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Miguel Chazo

The actress from Madrid stars in 'The killer of whims', a sinister thriller about a criminal who kills his victims inspired by works by Goya

She is one of the best known and most beloved figures in our country, always involved in several projects (now, for example, she has a poster, until the end of the year, the Invincible work at the Cofidis Alcázar Theater), with an extraordinary ability to get involved. , in many occasions, in the skin of characters to the limit. But, far from believing that everything is done, Maribel Verdú (Madrid, 1970) acknowledges feeling grateful for each project in which he participates, in which he always tries to have fun and enjoy during filming.

Trailer 'The killer of whims'

In El killer de los caprichos , by Gerardo Herrero, a series of deaths in the wealthy Madrid neighborhood of Salamanca have put law enforcement officers on alert. The finite, all of them high class people with a recognized passion for art, are murdered in a very unique way. In addition to ending their lives, the murderer has been careful to recreate in great detail some of the works that make up the series Los caprichos de Francisco de Goya.

Given these unusual facts, Carmen Cobos (Maribel Verdú), an inspector who does not go through her best moment, must take charge of an investigation in which she will end up being involved more than necessary and that will lead her to contact some characters that seem to hide something . Among others, Eduardo (Ginés García Millán), a restaurateur visited by many buyers of works of art; the very president of the Community of Madrid (Ruth Gabriel) or some people who, like the finite ones, feel an incredible attraction for the works of Goya and are seen by high level auctions. Next to her, Inspector Cobos will have Eva González (Aura Garrido), a sub-inspector with a personality diametrically different from her own, or Commissioner Vargas (Roberto Álamo), who will put her agents on alert.

Although nothing can be told not to ruin the final surprise, did you guess who the murderer was when he read the script? Of course I had no idea who the killer was! (laughs) Here it happens as in all thrillers, where they always give you clues about someone who seems to be responsible for the murders ... and then is not. I find it hilarious to play to believe who it can be. Normally it is not what one thinks. What do you think of the good reception that the film obtained at the Sitges Film Festival? Very good. Above all, considering that the public that goes to that event knows a lot about this type of cinema. I stayed to see her during the screening and I will tell you that there was a huge silence. And that, as soon as we went out to present it, I saw how people began to applaud. Something that does not usually happen much ... The film is a thriller starring two policemen who are played by two women. Do not you think that this detail should not attract so much attention at this point? The sad thing is that we have to underline it ... As you say, almost every time we see a story of this type has two men protagonists. Or, at most, a man and a woman. But almost never two women. The day that is naturalized and does not have to underline something we will have won. Still nothing. How did you work on getting into the skin of a police inspector with such a rough character? For this I talked a lot with a woman who worked for years as an inspector and who, over time, wanted to be in the street and is now the head of a group of riot police. She is a sweet, lovely aunt and, above all, she is a woman. And he is also a policeman. Suddenly, before older people, such a woman is usually not well seen. I don't mean her, but in similar cases many think that "the girl has arrived and is sending." But they are there for something. Surprising that you still have to be justifying things like that. Therefore, many are forced to have a rude and strong character while being in a world of men. Regarding my character, Inspector Cobos is a bitter woman, with a very fucked up and alcoholic past. So having that character is not something that costs you a lot.

Deputy Inspector González (Aura Garrido) and Inspector Cobos (Maribel Verdú) work together to clarify the crimes.

Does such a character, with such dramatic intensity, lead you to have to empty yourself when you play it? I only interpret. Really. I am not emptying. It is true that there are days when you have a more intense sequence than others and I get home more tired. Or you finish a shoot and you can feel exhausted. But, on a daily basis, I am very aware that I am interpreting. When I participate in intense shootings, too. For example, the toughest character I think I've done in my life was that of The Good Star . Well, I didn't stop laughing with Antonio Resines and Jordi Mollá, who kept imitating Chiquito de la Calzada! And then they shouted action and we quickly put ourselves in our role as sufferers. In The killer of whims has been the same. All the actors and the team have had a great time. Doesn't it cost you then to disconnect? I am one of those people that if, during the 12 or 14 hours of a shooting day, she has to be suffering, she would be a poor woman and she would be going to the psychoanalyst every day. And I tell you because I think that most of my characters in cinema all they do is suffer. Less Snow White and little else ... So, unless I have a very specific scene where I have to concentrate a lot, I try to be in good spirits with everyone. If not, I think it would sink me into misery. Would you like someone to feel the need to "discover" Goya after seeing some of his works in this film? Would be wonderful. Hopefully that will happen with those who do not know his work and arouse his curiosity to meet the most important portraitist in the history of our country. In addition to a visionary. Are you grateful that such a genre film has such a careful bill? I believe that Spanish cinema has proven to be able to play a range of options and genres and do it very well. Another thing is that you have more or less budget or more or less talent. In this case, one of the things I like the most is that it lasts an hour and a half that goes by flying. And that, at the same time, has moments that pause history and make you think. In my case, they are those in which my character wanders aimlessly through the streets and silently looks at the computer. Are those planes more difficult without dialogues or those in which your character speaks? I take a chance and tell you really: nothing is comparable to the word. The difficulty of a phrase, to say it in its right half, with its tone ... For me, that is the most important thing. Look, I usually place points to the sequences of my scripts taking into account the difficulty they present for me. In this way, a very dramatic sequence in which I have to be crying or shattered but I don't speak or punctuate it. For me, the difficulty is when it comes to speaking, which is why I study my dialogues a lot.

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