Tireless, dynamic by nature and energetic worker in multiple contexts, the young Rosarino journalist Luis Novaresio is probably the journalistic figure who grew most in the traditional & oacute; competitive rbit of audiovisual media, proposing a style of differentiated analytical profile where he knew how to install an enjoyable and elegant way of informing in its different professional modules. After conducting the “Loose Animals” cycle on the screen of America in a season where the pandemic altered the forecasts of operational anticipation, original content and everyday performances, the communicator took refuge in the reflection of his home to evaluate serene and calm the task map during the 2021 season. As a result, he proposed to the well-known porteño channel del cubito de colores a careful return to the format where more comfort he breathed as a television interlocutor, program on Sunday night in the middle of the “prime-time” strip that showed him frankly very excited to resume it with much more mileage in your on-screen experience. With the presence as guests of Ricardo “Caruso” Lombardi, Pamela David, Aníbal Fernández and Charlotte Caniggia, their debut led for the first time the sons of the well-known footballer to compete in the night rating, while Axel wandered happily on the opposite sidewalk with the overwhelming success of” Masterchef Celebrity 2” by Viacom Telephone.
At the command of a television structure that this time had a great set design that simulated his home, agile format that had the production of Endemol, the cycle “I must say” got 2.2 rating points ranking in the third place of preferences in the ignition night of the holiday, beating “Vivo para vos” by El Nueve by more than a point of advantage, day where the kings of gastronomy won the audience push-off almost without discarding in front of the vigorous Rambo in The Thirteen . Eloquently very sympathetic, but without forcing that feeling protocolarly during his extensive interview with Ser Argentino, journalist Luis Novaresio talked about the professional challenges he faces in another a& ntilde; or brutally pandemic without continuity solution. “Every debut that one concrete on television, for more experience you have on your shoulders becomes a lot of anxiety, countless nerves without forgetting the adrenaline that causes you to be doing something on the screen to accompany people in times where the power grew quite a lot and the TV returned ; accomplice and companion of the people in their homes,” the journalist explains without hesitation in those fifty minutes of a note agreed in advance.
“There is no doubt that “I must say” is today the program that represents me most of all the formats I have carried out and I feel that the talk with all the guests is a good way in these times to reflect on the things that happen to us today, I was always criticized for listening carefully what they say my interviewees and I live it as a praise, is something fundamental to build a seductive dialogue with those who approach after your invitation,” says without lobbying Luis Novaresio seconds after the recorders record silent their expressions and sounds in almost an hour of serene talk with big drums questions ahead.
As far as I warn, you're going to have a very intense year in the professional, it's not just the debut of “I must say”, but two attractive formats that will keep you really busy Monday through Friday in very different contexts, right?
Luis Novaresio: Absolutely. I am with batteries put on for a very intense year that will have me unfolded in different formats that I appreciate and enjoy. In the morning I will be on La Red with “Novaresio 910”, which is a very attractive way to start the day, radio is a very beautiful place to start every day. It is an attractive format where you live in real time the propulsion of news that appear second by second during that part of the morning, it is something captivating because it requires good reflexes to maneuver the informative agenda at every moment. Then I will also be at night by A24 doing “Said Esto” from 20:00 to 22:00 hours, which is another very interesting television format, there always appears an editorial block, very close to what the day left. In that section I will be accompanied by specialists in each area such as Jorge Asís in political analysis, Claudio Zuchoviski and Juan Carlos De Pablo in economics, Ignacio Ortelli and Rosario Ayerdi in politics and Martín Angulo in police, is a team and I am super happy to have they in this season.
How did you live in the 2020 season to have developed the program “Loose Animals”? Is your point of view important because it was moving from a television format that captivated you like “I must say” to another totally contrasting on screen?
