el cine español or el chorizo​​​​​local”

The last time I visited the Spanish Film Festival was in 2008 when I was teaching her Alfredo Lando Goya de Honor. The embrace of the actors who named José Sacristán belongs to the history of the award ceremony. Rellán, who worked among the great directors of our country, graduated cabezón much earlier, in 1987.

Four years ago, for example, the only living performer from the winners of that first ceremony: come to el, Fernando Fernán Gómez, Amparo Rivelles y Veronica Forque. “I didn’t fall,” he says, visibly surprised. “What, how come I am not aware of the truth that I have…”.

Please. How do you remember this gala evening?

Response. There were impulses Berlanga, José María González-Sinde, Fiorella Faltoyano… And I was reaching out, organizing teams that give out prizes. This gala was very bad in the communication channels. I have a fierce criticism: Spanish cinema wanted to be like the Oscars, that sextons believed in Jack Nicholson or that Emma Penella was Elizabeth Taylor, but in a good way… One wonderful thing.

P. What a horror…

R. Yes, yes. In the early releases, it was not clear that this trend would continue. It is solidified when you realize that the fact that you gave the film to Goya was recorded in the chart. Y el dinero, querido… [risas].

“The first Goya gala had a very bad impression in the media. Critics said that Spanish cinema wanted to be like the Oscars.”

P. And most importantly, how did I experience it?

R. Here were the other finalists in my category Antonio Banderas y Agustin GonzalezWe, Antonio and I have already congratulated Agustín. We keep it brighter than the heat in the nursery. Let’s find out: Who wanted to win the prize today? Banderas, no doubt, but he wasn’t that famous before.

P. Or is it that popularity determines recognition?

R. Naturally. Why, yes no, are you always nominated by the stars? Almodóvar, Penélope Cruz, Javier Bardem… Is it because you haven’t worked amazingly with unknown people? Also everyone vote for your movies.

“The result and also the effort depends on who else played you. If it is not for others, I will continue to play the guitar in the subway.”

P. In a speech in 1987, he said there was Albert’s newspaper My nanny (Jose Luis Borau1986), the one who appreciated Goya was not for us. It was friends who encouraged them: Manuel Gutiérrez Aragón, Landa and Carmen Maura, among others.

R. The result, regardless of the effort, depends on who else employed you. If not for the others, I will continue to play guitar in Metro. Now he calls me Amenábar, he says that he admires me so much, but in my first works I see that in the criticism that they make me very good, They quote me as Manuel Rollán, José Manuel Rullán… So what can I call them? And then cabrones clavaban “Arnold Schwarzenegger” with all the lyrics [risas].

P. How do you come up with designs now?

R. I watch it in the theater with great attention because it’s like seeing two years new. Share many hours of thoughts, scenarios, flights, trains, hotels… You don’t choose in cinema and TV; in any case, if it comes back. I’m a cynic and have a respectful disdain for this job because it’s very easy so I only have what pays me well.

“I’m a cynic and I respectfully despise cinema because it’s very easy, so I only have what pays me well.”

P. But on the personage en Bailiff yes, he interested her, like a good Cervantino. Antonio de Sosa is a cult cleric who intellectually nourishes the author of Quixote.

R. Man, I had to die. It was also a paper that worked a lot with Amenábar. But the rest of the movies, no, no… Las food filmsas I tell you, of which the vast majority are. That’s not what you want to do.

P. How have you followed the development of Spanish cinema in these years? Lately, we’ve been hitting up men from major international festivals.

R. What has been recognized is not so much because of the quality of the cinematography, but rather because of the possibilities of expansion that are brought about by new technologies. Before, the climb was much more complicated. I suppose it makes for better cinema now, but I feel like that’s all I’m saying. En la Odyssey de Homero was in fact and Shakespeare rowed.

P. Pero lo que importa es la forma de contarlo, ¿no?

R. Pero es que hasta eso es muy complicado. Yo he visto muchísimo cine y ahora, cuando empiezo una película, me doy cuenta de que lo que me cuentan ya lo he visto. Hace tiempo que es difícil que me sorprenda algo. Pero me pasa también con la música o con la pintura. Como la gente no tiene memoria, vuelven a repetir las cosas y como el público tampoco exige… Hace poco estuve dando una charla en una academia de actores y, por supuesto, nadie sabía quién era yo, pero tampoco sabían quién era Paul Newman. Eran 49.

P. ¿Qué me dice?

R. Eso es muy frecuente, querido.

P. ¿Y la crítica cómo la ve?

R. Pero si ya casi no hay críticos…

P. ¿Cómo que no?

R. Que cualquiera haga una crítica no significa que haya críticos. Hay montañas de críticas de cine, pero ¿qué resonancia tienen? Antes había críticos de referencia como Haro Tecglen o Ángel Fernández Santos… No se me ocurren ahora muchos más nombres que el de Boyero y el de Oti Rodríguez Marchante.

P. Aitana Sánchez-Gijón, Goya de Honor el año pasado, lamentaba en El Cultural que la vejez fuera un obstáculo para las actrices. ¿Con los hombres qué ocurre?

R. Pues lo mismo. Ahora tenemos que hacer de abuelos. Pero el responsable siempre es el consumidor. Si acuden al cine o ven una serie por las chicas que están buenas o por los tíos cachas, el productor no quiere otra cosa, aunque no sean actores. Es verdad que antes las mujeres, cuando entraban en la madurez, lo tenían más difícil, mientras que nosotros nos convertíamos en maduritos interesantes.

“Ser muy joven y ser buen actor es casi una contradicción, porque no te ha pasado nada todavía”

P. Por cierto, durante estos cuarenta años desde aquel Goya se habrá tenido que despedir de muchos compañeros…

R. Sí, pero tampoco echo la vista atrás demasiado. Hay crónicas de una muerte anunciada, alguien que está enfermo y lo ves venir, y luego hay casos sobrecogedores como el de Verónica [Forqué].

»But look, I say this to some nonsense people who want to be actors, and I always tell them that we work, apart from the body, the voice and the emotions, with experience. It’s not a good idea to be an ass and kill someone, but you know what it means to be loved much better. Because you are so young and a good actor, there is a contradiction because you have never seen anything before…

P. One more thing: where are you looking at the 1987 cabezón?

R. Unfortunately, abroad I hold prices that are very great. Let me tell you, nobody came with a check [risas]. But seriously, how about which actor is the best? All awards are meant to promote something: poor Spanish cinema or chorizo ​​from the area.