David Broncano: “I want to think that we are the Led Zeppelin of humor”


‘Modern Life Live Show’ is the name of the mutant show in which David Broncano (Santiago de Compostela, 1984), Ignatius Farray and Hector de Miguel bring to the stage that cocktail of humour, news, philosophy and chaos that they distill daily from the microphones of the program of the same name on Cadena Ser. Become an unlikely mass phenomenon, the trio meets on Saturday, March 19 with their Barcelona fans at an enclosure as imposing as the Palau Sant Jordiwithin the programming In Risus comedy festival. Broncano, presenter also of the popular television ‘talk show’ ‘The resistance’clears up some possible doubts about the nature of the show in this interview: “Whoever wants to shout ‘UPyD!’ will shout ‘UPyD!’”.

In five years they have gone from the Barts room to the Palau Sant Jordi, a place where Bruce Springsteen, Madonna and the Dalai Lama have performed. Do you feel the pressure?

Clearly there has been an error that has led us to act on that site, but we will try to live up to it. Although, well, if there were people who went to see the Dalai Lama, I think they can also come to see us. The Dalai Lama’s ‘show’ is worse than ours, no doubt. Also, here you can see Ignatius, which is like seeing Buddha directly.

“The Dalai Lama’s ‘show’ is worse than ours, without a doubt. And here you have Ignatius, which is like seeing Buddha”

They’ve become something of a stadium band, haven’t they? The U2 of humor.

The truth is that if. If you could put that in the title… Let’s see, I like that of being the U2 of humor in terms of popular appeal, in terms of people who buy tickets, but in terms of quality…, I’d rather not. Without letting U2 down, eh? They have some good albums. I want to think that at times we have been the Led Zeppelin of humor.

Does the show change a lot when it goes from doing it in a club or a theater to a sports pavilion?

There is a difference, yes. In a large pavilion there is more distance from the public, the applause lasts longer and everything requires a greater intensity than in other places. In a theater you can afford more silences, more ups and downs, while in a stadium you have to work to maintain a more continuous rhythm.

Being very popular, does it detract from your spontaneity when it comes to acting? Don’t people come to your shows expecting the ‘gags’ they already know just like the audience at a big concert who wants to hear the ‘hits’?

That happens, but it doesn’t seem bad to us because what we have is already a bit of a mix. The show is practically all new, because hanging on all the time to the successes you’ve been able to have is a pain in the ass and lowers the value of the ‘show’, but there is always a small place for nostalgia and for moments of collective solidarity in which slogans are shouted that everyone knows. If people want to shout “UPyD!”, they will shout “UPyD!”.

How much improvisation is there in a ‘Modern Life’ show?

Actually, little. In comedy, shows with a lot of improvisation are very specific ‘shows’ in which the codes are already very clear, but in classic ‘stand up’ there is little improvisation because it requires preparation, prior work. There is always something that occurs to you at the moment and, if it works, it is added in the following functions. Ideally, everything you release seems to be happening to you at that moment, but the material has to be written and tested

That script, do you change it depending on the place where you are going to act? In Catalonia, for example?

Yes Yes of course. What happens is that the previous times we have performed in Catalonia we had the perception that the political situation was more intense and more things were happening. Now it seems that there is less noise and that is why we talk less about it.

Beyond entertainment and laughter, does ‘Modern Life’ also have a political discourse?

What there isn’t is a predefined editorial line. But in the program we have always talked about politics, without it being a political program. And sometimes we also openly say what we think about certain topics. It is clear that we are three people who are very much in favor of civil liberties, freedom of expression and social protection, and that is transferred to the program and the ‘show’.

“At the beginning of dedicating myself to this, everything I did seemed like a disaster. Now I can think that I’m not bad at it”

Richard Pryor said that he didn’t find his true voice as a comedian until he had been acting for 15 years. You started 14 years ago. Have you found it yet?

That 15-year-old makes sense, because it is true that you need some time to start feeling more or less comfortable with what you do. At the beginning of dedicating myself to this, many times I could not even see the things I did because everything seemed like a disaster to me and now, although there are still days when I am not entirely convinced of how I have done it, I can see videos of myself and I am reasonably calm. Now I can think that this is not bad for me.

David Broncano, what things do you find funny?

What amused me the most lately, at the audiovisual product level, are the Larry David series and a video I’ve seen on YouTube of a sheep that is in a ditch, they take it out and it puts itself back in the ditch . If people haven’t seen that video, look for it, because it is incredible. In those moments of the day in which the discomfort of life can take over, there is nothing better.

Do you usually look at the work of other comedians?

In the mood to analyze it and stuff? The truth is, no. I see it as a spectator, but I don’t rationalize it much

Did you go to see Louis CK on 8-M?

No.

In which cases do you consider it justified to apply the so-called ‘cancel culture’ to an artist?

Let’s see, is that the cancellation, being a social, popular or cultural process that is not based on the Penal Code, because each one must assess individually how justified it is in each case. Me, when the cancellation has its origin in a history of abuse or sexual harassment, of course I understand it.

A few days ago it was generated a controversy of some intensity for the presence in ‘La Resistencia’ of the singer Marc Seguí, who had posted a series of sexist and homophobic comments on Twitter. How did you experience that situation?

I, when I saw all those things that he had put on Twitter and others, there was a moment when I wondered if it was convenient or not to do the interview. And there were only two hours left for the broadcast. Then I investigated a little more, I spoke with some people around him and also with him and it seemed to me that, at that point, it was fair to tell the situation face to face and give him the opportunity to apologize and talk about it.

“In ‘La Resistencia’ the guest is hesitant a bit, but it’s not a butcher shop. People come because they like it”

To what do you attribute that so many people want to go to ‘The Resistance’ to being hesitant and asking uncomfortable questions?

Well, it’s just that we don’t ask so many awkward questions or harass anyone or anything. I guess people want to go on the show because they like it and find it funny. And because many people see it, of course. It is a program with a lot of visibility and that has been very successful and that is cool. Sometimes the guest has been hesitant a bit and all, but it’s not a butcher shop. A lot of people have come to the program who, due to their artistic or professional situation, had no need to come and they have done so because they like it and because they know that, even if I hesitate a little, I’m not going to have a bad idea.

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The context of the program sometimes seems to invite the interviewees to go witty or provocative, seeking, above all, the subsequent impact on social networks. Are you worried that this will go further and could get out of hand?

If it hasn’t gotten out of hand in five years… It is true that there are people who can come a little more self-aware or thinking about what will happen next and what reactions there will be, and I can understand that. But in those cases it’s also my job to channel the interview and make it funny and not be something too artificial in which only the later folklore is sought. But I really think that doesn’t happen that often.


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