When I started out, making a film was something sacred. At the time, films stayed in theatres longer. And now, everything is so quick. It's a different space-time. When I look now at these films from the 90s, I realise that there was real risk taking. For my first film, I had accompanied my sister to a casting call. They asked me to take off my t-shirt and then gave me a role. I started out as a piece of meat and little by little I became an actor.
I saw my mother doing theatre, my uncle making movies. That gave me a respect for the team. I knew this world, but at the same time I told myself, "If you want to do something in that world, you've got to earn it."
Taking on a role
I try to understand who the character is, his psychology. In real life, I also like drawing. And I always draw faces, the expression of bodies. I'm addicted to observing people. The problem is that I'm well known and I like to do this on the street. I also always think of the message my character relays. For example, I know the extent to which the role of Ramón Sampredo, in Alejandro Amenabar's Mar adentro in 2004, affected the vote on the law on euthanasia in Spain. It's extraordinary.
As part of a couple with Penélope Cruz
I had to sleep on the couch one day. She could no longer tolerate my Pablo Escobar moustache in Loving Pablo (2018)!
For Asghar Fahradi's Everybody Knows, everything in the film takes place over a few days, but in reality it was several months of very emotionally intense filming. Sometimes I forgot that she's my ex-wife in the film, and I behaved as though I were her husband who felt bad for her.