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Speaker 1: Magical realism is not really a genre per se. It's

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Speaker 1: a sort of way of life. It's a belief that,

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Speaker 1: in my humble opinion, it comes from the merging of

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Speaker 1: different cultures and their beliefs and their spirituality.

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Speaker 2: From futro media and PRX. It's Latino Usa. I'm Marie

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Speaker 2: jo Josa Today, Argentine director Alex Garcia Lopez on the

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Speaker 2: TV adaptation of One hundred Years of Solitude. The novel

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Speaker 2: one hundred Years of Solitude, better known as Sienos de Solidad,

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Speaker 2: is regarded as one of the most important works of

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Speaker 2: the Spanish language. The story follows first cousins Josser Gadio

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Speaker 2: Wendia and Ursula Iwaran, who defied their parents' wishes to marry,

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Speaker 2: and so they set off on a journey to find

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Speaker 2: a new home. The cousins, along with other adventure seekers,

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Speaker 2: eventually establish the utopian town of Macondo on a lush riverside.

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Speaker 2: Over many generations, the Guendilla family shapes the destiny of

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Speaker 2: this mystical town as they endure cycles of madness, forbidden loves,

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Speaker 2: a senseless war, and a haunting curse that dooms them

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Speaker 2: to a century of Solitude, which.

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Speaker 3: Is another voice Freelo Fusila, Miento l India Avia, the record.

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Speaker 4: In Caesar.

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Speaker 2: The Colombian Nobel Prize winning author Gabriel Gacia Marquez first

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Speaker 2: published the book in nineteen sixty seven. Since then, it

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Speaker 2: has sold more than fifty million copies and has been

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Speaker 2: translated into more than forty languages. But, unlike many other

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Speaker 2: great works of literature, one hundred Years of Solitude was

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Speaker 2: never adapted for television or film. Gabo, as Gabriel Garcia

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Speaker 2: Marquez was affectionately called, believed the novel's intricate narrative, which

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Speaker 2: combines magical realism with complex generational storytelling, would be nearly

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Speaker 2: impossible to translate effectively into a visual medium. Gabo was

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Speaker 2: also concerned about losing creative control, and he feared that

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Speaker 2: Hollywood would misrepresent the cultural essence of the story. That's

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Speaker 2: why the partnership between Netflix and the Colombian production company

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Speaker 2: Dynamo came as such a surprise to so many. So today, Dearly,

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Speaker 2: We're going to bring you a conversation with one of

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Speaker 2: the directors of the news series, Alex Garcia Lopez, who

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Speaker 2: joined us from the Netflix offices in Borota. Colombia. Alex,

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Speaker 2: Welcome to Latino, USA.

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Speaker 4: I'm very happy to be here.

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Speaker 2: He first read the book after moving to the United

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Speaker 2: States from his native Argentina. During the week, like everybody else,

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Speaker 2: he'd go to public school, but on Saturdays he'd go

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Speaker 2: to an Argentinian cultural school in Maryland.

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Speaker 1: Just like it was in Argentina, and just like it

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Speaker 1: is in across Latin America. It's sort of a must read, right,

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Speaker 1: It's a part of the curriculum, And to be honest

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Speaker 1: with you, it's I think it's a tough read when

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Speaker 1: you're nator.

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Speaker 2: Yeah. It's not a linear book in many ways at all,

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Speaker 2: so and there's a lot going on, and it can

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Speaker 2: feel if you're a US teenager kind of like y'all

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Speaker 2: are crazy. Crazy stuff happens over there.

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Speaker 1: And every guy have to have the same name. So

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Speaker 1: I reread it many years later when I was like

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Speaker 1: twenty five twenty six. I was living in Holland at

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Speaker 1: a time when I was doing my masters, and that's

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Speaker 1: when I sort of got it. It's sort of like

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Speaker 1: humanity fighting against its own destiny. You know, are we

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Speaker 1: ever gonna change? Are we going to ever learn from

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Speaker 1: our mistakes or are we going to keep making the

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Speaker 1: same mistakes over and over and over and over again.

