Oh my God. The speaker jokes about playing a Jesuit role, noting that Saint Ignatius would lift his head in surprise.
TRUE? The speaker offers a counterpoint: he once studied electricity with the Jesuits at the Jesús Obrero school in Vitoria, mentioning current educational paths and master’s degrees in progress, including FP 1 and FP 2.
And has that stance remained unchanged since then?
No. The Jesuits held their own views, but they provided a solid education. In ideological debates they were not meek or passive.
Is it odd for a self-professed atheist to refer to liberation theology?
It seems ridiculous to have to assume roles like a post-Franco era lieutenant colonel or a member of the national police. People in the arts are actors after all.
It’s true that Even Amundsen and Christopher Columbus left their mark in Salamanca. Still, one imagines discovering America while dealing with physical pain and the weight of the journey.
The speaker reflects that Columbus did not endure the same challenges as he did, and remarks on the constant awareness of land and horizon.
Did Emilio Martínez Lázaro, known for eight Basque surnames, grant a sense of grace despite wearing a symbolic txapela in a Koldo role?
The speaker recalls being one of several actors, highlighting this film as a before-and-after moment in cinema, likening it to seminal shifts in storytelling.
He co-wrote Bajo Ulloa’s film Airbag and wore a black lehendakari. Did the Basque party’s influence dilute the essence of the work?
No one loses anything. Cinema can wink at politics and even crack a joke, but it cannot spark a revolution. Humor may occasionally feel underwhelming, yet the country’s cinema remains largely progressive.
If he was the one who carried Airbag before, and later known on the streets as Koldo, could one imagine seeking a confession after Ellacuría?
The speaker would relish a divine moment of absolution and would forgive everyone, and do so freely.
How does he view sin?
He believes there is no original sin that binds him. He does not claim special innocence either. When asked who they are, where they come from, and where they go, the answers are unclear. Without knowing the bylaws, he fears making mistakes simply because he is human.
When asked what Amenábar has given him, what does he say?
Amenábar is described as magical, wise, multicultural, and loving. He possesses a great sense of humor, listens well, cares for everyone, acts with kindness, respects himself, and guides intelligently. The speaker cherishes him deeply, yet acknowledges the strain this friendship can place on others who are close in the industry.
What about Imanol Uribe?
The speaker wanted to discuss this. It is the third collaboration with Imanol after Días contados and Miel de Naranjas, plus another project in which the director is treasured. Filming in Madrid, far from the full crew in Gipuzkoa, felt different from working in Cali, Colombia. Imanol is a pleasure to collaborate with, clear and precise, carrying a steady, strong presence. He is a sage.
Does cinema and culture skew toward the left in his view?
The speaker identifies as progressive and left-leaning, noting that Spain, much like Hollywood, has a cultural sphere dominated by those perspectives. He also asserts that artists with varying ideologies exist and would not claim culture belongs only to the left; he works with friends on the far right and values them.
He describes himself as a green observer who does not align with PSOE or PP democracy. What would his version of democracy look like under Vox?
He questions the term democracy itself, arguing that only the PSOE and PP have governed since the Franco era. His version would protect personal freedoms—abortion rights, smoking, public intimacy, shopping—yet he would not champion a single party. He believes a culture needs capable thinkers, not empty rhetoric.
He admits to frequent anxiety about screwing things up. Is this a common feeling?
Yes. The absence of clear guidance, the lack of reception staff, and the uncertainty about how to proceed all fuel a fear of ruining ordinary life, parenting, relationships, and acting. The fear of missteps remains a persistent companion in the creative process.