Javier Cámara: "Being aware of the opinion of others impoverishes you as an artist"

In a scene from

, Tomás stops the car at a crossroads with three highways flanked by fields of millet,

and bush, bush and more bush.

On the opposite shore, a countrywoman walks.

-Ma'am, please, to go to the mayor's house? - asks Tomás from the car window.

The lady, with an apron and a sack on her shoulder, approaches him.

To her rhythm.

Slow.

"How do you tell me?" he replies.

-Ah, to go to the mayor's house.

-Well, look, it has three paths [He points out the three that start at the crossroads with a

that he holds in the other hand].

Over here, over there and over there.

And he begins to explain each curve to a character who, played by

, can't believe it.

After letting out a polite "thank you" to the

, you may leave thinking that it was better to ask a million cows.

Or put the GPS, of course.

In that Galicia, in that tropic under a layer of fog that Manuel Rivas described, the

is anchored ,

, which premieres in full next Thursday, May 19.

It is a

very emotional six-part

where the space, its people and mores are very expensive antique pieces but must-buy to tell the story of a murder that, almost, almost, becomes a residual act, collateral to the true plots and motivations of the series.

It is starred by a formidable

and by a

Javier Cámara who, while submitting amusedly to the camera of the photographer Carlos García Pozo, already imitates the accent of the person asking him.

What's wrong with the accents, Javier?

In 'Rapa' sometimes it seems that he wants to imitate Galician and other times, simply, that it is contagious. I can be quite annoying in the sense that you have a very nice accent, so I like to go there and sometimes I respond as the person with the one i speak

And it can feel bad, like: 'Hey, don't imitate me'.

But hey, as everyone knows I'm an actor... I don't do accents well, eh... The only one I'm very proud of is the one from

.

Javier Cámara seems playful, whatever that means.

He plays a lot with his gestures, for example, to explain what it is like to work with

-Jorge and Pepe-, director and screenwriter of the series: «Very rewarding.

They make a fantastic tandem », and he clasps his hands to show their association.

«Then there is Fosco [Alfonso Blanco, the producer] who does a job...».

Movistar Plus+ has signed

the team that created

, which is its most successful original fiction to date.

And Cámara liked it a lot: «Hierro had an impressive workmanship, with that approach, that Nordic thriller on an island, that light... That's why accompanying these people, and

[director of Photography] already

[director and screenwriter] to Galicia... is that you knew there was going to be no better place».

Perhaps that is why

is structured through a kind of iron déjà vu, with a good number of quality plots and where the setting stands as fundamental for the development of the series and the evolution of the civil guard that Monica plays. López and the mysterious type that is the Chamber's mission: «I love the diversification of plots, that popular and rural thing, the environment, the social theme...

.

Suddenly the Civil Guard knows the people involved, they are very involved in the impulse of the people... The good thing about my character is that he is not emotionally involved with anyone».

But it has a lot of impact, especially from the moment we discover that... Yes, yes, when we discover that he is part of something cruel and hard.

And now I almost understand why he can behave like this.

But Jorge [Coira] did not want what was happening to him to be seen as a bastion, but rather something more... collateral.

For me what happens to him is very important, first because it determines the character.

His clock is ticking and there are things that matter less to him in life and he wants to enjoy more of what interests him, which is this murder, which makes him forget his situation: unmotivated at the school where he teaches, divorced, he barely sees to his son...

Javier Cámara plays a character who does not feel empathy for many people, "even for himself."

He is a man who lives in fiction, who loves black literature and who, upon discovering a murder, immerses himself in it as if it were a fantasy that, he discovers, exists outside of his house.

As an actor, Javier?

"I do not think so.

».

And he says that sometimes he has too much energy on set.

«I continue to go with the illusion intact and I have a great time.

We also put in many hours, eh, sometimes we work entire weeks at night and it is very unpleasant to sleep during the day.

You don't even know what world you're in.

So for that adventure one has to go well accompanied.

You think that I hope you get along with these actors, I hope the hotel is kind... they are imponderables that you want to put on the credit side, because if you put them on the debit side you don't leave home, or you go out to earn money to go back to house to pay.

For me those are priorities and in

they have all been fulfilled, even the barnacles, which I like».

This world is very cathartic.

You put things that you have inside, wounds, that you release without people knowing

The feeling of guilt, remorse, ethics are vital constants.

Not because of the question of eating or not barnacles, but in the series and, above all, in her character: «It's wonderful.

I was very interested in that part of the guilt, of trying to forgive oneself, of moving on after making a very serious mistake.

There are many characters that seem to walk all over you but make you question vital things.

In any series you find connections to the great Greek tragedies: how do you forgive yourself after making an unforgivable mistake?

How do you overcome certain depressions?

It is true that we are doing it through fiction, but deep down you ask yourself many questions, you are making your mind and your body go through many paths and that is very beautiful, very healing.

This world is very cathartic.

You put things that you have inside,

It is not that Cámara thinks about his problems when acting but, he explains, when a strong feeling touches him, it "helps" him.

.

And he, he gets carried away.

By the way, you can't "judge" a character, he wants to clarify.

«In

, the character of Benigno [her character of her] raped a woman who was in a coma and the only thing Almodóvar asked me was: 'Don't judge the character, it will be the public who does it.

We're going to make a movie where we love that character.'

That was a key for me in that movie:

.

Being in the essence of why this man is like this;

he can be despicable, but he has his motivations and they have to be found ».

And of judging, of course, we end up talking about the headlines in the press, oh, the press, and public exposure.

“You have to have respect.

Life, as it goes, makes you think about the fact that we live on a planet, on a little ball of... does it really matter what they think?

A therapist told me: being aware of the opinion of others, of others as an entity, impoverishes you as an artist, impoverishes you as a person.

.

And it's complicated because we're exposed and you're asking me about things and I'm like, 'Wow, I'm already talking too much.'

And in the end, I don't care."

Camera must be one of the few interviewees that when they don't know, they don't talk about, like mental problems, a topic we ask about because it appears in the series.

"If I find myself talking about things I have no idea about, I get scared and don't talk."

Actually, it seems quite logical.

“Yes,

.

I think he should be on Social Security much better than he is.

In addition, these years of pandemic have been tremendous and it seems that we are forgetting, because we are already in spring, on the street, but this terrifying time... Many people have been very fragile.

Mental illnesses are a bit taboo and the more we talk about therapies and going to look at the head, the wounds of the soul, the better.

Javier, I promise you we're done.

He is also at the Valle-Inclán Theater with 'Los farsantes', a play that makes a lot of fun of the trade.

Do you think there is self-criticism in the profession? There is a lot of fragility, there is a lot of self-criticism and... why do you say that there is no self-criticism in the profession?

Is there in yours?

And I detail the three paths of the intersection, like the countrywoman to Tomás.

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