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Speaker 1: To me, that's the largest theme in the book. It's

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Speaker 1: a book that deals with a lot of cycles, and

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Speaker 1: it's obvious that for seven generations, all the men are

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Speaker 1: named quite similarly. So I think Gabo, who was obviously

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Speaker 1: not just the genius, he was also you know, quite funny.

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Speaker 2: So how do you feel about magical realism?

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Speaker 1: Well, I think what started to learn with this project

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Speaker 1: and being in Colombia and being in the Caribbean, is

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Speaker 1: that magical realism it's not really a genre per se.

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Speaker 1: It's a sort of way of life. It's a belief that,

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Speaker 1: in my humble opinion, and it comes from the merging

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Speaker 1: of different cultures and their beliefs and their spirituality. So

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Speaker 1: what I mean by that is Columbia, like the rest

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Speaker 1: of the Caribbean, like the rest of Latin America, has

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Speaker 1: a huge indigenous culture, which to this day obviously affects

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Speaker 1: its society, and that culture has very strong beliefs of

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Speaker 1: spirituality of you know, what happens in the afterlife, what

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Speaker 1: happens in real life. So when you have those indigenous beliefs,

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Speaker 1: in the case of nyas a solitude when the story

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Speaker 1: begins in an aera call La Wahidra, which is the

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Speaker 1: sort of northeast of Columbia. In that region, it's very indigenous,

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Speaker 1: so it's very common for people to believe in spirit,

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Speaker 1: to believe that your grandma's spirit came last night and

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Speaker 1: made herself coffee, and that's the reason why in the

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Speaker 1: morning when you wake up, smustf coffee even though no

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Speaker 1: one made coffee, you know. Or the way that Gabo

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Speaker 1: would say that everything that happened in the book it

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Speaker 1: was his child upbringing, and he would say that his

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Speaker 1: grandmother would always get upset when the electrician will come

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Speaker 1: to the house because the house would get filled up

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Speaker 1: with yellow butterflies. So magical realism to me, it's when

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Speaker 1: all these cultures, in the case of indigenous culture meets

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Speaker 1: with African culture. Columbia the Caribbean has a huge element

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Speaker 1: of African influence because of the slave trade, and there

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Speaker 1: obviously the African culture brought their own beliefs on spirituality.

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Speaker 1: And then you get that with the third element, which

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Speaker 1: is the Spanish Christianity. I mean, if you think about

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Speaker 1: Christianity and what happens unders in the Bible is quite

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Speaker 1: sort of magical realism. And Jesus dies and then he

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Speaker 1: gets reborn three days later, and that's the same with Melchialis.

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Speaker 4: Right, how many times.

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Speaker 1: Does Melchialis die and then it comes back to life?

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Speaker 2: By the way, dear listener, Melgiadis is a key character

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Speaker 2: in One hundred Years of Solitude. He's a mysterious and

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Speaker 2: wise traveler who befriends the Wendif family and introduces them

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Speaker 2: to new ideas and inventions like alt me and magnets.

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Speaker 1: So you mix these three beliefs, these three sort of ideologies,

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Speaker 1: and that's what the society of the Caribbean. It's how

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Speaker 1: they live, and therefore it's how they tell stories.

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Speaker 2: But capturing that universal theme and humor that Alex loved

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Speaker 2: in the storytelling of Gabriel Garcia Marquez wasn't easy when

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Speaker 2: it came to making the series, Nor was it easy

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Speaker 2: to represent the magical world of Markondo.

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Speaker 1: You know, literature is not a TV show or a movie,

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Speaker 1: and vice versa, and therefore they work in different ways.

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Speaker 1: And also in the case of the books, some books

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Speaker 1: are easier to adapt because they're linear or they have

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Speaker 1: more dialogue in the case of hundre years. Solitude is

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Speaker 1: not only is a book that has very little dialogue,

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Speaker 1: it's a book that jumps around in this timeline. It's

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Speaker 1: a book that Galri Gacia Market is. In the same page,

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Speaker 1: you would have two funerals, the beginning of a civil

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Speaker 1: war and and an incest situation without even a comma,

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Speaker 1: you know, not in one comma there, and you going,

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Speaker 1: oh my god, all right, how do we now?

