When Disney+ decided to innovate in the series market and go for a daily format, it did not want to take the risk and called a true expert on the subject: Jordi Frades. Although the Catalan creator had not been directly involved in a daily series for 30 years (with “Poblenou” in his memory), he is the brain behind multiple hits for Diagonal TV, the production company responsible for “Isabel”, “The Cathedral of the Sea”, “Love in troubled times” and “Dreams of freedom”, just to mention a few. We spoke with him about what “Return to Las Sabinas” has meant for the entertainment giant.
Jordi, after so much time, gets behind the cameras again for a daily series.
Yes, although I have been close to them, I always had that itch for the daily genre, which, although popular, is usually considered “the little brother” of audiovisuals. Today, daily series are very well accepted, and I was attracted to this madness of trying something new within that format without moving away from what the public expects.
He is a true expert in melodrama. What attracts you so much about this format?
The thing is, I enjoy the genre, both watching it and filming it. I always try to empathize with the plots, no matter how bizarre they may seem. When I rehearse with actors, I speak to them from personal experiences to seek the truth behind those situations that, at first glance, may seem exaggerated. And I also like that this story evokes a certain nostalgia without being a tribute to the past, but rather reflecting the first loves and memories of the town where one grew up.
How do you make melodrama without falling into exaggeration?
Is poetry exaggerated? Sometimes yes, but it is still poetry and it is accepted. It’s the same with melodrama. There are bombastic phrases that if you read them without context make you laugh, but then you add the location, the light, the shot, the music and your emotion… There things change.
What do you think about global platforms like Disney+ betting on local content?
I think everyone now understands that the more intimate and local a story is, the more universal it is. Disney+ was clear: we wanted something that was very much ours. For example, María Casal’s character is called Paca, without trying to find names that adapt to the Anglo-Saxon market. We kept a very local style, which for me is essential, and I think that connects better with the audience.
Does photography also seek that personality? What was it like filming everything in natural exteriors and interiors?
That’s how it is. There are no sets or sets; everything happens in real locations. This adds complexity, because illuminating each plane and space takes time, but at the same time it enriches the authenticity and beauty of the series. These landscapes and settings give depth to the love story we tell. In addition, we wanted each shot to highlight the scale of the place, something that also forced us to think differently when filming.
I understand that, to meet the deadlines, they recorded with five different equipment.
Yes, we had two units running at the same time, which allowed us to maintain the production rate. I almost always worked in the first unit, but from the beginning all the directors came to the shoot to capture the tone we wanted and build a common vision. This dynamic between directors was key to the final result, because they understood the story we wanted to tell and the type of interpretation we were looking for.
