The actor talks about Lurking, a film that he shot in full success of La casa de papel and that opens twenty years after Okupas, the series that consecrated him Source: LA NACION – Credit: Ignacio Coló

There is something in actor's work that is never fully revealed. Behind a movie, a series or a play there is a ritual of opportunities, artistic choices, prejudices, good and bad offers, dead times, repeated shots to exhaustion, perfectionism and emotions. Of discomfort and satisfaction. For Rodrigo de la SernaActing is a bit of all that. He is aware that three minutes on the screen can be the result of many hours of individual and collective work. A moment on the screen where your own demand, the different ways of producing content and your own decisions coexist. It was several of those preferences – that of not being a typical soap opera heartthrob and being, for example, a boxer – that led him to the overwhelming conclusion that, in the end, nothing is luck and everything is to choose and accept: "The roles that I choose are never very comfortable. "

Of the Serna It is an SUV. Not only for his artistic abilities, which placed him in drama, comedy, action and the police almost equally (and also in music, at the forefront of El Yotivenco); but because of that very own physical component that makes him put the body all the time, whether it is to dance the "killer bonbon" (Inseparable, 2016), to box (Against the ropes, 2010), to escape from the monoblocks (Squats, 2000) or to crawl through the bush in search of poachers as in Lurking, the film that from this Thursday will be available on the platform. "It may be that there is a physical imprint on me, in what I choose to do," he tells LA NACION magazine. "After roles like these, I miss those scenes sitting in a cafe, looking out the window, talking, at a table …".

"It is a profession, yes, but it is also a game, and if you make a mistake it does not hurt anyone," says the actor. Source: LA NACION – Credit: Ignacio Coló

Lurking It tells the story of Pablo Silva, a park ranger assigned to Pereyra Iraola Park after a work episode that earned him being questioned by law. Silva's ambiguity – is it good? it is bad? What would it be to be good or bad? – it blends into a natural environment, distant but recognizable, that not only deals with giving a place to action and history: the park is one more character, a space where the urban coexist, the rural and the wild. "I had an artistic and professional debt to Francisco D'Eufemia, the director, who had summoned me to participate in his first feature Escape from Patagonia, which is inspired by the life of Perito Moreno and his link with the original peoples. The script of Lurking I loved it from the first moment, because it showed his knowledge of Pereyra Iraola, of what was in there, "he says. And although he does not have enough with the film to know how supported in reality the story is, it does arouse curiosity about of the perimeter themes of the film: poaching, animal trafficking, the expropriation of the park by Juan Domingo Perón and the decline of some public spaces.

The work of acting

Of the Serna He debuted as an actor in 1995 in Cybersix, the adaptation of the cartoon by Carlos Trillo and Carlos Meglia that was broadcast on Telefe in a miniseries format, when television was seen on television and films on film (or at most on VHS). From that moment on, he did not stop working, and it is very likely that the reader remembers several of his characters, due to the imprint he gave. Among them, El Goyo de Champions of life, the Flavius ​​of Vulnerable, the Franco of Brothers and detectives, the Lombard of The pointer, the Alberto Granado de Motorcycle Diaries and Jorge Bergoglio from Call me francisco. Of course there is a before and after of Ricardo Riganti, his character in Squats, the 20-year-old Bruno Stagnaro miniseries that marked a milestone on national television. And there is his Juan Manuel de Rosas from The farmer, who made in theater with Pompey Audivert, and now Palermo, the engineer with whom he joined the success of La casa de papel. A history of the most varied.

More is not known about his personal life than is known. When Rodrigo was Goyo, he met Erica, who was none other than Erica Rivas, with whom he had a daughter, Miranda, who is also an actress. After the separation, and when Rodrigo was Ezequiel, his character from Against the ropes, he met Ana, the character of Soledad Fandiño, with whom he was also in a relationship. In Compulsive timesWhen Rodrigo was Esteban, the magazines of the heart linked him with Sofía, who was Pilar Gamboa, his serial partner. And closer in time he formed a couple with the journalist Ludmila Romero, with whom he has a one-year-old daughter and a son born last February. None of this -except for a photo with Miranda- is reflected in his Instagram account, which has a million and a half followers, but which has been inactive since last year. Even when he talks about the running of the bulls these days, Rodrigo does not refer to his privacy. Privacy is literal.

