With a serious face and protected by a black cap, dressed in a tracksuit and with the hard look that characterizes him, C. Tangana appeared before the press this Thursday at the Aribau cinemas for the presentation of This excessive ambition, the documentary that covers over three years, between Havana, Madrid and all of Latin America, the creation of the album El madrileño and the tour with which he presented it, Without singing or tuning, or what is the same, the efforts of Pucho, formerly Crema, to take the big leap and build the most groundbreaking and lavish show ever seen in Spanish music, the reflection, without a doubt, of excessive ambition.
“I have not set any boundaries, the three of them have done it and they have taken care of me,” said Antón Álvarez Alfaro, the name behind Tangana, in charge of inaugurating the 21st edition of the In-Edit Musical Documentary Film Festival.
By the three he refers to Cris Trenas, Santos Bacana and Rogelio González, the directing trio behind the documentary, to whom he gave the central space on the stage installed in room 4 of the multiplex. The side sofa had been reserved for him, and despite the ambition of his projects, Pucho defines himself and is shown in the documentary as an insecure person. “If he was already insecure when he was young, as I get older it gets worse,” explained the 33-year-old musician. “I don’t intend for that to disappear completely, it also helps me decide what I have to do in a sea where everything is doubt, because when there is something I like I have it very clear and the decisions are made on their own.” In this sense, he highlighted that El madrileño, considered one of the most important albums in Spanish music of the present century, is a reflection of his doubts, “an advanced mid-30s crisis, how I saw myself as an artist, if I was delivering the 100% of me as a creator, whether I was striving to make something authentic, or whether I was living a role of what I like.”
These doubts are reflected in the documentary, in which he has given carte blanche to the directors, “I would never have shown myself like that,” he stated yesterday, because “I don’t usually work with that level of exposure, I have things more separated and calculated.” .
Cris Trenas confirmed this statement when remembering that they wanted to make the documentary “which as viewers we would like, there is value in showing that success includes many moments of vulnerability.” That is why the film delves into the most critical moments of the tour, when the magnitude of the project threatens to cause ruin, including that of Little Spain, the production company in which Antón Álvarez is involved as a partner. In this sense, Santos Bacana highlighted the importance of reflecting in the documentary everything that involves the tour, “so that new musicians can see Pucho’s creative process from within.” But Pucho, from his side, activates his insecurity and warns that he does not want “people to see me in the role of a victim, I prefer all this bitterness and becoming old seven years suddenly than working,” he says. “I have worked my whole life and I still think that being an artist is a gift, the best thing in the world.”
