could have been a virtuoso drummer and from the sound become a benchmark of national rock.
His football conditions could have given him the possibility of sharing the playing field with emblems such as El Pato Fillol, Diego Maradona, Carlos Babington, Miguel Brindisi and Carlos Bianchi.
None of that happened.
But he knew how to walk the path started by actors such as Pepe Biondi, Carlitos Bala Y Tato Bores and is currently our ultimate capocomico.
Diego Capusotto lives in an eternal media tussle with William Francella for being him most representative Racing fan and the anger still lasts over the wasted penalty that deprived the club of his loves of a title within reach.
Came to be illuminated in black sun beside Rodrigo de la Serna and Carlos Belloso and became a joker vernacular in kryptonite, where he was part of an acting dream team with figures such as Diego Velázquez, Lautaro Delgado, Juan Palomino and Nico Vázquez, among others.
His talent for comedy established him as a calling face in Of the head, Cha Cha Cha, delicatessen, All for two pesos and the emblematic Peter Capusotto and his videos, programs that revolutionized humor in Argentina and they brought a renewal in the face of a medium in crisis, still orphaned by the enormous void left by the death of Alberto Olmedo.
Capusotto knew how to create unforgettable characters, who still remain in the memory today. Juan Carlos Pelotudo, Mimo Páez, Lalo Ranni, Bombita Rodríguez, Quebracho Castania, Grapefruit, Jesús de Laferrere, Violencia Rivas, Kosher Waters, Hannibal Lerner and Pizzeria Los Hijos de Puta, they would deserve their own album of figurines, their line of collectible dolls and their unauthorized biographies.
Reticent declarer, at times with his guard up, Diego Capusotto agreed to talk with El Planeta Urbanoto share fragments of his wisdom and experience, in a restricted access to a creative mind dominated by humor.
– Can you continue making humor in this era of political correctness and cancellation culture?
–I come from a generation that lived through adolescence in the middle of the dictatorship and there, yes, things could not be said. So the cancellation raises a question: if reality is so merciless with us Why should we take care of our language in the face of reality? Here we are at a disadvantage.
If you can’t do humor at this time we are fried, because if the true agenda, which is disinclusion, is also not attended to, we would be locked into something that has no foundation.
On the other hand, who are the ones who cancel us? Because before they were the ultra-religious and conservative groups, now who would they be? Those to the left of those groups?
Progressivism and cancellation is an oxymoron…it’s not a neighborhood, if you take the oxy out there if you get to Morón (we laugh). I don’t know who’s watching me. If I have it in front of me, I fight it, but if before I speak I have to think about ghosts that I don’t know who they are, I’m not going to shut up in any way.
-You have a daughter named Eva. Did you see Santa Evita, what did you think? Do you think that the figure of Evita is still relevant today?
–I did not see Santa Evita but the figure of Eva is absolutely immortal for me. It should be relevant, although it is not a time where the figure of Evita is very much claimed. Except in a kind of more theatrical scene that for me does not correspond to the figure of the real Eva.
– What happened to Racing? They were one penalty away from becoming champions…
-I’m not going to talk about Racing. I don’t want to talk about that bullshit.
-Have you ever claimed that nothing was more boring than Big Brother. This year the program returned with great success. Do you still think the same?
-The truth that I do not see Big Brother, I hardly watch TV…
You don’t watch TV. But are you gratified to be in almost all the separators of blessed?
-In blessed there are friendly people, it seems good to me that the characters we made with Pedro Saborido appear there. I see blessedwithin the air programs it is the only one that I look at and appearing there seems good to me.
-I read that you came to acting looking for something that would give you more satisfaction and significance. Can it be said that these objectives were met?
–It is always a transcendence to act, quite the opposite of immanence, right?
Apparently it would be like that, but well, one has chosen to do what one does, despite the fact that sometimes you enter a field that has dispersions, fear, but that language of acting is faced and it interests me more than some other things.
Besides, it seems to me that I do it moderately well, with which these problems are overcome.
-I heard you say that in the dictatorship if you found someone from the rock club you would find a couple. Rock during the dictatorship was a trench, a space of resistance.
–Rock was a refuge I don’t know if it was a resistance. Because it seems to me that the military dictatorship wasn’t very concerned about rock, they kept it quiet just in case as a kind of threat, but I think the military dictatorship was looking for other things, right? To political militancy specifically.
-In kryptonite you made your own version of Joker. This movie anticipated superhero culture. What memories do you have of her?
I have great memories of the movie. kryptoniteespecially by the director Nicanor Loreti, for history and for Leo Oyola, who was the one who wrote it. We have had a good time there and possibly That character may have a leading role in a movie to be made next year.
– What is Side C of Peter Capusotto?
-It does not stop being a talk that we do with Nancy Giampaoloopen and self-referential, from which something always emerges that escapes just telling oneself and some other things begin to emerge that are much more interesting than just talking about oneself.
On the other hand, there is a mechanism where it seems that what I am telling is a lie, but it is true. The lie and the truth, which are more or less twins, come together there and a theatrical event appears.
In other words, the other way around, a lie that is counted as the truth. That seems interesting to me, because it is also in an area where there is an audience and not where there are networks.
– Do you think it is the therapeutic function of humor?
I don’t think it’s therapeutic. For me humor is a decision that one makes to shit on everythingincluding in therapy.
– In humor do you feel closer to Monty Python, Mel Brooks or Peter Sellers?
-I am close to both Monty Python and Mel Brooks and Peter Sellers because somehow there is something that connects them to each other.
– Do you keep photos of your childhood? What do you feel when you look at a photo from that time?
-I have photos of my childhood, when I look at them I feel that before he was immortal and now he is not.
– Do you have a favorite Leonardo Favio movie?
-I liked all of Favio’s films, He is the Argentine director that I like the most. I have a great memory and a lot of affection for Juan Moreira.
– Is it true that you met Francis Ford Coppola when he came to Argentina?
-I didn’t know CoppolaWith which I was having dinner it was with Alex de la Iglesia.