The actress premiered Johns Truba’s latest film “Tennis to Come and See Here” and is preparing for “Finlandia” with Pascal Rambert.
a School Irene (Madrid, 1988) You’ll have to look for it. It’s not that he lavishes little, he just does it his own way. Dedicated more to theater than to cinema, demanding more than demanding of themselves, few actresses define their commitment to their work as well as their granddaughter, niece, great-granddaughter, great-granddaughter, great-granddaughter and their job. does. Even the great-grandmothers of the artists.
We’ve seen it in silence lately and in some stellar scenes ‘Official Competition’ Next to Penelope Cruz and Antonio Banderas. That, in the cinema. On the scene, his reign shone Robbery, beating and death in Agbanspatch, And do it again soonFinland‘, directed by Pascal Rambert.
While in the latest, succinct and never-before-seen prodigy by Jones Truba:‘You have to come see him’. ,you have to come see him It’s a movie, but there’s also excitement. This is stimulation and radiography. This is a poem written in prose. This is a rhyming story. This is the shortest film I want with the most. It is a contradiction and a mirror.
the director – from the hand of Itaso Arana, Francesco Carrille, Vito Sainz and indeed, Irene Escolar– Anyone who wants to listen is invited to not only go to the movies but to recreate it. And the Descendants of Actresses actresses offer the same. Irene Escolar joins again.
- Why is there so little grandeur in cinema?
- This is a complex question. Let me tell you what I have done for a long time is prioritizing theatre. On the other hand, the scripts that came to me… were not well written and there was no looking back.
- who came to me. And on the other hand, in the theater there were always much more interesting people and texts. But whenever I have got a chance to do something, I have done it. Although not what I expected. I still don’t feel that I have given what I have given in cinema. Although there are certainly things that I am very proud of and I am very grateful for. I think, of course, ‘An Autumn Without Berlin’ with which I won Goya and so many beautiful things happened to me. The important thing in cinema is yet to come.
- How is that?
- I like to roll. It has been very important for me to say this as I have always been associated with theatre. This is a problem with the label. You are stigmatized in a way and even if it is not true, it is difficult to fight against the image that is being created around you. Labels are terrible. I like to do comedy. The important thing is that there is something in the text. I come from speaking a lot on stage and in ‘Official Competition’‘ Didn’t say a word.
- Do you consider yourself a manglik?
- Well, I’ve had a lunch job too, but I always try to be selective. My priority is to learn and be with the people you learn from, although saying that from time to time doesn’t mean closing a door. I think about building a long career more than just being an actress of the moment.
- I think everything he says is attributed to the surnames Gutierrez Kaaba and Kaaba Alba…
- All of us who are part of this family have been affected by the weight of the blood. Now that time has passed, that I have no obligation to show that I am up for the task, now, I said, I admit that I have always chosen the hardest so that no one will think they owe me something . Maybe that’s why I prefer theater where you are exposed a lot and if you don’t deserve it then it’s not sustainable. I think there was some austerity… No, sorry, not austerity, but better self-seeking.
- How would you summarize your profession in some adjectives?
- The important thing is to act, to be polite, to be generous, to generate good vibes wherever you are… Also, there is a responsibility. I’ve worked on productions in which tickets cost 25 or 30 euros. And, be careful, a little joke. This is too much money. On the other hand, I learned from my family early on that this job is very volatile and that frustration is part of it.
- And in that self-demanding you say, what’s special or different about ‘you have to come and see him’? Why did you decide to work on it?
- all. This is a different film. From the very beginning, the first thing that came to me and we worked on was not a script, but a series of ideas, a treatment. There were rehearsal meetings with Jones where we talked about everything and nothing… and then we filmed while we were shooting. It was a bit like: “We don’t know what we’re doing.” It’s no obvious job in which you cry and expand. The idea was to explore the fragility, to understand everything organic and everything.
- There is something in the film, I don’t know, about the manifesto of the generation, those who are compelled to change and those who refuse to change…
- If something defines everything, it is wonder. And that I feel something of my generation. Now all of us are asking ourselves what kind of life do we want to live and what kind of life can we lead because of the always uncertain work experience. Cinema is for him, to ask questions and to identify himself.
- Do you have time to consider changing your life?
- No, constantly improving things, yes, but I love my life because I love my job.
- The characters in the film are essentially conformists. They accept what they find in some stereotypical ways… Do you recognize yourself there?
- Neither I nor my generation are conformists. We are quite resistant and fighters. Many of my friends have studied two degrees, one master’s degree after another, they speak languages… and then they can’t live in a flat alone in their thirties. the disappointment is great
- So he spoke of conformity. Earlier generations were setting the streets on fire with little reason.
- Yes this is true. Today there was a protest against the government for the audio-visual law. I’ve been there and there were very few people my age. Very few young This has surprised me. But you can’t compare, each context is different. It probably has a lot to do with the fact that we live in what are essentially confusing times. There is a dichotomy between the constant despair in this world of appearances and what life is supposed to look like.
- Both his film and the performance he is talking about are, in essence, an affirmation of one and the other, cinema and culture …
- Yes, because you have to value the things that have it. And culture is very important because it is important to see ourselves reflected, because it is important to reflect, because it is important to question ourselves as human beings. Culture is sharing in the community and this is what prevents us from stagnating and continuing to grow. Culture is the opposite of simplicity and short-sightedness.
- And what do you have to say to those who defame culture in general and Spanish cinema in particular?
- The problem is also training the public. I will give the example of the Central Theater in Seville which Manolo Llanes has programmed for 20 years. What is happening? Well, it has generated an audience which is one of the best and most sought after in Spain. The center has not only educated the masses but also taught them to love theatre; A real luxury. So it should be. People need to learn to recognize what is important.
- What comes to your mind when you hear about a subsidized reference to Spanish cinema?
- I think a lot has changed in recent years and for the better. The criticism of Spanish cinema is old, it belongs to the second generation. The little guys are into something else. I see youth enthusiastic and very educated. That much destruction is enough. This country is full of great artists, great technicians… very nice people.
- Lately he has produced pretty much everything he does. Can it be said that she is running from the interpreter waiting to be called for the passive role?
- I see it all around me. There are many of us who want to decide wholly what belongs to us.
according to the norms of