Netflix launches its Spanish series with the female cast most full of stars. Pau Freixas (I know who you are, Red Bracelets) is the creator and director of Christmas days, which will reach the platform at the end of 2019 or the beginning of 2020. In three chapters of one hour each, the production follows the lives of four sisters through their Christmas gatherings. In the first episode, the protagonists are girls between 11 and 17 years old. The second chapter finds them 20 years later, turned into thirty-somethings with their own families. The third jumps another 30 years to see them converted into grandmothers.
Ángela Molina, Charo López, Victoria Abril and Verónica Forqué star in the third episode. Nerea Barros, Elena Anaya, Verónica Echegui and Anna Moliner give life to the sisters in their adulthood, and four young unknown actresses interpret them in their childhood stage. "At casting We were looking not so much for the physical resemblance between the actresses, but obviously there had to be, as if they had a similar soul, "explains Freixas to EL PAÍS, in which actors like Alicia Borrachero, Francesc Garrido, Susi Sánchez and Miquel Fernández also participate.
Freixas has assembled a cast of first level to capture this family story in the form of a Christmas story. "From the beginning we said that we had to prioritize above all the cast, because it is a story of characters, of personal travel, and it has been achieved," says the creator. The actresses who give life to the four sisters change in each installment to adapt to the age of the characters.
The scriptwriter and director does not hide his enthusiasm before the distribution that counts, a collection of names that he did not imagine when he wrote the series with Clara Esparrach. "If you write thinking about a specific actor and then you do not get it, it's very frustrating, and you cheat yourself." When you put on the actor's face, you demand less from the script because the actor fills it.
The shoot, which starts next Monday and will run for six weeks, has been preceded by meetings and rehearsals for the actresses to meet each other and the characters. "We made an Italian table where we put together the almost 30 actors that come out in all the chapters because I wanted everyone to see the full story of these women's lives." It was nice that everyone saw each other and that the actresses in Chapter 3, for example, they knew the girls who interpret them in the first, "says Freixas. With these essays, he has tried to look for and enhance the aspects that the characters and their actresses have in common. In addition, they have led to the rewriting of parts of the script. "These actresses, with such a powerful professional and personal journey, contribute a lot to the story," says Freixas.
"In the first chapter, as the girls are small, the perspective is more childish and has a fairytale spirit.The second episode has one foot halfway between the story and the drama.The third one approaches the tragicomedy because it is the search of the reconciliation of these sisters, each one has a color but they are part of the same piece, "Freixas tells of a story that says he has been around for a long time and that now, with the production of Netflix and Filmax, will take to the screen.
Christmas days It is his first creation for Netflix. Accustomed to creating stories for traditional television, Freixas says he has not considered the series in a different way because he works for a platform. "What you are trying to do is to be faithful to what you want and how you want to tell it, I told you from the beginning that it was a very authorial thing, to find the tone as we go forward. White and has ended up having a more interesting element, with characters with more dimensions, Netflix in that aspect has been very receptive to being very faithful to what we feel and respecting the author, "Freixas concludes of his experience.
Netflix's commitment to Spanish production is firm. From his first series, The girls of the cable (which is already preparing its fourth season), the number of projects with a Spanish label is only growing. Among the titles he has in preparation are High sea, Sky Red, Hache or the new deliveries of Paquita Salas, The paper house Y Elite. They are just a few examples of the explosion of Spanish television fiction and its international projection. For Pau Freixas, there are several factors that explain this boom"It is combined that here series are made at a more than competitive price and with a spectacular result, and as this has been received by the international market, the self-esteem of creators, actors and all those involved has been reinforced. At the moment we believe we can do everything and we work better, talent and ability to do things has always been, now we also have self-esteem, and things go on and on. "