de las formas que está funcionando y que se está instalando en el mundo es el concepto tapas o pintxos. La gente lo recibe porque se adapta a la vida moderna, la rapidez, etc. Con el [mundo] audiovisual está pasando lo mismo. Internet lo está globalizando todo. La gente joven no tiene tiempo y quiere sintetizarlo todo en productos cortos como los pintxos en que tú veas lo que te guste, rápidamente —que es lo que hace la publicidad—. La gente prefiere degustar muchas cosas pequeñas y diferentes que [degustar] una grande porque ya no tiene paciencia. Por eso me parece muy interesante el mundo del Internet y el mundo del video industrial — al que yo ahora me dedico mucho — en el que se aglutinan elementos que son muy interesantes porque está el lenguaje audiovisual, del spot publicitario, del videoclip, de las películas, de las emociones, eso aunado con el cliente [y tener] que contar historias con humor para vender su producto.

Todo esto de la globalización es lo que más me interesa, me interesa más que hacer proyectos, y como está la economía a nivel televisivo cuesta mucho dinero y mucho tiempo y esfuerzo en sacarlos adelante. Me interesa la inmediatez de Internet que puedes hacer cosas muy creativas, no tienes límite y tienes un escaparate mundial. Internet me parece la nueva ventana al mundo para que todo el mundo tenga la posibilidad de ser creativo — ese creativo de niño que todos tenemos dentro — y que cada uno pueda desarrollarlo al nivel que quiera.

EM: Pero al final de cuentas, Internet es sólo una plataforma. La necesidad de contenido que vale la pena es aún muy importante.

Iñaki Ariztimuño ha sido guionista y realizador de series de televisión como “Médico de familia” y “Periodistas”. Junto a Alberto Caballeró, creó la icónica serie “Aquí no hay quien viva”, la serie más vista de la primera década del siglo XXI en España, según datos de la Entidad de Gestión de Derechos de los Productores Audiovisuales. – Foto de Jon Ariztimuño

IA: Sí, tú no puedes cocinar un plato por muchos elementos de cocina y tecnología [que tengas] … Tú no puedes cocinar un plato si no tienes la buena materia prima y una idea clara de hacer un plato con unos buenos ingredientes. Pasa lo mismo [en el mundo audiovisual]. Tú por muchas plataformas, tecnologías que tengas, si no tienes un buen contenido vas a morir, y eres efímero. Es importante el contenido, tener algo que contar y que luego sepas llegar al punto. Sí que estamos en un período de confusión de tantas nuevas cosas que parece que una cosa solapa a la otra o que oscurece a la otra, pero está.

EM: “Aquí no hay quien viva” salió en 2003 y tuvo cinco temporadas. Si hubiese salido ahora, cuando el país está atravesando por una crisis económica, ¿crees que tendría el mismo éxito que tuvo?

IA: Nunca se puede saber, porque las cosas han cambiado mucho, han surgido más televisiones, el público está más fraccionado a nivel audiencia porque hay más contenidos y posibilidades con lo cual es más difícil canalizar al público como en ese momento.

[Pero] yo creo que sí, yo creo que al final es un contenido que dentro de todos los platos que tú tengas de posibilidades está muy bien. Está muy bien que tú puedas comer caviar una noche o dos, o toda la semana, pero si lo comes todos los días te cansas, entonces quizá un día a la semana te interesa comer una tortilla de patatas que es “Aquí no hay quien viva”. “Aquí no hay quien viva” es una tortilla de patatas con productos españoles sabiéndolo hacer con nuestro humor, idiosincrasia, cultura española. Muchas series que han querido hacer hamburguesa han fracasado porque la hamburguesa la hacen bien los americanos. Los españoles cuando quieran hacer hamburguesas tienen que hacerla pero con variación.

EM: ¿Cuál es el estado actual de la televisión en España?

