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In the '80s, society was clearly divided into people who had access to making images and broadcasting them and people who were just watcherspeople who were relegated to that position. Whats interesting and what has always fascinated me is the exploration of how we communicate as human beings and also how technology allows us access and ways of representing ourselves. When I told Diego and Gael the story, they both wanted to play Tato, which was really cool. That is when I realized that I wanted to work with both of them together again and I had to grow the story to two characters. "Originally, I had conceived Rudo y Cursi as a mockumentary about Tato, a player from humble origins that attains glory within professional soccer, but disappears mysteriously and becomes a legend.
The first thing that came to my mind was the image of two soccer players solving an intimate drama right before shooting a penalty in front of a full stadium. I had to rewrite at very unusual--or strange--moments, during a very intense preproduction, because there was no other choice. "In me, all creative process is chaotic; nothing comes in order. It was very complicated to write the script, as complicated as the production itself. I enjoy it all the time, but both are difficult processes. This actual event of the terrorist plot began to mesh with the story of a young man maturing in an age of invented screen names and the creation of alternate identities through gaming avatars. In many ways, Adoration is about the need to find objects and places which give a sense of meaning, as opposed to the instant meaning accorded to the sea of responses that Simon is dealing with over the Internet.
Beyond the cast, it is a unique concept that deals with a universal subject matter--brotherhood--which we all have experienced one way or the other.