TE20 Migrant Mosaics

Carlos Gámez Pérez

to the fact that, in audiovisual media, there can be no interaction with the receiver. This has allowed for the distortion of the true reasons behind the final challenge in my sector, which was not in the script and ended in tragedy, as well as the censorship of the images of the accident that were inappropriate for broadcast; reasons and images I know all too well. It’s curious. After so many years working in the audiovisual sector, now I wouldn’t be able to tell this story on the screen, partially out of fear of the control exercised by Silvio Pérez and his assistant, producer Vladimir Lazarovich. What else could you expect from a couple of guys who feel obliged to micromanage every detail of their projects, just like in the interviews, scripts, step outlines, and scenes they wrote for their all-powerful production company’s reality shows? I was always hoping to receive their approval in order to make my voice heard, like a latter-day Sheherezade. Nevertheless, they will have no say over the blog I’m starting today. On the Internet, one owns one’s own work. Here, you can converse with me directly. You can send me an email at verdaderahistoriadeinmigracion@gmail.com if you like, although, due to the high volume of data I receive, more than a few bits of information may pass by unnoticed; the same thing probably happens with my own web presence, just another drop in the ocean of data. There are already thousands of pages published about the accident, even though the events took place so recently, and some are full of nonsense. It won’t matter much that I was a member of the production team, in charge of the edition where everything happened, nor that I was a first-hand witness of the events; nor that, to some extent, I was a participant in the tragedy. But the feeling of guilt that this imposes upon me—as well as the fact that yesterday I was unable to tell my ex- 116