Daniel Grao (Sabadell, 1974) fame has come "when he played," he says. Not as a teenager, not suddenly. Little by little he has been climbing positions, since he appeared in the series The cor de la ciutat. "I have lived it with relief. It has arrived when I had to arrive. I became known when it was already set, "he says. As a curiosity, even if it is a regular one of the theater, the stages did not reach a good role until The failure, with Blanca Portillo, whom he had met in the series Defendants (2009). In the cinema the first thing he did was in The Weakness of the Bolshevik (2003): "Do you remember the three quinquis that take María Valverde and Luis Tosar at the end? Well, we were Ruben Ochandiano, another and me. It was my debut in Madrid. "
Since then he has not stopped in all possible fields, and with all kinds of directors, including Almodóvar, Juliet, and Medem, in the next The tree of blood. For doing, he has done even Mario Conde in a miniseries. And now, in Animals without a collar, About Pedro Sánchez? "Good good good [y estalla en risas]. It is not the President, what happens is that the film is much more current now than when we shot it. These games of political fate – with the motion of censure – and social games – the # MeToo movement – have altered the perception of the film for the better, "he answers, but not to the question, with which to cross-examine: did you notice Pedro? Sanchez? "I looked at everyone. Yes it is true that when I rolled the new policy was, and therefore I looked at Sanchez, We can, Albert Rivera … ", tells the end, and the physical resemblance?" It escapes our control. My first question to Jota [Linares] it was if he referred to any one in particular, especially because of the composition of the character, and the answer made it clear: it was invention. "He does confirm that this politician, Abel, moves in socialism, or social democracy, as underlined in a speech about his childhood. "What is clear is that he believes he has his past cleansed of stains" and indeed, the secrets come from his personal life, not politics.
Grao has embodied this whitebird between the recording of the two seasons of Giants, of Enrique Urbizu, where he plays Tomás Guerrero, the Michael Corleone of this family of wild drug dealers who star in the Movistar series. "It's all the opposite, pure evil, I'm happy with Enrique, because it's straightforward, sincere, for an actor that means security, sometimes you ask a director and he answers you with another question, I'd rather be told what they want. he knows: with the actors, with the plans, with the technicians, "says the actor. "To embody the characters, you have to understand them. Giants for me the key lies in the first chapter of the first season, for the portrait of the father and the maternal absence. "The team of the series came to the promotion of its premiere at the last San Sebastian festival just after the filming of the second season. "In the end what prevents us from opening ourselves to the emotional, to the loves, are the fears. In all. But each one faces it in a different way. In Giants is confronted with violence, "he describes and then says:" My character lives from the head, the older brother comes from the hip, the sexual, and the small of the heart. As an actor, you explore inside yourself and encourage it. Enrique greatly underlined the flight of naturalism: 'We are creating a mythology.'
The actor screams for a comedy. "I even suffer in the theater …" It was the suffering lover of García Lorca in The dark stone, a father who has died a child in The parallel universes … "A lot of intensity after brutal events". Only those papers arrive? "Yes, well, I think there is something contagious, they see in one thing and think of you in similar projects In life I am lighter, brighter, but as an actor I must have a vibration that attracts those characters. I enjoy, and when I get scared, I throw myself even more and I accept them. I do not like to leave things pending ".
Where do you find material to extract the pain of others? "I had a youth with some hard passage at home … The relationship between my parents was never good, and they took too long to separate. It almost coincided when I left home. And I added questions that happened to me at 16 years old. The interpretation saved my life, because I believe that life tends to compensate. In the institute, a Literature professor directed me, and invited me to his theater group, La mandragora. There was the seed, although it took years to turn it into my profession. Later, my first two years of training at the Nancy Tuñón school were therapeutic. All my chunga adolescence became gasoline for interpretation. "