Inma Cuevas:" I can never miss the love and enthusiasm for the work 're doing "
Monday, November 29, 2010
Example Dental Hygiene Personal Statement
Angel Caballero / Look at the camera had long wanted to interview Inma Cuevas. I could see his work on "Women" and "The Lady" and I have to admit that I left fascinated. Nothing to do with the laughter that I stole from the theater with "My first time." To my surprise when, from croissants and coffee, I said it was reader looks at camera. This weekend ends, for now, with "The Last Days of Judas Iscariot" in the Study of Black Adam. Do not know about you, but I do not think me lost.
camera Look: Do you remember when was the first time I went up to the stage? Inma Cuevas
: a child in the representations we made at school. He was about eight when I made my first character in a play that was called "Bazaar of toys." It was the story of a girl who was lost in a bazaar where all the toys came to life. I was one of those clowns coming out of a box spring. We even did our own costumes out of cardboard and cartons.
Mac: "That you knew you wanted to be an actress?
CI I've always been quite clear. When I turned eighteen, my acting coach of the school was directed me to know which site should go if I wanted to be an actress. So did the tests for Resad, but I took ...
Mac: not believe you. How could they let you escape?
CI Well, you see ... (Laughter) I passed the theoretical, but practical, no. At first I felt like the world had not come there, but it was not. My parents told me I had to enroll in something and I got into tourism, but he combined working nights as a storyteller, my friends. I felt I had to keep preparing myself as an actress and went into Réplika with the intention to follow training to re-do the tests Resad. I felt so well during that first year, which ends up being there, and then started working at his theater company.
Mac: What time are you planning a career in film production?
CI Although Réplika was very comfortable, I felt I had to fly and learn new things. I was in other companies, I took pictures, went to the producers, but all I asked for a videobook did not have. So I did some courses in acting for the camera, a friend and I recorded a monologue make me a DVD, I opened this material many doors and I did a book to write down the names and addresses of the casting directors to I could get. Even got to write a script for when called to the sites asking if they could meet me, because I cut too much to say this "Hello, I'm an actress." It is difficult to print photos and curriculum, and spend money you do not have in videobooks and transport to go to sites, but in the end, has its rewards.
Mac: What would you say was your big break?
CI "Women." This series, I discovered a new world was a wonderful school and met people like Felix Sabroso, Dunia or Ayaso Carmen Ruiz, who taught me to work in teams and with the ultimate truth. That was very nice, because everything we did out of love and illusion. Over time, I learned that it is easy for some of these things are lost on the road, the speed with which the industry works or lack of time, but it is something that we are not affected.
Mac: Remember the last time you saw someone get excited about one of your jobs?
CI The other day he came to see me at the theater my friend Denis Gómez . It is very rewarding when you look at the audience and is excited because shows that what you wanted to transmit has arrived.
Mac: Is it easy to forget that our work is intended for an audience?
CI Unfortunately, yes. When you've been doing the same thing thirty functions can lose the motivation, but must be sought, whether colleagues, the director, the public or the text. It is true that not every day we are equal, and sometimes it's difficult to go on stage and communicate, but we must fight it and not lose the north.
Mac: Michael J. Fox said that when it became known, his teammates began to treat him differently. In the overnight all greeted him as if they knew of a lifetime when never before had crossed a word. Did you this happened?
CI From the moment you go on TV, it's like a step and come upstairs belong to another world. Although all greet you like they know you and, in part, is very nice, because you feel you belong to something, but we must keep our feet on the ground for that not to influence you and believe you can reach more than you are, a communicator.
Mac: Have there been times when you have confused the fellowship with friendship?
CI Often when you're on a project, you find very nice people, and you think you are going to be great friends for life, but it is not. We live in a "Big Brother" for the duration of the work you're doing, but when everything just go back to your day to day with your people forever. Of course you can also find great friends. I have finished projects and felt that without these people could not continue with my life, but then you realize that it is not. It should be clear who your family, your friends, the pillars of your life ... so that does not happen.
Mac: What is your opinion of the press and interviews?
CI Les I have enough respect. I confess that these things I'm still pretty clumsy. I relax when I talk and sometimes they do not know where the limit. Because of this, I had a very bad experience with an interview I gave to a girl who was Freelance . She told me it was for publication in "The Country". I relaxed, I told her personal things off the record , and eventually published in a gossip magazine. Since then, I try to be more cautious.
Mac: As we are not going to deviate from what has brought us here and is a good time to ask how you prepare it for your characters?
CI depends on each project. I have come to develop a character from a sound, its shape, color, text, or what my colleague has given me. For example, now with "The Last Days of Judas Iscariot" I tried working from the truth, saying the text and looking at the audience in the eye. It is still hard work, but very beautiful. I have shed all my layers and show me as the text suggests. What ever may be lacking is the love and enthusiasm for what you're doing.
Mac: How did you this project?
IC: Thanks to my friend Joaquín Abad. He was already inside the company and when two actresses could not continue, Joaquín proposed my name to make a replacement. Already knew some of the actors in the role and work of Adam Black , but to him personally, no. I am very happy because I work full of joy and trying many new things.
Mac: the last time I saw you on stage was replacing Look Ibarguren "My first time." Now go back to make another substitution in theater, do you not been afraid to live up to the actress did before you?
IC: Look When I saw "My first time" what I felt were really looking forward to getting on there and do what she did. It's a whirlwind of a woman, it is true that I Can you handle this? But start rehearsing and everything is so marked that it is easier than it looks. In comedy you have to respect good times, silence and guidelines to work. In the case of "The Last Days ..." the word "substitution" takes on another dimension, because in this book work from ourselves with words that makes us the text at all times. Even the costumes are the same, or the character's movement around the stage ... Every player is unique and brings something to his character is what makes it distinct from the work of others.
Mac: One of your most recent television work was "The ma'am. " Is it very different for you board a vintage character to a more current address?
CI Yes, because playing a character of these features means you can work some ways, a way of thinking, talking or doing research at the time, with a contemporary character that you have it, because you live in your day. It's completely different. Such characters are very gratifying, because suddenly, you're reacting to things a certain way that now would be impossible.
Mac: When was the first time I saw in a magazine?
CI In The Guide Leisure, "I saw my name when we did" The kitchen "in Réplika. Then, with "Women" I started doing more stories in other magazines. I remember one very nice that we did in "No2".
Mac: Do you keep any of them?
CI I have an album full of clippings from magazines and theater programs in each city you go. I like to remember the places I've been, theaters and the companions I had. And I have to do a little cleaning, because although I love doing these things, I'll have to finish my house saliéndome.
Mac: Are you faithful to the text or do you prefer improvisation?
CI I have a lot respect for the text and almost never dare to change anything. Although there are other times in trials, where new things are born and I like to incorporate. I think the text gives it everything and it's really hard to say it over and over again making it sound like the first. This also depends a lot of freedom you have in your work you're doing. On this subject I have an anecdote Félix Sabroso will never forget.
Mac: Let us know. It would be a good way to end this interview.
CI In "Women" I was very methodical and did not improvise ever. I remember a chapter in which he my last scene with Oriol Vila, Felix asked me: "Do not you tell the body calls for more this and that." I told him I wanted to say that and much more. Then he said: "What are you waiting for? Tell. "
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