Lautaro larocca
07/26/2021 8:31 AM
Clarín.com
Fame
Updated 07/26/2021 8:31 AM
In an in-depth interview with
Clarín
,
Guido Kaczka
(43) not only tells the news of
The 8 Steps of the Million
, which premieres in El Trece on Monday, July 26 at 9 p.m., but also reviews the formulas that have led it to be a television trademark, as well as the protagonist of memes and historical episodes that resonate on social networks .
-
What differences are there with the previous
The 8 Steps
?
-It is a different version that is built around delivering a million pesos every day.
Like the houses that are built around a tree.
The jury no longer competes with general questions, but asks specifically, like an examination table, about the item they know.
-
Who will be accompanying you?
-Carmen Barbieri in shows, Diego Leuco in politics and current affairs, Nicole Neumann in vegan fashion and culture -the latter was added by her-, Martín Liberman will obviously do sports and
Gino Tubaro, recognized by Barack Obama for his prosthetics, will be with technology and inventions.
Guido Kaczka, very excited about his new cycle at El Trece.
Photo: Press.
-
So they don't respond as Gerardo Sofovich, Teté Coustarot and Iván de Pineda did at the time?
-No, because if the participant wins, there is no prize.
There will be 8 participants (who answered a questionnaire of which 70% have to pass) and each step has a different category:
flora and fauna, science, history, geography, curiosities.
They are eliminated one per step, until there are two left and the one who wins the heads up, goes to the eighth and keeps the million.
If you win, you can come back the next day for another million.
-
Do these 8 steps have more "show" than the last version?
-If you ask me, here we do the format with my partner, Martín Kweller, and my team, this version has more strategy and another rhythm.
-
What kind of strategy?
-In that, for example, there are instances in which if two tied, those who won and went up to the other step choose who goes.
Also, you know how the movie ends: one of the eight gets a million.
It is a different program and I try not to be so nostalgic, I tend to be optimistic with what I do in the present, and I like it more than the previous one although I do not want to be unfair with the first edition.
-
It is an important figure also ...
-A million pesos is the biggest prize in my programs.
Sometimes I am up to three or four months.
The same thing happens in reality shows, there are some of the most important programs where the jackpot is a million.
And here the striking thing is his prize, a million every night, and he does the different from the previous one.
Guido Kaczka debuts with "The 8 steps of the million".
Photo: El Trece.
-You say you try not to be nostalgic,
but didn't it bother or hurt you to have to lose Iván de Pineda or Teté Coustarot, who are now figures of Telefe and El Nueve, respectively?
-No, although they in this format could have been perfectly.
I would have called them, I love working with them, but I try not to be nostalgic in the sense of how different these steps are, and I am very excited because we rethink it a lot, it is a format of our production company and the channel that should be from the best we have, and I think it will be very successful like the previous one, which was sold abroad.
-In those high expectations,
how are you regarding the time change and the eternal fight for the rating?
It also occurs in a time perhaps convulsed, due to
an alleged annoyance of Marcelo Tinelli with El Trece due to the level of audience of
Telenoche
.
-Let's see, one has to try to make it as good as possible, but also make the program good.
I do not experience it as such an extreme thing, neither for one side nor the other.
Obviously I want it to work well, better, and with the time change, the channel searches the same as all channels.
We, the drivers and the production companies, accompany this process and try to make it work.
If people watch a show a lot, the better.
I am generally happy with what we are doing at KZA, with its pluses and minuses, things are well worked out and I do what I like.
-
Do you do that same type of analysis with television news in general?
-I tend to try to criticize television as little as possible.
Not to get angry, to try to improve.
One can speak ill of television or think about what one does, and what one has to do as well as possible.
I am not saying that it is right and wrong on TV outside of me.
The only possibility I have is to do my best, sometimes I get better or worse, but I don't get lost in that matter because TV is not out there, I actually do it.
It's like speaking ill of one's arm, that I move it the best I can.
I try to work every day so that the television is the best it can be.
-
Regarding not criticizing, there is a pacifist profile and not at all bellicose that does not agree with the inmates of the channel that are always talked about.