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Speaker 2: You know one thing that you did that I absolutely

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Speaker 2: felt the tracking shot of Josser Gallio, who is at

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Speaker 2: that time probably like five years old, that's exactly, and

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Speaker 2: he's barefoot, and you remember the fact that he'd loved

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Speaker 2: to run around naked. That was his thing. Nobody could

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Speaker 2: catch him, and he just wanted to be naked. And

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Speaker 2: you have this tracking shot of following him as he's

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Speaker 2: running through in and out of homes and people's gardens

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Speaker 2: and people's kitchens, and there's all of this happening at

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Speaker 2: the same time, and there's no fear, but it also

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Speaker 2: feels like everything is happening right in the open, like

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Speaker 2: everything all the doors are open.

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Speaker 4: Got through.

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Speaker 1: It's amazing you mentioned that sequence because one thing I

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Speaker 1: wanted to capture from the book What's its Energy, which

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Speaker 1: is very Caribbean. It's like a roller coaster write the

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Speaker 1: book and again going back to the book being a

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Speaker 1: sort of the universal theme. I think also Ga had

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Speaker 1: a lot of fun making it quite biblical, at least

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Speaker 1: at the beginning. It's almost this idea of this couple

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Speaker 1: with their friends creating a sort of garden of inn

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Speaker 1: to some degree.

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Speaker 4: Right, So I had this.

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Speaker 1: Long sequence of eight nine minutes of really feeling what

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Speaker 1: this people went through in order to find their space,

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Speaker 1: their place where they're willing to go home. How do

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Speaker 1: you then show maconno And I said, I have this

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Speaker 1: idea of this vision as like the reason why Usargaya

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Speaker 1: Ursula leave is to get away from their parents. The

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Speaker 1: warning that the mother gives her of like if you

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Speaker 1: have a child, you're going to create a little.

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Speaker 2: Monster, right because of the incest.

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Speaker 1: Because of the So I think any couple around the world,

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Speaker 1: a young couple full of dreams and being naive and

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Speaker 1: full of sort of optimistic hope, can kind of relate

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Speaker 1: to sort of leaving your parents town behind and we're

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Speaker 1: going to find our.

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Speaker 4: Own way of life. We're going to create our own rules.

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Speaker 1: And therefore what they wanted to escape was this idea

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Speaker 1: of a monster, and that monster is represented by the

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Speaker 1: little boys.

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Speaker 2: But if you watched that scene, you're going to notice

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Speaker 2: that the little boys behind is actually the focus, which

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Speaker 2: is a little bit weird. But now after talking this

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Speaker 2: over with Alex, I completely get it, because that scene

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Speaker 2: revolves around the question of whether this kid will be

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Speaker 2: a quote unquote normal boy or whether he'll be born

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Speaker 2: with a tale. It's such a massive project that what

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Speaker 2: I really wanted to understand was how he dealt with

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Speaker 2: the pressure of making a series that's bound to receive

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Speaker 2: a lot of criticism simply because it's tied to a

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Speaker 2: book that represents the essence of Latin American literature.

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Speaker 1: When Netflix called me, it was slightly right before the

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Speaker 1: pandemic actually and told me about the book that they

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Speaker 1: just had the rights to, and I decided to say yes.

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Speaker 1: I knew that it was going to be, regardless of

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Speaker 1: what I did, a show that will be criticized and

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Speaker 1: attacked from any angles because this is a book that

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Speaker 1: people grew up with that people have their own vision

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Speaker 1: of what Milchaus will look like, of what Magonda looks like.

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Speaker 1: You know, so just stepping into someone's sort of childhood

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Speaker 1: or teenage years or what have you and tell them, well, actually, no,

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Speaker 1: Malchaios doesn't look like that. Malchaos looks like this. And

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Speaker 1: that's my version of it. I understand this sort of

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Speaker 1: sometimes reaction that people tend to have, so you kind

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Speaker 1: of you know that comes with the contract. It's sort

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Speaker 1: of like, you know, I've done a lot of adaptations now,

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Speaker 1: and I worked on the Witcher.

