The most important conductor of Argentinean television, in a deep conversation with City About his successful career as a media man. Marcelo, in a natural state, extensively.
In both possible images he spoke. "Ask him if he sometimes feels lonely." "No, ask him if he gets tired of being so many people!" In one of them, drives drives from the studios where he makes his show and his tower, and the car is big and a man travels alone on empty streets. In another, a band of producers, assistants, friends of the environment, acquaintances of the environment and distant friends surround it among studies that can be Court, Talinda o Southern ideas. It is vibrant, the world loves it and the feeling is mutual.
When it comes, Marcelo Tinley (59) dressed entirely in black, like a board or cloth. Say hello, ask where the bathroom is, "it's there" and everything falls apart. "I have a life that is not so connected to this nature of the night and I usually live it, it's not that I have to be Tinley all day," he says, as if to admit, he has already promoted the conversation City. And he says it naturally, with the ability of amazing dissociation. Marcelo is behind Tinley, and not vice versa. This ability to recognize, perhaps, made him stand for 30 years with ShowMatch. And it goes more. For many more on TV. In times of abundance for the harvest, in a stable climate or with a forecast of storms.
"I felt that almost by default I came to things," he admits. There is no secret "remains, giving everything despite getting almost nothing, staying." He's not going anywhere, he'll conquer everything, just like yesterday.
– You have 30 years of success on television, because beyond rating, this is the time people choose you. What's special about this anniversary? What are the common causes that I have found throughout the years that you have passed the Videomatch, the rhythm of the ShowMatch night?
– I feel that our plan crosses the Argentinian family: My family – my eldest daughter is 30 years old – and the families of our country, many under good and bad circumstances. People will feel identified and reflected many times that they live. This is going to be a very strong Dori thing. We have lists of the first 15 years of humor and the latter, which more than show. You will meet Super Dance, On the one hand, that comes with a very strong cast. And will be a talent format, Genius of Argentina, Because at one point we did it in Channel 9 When we turn 16, where we are going to travel face to look for people. To do this is to thank those who came to us to look for TV for so many years and this time we are going to meet the talents that are in their place. This will be a great party, where we will all be present at this event video, View, Rhythm … Or all the names he had. It is this party that will recognize this anniversary.
"They had something to dream about singing with geniuses from Argentina. It was a format I thought of myself. That year I wanted to go to the provinces a lot and I stayed with the will."
-Genius of Argentina is a format that has some federal and emotional spirit of a dream to sing?
Something safe, Dreaming of poetry It was a format I had planned for me. I was about to do it and could not. In the end, he drove him Mariano Judica And he did it barbaric. That year I really wanted to go through the provinces and I stayed …
– Do you hate it a little mischievously?
No, on the contrary. I loved that he could do it, I loved it. And it helped me to say "At some point I can and I want to do it." The only time I did something similar was in 91 through a tour The rhythm of the night, But it did not go on television, it was just a show. This is the first time it will be broadcast on television and it will be a unique experience.
"I was born in Bolivar, I have something from the province of Buenos Aires, in the suburbs and inside, I have something federal, of course."
What tempts you to contact people outside the city of Buenos Aires?
"It's very strong what happens to the people with the program, they really like it and it's natural, you have other times, and it makes you stop things in a different way, and the recent trips to closed dates are amazing, and in any case they were caravans that followed me from the airport. I walked Field With Lulu To Purmamarca on 25 May I met a hotel with more than fifty people who wanted to show me their talent. From here comes a little Genius …. I asked the doorman if I could arrange them in line so I could see them all. "My husband is a minister The national anthem"A lady told me, and I listened to it and recorded it with the camera, and then I came and told the production guys," Look at this, it's amazing. "
"In Super Dance with BAR we're facing a jury of seven, instead of one out of four, they'll give the jury more consistency to make it better."
– Do you have any contact with your face to do with your source?
I was born in Bolivar, I have something from the province of Buenos Aires, the Conorbano and the interior. I have something federal, of course. I hope that the love I see in the provinces is reflected on the screen Genius … You also think of things like a television producer and you should see how things go in the air. It makes me happy to be able to walk, even if we do not do it every week because they do not give us the times or the costs. 130 people are traveling and thinking about such a production, in this country, crazy people. I hope it looks nice and we can do it once or twice a month. I would like to thank all the provinces that help us to realize this mad madness.
– puts all this love into the whirlpool that the dancer has. They set up a super dance with a very strong jury, with Marcelo Polino, Angel de Brito, Florencia Peña and Pampita, and the novelty is recharged with Aníbal Pachano, Laura Fidalgo and Flavio Mendoza. Is this year's war?
