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Journalist, TV scriptwriter ('El hormiguero') and radio (he has his space in 'Julia on the wave'), humorist and writer. In their third novel, The Lost Flavors (Editions B), the characters speak through the food they prepare.

His book speaks of gastronomy but not as a sign of sophistication but as a longing and nostalgia, almost sadly. Sophistication is fine but it is not possible without the smell of sofrito before. Therefore, all the recipes that appear in the book come from home, they are pouting. There are emotions and that is the same for everyone, even if we don't like to cook. Everyone has a flavor that moves him to a place of memory. It takes you to your grandmother or a couple ... Or to friends. If I eat a kebab, I remember the friends of the race. And it happens that if you eat with them, the social leads to emotion through sharing a bottle of wine, a meal? It happens to me that, if we are to eat in a medium good place, I feel a little weird. Let the chef come to tell the dishes, right? That is explained scientifically: the taste is in the hypothalamus and triggers a very complete memory. I remembered Deliciosa Marta, the German movie that one. There was a cook who only knew how to express herself through food ... That happens to me with novels. People think that he knows me through television and humor, but it is in the novels where I really am. Well, in his novels many women come out who turn away from everything to rethink. That is what happened to me when I worked on the radio : I lost my voice and had to rebuild it. Don't you sound like 21 years old now? Not exactly. I got to have a voice like Vidal-Quadras. My bosses loved it because that broken woman's voice sounded like sensual. But if he laughed, he was like a flea dog. Later, I learned to use my voice without harming myself. I guess that's life: use our abilities without harming ourselves. That's what I am in. Was it a profitable time? I lived it with much anguish. I saw myself in the street. I was young and very hard on myself. Very hard, almost cruel. I thought that engaging in humor serves to relativize problems. It serves to subtract susceptibility. Now, I am in a minimum of susceptibility, I have achieved it after a lot of effort, because on TV everything that you hear about you is tremendous. Especially if you are a woman. Well: if they criticize you because you screwed up it hurts. But if it's because, it doesn't matter. When I screw up, I already know, I feel it in my stomach. And the free criticism ... Is that on TV, the woman is measured in case she is good or not, if she is fat, if she makes up badly ... Nobody hears what you say. And if you make humor, they wait for you with that attitude of "to see this one ...". I made a breastplate, I went ahead. I was like my dog, that if a dog scares her, she pulls her neck. But it hurt. I am sensitive and I like to be loved. Have you made humor as a retaliation? No. I have never attacked anyone personally. I accept that they criticize my work but I do not want to be destroyed by that ... Well, the same applies if I make satire. And this irony is everywhere, that is the language that dominates everything ... There is a depletion of humor as marketing. That "takes the humor" ... The irony is the humor of my father, I have it in the DNA. But, to practice it, it is necessary that the other person can return the ball, that he understands the game. It seems that everything we do not like about Spain is for 'El Hormiguero'. Everything I had to say to Pablo Motos about 'The anthill ', also about what I did not like about the program, I told him when I was a screenwriter, in an office, when my salary depended on' The anthill '. Now I don't have much interest in talking.

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