Karla Sofia Gascón entrevista para People en Espanol
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PeopleTranscript
00:00How are you? It's nice to see you again.
00:09The same, the same. Where did we meet the other day? I don't remember where it was.
00:12Was it at the Astros?
00:14At the Hollywood Women's Party.
00:17With Nina Garcia, yes.
00:21Yes, yes. I don't remember exactly what it was.
00:23Because I have a mess of parties.
00:27Well, that's exactly how I wanted to start our conversation.
00:31Because I was thinking, how should you feel this moment?
00:34How should you live a moment like this?
00:36There's no map, nobody knows.
00:39But let's go to that moment when your historical nomination for the Golden Globes is announced.
00:45How are you living it?
00:47Well, that was impressive.
00:49I swear, I was there the other day.
00:53It's very impressive.
00:56I arrive in Switzerland, with my nerves at their peak.
01:01They give me the award for the best European actress competing against Tilda Swinton.
01:07And against some wonderful actresses who deserved it, just like me, of course.
01:11I land, I run from the plane to the Astros' party.
01:19To get two more awards.
01:23I go to bed, I sleep for three hours, because I went to bed at midnight.
01:27I sleep for three hours, I get up with my nerves at their peak.
01:31Imagine going around in bed.
01:33And they announce my name.
01:37Well, I burst into tears of joy.
01:41Because, what three more cool days, they would say in my town.
01:45What three more handsome days, more impressive and more beautiful.
01:50That's what I just had.
01:54And I automatically called my family, my daughter.
01:57And I told them, hey, I'm here crying.
02:00And they were like, wow.
02:02Because it's very beautiful.
02:05It's impressive.
02:07It's impressive, it's unrepeatable, it's unique.
02:10I think there are very few people on the planet who are experiencing what you are experiencing right now.
02:15But you know what?
02:18You know what's going on?
02:20There are many people on this planet who are experiencing my successes as if they were theirs.
02:24In a beautiful way.
02:26And they write to me, and they even tell me, just like I'm telling you.
02:31He says, forgive me for telling you, but I'm experiencing this as if it were mine.
02:35As if you were a family member of mine.
02:37Every time I'm on TV, or on the radio, or wherever I'm on social media.
02:44And when they announce your name, I jump with joy.
02:47Because I'm not aware, sometimes, of the beautiful things that are happening.
02:53The other day, when I did the speech in Cannes,
02:57I mean, in Cannes, at the European Film Academy Awards.
03:04I didn't know what I was going to say.
03:06And when I came out, I said, my God, let's see what nonsense I've said.
03:10Because you're there, nervous, and you start saying things that you want to say,
03:15but they don't come out the way you want to say them.
03:17Because you want to say them in a certain way,
03:19but you're looking at everyone, at the translator next to you,
03:22and you get nervous.
03:24Let's see what I've said.
03:26What nonsense I've said today.
03:28Like in Cannes, when I let myself get carried away by this.
03:32You know, I started getting comments
03:34that it had been the best speech I'd ever given.
03:37And I say, but it can't be.
03:39I felt like I was even babbling.
03:46The thing is, in many of these things, you don't have a script.
03:49It's a bit spontaneous, too.
03:51In many of these things, I never have a script.
03:54They tell me, just in case you win, take this text,
03:59and I do this, I say, thank you very much, I fold it,
04:02and I put it in a drawer.
04:04Because I always say, when you win an award,
04:07you say whatever you want, but if I win it,
04:09I'll say whatever I want.
04:11And it's not like...
04:13The only things that make me angry
04:15when I get an award
04:17is that I want to dedicate it to so many people
04:20that I can't remember, other than Jack,
04:22who's the only one I dedicate it to.
04:26Obviously, we're talking about Jack Odiard,
04:28the director of Lilia Pérez,
04:31the architect of a large part of all this that's going on.
04:35But you know, that's the thing.
04:37When you say something and you're on stage,
04:40time stops,
04:42and it seems like the three seconds you've taken to say that
04:45are eternal.
04:46Like you say, I'm boring people here.
04:48And people want to leave.
04:50And you know what impressed me a lot the other day?
04:54In the European Awards, too.
04:56Ralph Fiennes' face.
04:58Ralph Fiennes' face of excitement, looking at me,
05:02and Juliette Binoche's face,
05:05and Isabella Rossellini's face.
05:07They were like this, looking at me,
05:09and I saw in the video how Ralph did it.
05:12Then I talked to him and said,
05:14I hope we work together.
05:15And he said, yes.
05:16I don't know if it's for clavitos or for the song.
05:19All this that's happening to you is like a dream.
05:22Before we go,
05:23because there are a lot of questions I want to ask you
05:25about what's going on right now,
05:27but I want to go back to that moment of...
05:30I would like you to talk about how this film came to you.
05:33For those who don't know this story,
05:35how did this story come to you,
05:37which was directed by Jacques Audiard
05:39and which has given you so many awards?
05:41Well, look, it came to me as if it were
05:43the genius of the wonderful lamp, of Aladdin.
