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Leonardo Sbaraglia, a tireless interpreter

In an interview with, the actor talked about his work and the premiere of the Maradona miniseries, where he plays Guillermo Cóppola.

Leo Sbaraglia

He is one of the most prestigious  interpreters  of our nation in this particular crossing of millennia. Selected by leading directors and producers in Spain, he conforms with  Ricardo Darín  and  Oscar Martínez  , the spectacular  trilogy  of Argentine figures that Spain constantly convenes to develop countless artistic projects of tremendous quality.

Being able to lie in his profuse and prestigious career to evaluate his professional future in the midst of an unprecedented sanitary quarantine, choose the opposite. Those who know him very thoroughly, know that his work looks  tireless  as the mythical bunny of a battery advertising that does not stop in his trajectory. Lover  music  in all its variants, Leo has fun when compared to the  character  who plays the drum tirelessly.

Among the most recent artistic projects are the curious recording of the WhatsApp miniseries “ Amor en quarantine ” directed by Santiago Loza. Shortly before the announcement of preventive and compulsory social isolation (ASPO), Sbaraglia had finished his participation in  Diego Maradona  's  miniseries  , production in which Leo plays historic football manager Guillermo Cóppola. Despite the confinement, the talented actor found a pause to talk to  and allude to this present.

 Every season you develop a lot of tasks, but this year since March things changed unexpectedly. How did you assume the arrival of the pandemic and all the health measures taken in this regard? 

- I understand everything that happened and it would be unfair for him to make a complaint concerning this health phenomenon that happened since March.  Professionally  it is clear that I can't complain, I had been working a lot before the  quarantine announcement, I had a lot of footage since spring 2019 and autumn 2020. Naturally what happened paralyzed a lot of tasks that he had scheduled, closely linked to the theatrical. Also pending was the recording of the second season of  Maradona 's miniseries, it came with a lot of packing and everything stopped at once.

 In the midst of preventive and mandatory sanitary isolation you were summoned for the series “Love in Quarantine”, something that was broadcast on WhatsApp recently. 

- Honestly, the call was totally crazy, but I was seduced by the micro fiction Santiago Loza had written. I thought it was great about receiving audios from a character looking with his ex to hold an approach in the middle of the quarantine and I accepted without hesitation. I was interested in working with Guillermo Cacace and the performers who had approached the project, he has a great experience in the Argentine theatrical world.

 Were you uncomfortable acting in the middle of an unusual situation like the current one? 

- I was surprised by the idea of generating audios where an interpreter embodies a person who sends audios to an ex-partner. Challenges are fundamental, so I do not hesitate to argue that  we should not stop on the path of creation . The director of micro  fiction  helped me in the idea of audio format, developing the imagination that needs any fiction situation that I transmitted to others. 

 Among the projects that you could realize between October and March was Diego Maradona's miniseries. Was it hard to get into a fiction that alludes to someone so universal? 

- I couldn't answer you forcefully, because it's the first time I've ever been involved in a fiction where someone is so popular. Diego is undoubtedly one of the most famous people in our country and did not take any side of the analysis of the same. I appreciate that Guillermo Cóppola was so generous to assist me in building that character in fiction, he is a guy who immediately opens up fully to help you in what you need.

 How was your arrival to the manager that his friends call “Guillote”? 

- The first thing to say is that Coppola is a person really dear to his  friends  and acquaintances. The chance to meet him came just when River and Boca had to travel to Madrid to define the final of the Libertadores 2018 following the incidents in Argentina. Guillermo invited me to see that game and then we went to dinner together in a nice place made me a fantastic impression, is someone who does not hesitate to open the accesses of his heart.

 What leads you to define it in this intense and flattering way? 

- I am undoubtedly seduced by his spirit of camaraderie, here we do not take a stand for or against the characters that appear in this mini-series. I could confess without hesitation that the “Guillote” that undoubtedly embodied someone in love with friendship, of living things with joy, of caring for friendship above all things. Coppola is someone who stands out for his great magnetism.

 How would you describe the existing status of your pre-quarantine career? 

