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He debuted last week on America TV screen, his home many years ago, with the program “Es out there”, accompanied on the occasion by young cheerleader and actress Soledad Fandiño: “Facing this format was a challenge”, explains, very little after having put on the air a format that finds it very concentrated, in the competitive strip from 11:30 to 13:00 from Monday to Friday. The producer of the cycle is Gerardo Rozín, an all-terrain that supports the journalist in this new season by the signal of the Palermo Viejo neighborhood, while the prestigious driver starts his exclusive interview with Ser Argentino to talk about this new program and remember a really very special artistic anniversary.
While the lights are accommodated and everything looks out very neat, the legendary driver and journalist infers his impressions with only four programs broadcast. “We seek to impose this product at noon, the main idea that we hold is that this cycle contains contents that are very complementary to everything that will come after in the channel's programming,” he admits and does not stop checking even the smallest details of the modern set design where its new format takes place. Without believing what many think about him, Guillermo Andino is paradoxically a young figure, but at the same time for his early start in this format he really is a legendary worker in the history of Argentine television.
In a 2020 where everything planned went to devil as soon as the pandemic set foot here in Argentina, his thought about it appears affected by having suffered the brand new disease with his daughter a few months after being recognized. “I warn that this topic of coronavirus passed us, we all had to change our lives, things that were originally programmed, did not happen, the world had to stop everything and reorient itself to face something like that,” describes what happened and before those questions on the subject can emerge, he adds that “last year with my family on the 31st at night we toast to have health, if you don't have it, you can't do anything. When you live this experience you are scared, very much, because you have the fear of not being able to tell it, but well, you are already recovered and look forward as you did all your life.”
Guillermo Andino: Well, one of the programs is already installed, we're going to go with our proposal, I go out to run a race where there are many cars that are very competitive, you have to take cruising speed, believe in the format of one, recapture that audience that we once had captive when we were doing the news at that time. Last year we started with “Informados de all”, with a great team and it was a very enriching experience. I also understand that there are people who are aware of the things I do, I take the opportunity to call them, say “welcome to the train”, as Sui Generis's song would say (laughter).
Guillermo Andino: Probably, the thing about the night news is that you compete with the cables and you come with the news at night, so you have to give it ten laps so it's not worn out. Instead, just in the middle morning and at noon, things are happening, tennis that great advantage, the possibility of generating titles, strengthening what was the day before, it is also going to give that the news arises at that moment, but also what you prepared at 10:55 change of blow. Something exploded somewhere and there you have to do an hour and a half of something you didn't consider, those programs are the ones you like the most, the ones that don't have a network. You say on the air, “Well, what's going on? “, you have phones on different sides, also this is America TV, you come from the permanent live with Antonio (Laje) from the morning and that continues until you go to sleep with Jey Mammon.
Guillermo Andino: Yes, always, whenever I start a new program, I have a lot of expectations, a lot of anxiety, I really feel like the boy of 18, 19, who started in “Reality '87.” If I didn't vibrate, if I wasn't nervous, I would retire, part of our profession and a new challenge has to do with that, with saying “good”, it's not that you do it as a taquito and you have it clear, you know how to stand in front of a camera, you know how to handle a panel. The truth is that I want to do it and start to see that it is okay and start to correct, talk and look for the best things, not loosen in the face of doubts and give it forward without skimping energy... I take advantage of all the interviews to thank the authorities of the channel, especially Liliana Parodi, factotum of much of the things we do, she always comes very sweet and confident to ask me her ideas, she says “come, let's encourage...” as at the time was doing the news, or what about & ldquo; Intractable” or “Informed of everything”. Not to mention the time I was doing the news in the morning in 1997, it was after that I came back, that Liliana allowed me to face this new format this season makes me feel very grateful.
