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Unlike “Betty, la fea”, director Mario Ribero confirmed that he presented his original version of the novel with the highest view of Colombia
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Unlike “Betty, la fea”, director Mario Ribero confirmed that he presented his original version of the novel with the highest view of Colombia

Mario Ribero, director of “Yo soy Betty, la fea”, confirms that there is a new version of the original story – Credit: Telenovelas Colombianas/Facebook
Mario Ribero, director of “Yo soy Betty, la fea”, confirms that there is a new version of the original story – Credit: Telenovelas Colombianas/Facebook

Mario Ribero, director of the original story by Fernando Gaitán, I am Betty, that is the most important thingreveal that you’re coming across a new version based on the iconic novella.

“I compare with the public how I construct this novel that Fernando tells me and that most corresponds to the world,” explained the television director.

The writer, who landed in Santander, also deleted the keys he was considering, adding that the introduction would lead to a global exit and that it would go beyond the universe by the end of the last year. “Everything about ‘Betty’ is covered by the nostalgia that generates its characters,” he added.

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Pese a que Mario Ribero considers that from his vantage point he worked with the story of the love between Beatriz Pinzón Solano and ‘Don Armando’ to obtain a guaranteed farewell, linked to the public, linked to the people who give them their lives. The director also took care that the story he carried out after the last season was not written by the misguided book author Fernando Gaitán, but that he directed it.

The telenovela Yo soy Betty, the fairy, celebrates its 25th anniversary with rebroadcasts on RCN and recuerdos of the iconic Discovery Club – Credits on social media

“Hagan lo hagan, it works…the nostalgia for ‘Betty’ is absolutely profound and universal, but ‘Betty’ is the first version, the wonderful character of Fernando Gaitán works, works and still works through a very interesting detail, yes letters that in each scene there is sentiment. Letters reflect very creative and deeply identifiable people… “La quedará por siempre y para siempre es la primera version”, afirmó Ribero entrevista con la Magazine “Vea”.

In this way Mario gave prominence to the impact and popularity that produced the original version that sold Gaitán together with Gaitán a single time in each person with whom the audience identified, the formula rooted in his characteristics but in any case, universal explanations from a manera humana and haciendo, the actors les pusieran Alma so that they do not become fiction.

As the conversation continued, the writer opened up about his participation in the new story that Prime Video had shown and the confirmation he had just received. “It was as if the racially-based actors evolved over time. “Her intention was that the soul in her person could not develop further because she was mentally ill,” It becomes clear that there is no order, but it cannot be called up for another mission.

Mario Ribero writes about his own version of “Yo soy Betty la fea” – Credit: Natalia Ramírez/Facebook
Mario Ribero writes about his own version of “Yo soy Betty la fea” – Credit: Natalia Ramírez/Facebook

Mario Ribero revealed details about the new version and what the Mismo has just done. Pues, the director of Santandereano, was inspired by the idea of ​​creating this telenovela record. “It was written by Betty. ‘Betty la fea’ is the wonderful story of Fernando Gaitán as our contribution and after knowing the world, this is what they say…”, affirmed.

Ana María Orozco and Jorge Enrique Abello gathered at home 25 years ago with “Yo soy Betty, la fea” – Source: @bettymundial/Instagram

Asimismo compares Anécdotas about the moments before the Rodaje de I’m Betty, that’s the most important thing. The production, which was accepted because it only sought to direct, cannot change direction until it is apasionated in this way. Due to the content, more than 70 pages of the project for more than two decades are not comparable to the situations that created all the content. The moments of conversation were when I had spoken with Fernando Gaitán and the report came from the time of the story and what awaited us and I expressed that I told him: “The story that Fernando told me and I was the content of the world.”

However, Mario was not aware that his creative process was the result of the experience of Betty’s death, and this attempt could emerge from a book, a play or a documentary series. “Everything I said about the story and the visualization with Fernando has come to the point where I couldn’t say anything negative,” he added.

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