Angel Caballero / Look at the camera This is one of the few occasions when I come back with a partner to interview him. And I will sound funny, but ... I've been lucky enough to interview two different Macarena. At first, I met her years ago. A first contact with an actress he had seen in films and with whom I shared a coffee. The second is my best friend. One of the first people who trusted I, the actress who has given me the best advice and has been generous enough to sit with me to make this second installment. This week's release: on Tuesday presented "Elephant Graveyard" in the Festival "Shorts with Ñ ." And the hits theaters Friday "Neon Meat," the latest film by Paco Cabezas. I can only say: "Thanks ."
camera Look: The 2011 promises to be a reunion year for you. On the one hand the film premieres Paco Cabezas, "Neon Meat" and in a few months will see "Word", by Eduardo Chapero-Jackson . How was the experience?
Macarena Gomez: I Paco I have much affection. Is a friend who is already part of my professional family. I'm grateful, because for me there is nothing more satisfying than leaving a director happy with my work and I call again. It is true that this is a reunion year, because I made the first short Paco and Eduardo and now premiered her long. What I like about all this is to release two films, is to be in two projects of two directors who have come to trust me.
Mac: Well, in a way you also trust them when you participated in his first short already known to be an actress.
MG: Yes, you may be right, but I've never seen from that perspective. We must also say that the projects they presented to me at the time were very good, it would have been difficult to say no. The two I won, each in its own way, they wanted to tell stories.
Mac: "We must trust the new generation of directors?
MC: course. They come well prepared and well aware of new technologies. Most have been fed a lot of films and that's something you can see when you read any of his scripts.
Mac: What elements must have a script for you please participate in a project?
MC: What attracts me is to find a character that has ever made. I often provide a kind of characters I have done since before ... That does not add anything, it enriches me and I do not poses a challenge as an actress.
Mac: But now, "Neon Meat", you're back to get into the skin of a character who had already played in the film.
MG: That is, it has nothing to do with this character with the other. I think it's the one who has changed from "Meat ..". In the short was an undercover cop who became a junkie to discover case. The Canija of the film is a very soft and dependent. It may be one of the roles further away from me I've played. I am a very safe, with very clear ideas ... the only point that we have in common is our vulnerability.
Mac: How did you prepare this character?
MG: To compose the way he moves, I went with a friend, I can say it was you?
Mac: You
MG: Then we went to the Calle Montera to watch for hours, the behavior of prostitutes. How to approach men, how to negotiate, how to play for the look ... That was a good exercise in observation in the film could not apply too much, because I can not see working in the street. Most of the prostitutes had a gait that we saw very sexy, so to make this character was a little different, I decided to make it very awkward. And emotionally ... can not tell you how I did it. Do you remember? (Laughter)
Mac: I think it was your intuition.
MG: Yes, I am very intuitive and always try to get an idea of \u200b\u200bhow the character. I also like working on the basis of what gives me the actor I have before. For example, I have very good relationship with Vicente Romero and felt it was my protector in the film. The relationship with him was created which later joined the character. When we were filming in Argentina, I remember that I lived on the second floor and attic Vicente. He cooks very well and many nights we were invited to dinner to me and Damaso Conde , with something similar happened. We were acquaintances, but in Argentina created a friendship so strong that it is reflected in the film.
Mac: When Damasus and I talked to you in your interview, the two agreed on what amazed us your ability to concentrate on shooting. Is it something innate or you've developed over the years?
MG: I've been learning over time. I remember when I started much clueless with everything going on around me. These are technical things that are learned over the years. Now I can be rolling, and I find out what is happening outside my scene. Classes with Fernando Legs also helped me to learn to concentrate. Mac
: You are from the text is learned with semicolons. Would not you like to improvise?
MG: I love, but you can not always do so. It's something to agree in advance with the director and the partner you have, not to make a chore. On the other hand, I think it takes some respect by the writers, because if you have a point is about something. Unless they or the director let you change it. After four years in "looming" where you can not change anything, just taking a lot easier to memorize.
Mac: Your years as a dancer helped you in your acting career?
MG: Yes, because the two instruments he works with an actor is the voice and body. Some people have more developed one than another. In my case, is the body. To have done ballet has helped me a lot because I am more aware of the possibilities of my physique. Died a few days ago one of the people from whom I learned more, my dance teacher of life. In part, I'm an actress thanks to her, because she taught me to play through the dance. The other day a friend reminded me of something she used to tell me when he got a saying: "Come , Macarena, this is your time to make yourself shine and can mourn."
Mac: You are a very active person. Do you have more difficulties with the characters extremely quiet?
MG: are the ones I cost. The characters with very little energy is a challenge for me. Indeed, these are the ones who offered me Chapero-Jackson and has cost me more to do. Eduardo director is a very quiet and during filming I watched him and tried to catch it of its energy.
Mac: How did you been maturing as a director since his first short to long?
MG: I think it's growth we have seen all through their work. If a director or an actor, not mature and evolve over the years, is not going well on your way. In the case of Eduardo is a constant improvement. In my opinion, "The End" was already a movie in its purest form. I always say: "To extend" The End "a little more, would have a great western."