-It may be that they exist because there is a lot of rivalry in general, but no.
I have no idea that if the other person is doing badly, it is going well with me.
Not only for moral principles, but because in my work and career it was never like that.
It never worked that way and I want everything to go a little better.
Many times I lead, and many times I don't, the same thing happens to me on the radio.
It would be very silly to think that the only value is to be number one, I say this being, for example, on a radio that leads, and the other stations that do not lead are also very good.
On TV, when I win, I win.
It doesn't sound like I don't care!
But it does not invalidate all the others.
I want there to be many and everything to be better, because it suits us all.
Guido Kaczka with Claudia "La Gunda" Fontán on FM La 100, where they do "It's not all said".
Photo: Instagram.
-
How much is there of reality in those transcended?
Many times they will just
look for you on the radio to ask you about Tinelli's schedule or why they change your schedule.
-They ask me questions, and one has an idea of what can be better and what can be worse, but the truth is that there are things that I decide and that other things are not my function to decide.
Sometimes I am wrong, another is right, and vice versa.
I love the nine o'clock at night, obviously.
But everything has to be seen how it works.
- With regard to your programs,
what is the reason for the constant change of formats?
How do you reason it?
-First because I work a lot.
I have many hours of air and I repeat it in a moment ... you change and innovate so that there is surprise and it is more entertaining.
It is better to keep changing and changing, in reality there is no other
.
We all change and the same thing happens to the programs.
Guido Kaczka changes and continues to be successful on the screen of El Trece.
Photo: Ktz.
-
There are cases of programs that do not, I ask you why you would be the opposite case to cycles that remain the same over the years.
- It seems to me that there is always an evolution of the programs, although it may be that it is a characteristic of mine, to look for new games, to do such a thing.
It amuses me and I like it, and sometimes I exhaust all the instances and I want to keep changing.
What excites me now about
The 8 Steps
is what changed.
And change is not about being better or worse, because what one has already done is impossible to return.
-There is also a main feature in your programs: the question and answer as a basis. Is this an important factor in television itself? It can also be reflected in hits like
100 Argentines Say
or
Pasapalabra
.
-In
100 Argentines they say
there is another very good characteristic, that the answer comes from a survey, see how we think, if the answers are or not.
Pasapalabra
is more like a
Claringrilla
, with another rhythm.
In
Escalones
the questions and answers have to do with knowledge, and now strategy and the curiosities of the jury are added, each with its different characteristics, with abundant queries, "I ask but I count", you learn in
Escalones
and there is curiosity.
-
Can you move between programs and formats because you are installed as a kind of "registered trademark"?
The famous
"put Guido on".
-It can be in favor, but it can also be a backpack, the "oops, let's see if it's better than the previous one."
Everything has its own, it is true that if you did many programs they say "how good", but you also say "how do I reinvent myself?".
In short, you always have to do it.
Obviously I prefer these problems, I like to have a style, "Guido's programs have a style".
And we have worked like this with Ktz, for many years, even though they may only know me.
-For Martín Fierro for "Best Driver" in 2018, you just said that you would have liked the program to win it before you individually
.
-Yes, I should have been happy, it's great, but in reality it's like giving a Martín Fierro to a bus driver.
You lead people, you take them to their destination in the best way, but the bondi has to walk.
In that sense I said, one conducts a program made by many.
It is what is always said, but it is very true.
Our programs have the question of the meeting, the interaction, the participant, empathizing with them, and that makes it attractive.
-Going to
Welcome aboard
,
what happens to you when you see the growth of the characters to whom you offer a place?
From Hernán Drago, who was already famous, to
El Carpintero
Antúnez
.
-The carpenter was a pure participant, it is not that I am realizing it because one discovers, ultimately, that comes from the relationship, which is what is good.
Drago always amused me, and he was amused by the way I approached him, and he's very good with that vibe he has.
The carpenter is more striking because he came to participate, we asked him if he did something and he was entertained.
It is like the relationship is built, it is not a formula.
Whenever you start a program you say: "And now?"
Hernán Drago and El Carpintero, figures from "Welcome on board" promoted by Guido Kaczka.
Photo: Archive.
-
How is that?
