Why did you choose it?
I saw her many years ago, played by Pedro Asinaga and Pepe Sacristán. I like to remake comedies. This a comedy of comedy, without more, but very funny and that goes from less to more. A good sitcom is like a snowball: first it is small and with the step of the slope it gets bigger. The ending is literally hilarious. It also interested me because it is timeless. The topic is infidelities and cheating, which are the order of the day, I don’t know if unfortunately or not (laughs). There are nine characters, five women and four men, which is rare in a comedy and in a private production. We are not fooling anyone, do not look for a fund because there is none: it is simply a wonderful fun. At this point we need to stop thinking a little and have fun just for the sake of it, at least for an hour and a half.
What changed about the script?
When I adapt, I do a deep adaptation, as far as the author allows me. 95% of the visual gags are new, but I keep the structure of the story. An example: in the 70s, the female characters were all housewives, and in my version they all have a business or work.
In other versions there was a game between two male characters, one more rogue, the other responsible.
That does not change, that is part of his idiosyncrasy. There is a good man, dedicated, a good husband, a hard worker, with a more womanizing, horny and libertine partner. I play a decorator, hired by the wife of one of them to redecorate. My character is a rogue who pretends to be a homosexual, to bond with the maid, the lady, as much as he can.
The sitcom has been in the making since the Greek theater. Why does the formula keep hooking?
This is like in a pharmacy. You can buy an injection against Parkinson’s that is worth 500 euros, and a box of aspirin that is worth 1.40, a nail file and a box of candies. In the theater, the same: there are minor, major, inconsequential, transcendent things that provoke you, that make you think or that evade you from problems. Everything is perfectly combinable. One day you can see a very poetic movie, and the next day you see The Hangover. I have opted for Hangover in Las Vegas, that’s the theater that I do.
It is very difficult to make people laugh, make no mistake, scare them and cry too, but less
Do you have difficulty making a script for comedy, and interpreting it?
Without a doubt [remarcando las sílabas]. It is extremely difficult to make people laugh, make no mistake about it. Making people grieve and shed tears, I am not saying it is not difficult because it is, but if you hurry me, I tell you that it is less so. Making a good dramatic script is very difficult, but touching people’s hearts is easier than making them laugh.
You have been a very popular face on television and in movies. What does the theater bring you?
You have to know where nothing is better, where you are more comfortable and where you transmit more. In all honesty, I say that where I am best and most feel and transmit is in the theater. I am lucky because I have been able to do everything, but it is where I develop best. The live takes me to a total climax. I start to tell a story, and if you let me, I have wonderful moments, and I make the audience enjoy. But as long as you are cutting me off like in the movies, start over … No, I’m a beginning and ending actor (laughs). The emotion of the live is wonderful for the actor and for the audience.
And were you never scared?
You always have a point of … Fear, nerves, I don’t know how to qualify it. It is an emotion that you have in the gut, in the stomach, but that at the same time is a point of nerves and forces you to be very concentrated. And when an actor or a sportsman is focused on what he does, he will do it well. On TV and in movies you are more relaxed, whoever says no does not tell the truth. You have a net underneath. Not in theater, dear friend: if you make a mistake there is no solution. You have to continue. How? Aaah! As you can. And that’s what gives me a little, a little no, a lot of respect. But I prefer that to being cut off.
How is the relationship with the rest of the actors in the play?
Very good. You can’t work in a job like mine if you get on badly, it’s extremely uncomfortable. I always tell them that I don’t ask that we be friends, but that there be good vibes. Not polite and correct behavior; that is very absurd, each one is as it is. But I do respect and, above all, that we all fight, not for each one’s ego, but for comedy. The protagonists are not any of us, it is comedy. I repeat it from time to time in case someone forgets.
You have worked a lot as a duo, with Millán Salcedo on Martes y Trece, then with Florentino Fernández … How is it to share the stage with the same person over the years and years?
It is very special, because you get to have a very great rapport. With Millán it was brutal, brutal, and you enjoy that a lot. But at the same time it is more difficult. In my company the boss is me, but with Millán we both decided 50%. And it is very difficult to do it in an artistic couple. But with the left hand, good will and psychology you try to make things work out. And in the end they have come out.
The emotion of the live is wonderful to me, you have it in your gut and it forces you to concentrate
He’s been making humor for decades. Now do you have to cut yourself more so as not to hurt sensitivities in the world of social networks?
That is why I am not in any social network. If it were, inevitably, something influences you. I work with the same freedom, perspective and tranquility as thirty years ago, I am not subject to anyone’s opinion. And also, I have always been very clear that no one can like everyone. It is impossible! If 15 or 20% of Spaniards like it, I find myself with a song in my teeth. Or a ten!