Mac: Slowly you turning into the queen of the film.
MG: I love to say that. (Laughs) I enjoy making short films. Yes, I am now more selective when it started, because I give so many that I have no time to do them. But where we'll always next to my friends to work together, as in the case of "Elephant Graveyard."
Mac: "You did it for me or because you liked the project?
MG: I was doing two short at a time, recording "The looming" and with my university exams. Could not help but what was going to say no to a short with my best friend and they had written for me. If someone had offered me at another time would have done so because I liked the character of Margaret.
Mac: Is it easier to make a character that you have written as one that will not look anything like you?
MG: Do not believe, because as you know I have written for you think you have to keep up and you judge more. This has been talked about ever since we both felt the same. You can not afford to fail and have to push yourself more.
Mac: But now, "Neon Meat", you're back to get into the skin of a character who had already played in the film.
MG: That is, it has nothing to do with this character with the other. I think it's the one who has changed from "Meat ..". In the short was an undercover cop who became a junkie to discover case. The Canija of the film is a very soft and dependent. It may be one of the roles further away from me I've played. I am a very safe, with very clear ideas ... the only point that we have in common is our vulnerability.
Mac: How did you prepare this character?
MG: To compose the way he moves, I went with a friend, I can say it was you?
Mac: You
MG: Then we went to the Calle Montera to watch for hours, the behavior of prostitutes. How to approach men, how to negotiate, how to play for the look ... That was a good exercise in observation in the film could not apply too much, because I can not see working in the street. Most of the prostitutes had a gait that we saw very sexy, so to make this character was a little different, I decided to make it very awkward. And emotionally ... can not tell you how I did it. Do you remember? (Laughter)
Mac: I think it was your intuition.
MG: Yes, I am very intuitive and always try to get an idea of \u200b\u200bhow the character. I also like working on the basis of what gives me the actor I have before. For example, I have very good relationship with Vicente Romero and felt it was my protector in the film. The relationship with him was created which later joined the character. When we were filming in Argentina, I remember that I lived on the second floor and attic Vicente. He cooks very well and many nights we were invited to dinner to me and Damaso Conde , with something similar happened. We were acquaintances, but in Argentina created a friendship so strong that it is reflected in the film.
Mac: When Damasus and I talked to you in your interview, the two agreed on what amazed us your ability to concentrate on shooting. Is it something innate or you've developed over the years?
MG: I've been learning over time. I remember when I started much clueless with everything going on around me. These are technical things that are learned over the years. Now I can be rolling, and I find out what is happening outside my scene. Classes with Fernando Legs also helped me to learn to concentrate. Mac
: You are from the text is learned with semicolons. Would not you like to improvise?
MG: I love, but you can not always do so. It's something to agree in advance with the director and the partner you have, not to make a chore. On the other hand, I think it takes some respect by the writers, because if you have a point is about something. Unless they or the director let you change it. After four years in "looming" where you can not change anything, just taking a lot easier to memorize.
Mac: Your years as a dancer helped you in your acting career?
MG: Yes, because the two instruments he works with an actor is the voice and body. Some people have more developed one than another. In my case, is the body. To have done ballet has helped me a lot because I am more aware of the possibilities of my physique. Died a few days ago one of the people from whom I learned more, my dance teacher of life. In part, I'm an actress thanks to her, because she taught me to play through the dance. The other day a friend reminded me of something she used to tell me when he got a saying: "Come , Macarena, this is your time to make yourself shine and can mourn."
Mac: You are a very active person. Do you have more difficulties with the characters extremely quiet?
MG: are the ones I cost. The characters with very little energy is a challenge for me. Indeed, these are the ones who offered me Chapero-Jackson and has cost me more to do. Eduardo director is a very quiet and during filming I watched him and tried to catch it of its energy.
Mac: How did you been maturing as a director since his first short to long?
MG: I think it's growth we have seen all through their work. If a director or an actor, not mature and evolve over the years, is not going well on your way. In the case of Eduardo is a constant improvement. In my opinion, "The End" was already a movie in its purest form. I always say: "To extend" The End "a little more, would have a great western."
Mac: Slowly you turning into the queen of the film.
MG: I love to say that. (Laughs) I enjoy making short films. Yes, I am now more selective when it started, because I give so many that I have no time to do them. But where we'll always next to my friends to work together, as in the case of "Elephant Graveyard."
Mac: "You did it for me or because you liked the project?
MG: I was doing two short at a time, recording "The looming" and with my university exams. Could not help but what was going to say no to a short with my best friend and they had written for me. If someone had offered me at another time would have done so because I liked the character of Margaret.
Mac: Is it easier to make a character that you have written as one that will not look anything like you?
MG: Do not believe, because as you know I have written for you think you have to keep up and you judge more. This has been talked about ever since we both felt the same. You can not afford to fail and have to push yourself more.
Photo: Erika Gasparini (Photo for the short "Elephant Cemetery")
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