All his projects seem to have a set course. Professional deformation? Maybe. Enrique Piñeyro is not dazzled by awards and assures that he does theater because “there is nothing like live theater.” He has been doing his show “Flying is human and landing is divine” for 11 years, a comedy show, which he brings to the Bicentenario Theater on June 8 and which he will promote in person today in San Juan.
A man who seems to do wonders 24 hours a day due to the number of professions he carries out: he is a pilot, actor, audiovisual producer, philanthropist and cook. At the end of the ’90s, as a pilot for that company, he denounced Lapa for “serious deficiencies.” Two months after his resignation, the tragedy of flight 3142 occurred at Aeroparque. He then filmed Whiskey, Romeo, Zulu where he exposed everything he knew. That’s how he likes to make films, he will say, with “impact on reality.” Piñeyro speaks to DIARIO DE CUYO on his way to a press conference. Descended from a wealthy family and owner of his own fortune, he is convinced that wealth must be redistributed. He founded “SolidAire”, a foundation with which, using his own Boeing 787, he has transported supplies to refugees in Sierra Leone, Gaza and Brazil.
-What face do people make when they see an airplane cabin on stage?
-I don’t know, it’s all off, but they should put a face on it… because it’s a 1-1 scale as if you sawed off the nose of an airplane and put it there.
-How do you define your style of humor?
-Quite acidic, on the one hand, very white on the other, almost childish. And sometimes playing with words, repetitions and that kind of thing, it comes out like that in life. I have a kind of compulsion to make jokes that has sometimes gotten me into trouble.
-With all your occupations, why do you continue doing theater?
– I like it, I have a lot of fun. What I liked most about cinema were the questions and answers with the audience and I said “why can’t I do this without spending two years making a film”. Then I came up with the show. There’s something about the live thing… People who tell me they’re nervous about a movie premiere, I tell them “why? If everything is done, there’s nothing to change.” In the theater you have to do it every time and you have to feel that you are generating it and the audience gives you feedback; He laughs or he doesn’t laugh. It is much more dynamic.
-A lot of adrenaline.
-Yes, more real, not as real as flying, because flying is real adrenaline, this is more figurative.
– What percentages is your working life divided into? Which one do you spend the most?
-Pilot, from here to China… 90 percent. Well, an 85, let’s leave a 15 for the kitchen.
-What was that moment like when you decided to buy a Boeing 787?
-I was on the beach, it was a time of very low rates, I thought “why am I going to spend my own money if someone else’s is cheaper.” So I asked for a loan and that was it.
-Why did you decide to devote it to humanitarian causes?
-It seems to me that this capitalist system allows indefinite accumulation, there should be a limit. The Nordic countries have a capitalist productive system, but a redistributive tax system, which at one point if you earn more money, you earn less, because you pay so much tax that you are left with less money. So it seems to me that we have to redistribute because the States are not going to do it. You have to use the money for that… of course I also give myself my tastes, I love to fly, use the 787, I love to eat well and drink better, but then that’s it.
-Is using your plane for humanitarian causes your way of redistributing?
-Yes sure Yes. The missions are all with own funds.
– How does audiovisual production go through it?
-It is the language of today. What’s the point of teaching kids calligraphy when the language is audiovisual? Today’s kids go to buy a pair of socks and they filmed three or five shots, they walked 50 meters, they edited it, they put music to it, they added text, an effect and it is a little movie that is technically impeccable and contributes to its story, it is his way of expressing himself. There is a paradox in today’s education, that the subjects who have to learn the tools that are going to move the world are much more educated than the subjects who are teaching them. Today the world moves with people motionless in front of a screen, before with thousands moving on an assembly line.
-Which of the productions touched you the most or was a turning point for you?
-It is difficult to answer. Because Whiskey… is the story I wanted to tell, but the Air Force was what I wanted to happen, a civil aviation authority that was not in the hands of the military, and that happened the next day after the premiere, and Rati horror show made it happen. something more intense from a human point of view because it was getting a guy out of jail. I like movies to have some impact on reality. I am not a filmmaker, I used cinema to achieve change, to tell the stories I wanted to tell. Once I did that, I kind of ran out of movies. As a child I didn’t draw myself doing movies, I drew myself in the airplane cabin. I remember airplanes from day one, I think I was born a pilot, I didn’t have a license, but I was one.
– His films have been awarded and they gave him the Konex. What are awards for you?
-There is a very funny thing about awards, which is the pride it gives your mother and your wife and the sarcastic comments from your schoolmates. The Konex has its importance, although the owner of Lapa also won it, which I said when receiving it, but I think that the Konex has a credibility that not many awards have.
-Once he dressed as Batman and walked in front of the Olivos Residence.
-(Laughs) Yes, on December 19, 2001. There were 10 thousand people chanting my hidden name, Batman.
-Are you feeling a little Bruce Wayne?
-Nah. I wanted to be Superman, at 6 years old I jumped out of bed with a cape towel after asking God to grant me superhero powers. I got hit…
– But with your humanitarian missions, don’t you sometimes feel like a superhero?
-No no. I feel that I do what I like, that I connect with complicated realities, but it is the way to share yourself doing what you like and share what you have to give.
THE DATA
It will be presented on Saturday, June 8 at Teatro del Bicentenario, 8:30 p.m. Tickets: $5,000, $7,000 and $10,000 at the box office and tuentrada.com
