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On his Twitter account,
Daniel Guzmán
defines himself as a "stray dog", which is an expression of great quinqui pedigree.
Now, does that mean that the actor and film director,
winner of two Goya awards
, has had a dark gang past, that he has spent several years in the shadows for robbing pharmacies and that he has decorated the palm of his hand , in the soft space between the index and the thumb, with a junkie tattoo?
Actually, none of that is on his resume.
Guzmán does have a certain reputation as a shirtless worker from the suburbs who is controversial, and
when he can, he taunts the politicians of the center-right
and bullfighting fans, but those who know him also define him as a noble, loyal type , who maintains and cultivates friendships, and who is always there to help.
The street dog comes from because one of his greatest prides is, in his own confession,
having grown up in a slum, as in his case is Las Águilas, in Madrid
, and not having denied his origins, staying close to his people always, and not having used the fame gained thanks to his profession to undertake a process of uprooting.
There are people who come from below and, when things go well, climb the vine, and others who remain faithful to their origins.
As rappers would say, you can get a black man out of the ghetto, but what you can never do is get the ghetto out of the black man.
Daniel García-Pérez Guzmán (his full name) left the neighborhood, but the neighborhood always accompanies him, like Luke does.
It has been almost 30 years since Guzmán started in the world of show business, and his entire curve has been on the rise.
Today he is 47 years old, so he began to get his first roles - as an extra in television series - when he finished passing adolescence.
Those were rebellious times for Guzmán, when he had not yet decided whether his efforts should be focused on graffiti or drama.
The account of his life indicates that he was an urban artist in the early 90s, when
graffiti and hip hop
were still minority trends
in Spain
, and he was recognized for his style with the aerosol spray and the ubiquity of his signature in neighboring neighborhoods. of Aluche and Carabanchel.
There are no vestiges of that work left for the archaeologists of the future, but there are in his black book, which we imagine he will preserve.
His
tag
on the murals was Typhoon
.
After a few years with no specific objective - he earned a few pesetas accepting temporary jobs, as in a stage assembly company -, he also dedicated himself to amateur boxing, a hobby that he has kept alive, and also began to prepare some competitions for the body ( never better said) fire department of Madrid.
Until, not accidentally, but not premeditated either, he began to enter the world of theater among the bohemians of the center of Madrid and little by little he infiltrated that sector.
Just in his twenties, he had already made the decision: he would be an actor.
Today we know him for roles in series such as
P
olicías
,
Here is no one alive
and, more recently,
Velvet
.
But there is a prehistory that goes further, and that begins with a short film for Fernando León de Aranoa (
Sirenas
, 1994), a small role in
Hola, ¿eres sola?
(1997), by Icíar Bollaín, and so on until he became a regular face on film and television screens.
Guzmán's case, in any case, is different from that of the majority of popular comedy actors, since his career took a turn of the wheel in the mid-2000s, having established himself in a comfortable position -in his case, in
Aqui no one lives
- he preferred to leave the series that gave him visibility and a full fridge to try to start from scratch as a director.
It is not uncommon for an actor to go to the other side of the camera - his most comparable case would be that of Paco León - but it is rare to achieve it with a beginning as round as his: with his first short film he got a Goya (
Dreams
, 2003), and won another one in 2015 with
his first film,
In exchange for nothing
, in which he involved Luis Tosar
and his grandmother, who was then 93 years old.
All these lucky twists in his career did not affect his character.
He says that he is still the same: identified with the modest life of popular neighborhoods like his, that he trains when he can, and that he does not bite his tongue when commenting on the current affairs that surrounds him, because he makes commitment and takes it ideological party a sign of their freedom.
His political preferences, which he does not hide, are clearly visible on his social networks: a few days ago he expressed himself in favor of the proposal to prohibit wolf hunting in Spain, in the same way that it
was fought at the blow of tweet, as if they were crossed hooks, with the bullfighter Cayetano Rivera
a few months ago about how bad the bull sector is going through during the pandemic.
Animalist, anti-bullfighting, environmentalist and related to Podemos thesis
, Guzmán has also condemned the imprisonment of
Pablo Hasél
, the rise in the price of electricity just when it was coldest, the management of the pandemic in the Community of Madrid and the lack of foresight of the Madrid city council before the snowfalls in January.
And between proclaiming and proclaiming, which are amusements with
irregular
engagement
, he takes time to make new films.
The last one, which was announced a year ago and which has been concocting with a certain secrecy, is
Joaquín González
(2021), in which Luis Tosar once again has, this time surrounded by non-professional actors in a picaresque environment, and that points to interesting comedy from the first half of the course.
Which brings us to the starting point: Daniel Guzmán has, as Julio Iglesias said about his children, the vocation of a stray dog.
According to the criteria of The Trust Project
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