the screenwriter of Mendoza "Luis Miguel, the series"

Although "Luis Miguel, the series" culminated two weeks ago, Netflix's fiction is still talking. And he is still seen on this platform.

The interesting thing is that Mendoza is part of this production which earned him an audience at "The Paper House" and again put in the news at the [39] Mexican idol.

To the surprise of many, the actress, producer and writer of Mendoza Flavia Atencio was part of the team of authors responsible for writing fiction.

Based in Mexico during 20 years Atencio lived in Guaymallén and took his first steps in the theater world through the film school. From there, he jumped to a training at Cuba and by his own decision, he settled in the Aztec country, where he developed his acting career and screenwriter.

Although his CV includes several films, probably the team of writers of "Luis Miguel, the series" was a transcendental point for his career.

"I have worked with part of the team who is writing other series with this American method, which is a special system for writing TV series. I joined this team because I already knew the system.In the beginning I knew that I was going to do something tricky because writing on Luis Miguel guaranteed that I would have a public, and over pbading through Netflix . And it's important in the race, "he confesses

" But it was also tricky because Luis Miguel is a current character and there were problems that had not been discussed before ". the fiction of the moment who wants to be able to work in Argentina

Beyond the artist

The beginnings of Luis Miguel's career and his family life have always been a mystery. It's the story of a child prodigy who becomes the youngest star of Latin music, breaks records and goes through an incredible family history. The period the series portrays raises many questions that have always been formulated and which the series tries to answer.

– What was your first impression when joining the project and writing about an artist as particular as Luis Miguel? ?

-The research process was a big responsibility, because we had to write about an important character and become experts in his life. We spent a lot of time looking at interviews and all the material we had, because it was a very big project and we had to treat it with a lot of respect. I have participated in the development of the 13 chapters because all writers enter the entire series. But from there, I had to write three chapters and partly the ten.

– There were many more fictional condiments than reality in the series?

-There is a lot of reality and a lot of fiction too. Because we are responsible for living the drama, for the fiction to advance the plot, so that the public becomes addicted to the series. I think that part of the success of the series is how we got into this past, the present of the story, the two times the series takes place and the tension between the scenes. And for that we had to generate a lot of fiction, mainly because there are many important situations that we knew in general and not in particular.

-What it was necessary to create characters …

-Luis Miguel Said something of what happened, but not exactly how it was. where, who was there? Then we had to generate fiction around it all. And create characters that have made us advance in the plot. That's why there are a lot of fictional characters, but the most important events are real.

-There is something that attracts attention, and that is that Luis Miguel ceases to have contact with his mother for a while. Is it real? Because he feels very cold with his family ties.

– We also struggled to understand this as writers. Because you have to understand that at the time, the only communication was fixed line and long distance calls were expensive. And Luis Miguel, at that time, gave two hundred concerts a year, he pbaded from one country to the other. Then it was difficult to find him and the father began to lie about his mother. And for Luis, his father was all that time. It was he who told him that the mother had abandoned them, that he had another family, and that it was an offense that Luis Miguel initially believed. Also at that time, the singer did not know what the father really was.

-He became famous from a very young …

-At this point, Luis Miguel was at the peak of his career and was a teenager. Then the parents went to the background and he had to be very responsible for his career, which was very demanding.

– Who decided that the series was told with flashbacks between the past and the present?

-The structure of the series, told in the past and the present, is something that was conceived in the fourth writers The chiefs, Carolina Rivera and Natalia Beristáin, made a proposal of how the structure could to be, and among all the authors we have designed it. We felt that the series would be much more interesting, with more rhythm, if we counted in parallel what happens with the child Luis Miguel and how it influences what happens in his childhood in his youth.

– Did they expect so much impact from the public?

-C was a very important media phenomenon that caught our attention, we did not imagine it would be so big. The impact on the networks each week was very big, how they were waiting for the other chapter and how the characters were echoing. And it is great to participate in a project of such magnitude. He also became transgenerational, three different generations saw him. And for him, it was very useful because it made him closer to people. And for all those who work, there is also a before and after.

-In some sections of history are diluted some character conflicts, was much to tell or was it what they could say?

-There was much to say in 13 chapters. The story was for many more chapters this season. In addition, due to a production decision, the past of Luis Miguel's parents was not counted, something we had written and justified a lot of what was said in the series. This gave him more depth.

– How did the series affect your career?

– Before, I had not worked for Netflix and from there other projects were opened. We work for Sony with a political thriller. And also a feature film. And as for my work as an actress, I'm going to make a character in an Amazon series

-What was the hardest in writing the screenplay?

-The respect of Luis Miguel. We were counting on one person's life today and entering into his deepest conflicts. And at the same time we had a commitment to fiction, because we were creating a story. It was the hardest thing for me.

The Perfect Badman

Without a doubt, Luis Rey's character, Luis Miguel's father, won the hatred of all spectators. It also highlights the participation of the Argentine actor César Bordón (as Hugo López manager).

-For you, who is the most important character in the series besides Luis Miguel?

-For me Luis Rey. It's a character with a lot of nuances and facets. He is a trickster, but at the same time charming. He manipulates, he does what he wants, he is the perfect villain. And as a screenwriter likes to create a character like that, especially if he knows that it's true. There are things about him that were not in the series, that we wrote and fascinating. And the character of Hugo Lopez is endearing, because he is the father of Luis Miguel after the treason of his father.

More drama than music

One of the points that attracts the attention of fiction is that the plot is dedicated to telling all the cutting edge of life The music and the private of Luis Miguel pbad to the background

"Marcela", "Guilty or not", "When the sun heats up", "L & # 39; bad "and" Do not Say More ", ] are some of the songs that are recreated in the Luis Miguel series.

"The production did not have the rights of all the songs, so it was written only in relation to the songs that had the rights," says the scriptwriter of Mendoza.