Pedro Alonso: "The Americans only ask how we have made La Casa de Papel with this money"

• Filming In the bunker of 'La casa de papel': this is the definitive robbery of the Bank of Spain from the inside

Only with

voice he

already transfers his role as a villain to you.

When you get to the bottom of the speech, the perception changes.

Between Berlin, his character in

, which today premieres its last five episodes on Netflix, and this Galician only mediates tone and physical presence.

"Whenever you want," cast with that low cadence.

Let the robbery begin.

Is the paper house a political series? Definitely not, it is pure mainstream, but it is that Álex Pina and Javi Gómez Santander, who have written it, come out of political journalism and feel reality very well. So they play entertainment, because they are insatiable, but for example they put the dissatisfaction of the citizen in the face of the oppression of the boot of capitalism on our heads. In fact, at first it was called Los deshuciados because it was a social exit project and that has been maintained. And I say this so as not to give us the political series because that word is worn out. Can the mainstream place the political message more easily? I see more and more clearly that the pamphlet and moralistic story carries the message and sometimes where you least expect it, a piece of data or information sneaks it in.If with my character you become moralistic with the new sensibilities, it is unpresentable, but it is that in the friction you can face certain issues, in a questionable way or not. But we are not paid to write catechism and we are paid to move energy. And if that energy touches reality and makes people question things, it is a marvel. Has the paper house taken away complexes from the Spanish audiovisual industry? I remember when we were awarded at the Monte Carlo Festival, that we still did not measure the echo that the director of the festival caught me and told me that he was glad of the triumph of the Latinos, that he was tired of everything being for the Americans and Italians, with whom my generation was used to sticking in the World Cups, they said that we were going to petar and they spoke as part of us.Now those Americans only ask how we have done this with this money and with some unbalanced hot-blooded morons that generated an affinity in all people even if they were not their cultural reference of the last decades. And we have entered the field of action cinema. And at full power, even before Netflix arrived, in terms of staging, in the original design there was already that with Miguel Amoedo [director of photography] and Jesús Colmenarejo [director], we were already playing at being Spielberg. At first it was such a powerful device that it made me uneasy, I was afraid of not giving it soul and heart, but after four or five chapters we saw that something was moving and the machine was greased.In terms of staging, in the original design that was already there with Miguel Amoedo [director of photography] and Jesús Colmenarejo [director], we were already playing at being Spielberg. At first it was such a powerful device that it made me uneasy, I was afraid of not giving it soul and heart, but after four or five chapters we saw that something was moving and the machine was greased.In terms of staging, in the original design that was already there with Miguel Amoedo [director of photography] and Jesús Colmenarejo [director], we were already playing at being Spielberg. At first it was such a powerful device that it made me uneasy, I was afraid of not giving it soul and heart, but after four or five chapters we saw that something was moving and the machine was greased.

But it seemed that two seasons would end by not renewing on Antena 3 ... I remember leaving the set with regret but with the promise of doing more things together. What I don't know if it would have ended there is if it would have changed our lives as much as today I heard him say the other day that with the exposure of the fans he has sometimes felt like a trophy That has to do with my perception of the world of music. popularity. And more now with social networks, which invite a compulsive consumption of material. Many people ask for photos and they do not want the meeting or the conversation, only the trophy of the photo, which they upload to their networks because it implies an immediate return in the quantification system of the virtual world. You detect the anxious and feverish energy of the one who wants the trophy, that is disturbing, because we are talking about reification. And I try to understand peoplenot fight with fame, but sometimes it is not easy to manage the wave of the host that has come upon us. Is it better managed from the age of 50 than from the 28 of other colleagues? Sometimes you think that young people are not so prepared and have the clarity that a 50-year-old does not have and you see syndromes that are much less obvious, much less obvious. I have seen several very disturbing syndromes of what generates the sensation of touching power in those who least expected it because it puts you very much to the test. Being now riding the wave, how much do you think that in such a fast world you can forget this immediately ? I have died several times professionally, the miracle is to be alive and I have to take advantage of it. It is true that there is a moment of great exposure and that something big is happening. But if I have learned something, it is that television milestones are super fleeting.For this reason, apart from being in a premiere, I go to the countryside, to the mountains, I work on my own work, it is an attempt not to forget that the essential thing is the work itself and that, in the terms in which we live now, they will pass very fast.

When Pedro Alonso speaks of his death, it is not that of Berlin (small

): it was his at the age of 33, like Jesus Christ, when he went to live in his father's hometown in Galicia. «

because nothing came out and what came out, did not flow. But I have seen that it has happened to many people in the profession, they are cycles. Very few people endure many cycles, it is a very ruthless industry because with 20 years there are hundreds of thousands of actors and with 50, a few. I ended up broke, without cinema, without perspectives, confused and off-axis »

A monologue written and produced by him brought him back and at that moment,

came to him

on television in Galicia. Then

, with Ramón Campos. And now,

. The race was not over, it was going up.

Does that help you to appreciate what you now have? I do not forget the vertigo, the transience and the dangers of noise. I make efforts to return to myself, to my line. But now a bomb like this has fallen, which I try to value, it is a privilege. I have offers of unsuspected places, I am going to produce documentaries, I write, I am going to work as an actor ... but I have said no to many things. Is that the great privilege? Absolutely, one of the things that have been most clearly put about my table in my last two and a half years is no. I said no to things that even made my legs shake. I am investing in my own garden, I have said no to many things because when you are in focus, you become something that is listed, a production value of capitalism and I need to feel an interest in what I do and personal growth.Is the spin-off that Netflix has already announced from Berlin, is it more a risk or a benefit? This was a clear message I said the other day at the House event: sometimes a success can turn into a cage of gold. This depends on the courage and courage of whoever is piloting those ships not to stop doing what made you a success. Álex Pina and his team did an exercise in absolute recklessness and this production was about to collapse in economic terms and sink the career and economic life of the people of the production company for 20 years. I know that it is impossible to compete with La casa de papel, but I think it is a great opportunity with several delicate fronts as you intuit and I intuit but it could be a narrative dream. I don't have all the answers, but I'm going to focus on work and this interests me. Let's go back to the house,In the end, his character and that of the professor are two exact samples of the techniques of current populism. This is a great conversation because my character was clearly the villain, he was made to hate him and suddenly everyone loves him when he dies. And now, since I love you, I already justify everything. I don't want to tell people what to think, I want to try to get them to get into that area where you don't know what to think. And, in that line, the one that does not know what to think, sometimes Berlin or The Professor have impulses with which one can tune in and that can be dangerous. There is what matters, a character who is the paradigm of everything that has to be canceled and who is loved because deep down he portrays us in many things. Because if you are cool, everything you think is cool and your world is cool, for me you are a suspect.Do you understand the criticism that the series has stripped Bella Ciao of political symbolism? Of course it is a danger and there is a contradiction, but if a young boy comes to me singing Bella Ciao, I tell him to go to Google and see what What about history if you don't know it? And we have the Open Arms collecting refugees who die by drowning and sing the Bella Ciao because they have seen it in a series and it justifies everything.

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Know more

• The Money Heist

• Berlin

• Netflix

• Galicia

• Open arms

• Google

• Fernando Alonso

Series'La casa de papel 'will have a' spin-off 'in 2023 with the character of Berlin

When does La Casa de Papel, season 5 part 2, premiere

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