-I don't start thinking about the program thinking about that, I know how to chat with one, but it makes me dizzy anyway.
It's a little bit that makes it okay when it's okay.
What's more, if I have an idea of what I'm going to do, the programs turn out worse for me.
I have to have a margin of not knowing what is going to happen, although on the one hand it scares me.
That uncertainty makes it good later.
-
Where does this type of search come from?
Did you take it from someone?
Did they advise you?
-I was learning it, in the end the only really good thing, what I enjoy and what makes me realize is the meeting.
Y
Always for a meeting you need that uncertainty to be authentic, if not, it is already forced and you start with a prejudice, actually thinking about yourself and not about the relationship.
I say it for TV, but in general, it is an exercise for life.
You don't know what is going to happen, how it is going to be.
One sets up the program so that it is barbaric, but
If you already know what you are going to ask a participant or how they will react, it comes out worse.
There is no dialogue and you are left with your own idea.
The other has more risk, but may have more benefits.
Now I don't work live, but I prefer live, although they can say anything, in general the funniest things happen.
Although it seems simple, it is more complex, there is no mechanism.
With feelings and affections you get to a point, and the rest is what makes it good or not.
His unusual meeting with Adrián Suar
-
Another feature of yours are the games you have, which can be noted as out of the ordinary.
-It's what we're looking for.
-
How do they arise?
-We do a lot of tests.
Some game that we have made once and we give it a spin, we see something that is not a game elsewhere and we try it as a game.
We test and test, we do a lot and a lot.
-A kind of focus group? You go from the question and answer for money, both in
The 8 steps
and in other programs, to "The door of the dinosaurs", which has hundreds of thousands of views on YouTube.
-Yes,
The doors
were like that.
Imagine when I told the channel about it
.
It was one of the funniest meetings I ever had.
I told Adrián Suar and Pablo Codevilla how the program was going to be:
Guido: "There are doors, they go out and make the best dinosaur."
Adrián Suar and Pablo Codevilla: "Oh, and how is it going?".
G: "There we choose who is the best dinosaur."
AS / PC: "And who wins? Who decides?"
G: "We decided it a bit together".
AS / PC: "And what do they win?"
G: "And ... an appliance. But we are not going to say what they win, because it does not go through the prize, it goes through doing their best, beyond obviously winning something."
-
At the end of the day you remember the door, the surname door, the monkey door, not the prize itself.
- It happened to me with the last names.
I told them they had their last names, and they asked me which ones.
"And ... the one that is more striking", I said to them.
Luckily they said yes, and I think they said yes because of how convinced we were.
It was a weird show, and they agreed to air it, too.
It worked very well and it did not have a structure like steps.
What did I like?
All this we are talking about, go out and have someone say "my name is Madera Larga", and I ask if Madera is from the father and Larga is from the mother, and they tell me no, that his father is only called Madera Larga .
Ask Madera Larga about what he does, and tell me he's a carpenter, because that happens in life (laughs).
-Here you can see the change again.
-Today we are not doing that and it is still great.
The same thing happened with
El Pantano
, which was great and we did it for a year, it worked very well.
Things are running out and we think of new things.
The truth about his memes and phrases
-
Five steps and a help you
also did during a period.
-When I had to explain to Teté that she had to help answer, but with signs ... she told me "how? I don't speak? What do I do to her".
And at one point I also thought "look what Teté is doing", because I saw her dragged there trying to give the clue, she is a friend of mine, she told me that she could not believe what she was doing, but it was good.
It makes me happy when they remember
Five Steps and a Help
, I have a lot of affection for them.
-
It is a program of which many notes have been made in different media due to the gestures that Teté made or due to the incorrect answers that some participants could give.
-Yes, and there is the answer that you surely remember:
Irene's, me and my other self
.
I could not believe it.
-What happens to you with that kind of answer?
-I understand, post, that when you see him at home you laugh.
But on television, having to answer and knowing that you can look bad, obviously you look bad.
There are people who ask him a question, and I realize that they are thinking "oh, please. See if I say bullshit."
And those are generally the ones who don't win.
I don't think that girl in her house would have answered with
Irene, me and my other self
.