– I do not want to predict anything. What I'm saying is that we're facing a jury of seven, instead of one of four. Beyond that Bar has other functions from the technical that is matched by three personalities with such prestigious names, putting it in a very strong place. Each of them will have an opportunity to add or subtract a point, it will give more consistency to the jurors themselves, so it will get better. This is going to be hard work. So if there is a conflict or not, look at the moment. We have a very good cast of participants, there are six champions, of whom two are the two champions, have the last champions, Sophie Morandme and And Julian Serrano, And competitors of the style of Sicilian Grisalda, Flower Torrente and Leticia Bardice. Sophia Patz We He goes to dance and his father is going to be a bar.
"The relationship with her teachers is the first, she was one of the greatest heroines of all the dance years, I hope, at some point she can be with us."
– Someone impossible to separate the story of a dancer is Moria Casán. How was the relationship with her? Would you like it on this anniversary?
The relationship with Moriah is the first. It has a very prominent place on the screen of another channel, with a daily program and it was pretty hard to get it. I joined her before the end of the year. It was one of the greatest heroes of all these years of Dancing, We respect him and we love it very much. I hope that at some point he can be with us.
Those who jump in the grave and now want to live the love life of Richie
– 20 years ago produced fictional films that were marked before and after on our television. Okupas, Tumberos or Black Sun, a series that entered into the fringe worlds, places of confinement. Today, being so fashionable prison fiction, narconovelas, products put the focus on the margins, declassed, from the outside, you feel that you went ahead?
I saw a well-known film a long time ago, Pizza, beer, paso And I was surprised not only by the subject, but I really liked the direction Adrian Caitano same as Bruno Stegnero. I liked how they worked and I said it's so good to be able to take it to TV. So I dreamed with a project Bruno (Stanaro) Called Okupas And we took him to television in a difficult moment (2000), a moment of crisis. We can put it Channel 7 And for me it was one of the most beautiful things I did.
"The aesthetics of Okupas and Tumberos, like their dialogues, were advanced, it makes me very happy to be able to start with it in 2000."
And what about Tumboros?
Then Okupas I stayed with the unfinished business of working with Adrian Caitano And we could do Tomborough, With a prison theme, it's true, today is common. The aesthetics of Okupas of Tomborough, Like his dialogues, have moved forward. He thinks we started 2000 and was very strong against other, more traditional discussions. It makes me very happy to be able to start with it at that moment.
– How do you work at your new production company, Laflia, in the midst of the changes that the visual industry has seen in recent years since the emergence of new streaming or social platforms?
–To Palia It's still not a year old and we have plans on all channels and that makes us very happy. For now, we make journalist entertainment programs and we have projects to do fiction. This is one of the things I like the most and I feel that we can do it very well. Today we not only think of the traditional distribution channels of Argentina, such as air channels, but also the OTT (Chapter's: Audio and video services via the Internet) same as Netflix, Amazon Video Header o Cable flow, Put content.
"We are working on a series of youth and more on local, very Argentine subjects next year."
– What fictional projects?
"We are working on a teenage series that is very good on another one of the local issues, very Argentine, which can be very good.I hope we can put some air on next year.We develop a whole department of fiction with Let the buyer win and Gustavo Mara. We think fiction is a "leg" that will make us stronger as a producer. Given so much technology which has different platforms, these platforms must be filled with content. As Aries before was "foot", today no longer. Today, the king of everything is content. Before you had the need to go to festivals in the world to sell your products in Natpe o Mipcom, Today you already have platforms that can place you through streaming. Now comes Disney Plus With your platform, Universal… If we strengthen ourselves, we can get a very wide market.
"Ricky Martin decided that this year he does not have time to devote himself fully to his biopic, he wants to be very careful and we are leaving it for 2020."
– You said one of your most ambitious projects is to make the series on Ricky Martin. How did it go on?
– We did a lot he liked the idea, there was a conversation, we sent him the book and there was a round trip. The only problem is that Ricky decided that this year he did not have the time to devote himself fully to work on it. He wants to be behind the project because he will tell his story, even if he does not star in it. He wants to be very aware that we are working with your manager in London and we are ready for 2020. This is a project that I would love to do specifically.
From Video to Showman, from Business to Business
– What role will be the most classic television, the one we have always known? Are you on the wing that you think is extinct?
