Miguel Ángel Muñoz: "I will always be the boy from 'Un Paso Adelante' and to much honor"

• Newspaper library Read all the interviews on the back cover

After his great success with the documentary

,

gets on stage to play Marina's deceased husband, the protagonist of the play

, at the Teatros del Canal.

How do you play a ghost? Óscar is a consistent and honest guy who may not have done things right, but he didn't know he was doing it wrong. What was Óscar wrong about? If you're not in love, you have to be brave and take a step.

He doesn't give it, but neither does she.

And this is what the work is about: that each one has to set their course.

It's called co-pilot syndrome because Marina has always been the co-pilot in her husband's life.

Not making a decision is making a very important one. Are there still many women who need a partner to set the course for their lives? Many people.

This is transferable to any human being who does not live his life, but that of others. You have triumphed with '100 days with La Tata', where you have dared to show old age, something that nobody wants to see.

Honestly, it was not my intention to talk about all this, nor can I put a medal on myself.

I wanted to tell my story and my fear when I wasn't going to be with my Tata.

And, suddenly, Covid came and I showed our truth, our pandemic, what it's like to grow old, to accept the lack of independence... I'm very proud, but I didn't do it on purpose.

If I come to think of it that way, it doesn't come out. You haven't had any qualms about showing yourself vulnerable, which seems to be something that men are forbidden to do. open therapy.

There is a very specific moment in the film where I break down and tell what is happening to me at that moment.

I am so.

We all cry and have a bad time.

Sometimes I project an image of a successful young person who can do it all and can't do it all.

What would the new masculinity be like for you? I don't know if I fit in there.

I have changed over the years.

When I was much younger, I also had a harder time expressing emotions.

My profession has saved me.

Knowing myself, doing therapy and being able to put my emotions at the service of the characters.

If a man doesn't cry, how can the character he has to play cry?

Through my profession I began the therapeutic world and that has nurtured me as a human being and as an actor. Has it taken you long to be taken seriously in this profession? Well, I have never asked myself that question.

I have always felt that I was taken seriously at work because that is how I have been since I was 10 years old.

I started making a film with Jaime de Armiñán, we shot in negative and I learned this profession the old-fashioned way in a very special way with Paco Rabal,

Carmen Maura and Amparo Baró.

I was nurtured by them in my first job and I have maintained that essence to this day.

That's why I try not to let the perception of the public or the critics define my state of mind. Has it been difficult for you to remove the label of 'A step forward'? No way!

You never take that off.

I will always be the boy from 'A step forward' and with great honor and pride.

It never bothered me.

It's been 20 years and people keep telling me.

He makes me feel very proud.

It's a job well done.

It could be 'The paper house' of today.

We went out to 60 countries, there was a music group, we filled the Palau San Jordi and all the bullrings in Spain.

I've shot with Sharon Stone and I've seen all of her filmography.

What is she like, please? She is a formidable actress with exceptional charisma and the other actor was Andy García, who is 'The Godfather'.

To this day, every time I go to Los Angeles I meet Andy and ask him to tell me again how he was given the role of 'The Godfather', as I have asked him to tell my friend Perico and every Spaniard who arrives .

And Andy may be sick of being asked, but he's proud.

Being asked about a 'Step forward' makes me excited. Will you ever return to the stage?

You came to act with Janet Jackson. In the documentary there is a moment in which you can see a few seconds of the concert that I shared with Janet Jackson, in which her shoulder comes out while singing.

For years, I've said no, but you never know.

If an interesting project arrives,

why not?

I hope to do a musical at some point in my life.

The singing and dancing comes all the time, to my regret many times. Kit Harington, the actor from 'Game of Thrones', complained that he was treated like a pretty face.

Have you ever felt like an object man? No.

Life and profession puts each one in a place.

Many times you cannot change things, but you can feel good about what you are doing.

In 'Un Paso Adelante' they kept taking our shirts off, but it was justified because we were dancing and sweating a lot.

Perhaps there was also a body cult part.

If I have seen a script where it was something free, I have mentioned it to the director.

