Marcelo Bielsa and Stanley Kubrick: A way to understand two passions

A man with new ideas is a crank until their ideas succeed "

Perhaps the job of football coach is not so different from film director. Both seek to encarrilar available resources in order to guide them towards achieving the objectives already identified, and the last word on all matters surrounding the scope they have. Almost always. They also share responsibilities both in victory and, above all, in the loss. There are coaches, and filmmakers who are trying to do their work without excessive complications, merely addressing him, comply with the recommendations and go home with the knowledge of accomplishment. Not everyone is like this: Coaches and managers trying to control every detail, leaving nothing to the designs whimsical and unpredictable chance, demanding perfection that love and live their work. Marcelo Bielsa so and so was Stanley Kubrick, two references in the world of football and movies with complex personalities and more than one or two similarities.

Meticulous, perfectionist, hermetic, lonely, demanding, obsessive, mysterious, eccentric, megalomaniac, shocking, detail ... I could be talking about both the deceased Argentine coach and the New York filmmaker. Both have called them crazy, and they have called God. But like they have unconditional love their work are also critics who do not understand or comprehend their success. Two people from radically different worlds, sport and art, football and film, which nevertheless have a way of working and a way to understand their passion in a very similar way. I am convinced that if Marcelo Bielsa was a film director, Kubrick would have been like, and if the principal had become the football in his life, would have been like Bielsa.

From an early age what he knew were passionate and wanted to make your passion your lifestyle. Since Bielsa, as a child, escaped through the window of his piano lessons at his home in Rosario to go kicking a ball, or since Kubrick, before the plea of ​​"not interested", did not do their tasks to be assigned to something that fascinated him: photography. He loved to immortalize the moment and knew his life would stand behind a camera. With only 23 made his first documentary and two years after his first film, 'Fear and Desire'.

Marcelo Bielsa, of course, came later to the bench, although it was clear that this would be his fate. Before it was a moderately successful player. Aware of its limitations and decided to make a career on the bench, he retired at age 26. Then the coach would be lower Newell's, the club of his life and whose shirt also was dressed as a footballer. And training the future stars Bielsa demonstrated their commitment and the strictness of their methods. Although not as Sergeant 'Metal Jacket'. The jump to professional football was waiting with impatience, but Jorge Griffa, legendary Argentine defender who was then also at the lower of the club, said where you going? do not rush, do not make my same mistake, you're still in diapers. Finally the break came in 1990, leading the club for Paths of Glory to the achievement of the national title.

Bielsa and Kubrick came to football and the movies with one thing in common: they cared little what is generally accepted and established techniques and considered correct. They had their own way of seeing things and were willing to implement them. Kubrick had it harder, aware of the guidelines of the producers. The high point of tension came when in the movie 'Spartacus' imposed shoot it in color to give a more commercial, which Kubrick did not want under any circumstances. In fact, his next two films, 'Lolita' and 'Dr. Strangelove ', were filmed in black and white. These days we also see how Bielsa has also problems for your interest in being in control.

Kubrick wanted to control every detail of his productions, not only the direction but also the assembly, the script, directing actors, music, cameras used, the visual effects ... Bielsa is also detailed and meticulous, nothing is left of chance and everything has to be controlled and monitored. We've seen this turbulent week, Athletic, where works of Lezama have caused an upset. Even in winter we have been discussing with the gardener about the state of grass. If anyone is surprised they did not know who had hired, always was.

Some say that Rosario exceeds its functions, as well as Kubrick said when put his hand in the script, for example, but the way they work, their passion can not imagine otherwise. Not only Bielsa has brought a disappointment: Kubrick's obsession to have everything under control even led him to personally choose the dubbing of foreign films, and this led to a fateful decision: the horrific Spanish dubbing of Jack Nicholson in 'The Shining', one of his greatest masterpieces.

From someone so committed and focused on work as it was believed that Kubrick knew the world, but nothing is further from the truth. Something similar could think of Bielsa, and both are saying the same thing: very few have gotten to know really. Of them are said to be demanding, temperamental or bossy, but loving, who prefer or preferred to remain anonymous, be with his family. Even had also in common the failure to grant interviews.

A Bielsa is often blamed for their poor track record, which has won three league titles with Newell's and Velez and an Olympic gold with Argentina. Stanley Kubrick never won an Oscar beyond the visual effects of '2001: A Space Odyssey ', but does anyone doubt that is one of the greats of film history?