paco heads, manager ‘Gypsy Bride’I saw Elena Blanco in Nerea Barros (Santiago de Compostela, 1981), but they got him to try more actresses. In the end, the evidence fell under its own weight, and this actress, who was said to have a hundred old women behind her eyes, became an actress. BAC inspector, a tough looking woman He tells her that in order for his son to disappear years ago, he must solve a case that takes away the pain he carries inside. Her resume includes other characters who have suffered, for example Mother of ‘Minimal Ada’a small role Goya in Best New Actress in 2014.
Although this series is based on the novel, Carmen Break Every Sunday, this Wednesday, 28th, by the payment chain Atresplayer Premium Antena 3 is broadcasting its first episode publicly.
When Paco Cabezas called him, he asked about Elena…
imagine. Suddenly I heard the phone, this is Paco and “Elena?” says. And I, overly nervous, slipped out: “Are you looking for someone else?” And he replied: “No, I’m asking about Elena Blanco. Is it you or not?” And then I started screaming. Since then Elena Blanco has been involuntarily calling me
Have you read the novel Carmen Mola?
I read it for ‘The Cast’. But I found a lot of things in the script. Building my character is a time-consuming elaboration. Because I had been working with Paz Moral and my singing teacher for three months, whose scripts I broke….
Clear. She sings in the first episode!
So why does Elena Blanco sing? And it’s not doing it right. And he just goes to karaoke. Where does that song come from? She sings to her lost son. The way out of this pain is to release ballast with punch and song. That’s why he’s excited. Karaoke is her only vulnerable spot. And so you build. How do you survive every day? How could a woman in so much pain be responsible for BAC? Because it is precisely this obsession that makes him hide his pain. And it is destroyed during the night. Then I was worried about how to deal with them as we were sick of seeing the queries. Why are you making them? Which part of the table is dark, which part is the inspector? It’s always a game.
The way she has sex says a lot about her too.
He says, “I want you to wring my neck, strangle me.” He doesn’t fuck. Not with men for pleasure, but to remove sadness from that pain, open leaks… Because if it doesn’t, it explodes.
“Elena Blanco doesn’t make love. She is with men not for pleasure, but to take the sadness out of that pain”
She doesn’t forgive her ex-husband turning the page with her son.
Her ex-husband is great but at some point you have to say goodbye to all that pain. It doesn’t turn any page. A mother does not. That’s where Elena’s arc goes. Everyone says goodbye and he refuses. She feels that her son is out there and must find him. How does a mother close that door? You hate anyone who shuts it down, has anything to do with your son. Because she hurts and wants to be like that. It can’t be any more.
Ángel Zárate (Ignacio Montes) has another way of working and Angel Zárate defeats him.
He’s the head of BAC, he’s there for a reason. No one can tell him what to do when a pipiolo, who has at least half a brain, comes along and is whipped a lot. The first is that he is not affected by anything, because when he imposes himself, he does not impose himself badly. Unless the emotion arises. He never gets emotional, but when he does, everything goes to shit. And in the case of Zárate, the entry is very bad.
But then he takes it home.
Because he discovers that dark crack inside. And it clings to the cracks of others. This pain is pulling him. He also sees someone with possibilities. That something isn’t right, that it doesn’t fit, but that he’s a good cop. Or at least it seems so. Just as he shares in Sonia’s (Mónica Estarreado) pain, Zárate has some connections with her pain. And the only person she trusts and leaves herself vulnerable to is Mariajo (Mona Martínez).
How was filming with Paco Cabezas? Did you bring different routes during your time in the USA?
Logically, Paco has the idea of cinema, a way of shooting, a freedom and openness that comes from working on major American productions. But then it’s super authentic, so true. In this environment, we sometimes tend to wear masks. I don’t wake up this sweet in the morning. We are rheum, we are flesh and blood… But Paco is a friend as well as a director. We love each other. We understand each other with a glance. He is super generous. Despite the madness in his head, there are no barriers, so we are constantly connected.
“I think I have an Arabian and a Gypsy part in my DNA. I wish I could express more!”
Did you learn a lot from the gypsy artists?
It’s been great. Do you know what it’s like to shoot with 200 amazing gypsy people? Madness! Because they have an art; an energy… We went to shoot in the Amposta neighborhood and how they looked at us. What Paco does is to reveal the cracks of the gypsy ethnic group, our reality, with a touch of fictional creational aesthetics, only then is it ours at a very high level. And for the first time, gypsies feel represented. I believe I have an Arab and a Gypsy side in my DNA. I wish I could express more! When I listen to flamenco, something breaks inside me. I really appreciate what Paco has done.
She also played a suffering woman in ‘Minimal Island’ and ‘Island of Lies’. Do you miss comedy?
It’s clear there’s something fundamental in me, so I can somehow empathize with this type of character. But then there’s a different kind of ‘Operation Black Wave’ that I enjoy. I am always with a smile. Yes, it is true, there is a mystery, a depth to my gaze – they tell me there are a hundred old women behind my eyes – something to take advantage of. And I am so grateful to the universe.
Do you think the author of the novel, Carmen Mola, was not actually a woman?
I know it’s a controversial topic, but I’m so grateful that three men wrote such female characters.
At the forefront of the epidemic
Nerea Barros starred in one of the promising stories amid the pandemicbecause instead of doing yoga at home, she donned her previous job nurse outfit to help. It was known only when someone commented on the networks. “I was shooting in 2020. I was the second director and we started shooting everything that happened in the pandemic with two crews. Especially with the elderly. I thought: I must do something. The first thing I looked for was the culprit, but then I realized that it was crazy and we had to move forward and save as many people as possible,” the actress admits.
Because his obsession is with the elderly, climate change and women.. That’s what his cinematographic creation as a director is all about. “The first piece, ‘Memory,’ is a grandfather, a grandchild, and climate change. A grandfather who lost his sea because he was a fisherman, a grandchild who was born in the desert and never seen waves, and a place that looks worn out, but—I am communicating creatively with Paco Cabezas about it— I want to bring out the beauty of old age, of devastated places, because there is a trace of understanding of what is going on deep inside”. A work that has gone through many festivals and is on its way to Goya.