• Hemeroteca.Read all the interviews against the EL MUNDO

ANA FERNÁNDEZ . Madrid, 1989. After the boom in 'Las chicas del cable', she now stars in 'Voces', a (very) scary film that opens next Friday 24. Actress, model, singer ... talks about the business with a self-awareness that impresses.

I must confess that I have not seen the film because I am very cowardly and I do not find the meaning of horror cinema. Why do you like fear? Because the terror is morbid, it gives that adrenaline sensation of getting on a roller coaster or the train of the witch. Why do all those kids and teens love riding the shuttle in the amusement park so much? It is because of the feeling of having a hard time, but with control. In the end, it deals with very mysterious subjects in which everyone, whatever they say, believes a little because nobody knows the truth with certainty. Terror offers us doubt, curiosity and curiosity. Do you believe in paranormal matters, ghosts, other lives and others? Yes. My character in the movie has nothing to do with me in that regard, because he is very skeptical and believes that everything has a logical and earthly explanation. I do not. I believe in many things, although above all I believe in energy, which is something scientific: it is neither created nor destroyed, it only transforms. So I think that human beings are energy and we never disappear. The afterlife, the world of dreams, where our energy goes after death, reincarnation ... We don't know exactly how, but all that is there. You can believe in a positive way and with light or in a dark way, as something terrifying, but there is no light without darkness. I think there are good and bad energies and that there is a hidden parallel world to which we only enter dreams and it is great. So, as I believe in that light, I highly respect the dark. I have never played a güija nor am I playing the fool with the dead to have a laugh. No way. Let's go to a more earthly fear. The reopening of the rooms after the pandemic is being a failure. Are you worried that the cinema will not rise? I think that in time it will normalize, it cannot happen at a stroke to machine-gun the media and politicians with what was a situation of extreme gravity and panic that now, because it interests and you have to consume, let's all go out in droves to spend. Humanity is quite a puppet and quite a sheep, but we are not an asshole either. We have to readjust to life outside the home, that requires time and re-education. Also, thank God, there are these new platforms so wonderful that they offer a very cool support for the cinema. They have given a scary life to movies. I, being a foster daughter of Netflix, know that they take great care of the product and it is a fantastic alternative to the rooms. Have you noticed the Netflix effect, which multiplies fame by a thousand, with 'The Cable Girls'? Like Obviously, many more people follow us and know us all over the world, because the borders disappear, but I have not noticed a radical change of life. Although it is true that its marketing capacity is tremendous. What struck me the most and I will not forget in life was that piece of poster they put up at Puerta del Sol in the first season. I was overwhelmed to go through there. I went with my boy to take the typical photo for the memory, dead of shame and half disguised. How silly. It was scary. In addition, it is a place that is constantly on TV: demonstrations, soccer celebrations ... and the poster was always behind it. It is what impressed me the most. More than traveling around the world to promote the series. That old dream of Spanish actors to reach Hollywood no longer exists, because with platforms there are no borders. Your personal life is not especially private. Magazines of the heart, permanent exhibition on social networks ... Doesn't it bother you? Right now, this business is a circle and to function in that circle you have to participate in all its parts. You have to make series and movies, but you also have to advertise, be in the media and show yourself on social networks. Our Instagram is oursbook for brands and projects. This is so and you have to accept it without putting your hands to your head. That of the enigmatic and intense artist is over ... In my generation, yes. The trick is knowing how to handle what you show and what you don't. I know what I want to show on my networks: a photo that came out beautiful, another cute with my puppies, another with friends ... I accept this game because if you are not there, the wheel does not turn. Advertising is key today, because the difference in salaries with television and cinema is tremendous and we survive thanks to it. I have a savings account thanks to the brands, not the chapters. But for you to be called for advertising and have that economic peace of mind, you have to appear in movies and series. And the two things together cause the press to be aware of you, if you go to the beach, what bikini you are wearing and if you look good with your partner. All this is mixed in a cocktail that is this profession today. The millennials have lived through many crises and we reinvent ourselves very well. Previous generations in this profession have lived as God, because there were brutal salaries and they were able to invest, buy houses ... But we did not. I very much doubt that the day will come when I can buy a house. Haven't you been able to yet? No, I have been working on this for 10 or 11 years and I have not earned enough to buy one. There is a very misleading picture of what we actors earn. It is a very screwed up profession, because we are the poor of the millionaires. I pay taxes as a footballer, but I earn two percent. It is what it is. Those of us who are now 30 or 35 have eaten all the shit in this profession: the crises, the drop in salaries, the decline in publis ... That's why we have had to reinvent ourselves, know and assume the rules of the game. And we participate in it without problem. I understand that for a 60-year-old actor it is difficult to adapt to this, because he has not lived it, he does not need it and he does not share it, but for us there has been no other option. Despite being so aware of the framework, you have stepped on some corns of the industry; for example, demanding equal pay between actresses and actors. Actors are called dolls on the set. We have neither voice nor vote, they decide when we speak, when we eat, when we are going to pee and when we can sit down. But at certain moments we do have more voice than other much more powerful people, but without our media speaker or our familiar face. That's where our words have power and you have to use them wisely. When I got into an aubergine, I did it knowing perfectly what was going to happen. I no longer go with the truth like a madwoman when I was 17 years old, now I measure and control the message. I know the consequences of my words and I don't care when it pays me to report an injustice or disagree with certain situations. But if you look, nothing I have said has had any real negative consequences for me. I control perfectly. You were commenting that as a teenager you were involved in this, do you drag traumas of girl-actress? I was never a "mom, I want to be an artist" girl. For me it was an escape route to grow, create and enjoy. In school and high school, whenever there was a theater group, he would sign up for me, but for fun. I appeared in The Young Picasso when I was three years old because some of my parents' friends were casting directors and it came up, but I don't remember and I didn't do anything again until I was 16. I wanted to take my money away and, as they told me a lot about "what blonde and cute ", I thought that, instead of babysitting, better take pictures of myself. I got into an advertising agency and they also called me for castings while I was studying. I started the career of Advertising and Public Relations, which is something I am very good at, but when more things started to come out, I had to leave it due to lack of time. Although later I had a professional break and I enrolled in History at UNED, which I am a fanatic. Do you have a voluntary or compulsory break? After making Protected , the crisis broke out in the sector and no products were made. There were two series and they were so smart to get the same actors to do both. You changed channels and saw the same faces while the rest of us ate the snot. In that break I kept up with the publicity, which has always been good for me, and I started studying until the thing started again. Do you think this is already the good one or do you still think that it will end tomorrow? always thinking. Every day you wake up thinking that everything is going to spoil. Actually, the success of an actor is to stay, that they miss you just a little and a little more. Do not kill him suddenly, because whenever you hit him, then you fall to all hosts. I prefer to stay at 7, a remarkable one, to walk up and down between good and outstanding. That this race is very long and the projects, unless you do Tell meThey don't last that long. This is a great profession where you can die working, but you have to play with your head.

According to the criteria of The Trust Project

Know more

  • Final interview
  • Netflix
  • culture

CultureEight series from before for a summer marathon

The final interviewNacho Vigalondo: "I don't care about prestige"

The final interviewSilvia Alonso: "In the cinema, women are destined to be the one who waits and serves the plot for the man"

See links of interest

  • News
  • Programming
  • Translator
  • Calendar
  • Horoscope
  • Classification
  • League calendar
  • Films
  • Cut notes
  • Themes