In his last works, the Spanish Mario Casas has gotten into the skin of very dark characters who go to the limit, but the actor admits to . that « none of them are close to Angel », the psychopath protagonist of the new Netflix original film , « The Practitioner », which opens this Wednesday.

« Angel is totally rotten inside. He is a cold, dry, resentful guy, he has no emotions, he has no feelings. He is a manual psychopath and these types of people do not have any kind of respects. The only thing that interests them is their own well and they can do anything to achieve it. They have no empathy, they are very manipulative people, « Casas explains to . about his character.

However, he confesses that as soon as he received the script, he understood it very well: « Unlike other roles, I had a very strong connection with Ángel. I understood it very quickly and the physical change also helped me a lot. »

Ángel works as a technician in health emergencies. After suffering a serious accident in the ambulance while on duty and remaining in a wheelchair, his life with his partner Vane (Déborah François) begins to unravel. Obsessed with the idea that she is unfaithful to him, he will turn his life into hell.

« It is not an easy role to play, it needs a lot of work behind it so that everything is as faithful as possible », confesses the actor (La Coruña, Galicia, 1986).

Therefore, in addition to making a physical change again (he had to lose weight and they cut his hair every day to maintain the entries that the character has) and drastic mental, the actor worked on the script with a psychiatrist to explain what the characters are like. patterns of behavior that psychopaths have and their way of behaving.

To these difficulties was added the work with the wheelchair, which « was not easy either. »

« I had to go to the Toledo Paraplegic Hospital and later to the Guttmann Institute (Barcelona) where I met a boy who months ago had suffered more or less the same injury as my character, and he helped me with the issue of handling the chair, go to the bathroom, get in and out of bed, « he says.

He is grateful for the help provided by all the specialists, since without them he would not have been able to « build the character in such a real way and tell it from the utmost respect, » he says.

And to achieve that realism, Casas is an actor who adheres to the « method » when working with his characters. Each character remains within the actor even when he is not filming, something that came to worry his family and friends.

« I immersed myself so much in the role that the vital moment that the character lives in those months in the film I think I also lived as a person. They thought I was going crazy, » he laughs about his experience in a film directed by Carles Torras (« Callback ») and with a script by the director along with Héctor H. Vicens (« The corpse of Anna Fritz ») and David Desola (nominated for the Goya Prize and the Gaudí Prize for « The hole ».

A work that aligns with that of his last films (« Under the skin of the wolf », « The photographer from Mauthausen » or « Goodbye »), in which he has been deeply involved and which show a turn in a career that has counted on the support of the public but not with a Goya nomination. And the wait « is long, » he acknowledges.

This time he is waiting for her, he says with a laugh. But what he would really like is to be able to go to the awards. « Not only for my work, but accompanying the film, wrapping up my colleagues and the work team, which in the end are what make a movie come out ahead, » he clarifies.

And beyond awards, what concerns Casas is being able to « continue having work and tell wonderful stories. »