• Interview Raúl Arévalo: "Against machismo, the end justifies the means"

Raúl Arévalo (Móstoles, 1979) is

still there.

On TV in Histories to not sleep and in the cinema in the recently released film

El lodo,

by Iñaki Sánchez.

All this while dividing his time as the actor who has always been and is (El Santo and I'm going to have a good time) and the director who is also and wants to continue being (Blackout for TV and his long-awaited second film).

The man who was always there.

Or here.

The mud

It is his first film after the covid. How is this data to be interpreted? As what it is. It was a liberation and the first steps in a world that you like or not, for better or for worse, is already different. We shot with that of daily antigens and with the fear that suddenly, in a small production like this one, everything would collapse with a single contagion. How do you think Covid has changed the world? And I'm not asking about the cinema, what strikes me the most is our ability to adapt. At first, wearing the mask for five minutes was a burden and now we have it (or I at least) as one more garment. Eating a sandwich recently, I found myself unintentionally keeping a safe distance. And around me, people did the same. Let's say that everything that has happened to us is already part of us.The film proposes, taking the Valencia lagoon as the setting, nothing less than the preservation of the planet's natural resources and the conflict that is unleashed between conservationists who seek a long-term good and those who live there who simply want to reach the end of month. Can the pursuit of good cause evil? That is an eternal dilemma. A greater good can result in an immediate evil. What makes more sense to think about the future than what is left to future generations or the present that is the condition for those generations to simply exist? My character tries to help those who live in the lagoon, but the price he pays is to ruin their way of life. They are both right and neither is really. And what is the solution? If he knew, he would not be an actor. Or not only.But basically I dare to say that everything happens through dialogue and understanding of the other, which is precisely what does not happen in current politics, but isn't it like saying nothing to simply appeal to dialogue without saying under what conditions? A.- Obviously, but it is important in a current situation as tense as the current one to be clear about this. Be clear that dialogue is the only solution. Then we see how, but now the obvious is not even clear. The tension has ceased to be a consequence to become an end. Tension is sought because there are people to whom it is useful. That is the new. Everything would change if we were aware that the problem may be us, that the fault is not only the one in front of us. The conversation has gone to the very abstract ... I will give an example.The other day I saw a video of John Cleese on Twitter that I think was the key. What we have lost is a sense of humor. When you have a sense of humor, you know that the first thing you have to laugh at is yourself. If you are aware of that, you are already a long way ahead. There is no tyrant or handsome man with a sense of humor. In addition, and to return to that of tension, I am very irritated by that feeling that anything goes. Before, as now, there were cases of corruption, but in the past it was done to cover it up and there was a social sanction. Now if the corrupt is one of us, nothing happens. Does the protagonist of the film recognize in his daily life that trying to fix things ends up spoiling them? Constantly. It's not just what you do, but how you do it. Many times you are right but you lose it because of the forms.And there I do see myself or have seen myself. I have learned a bit to control myself. Continuing with the tension, but changing the scene, by when will the tension of some with Spanish cinema end? It's weird. I think it goes with our way of being to despise who we are or what we are. I will not speak of the French example or the state funerals for the death of Belmondo. That here is unthinkable. I'd rather talk about my father's bar. When I helped him at the bar, I got tired of arguing with clients who messed with Spanish cinema with the typical subsidies and all that. My father told me to control myself. But the funny thing is that when they recognized me as an actor, they came to ask me if I knew this or that one and if I could ask for an autograph. Between the insult and being asked for a photo, a second passed. That is to say,the same people who despise Spanish cinema then ask me for my autographs. We are what we are and I don't see any feasible change. I imagine it can be tempered. Nothing more. When will another film as a director? A.- If there had been no Covid, the question was answered. But as soon as we confined ourselves, two things came together: that acting is what feeds me and that I want to make the movie I want to do. I mean, I don't want to compromise on anything because I don't need to direct. After the pandemic, they began to talk to me about limitations, fears, doubts ... and no. I want to be the owner of my mistakes, that they are not motivated by others.But as soon as we confined ourselves, two things came together: that acting is what feeds me and that I want to make the movie I want to do. I mean, I don't want to compromise on anything because I don't need to direct. After the pandemic, they began to talk to me about limitations, fears, doubts ... and no. I want to be the owner of my mistakes, that they are not motivated by others.But as soon as we confined ourselves, two things came together: that acting is what feeds me and that I want to make the movie I want to do. I mean, I don't want to compromise on anything because I don't need to direct. After the pandemic, they began to talk to me about limitations, fears, doubts ... and no. I want to be the owner of my mistakes, that they are not motivated by others.

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