Newman: From the very beginning, from our earliest days of talking about this, it was Medellin, into Cali, into Mexico. What’s the option? You got a better actor to put there? No, you go with that, you kill him and then you find another amazing actor to continue it on. We put him there and he is amazing as he was going to be, the audience falls in love with him. You have Wagner Moura and we knew who Wagner Moura was. This has been, “Let’s kill the suppliers.” It has not been let’s do social work and education. America makes the biggest call in what is the anti-drug policy. Not only America- Brazil, Europe and so on, but chiefly America money-wise. Padilha: What’s the story really? The story is America is a gigantic consumer of drugs, so there is a drug mob. Newman: The succession in the drug business is “That guy’s gone. You watch now, with the exception of Chapo Guzman, who’s hung in there a long time… Newman: Pablo Escobar is a small chapter in the many, many, many, many different players and situations in the last 30 years that have defined the cocaine business. Wagner Moura and Diego Cataño in “Narcos.” That would be somewhat of a documentary kind of dimension of this. We’re telling the story of the narcotics trade and the war on drugs which is a bigger story, more important story. Padilha: We’re not telling the Pablo Escobar story. We found that in the viewing experience in Season 1, people were Googling, “Did Pablo Escobar really blow up an airplane?” “Did he really do this, did he do that?” We pride ourselves at a very high level of authenticity and accuracy. Newman: The thought behind it was, we are nothing if not bound to what actually happened. Now, we have a lot of ground to cover with the history of narco trafficking. You’re in the time frame that the show poses for you. Watch the second season and never think it’s so short because you’re in it. You can watch the first season and never think that it’s 15 years. You can make time go real fast, you can make time go real slow and the audience doesn’t even notice it. Tarkovsky said it’s his culture in time - because you play with time. Jose Padilha: It’s a cool thing about the media of cinema. Other stories might be a season and then others might be 5 seasons, you never know. From the day Pablo escapes from La Catedral, to the day he dies, it’s less than 1 year.Įric Newman: His life is a lot of story. We always envisioned it as we needed 2 seasons to tell that story properly.
It’s a very epic season in the sense that it tries to explain how the drug trade works and covers 15 years of all that. Wagner Moura: I knew Pablo was going to die at some point, right? In the first season, we cover 15 years of his life.
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