“On the filming of Belle Epoque the four of us were [Ariadna Gil, Miriam Díaz-Aroca, Penélope Cruz y ella] all the time hugging, kissing. Fernán Gómez told González: ‘Agustín, you imagine us touching each other’s balls all the time, what would they say about us? Look at them, on the other hand, rubbing themselves all the time.’ “They couldn’t believe it.” After the Oscar for Belle Epoque, Verdú began to chain films. He shot up to five a year. With Luna rice, Jaime de Armiñan —“Another genius”—, Carlos Saura, Emilio Martínez-Lázaro…Changes the century with great international success: And Your Mother Tooby Alfonso Cuarón, which earned an Oscar nomination.
“He told me that it can only be interpreted from truth and honesty. I totally subscribe to it. I would also add from common sense, which is the least common of all the senses, as someone very wise said,” he declared. And, suddenly, a stop. He threw himself into the theater: I love you doll, dangerous friendships, For love at art…But I missed the cinema. The scripts that came to him did not convince him.
“Most of them seemed terrible to me and some just seemed decent. Pedro [Larrañaga, su marido desde 1999] It helped me a lot. He said: ‘Worthy is not enough. Do you really like it?’. ‘No, I don’t like it, but there’s nothing else.’ ‘Well, if you don’t really like it, don’t do it. He endures.” And he did that until another Mexican director insisted that he appear in the cast of a gothic horror film set during the Spanish Civil War. The Pan’s Labyrinth. “I remembered Maribel’s melancholy at the time of The good starthen, for some reason, it faded into a lighter, more sexy“I wanted to recover the previous one,” Guillermo del Toro justified at the premiere of the film, in which Verdú plays the villain’s maid, a Franco captain whom she serves while helping the maquis. Luis Alegre agrees fully with Del Toro. “Maribel is one of a kind. A very complete actress. She dominates all registers: comic, tragic, tragicomic, dramatic, melodramatic, sensitive, torn, tender. She is full of truth and always enriches the characters of her. “She belongs to the world elite,” maintains the journalist.
The director of the Tudela First Feature Film Festival, a close friend of hers —“I met her in 1986, 38 years ago; She was 16, so I know what I’m talking about,” he warns—he tells me that Maribel “never gets tired,” something that is evident during this interview. She is curious and loquacious, she qualifies each answer, she corrects the questions, she cross-questions them. “I have a lot of energy and there comes a time when you have to reset, to recharge. At first, when filming, she was aware of everything, the focus puller, the cameraman. She thought: ‘Let everything get into my eyes, I can’t miss a single detail.’ Now I go into my dressing room to read or color mandalas so I can give it my all later,” she reveals. She defines herself as a very specific type of actress: “I am a creator. I create my characters together with the director. I change the texts, the order of the scenes. I have done it with Cuarón, with Del Toro. With [Francis Ford ] Coppola —with whom he filmed Gloomy in Buenos Aires in 2009—less so, because of the language, although also. Nobody imposes on me. The only one who hasn’t let me change a comma is Santiago Segura. Cinema is a team effort, because directors without actors and technicians, what do they do? Have a coffee, because you’ll tell me. I remember that Gracia Querejeta wanted to shoot a very long monologue in four takes, and I in a sequence shot. She listened to me. Actors are not puppets. And sometimes your ideas push you back, that would be nice; and others, they buy them from you.
Now that she mentions Querejeta, she didn’t feel identified with his characters until the one from Seven French pool tables (2007), his first Goya.
They all have something of mine: the soul, but it is true that I have played characters very different from me. I never judge them, I learn from them; They also drink from me. Of course, I’ve had a lot of Civil War, a lot of period films… So with that woman who has to face the vicissitudes of life alone, with all its problems, its ghosts, its economic realities after the death of her father. .. I fully recognized myself in her.
2024-01-23 07:51:03
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