Luis Novaresio: In much of the world it is very common, for programs that are a “brand” to rotate drivers, the case of “60 Minutes” in the United States, “Fantastic” in the Red O 'Globo, is very common this. First it was to privilege a format that works and also bet on a channel that bets on live journalism, so I saw it as a very natural thing, it was very different personal labels, I have a great affection and respect for Fantino. We both come from very different backgrounds, Alejandro comes from driving to journalism and I come from journalism to driving, not that they were two antagonistic formats, but complementary.
Somehow the version of “Loose Animals” with Alejandro Fantino was very “Rafa Nadal” and yours was in a sense much more “Roger Federer”, with a much more analytical and thoughtful approach, wasn't it?
Luis Novaresio: I like that comparison of tennis, but I like to admit that in tennis I am more “nadalista” than “federist” (laughter), I recognize the analysis you made of both questions, that's why I steal it as a concept to use it every time you ask me in these notes the analysis of what happened between one format and another. It may have been a more analytical approach, focused on reflection, I like that of having felt a little more “Federer” last year than “Nadal”, in some way they are different positions or ways to stand in front of a challenge that proposes different ways of face it.
Do you like this way of focusing it according to how you consider that occasional format that you need to face?
Luis Novaresio: I've been working for a few years to see my work. Yes, I tend to that position, if there is any advantage in that analytical position, it is the ability to listen, I am a good listener and I always try to put it into practice.
In that beginning before the pandemic, what was the original idea for your presence in “Loose Animals”? Was it proposing more politics than show or totally the other way around?
Luis Novaresio: Undoubtedly it was doing a little bit of everything and with everything that happened, it is obvious that we were crossed by the conjuncture of a single and very special year, which was on the one hand the whole health issue with what meant a pandemic, but at the same time parallel all political development of something like that in our nation. But maybe we were always in that tonic way of opening up to another kind of guests.
Do you perceive that the socio-political theme in the country manages to captivate the audience and that is why television structures turn so hard to a proposal of that nature?
Luis Novaresio: I think yes, besides there is something that is essential and inocultable, America is a channel dedicated to having the current live, that is the heart of America, I see that attitude and it seems to me that it has been the plus, the differentiator and the substance of the station, yes, it is impossible to deny that both political and social are two very summoning issues when it comes to captivating a television audience.
Are there episodes with unknown characters that because of these circumstances take on a prominence within consideration and that is why they should have their place on the screen currently?
Luis Novaresio: There are social issues that also have a very strong political tone, I don't know if those issues that we analyze in each case that happens cause a before and after, because Argentina is the country of eternal return, the repetition of oblivion and narcotizarte with another information that is worse like Cromañon, femicides, so many cases that are repeated.
In the last five years you achieved recognition in the communication industry, you were achieving outstanding professional growth that was also rewarded with a series of very important awards. It seems in a sense like a Cinderella story that dreams and ends up reaching its happy ending, doesn't it?
Luis Novaresio: I don't believe that about “Cinderella's story” as you say, I have been working for many years, 2021 is my tenth year here in Buenos Aires. It's true what you point out, all the good thing that happened to me casually coincides with my last five years in America, this fantastic sign offered me to do a lot of things and I think I've taken advantage of them, for me it's a very good professional moment, no doubt.
How do you do every year to accommodate the times of your TV show with the parallel activity of being also on La Red radio with a cycle that you love to keep updated and increasingly calibrated in its contents?
Luis Novaresio: I don't sleep eight hours in a row since 1975 (laughter)... because I've always done in the media first morning, second and so on every time. I accept the things they propose to me, as long as they seduce me, where I see that I can give you an approach where it contributes something worth facing as a challenge. That I would not accept, for example, when at the end of 2019 I was offered to do “Loose Animals” I said yes immediately, I knew that format, because at one point Ale (Fantino) traveled to Colombia to record a cable show with Alexandra Rampolla, I went other times to replace it, obvious that I was a viewer usual program and when at that time they offered it to me I did not think twice and accepted.
How is it for you in your various journalistic activities to moderate and manage a country that is dominated by the much-minded “crack”?