Guillermo Andino: I took it well and calmly, listening to what they told me when they asked me to go on another schedule and in another context. This is not a question of light. For me, the goal is for columnists to grow up, I can be the conductor, but I don't want to be the “protagonist”, to become the only protagonist of the program, it's not logical. For me a program grows when people around you grow, I say it with total sincerity and if you go over my 33 years of career, you're going to realize that we generate teams of people, who today are working on different sides, that started with me on the old Channel 9 or later when we move on to Canal 13 or in America itself. We came with a team of people and stayed working on the channel, that's not a little, many of them are producers or journalists who are working today most in America, or on other channels as well. It is generating school, for me that is still very important, so when in a format like last year you see someone like Debora Plager, you have to take advantage of those personalities, last year there was a wide and complete cast, many of them are journalists producing, I think something is galvanized with the other, they're complementary, they're essential, you can't come sit down and say “what do I say? ”.
Guillermo Andino: Uncomfortable in “Intractable,” no, I really felt good. My only problem is that I start from very early, start up in the morning when I take the boys to school, I have a production company on the way around the channel, we produced my solidarity program, the cycle of shows Alexis Puig that was coming out for Magazine, the Environment, had to have fun until the time of the news, that the news scene will start. At that time having added to my professional agenda the “Intractable” did not give me the possibility of having dinner at home, for me this was something very important and I say it with total sincerity, in “Intracables” I felt very good, right away I hooked with the format, you have to be there in a 360º format, because everyone wants to talk and you have to have eyes on their back, but I missed coming home for that schedule. Also for life to make sense, you want to be with your children, sincerely. I was starting at 7 in the morning and hopefully I would return at twelve in the night, I left and Ramon was asleep, arrived and Ramon was already asleep. Then I took it as a very good experience, but I knew that it had an end, that it was a span of three months, until Fabian Doman arrived, that he showed over the weeks that he did it and he does very well.
Guillermo Andino: We are interested in life stories, I exploit the solidarity issue through a cable program that I do twelve years ago, I realized that there is an imperative need of people who often take a television channel as, I do not say the only one, but as the most important, to make known their sufferings and what their needs are. Sometimes one becomes that vector, that middle part between the one who can lend a hand and the one who is needing it, especially in a country like Argentina that has fifty percent poverty, where older adults do not reach the end of the month, where we live in showers in showers, with the pandemic not to speak. I wish that didn't happen. I wish people didn't come to the door of a canal as if it were the door of a ministry, but it happens, it keeps happening.
Guillermo Andino: Sometimes you take it, I don't say it as an obligation, but you see that part of the program is a possibility of having to do with those life stories, see how beyond informing and entertaining, you can solve a problem, of “equis” type, a school that may be missing something or a family that He lives inside a car and you see how you can get him a house. When I returned to America TV in 2002, in the middle of the country's Bolonqui, we bartered in the street. One person came and said, “I have this set of glasses, what do you have? Give me this microwave,” we got to that limit, you understand? Why did it happen... because the cycles in Argentina are always related to the suffering of many people, then if one can do a service program, welcome.
Guillermo Andino: Obviously having to open a program in the morning like that magazine “Informed from all” was and start saying that “Maradona died” is tremendous, it's not an everyday thing. It causes you a lot of pain and excitement because of the contiguity that character has in so many people, including the media or those who had some kind of contact with him. Actually, the news that I find it hard to give is what has to do with the suffering of older adults, when there is a boy who is a victim, I put myself in the place, father and it hurts, when I have to cry I do it, I am not ashamed, but essentially they have to do with the suffering of the people, with the missing, with the shortcomings, with all that. As our profession is nourished by stories, that happens almost every day.
Guillermo Andino: We have to cope with it, you have to be able to see if in the middle of the way there are only tears or also have a result, to be able to achieve something, that is not our obligation, it is not a burden, I would drag a burden if I get uncolumous and not affectionate, I do not cry or do not move. But instead if I do catharsis at that time on the air, I can get home and Caro (his wife) says “I saw you”, I say “yes, I felt bad”, but it's okay that happens, because television... I remember once that Moria (Casan) said that, like in the living room one shows what what's happening to people, I think she was doing “Moria on the couch.” A bit has also become that, the public accompanies programs where there is a little solidarity, that audience with which you achieve a lot of solidarity, because the message is also running, that something small or more or less, that something you can give at the end of the road, that something you can solve it, I repeat, is not our obligation, because television was created to entertain, then the information came, but the country has so many alternations between good and bad, that people found on TV a place to sue us, right? , as a social function.
