“There are conflicts that you can only count by doing period series like ‘Jaguar'”

Ramón Campos.

Ramón Campos.
Danny Caminal

Ramon Campos and Gema R. Neira have been working together for many years at the Bambú production company, where they have developed series such as ‘Gran Hotel’, ‘Velvet’, ‘En el calle de la muerte’, ‘Gran reserva’ and ‘Las chicas del cable’. On ‘Jaguar’, his new project now available in Netflix, they form a duo again in another period fiction of those that they like to bring to the screen so much, in this case in Franco’s Spain of the 60s that sheltered Nazis who fled Germany after the fall of the Third Reich, executioners of the almost 10,000 Spaniards with impunity who were imprisoned in concentration camps. “Making epoch you can talk about topics such as fascism, justice, revenge and memory without anyone, in this polarized world, feeling it as an aggression “, they justify themselves.

-Why did you want to write a history of cazanazis in Spain?

-Ramón Campos: The Netflix team told us that Nazi stories work very well on the platform and we started looking for which one we could tell. Then we discover something that not many people know: that there were many Spaniards in concentration camps who, when they were released, became stateless. All the countries went to look for their compatriots except Spain, which abandoned them to their fate and each one had to find a life. From there we imagine what life would have been like for those people and what they would have done if they discovered that one of the Nazis who had to do with their prison was in Spain.

Gema R. Neira: Knowing, also, that Spain was a platform for escape to Latin America, a place where they were more or less calm.

-What about reality in ‘Jaguar’?

-Gema R. Neira: The context is absolutely real, and there are many characters based on real people. The only ones who are not real are our protagonists.

Ramón Campos: But they are inspired by real stories of prisoners from the camps. We have seen many interviews with people who were there and the characteristics of each of our characters, their wounds, their scars and their manias, are inspired by people who lived in the concentration camps.

– Were you aware that comparisons with ‘Hunters’, the series with Al Pacino by Cazanazis, would be inevitable?

-Ramón Campos: We were aware since we had the series in pre-production and the announcement of ‘Hunters’ came out. But they have nothing to do with it. Not the context, not the narrative, not the way we talk about the Holocaust. We were clear from the beginning that we should have reverential respect for the victims, that we were not going to make fiction about the Holocaust, it seemed to us that we had to be very careful with that. I think that’s one of the big differences with ‘Hunters’, that we take the Holocaust very seriously and we don’t recreate anything that didn’t happen there.

-Why did you want the protagonist of this action-packed series to be a woman? In another era, possibly, it would have been a man.

-Ramón Campos: The first reason was Blanca. In addition, when we started to develop the series we realized that in Mauthausen, where we wanted the protagonist to be, there were no women. They took them to other fields. So we were going to have a different look at the Holocaust, because it was going to be from the outside, from the commander’s house, from the look of a girl who is imagining what is happening inside but does not see it. Besides, we love that Blanca turns into an animal. You can imagine how she has survived all these years, and the fact that she is a woman gives her a lot of strength.

Gema R. Neira: Also, luckily, fiction is changing and there is more and more identification with the female characters protagonists of any type of series, not just the romantic ones, which was what happened before.

-Why do you like doing period series so much in your production company?

-Ramón Campos: Because it looks a lot. And it allows you to tell things that in contemporary series are difficult to tell. There are certain conflicts that you can only count by epoch-making. It allows you to make a mirror with the present without anyone feeling it as an aggression. You can talk about fascism, justice, revenge, memory, without anyone feeling it as an aggression in this polarized world in which we live.

-Do you have more seasons of ‘Jaguar’ planned?

-Gema Neira: The protagonists have a long journey. There is a part of the story that closes in this season, but it has a vocation for continuity.


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