Nacho Vigalondo (Cabezón de la Sal, Cantabria, 43 years old) has moved comfortably in recent times on platforms. After ‘Into the Dark’ (HBO), ‘Just before Christ’ (Movistar) and ‘El Vecino’ (Netflix), the film director now makes a continuous appearance on OrangeTV, and in a totally different facet: that of driver of a ‘late night’. Thus, Vigalondo has made his debut as a television presenter with ‘Los feliz twenty’, the program that the Orange Channel broadcasts from Monday to Thursday at 11:30 p.m. He is accompanied by the comedian Aníbal Gómez and the comedian and ‘influencer’ Gakian.
-How did you get the proposal to present ‘The Happy Twenty’?
-Through the Secuoya production company, in what I imagine was something joint between them and Orange. I was the first surprised, and I admit that I am not the usual profile of a driver of a program like this, but it is becoming increasingly difficult to make plans and follow a predetermined map in life. I had many doubts, said with total sincerity, I did not know if I was capable of getting into such a stroke
-But he did.
-Yes. I have always had the soul of a birthday guest rather than an organizer. It is not just presenting the program, but thinking about it in a certain way. It cost me, but I also have to say that these types of questions about whether I will be capable, I have asked them all my life, for better or for worse, and I have experience when it comes to throwing myself into the pool without knowing if there is water in it. .
-It was not a thorn in the tooth.
-Nerd. I have always liked collaborating on programs, but the responsibility of driving one is something that I had not considered until it was proposed to me. You look in the mirror and you know what you see. Also, we believe that to conduct a ‘late night’ it is good to have a comedian career and a more continuous presence on the screens, and I have my complexes when it comes to speaking and listening to my own voice. More than having a thorn stuck, I think I’m nailing it now (laughs).
-What is your relationship with humor or your references to take this step?
-Gakian, Ánibal and I have the soul of actors, and at one point I can say that, with my experience as an actor, sometimes I can take myself seriously. And then I’ve always been a devoted follower of humor, both the one made here and the one outside. But if I have to talk about references, it seems that I have lived a life macerating the style from some teachers, and I couldn’t say, because I have never considered myself a comedian. Although I must admit that there have been moments in my life, in Spain before the monologue fever, in which I imagined how to sneak in there. But life led me to the cinema.
-You already had a controversy years ago for a tweet. Do you weigh when presenting such a program?
-One can see all the short films that I have made since time immemorial and I think I have always done the same in a certain way. There is no moment of transition in my life after what happened in 2011. Nothing changed because deep down I think nothing changes. What was extraordinary at that time was that, since there was not a very great tradition behind it, there were people patting me on the shoulder as if to say: ‘I’m very sorry, but you’re going to have to go back to town.’ It seemed like this was going to be a personal apocalypse, but we’ve been learning ever since that nothing really happens either. Excluding more specific cases that end up in court and that must be taken more seriously, most of the controversies on the Internet related to what we cack so many times and which are the limits of humor are tensions that come and go with the same agility .
-In that sense, are series and cinema freer?
-I believe that when tensions of this type are generated, the fire that fuels them is to identify an independent and lonely human figure as the accused. When it is a collective of artists or workers, such as a movie, the tension is diluted. You just have to look at something like what happened to Rober Bodegas and his monologue rescued years later. All the criticisms were directed at him, but no one complained about Comedy Central, which was the channel that had broadcast it. So perhaps the reason why the humorist suffers more than necessary is because he is a person who is alone and who is much more likely to point out. Against brands and companies we tend to be much more permissive than with individuals.
-Is ‘Happy Twenties’ an excuse to celebrate something in case everything goes to hell?
-That’s the idea: not to wait for there to be nostalgia for this decade in another two, but to celebrate it now. This is like when in ‘Martian Chronicles’ it was said that each program was a connection to Mars.
-He released his last film in 2016, and lately he has been seen a lot on platforms. Are you planning to go back to the movies?
-I have shot television since then, but I understand. I have the feeling that I have been working more than ever, but having not released a film in traditional format it seems that I have been stopped. But if we combine everything that I have shot and all the things that I have written that are waiting to solidify, they have been one of the most hectic years of my life.