Luis Tosar: "I dissociated myself from nationalism by xenophobic speeches"

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Luis Tosar. Lugo, 1971. He has the prestige (infinity), the Goya awards (three), the movies on the bill (he is showing these days Weather and Advantages of traveling by train ), but he has not managed to make a "host movie" as his admired Jason Statham Not even he can have it all.

You are the uncle who works the most in Spain. Yes, several movies are joining me now, but the truth is that I am already organizing better than before. I do quite a few small papers, of shooting four days, which I should do because I do not disconnect at all, but at the same time I am not stuck there to ful and I have time to reconcile a little with the family.'Intemperie 'is a film with a good very good, your character, in times when goodness, that which has been called goodism, is almost despised. Goodism is good? Goodness is discredited, it is not a value that is taken into account in these times of so much canallism. We live a very individualistic moment, the least connected in history almost. Because the sense of community no longer exists. There is a kind of false community, which is the virtual one, but it is true that it is hard for us to get together to make things happen. Seeing a demonstration in Chile of 1,200,000 people seems to me to be The Event. How is that achieved today? Well, getting people fed up to the limit. Doing much wrong, sometimes, good things are provoked. Weather bets on leaving a minimum message of hope because the human being survives thanks to that, because there are still good people. Do you find it strange how much they offer you a role that is not a villain or a dark hero? The heroes who have some turn, some corner, understand each other better because we are all a bit like that. Purity is hardly put in flesh and blood. We are too weak and we have too many temptations and too many stimuli to be absolutely complete. That's why we understand the character who has slips better. What happens with my character in the open air is that these slips he had before starting the story and that is why he moved away from society, thinking that perhaps living among animals, in the wild, he would find something good that he did not find in human beings .Without specifying place or year, 'Outdoor' is a story of abuse of power and helplessness in the forgotten rural Spain during the postwar period. Years go by, problems remain. Are we a country that does not learn? We are a fairly old society that resists change. It is very difficult for us to change the old structures of our country and, as long as that does not happen in a quite radical way, it will be very difficult for this country to evolve in an ostensible way. We are evolving inevitably, because the world changes, but we are a dead weight. We find it hard to get rid of things that are sociologically and culturally very heavy. We do not stop living, after all, in a monarchy. That, even if we don't want to, makes us vassals, makes us subjects. Somehow that is in our DNA and the abuse of power to many people seems normal. They think it is part of the rules of the game that a few send. In Galicia it will be the chiefs, in Andalusia the gentlemen ... We continue to accept as absolutely normal things that are not. I have a lot of family in other countries where all this is strange. They ask you: "But what does the king do?" And you find yourself explaining things a bit absurd to people who live in a Republic. Is there a role you haven't done and you feel like it? Yes, I'd love to make an action movie. But of action, not a thriller, one of hosts. I am a fan of Jason Statham, who has that thing so English that it always seems like this half-piece, and Bruce Lee's martial arts movies. And I love the purest adventure cinema, that of Spielberg, with Indiana Jones as a totemic figure. So I have a lot of fun in action cinema as long as it is not very ideological, because sometimes it is a very political type of cinema with which I do not commune. But let's be serious, it is far from my abilities to make a movie of these. It doesn't give me the body (laughs). Even Robert Downey Jr. saw the light and started doing martial arts before Iron Man . Scorsese says that for him superhero movies are not movies ... He exaggerated. They are cinema and there are good and bad, as in any genre. Iron Man , without going any further, established another way of seeing superhero movies, entering a much more rogue and less stereotyped characters. What is certain is that now the franchises are still getting too long. But they have transgressed certain norms of the genre and it has been an interesting movement in many aspects. You began in the interpretation being 'clown' in children's parties, what is left of that clown? Inside, quite a lot. When I studied to be a clown, the teacher told us that the clown is basically a bastard. What happens is that he takes advantage of it so that the public laughs, but his life is a disgrace. You have to process it and transform it into laughter. What happens is that I have stayed a lot with the tragedy and have not given me many occasions to produce laughter in the cinema. In theater, yes. I admit that doing comedy in cinema seems very very complicated to me. Canning comedy is very difficult and you have to be a teacher to make it work. I know something, but ... I will still have to find, I hope, a type of character that could defend very well in comedy and has not reached me. What character? A very bad villain. I have done so many bad things that I begin to consider that I have some authority to make one since comedy. One of the comedies that has made me the most grace in my life is A dangerous therapy and there De Niro plays the same role that I had already done seriously many times before. And it is a genius. I would like something like that. At the beginning of the century, you went on the BNG charts, although you later unchecked yourself from nationalism. How do you combine a historically internationalist left with nationalism? The only way to explain this is to see things from the minority and from the periphery. I understand that it is very difficult to understand, but they do not cease to be clearly left-wing political movements that defend local values ​​that are very reviled and neglected in this global society. It is true that you run the risk of moving too far in one direction, towards pure nationalism, and becoming something that is very strange. I have seen that. You hear speeches that are around xenophobia, with very uncomfortable double senses and that I have separated from nationalism comes from there. Because they are speeches that arise from ignorance, ignorance of the environment and what is happening, and that is something that can not be allowed in politics. It does not seem that we are at a time of great political level ... Sure. It is a bad policy in general and with nationalisms one runs the risk of, if you lose sight of reality, become a freak that defends something that very few people want to defend. People want to defend lost land, but what I have seen in these movements is that most tend to integrate, not separate. And that is not what we are seeing at the political level. My link to nationalism went around, for trying to have something minimally harmonious. But in the end it gets very difficult on both sides. It polarizes right away and in the world in which we live it makes no sense to make tight departments. Something minimally harmonious in what matters? Especially in the strictly cultural. I would not tell you even in the social, because with the social you can enter dangerous lands. But culturally we live in a country that is immensely rich and anyone who comes from outside appreciates it. There are several languages, an incredible cultural diversity and everything within the same vessel. But defending what they see as a virtue here has become a problem. And the more the positions meet and polarize, the harder it is. In any case, in Galicia, although there have been very radical movements, the broader movement has been related to the defenders of Galeguism before the war, which was always a broader, global and internationalist movement than that of Catalonia. How do you value Catalonia? Catalonia has turned to a very strange terrain in which ideas that seemed to be mixed could not be mixed ideologically and have gone hand in hand here. That muddles everything and the speeches begin to dilute. And you have to be very careful with the speeches, because when you are in an identity discourse you cannot leave it halfway and stop reminding people of what you were fighting for. And I have not heard identity discourse in Catalonia for a long time, all I hear is anger from there and from Madrid. Actually, Spanish nationalism is much more identity because it defends much more concrete things, which I can sweat, but that define its position. I would like to hear that from Catalonia to understand them. What do you want? Not only about the State, which is worth it, I understand that it is important, but there will be something that transcends a little more, right? You start shooting a series for Netflix. If it works, are you ready to face a crazy fame? That's crazy, yes. But I don't think about it because nobody knows what is going to petar and what is not. Who knew that The paper house was going to be such a success? So it is not worth wasting energy to think about it. Whatever it is, it will be. The series recovers Willy Toledo, who was toxic in Spain ... Yes, yes., There is Willy, who had not worked for a long time, the poor. He has gone sack in his positioning and paid. The other day talking to him, he thought: "Fuck, the truth is that black hands go much further than I thought." They are everywhere.

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