– No, I do not completely agree with those who say the TV has been dead, so it was said on radio or newspaper. Today I think it is more "leg". Television should be supplemented with many other things. TV content is armed with a complete commercial level mechanism and production that allows you to put the content into other "legs". If you say "Let's do content for platforms", we can not put the level of production that television allows you. In the 1990s it was the means. It was "TV" and it had 60 rating points, like program Great, Dad!55 points Friends are friends And 1.4 points were the beginnings of video (Laughs) I think the TV will continue and today you can not measure it only with the instrument that measures the rating. The subject is where you see the TV: it can be by TV, that is the local device, either by phone, or by streaming, or by social networks. You need to take other measurements and not show up a larger audience volume.
"Today, if you add all the devices on which you see the television, there will be a lot of the audience, we have another measurement and this is not a review of Ibup."
"They do not get more measurements of Ibup …
– The TV looks a lot, but not on TV that has the gadget, which measures the People are meters, And so does the rating. This is where multiple programs one at 12 or 13 points. If you add all the devices on which you see the TV, there will be a lot of audience. At some point we need to have another measurement and this is not a review hostility. As content generators, you need to show us all the places from which the product is displayed. And the internet search engines. We give a lot of content to other people and the content they earn and we do not get weight. It loses the TV itself, which is the one that produces the product. Just as they are armed with different leagues in the world, such as Basketball League or Super League, We as part of television need to organize ourselves.
"Do not count the repetition on this side, on Twitter or Instagram … Para, tell me everything, someone measure it, if you do not end up making a plan for people who have the instrument that measures the rating."
– The diagnosis seems daunting …
If I hold eight books from a library, I'll take them and I will not pay anything, of course one day there will be no more books in the library. Let's ask ourselves how many of these platforms are feeding. If they are going to enter our content, something will have to pay me. At some point you need to appreciate it and that's why I'm talking about content seekers. Or is everything free? We, as a television producer, sinned innocently and thought that it served us in propaganda or propaganda of the mother product. But in this way you are left with the best slice, you are left with the smallest part in the number and meanwhile other platforms are growing from which do not attract any dividend, and others withdraw it. It's hard to make a profit from the digital part. Television no longer gives content only to the television itself, as it was before, but to infinite places, to endless platforms. If it does not make it monetize, we end up finishing the mom business and has a lot of people living. This is the great challenge before us.
"Gustavo Yankelevich is a man who marked my life, along with Juan Alberto Badía and Jose Maria Muñoz are part of the trident."
– Another challenge for television is how to attract a young audience that may be native to digital?
– We have a regular search for a young audience, in fact last year we achieved it with the input of Julián and Sophie. What you need to take into consideration, and I repeat the above, is that the return of those who measure you, are aparatitos in family homes. We have S.T.O., Plan B America This makes a record point, but there is the plan that has more frequency in the networks. Then, tell me that rating point and anything else that is seen on the other hand. These are the things that at some point you need to start quantifying. Maybe you say "This program makes 12 points", but you do not know they see the rollback on this side, many for Twitter, Instagram… Farah! Tell me everything! Let someone measure it. If you do not end up making a plan for people who have the People are meters Put on TV, there are 800 people with a tendency to older people.
"Claudio Villarreal was a great producer of the show then, he had very good years with us until he was artistic director of Telefe."
Your career was built around big TV people, they were part of your success and you contributed to them. What memories come to mind when you name Gustavo Yankelevich, Claudio Villarruel, Daniel Haddad and Adrian Suar?
Gustavo is a man who marked my life, one of the three people who gave me the opportunity to be where I am. I have no doubt that near Juan Alberto Badia and Jose Maria Munoz They're part of Trident, they're the first three I'm there. He was a very generous man with me, like his family, and he saw things in me that I did not even see. Imagine what that means to me. I had 1.4 points and I wanted to go home. "That's it, Gustavo, I can not stand a ball," he said. "No, no, after the World Cup 90 is going …" And he went. Or do The rhythm of the night. "What am I going to do there, I'm not a rabbit, I'm a journalist behind a desk, sit down," and yet he also hit. He was right, and for that I am eternally grateful. He marked me as Badia in the 1980s and as a channel in the 1970s.
And Claudio Villarreal?
– Claudio was a great producer of the program at the time. He had very good years until he was artistic director of the channel and he was 7 years with us. It was a little driver of any change in humor that program. We have already come with this tendency and with Claudio it has gone deeper. He is a person who has always had a great deal of recognition in the whole team and many of those who work with us today started working with him at the time 92 or 93.
"Daniel Hadad arrived at the time when Telfa did not trust me so much, it was a challenge to go to Channel 9 and he bet."
– Daniel Hadad and this short step on the Nine Canal?
