Sunday, December 29 2019 - 01:33

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Actor Álvaro Morte likes questions; Ask questions without answering. It is his philosophical method of interpretation. And the question was: who is Álvaro Morte (Cordoba born in Algeciras, February 23, 1975)?

We climbed a single floor in a narrow elevator, path and enough space to declare my deep admiration: "You are much more handsome than I imagined!" "I am normal, very normal, I want to be." We have left him hanging on the street 40 minutes to the cold ceiling of the Madrid periphery, the taxi that never got to pick him up and an hour lost because he was held incommunicado: at the same roundabout he attended an interview from a German newspaper, the taxi that never came and he petrified there as a statue, answering questions.

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I imagined that The Professor of La casa de papel or the Oscar of the recently awarded MiM Award for Best Drama The jetty would come roaring, so, as soon as I saw him arrive under his visor upside down, he crossed the street and threw me around his neck begging Apologies, and suddenly, it is he who is apologizing for the delay and giving kisses here and there.

Is it like that or does it work? "I am like that. Optimistic, positive. I do not need therapies or meditation sessions. My escape routes are music, I am very music and eclectic tastes, and the stories I find anywhere, in a book, a trip, a movie "I go down a street, I look up and imagine the life of the people who live inside those houses, and that excites me. And of course my children and the people I love are. You have to be above such a situation ridiculous as the one that has been created [the taxi that never arrived]. Has it been wanting ?, has anyone said we are going to annoy Morte? "

Who the hell is that actor who gives life to the enigmatic Professor, the brain of 'The paper house'? Where do you come from? I am an absolutely normal person or at least I try. I am aware and I get involved in reality, and basically I am a trainee, and there I connect with The Professor, who is a workaholic. I really enjoy looking for the best of the options to create, be it a character, a script or a montage for my theater company [300 Guns]. I don't trust or delegate inspiration, I connect more with crafts: what tools do I have, how to use them with art. I do not understand the distinction between the artistic and technical team: I am one more technician and my medium is the interpretation. Born in Algeciras, to start a singular, border, complicated place? My family was always nomadic, and from there we left when I was only a few months old, in a town in Córdoba called Bujalance, which is where I grew up, running around among olive trees. My parents are both Cordoba. But my father constantly undertook new challenges, and when I was 15 we returned to Algeciras, a city with a port, a lot of drugs with which I would never flirt, a sordid world of continental border and crime, and a fishy smell. But it has a wonderful thing, which is the people of Cadiz. My memories are very good. And when and how among those olive groves it is said: “I want to be an actor?” I think very soon, but I was never aware. Nothing came there, you couldn't say something like that, you didn't even think about it; I was also a very shy and withdrawn child. I was doing Telecommunications in the Canary Islands, I always went to pure sciences, and in the first year I crossed the theater and everything got annoyed. But then I remembered with seven years watching the One, two, three on the sofa at home on Friday night, and telling my mother: 'I want to be there.' But it was something so impossible ... I had dressed as a shepherd boy in school, I didn't even know there was a Dramatic Arts career. Paternal reaction? My mother was not surprised, because she has a great artistic vein, paints, sings, dances ... And my father , a born entrepreneur who was never afraid of anything or anyone, always changing his life, either. What kind of things did he undertake, why were they nomads? He did everything in his life and it was not bad, he saw a business and I went for him, became a bank manager, traded with oils, with antiques, mounted the first jewelry store in town ... And when my two older brothers were already of university age, we went to Barcelona to choose a career, and there he first opened a cafe and then started studying and set up a real estate [set to hab lar Catalan] He was like that, he was the eldest of five brothers, children of a civil guard, and with seven years he was already taking money home. When he grew up he studied what he could not learn as a child. He has passed away, a month and a little ago. I'm sorry, I didn't know anything ... It is natural for you to die a father. He has been terrible, but very well taken, he did not suffer and made jokes until the last five minutes. And he had a wonderful life that lasted 80 years. And you plant Teleco and, where do you study the acting career? In the official school of Córdoba, and then I was awarded a scholarship to study in Finland. Oh, well, you can tell, in its frozen moments. Perhaps, that approach to the character from other angles, tangents. And on the way back I was in Madrid in a British school and finally, in the Ecam [the School of Cinematography and Audiovisual of the Community of Madrid], where I did a lot of courses: I am an obsessed with training, continued. You can never assume that it is formed.

