Angel Caballero / Look at the camera Damaso Conde is one of the human actors I've met in this profession. I remember that we had in the central Plaza del Dos de May, just before going to Argentina to film "Neon Meat." I had never seen him work and a few months later I see this movie. You can not imagine the real luxury of being able to congratulate a colleague, from the maximum Indeed, he has done a great job. It seems I'm not the only one who thinks so, for those who have seen the film at Sitges and the Seville Film Festival, and speak of him as a rising star of English cinema.
camera Look: few months ago I asked you did this interview and you advised me that it was better to wait to be closer to the premiere of the film. An actor has to learn to wait? Damaso
Count: Yes, even when you're working you have to be aware that you are many hours of waiting in the clubhouse. Terele Pávez once told me: " This profession did not choose you, you you choose it. " This is implied in all the waiting and many other things in this job that can be a little harder to bear.
Mac: What would you say when you chose this profession?
DC: Well, I think we're about to get married. (Laughter)
Mac: What has it meant Paco Cabezas for you as an actor and as a person?
DC: It was very important. We met when we were studying in Seville. He was always very clear that it would come to Madrid and make their films. The truth is that it has committed much in me and has never stopped calling me. Even when "Neon Meat" was not short or film, he had to submit a dossier, with photos and some video for a contest and already at that time offered me the character of Ricky. That was seven years ago, when he was newly arrived in Madrid. For me, Paco means a lot. Is a director with whom I have great confidence when working and when you know that the director trusts you, you have the job half done.
Mac: appears that the reunion went quite well.
DC: Yes, but not only celebrated with Paco. I also liked back to work with some colleagues who were in short or Vicente Romero Macarena Gómez , whom I have known much better and has shown me the great person he is.
Mac: Was it very different The Infanta, your character, which we saw in the short, which now see the movie?
DC: Maybe the difference is that there is a kind of serenity that was not in the script of the film. It has been five years since this, in which we have all matured, and it shows in the film. On the other hand, of course, the plot is more along my character and think of other things like that becomes infatuated with a baby experienced a kind of call of motherhood, and all this in a comic.
Mac: In this movie there are many well known actors such as Jane Doe , Blanca Suárez, Antonio de la Torre or Macarena Gómez, but after his passing at festivals, many media have demonstrated a special interest in you as a future promise. How does it feel when this happens?
DC: The truth is that I'm not very conscious. I guess when the movie opens, and spend a little time, you will be able to answer this. What I can tell you is that makes me very happy.
Mac: Carne Neon "is your first film and which appear, in all your plans, characterized transvestite. Are not you worried that the public will not be able to see other records or do not recognize you when you appear in future projects?
DC: If that happens, it scares me because I happened to short. After "Neon Meat" I was offered a play in which my character was inspired by the Infanta, and then made a short film that was titled "Ladybug with dog." Fortunately, these characters were nothing flat, but their sex were the same. There is a fear of being pigeonholed, because they let you enjoy other stories that maybe I feel like telling you. What really strikes me as dangerous is that, being my first film, as people do not know me, you think I'm like the character and not offer me other jobs.
Mac: 've worked on some shorts. Have you been a good school?
DC: Yes, and long has been a super school (laughs). The good thing is short, as the team is small, you can work side by side with them and learn a lot. It also makes you realize how important it is the job of director of photography, sound ...
Mac: In some, such as "M," I'll never be anybody? "Have sex scenes somewhat compromised. Will not it be too risky for a short?
DC: is that things can not risk not interest me as an actor. I'm not attracted to characters levels to which nothing happens inside. I have great affection for Miguel Martí , but "Sexykiller" I made the character of a reporter, where the only thing I asked was that it was a crazy ladybug and nothing else. I'd rather take a high risk scenes, but where it has to be genuinely involved and do a cliché.
Mac: To Roll "Neon Meat" you went to Argentina. When the team moves to another place and its members have to live together usually create a kind of family. "I did this happen to you?
DC: Yes, for example, Macarena and I slept together a few nights, because I had trouble sleeping and she helped me relax. Vicente Romero was used to prepare dinner and then went out all together. It created a kind of bond that I think has really helped the film. To me it was my very important to see an authentic relationship with Mario Casas. I wanted people to go see the movie to understand what unites me with his character and why I have always been at his side.
Mac: Are reader of film magazines?
DC: When I was little it was more. Now do not usually buy. I hope this does not harm in the future and I never want to take any of these magazines (laughs) I see a lot of films, but I'm not very up to date with everything that is published.
Mac: What attracts you to the cinema as a spectator?
DC: powerful stories. More interested in what I have to tell a director, or a good script, the actors who appear in the film. I love the directors Haneke, Lars Von Trier , Fellini , Isabel Coixet, Fernando León or Icíar Bollaín .
Mac: All do you have appointed a very different kind of cinema to what, until now, have you done as an actor.
DC: may attract me so much. When I go to see some of his films, it's like something happened inside me that I touched and transformed me.
Mac: Do you usually set in the work of other actors when you have to prepare a character?
DC: No. Although "Neon Meat" Paco Cabezas asked me to fix on the character that made María Barranco in "Women on the Verge of a Nervous Breakdown." I saw the movie several times until I got some things that were very helpful, as his speech. For me, it was very important to work with a woman as a reference and not with another transsexual. I wanted to get in touch with his feminine side and develop to the fullest, because this character he wants to be a woman. It also helped me a lot when I was characterized with makeup, costumes and wig. Before shooting began pasearme used as the character, between the computer and I noticed as I was growing inside me. My major premise to create a La Infanta was that they wanted, which is what we all want ...
Mac: "You prepare the same way all the characters?
DC: always begin doing a table and then try to go wide open the tests, to ride the situations that occur. I also trust my intuition a lot and I make little attention to the director.
Mac: What have you learned from your peers in this movie?
DC: De Macarena I love your professionalism. She always arrives on time, we know the text perfectly, has a great ability to concentrate and control brands to perfection ... In other colleagues, as Angela Molina, who have spent their entire life in this, as you imagine ... there were times I did not know if it was working or living in one of his films. The first time I had to side was fun. I was lying on a bed in the room off to the times when you're not rolling. I was half asleep before you put the wig, makeup, clothing ... and when I woke up I found her asleep at my side. I did not know anything and I felt sorry for getting out of bed and wake.
Mac: Where would you like to arrive?
DC: I am nothing ambitious. I think things come when you have to reach. Everything has its time.
Mac: Is there anything you would like to add?
DC: No. So we keep something for the next interview. (Laughter)
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