Safe in Madrid, the third installment of Padre no hay más que uno premiered this Wednesday. Following strong box office performance in the first two films, which arrived in the summer with a light, festive vibe reminiscent of summer hits, the team aims to deliver the strongest summer release yet.
In a conversation with Europa Press, the filmmaker and collaborator praised the comparison to a renowned professional. He noted that just as the earlier films captured the summer mood, the new project strives to become the defining cinematic moment of the season, in the words of the interviewee.
The star also admitted that shooting the movie Padre no hay más que uno 3 was the most challenging period of his career. He explained that the cast faced a sharp rise in Covid-19 infections driven by the Omicron variant. Samples of the health crisis were kept high, and despite extensive safety measures, infections spread quickly. He described living through a time when vaccination coverage had been uneven and precautions were not always as strict as needed.
Actress Loles León, returning as the grandmother in this third chapter, confirmed that filming was completed. She described the production as tough, given the health issues faced by a close colleague and the overall surge in infections. After a long stay in intensive care, Antonio Resines was chosen for the grandfather role, with the final casting ultimately falling to Carlos Iglesias.
Wept for Leon Resines
The actor’s fragile health cast a shadow over the filming diary. The team captured moments that became emotionally heavy, and one day a wave of emotion hit when the reality of his condition did not improve.
The veteran performer spoke fondly of his role as the grandfather and as someone who shares the family’s chaos during Christmas. The plot includes a scene where a Nativity figure from Javier Segura’s collection is accidentally broken, prompting a brother to fetch a replacement that mirrors the original in every way.
The film opens with a sequence featuring Santiago Segura and Toni Acosta dancing. Filming had to be pushed forward by four weeks because of contamination, and Segura ultimately contracts an infection himself.
That scene has been described as a childhood dream realized, according to the director, who discussed the idea with his partner during a celebration for the film’s second installment.
The cast and crew rehearsed extensively. A dedicated choreographer helped shape the moment, and the execution lived up to the anticipation. Despite the chaotic circumstances, the scene proved its worth and earned praise for the way it captured the team’s shared experiences.
The actress who plays Marisa, the mother, remarked that the preparation paid off in the final take and that the result was worth the earlier disorder. She emphasized the value of the moment for the film and its fans.
“The best thing is public acceptance”
Santiago Segura expressed that he felt both proud and grateful for the reception from audiences, noting that public response matters far more than awards. He cautioned against the idea of awards without a willing audience, joking that even a potential trophy would feel hollow if no one watched the film.
He stressed that cinema’s strength lies in what the public embraces. His aim remains to bring laughter to viewers while avoiding offense, even when that balance is delicate in places.
He reflected on humor and the reaction of audiences, saying the measure of a joke rests in how many people laugh. When the crowd laughs, the joke lands; if not, it misses the mark.
Making the LGTBI Community Seen
During Madrid Pride Week 2022, Loles León became a visible advocate for the movement by featuring in a short film called El Mundo Entero. Her portrayal challenged homophobia and supported sexual freedom. The impact of that scene has grown to reach millions during Pride celebrations in recent years.
León underscored the importance of keeping these themes visible so that audiences perceive them as normal. The message, she says, travels through time and remains relevant across works, including Una noche con ella, reinforcing a similar advocacy in her artistic output.
Toni Acosta added that progress should not be reversed, insisting on portraying genuine experiences where acceptance is still evolving. The goal is to reflect a reality that resonates with many while remaining respectful of broader audiences.