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Making up,

Sergio López-Rivera maintains,

consists in creating a character, in giving it life, in making it emerge from the bottom. "It is not about covering but about discovering," says solemn, nervous and funny (all at the same time) from the other side of Zoom this man born in Seville in 1967, raised in Santander since he was three years old, emigrated to Los Angeles to He is 19 years old and, for a few weeks, one of the two Spaniards (along with

Santiago Colomo

who appears in the special effects team of The Magnificent Iván) candidate for the Oscars that will be held at dawn next Sunday.

Blame her nomination, so to speak, is on Viola Davis. Or, better, of his work with her, or on her, or against each of the features that make up her face. In

La madre del blues

, the actress gives life to the singer of the twenties

Ma Rainey

and López-Rivera is in charge of, in her words, "making Viola disappear behind an equally huge artist." “The challenge is to reach that strange breaking point where the attractive collides with the repulsive. Ma Rainey was a genuine and unclassifiable woman of every point:

fat, ugly, she had gold teeth, she sweated non-stop, she was married but lived with her loving woman ...

She was a magnetic woman capable of being perfectly disgusting, ”he explains profusely, then indulging in a detailed description of the documentation job before even touching the first brush.

Sergio López-Rivera makes up Viola Davis in the middle of filming.

López-Rivera says that he arrived in the United States more than 30 years ago; that he landed in the city of dreams convinced that one day he would see his dream come true. "I have always been fascinated by cinema and, above all, by the Oscars," he points out in his personal campaign, which is also a cross. Here (or there) she spent her weekends doing makeup and photographing

all that cloud of would-be-alls that swarm down Sunset Boulevard.

People who, like him, want to be what they always wanted to be. "I kept taking photos of dancers, actors ...", he says, taking a second and rectifying: "Of course, before, I got tired of taking coffees, being a driver ... I worked for it."

Be that as it may, his story started earlier. Long before. “The makeup thing,” she says, “was an early and very stubborn passion. Neither in the city of Santander nor at home was it considered an option for me to dedicate myself to art. For Sunday afternoons, fine; But first he had to be what he had to be: doctor, lawyer or something like that. Pause. “However, I would not give up,” he recalls, “and my sisters helped me in some way. When they reached the age of going out, they found out that I could do makeup and I became practically their slave [bursts out laughing].

It was domestic abuse [more laughter].

They locked me in the bathroom and didn't give me the option to go out until I painted them. My mother also ended up asking me. All that, of course, behind my father's back, who was very traditional. Over time, the parents ended up resigning themselves. One year in Ireland, another in England, and finally Los Angeles.

And so, until we reach what can be considered his muse: we return to Viola Davis. Before her, there were many others. Through his hands they have passed from Lisa Kudrow to Toni Collette through Christina Ricci, Kate Walsh or Keri Russell. From series like

Felicity

or

The Mind of the Married Man

to movies like The Opposite of Sex. «I have worked mainly in television because it is safer there and you have to pay bills.

But my passion is cinema ”

, he says because of not being carried away by the inertia of what is now his main source of work: the factory of

showrunner

Shonda Rhimes

. And so on until finding Viola Davis in the eternal series (90 episodes)

How to defend a murderer.

"I love her so much. He is an extraordinary person. She comes from nowhere, from absolute and total poverty, from spending her childhood in garbage cans to be able to eat and graduate ... », he says and leaves something more than just a show of admiration in the ellipsis.

Sergio is one of three men out of

15 Oscar nominees (three for each film)

. If he won, he would be the third Spaniard to do so after David Martí and Montse Ribé for Pan's Labyrinth in 2006. Of all the candidates,

Matthew Mungle and Patricia Dehaney,

who choose their job at

Hillbilly Elegy

(where

Glenn Close

is literally buried in five centimeters of prosthesis), and Mark Coulier, for his work closer to the special effects in

Pinocchio

, have previously won the Oscar. The favorite, if only for being the most nominated film of all, is

Mank

But, in an Oscars marked by diversity, no one is hiding that the proverbial and unconventional work of López-Rivera enters the stakes.

"It is about discovering, not covering up," he concludes.

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