Marta Etura: “In life, you can cover something, but in the end she ends up putting it in front of you” | Culture | EUROtoday

Marta Etura (46 years previous) seems on the Lavapiés café the place the interview will happen with a pleasant and smiling gesture. Since changing into a mom, the Goya winner, additionally nominated on three different events, has lived in her hometown, San Sebastián, however returns at any time when she will to Madrid, the town the place she arrived on the age of 17 to check appearing on the Cristina Rota college. Now the excuse is the promotion of The lengthy shadows (Disney+), a thriller choral psychological directed by Clara Roquet: “She has been magic. We have understood one another very nicely. She created a piece house earlier than filming, very particular and infrequently discovered, by which she was completely open to proposals.”

Ask. Have you been aware of the recent debate about whether actors can touch scripts?

Answer. I infinitely respect the scriptwriters, who for me are the germ of everything, without them we would be nothing. But, as with everything, you can't generalize. Sometimes the characters creak, but what are you going to change to a Shakespeare? Well, nothing, because it is so magnificently written and the characters are so well drawn, that you don't change anything.

P. But maybe Shakespeare is nice and listens anyway…

R. I think that was the precious thing about this process and Clara's gift: she is a super intelligent woman, with a very special sensitivity and a listening capacity that you rarely find in life. One of the things that I am most passionate about about this job is that, teamwork, because it seems to me that it nourishes us all.

P. Are you more comfortable when the projects are choral?

R. I am comfortable when there is a good story, a good director and a good team, because, I insist, it is a team effort and it is essential that it goes in the same direction. The director is like a ship captain, the one who tells his crew: this is the course, this is what we are telling. This was one of the things that attracted me most to this project, that the thriller It was a pretext, an excuse, to delve into the characters and talk about the behaviors of human beings.

P. The series talks about a group of women who, as young people, go through a trauma together that will unite them for life. Is she capable of thinking about an event that has marked her like this?

R. Well, without being specific, women have a past in which we belonged to men, it was like that. In other words, my grandmother could not have a checking account or travel without my grandfather's signature. Women did not have economic independence and, therefore, we did not have any type of freedom. More than a specific event, it is our most recent past. But I also don't want this thing that is happening now of taking everything in terms of gender or polarizing. The series stars women, but that means it is for women. We have been watching films starring men all our lives and we have never thought that it was for men.

P. But does the feminist label bother you?

R. No, I am a feminist. How can I not be? I defend equality between men and women, because, furthermore, I have always said, machismo not only harms women.

P. This story is based on a novel, but if you had to represent a true story without the consent of its protagonists, would you do it? what do you think of the true crime?

R. I am an actress. I like to work in fiction and through fiction. I also believe that art in general and cinema in particular are magnificent tools to mobilize emotions, feelings and generate reflection and dialogue. In fact, in the rehearsal process, we had two psychologists who helped us a lot, because they know what the behavior of a human being is in certain circumstances or with certain traumas.

P. The series talks a lot about childhood wounds and how they determine the rest of people's lives. Do they worry you when you think about your daughter?

R. Of course, but it's impossible for there to be no injuries. It is impossible, because no human being is perfect. I am trying not to make the mistakes that I believe were made with me, but I will make others.

P. Has the classic of understanding your mother better being you happened to you?

R. I had my daughter when I was 39, almost 40, a phase of life that is also an awakening. The famous midlife crisis has nothing to do with being old or young, but rather looking back and understanding many things.

P. Do you remember any specific revelation?

R. Well, in my family, since we are very northern, it was not very normal to show affection. I have really missed affection in that sense: the skin, the hug, the kiss, the I love you. And I have tried to change that with my daughter, so much so that sometimes it overwhelms her. [risas]. I think that the protagonists of the series did not have an emotional environment where they were listened to. And that made them cover, cover, cover. But in life, you can cover something, and in the end she ends up putting it in front of her.

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