The House of Paper makes history by achieving a Emmy International
two years Ago that Álex Pina told me about the robbery. I wanted to make more than a billion euros. “The biggest hit of the history,” he said. “Don’t you robaremos to no one,” he said. “No dead,” he said. “The work of a genius,” he said. And, between beer and beer, I released the yes I want to and I got in his band.
By then, it was only written the first chapter, the mask of Dalí was still a sketch, Vancouver Media had not produced a single minute of fiction, and the National Factory of Currency and Timbre was without sullying. What’s funny is that a few hours ago, we have been given a Emmy. To us. In New York City. With all the world watching.
In these two years have also happened to other things: The house of paper was along the failure in the Antenna 3, then it became a series of non-English-speaking over view of the history of Netflix, we’ve been the most maratoneados in the world only behind Game of thrones and, finally, Alex, if he doesn’t want to speak, has become one of the executive producers most acclaimed in the world.
Have happened to all these things, but, however, while I take a coffee at home the morning after the Emmy, I think that the series is not that. With my t-shirt inside shoulder straps, full of manners, while I look out the window this Madrid rain, I say: No. Not at all. This series is another thing.
The house of paper was a beast that soon made us understand that we should not try to tame him. The writing and the filming of this madness became a maelstrom. Had to accept the pulse and the cramps that the fiera was. And we ate them all. We were on a boat in the middle of a storm, and the whale that we chased did not stop to give days. It was epic. There was No day in which someone does not say convinced, “this can’t be done.” But, in the end, it was. Hence the epic. Hence the most powerful feeling of this trip: the team could with everything.
Should you have seen Cristina López Ferraz, the queen of the accounts, putting in five hundred thousand euros by the chapter that no where in the world is made by less than threefold. You should have seen Migue Amoedo, the crazy light, like an animal, thrusting extra lives to your computer while you put the camera body in days that didn’t end never. Should you have seen Jesus Colmenar, the director-in-chief, to lift each sequence, and make the best of a cast that was always in a state of grace. And should have seen us, the writers, like dogs, discarding frames and more frames, pulling the recycle 90% of our work so that the final distillation was better than we had inside.
I Suppose that all jobs have some component of this, but The house of paper was a fever shared. We were 150 people that did not look never the clock. 150 crazy rowing in the galleys. And, although we all knew that we were doing this fiction for Spain, I think that we never lost sight of the other direction that we didn’t even dare to name: we wanted the world to look up, mouth open, point the finger and say: but who has done this and how?
Today, in effect, the world is watching us. It worked that conjures up. We’re doing the new part of The house paper, for Netflix, and we just bring him an Emmy in New York. We are also convinced of being engaged in the more important journey of our lives. And, above all, we write, we shoot and interpret without losing the tension; without forgetting that we are a few types tiny of a country that didn’t shot that, somehow, they have done so.
And I think here is the lesson in all this: it can be done. It is being done. Spanish fiction is giving aldabonazos all over the world. Let us continue doing so. I guess that what applies to our sector, it is worth it for our society. I guess that’s something good we can take out all of this adventure.
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