In a year widely described as exceptionally strong for Spanish cinema, Fernando Tejero finds himself celebrated with a new Goya nomination in a supporting role for a dramatic character. The nod not only marks personal achievement but also reflects his collaboration with Alberto Rodríguez, whose film Modelo 77 placed Tejero under the direction of a filmmaker he had long hoped to work with. The nomination caps a busy season in which Tejero contributed to five films and awaits the premieres of Mariano Barroso’s Últimas volunteers, Gustavo Hernández’s Wild Wolf, and Málaga, a project written by Chiqui Carabante during filming for the Amazon Prime series Los Farah.
Again, Goya recognition sits on the horizon. What does this nomination signify to the actor personally? How does it feel to return to the Spanish film awards fray?
Tejero expresses pure joy. He has previously been nominated for a comedy and for a dramatic role, and he recognizes that Modelo 77 stands as a significant film in a year filled with strong cinema. He notes that breaking into the nominations in such a competitive landscape was challenging, yet the nomination itself feels like an award and a validation of his work.
Alberto Rodríguez, a director Tejero has long admired, has crafted another acclaimed film that has earned numerous accolades. Tejero remarks that Rodríguez was among the top directors he wished to collaborate with and that the opportunity finally arrived. He praises Rodríguez as a singular talent whose films emerge from a clear and fearless directing vision. The director knows precisely what he wants and how to guide his performers, a combination Tejero finds both inspiring and effective.
When asked about portraying a character based on a real event from Modelo prison in Barcelona in 1977, Tejero confirms he did his homework. He was aware of the prison’s history, its closure, and notable figures associated with it, though he admits not remembering every detail from memory. He prepared by reading books suggested by Rodríguez, especially those penned by someone who lived through the era, to capture the transition and the prisoners’ struggle for dignity as accurately as possible.
Is it important to remember these chapters from recent history? Tejero believes so, particularly for younger generations who did not witness the dictatorship and the Transition. He emphasizes the need to educate and reflect on how rights have evolved. He cautions against repeating the mistakes of the past and highlights the role of documentaries and films in preserving memory of Spain. He hopes this film will remind audiences of a time he does not want repeated anywhere in the world.
Regarding filming at La Modelo as part of the crime scene, Tejero describes the experience as fascinating yet intense. The building, which once felt like a cultural center, is now a place with cramped corridors and the weight of lives once lived inside. He and the cast felt the environment shaped the storytelling, a reminder that the surroundings can amplify the emotional charge of a scene. The sense of history brings goosebumps, and Tejero considers that shooting on location contributed to the film’s unique character and atmosphere.
Tejero discusses his approach to the multiple roles in the film. He chose not to overanalyze the character of El Marbella, relying on Rodríguez’s script and guidance to shape the performance. The character is embedded in a complicated life inside and outside prison, with a family to support and the realities of illicit work. The collaborative process was demanding yet rewarding, culminating in a portrayal the actor finds both challenging and beautiful.
With 25 percent of Goya candidates bearing Andalusian roots, Tejero sees this as a sign of a healthy global cinema landscape. He calls it a source of pride and notes that Andalusia has produced a growing pool of talent and opportunities. He points out that regional cinema has gained recognition and momentum, even as stereotypes fade over time.
Looking ahead, Tejero is set to star in Joaquín Carmona Hidalgo’s first feature Last Will. The story follows a man who has spent two decades behind bars and returns to find his life and relationships transformed. The son he left behind is largely unaware of his existence, and the plot follows the man as he searches for connection and a chance to rebuild, even as old habits pull him back toward past mistakes.
The actor acknowledges that this new role demands a different kind of vulnerability. Tejero is playing a character who lived a double life under the pressures of secrecy. He confronts social rejection and homophobia, drawing on personal resonance to convey the character’s struggle for authenticity. He views this part as a distinct departure from his previous work, one that promises a lasting impact and ample opportunities for discussion upon release.
Does Tejero still find time for comedy? He confirms that a shift toward drama is a natural tendency when offered strong material. He is currently filming Los Farad with Mariano Barroso, a drama centered on a Marbella-based arms dealer family from the eighties, a project that carries significant Amazon involvement. He believes that good scripts and compelling characters make drama easier to perform, and he remains selective about his future roles.
Would Tejero consider changing the public narrative around his career? He notes the challenge of breaking free from pigeonholes when a few familiar television personas dominate public perception. He has fought for legitimacy across the spectrum and believes that broad, media-rich projects help expand his range beyond those early, beloved TV characters.
In reflecting on a career that spans decades, Tejero insists that his body of work includes far more than a couple of well-known television roles. He regrets that media emphasis can overlook his broader filmography, including numerous movies and stage work. While the audience may continue to associate him with certain screen personas, he remains focused on diversifying his future projects and pursuing diverse artistic challenges.
The actor notes that a new season of La que se avecina has debuted on a different set, with José Luis Gil stepping away from the lead. Tejero stresses that the show remains strong and that audiences appreciate the essence of the long-running series, pointing to the resilience of the franchise as it evolves with new cast members.
On a possible shift toward film directing, Tejero expresses interest in one day pursuing that path, though he concedes he is still finding his footing in directing. He believes it could be a natural extension of his storytelling desires, even as he continues to be drawn to acting projects that challenge him.
The theatre remains in his heart. Tejero hopes to return to the stage this year, drawn by the intimate connection theatre offers. He describes theatre as a space where one can develop a character day by day, feeling alive in the moment while stepping away from one’s own identity for a time.
Returning to Córdoba for Christmas remains a cherished ritual. Tejero looks forward to spending Christmas Eve with family, treating it almost as a ritual, a grounding constant amid a busy career.