Lucía Díez: "When I was 18 I saw myself without any kind of ideology, I didn't know what I was thinking, I didn't know anything"

Madrid, 1996. After appearing in series such as 'Velvet Collection', 'La Catedral del Mar' and 'El Cid',

has just finished the series 'La noche más Larga', which Netflix premieres in July, and finalizes the theatrical production 'Die erbe' ('The Invisible Inheritance') which is presented in the Exlímite room in October after having been conceived in his laboratory.

It's an assault on a psychiatric prison.

One day a criminal arrives, a serial killer and suddenly some hooded men appear asking to be released and handed over or, if not, there will be war there.

One of the plots is how the others live, the imprisoned patients.

My character has sociopathy and within the prisoners there are levels of dangerousness, so I'm in the green module.

They are sociopaths who have committed blood crimes but do not reach the level of psychopaths.

In the end, due to circumstances, due to patterns, due to things that happen to you, you can generate a more sociopathic character or not, because you are not born being a sociopath, but because of everything around you.

I seem very social, very 'forward' but I'm much more with myself than it seems.

In fact I am more into myself than the mass.

For me, the pandemic meant stopping, being at home and doing everything that I hadn't had time to do until now.

I've been accelerating for a few years because I've tried to reconcile work with university and I've gone very fast to everything.

I feel lucky, I've had a great time all these years, it's been great and I've learned a lot.

But just before the time of the pandemic there was a part of me that needed to rest.

I also have that personality that if the doors to the street are open I like to go out, play sports, travel, be fast.

You can't imagine what I did that I didn't take a nap.

I'm a bit of a restless ass, I love to snoop around and there's a part of me that feels guilty if I stay home doing nothing.

But, on the other hand, I think I have to become a little more friends with that and be able to give myself permission to not always be a thousand.

Technology is going super fast.

And I also.

I've been carrying that guilt for a long time.

I thank Cristina Rota, my teacher, for everything.

It has been the best and has given me all the bases and all the artistic tools that I have, but it is true that I am a hypersensitive person, I am super emotional and since I was little the world of theater, psychoanalysis and all this has empowered me shit.

She would lie to you if I told you that I'm going home scot-free, because there are times when it's harder for me to leave the character on the job.

You grow, you live and the people around you grow too, take certain paths of thought, ideology or whatever.

And the theater has made me understand that everyone chooses their way of seeing life.

She has taught me and I thank her very much.

I'm excited that people get a character, that they want more and that they have fun.

It makes me laugh.

But neither have I experienced what could have happened with series that have become a phenomenon and that you practically cannot go out on the street.

Lately, I wonder a lot what is happening, why there has been so much change from my generation to that of my parents, in terms of lifestyle, work, emotional... In my parents' generation I see that the problems they faced each other like 'tó pa'lante'.

And I take great delight in questioning myself, in asking myself who I am, how I want to live my life, in questioning things that sometimes make us not make those decisions that you made 'forward'.

I think you did not give yourselves permission to stop and think about what was happening to you and what could happen to you.

It is necessary to introduce the human, because it seems that we only live by and for success, to be someone.

Why do we live to work and not work to live?

Sometimes I wonder why it's so important and why we have so much talk about the best version of ourselves and you have to be the best at what you do.

And if I do not want?

They have their good side, things that come to light that otherwise we could never discover, as is the case with some claims.

But there is also the other part: Where is the limit?

To what extent can your exposure on social networks be harmful?

And then everything that surrounds aesthetics, which I think can be very dangerous.

Now everyone is known.

And all that noise makes me question that, what is success and what is fame.

That's why I studied Law and Politics, because when I was 18 years old I saw myself without any type of ideology, in any sense.

I didn't know what I was thinking, I didn't know anything.

And I had soaked up this speech that politics is useless.

But then I said: Wait, we are social beings by nature, we have to live in society, politics is necessary.

So I went to study it.

What happens is that power corrupts.

So it's hard to learn to see the bright side of politics.

Because it's not just politics, there are a thousand things around it, there are a thousand national and international organizations... It's very complex.

But hey, I've spent five years, now I'm with the master's degree... and I'm still not clear on anything.

I change my mind every week, I love that life changes me when I go through it.

It would be a pain if I was always clear about what I think and what I am.

Conforms to The Trust Project criteria

Know more

• Netflix

• theater

• Final Interview