At first, Antonio de la Torre was wrong. Or, perhaps, the Goya deceived him. "I thought you were nominated and they automatically gave you the prize, which worked like that," the interpreter laughed days ago. In fact, in 2007 that was fulfilled: first candidacy, for Azuloscurocasinegro, and stubborn to the best supporting actor. Veni, vidi, vici. Better, impossible.
From then on, however, the Goyas taught him the opposite lesson. Admired, every year. Nominated, almost always. Winner, never. De la Torre has become the interpreter with the most nominations in history (13), four times he has opted for two prizes in the same year -the double of nominations is already called "making a of the tower"- but he got used to leaving the empty gala. Until yesterday: at last he returned to the stage, to pick up the second Goya of his career, to the best leading actor. The kingdom he returned the crown.
Although, at 51, the Malaga has achieved something even more complex. Transformista, owner of comic and dramatic records, has played police and clowns and has shown that he can get fat or learn to dance, if the role asks him to. It changes the skin, but never the result: the unanimous applause of Spanish cinema and the public. His face is already well known; his talent, too.
The power of the look
And that it cost him to believe it. De la Torre says that only with Group 7, in 2012, he began to feel more confident about his performances: "I learned to trust in the power of my eyes, in the silences". Time gave her reason to her interpretation teacher, Cristina Rota, and to the notice she had given him. "You have one thing that is very good: the word. But be careful, because you can become your enemy, "he explained.
I said to my wife: 'Honey, I promise you that I'm getting rid of this from Spanish cinema'
Another prophecy launched its takeoff. His friend the filmmaker Daniel Sánchez Arévalo told him in 2006: "I'm going to give you a role that matches your talent". Until Azuloscurocasinegro, De la Torre had presented news as a journalist, and participated in some shorts and lengths. But his friendship with the camera became idyllic. Today, he is an interpreter capable of holding films where he appears "on every damn plane", as Cannibal or The kingdom, and that has also been measured with the theater. The directors bid for him, to the point that he has become almost ubiquitous. "I said to my wife: 'Honey, I promise I'm getting rid of this from Spanish cinema.' I have to put an end to the jokes on Twitter that say there are no movies without Antonio de la Torre, "he laughs.
You can also count dozens of anecdotes of filming and roles. With one exception. "What can I say about Mujica?", He repeats again and again about the other role for which he was nominated yesterday, in The night of 12 years. Easier to summarize other memories. Like the repressed rage that overturned in Sad trumpet ballad: "I felt neglected by the critics in Fat, so in the sequences in which I had to get angry I remembered them. I thank you". Or his meeting with Álvaro Perez, involved in the Gürtel plot, to prepare the role of politician Manuel López Vidal, who has given him the Goya. The film says that "the kings fall but the kingdoms continue". The Antonio de la Torre has a good time.