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Speaker 4: I've had tales of your kind Witcher kwo be Bob.

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Speaker 4: They tried to kill me, Hannah. If you need to

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Speaker 4: find me, I go by Spikespeg all these days.

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Speaker 1: I did some work on Marvel shows and obviously Star Wars.

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Speaker 4: Last stated a Jedi was murdered.

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Speaker 1: So I'm used to kind of being okay with that

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Speaker 1: pressure of what it means to take something that is

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Speaker 1: beloved by many and having a go at it. And

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Speaker 1: in my humble opinion, the only thing I can say

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Speaker 1: is I did my best. I did what I wanted

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Speaker 1: to do with it. I was very loyal to the book.

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Speaker 1: I read it again when Netflix called me, because I

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Speaker 1: knew that the Netflix school was this needed to be

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Speaker 1: incredibly authentic to Columbia and to its Columbian culture, and

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Speaker 1: the aim was too for it to do well here

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Speaker 1: in Columbia and Latin America, but also for the world,

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Speaker 1: because I think once you sell a piece of literature

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Speaker 1: over fifty million books around the world. But this is

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Speaker 1: what I always tell my colleagues, I'm like, it kind

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Speaker 1: of becomes part of humanity.

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Speaker 4: It's not just yours.

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Speaker 1: It's no longer just yours.

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Speaker 2: So Gabrio Gacia Markiz was very clear about how he

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Speaker 2: wanted control over his work after he passes. His family

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Speaker 2: now has made certain decisions releasing unpublished work or in

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Speaker 2: this case, allowing for Solidad to be made into a series.

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Speaker 2: So I know that his two sons are executive producers.

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Speaker 2: This is difficult, right when you're dealing with not only

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Speaker 2: this kind of piece of literature, but now you have

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Speaker 2: the family. How much were the involved? How did you

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Speaker 2: have to manage that?

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Speaker 1: As a director video he himself is a phenomenal director,

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Speaker 1: and therefore he was incredibly respectful of giving me the

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Speaker 1: space to do what I was hired for. So perhaps

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Speaker 1: never wanted to sell Hundreds of Solitude as a movie

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Speaker 1: was because he was very afraid of it. Being sort

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Speaker 1: of executed the same thing that happened of The Love

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Speaker 1: during the time of color it out where it was

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Speaker 1: an American Hollywood, very whitewashy kind of version of a story.

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Speaker 2: That just unremarkable, badly done.

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Speaker 1: Yeah, totally, you know, and so I think it was

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Speaker 1: very petrified of that. And therefore, you know, twenty odd

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Speaker 1: years later, we now find ourselves where the television format

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Speaker 1: allows us to give the book sixteen hours to tell

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Speaker 1: the story, and we struggled to put it into sixteen hours.

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Speaker 1: Imagine trying to do it to an half hour movie'd

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Speaker 1: be insane. And then the budget, you know, again, sort

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Speaker 1: of now television allows us to have budgets worth ten

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Speaker 1: fifteen years ago would have been sort of unheard of.

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Speaker 1: That allows us to give one hundreds of solo to

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Speaker 1: the scope the magnitude it requires. So they were incredibly

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Speaker 1: respectful and sort of distant if you were, during the

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Speaker 1: filmmaking process, and it was only towards later that they

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Speaker 1: sort of gave notes, if you will, one of the

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Speaker 1: rules or sort of bullet points that they got Tiamagi's

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Speaker 1: family placed in the contract that it had to be.

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Speaker 4: Filmed here in Colombia.

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Speaker 1: And in Spanish, and I think that was crucial, and

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Speaker 1: therefore ninety nine percent of the team was Columbian, from

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Speaker 1: cast to wardrobe to design, I mean, you name it.

