How big is the cinema, according to Real Madrid basketball

José Luis Garci said to his Midnight Cowboys that it is very difficult to capture the true emotion of sport in the cinema. We agree. Basketball movies, for example, there are many, but the only one that is still worth our while is Hossiers, more than idols, with Gene Hackman embroidering the role of the unlikely winner, and that beautiful musical beginning of his arrival in the lost town in Indiana, where no one expects him as the coach of the school team.

In Chus Mateo's film, the opening credits could unfold after an untimely phone call (“Pablo Laso is history”), with the coach accidentally crossing a half-empty city in August to the Valdebebas facilities, and waiting a long time in the pavilion with no one to talk to.

The most difficult thing is a good casting. We must embroider the disbelief and the absence of imposture of this Matthew. “Basketball is like that, I didn't invent it”. The character of Tavares can only be interpreted by him. Such dominant players have no possible imitation.

To play Llull there wouldn't be that much of a problem.. Since basketball was popular, in the baskets in the parks you find thousands of enlightened people repeating the countdown to the last winning shot, and thinking that they always score it, because they are the chosen ones.

The casting of the 'handsome' Hezonja has his one. You have to get the best of a complex brain in an imposing physique. For the profiles of Rudy, by Fabien Causeur, actors are needed who are capable of transferring a game with their eyes. Finally, someone will have to embroider Sergio Rodríguez. And here, and may the reader forgive me, is where I intend to compete for the position. Since this morning I have already stopped shaving, I have said goodbye to my son with a Canarian accent, and in the car, on the way to work, I have reviewed again how to be the dream point guard for a month.

The central scene of the drama, it is evident that it should be located around the fight against Partizan, with the character of Mateo overcome by events; “…hopefully we can understand how, and that we can return to Madrid to play the fifth game…. I'm sure it won't be easy, but it's not impossible either.”.

(Perhaps Pachelbel's canon worked here as background music, with images of Laso's Madrid, Lolo Sainz, Pedro Ferrándiz…. implying what we were all thinking; in a few months the project would have to start again).

In the Belgrade part, the director would have to raise our pulses with very groundbreaking scenes, with a lot of warlike clothing language on the lips of the protagonists, but avoiding, if possible, the “never underestimate the heart of a champion” thing.. We must think of the public of Old Europe, in which they continue to celebrate the Day of the Dead and today and always refuse to dress up their children on Halloween..

Lastly, and after Sergio Llull's aesthetic final basket shot from various angles, with the image director interspersing images of the defense in the 2-3 zone (born from the head of a professional in trouble, and who is already part of the best moments in the history of this competition), the film should close with the last response to the journalist; “Can you imagine, Chus, that Llull's ball doesn't end up inside?” “Well man, it's clear that I would have been the same…. and also that others right now would see me a little differently”.