Jordi Basté endorsed his own collaboration with La 2 Cat and made the mistake with a invitation that many journalists already have: his friend Iñaki Urdangarin. An undeniable exclusivity, a popular success, a strong debut. The program is diu Pla sequence. A trio which shows the importance it places on the format which it undertakes to record without interruption and will not leave any retouching during editing. The conversation reaches the viewer in its entirety. The audience for La 2 Chat will skyrocket by 9.2% and 145,000 viewers.
The fins here will molt. Ara, what are you going to talk about during the fifty minutes and fall? Basically the prisoner’s experience, during the first months, is a long sequence which is described in some detail accepting that his interiority in a solitary prisoner module of gifts, which had an obvious price for the prisoner, was also an indulgence, doubtless for security reasons, which allowed him to have unpleasant company. He also talks about handball, mother and children, his current emotional training project on application, where he is ready to provide emotional support of all kinds to his clients. There will also be a very affectionate mention of his exdona, Princess Cristina. The viewer will surely discover that in this first television interview, he and the journalist, especially the journalist, are not subjected to an informative agenda more uncomfortable for the person, who will be sentenced to Cas Nóos for embezzlement, prevarication, fraud against the Administration, two tax offenses and influence peddling.
I am surprised because these days Grijalbo has published the first information about the book of memories that Urdangarin compiled in the month of February –Everything has lived. Triumphs, defeats and learnings– and in communication he combines the themes of the book: his childhood, his sporting career, his integration into the royal family, Cas Nóos, his experience as a prisoner and his new life. A summary of the topics I have said enough about will mention some of the basics. If communication is true…and free speech, why can’t I speak on television? In promotional press interviews about the new program, Basté will state that “if you’re looking for morbidity, revenge or fears related to the Emeritus King, you won’t know why he won’t come here.” He was more clear: “He’s just going to let me know, if he steals things on the passat that he wouldn’t deal with, he would just say no in his own words.” The interviewer has the right to ignore uncomfortable questions from the interviewer, but it is not so clear that the interviewer does not have an obligation to communicate or, at the very least, explain to the audience who has previously agreed to silence with the invitation. Was this the start of a promotional stage for the book?
After the interview, there are no papers or xuletesThe 2 Cat will publish a report on the run away of the program (which goes for a bonus of 8.4%). They will explain the obvious difficulties the camera faces in continuously following the protagonists, such as working alone or preparing for the main scene. They will create a rather dark atmosphere. In general, they will successfully solve the ascension. There will be a lack of other front shots for the invitation and there will be a lot of music. I don’t know if I can propose a sequence – a very fashionable narrative solution – for a program like this, moreover, there is no doubt that it is not the journalist who allows the manipulations of the amount. They will show the run away technique There was also a time run away on the contingent and agenda of commitments.
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