It was very good in time Talpa They did not trust me so much and had to make a plan once a week when I wanted to be there every day. we had Rolden Like something strong on the screen Talpa Of that year and they told me "Rolden, Every day, but you, once a week. Take care of yourself. "I always thank Daniel forever because he was a man who at that moment loved me very much, without asking him."RoldenYes, but what I most want is for you. "I played it hard because everyone told me" You have the three balls on your forehead, you Talpa"It was a challenge for me to go Channel 9 And he intervenes. I have a lot of friendship and respect for him. That year with him was great, but later I could not continue to grow.
"We fought for Adrian Suare for 15 years and it was very difficult to stop doing it. What I value most is the absolute freedom he gives me to work."
Unnamed: And at this last stage with Adrian Suar?
To work with Adrian is to work with a friend. I met him going to the Badia show one Saturday afternoon. With my Renault 4 I took a message on 9 de Julio Avenue. I'm going to Channel 13, A truck closed me and I hit the post. Only Adrian came in the car and went down. "What happened to you, thin?" He did it Plito, So of course I know him, he was Adrian Sur. We were both young. After, we are always competing and it has been for 15 years. That was why it was very difficult to stop competing. What I value most is the absolute freedom it gives you to work. He never said "go on this side." Yes from the art, but I never got a line. On the contrary, full trust in what we do.
-I'm interested in knowing what this adrenalin jump is like driving a show like ShowMatch to your home. Is it hard to come down?
I'm home waiting for a dose with Milan wrapped in plastic that left me the lady who works at home. Or I eat some cakes, my age accompanies me and we start talking, but I live it as something natural. Something combined. I do not see it as "Oh, look where I am from and where I am." It's hard for me to come down, yes. My wife is waiting for me, thank God she is waiting for me, and she says "Wake me up when you get there." So we stayed talking until two or two-thirty in the morning. I do not fall asleep before three or thirteen in the morning, so I can not take it Lorenzo To school, even though it's something I love. It's not that I have to go eat at a restaurant, take a picture of myself there and want to continue the night because I have to continue with the character of Marcelo Tinley. It's done, it's done, it's over, I'm going home the next day and normal life until night. I'm passionate about what I do, I love what I do, I love it, but I also have a life that does not have much to do with this nature of the night and I usually live it. It's not like I have to be Tinley all day.
"At the beginning of Videomatch I said I'm better as a sports journalist, I do not like to make a newspaper and if people do not see the program, I have to move."
After 30 years of success, do you remember a pivotal moment in your career where you thought that driving or TV was not for you? Unnamed: Do you want to abandon everything and return to Bolívar?
I have two moments that come to mind. One, when we did a rating point at the beginning video. I have it perfectly. He was a producer and nothing we let into the air did not work. The stuff we assumed was bad, people were right not to see it (laughs). The material that reached the news of the sport of that moment went away ESPN And I bought old stuff from a production company Nicanor Gonzalez del Solar, Which is called Sports in action. We moved to old videos with Tito Medina, Lancet Bisio and Daniel Akubovich & # 39; That were from Paris stabbed 7 years ago. They were discriminated against. I asked VHS to other guys and they looked poor quality. With 1.6 ranking points of 90 years, I saw it was there. "I continue as a sports journalist, why do I have to continue to do it when what I like is less than it does paper, it's normal for people not to see it, everything is fine, you have to move." I went to tell him Gustavo Yankelevich & # 39; And it was he who encouraged me not to do it. It was a moment of labor.
"In the first year at Arter we made four formats and we did not hurt her, we said," Let's do artistic exile, let's go to the World Cup in Germany. "
– And the other?
"The other, who appeared there as redemption, was" Let's go World Cup Germany"When we were in 2006 it was the first year Channel 13 And we did four formats, once a day. And the truth is, we did not hurt it. It was our first year and we were not there. We said, "Let's do artistic exile." Artistic exile. אני לא אומר שזה היה "אני חוזר Bolívar", אבל זה היה הפסקה לומר "זה לא הולך אחורה או קדימה". לא היינו חמושים מאוד כדי ללכת למונדיאל, הלכנו עם noteros היה לנו, לעשות מה שאנחנו יכולים. הגענו מ 20, 25, 27 נקודות ובאותו שנה המספר לא הופיע. שיחקנו 18, 19 נקודות ועשינו את התוכנית בשידור חי בחמש בבוקר משם. חגגנו את המספרים שיכולים להגיע באותו רגע וניצלנו כדי להוציא את כל מה שהיה לנו וזה לא הצליח: יום אחד אנחנו מתנת חייך, יום נוסף היה הומור, הבא המצלמות הנסתרות. מה שעבד, או מה שהרגשנו, היה קטע שהלך יום אחד רוקדים לחלום. אמרנו "בוא נעשה את זה" ועל כך אתה צריך לשים את זה ביחד, לשכור את הזוגות, לעשות תחרות ארוכה יותר ואתה לא יכול לעשות את זה מיום אחד למשנהו. בגלל זה אמרנו "בוא נלך למונדיאל". זה לא היה תוכנית גדולה של גביע העולם וזה לא יהיה בזיכרון ההיסטוריה של הטלוויזיה. היינו שם חודש, חזרנו והתחלנו רוקדים מיולי / אוגוסט ועד סוף השנה, והאמת היא שעשינו טוב מאוד. כאשר התחלנו תוצאות, הבנו שזה היה הפורמט. ואנחנו להדביק אותו.
