Es media mañana en Beverly Hills, California, y J.J. Abrams está sentado ante ESQUIRE. Atrás de él aún se escuchan las risas de actores que han abandonado la habitación, su jugueteo es cual niños traviesos que acaban de contarme algo que su director hacía entre corte y corte de la filmación de Star Wars: El ascenso de Skywalker, cuando él se ponía a rapear en medio de escenarios de princesas, pilotos espaciales y droides protocolarios.
“¿No te ha pasado a veces que escuchas un beat en tu interior y que sientes la urgencia de hacerlo real… de sacarlo de ti? Entonces, cuando te colocan en las manos un micrófono, conectado a un amplificador, y te das cuenta que con tu boca –según la coloques encima o en el dorso de la cabeza del micro– generas distintos sonidos, y una vez que entiendes eso descubres que tienes en tus manos un aparato de percusión”, dice Abrams con rostro de pillado, que usó su sentido de improvisación para animar a la centena de actores y miembros del staff de producción, de la película no solamente más esperada del año, sino aquella que toda una generación comenzó a soñar en 1983 cuando Star Wars cerró su telón tras el estreno del Episodio VI: El regreso del jedi, aparentemente para siempre y dejándonos a su héroe Luke Skywalker viendo con optimismo al horizonte.
La guerra ha terminado; Star Wars e s para siempre.
This story is from the Diciembre 2019 - Enero 2020 edition of Esquire Latinoamérica.
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This story is from the Diciembre 2019 - Enero 2020 edition of Esquire Latinoamérica.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
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