Guillermo Andino: I learned fundamentally that in this there are an infinite number of anonymous heroes or people who stay in nowhere and make a dining room for fifty children who don't have to morphate. That they are the ones who finally pull the Argentina car, who are heroes who were invisible and that with our program humbly, week after week, we started to give them visibility, that comforts you a lot, weighs the bad news that you have to give daily habitually. That was not very worked, but we started to do it, very little by little, but today luckily it has like many “brothers”, welcome it, because solidarity you do not want to arroke it yourself, but you want it to multiply, today in all air and cable channels there is a program that has to do with solidarity.
The relationship between journalist Guillermo Andino and the exceptional musician is unknown to many Gustavo Cerati . Beyond the admiration or knowledge that the communicator had of the missing Argentine artist in September 2014, there is a circumstance that brought them together in a very difficult year for Argentina. After that luxurious and unforgettable sonic topaz called “Bocanada”, the then leader of Soda Stereo went weeks later after composing the music of the film “+ Bien” to an offer that disaccommodated him from his comfort zone. That was the record of the “11 Symphonic Episodes”, a concert with his music passed to orchestral context, an idea that had Diego Sáenz and Afo Verde as artists from the musical, but also at that time a technical infrastructure was needed to carry it out. There for those things of fate appeared the producer “Universo”, commanded by journalist Guillermo Andino with another person, times in which Gustavo unfolded with rehearsals as crooner in front of a great orchestra, the demanding costume tests with the prestigious designer Pablo Ramírez and the Technical checkups with the team of the journalist's production company. From the end of March to 6 August 2001, when this special was recorded at the iconic Teatro Avenida, the project took shape and now in the current season, just these days, it celebrates two decades of existence, the key reason for the experienced journalist to contribute his memories about that production:
Guillermo Andino: Well, this at the time was gestated by Diego Sáenz, who would tell you it was the right hand, a person who was next to Gustavo, by Sergio Obeid, who was my partner at the time, by Gustavo Cerati himself who was encouraged to bring his music to the symphonic, and to Columbus later when he endorsed it. oacute; live, this is how the “11 Symphonic Episodes” were achieved. I see the cover of the double vinyl that was published at the time, and I can't believe it's not here, like the “Skinetta” Spinetta, but you know what? ... Gustavo was encouraged, was not afraid of the idea of the project, Charles Chaplin said “life is nice if you are not afraid of him.” For me to have seen Cerati rehearse with a symphony orchestra, it was something I never thought I could live. I like music, I play guitar, I have my own band, everything very quietly, just for me, it's my ground wire. Being with a number 1, someone who was already transcendental in hispano-american music, treat him as he was, a very rigorous guy in what he did, very efficient, but also someone very simple. Above, we talked about Racing Gustavo was a racing fan, he gave himself a lot of fluency. I was surprised to show me the vinyl edited in high quality by Sony Music in 2006, for us a pride, that after almost 20 years the “Symphonic Episodes”, that many important artists, Serrat, a lot, did it from this milestone that we marked quietly, because we wanted to make it a lot. iacute; masters see how the test came out, it came out phenomenal. Then producing a Gustavo Cerati show was simply a great honor.
Guillermo Andino: It was terrible, because it was also a very long thing, Cerati's thing was agonizing. I talked a lot with Charly (Alberti), he in those years came to the producer for the environmental issue, we related around, about that question. He always left the ALCLA clinic and told us the truth. It was hard because the truth was very painful, Charly was one of the few people who had access to see him. Like every great artist who is respecting such, what Gustavo left is immortal, is something everlasting. What is it that gives you a bite? as with what happened to John Lennon, in 1980, who was murdered at the front of the Dakota Building, when John was 40 years old... you thought about everything Lennon could have given another forty years, the same thing I felt with Gustavo, everything he could have given us, in thirty, forty years, but remembering it through the “11 Symphonic Episodes” is always a very beautiful and exciting memory.
Publication Date: 24/03/2021
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