Miguel Ángel Muñoz: "I try not to think too much about plans for the future because you never know what is going to happen"

Miguel Ángel Muñoz (Madrid, 1983) has learned to nourish himself from life, not from work. That is why he can afford to choose and enjoy the projects. In 2019 he gave himself the...

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Miguel Ángel Muñoz

(Madrid, 1983) has learned to nourish himself from life, not from work.

That is why he can afford to choose and enjoy the projects.

In 2019 he had the pleasure of working with his great friend

José Luis Garci

El crack cero

Last year, he made the leap to directing with

100 days with Tata,

a film about his confinement with his great-great-aunt

Luisa Cantero

, now a celebrity.

He now premieres in Teatros del Canal

The Copilot Syndrome

, where he plays Óscar, Marina's late husband (

Cuca Escribano

), a woman who crosses the Mediterranean alone on a sailboat to fulfill her last wish, a play written and directed by

Vanessa Monfort

who adapts her

best seller Women who buy flowers

The work has already premiered in Malaga with very good reviews. Yes, it was a success with critics and the public.

The Cervantes Theater was full.

I was very excited to perform there.

In the last 20 years I have gone to the film festival, to do different things and the truth is that being on stage and seeing that beautiful theater up to the top and then standing applauding for a long time made us very excited.

We have started the journey on a very good footing. On stage, he confronts issues that sooner or later reach everyone: the identity crisis, the feeling that the reins of life have been lost... or that they have been handed over to others .It is a work that apparently is for women, but it is not from my point of view.

It also comes to me as a man, or as the male character I play.

Because the story of Marina tells is a story that it is true that women have suffered mainly throughout so many years in a society in which the woman dedicated herself to the family and assisted the husband in his commitments and occupations.

And, suddenly, one day she realizes that she has not had the reins of her life.

She doesn't keep track of her life and she doesn't even know who she is.

This is what happens to Marina in our function, that she discovers her identity within that eight-day journey.

But I believe that she is transferable to any human being, men and women of any condition.

Because if there is something that the human being seeks since he begins to have the use of reason, it is that identity.

And, normally, life, people, friends or couples take us in one direction.

And sometimes we get comfortable and do not realize that we are not living ours.

It is very important to reflect on what this work tells. "The course is crucial because not making a decision is making a very important one," says Óscar. Indeed.

There is another moment where the character tells Marina that most people settle for small, reduced happiness and give up complete happiness out of fear.

And he is the one who affirms that he believes that she was the one who was afraid of being a mother.

Sometimes fears can be very big and we can verbalize them.

But other times they can be tiny, unconscious... They're back there.

And since it is something that does not bother us, well, we push forward with other things that perhaps are not what we really want.

And we find out too late.

It is very important to reflect on what this work tells. "The course is crucial because not making a decision is making a very important one," says Óscar. Indeed.

There is another moment where the character tells Marina that most people settle for small, reduced happiness and give up complete happiness out of fear.

And he is the one who affirms that he believes that she was the one who was afraid of being a mother.

Sometimes fears can be very big and we can verbalize them.

But other times they can be tiny, unconscious... They're back there.

And since it is something that does not bother us, well, we push forward with other things that perhaps are not what we really want.

And we find out too late.

It is very important to reflect on what this work tells. "The course is crucial because not making a decision is making a very important one," says Óscar. Indeed.

There is another moment where the character tells Marina that most people settle for small, reduced happiness and give up complete happiness out of fear.

And he is the one who affirms that he believes that she was the one who was afraid of being a mother.

Sometimes fears can be very big and we can verbalize them.

But other times they can be tiny, unconscious... They're back there.

And since it is something that does not bother us, well, we push forward with other things that perhaps are not what we really want.

And we find out too late.

says Óscar. Indeed.

There is another moment where the character tells Marina that most people settle for small, reduced happiness and give up complete happiness out of fear.

And he is the one who affirms that he believes that she was the one who was afraid of being a mother.

Sometimes fears can be very big and we can verbalize them.

But other times they can be tiny, unconscious... They're back there.

And since it is something that does not bother us, well, we push forward with other things that perhaps are not what we really want.

And we find out too late.

says Óscar. Indeed.

There is another moment where the character tells Marina that most people settle for small, reduced happiness and give up complete happiness out of fear.

And he is the one who affirms that he believes that she was the one who was afraid of being a mother.

Sometimes fears can be very big and we can verbalize them.

But other times they can be tiny, unconscious... They're back there.

And since it is something that does not bother us, well, we push forward with other things that perhaps are not what we really want.

And we find out too late.

And he is the one who affirms that he believes that she was the one who was afraid of being a mother.

Sometimes fears can be very big and we can verbalize them.

But other times they can be tiny, unconscious... They're back there.

And since it is something that does not bother us, well, we push forward with other things that perhaps are not what we really want.

And we find out too late.

And he is the one who affirms that he believes that she was the one who was afraid of being a mother.

Sometimes fears can be very big and we can verbalize them.

But other times they can be tiny, unconscious... They're back there.

And since it is something that does not bother us, well, we push forward with other things that perhaps are not what we really want.

And we find out too late.

In fact, his character believes that he has been honest in his life. Yes.

That's how I interpreted it.

And, obviously, there is a twist in the script and the public will surely see it differently from a certain moment.

But I feel that Óscar has been honest with her and also with her abilities.

That doesn't mean he's done everything right.

In fact, I think he hasn't done well and there is a moment when I share the feeling that Marina has and that she confesses to him in this journey where she talks to her ghost.

But he has done what he could and the other person has also acted accordingly.

One does it wrong and one can even hurt other people.

But the other person, depending on his abilities, can also be hurt or take another direction.

And in the case of Marina, well, the direction he took was to continue with what Óscar wanted.

As a result of the success of '100 days with Tata', he commented that we lived with our backs to death and now that he plays a character who is, directly, dead... Yes!

[laughs].

Look, this is something that touches me a lot.

100 days with Tata

It speaks precisely of that: of the fear that I have of not being close to my Tata after so many years.

And now that I am 97 years old, on my way to 98, it is something that I have very much in mind.

And this project has helped me to reflect a lot on this, to try to prepare myself in the way that I can to be a little at peace.

And, curiously, now comes to me this work in which my character is dead.

And also a death.

And, suddenly, there are phrases that touch me in a very, very special way.

There is a moment when he asks her not to be sad, or to be sad for as little time as possible.

That you have to dance on a cemetery, that you have to make flowers grow on the dead, that failure does not exist: the end of things exists.

Sometimes the only failure is the inertia of making them continue.

It's a metaphor for the relationship she had.

That makes me very aware of something I've been doing for quite a few years now: trying to enjoy life to the fullest with myself and with the people I love the most.

In this case, well, with my father, who is known to enjoy a lot.

And don't think too much about future plans because you never know what's going to happen.

In the case of my character, well, he dies very young, and he has a lot of life left to live.

I wish that the one who lived did it in the best possible way.

At least that's what I try to do. Seize the moment even if every farewell makes you sad... Sometimes, it's fear.

I admit that this happened to me ten years ago and he spoke of this in