When Mercedes Moran (Córdoba, Argentina, 66 years old) arrives from Buenos Aires, where she lives in the Madrid she holds in her heart, she always calls Inma Cuesta and Barbara Lenny, two young friends whose sensibility She admires. There’s nothing more like this great Argentine woman of interpretation – the one we last saw in Spain Empire And who received the award in recognition of her entire career at the Malaga festival compared to supporting other actresses last night. Not in vain, half of the more than twenty films in which he has acted have been directed by women. This is why the award has driven him so much: “After all, I am not competing on a shortlist against a colleague, admired or beloved”.
Ask. He has said that he has once given up on the huge fame that the series gave him because he didn’t always want to hear what he wanted to hear…
answer. I have always said that if you are always surrounded by a group of people who are there to serve you, to pamper you, you run the risk of being fooled. Living in that bubble that responds to that insignificant desire to be perfect in everything takes you away from the real life that nurtures you as an actress. After a very successful TV show, I am trying to make an autism film on a small budget. I take great care of the material and star system,
P. When was the last time you were told something you didn’t want to hear but was constructive?
R. Well, once I was receiving an award and my eldest daughter, who is also an actress, was with me. And there was a parade of people passing by and saying nice things to me and each time I replied: How cute!, How lovely!, How charming! And he said to me: “Okay, mom, that’s enough, you’re so stupid, everyone likes you.”
P. And when was the last time you got angry because rewarding yourself didn’t mean rewarding someone else?
All the culture that goes with you is here waiting for you.
R. I have a great fortune, which is that these actresses who have been before me, who have been references to me, such as Norma Alandro, Nacha Guevara, Graciela Borges, are actresses with whom I have a very loving bond, who have brought me up and carried me forward. their experiences. I think it would be very bitter to be recognized and to realize that your coworkers don’t love you.
P. Is there any aspect to the word diva in which it is identified?
R. I try to leave that place all the time, I find it very uncomfortable and laborious. Perhaps the only thing it gives me is to be able to choose, to argue with directors, and to be able to participate creatively in projects, that I take advantage of.
P. Her way of talking about actresses is very much in line with the definition of the word that has become very popular, the famous sorority. You’ve Said You’ve Explored Feminism Like It Thanks To Lucrecia Martel, Were You Sexist Before?
R. I was never traditional. When I started working there was a lot of demand for tradition, in a patriarchal world like cinema, there was a demand for a certain body type and I rebelled against it when I was very young and just starting out. When I already had a little more space and power, I protected other actresses, more inexperienced or younger. I have been very sensitive to abuse of any kind because I have come from a time when it was very natural. Abuse was considered part of the character of directors or some acting teachers. I was always opposed to it, even if it meant losing a job or contacts. For a long time it was difficult for me to publicly say that I was a feminist because the prices that could be paid were suddenly, until about fifteen years ago, already feeling more mature and what could be caring less about that, I decided it was cheaper to pay those costs than not to reveal
P. Was there anything in particular that changed you?
R. Clearly, the fact of working with female directors influenced that part a lot, it made me very aware of the rights we lacked.
P. Can you explain how working with a male director is different from working with a female director?
R. A director makes a film to narrate an experience. If she’s a director, it’s usually about a woman’s life. There are directors, men, who look at the female universe in a very sensitive and interesting way. And, ironically, there are women who don’t. In other words, I think the issue of feminism is not of gender, but of ideology. What is clear is that some roles in the industry have historically been given to men and other women and this is changing, which makes me very happy because it means a lot to me that quotas are respected. Then, when a woman with a feminist ideology tells the story of a woman, there is clearly a gender perspective involved that makes me feel more represented. But sometimes it happens that the character is not really a feminist heroine, as was the case. the swampfor example.
P. You have said that you never judge your characters. At what point do you start judging the script?
R. From the first moment! I focus all my attention on what is told, what is the subtext, what is the message. Of course I don’t judge characters because otherwise I wouldn’t be able to act. I love playing characters who do very different things than what I do. It leads me to revelation and stirs up something in me that is precious to me: destroying prejudices.
P. Tell me a character who has broken your prejudices…
R. woman playing Spider, I thought that a woman acting like her lacked affection, but when I put myself in her place I saw that I had a lot and felt pity for her, which I don’t often…
P. In other words, she is not usually kind. Are you being too harsh with your daughters?
R. I am very demanding of myself and it took me a while to realize that I set the same standard with those around me. That’s why I’ve learned to be more compassionate with myself and with others….
P. She has said that in her first birth she spoke three languages she did not know: English, French and Esperanto. Is this true or exaggerated?
R. It was a long time ago, imagine my daughter is already almost 40… but it seems that yes, I was unconscious for a few minutes and when I started coming and they asked me to assess my level Ask specific questions. Chetna, I started answering in those languages. A few days later a kind of medical congress formed around me and they asked: “Do you watch a lot of science fiction movies?” [risas],
P. Sorority with friends is a matter of desire, but perhaps more complicated with children. Have you ever competed with your own daughters?
R. No, because when they decided to do this work as actresses, directors, writers, I had already thought a lot about this issue of competition with actresses, which I had to suffer a lot in my youth. In fact, I did a play, Love, pain and what to wear?, in which I chose to work with an actress who was a reference to me; Another with whom I competed for a long time because it was my age; My own daughter, and a director under whose orders I was and whom I used as a laboratory to put myself in the place of others. He challenged me and I freed myself and I never felt that feeling again because I realized that there is some great love that binds me to him.
P. Are you the kind of person who is afraid of old age?
R. I am not afraid of old age, but of how to take care of me. I am worried not about getting old, but about becoming an old woman. I’ve had a lot of contact with elders and I’ve noticed that there are all styles: people with an inner world that pleases them even with their own limitations and some who are bitter about the passage of time and the limits it brings. . this is what i consider to be a lousy old lady [risas],
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