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Speaker 1: And so it felt incredibly important when we were casting

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Speaker 1: that these people, these faces, these ways of speaking, these

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Speaker 1: mannerisms were Colombian and trying to also more epot also

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Speaker 1: make it Caribbean, because again it's a different kind of culture,

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Speaker 1: different way of speaking, different accent, different mannerisms. And we

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Speaker 1: found a place in the center of the country called

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Speaker 1: Ibagae in Nettolima that kind of gave us the best

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Speaker 1: of both worlds. It was very important that you know

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Speaker 1: that we didn't film it in a studio in Bogota,

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Speaker 1: which is a cold city in the mountains, right. I

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Speaker 1: say that Gauo himself didn't like very much. So I

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Speaker 1: convinced the production team to not film member with that

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Speaker 1: because it was important for us to be capturing the sweat,

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Speaker 1: capturing the light, capturing the sort of Caribbean elements, because

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Speaker 1: I think it's a world that people haven't seen before.

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Speaker 2: I'm wondering what you're hoping the audiences kind of come

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Speaker 2: away with this vision of Latin America. Also right at

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Speaker 2: a time when Latin America, Latinos, refugees, immigrants, those of

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Speaker 2: us who speak Spanish are moving into interesting territory in

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Speaker 2: the United States.

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Speaker 4: Yeah.

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Speaker 1: One of the reasons why I also wanted to tell

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Speaker 1: the story was because I think it's an incredible opportunity

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Speaker 1: to show the world that Colombia is a culture that

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Speaker 1: is not just about not a cat africantees, that it's

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Speaker 1: not about sex trafficking or hostages. You know, is it

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Speaker 1: a country that has a violent history. Yes, it is

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Speaker 1: like the rest of Latin America. You could argue that's

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Speaker 1: also a lot of countries have a violent history. And therefore,

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Speaker 1: to show the world that Columbia it's much more complex,

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Speaker 1: it's much more beautiful, it's much more passionate, full of

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Speaker 1: very different ideologists, and to tell the world what I

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Speaker 1: think is an incredibly entertaining story that gerhps you from

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Speaker 1: the beginning, that does not let you go, because it

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Speaker 1: goes one hundred miles an hour and it takes you

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Speaker 1: on this ride that you just kind of have to

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Speaker 1: let go. You have to put your beliefs on the

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Speaker 1: side for a moment. It's a story unlike any other story.

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Speaker 1: You might see in the moment across the platforms, and

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Speaker 1: so that to me makes it a very thrilling and

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Speaker 1: very unique story that follows this family that just gets

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Speaker 1: itself in a crazier situation one after the other. And

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Speaker 1: then I think once you're done watching it, then you

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Speaker 1: can sort of take a moment, breathe, and get a

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Speaker 1: chance to sort of look at a culture like the

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Speaker 1: column and culture like the latinmerk culture and understand this

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Speaker 1: a little bit more.

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Speaker 2: We is gonta ask us, Alex, thank you so much

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Speaker 2: for speaking with us.

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Speaker 4: My pleasure. Thank you very much.

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Speaker 2: That was director Alex Garcia Lopez on the adaptation of

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Speaker 2: One hundred Years of Solitude, now streaming on Netflix. This

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Speaker 2: episode was produced by Marina Pena and edited by Andrea

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Speaker 2: Lopez Cruzado and our co executive producer an Lemdez. It

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Speaker 2: was mixed by jj Carubin. The Latino USA team also

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Speaker 2: includes Julia Caruso, Jessica Elis, Victoria Estrada, Dominique Estrosa, Renaldo

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Speaker 2: Lanoz Junior, Stephanie Lebau, Louise Luna Marta Martinez Norsaudi, and

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Speaker 2: Nancy Trucchio. Marlin Bishop Maria Garcia and myself are co

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Speaker 2: executive producers. I'm your host, Mariao HOSTA. Join us again

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Speaker 2: on our next episode. In the meantime, I'll see you

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Speaker 2: on all of our social media a stelaproxi macuidad Yes, Joe.

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Speaker 5: Latino. USA is made possible in part by the Ford Foundation,

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Speaker 5: working with visionaries on the front lines of social change worldwide,

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Speaker 5: the John D. And Catherine T. MacArthur Foundation, and the

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Speaker 5: Heising Simons Foundation, unlocking knowledge, opportunity and possibilities. More at

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Speaker 5: hsfoundation dot org.