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How did I survive before 'La casa de papel', with two children [five-year-old twins, Leon and Juliet]? Like any actor I have experienced better, worse, very good and nefarious moments, but I have been defending myself. One of my best decisions was to mount 300 Guns, because it gives me stability that allows me not to accept any project. That has always been a principle for me: I never accepted a job that was not worthily paid, because you are carrying the profession; I have preferred to work as a sound or lighting technician for another theater company. Do you know that most of the actors that work charge less than 3,000 euros a year? For each one that we reach the end of the month there are 50 that do not succeed. We live in a country that does not understand culture as something necessary, does not value the intellect, which is the only thing that can save us. The subsidies that culture receives are a trifle compared to those of other industrial sectors, when it is a brutal contribution to our economy. If we look at what happened in the 80s, we are taking steps back. 'La casa de papel' has finished turning the television fiction 'made in Spain'. You say the issue has been "take off the complexes." Is it not rather to take away the guilt and move on to the terrain of ambiguity, neither good nor bad? It consists of asking people the question, what would you do? And don't give him the answer. And that is interesting, because it encourages debate; It makes you think and get into the skin of the character. But for that we need to make empathic characters. Do you remember the sequence in which the Professor has the inspector Raquel Murillo tied in the hangar and asks: 'I am the thief? You, who work for the great thieves !? ' And there she, the voucher of the system, collapses, because it destroys her vital structure, and becomes Lisbon [note: I will not deny that reliving the live scene is a luxury]. 'The jetty' makes us fall in love with a bígamo. Does it feel good on the skin of an adulterous irredentant? Does that sentimental volubility have anything to do with you? Zero. To work a character I don't need to share what he thinks, but I do understand it. If I don't understand what's going on in the head of a serial killer, I can't interpret it. Oh, that serial killer has come out very fast, is he your next character? No, no, I say it as an example. Let me doubt it ... I am very fast mentally [laughs]. I need to travel through a series of states to convey certain emotions, I have to understand them. Agree or disagree is not my job, but yours as a spectator. It's how I like to work, I don't give anything done, I loose questions. There are actors who work recovering personal emotional moments; I respect him, but it doesn't work for me. My experiences are mine and I don't like to share them if I don't decide. And what are you willing to share now? Is your life as normal as you want to believe? Wife, two children, I walk in a well-off urbanization on the outskirts ... Absolutely, I strive to maintain normalcy, especially for my children: I don't want them to think that this is a circus. Although it is true that there are things that I can no longer do. Like what? I give you an example. Rolling The Head in Tenerife this summer I took my family a couple of weeks. Great. They invite me to a music festival and as I want to feel one more, there we go all four; but we got there and the number of people who wanted a picture with me was such that I had to separate from them; and there came a time when Leon began to cry: "What are they doing to Dad?" And in 10 minutes there were dozens of photos of my children and my wife in the networks. It was the sad confirmation. And this does not happen to me in Spain, but on the planet, in Thailand, anywhere in Europe. In France it has been the most watched series ever! Why does everyone remind you of someone you know, is it natural or does it have a very common face? Oscar and The Professor are characters that had to be demonized, and for that I had to generate empathy in abundance. And that causes an identification: you feel the close character and you find similarities with known beings. But if the viewer does not empathize with the Professor or Oscar, the series does not work. Hardworking, meticulous, cerebral. After the national successes came 'The Head' and, now, 'The Wheel of Time'. It looks like a plan, was there a plan? [Laughs]. My only definite plan has always been what I don't want to do, thinking about the future that can procure me. For example, I said no to very well paid advertising when I didn't have a hard one, because if the ad is successful you can become "The Cheese One", you load the potential characters that you can no longer do. In that sense there is a calculation: no to what the future can spoil you; Sometimes you decide it by intuition, and you are even wrong. They tell you that you shoot filming learning the ins and outs of realization. Is your vocation to lead? It is one of them, yes. I am setting up an audiovisual production company, and one of the objectives would be to direct. I hope you start hearing about us soon. I have directed a lot of theater and, although they are completely different media, sometimes you also do a general plan and others, a close-up [start talking about spotlights, travellings and ...] Look, every time you remind me more of the Professor, Telling me your plans carefully. How much did you change the character? I changed a lot of things, the actors got to know a lot about our characters, sometimes even more than the screenwriters. For example, the idea of ​​origami was proposed by me. And I also told Pina [Álex Pina, the creator of the series]: "Do not forget that The Professor does all this to avenge his father, do you think he will stay so calm knowing that inside they are going to kill his brother?". I told him when the third season was unthinkable, but if you look at the Professor's look when they finally escape [all but Berlin], it is an ambiguous look that is saying: "I am not happy." From that moment he is turning to how to return. But if Pina had put a finishing touch on a series for the first time in her career! And you hadn't closed it? I had also planned the return? We go back to the beginning of the interview: it seemed interesting to me to leave the question, because now I leave it to you: why do you leave, Professor? But how do you ask me that !? You will have to see the fourth! Hahaha. The only thing I can say is that, indeed, the teacher makes a descent into hell, necessary. We will see if he is able to take the flight [note: not everything is lost with Nairobi. "Do you think he saw her die?" There Professor Morte sends us another of his questions].

The second season of El embarcadero opens in Movistar + on January 17. The fourth of the paper house will arrive on Netflix on April 3.

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