We interview the actor Eusebio Poncela

You have to adore contradictions; I love them. I am a contradiction. They are very entertaining. Chatting with Eusebio Poncela is just that, pure entertainment, but also a game between interviewee and interviewer where the contradictory and authenticity of the character, the excellent interpreter and the person who was born in 1945 in Madrid overlap. I’m from Vallecas, Vallecano. A very rough neighborhood where we can see directly through the eye. Sometimes I am very naive, but not enough to allow Anne Baxter to come and fuck me in the ass. Eusebio naked. Fasten your seat belts because it’s going to be a storm.

TWICE I

Interviewing Eusebio Poncela is that night party at Margo Channing’s (Bette Davis) house of Mankiewicz’s Naked Eva. Crowd of guests, jokes, truths and a host who seems to unfold and feel comfortable in it. Sometimes, the most, it sends ageism to take where cucumbers turn sour, challenging at the same time (It’s not that I hate nostalgia, it’s that I’m not nostalgic at all) with a Have you seen this body of mine? I’m 75 years old and look at me how hot I am, damn it. It is one thing for him to be this age and another for him to be Tutankhamun’s mummy; and others, like when you remember the filming of a movie, look up and smile while saying that it is true, what year was it? 1973, I think … I am very old … It is then that you understand why in the autobiographical Pain and Glory Pedro Almodóvar unfolded the supposed real figure of Poncela, the one from the times of The Law of Desire and Matador, in two characters embodied by Asier Etxeandia and Leonardo Sbaraglia. I’m bipolar, or so I thought, the actor shares. The confinement of this pandemic has discovered me, apart from many hobbies that I had forgotten I had, that it is not that I am bipolar, dear, but that I have a repertoire company within me. From 5 to 7 they are with comedy. And the tragedy? No, for the tragedy they have to pay me. I’m very damn melodramatic, otherwise it wouldn’t be me. I wake up every day singing. I’m that kind of crazy guy because… you have to screw it, yeah: I wake up singing.

TELEVISION STORIES

Eusebio Poncela is the history of our television. Not only the large number of dramatics in which he participated in TVE in the beginning, but also two real hits in the 80s, also for the then only channel, such as Los gozos y las sombra and Pepe Carvalho. A medium for which he has been working uninterruptedly for years, although we let him be the one to tell it: In that, and the theater, I have been. Yes, especially in the whore of the series. You can broadly call me a serial whore. Isabel, Águila Roja, The Accident… I even got fan clubs thanks to them. Well, here I am now with this Movistar production. The series, although I am more of miniseries, not to extend the gum, today have the money, and the money moves the creators and the industry. I will be an underground actor with a vocation to be one all my life, and an austere mountaineer too, but I’m not an asshole: I need the money, especially to travel … when I can again. Merlí. Sapere aude, which is this Movistar production that I was talking about, well, the one that has us talking here, it seemed like a great project, I had a good time, I have been fully with him, I have felt protected by everyone , from the creator, Héctor Lozano, to the director, Menna Fité, but I have already told them that they shouldn’t even think of calling me for another season because I’m not going to do it.

FROM DANTE TO DINO

Could there be some point of connection between the unforgettable Dante de Martín (Hache) by Adolfo Aristarain and the Dino that Eusebio Poncela plays in the series? I don’t know, he reflects. As it is not Dante’s Hell of Dante and Dino el Satanassa, his place, that wonderful cave full of eccentric people, gay people and that was from now, from five minutes ago, not a nostalgic echo of the 80s. Dino… Me I thought a little about doing it because it seemed somewhat schematic to me, but in the end I accepted for two reasons: for María Pujalte, who is professional, discreet and pleasant (the last two things I don’t even smell). I discovered that we were made for each other and I directly loved her. And the second reason is because I could sing the Yo no soy esa by Mari Trini. And do better than her! I admire Mari Trini, a ‘bollerón’ like few others, so fragile, singing songs like this in a shitty Spain like that … But it has been better for me.

A UNIQUE ACTOR

With a film confirmed for next August and theater projects on the horizon, Eusebio Poncela does not want to and cannot stop. I am very dedicated, very much. I can’t conceive of anything other than dedicating myself to this trade. I never missed a shoot or a function despite the fact that on the second day of work I realized that everything was going to be a disaster. I remember, for example, Werther (1986)… Pilar Miró wanted William Hurt for the role. William Hurt, that Papua New Guinea parrot who was fine for five minutes and then went to fuck. Pilar had to settle for me because it reminded her of Hurt, but it was all a horror, a terrifying shoot. Direct me? No, I don’t have that vanity. It is also that I am very critical, but I know about movies, a lot, and I watch a lot of movies, what happens is that I am very son of a bitch with myself and I prefer to be directed and give them up the ass. I don’t have actor friends, I never have. I’ve been with whores, junkies, and foodies, but not actors. Not for nothing, but seeing myself reflected in them with the same hobbies, topics of conversation… No, not that.

PUT THE SOUL

We spoke with Poncela about the directors he worked with and, except for Adolfo Aristarain and the two Almodóvars, he did not repeat (I feel like repeating or not repeating with someone, settle the matter), but there is one he wants to vindicate: Lluís Josep Comerón. I shot with him Long July Night (1974), in Barcelona. He was an incredible being, a craftsman in the best sense of the term. It was not a Mari Pili or a Mari Pedro. He loved movies and made movies. I love the cinema, not only to see it, but to do it. Yes, the process of making a movie can seem unbearable, a pain in the ass, but suddenly you get a fierce and sublime high and you put your soul in that movie, in that role. It is not the face, it is the soul, and I have put my soul in everything I have done. I will be active until I die, shitting myself in everything, because I have put soul into it. Do you think it is a good culmination to close this interview? Yes the best. Like Eusebio Poncela.

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