IA: [Existe] una forma muy industrial de hacer televisión. [Antes era] muy artesanal, porque lo que hacían era contratar a un director, y este director contrataba a guionistas que escribían sobre un proyecto. [La productora de televisión] Globomedia [instaló] un modelo muy americano de trabajar e industrializó [el medio], lo que condicionó los guiones. Por ejemplo, si tú eres una escritora y yo soy un escritor de “Lost”, tú escribes un capítulo y yo otro, cada uno le dará un toque diferente [a la serie]. Lo que ha hecho Globomedia y como se trabaja en Estados Unidos es que nosotros somos equipos, [eso es] yo escribo un guión contigo pero luego tenemos otros equipos que supervisan nuestro trabajo al final. Lo que pasa es que lo unifican, dándole la misma forma, no que tenga mi personalidad o tu personalidad sino la personalidad global del creador de la serie o los que deciden.

Ese módulo industrial lo he vivido personalmente, y ha condicionado que se han hecho series más al modelo americano de trabajar y eso no ha hecho que haya un genio que te haga un capitulo genial pero sí que ha unificado un nivel de producción de la serie estándar muy bueno. En ese recorrido también se ha conseguido un nivel de producción porque los costes económicos no se pueden permitir al llegar a hacer las series de ficción americanas, entonces se ha conseguido equipos de grabación muy eficientes que son capaces de hacer una serie de una hora y media, una hora en una semana y narrar como lo narran los americanos a una cuarta parte de los gastos de los americanos. Eso tiene mucho mérito.

El nivel de ficción en España creo que está, en cuanto al lenguaje audiovisual, al nivel de cualquier serie americana, salvando un poco las distancias, por las facilidades económicas que supone que yo quiera poner…

[En cuanto al] contenido creo que se ha conseguido llegar al público igual que puedes llegar con una serie americana. Yo creo que en muy pocos años España se ha puesto al nivel que podría ser competitivo con cualquier país. Pero ahora lo que pasa es que estamos en una crisis y si la industria fuese normal e inviertese dinero para la televisión podríamos ser un país competitivo que exporte contenido…. Hay talento y se han generado profesionales que son capaces.

EM: La cadena de televisión ABC ha estado interesada en adaptar “Aquí no hay quien viva”. ¿Cómo crees que sería desplazar esta serie española a la cultura estadounidense?

IA: Se ha valorado la posibilidad en la cadena ABC de hacer la serie en Estados Unidos. Pero, claro, tendrá que ser una comunidad donde la idiosincrasia cultural de los personajes sea americana. Es difícil porque allí no todas las ciudades son como Nueva York donde la gente vive en edificios, en comunidades. No es lo mismo.

Por ejemplo, en la serie “Mujeres desesperadas” [“Desperate Housewives”] que era en una residencia de chalets pero que había humor y que a los personajes les pasaban cosas graciosas. El público americano lo entiende más porque viven en una urbanización que todos tienen la misma casa, los vecinos hablan mal del otro… puede ser lo más parecido al concepto de “Aquí no hay quien viva”.

Pero creo que es muy difícil adaptar un proyecto. Hay que ser muy habilidoso para saber qué elementos sí [incluir] y qué elementos no. Es complicado. Los humanos sí tenemos cosas que nos unifican pero luego hay que perfilar mucho.

EM: Después de dos décadas en la televisión y en el mundo de la ficción audiovisual, ¿tienes alguna interrogante o incógnita que aún te persiga?

“Una vez me dijeron algo muy bonito: ‘Tus sueños han sido parte de tu realidad’. Mi abstracción — el tiempo que he estado abstraído en mi mundo — es parte de mi mundo, de mi realidad. Y eso me parece bonito”, dice Iñaki Ariztimuño, co-creador de la exitosa serie de televisión “Aquí no hay quien viva”. – Foto de Jon Ariztimuño

IA: ¿Dónde están los límites de los sueños y la realidad? [Una película que me marcó de joven fue] “Birdy” de Alan Parker [que trataba] de un hombre que se creía un pájaro y acaba en la cárcel; [era] un poco la historia de lo que me pasaba a mí. Cuando era niño sufría porque yo no quería abstraerme tanto; quiero estar más con la realidad, y todo lo que me pasaba yo no lo controlaba. Pero una vez me dijeron algo muy bonito: “Tus sueños han sido parte de tu realidad”. Mi abstracción — el tiempo que he estado abstraído en mi mundo — es parte de mi mundo, de mi realidad. Y eso me parece bonito.



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