-
It's like in life, that you can go wrong if you constantly think about what they can say about you.
-Of course, you play at home watching TV and whenever you watch TV, you answer well.
Because you are not thinking that you are going to answer wrong, it is easier.
You have to be in a studio, let me grab you and tell you "well, the question for you ...", with all silence and suspenseful music.
I can ask you for the 3 powers of the State, tell you "Judicial, Legislative ..." and from there it doesn't come to you that the other is Executive, and you say anything, you see.
You knew it that way if you think calmly.
-
Then they are not stupid.
-When they say "what a donkey", I say "stop, I was playing."
Argentine education has other problems that do not have to do with someone making a mistake on a question in a program.
You saw that we love to take care of those things, as much as I laugh myself.
I do not think about that donkey or no donkey for an answer on television, it can happen, but there are times when they are just nerves and they say anything.
The classic Guido Kaczka meme, very repeated on social networks.
-
You are also the driver that generates the most phrases and memes.
How is your relationship with that?
Do you like them or not?
-Yes, they amuse me, the memes thing appeared at the moment in which there were some phrases.
There are some that arise spontaneously, and others like "it's bad, but not so bad", which is true.
Also "you know that yes" or "the repe".
-
Do you use your own WhatsApp stickers with your memes and phrases?
-I have them, they send them to me.
I can command the occasional one, but it
's rare
, like Darío Barassi's.
Out there I send the sticker of Barassi's "it's rare", because it is rare to send your own.
-
Those stickers and memes come from phrases, from fillers.
-Yes, there is also the one when it seems that I am going to say something and I do not finish saying it, I like that too, that I start to babble and they can say "hey, he didn't say anything.
That is good for when they write to you and you don't know what to reply.
-
How do you know your phrases work?
What is the
feedback
?
-No, you realize later, you talk and talk and the phrase comes back to you.
The repetition
came from the queue of people who had in
A all or nothing
.
They were playing to pocket a ball and I wanted to give rhythm to the program, I was rushing the director a lot with the repetition because I wanted another one to pass quickly.
Like a run, go ahead, go ahead, put it in.
Then I broke the cherries a lot with
the repetition
, and it was like despair, but it was because I wanted to put a rhythm into it, there were like 200 people.
So it became like a phrase, I repeated it 50 times per program.
-
Which phrase did you not use anymore?
-
I
always ask for it again, but "it's wrong but not so bad" I no longer use it and they send it to me anyway.
I wore it two years ago on
Another Family Night
and it stuck.
In
Welcome aboard I
never used it, because that came out of giving help in the answers.
They had answered me "almost right", so he gave me something and I started with the rule of help.
The rules are tougher at first, and then you help out.
To soften there is margin, what is not usually done is to harden.
Likewise my help sometimes complicated more instead of helping, because they did not understand the track.
Guido Kaczka and his partner, Soledad Rodríguez.
Photo: Archive.
-
You do radio in the morning and you record the programs.
When you go on vacation, it's because you record more shows ...
-That's what my wife tells me.
"You go on vacation but you work twice as much before, it's the same."
The previous 15 days I record.
-
And you were the father of your fourth child recently, Eliseo.
How long is there rest?
-There is, yes, the weekend, and I rest more than it perhaps seems.
It is also true that I really like what I do, I have a good time, I like being in a studio.
The other day I finished, Sole came back later with the boys, and then I was alone in the studio for 40 minutes.
Sitting on the stage, in the part of the jury.
I breathed the study, I like its smell, and I've also been there since I was a kid.
The rest is transferred to me as "uh, what an effort", of course it is, but if you like it, you feel good.
Nobody forces me to do anything.
-
Were you alone in the studio for 40 minutes?
-Very nice, everything was off, I like the studies off.
The smell, everything, just with ambient light.
I stayed there and I like it, since I was 4 years old.
I don't suffer it, it's not that I don't have rest, I have a good time doing it.
It's like children, I have many, I like to have many children, do they bring me trouble?
Yes, better.
Guido Kaczka in "Pelito" (El Trece, 1983-1986).
Photo: Archive.