Poaching and animal trafficking are the axes of a story that was shot in just four weeks
Poaching and animal trafficking are the axes of a story that was shot in just four weeks

Before rolling again The paper house, the fifth season, the actor talks about the difference between working in large productions or smaller products. "The technical rigor in a production like The paper house It is very different when it comes to facing work, they are different crafts, "he says. What is required of the actor also varies between mainstream and craftsmanship, "but taking that out, the actor's job is the same: to be connected with the character, with the role, with the here and now. And when they say action, do it and do it well," he summarizes.

Lurking -a kind of Creole western- was the ideal excuse for De la Serna to put the body once more, this time not only accompanied by humans -Belen Blanco and Walter Jakob are from the game- but also by a fox, perhaps the relationship more authentic than Silva holds in the film. Both shared an essential feature: the confinement. The animal was in a cage and Silva, in his uniform. "It was wonderful to connect with that animal," he says. "Although it was a domesticated fox, with an animal there are no masks, there are no filters, there is nothing. You have to connect and what comes out at that moment comes out."

That what comes out It is not only due to the unpredictability of an animal, but also to the actuality of cinema as an artistic fact, which is also a business. Blind cock (2001), the first film that had De la Serna among its protagonists, was filmed in eight weeks, while this shoot lasted four. "The economic crises and the crisis of the cinema itself -the new forms of consumption on platforms- changed the way of filming. Today everything is very tight, tighter, they are filming for longer hours, more intense and shorter," he adds.

At 44, De la Serna shines - now by force - on streaming platforms
At 44, De la Serna shines – now by force – on streaming platforms Source: LA NACION – Credit: Ignacio Coló

And now is when he says "the roles I choose are never very comfortable." He brings it up for his participation in The paper house, the series that gained public recognition rather than criticism. "We were screaming or with very intense emotions all day, in unconventional situations and with a lot of emotional vertigo. That requires a lot, it is a very strong physical and emotional demand. You really got tired after such a day, because the scenes were They repeat many times, a luxury that the largest productions can afford, "he adds.

For adults or girls, local or foreign, today the only possible screen is the home screen. Rodrigo understands, but still regrets. "It is a shame," he says, "because all the color treatment, sound, and the director's gaze, the actors' work and the technical part, were focused on the big screen. The film event is completed in a room, with the public, like music, the theater, with the atmospheres that are woven together with the spectators. But at the same time, a platform like saves us from this situation. If there is a global pandemic and you cannot going to the movies, it is not bad that this platform serves to expose our work and that people can see it. " De la Serna did not want to talk about the pandemic, but the topic comes up alone, as in almost any conversation today. "Who can this hit well? No one. People who are not working, who cannot see their loved ones. It is very painful."

There are artists who surf today without giving an opinion and without anyone knowing what they think about anything, but De la Serna is not one of them. It is something that is evident when asked about the 20 years of Squats and the validity, not only of the series, but also of the social context that it exposed, such as marginality and the lack of opportunities (especially for young people), problems as current as in postmenemism. "The reality of Squats -a series so well done, so essential and so punctual- will continue to exist until the paradigm that marginalizes and condemns millions of people to misery changes. Until a new version of humanity appears – fairer, or perhaps a worse one, who knows – it will not change. Humanity is in a roundabout and we are seeing where we left, which of the four exits is less bad. "

Succession of coincidences

Thanks to the performance he received recognition, but the music was already there; He had never stopped touching her indoors. In his group El Yotivenco (conventillo upside down) puts the body differently, especially the voice and fingers. Rodrigo plays the guitar since he was 17 or 18 years old (he is 44) and, although he went to a teacher, his method is closer to practice than to academia. "I learned more with my friends, on the stage, in the gatherings. With the simple fact of being playing with colleagues with more experience, one learns," he says. found with friends with whom we shared musical tastes, that they date and end up playing in a Grand Rex is a beautiful concatenation, "he says.

De la Serna is not afraid to learn in public, he only cares about well-intentioned criticism and tries not to be prejudiced. "You have to visualize very well what you want, you have to discard what is left over. What happens is that there is so much hubbub that it is difficult to connect with the essential and sacred thing that we human beings have," he says. "I am already a veteran, I found an acting identity and I immediately notice when I am missing a bit or when my hand goes away. And in general, I have quite high self-criticism ". Since 2000 -when it was released Squats and his face became known – Rodrigo tempered his character and was able to welcome constructive criticism. And in an environment where the ego plays an important role, it knew how to put it in its place. "You have to understand that this is a game. It is a profession, yes, but it is also a game, and that if you make a mistake it does not hurt anyone. In general, it is about entertaining and inviting reflection. those things with your work, you can be satisfied. "


. (tagsToTranslate) Rodrigo de la Serna: "The roles I choose are never very comfortable" – LA NACION


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