"בחיי בניתי את הרגעים הכי טובים על פי הכישלונות הגרועים ביותר".
– איזה חזון על ההצלחה אתה יכול לתת למישהו שנמצא במשבר היום?
בחיי, בניתי את הרגעים הטובים ביותר על פי הכישלונות הגרועים ביותר. אני לא רוצה להרגיש את זה סטיב מהטלוויזיה, אבל אני מרגישה שבזמן לא טוב, אלה שחשבתי שאינני יכולה לצאת מהם ומכסה את המים, ההזדמנות תמיד נראתה מחפשת אותה ודוחפת אותה קדימה. ואני אומר את זה על זמנים קשים, כפי שאולי זה היה מותו של הזקן שלי. אני חייבת לבוא לכאן ב -70 השנה ולהיפטר מההיסטוריה שלי, מהשורשים, מבית הספר, מהחברים שלי. אסון איפשר לי לבוא לבואנוס איירס ולמצוא כדורגל ועיתונאות, מה שאבא שלי השאיר לי.
"אני לא רוצה להרגיש את סטיב ג'ובס של הטלוויזיה, אבל אני מרגיש שבזמן רע, אלה שחשבתי שאי אפשר לצאת מהם וחסמו את המים, ההזדמנות תמיד נראתה מחפשת אותה ודוחפת אותה קדימה. זמנים קשים, כפי שהיה יכול להיות מותו של הזקן שלי. "
-מצבים אלה סימנו אותך …
– בסך הכל. רציתי לעזוב את הארץ, לחשוב שאני נכשלת, ושהיא תתעורר הזדמנות לנהוג video. מה הלאה גררדו סופוביץ ' להיות מחוץ טלפה וכך הוא מוצג קצב של הלילה. כמעט כברירת מחדל הגעתי לדברים. היום, אנחנו נמצאים כברירת מחדל, ונראה כי המדינה הזאת נופלת ואין הזדמנויות לאף אחד, זה חיוני להישאר, להמשיך להיות, לתת הכל למרות קבלת כמעט כלום. החיים הם בנייה שצריך להתבסס על חלומות ותקוות, אם אתה לא מטוגן למחצה. אני יודע שיש הרבה אנשים שקשה להם ושהקריאה על זה קשה להם, אבל לפחות אני רוצה לספר לכם על הניסיון שלי. מתוך הרגעים הגרועים ביותר, אחד יכול לעזוב. נכון שהמשבר הוא הזדמנות. מה שקורה הוא שקשה מאוד לראות כשאת אומרת "זה מכסה אותי, מכסה אותי ומכסה אותי". אבל ההזדמנות תבוא. אל הארץ ואל הארגנטינים. זה יהיה תלוי בנו הרבה. יש לנו את הכלים להשגתו. כל עוד אנחנו ממשיכים להסתכל על הארץ כאילו זה היה של מישהו אחר, זה יעלה לנו. אם נבין שהמדינה שלנו היא שאנחנו יכולים לשנות אותה, ואנחנו יכולים לשנות אותה מהמערכת הדמוקרטית בהצבעה אחת, אז יש לנו כלי נהדר. אם אנחנו מרוצים להישאר בסדק זה שבו הם מכניסים אותנו, שבו הם נופלים אחד, עוד וממשיכים ליפול, כמו בני עמנו נמשיך לצמיתות זה. כל הזמן אנחנו חושבים "להסתכל איך הם מסתכלים עלינו מבחוץ, הם לא מאמינים בנו". הראשון שאנחנו צריכים להאמין לנו הוא אותנו, ולשנות אותנו מבפנים.
הירשם לניוזלטר של City! וקיבלתי את החדשות האחרונות על המופע בדואר.