05:47This man came and came out like a genius
05:50and said to me,
05:51I fulfill three wishes,
05:52tell me which ones you want me to fulfill.
05:54And I said, look,
05:55I want to make the most important film
05:57in the history of mankind.
05:59I want to be,
06:00I want to become
06:02the most important actress
06:03in the history of mankind.
06:05And...
06:07I hope we do well.
06:08And look,
06:09practically,
06:11that's how we are, right?
06:14Because he's a genius, really.
06:17Where did you meet him?
06:19In Paris.
06:20In Paris.
06:21The first time I met him in Paris,
06:23I liked him very much,
06:24but I said,
06:25what a nervous guy.
06:26I remember sometimes moving
06:28like a fox.
06:29You know?
06:30You never have to draw like a character.
06:32You draw...
06:33Now that I'm thinking of you here...
06:35Why?
06:36Because he's like very...
06:37He moves a lot.
06:38He's very intelligent,
06:39he moves a lot,
06:40very fast,
06:41and he makes very...
06:43hunter movements, right?
06:46I'm analyzing it right now,
06:48right now,
06:49while I'm talking to you.
06:50It's just that you've spent a lot of time together,
06:52right?
06:53Not only when you filmed it,
06:54you planned it,
06:55but all this promotion you're doing.
06:57I've never thought about this,
07:00but he's an old fox.
07:01Look,
07:02now I understand.
07:04He's one of those,
07:05when you call him an old fox,
07:07he knows more...
07:08He knows Latin.
07:14I was watching an interview
07:16where you talk about your character
07:18in Emilia Pérez.
07:21Manitas del Monte and Emilia Pérez.
07:25And you describe it
07:27as practically making two different characters.
07:30Yes.
07:31But you also describe it,
07:32you refer to this character
07:34as the Beauty and the Beast.
07:36What did you refer to
07:37when you made this reference?
07:39Sorry,
07:40I'm repeating the words,
07:42but what did you refer to with it?
07:44Precisely the same thing.
07:45The Beauty and the Beast.
07:47That character,
07:51those cartoons,
07:53or that story
07:55that we've been told so many times,
07:57in so many ways,
07:59and it's really Dr. Jekyll and Mr. Hyde,
08:05or that duality that exists in human beings,
08:08of being beautiful on the inside,
08:11but in the eyes of others we're ugly.
08:15Or of being ugly,
08:17or of being beautiful on the inside,
08:20but having a hidden bad side.
08:22That's what I mean by Emilia and Manitas.
08:26In both parts of the character,
08:30both versions are inside Emilia and Manitas.
08:35Both the Beauty and the Beast on the inside,
08:37as in Emilia, the Beauty and the Beast on the inside.
08:39One is on the outside,
08:40and the other is on the inside.
08:42But in the end,
08:43I think the two versions are never...
08:46I always say,
08:47no matter how much you run away,
08:48you'll always find yourself.
08:49No matter how much you want to hide from yourself,
08:53you'll always find yourself.
08:56But in the end,
08:58I think that's what the film is about.
09:00That's why everything comes out.
09:02But we don't want to spoil it.
09:03Let them watch it at the end.
09:06Yes.
09:07But it's also very impressive
09:09the transformation of the character.
09:11Obviously, how it changes.
09:13You were saying that
09:15there was a suggestion
09:17that they put lenses on you
09:19to change the color of your eyes.
09:22Tell us about that process.
09:24Yes, there was a moment when
09:26Jack told me,
09:27he said, I want to put lenses on you.
09:29And I said,
09:30let's see, first,
09:31because once they tried
09:33to put lenses on me,
09:35I almost died.
09:37I mean,
09:38I'm not able to put them on.
09:40So I said,
09:41no, no, no.
09:42No, Jack,
09:43it's not a good idea
09:44to change the color,
09:46a person to change the color of their eyes
09:48would be very difficult.
09:49But it wasn't necessary.
09:51Because people realized
09:53that I don't have blue or green eyes.
09:56I have transparent eyes.
10:00That's what I was trying to see.
10:02But what color are they?
10:03Like gray?
10:04Like green?
10:05So,
10:06what happens with my eyes
10:07is that they absorb the light
10:08that's really out there.
10:11And how do you dress?
10:12I imagine, too,
10:13what you wear,
10:14they change a lot,
10:15always.
10:16So,
10:18it was obvious
10:19that they would change color
10:20when the light went down.
10:22And they look,
10:23I mean,
10:24even dark.
10:26Because I also use that darkness
10:28and that light very well.
10:30And obviously,
10:31when they illuminate me,
10:32my eyes look beautiful.
10:35And when I'm in darkness,
10:37it practically looks like I have brown eyes.
10:39Yes.
10:40The use of light
10:41is incredible
10:42in the cinematography of this film.
10:44Yes,
10:45the work that Paul has done
10:46seems so incredible to me.
10:49Also,
10:50they did a lot of light tests with me,
10:52but I told them,
10:53if I'm like Sala Montiel,
10:55the only thing I need
10:57is that they put the light in front of me,
10:59without shadow,
11:01and a medium
11:02in the camera
11:03to blur my wrinkles.
11:04That's it.