Luis Novaresio: Look, it is enough to see how I have been working in all this time, I would not say that I serve as moderator of those situations, actually I try to justify why I think this way, the day we can substantiate a little more all our opinions and stop Adjectivate them, I think we're going to be better journalists.
During the time when you had a show on the cable, supported by interviews, many personalities from different backgrounds chose that cycle to talk to you and uncover a number of issues they hadn't spoken before. How did you take all those special revelations that certain protagonists told in your cycle for A24?
Luis Novaresio: It was a pleasure to do that program, let's say there is always the chance that at some point he can return, doing it always generated me a lot of pleasure, it is a format that Juan Cruz Ávila thought and the director of A24 who was the director of “Animals Loose”. I must honestly admit that at the time I did not see that such a format could have so much potential, when I analyzed it at the time it seemed to me a very small thing. As you say and I say it without any pedantry, people asked us to go to that show, it happened to us that unthinkable people, who had not visited other shows wanted to come to that beautiful cycle of interviews, that's why remembering it I'm very proud.
Last year the concept of the prime-time strip in America changed a lot, because it did not have a traditional informative context but different cycles with another perspective. How did you see that range of changes in the broadcaster's reformulation?
Luis Novaresio: It is that changed everything, besides America is “the news live”, format more format less, it is. The times in which Guillermo Andino was driving the news at 19 hours were times where there were no cell phones, there were no social networks, there was no YouTube, there were no news portals, I think that is the logic consequence of how times changed, the advances of technology and without you doubt the link between people with the news.
Is this new season of “I must say” subject to certain structures of the past?
Luis Novaresio: I think you have to respect the rules of the format and add what is personal condiment, that will be seen over time.
You alluded to the remembered interviews you conducted. What let you have interviewed then-president Cristina Fernández de Kirchner at the time?
Luis Novaresio: Well, it was very important to me, at that time I remember it was an interview that all journalists wanted to do, even if they say no now, maybe they're not journalists. It was very important to me, definitely. There was a great production work at that time of Infobae, the great power to make it and a repercussion, you know, that note is still a very prominent part. In that talk I could ask what I wanted, there was no conditioning, my only limit that we had at that time was the duration, which should have been 60 minutes, but that talk ended up lasted almost two hours, more precisely an hour and fifty-eight minutes, there was no limit And I asked what I wanted, we didn't have any conditioning to carry out that interview, in perspective it was a note that I value very much.
There is always consciously or not that invisible tension that, faced with a news event like that, someone puts conditioning you or someone comes down to you. How do you look at what surrounds the generation of such special news content like that?
Luis Novaresio: I don't think that is currently happening, I think there is a certain freedom about it, many times you are generating questions and you are surprised that they are asked. You don't ask with fear that the interviewee will be offended or someone will come down to you first, I think things changed a lot.
In this program with which you return you developed a very close contact with the musicians, they became very complicit in your proposal. That habituality of having them also in a living room like the one that proposes “I must say” let's say that forced you to take a fairly accelerated course of music analyst. Last year when you started driving the first season of “Loose Animals” without its original driver, it was announced the return of the Soda Stereo group without Gustavo Cerati. What opinion do you have about that announcement and a tournée without its founder and charismatic leader, beyond the pandemic after everything was suspended?
Luis Novaresio: And... when I heard the announcement that Charly Alberti and Zeta Bosio made at the time, the first thing that came to mind to say “and... it's bravo”, I clarify that I'm not a fan of Soda, so it's not worth too much my opinion, it's not worth, but it's definitely something weird, I I think if it were just a tribute it could be, but the format that adopted that tour that the pandemic interrupted at a few dates is quite rare.
Discount that there are still characters who didn't talk to you about who you always keep the interest of interviewing them in a relaxed talk, right?
