An intense month that of November for the serie Amazon on Diego Armando Maradona: from the debut of November 29 with the first five episodes, Maradona: Blessed dream continued its journey until the season finale released on November 26th. A journey that we accompanied by offering you our interviews with the faces animated the story, focusing in conclusion on the director who took care of bringing the Neapolitan segments of this journey to the screen that started from Buenos Aires and ended, for now, in Mexico City. with the 1986 world cup. It is about Edoardo De Angelis, with whom we discussed what Maradona represented, but also what the city in which his miracle took place offers for him. The Naples of which he does not seem to be tired of telling stories.
On the set of Maradona: Blessed dream
Can you tell us how you approached this project and how did you get in touch with the production?
It is a project that my partner, Pierpaolo Verga, first approached, who told me about it. There was a connection between me and this character linked to my childhood, because I had memories of the championships won by Napoli. At the time I lived in Portici, which is one of the most overpopulated in the world, a Vesuvian municipality. I remember an explosion of blue in all the streets and a very strong emotion. I remember being a spectator and also a bit of a protagonist, because the fans of their team’s victories and defeats feel like this. As a child I was a fan and I too was part of that unrepeatable piece of history that generated this human being here in Naples and it seemed to me a temptation that was impossible to resist.
Maradona: Blessed dream, the review: The Amazon series that follows Diego’s story
What’s it like to work on a series where your vision has to coexist with that of other authors?
I must confess that the showrunner explicitly asked me to be myself in the story of this part of Maradona and I worked on this project in total freedom of expression. So I also had a lot of fun, but I have to admit I ignored everything that was done before and after, it’s like I was invited to sing at a wedding that has already begun and has not finished after my performance, but they asked me to do my pieces.
Can you resist the emotion by shooting certain scenes?
For me, telling stories means this: generating emotions and letting them pass through them. I tried to recreate, by fishing in my memory, those emotions that were generated at the time. I tried to make sure to release them so that everyone is crossed by those emotions. I didn’t care about recreating scenes, but about making them happen.
Diego Armando Maradona, greater than cinema and beyond football[display-posts orderby="rand"]
Telling Diego Armando Maradona
Maradona has already been told other times in both fictional and documentary films and each time there is a different point of view on him. What image of Maradona did you try to reproduce the series?
I think we often make the mistake of considering Maradona a footballer. This individual was the possibility for an entire city to live a dream. Mine is a city that does not believe in anything, only in miracles, because only miracles are true for us and reality seems insufficient or sad. Miracles are true and they are beautiful. For me this was Maradona: a dream that came true. It is something that transcends sport, it transcends the vices, it transcends the results, it also transcends the possible political readings. Because it is something that transcends reality.
Did you accept Maradona because he has that spirit of rebellion that attracts you?
This is likely to be the case. It is unique. I don’t consider him a footballer, not even a sportsman. He is more of a demiurge who took ideas from hyperuranium and made them become a reality. We remember that this city in the 80s was depressed, dirty, subjugated by organized crime. It was not the Naples of today. He came and worked miracles and people believed them because they were true.
Are you a fan?
No. As a child I was a very fan. I love sport very much, I have been a water polo player, I really love the symbolic power of the athletic gesture. Today I don’t consider myself a fan and perhaps this small gap has allowed me to look at this phenomenon with the right distance. Even if in doing so I went back to the feelings of a child that are fundamental to tell about that dimension that is totally irrational which is the relationship between a human being and an idol like Diego was. The concept I worked on to tell Maradona in Naples is the Dionysian dimension in which he immersed himself while staying in Naples.
Is there a particular image that you remember of Maradona in Naples that you tried to reproduce?
I remember my grandmother in the hospital, alone in a party town. I have not reproduced it, but I have taken many sensations of the time to tell the scenes that I received, because I did not write it, and that I filtered through these sensations.
Who do you think wins in this series? The boy Diego or the mythologized Maradona?
The series also turns a lot of spotlight on Diego’s human dimension and there are several unpublished aspects of his life, facts that have never really been told or explored. An in-depth research work was carried out which brought out not only new aspects, but also different points of view on known aspects.
Maradona: Blessed dream, the protagonist speaks: “I had to be Maradona without imitating him”
Edoardo De Angelis’ mink
As a director, do you see the relationship between cinema / television as conflicting or can they coexist?
The cinema will continue to be the beacon that illuminates all research on audiovisual language. Whether it’s a graffiti on the wall or something seen on a computer screen, the human being will never stop wanting to attend a show, to hear stories about it. Which are always the stories of his life with a way out, which in life we don’t know if there will be. I watch the evolution of the vehicle with extreme curiosity, but mine is a profession that cannot age, because telling stories is an eternal profession.
When you were little in Portici, did you already think of becoming a director?
As a child in Portici I did ballet. Then I became a singer, an actor, all with disastrous results. Then I realized that there was a profession where he could call the good ones to do all this. And that profession is cinema.
As a director do you find it interesting to tell Naples?
Naples is a city that offers many different views and each of these contains a world within itself. I’m more used to exploring the outskirts of the city, but this story required diving into the belly of the city. A belly that has radically changed, especially in recent years. Yet his guts seem unchanged to me. If you go deep into the sewers, they don’t change that much. But that’s where you really see what humanity’s distillate is. Naples is one of the few cities that can be self-sufficient, it produces and consumes its own myths.
Giovanni Esposito is Ferlaino in Maradona: Blessed dream: “I am struck by the improbability of him”
Is there an aspect of Naples that you haven’t talked about yet and on which you would like to focus?
Millions! I promised my producer that we would leave Castel Volturno, but I don’t know if we will be able to keep this promise. It is too strong a magnet for me, because in this land there is a coexistence of the elements of nature that are expressed with such an explosive power that it is difficult to leave. And then if I think about leaving I tell myself to go where? And why? I’m not attracted to the stories of the bourgeoisie, so why go away? For now I am subjugated by the evocative force of the earth that generated me and that generates all my stories.