It is Berlin but was born in Galicia, it has the same ambiguous and thoughtful gesture as its characters but it betrays its extreme warmth in personal treatment and, although it seems to put all the cards on the table, it is certain that some ace is stored in the sleeve. We talk about Pedro Alonso (Vigo, 1971), the actor who lends his indecipherable gesture and powerful magnetism to one of the most famous members of the band of La casa de papel . He comes from spending two months in the Amazon rainforest, where he has finished what will be his first book and, things of the diffuse limit between reality and fiction, now presents The Silence of the Swamp (premiere on January 1), very black thriller in the which gives life to a writer with a certain tendency to charge the real protagonists of his stories.
Q. Do we all have, repressed or hidden, those murderous impulses that his character exhibits?
R. Without a doubt. In recent years and in a more and more declared way every time, I reinforce my promise not to invent. My job is to see what is cooked in a script and try to find in which parts of me there is something that resonates and then it is a matter of pick and shovel. The experience confirms to me that we are all very disgusting, as well as very bright, we can all be lost, in all there is damage or pain ... Regardless of how the chrome is that touches me or the exit box that I have, my eagerness is to find the key that explains that human being, however monstrous it may be.
Q. Is the Pedro Alonso method?
A. I don't know if it reaches that much, but it certainly frees you from prejudice. Each time you judge less what is in front of you, because you understand that there is a cause and effect relationship, in most cases, that has led the most foolish uncle to do what he does. It is not a matter of justifying it, but of understanding it. There is almost always an explanation to understand the character and actions that people carry out, however incomprehensible they may seem to us at times.
Q. Apart from that, is it more fun for an actor to act as a villain?
A. If the fiction paradigm has changed in something in the last 15 years, it is that before a hero was the good one and that place is now occupied by antiheroes, surely because we live in a moment in which we recognize ourselves more in that moral ambiguity, when not in the pure cochambre. But in the end what it is about is whether the papers have chicha or not. When it seems that the character is going in one direction, I like to hit him the other way: if he is a tender guy, he suddenly has a perfidious thought. The best way to deal with each job is to have fun and never take for granted what I can find.
Q. Do you think the low bottoms and high spheres are as close as the silence of the swamp shows ?
A. In the film corruption is transversal, not even the tato is saved: the politician, the liberal profession, the lumpen ... In that sense it is very nihilistic, there is not an open window for anyone to breathe. But, even though the background here is corruption in Valencia, it is something we see everywhere, whether in Andalusia, in Catalonia, in Galicia, in China or in Acapulco. Corruption is an endemic evil, what collides is the rudeness of the phenomenon. But ultimately, what the movie is about is the corruption of the soul. If you get too close to a black hole, it swallows everything, from ambition to rancor.
Q. And the result of so much black hole is this current of general dissatisfaction that we live?
A. What prioritizes the system, that constant clin-clin-clin , is a deep dissatisfaction. All those people who fill their mouths with caviar and have a fleet of luxury cars ... I never see them satisfied. The reflection is, what do I do not to let myself be dragged by this sick current that is so tempting? Because the models of success are very toxic. And what else does he do in the meantime? Well, being even more dissatisfied, because we are mere survivors. When you watch a series like La casa de papel, who doesn't tune in with that desire to punch the system's waterline? In the face of catastrophic discourse, totally understandable on the other hand, I intend to keep some optimism thanks to the people I meet, people of incredible talent, both artistic and human. I want to catch that wave.
Q. Are writing and painting an escape route to fame that has come from a global phenomenon such as La casa de papel?
A. Yes, but they are by default. I've been painting like crazy for 14 years, something that led me to a more intuitive work process. To write also suits me. In fact I have arrived, and it sounds like the limit of the pedantry but it is like that, to my narrative voice from the painting. The paper house has been so serious that the ship has moved us all, but I said to myself, "Don't get engulfed, if you use it for something that is to slow down the pace of work." I have said no to several projects and I have invested a lot of time and energy in writing this first book, that part of nonfiction ... but it has a trap.
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