Luis Novaresio: A billion, first point I think that everyone is interviewable, I always have a great curiosity about others, to put it in some way. There is a political note that no one made on TV, that we all want to do, which is Máximo Kirchner, will interview Cristina again, who now happens with quite a distance and a lot of perspective with Mauricio Macri out of power, after four years of government, the same with María Eugenia Vidal, I feel that in this season of “I must say “we are not going to lack people we want to chat with and in that area respond things within the context of traditional interviews or talks in such a format. Undoubtedly having interviewed Cristina at the time generated a lot of visibility to my work at that time, I can not deny it.
Is it true that some publishers are tempting you to make a book, now that things are professionally doing so well for you?
Luis Novaresio: Yes, you know that they propose to me very often, but honestly I want writing to be a pleasure, not a duty or a torture, just an editorial that is wonderful, whose director is a friend said to me “I wrote what you want, because writing news to write, I don't want to.”
The 2020 season he left us marked what some call “journalism in times of pandemic.” What praise and criticism do you apply to the journalistic world in a year as altered and unpious as the one that left?
Luis Novaresio: Let's start with the criticism, I think that in journalism there is a lot of narcissism, a lot of egolatry, a lot of self-referencing, pleasure in listening to our voices before the voices of others, as far as praise is concerned, I think there is a litter of better trained professionals, journalists who tend to to be more rigorous, I think it's going through there. We'll see how it's going on this whole season, I'll tell you on another note when the weather permits, right?
Licenciado Periodismo y Comunicación (Univ John F. Kennedy Mat 14514)-Secretario Redacción revista"Encuentros"(Univ JFK/Lapso 1982-1984)-Corresponsal Diario La Capital MDP(Lapso 1988-2015)-Editor Fórmula 1 (Sup Deportes DLCMDP)-Columnista música Revista"Noticias"(1990)-Editor Jefe Música/Revista FDH (2011-Presente)-Fundador/Director Agencia Informativa Noticias 1440(2015-Presente)-Fotógrafo Profesional-Multi-instrumentista -Programador Sintetizador Yamaha DX7(1-2)-Pianista residente(Embajada de Inglaterra/Período 2013-2017)- Bailarín invitado(Nile Rodgers en Argentina/Gran Rex Mié 13 Sep 2017)-Capacitación manejo Boeing 737(Academia de Vuelo San Isidro/2010)-Columnista Arte sitio Hellomoto(Lapso 2015-presente)-Columnista radial ciclos AM /FM(1988-Presente)- Curso Música y Tecnología(Profesor Pedro Aznar-Teatro Planeta/Ago 1987)-Asist Tecnológico(Shows CD"Mami"-Juan Carlos Baglietto/Shams 1988)-Productor de Video y Camarógrafo(Shows"Tarot Musical"Pedro Aznar/Shams 1988)-Disc Jockey Profesional Shows Bs As/MDP(Lapso 1977/1982)-Productor periodístico Revista"El Musiquero"(Lapso 1998/ 2000)-Jefe de producto,calidad final y camarógrafo principal(Vicass Electrónica Bs As-Lapso 1984/1987)-Ingeniero de Sonido y Prod Artístico(Artistas MDP and Bs As-Lapso 1988/1991)- Archivista videográfico y camarógrafo shows Antonio Gasalla/Enrique Pinti(Productora Cipe Fridman Lapso 1987/1991)-Productor de sonido Obra teatral"Gasalla es el Maipo y el Maipo es Gasalla"(T. Maipo 1987)-Ing Sonido Laboratorio"Cabo Kennedy II"(Cap Fed . Lapso 1987-1995)- Cartógrafo Escolar y fundador diario"National Press"(G.Spano School-Lapso 1977/1979)- Ensamblador,distribuidor y manager de venta contenidos noticiosos("Luca Factory"Lapso 2016-presente)-Productor TV/Radio (Univ JFK Bs As-Lapso 1983/1984)-Compositor musical(Lapso 1980-presente)-Escritor profesional(Lapso 1975-presente)-Golfista rankeado(1975)-Tenista universitario(1980-1983)-Dibujante autodidacta(1975-Presente)-Periodista de nacimiento.