-
Couldn't you have been something other than an actor in the beginning, and then a producer and host?
-No, and luckily my parents accompanied me and I did this.
It was this, I like television, all television.
I worked as an actor, but I liked to stay, watch the cameras, produce, I really like the place.
Like everyone, I can get up one day and say "oops", but those of us who are lucky enough to have a hobby coincide with work ... one can complain, but at home.
-
In your adolescence was there a time when you said "is this" or was it always natural?
-Cuando era chico fue como un juego, yo se lo pedía a mi mamá. De adolescente se me convirtió en un trabajo. Después de Grande, pa! ya era que tenía que laburar. O trabajaba de chico o juego de grande, en el sentido en el que se parece mucho a lo que fui haciendo en mi vida, y hoy también lo vivo como un juego. Por más de que era chico, siempre fui responsable y tuve la fortuna de que me gustaba, no esa historia de que lo llevan y él no quiere. Siempre pienso en "qué suerte que mis viejos me llevaron y me bancaron". Soy agradecido, pero es mi historia, ojo.
Julieta Fazzari y Guido Kaczka en "Grande, pa" (Telefe, 1992.1994). Foto: Archivo.
-Claro, siempre está como ese foco en "los niños actores terminan mal".
-Dame tiempo igual (risas). Vamos a ver cómo termino. Yo escucho a veces eso, viendo las cosas se Hollywood. Marcote era actor y ahora es médico, Codevilla también, ahora es programador, hay de todos los casos. Se generaliza mucho para un lado con ese tema.
-¿Queda algo del Guido actor?Más allá de algún cameo posterior, lo último que hiciste fue Rincón de luz en 2003.
-No mucho en un sentido. El que es actor, siempre fue actor. Acá surge a veces la idea en la productora, porque hacemos películas y todo, puede haber algún chiste en una reunión, pero no me veo.
-¿Te hicieron ofertas?
-Es que al estar acá en la productora, Martín Kweller me puede decir "che, este personaje estaría bueno que lo hagas vos". Pero no, no me veo, estoy contento con lo que hago y estoy lleno, no siento la cosa de actuar. Me gusta esto que hago.
-¿Cómo fue ese click para ser únicamente conductor y productor?
-Creo que a mi siempre me gustó más conducir, era chiquito y hacía un programa con Juan Carlos Mareco, y le tenía mucha admiración a él. Tenía 6 años, yo entraba de traje. Pero como me gusta toda la tele y con tal de estar en el canal, iba de actor. Podría ser productor nada más, pero siento que lo mejor que tengo para aportar es al conducir. Me parece que soy más útil, que es mi función. Y un conductor produce al aire, vas eligiendo al aire, es un laburo que me gusta.
-¿Y cuando conducís aplicás algún yeite actoral?
-Seguro, pero no me doy cuenta.
Guido Kaczka, al frente de su ciclo en la FM 100.Foto: Rafael Mario Quinteros
-¿Quién es el mejor conductor o conductora de la televisión argentina?
-No creo que haya uno mejor. No tengo esa idea. Todos tienen mejores y peores partes. En definitiva tenés que ser funcional a lo que tenés que conducir. Todos los que se mantienen y laburan en el tiempo, son todos buenos. Puede ser por una cuestión de gustos del programa. Tinelli, Marley, Del Moro, Barassi, Mariana Fabbiani, Vero Lozano. Son todos buenos.
-¿Pesa más un formato que el conductor?
-No, es muy importante la conducción y va de la mano con el formato. Podés pensar en conductores de programas de espectáculos, como Ángel de Brito, pensar en Andy Kusnetzoff con PH, Podemos Hablar. ¿Cómo conduce PH y cómo conduce en la radio? Es funcional a las cosas que hace. De todos miro y pienso cosas, pero no digo "este es el mejor". A mi me gusta lo que hago y siento que estoy cómodo, pero tampoco diría que por eso uno es mejor o peor.
DD
Mirá también
Ángel de Brito contra la producción de Marcelo Tinelli: “Lo de Ana Frank fue un espanto”
El fuerte descargo de Gustavo Sofovich tras desmentir su romance con Samanta Farjat