And if we have reached an agreement and I have done it, it has been because I wanted to, even if I did not agree with the scene.

On some occasions they have taken my shirt too much and on others, I have even been able to propose it. Was your role as 'El Moro' in 'El crack cero' a qualitative leap in your career? Without a doubt.

Not only because of the complexity of the character and what was far from me, but because a director as important as José Luis Garci gave me the opportunity to play that role. You've said that you expected to play the leading role. I was angry.

They are things of the ego and life puts you in your place.

I had done a play with Garci and he told me that we were going to shoot

but because a director as important as José Luis Garci gave me the opportunity to play that role. You have said that you expected to play the leading role. I was angry.

They are things of the ego and life puts you in your place.

I had done a play with Garci and he told me that we were going to shoot

but because a director as important as José Luis Garci gave me the opportunity to play that role. You have said that you expected to play the leading role. I was angry.

They are things of the ego and life puts you in your place.

I had done a play with Garci and he told me that we were going to shoot

.

When they called me to tell me that

was going to do it, I said: "What Moro? I'm the protagonist. Tell Jose that I'm

.

Are you seriously telling me?" Also, it was going to be Víctor Clavijo instead of Carlos Santos. And, in the end, Víctor couldn't and it wasn't me either, but Carlos. 'El Moro' looked much better on you. That happens many times. You insist on doing something and it's not for you, even if it hurts. It's for someone else. Recently, the same thing happened to me in another project. I wanted to do a character and they didn't give it to me. And I got angry because I had friends with those who directed it. What is the most difficult order for an actor to obey? whether it's going to be believable or if you're going to forget about the text... That's where the director has to know how to transmit that confidence to you. It's about putting aside fears and trusting your intuition. In

It cost me a lot and José Luis told me: "Trust, trust." What annoys you the most about the casting? Not having the information.

In the United States, when you go to audition, they give you all the information: the character's profile, who wrote it, the producers, the scene and the complete script.

This way you can do the test better.

Here they give you some lines and pull.

And I have a bad time.

If you know the director and the producer, you can do a better job. Are you a great seducer? Uff, but what a phrase, right?

Imagine the headline: "I am a great seducer."

I don't identify with that headline.

But my way of relating has to do with pleasing.

For example, I like your yellow glasses.

I would wear them.

I would tell you.

That can make you feel good.

It's not that he wants to flirt with you or something specific about you.

But that can sometimes be misunderstood.

Does it bother you to be persecuted by the gossip press? It doesn't bother me, but I don't love it.

I accept it, but I try to follow the same discreet line of my whole life.

I try by all means to have a plot of privacy that is as insurmountable as possible.

I try to be on the sidelines and not read it. You give the image of being a perfect person.

Do you hide any defects? I have to do something to get rid of the image of the perfect son-in-law because it is not true.

Let's see if I play a really bad bad character. You've already done 'El Moro'! And in 'Un Paso Adelante' I don't even want to tell you.

In 'Without Identity' he was a scoundrel.

But from 'Masterchef' they tell me about the perfect son-in-law.

It is not true.

I have thousands of flaws.

To start my hyperactivity.

I give that image and I don't know what to do.

I'm much more rogue than people think.

We know a lot about La Tata, but very little about your mother, who was a famous clairvoyant in the 90s. Do you have a relationship with her? Man, of course!

In fact, when I received the Forqué Award, I dedicated it to her.

She goes in the tone of my intimacy with my family.

I try to lead my personal life with the utmost discretion.

The same thing happens to me with the couples I've always had.

I have a wonderful family and a very good relationship with all of them. What is the biggest blow you have had in your life? The death of my friend José Samano two years ago.

He was the producer of 'El postman de Neruda' where we met.

He is one of the most important people in my professional and personal life.

I remember him every day and I am proud that part of him is in me.

Another friend Javier Muñoz, with whom I co-wrote the first draft of Tata, has recently left.

The disappearance of the people you love the most is what you have the worst.

You have to prepare and for this I am doing a therapeutic training that has to do with mourning, death and palliative care.

Conforms to The Trust Project criteria

Know more

• master chef

• theater

• Final Interview