- Until the moment they decreed  isolation , my career was going through a beautiful moment, where things grab you with great adulthood. I've been doing very diverse things, which still mean a risk, a search, an apprenticeship. Seeing in that line of tasks that tennis the possibility of having more experience than before, when I was 30 years less, at the beginning of this profession. All this grabbed me at a time of greater experience and security. I feel much better standing in relation to the things I want to do, especially in what way you want to do and deal with things.

 Those who have worked with you affectionately say that you are “a movie beast.”  

- Noooo... I take it as something I was learning to do it. I perceive that in the cinema I have especially been learning, accommodating myself. I feel sincere that I had the opportunity to do a lot of things, different characters, have possibilities for each and go learning and exploring. That constant possibility is very good.

 Beyond the health drama and this altered present, what does it mean for you to allude to happiness within your personal and professional steps? 

- Happiness is something where of course one has to try to create the conditions for it to happen and have it. It depends a lot on that, on total generosity and love. For me  happiness  is not built by one, it is built with others, luckily there are no characters that attack it, at all.

 It is said that this profession is very vaporized with selfishness and pride. Is it like that? 

- Unfortunately many times the world we live in leads one to a more self-centered thing. Fundamentally, the system in which we live points to individualism, not collective work or solidarity, nor to the firm search for utopias. I think that when one begins to believe in happiness, one can desire it, but not only for one, but for the people around it and also for everyone, in that sense happiness must be fair.

 Were there many artistic reinventions in you throughout your career? 

- Yeah, but not as speculative, this is inevitably happening, despite you. You're moving pieces and changing things, confronting yourself, remeeting other things. You occasionally make decisions that not only have to do with the personal but with the work. It's like you want to take your life in relation to some things, so that makes changes, doesn't it?

Leo Sbaraglia and cast

 Are they only changes in the intimate or are the modifications external? 

- It's changes inside and out. You are doing or trying as far as possible, which is not easy, you seek to be consistent with those changes that are being installed and produced. Someone would also say that we should not crystallize into anything, life is a movement like water, it has to flow and it is difficult because everything is not always in your favor. But the ideal would always be that, wouldn't it? Let oneself be in that future, seeing what one is meeting in life.

 The last thing you did on television was a chapter of the unitary “Other Sins.” 

- Look, that was a fantastic experience, although we worked at a pace that I'm not very used to, doing in seven days forty-five pages, because it reminds me of something a  legend  told me about the action on these adequacies.

 That professional vertiginosity with whom you analyzed it? 

- It's just that such a text in such a few days is kind of crazy. Alfredo Alcón said “I don't work much on TV,” then in recent years that changed. When I was working with him in 1996, I remember he said to me, “Well, I don't do so much telly because that's not acting, it's doing acrobatics and I'm not an acrobat” (laughter)

 Did you match that look of someone as experienced as Alfredo? 

- What I was saying is true, it's like being a little acrobat in that situation, but it's not the way to work that I like. Well, in this case of “Other Sins” it was very nice, because I was able to prepare that character a lot, I could put it together very well with all the support of director Daniel Barone. It was a special episode that alluded to the sin of simulation. It was a publicist who was trying to have everything grabbed so as not to lose his status, I loved that participation.

 Last year finally premiered “Dolor y Gloria” that you shot under the orders of Pedro Almovar. How do you record that meaningful project? 

- Being able to film under his orders was an excellent experience. We had a beautiful working bond, it was a very intense experience. I'm saying that because all those experiences matter so much to you, but at the same time they're threatening. These are projects that matter to you, because you don't want anything to go wrong.

 How did that project fit into the middle of other professional tasks you faced? 

- It was a film that gave me new things, very different. I was touched by a character who was an old friend of Antonio Banderas's character, the protagonist. It was a reunion of those characters after many years, the film had a very close tone to “dramedy” (drama and comedy). I felt that “Pain and glory” was a very personal film, no doubt.

 When the pandemic and quarantine are in the past, what will we talk about in the next interview we conduct? 

- I hope Gaby that five years from now we can be talking about some film I made as a director, or that I wrote something special. Something I participated from a place that is obviously not the actor. I don't know what that place is, I see the theme of music as a need to explore other things, I would like to write, mainly direct. That is now totally far away in the present, completely, there is nothing but some fantasy, a desire, but that's still good.

Leonardo Sbaraglia toast

Publication Date: 12/11/2020

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