Describe the series The OA It is not easy even for the woman who writes and stars. "It's a story of exploration of such human things as drama, community, alienation, questions about the nature of reality: what is real, what is important to us, why do we need stories for our survival …", details Brit Marling (Chicago, 36 years old) in telephone conversation with EL PAÍS. You can not present a better series and co-author.
Nor was much known about her in December 2016, when Netflix premiered the first seasonThe spectators found a young woman and a colorful group of people to whom this story told: it was a blind girl of Russian origin who was imprisoned for years, in which she was subjected to different experiments. I mixed fantasy, mystery, drama and sci-fi dyes. It was rare not only in its content, but also in its form.
Netflix will premiere on the 22nd the eight episodes that make up the second installment, which move the action to another dimension. "It's a kind of movie not to go metaphysics that takes place in San Francisco, where OA [apodo de la protagonista] and a man we had not met before, a private detective [interpretado por Kingsley Ben-Adir], they must solve together a case that seems simple at first, but it gets complicated and getting bigger than it seemed ", advances Marling. Judging by what is seen in the advances and chapters available to the press, it is only the starting point. In their cast they repeat Jason Isaacs, Riz Ahmed or Paz Vega.
Brit Marling, co-creator of the program with Zal Batmanglij, wants to "test and force the limits of the narrative". In the first season they used resources such as telling stories in other stories or an unreliable narrator for both the characters and the viewer. Now different realities related to each other are added.
"Our generation has consumed so much fiction at this point that you have to give them something really new to attract their attention," says Marling. "My grandfather maybe went to the movies twice a year when I was young, consumed a lot less narrative than my generation, who watch a couple of movies a week, series, read novels … The knowledge of the narrative by the average viewer It is very high, they already understand the structure of history very quickly, if the storytellers want to continue to maintain the interest of the audience, they have to invent internal structures and ways to create new surprises. "
Marling defends that The OA it is not a series or a long movie. "We are in a very exciting moment in which technology has changed and the platforms of streaming they allow us to change the way we tell stories. We are no longer constrained by the classic film format of between 90 minutes and three hours in a movie theater. Nor for the rules of television, where you have to accommodate the interruptions of advertising and that after a climatic moment of history cut to sell you a car or a new type of diapers. "Its creators compare frequently The OA with a novel and not with the traditional audiovisual formats.
The one that Batmanglij directs almost all the episodes and that she is the protagonist, besides leading both the team of scriptwriters, are the main reasons that the second season has taken more than two years to arrive. "Let's say that in traditional television they have more cooks in their kitchen, while they are recording episodes three and four, they are already editing episodes one and two, in our kitchen we have very few cooks, so it takes more time to make a dish" .
When Batmanglij and Marling -Which had already coincided in the movies Sound of My Voice Y Another land- They raised a long story, thought of several seasons, knowing where they were going with the story. "We spent a lot of time building the labyrinth paths and thinking what would be in the center, otherwise you can find yourself as a screenwriter hitting a wall against your face."
The first batch of episodes of The OA she got two responses from the audience: either they loved her or they hated her. "I really liked that happening, we prefer that people feel deep emotions to leave them half-way," says Marling. "We explore things that many people do not feel comfortable with, such as the human body hosting something possibly magical, or the idea of a story that includes science fiction or fantasy located in a recognizable, everyday world, but we love that, fact of exploring experiences close to death and what could happen in alternative realities, we just keep telling the story that interests us. "