Even if he’s an actor George Marral Sounds like one of those people who opposes the conspiracy. A special case in the case of an interpreter with a long career. This, for example, means that now, at this very moment, he could be walking down the street without anyone recognizing him.
It will be like this? Will Marrale be in a good mood? Will she go on the field? Will you live at home, in the country, in an apartment? Will you drive an expensive car? Would you take the coke? Will tell “Kirchnerism is…”?
Together with Darío Grandinetti and the widely publicized mercedes moranoMarrale, a good guy from the minute zero, works there start the danceguy Tango road movie where a couple of dancers meet again under the trauma of memory for a cut (and broken) sentimental mission.
Here Marrale plays that perfect supporting actor who works so well for him: the faithful friend, the chewy from the bar across the block, one of those endearing subjects who is for better or for worse.
It is a story written and directed by Marina Seresesky. Marina is an Argentinian who has lived in Spain for more than 20 years, however, and in her best Messi style, her Galician accent hasn’t infected her.
We see her and to the naked eye she looks like a very pleasant woman. Too bad we didn’t get to interview her this time. The note is happy in the hotel where they organize the press scene. Suddenly we met her in a corridor and we told her that the deserving “mother of the tango”, played by Mercedes Morán, is quite disruptive and would be difficult for a guy like Pichuco to understand.
The answer, which comes politely and with proven interest on her part, is not totally related to certain gender issues that have been imposed on her lately, but it is more or less out there. Anyway we give him a kiss and a hug because Marrale is coming.
How’s life, Jorge?
– Well, dear, thank you.
-Pretty clear eyes. Like Ricardo Darin. Has it meant anything in your career?
-No, hahaha, not so much. Suddenly they can tell you “what beautiful eyes” and so on, it happens, but I think what matters more than the eyes in this work is the look. And I tell you the truth: the look and the color of the eyes are completely different things.
-You look…
-I fell in love with this job, what I take is the job, that’s why I talk about the actor’s appearance. It’s what I recovered over time and in this particular case, in this film, I evaluated that I could work with friends, that there was some comedy that I liked in the book and that spoke of a director: I like it better and more still female leadership.
-From?
-They have a look that makes me think about certain things in a different way.
-Faaaa, would you like to do something with Lucrecia Martel?
-Of course I know! Clear! Lucretia! I met very hard-working women and with a particular mystery in directing, in organizing the staging, younger women like Marina, who has a way of taking aesthetic risks and who knows how to take care of relationships today…
international actor
-You were one of the first Argentinian actors to go international 30 years ago with “The Perfect Husband”…
-Uhhh, yes, that of Beda Docampo Feijóo. And before I was done with him Kafka’s loves.
-But in “The Perfect Husband”, if I’m not mistaken, you work with Tim Roth, who came from “Perros de la calle” with Tarantino…
-Prague, Ana Belén, yes (seems to remember on the fly) Yes… with Tim Roth and another fabulous English actor whose name I can’t remember now. I enjoyed working with these people, but never got used to the idea of having an international career. We are friends of Bede, we talk on the phone almost every Sunday. That’s the beauty of working with friends. the same thing happens to me Dario (Grandinetti).
-They worked together with Grandinetti two thousand times…
-Uff, yes, many things, films with Dario, films directed by Docampo Feijóo, like the one about the Pope…
friends on set
-Do actors become friends by working together?
-No, we became friends with Dario through our families. We have seen our children grow up, we also have a history of traveling together.
– But do they coincide by chance in the works or do they work in tandem? “The Musketeers” “Baraka”, “The Miners” “Francisco”…
-I did a lot with Dario Dare on Channel 11, we made Realize, I don’t know how it’s going…
Do you consider yourself a successful actor?
– Box office? What is a successful actor?
-Could you explain to me the Guillermo Francella phenomenon or the Darín phenomenon?
-Well, they are two comrades who are very successful, yes, yes. They are two actors who have a very close current of audience and it is noted that they follow them with great affection. They have a very strong, very inviting charisma. I think mine goes elsewhere, I’m in another line…
-Which line?
-I don’t know how to tell you, I’m an actor who likes to work when they say “I think this is for you”. And you know what? I also like to try and that the actor’s job is not to be typecast.
What do you need to have to be a good actor?
-The important thing, in my opinion, is not that they see you but that you need to show, to express yourself. I could not have been a painter or a dancer. I think what moves an actor is the transmission. To say. To carry. I’m not talking about putting yourself in each other’s “skin”.
-Don’t you sometimes feel like a better actor than the text you’re interpreting or better than the direction you’re lucky enough to have?
-If something like this happens to me, I’ll tell you. And I say that before I do. If I see a text where there are things that don’t add up, I’m going to say it. I don’t change it myself, I speak it: “What do you think if it’s better not to say…?”
– In a kind way.
I never consider myself above or below. I am an interpreter called to do a certain thing. I’m not one to finish a movie or something and say, “Uh, what a shit this is.” I did it because I chose it and because they chose me. I’m not one to complain. If it didn’t go well for me or the show didn’t quite wrap up, well…
-Who did you get confused with?
-Sometimes with Juancito Leyrado, like Luis Machín, they confuse him with me, hahaha…
-I have never seen a tango as ancient, as archaic as in this film. That background also gave me some anguish…
-I’m not tango, tango. I heard a lot from my family as a boy, but I don’t follow tango. Yes, Piazzolla had a big impact on me and it happened in the modern part of my life. It seems to me that we must recognize that the tango has a poetics of another era, of other years, the ’30s, ’40s, a period that reflected well. But it’s over, as with folklore. It’s dizzying, Buenos Aires transforms everything, what doesn’t dizzyingly transform in Buenos Aires?
-Guerrin?
-The pizzeria, of course, haha. Buenos Aires keeps breaking down, but what’s holding up?
-Héctor Alterio supports himself: he’s 93 and still acting.
-How incredible, look at Héctor’s story, having to leave Argentina at the age of 40, build a family, a career, all abroad. He comes to greet Buenos Aires, from where he was once expelled. He was driven out of his country …
-When does an actor retire?
-I don’t know, if you tell me when, I think maybe when your health will fail a little. For me, acting is innate. Meanwhile I continue to play the mandolin because it is the way to earn a living. I began to realize that this profession has helped me to know myself. Perhaps my exaggerated need was not to act, but to know myself deeply.
Source: Clarin
