In his constant search for artistic, musical and interpretive perfection, Inés Estévez At no time does it seem to claudicate or resign convictions and ideals.
Multifaceted actress, currently lives a hot romance with the theatrical world. After a successful season with “Killing Mom” he gave himself fully to star and direct “The unexpected man”next to Germán Palacios at the Maipo Theater. The work, as usual in the texts of its author Yasmina reads who we already knew “art” and “a wild god”, raises an existential issue: are our lives governed by chance or is everything written in advance? Are we tools for the circumstances or architects of destiny? The answers to these questions will be loaded with poetry, surprise and humor, but for that the spectators occur, they must accompany the trip that these strangers make on the train.
Inés Estévez began his film path injured in the cult classic “What will come”, starring Hugo Soto, Charly García, Rosario Bléfari and Juan Leyrado. Time gave him revenge and knew how to face Federico Luppi in “killing grandfather”, leading Ricardo Darín to “the escape” and form an unforgettable pair with Soledad Villamil in “Life according to Muriel.” After a period in which he was away from acting, he rediscovered “the mystery of happiness” with Guillermo Francella and Daniel Burman. He became the mother of Lali Espósito in the “accused” judicial drama, a chronicle of the gradual disintegration of a family.
On television, his latest and most remembered role composed it in “The Master”, as a dancer who exploded the music box in a thousand pieces. The always intuitive Sebastián Ortega returned it to the center of the scene by summoning it for the second season of “in the mud”, in which it will be part of an authentic Dream Team acting.
Within his extensive activity, Estévez takes a break to be able to dialogue with news and expose his ideas linked to this fruitful work present.
News: Now he is with “the unexpected man” and until very recently “killing mom.” Is this continuity because you like your trade or out of necessity?
Inés Estévez: I would tell you that a little and a little, but it also happened. It is rare that this happens, but a few days ago I ended up “killing mom” and almost immediately we release “the unexpected man”, it is something that I appreciate very much because at this time working and being in action is a privilege.
News: Can this work be considered as a love story?
Estévez: I would not spoil so much, we could say that perhaps it enters the romantic comedy qualification, but with the height of a Yasmina Texta Reza. Anyway, it is a project that talks about something that is already proposed from the poster and is how many facts that happen to us are the product of chance and what are the product of destiny. What things could be considered predestined and how many arise from chance. Here there is an encounter between two strangers on a train trip and the spectator is a passenger who shares that journey with the characters.
News: The work is titled “The Unexpected Man” and you are called Inés. Your name is contained in the title …
Estévez: Yes, I saw it, it’s true! (Smile)
News: Has unexpected things done that others did not see coming?
Estévez: Yes, that the others will not expect to do, sure. And surprising things have happened to me too, I feel that life is like that, a succession of unexpected events.
News: After several decades of experience, do you feel that it became the actress who dreamed in its beginnings?
Estévez: I don’t know if I dreamed of being an actress, I didn’t have that kind of dreams. What moved me was to pursue my creative expressive drive to be able to capture it in any way, in the way it was. Because that internal drive inhabited me and at first it had nothing to do with acting, but with literature and music.
News: You continue with your musical career. What is the dynamics between music and acting right now? Does one take away time or coexist harmoniously?
Estévez: Now I am choosing, at this moment I am more turned to the performance and being doing theater on weekends are taken by the functions, so I do not have time to sing, they are schedules that overlap. So I am putting more chips on the performance, but it is not necessarily because one activity takes time to the other, I choose, I select.
News: He has been teaching for a long time, something that arose strongly when the performance took a step to the side. Why had he decided to retire?
Estévez: Several things led me to retire. I intended to diversify, I worked a lot and did not find time or mental clarity to face those other professions that I could later exercise, such as address, teaching and writing thanks to which I have published two books. Many later, something that I did not have in my plans and was the music. He passed at a time in the world in which hypercommunication exploded and audiovisual expression was the most banalized of all the arts. Something very rare began to happen to me and that I had trained working in author and vocational theater, at that time I was on television with a very quality unit, but in any way I erected as a sales factor and I found myself dealing with a world that I did not know, it cost me a lot. I started suffering from, first I was doing television first, concentrating only on cinema and theater, but confusion continued, I saw that I was mixed a lot to the art with which I was on the Audi (we laughed). And I felt a pressure that had nothing to do with artistic expression, so those years without television were not enough. The system was the problem, so I walked away thinking that I would never come back.
News: Now we know that he returned. How did that return occurred?
Estévez: Nine years after leaving the performance Daniel Burman called me “the mystery of happiness.” During that period they had offered me several things, I was very firm in my decision not to return, but Burman was very skilled, he asked me what did not close me and I replied that it was the exhibition. So he proposed to sign a contract where I was exempt from that. I had very small daughters, we had adopted them two years ago, I told him that I could film only three days per week and accommodate it. It was so beautiful and similar to my beginnings. So close to art, so warm and human that I fell in love again.
News: This is a time where many plays are released with prestigious and known actors. There is no fiction on television and not everyone manages to reach platforms, cinematographic activity is also quite arrested. Do you feel that the theater is becoming a shelter for actors?
Estévez: Not only for actors, but also for the public. I see an influx of tremendous spectators, there are many people going to the theater, responding to a very generous offer. And I do not believe that this offer generates a competition that prevents some titles from working, the truth is that they all work, which is great.
News: This summer Juan José Campanella had great theatrical success with a love story starring Eduardo Blanco and Fer Metilli where the age difference plays an important role. You and Germán Palacios are more contemporary, do you think this can be an extra attraction for the public?
Estévez: I do not know, ours is a quite atypical story, I would not necessarily define it as a love story. It seems to me that he speaks of a lot of other things, he travels through the private worlds of two people, their internal territories. It is a trip that the public does with us, but it is also a tour that the characters make with each other and an inner path of them.
News: Recently, “Message in a bottle”, with Luisana Lopilaato, coincide for the second time after the movie “Pipa.” How was that experience?
Estévez: It was very funny, I had a few days of filming and I make a totally unexpected character. It will be a surprise for people to see me in that texture (smile). It is pure comedy.
News: Speaking of different textures, you were also filming “in the mud”, does there a role more linked to authority?
Estévez: Yes, go there! My character will be part of the second season.
News: Let’s go back to the theater. At the end of the function the public always applauds, but do you realize when that applause is more genuine?
Estévez: Yes, totally. One may feel more clueless during the function because the public’s response does not always manifest in a tangible way, but in the end you really realize if people liked it a lot or if it is more disaffected.
News: At this point of the party what is success?
Estévez: I once wrote it, for me the success is to have where to go, someone to embrace and peace in the soul. It has nothing to do with what people consider success.
