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Emma Suárez (Madrid, 1964) wants to smoke, so, after taking the photos at the Film Academy we sat on a terrace where the Rompetechos that lives in me comes out and I start spilling coffees as if it were revenge. The actress, who premieres on the 29th of this month La ternura, helps me to make a dam of napkins while projecting her mood on me: "Let's not get nervous". "Not at all," I reply, because what I am ashamed of. "It will be you, I am," he confesses.

Do you still come nervous to interviews?
Yes, I can't help it, shyness is part of the human being and never goes away. One learns to live with their limitations because there is no choice.
It's counterintuitive, but I haven't met people more shy than actors.
It's like that and it makes perfect sense because, deep down, what an actor does is play a character, disguise himself as someone else and hide there. Only then do you dare, through the character, to go on stage or put yourself in front of a camera. I, like Emma, would have been unable to do everything I've done on screen.

My e

San Sebastian Festival.

José Coronado: "Why shouldn't I tell a woman how beautiful she is? With education, it brings joy to life."

  • Writing: LUIS MARTÍNEZ San Sebastián

José Coronado: "Why shouldn't I tell a woman how beautiful she is? With education, it brings joy to life."


José Luis Rebordinos, director of the San Sebastian Festival: "There are victims who say that Josu Ternera's film should be put in schools"

  • Writing: LUIS MARTÍNEZ Madrid

José Luis Rebordinos, director of the San Sebastian Festival: "There are victims who say that Josu Ternera's film should be put in schools"Your character in 'La ternura' is a woman fed up with men. It is a period film, but with a very current thesis.
It is true, but I do not believe in confrontation with men or generalize. We must learn to live together, not to move away. We live together and so we must grow, evolve and progress. Together, not making war on each other. I don't believe in the confrontational feminism we see now. That should not be the case, in my view. We must not separate ourselves but build together the society in which we live.
What are three Goya for?
For you to tell me.
The ego will feed it a little...
Man, it's very gratifying because they are a recognition that comes from the Film Academy, from the profession, and it is very nice that after a job and an effort they give you that wonderful award. It's a very special moment. I remember with great affection my first Goya, for 'El perro del hortelano', because it made me feel much safer, but then you don't think about it anymore. In this profession you only think about the here and now, about getting a role, about what you have to defend and about the character you have to play. Goyas impress others more than yourself. What we actors want is to work... which is not always easy.
What do you think of the legend of the millionaire actor?
Very little is known about the reality of the actors' lives and it surprises me. I never cease to be struck by the great distance and contrast between reality and dream. How far is what we actors live in our daily lives, the economic and labor difficulties that we suffer as any person, from what is so often understood or projected from us. It is a job in which no matter how long you take, there is no stability.


You are an example. Between your first Goya (1996) and the next two (2016) there are 20 years and very little cinema.
Yes, I do theater basically there. Two things came together. On the one hand I spent almost five years doing very interesting theater projects: 'La avería', by Blanca Portillo; 'Old Times', by Pinter; 'Deseo', by Miguel del Arco; 'The Kennedy sons... I enjoyed it a lot, because theater is something vital for me, but it also happens that when you are a woman and you approach 40, the roles begin to disappear. And reconciling is also difficult.
The other day with Inma Cuesta, who has just become a mother, she told me that we always ask you about the conciliation to the actresses and never to the actors.
And he's right. You are a father and you know that it is also important for you, so journalists have to start asking men too: "How do you handle conciliation?" Especially out of curiosity, to see what they tell you. I think women have a need to deal with a tremendous demand, both external and self-imposed, you know? You demand that everything around you is okay, that your children are okay, that your family is okay, that your house is okay, that your job is okay. We are required and demanded of ourselves much more than men. There is constantly an alert regarding the education of your children, regarding their emotional situation... I don't know, you live in constant worry.
You who have been in the profession for a long time, doesn't that improve?
The big improvement for women in film is that there are now more screenwriters, more directors and more technicians. We're watching some wonderful movies and I think it's changing the overall scene, of course. While there are always reasons to keep improving, we have to celebrate that there are now many more filmmakers than before. When I started there were Pilar Miró, Cecilia Bartolomé, Josefina Molina and stop counting. Then Chus Gutiérrez, Icíar Bollaín, Isabel Coixet... Now it is no exception and that is a huge joy that is reflected in the films we see.
As an actress, do you notice a difference in being directed by a woman?
A certain solidarity complicity is created between us because we share issues that, perhaps, men pose differently. At the base there is an established dialogue that perhaps with the directors is not the same. But when it comes to running a project, what's the difference? Honestly, I think none because both a director and a director want to make the best film and create a good atmosphere in the team. With its exceptions, of course, which are not a matter of gender.
In this movie you play the matriarch and back from everything. Do you look back a lot?
Time passes. And that's it. I don't usually look back much. From time to time, when ordering at home, photographs and papers appear and I think: "My God, how much I have worked!" But keep in mind that we live at such a speed, much faster than I would like, that there is hardly any time left to reflect and remember. So I'm from the here and now.
And where are you now?
I am still very excited to have a job. In fact, the moment that most satisfies an actor is when they call you to do a project that you want, with a director you like and a good story. Have en Realize that insecurity and restlessness never go away, you always think that they will forget about you and will not call you again because, after all, it has already happened to you. In addition, sometimes a very frustrating thing happens that is that nobody calls you when everyone thinks they are calling you non-stop.
Has there been a wrong image of your success?
Maybe, but the truth is that I'm not too worried.
Do you care what they think of you?
No. I don't care about people and, really, I don't know what they think of me. I don't know [meditates for a few seconds]. I hope you don't think too badly, right?
Have you done something horrible?
You're making me think. I think I'm a good aunt and people appreciate me. Let's change the subject (laughs).
How do you achieve personal stability between those professional ups and downs?
With successes, knowing that as they arrive they leave and you have to be careful. And in bad times thinking, "Trust, trust." I've always worked like that in bad times, knowing that this bump is going to happen, that I'm not going to stay stuck there, because I've done it before. I am a person for whom it is important to trust and think that everything is going to be okay. It's the best way to live. I'm going to tell you one thing: I'm worried about the moment of this society we are in, I feel that we are all a little harmed.
In what sense?
Well, we go too fast, we go like crazy, we do not stop to talk and look at the other, we do not take the time we need as human beings to reflect and meditate, we judge others too much, we are always criticizing ... And often to people we love and appreciate, very rarely the criticism is fair as it is, for example, in the whole mess this of Rubiales, who is a manual macho, a prototype that women are little surprised.
I suspect it's not the first one you see.
No, you constantly encounter unpleasant gestures that make you feel uncomfortable, that you don't like. Many times, in addition, you do not have time to manage that gesture and to think about what they have just done to you because normally one falls into a blockage, you are so shocked that it takes you to process what has happened. It usually takes days before you say, "Oysters, why has that guy made me feel this bad?" And maybe the other person doesn't even think about what they've done wrong. In that sense, it is good that, even with situations as unpleasant as this, we realize that there are situations and gestures that offend. You know one thing that bothers me a lot?

  • cinema
  • theatre
  • Luis Rubiales
  • Actresses
  • Films
  • Machismo
  • Feminism