Talking with Eugenio Derbez, with a smile from ear to ear, this tells us about his participation in the film kuda: “I’m so glad that’s exactly why I came to the US to do other kinds of things. It was a renewal to continue learning the language. Every day I learn, I write phrases I don’t understand, I go to classes and everything was a great refresher. This role was precisely part of this renewal The actor said excitedly. The fact that the producers and actors didn’t know the Bellucci family or my kind of comedy makes them see me with fresh, fresh eyes and let me do things like that kuda, with a more dramatic character.”
This entire project is very lucky for Eugenio, because while he lives this experience on a personal level, The film also explores different ways of communicating, In this case with a girl who was a student of his music she always lived in silence because the rest of her family are deaf.
“For four months I was studying piano– The actor explained -. My coach was the same as Ryan Gosling’s coach EarthI learned a technique I didn’t know. It is very intense. I also learned how to lead a choir, which is another animal entirely, and he also taught me how to teach. It was a four-month dive to prepare for the movie.”
The other thing that was great for the product was its preparation. The dramatic acting teacher surprised him like never before. “We never open the script and what you do – I find out later – is you become the character. He told me, “Now what comes out of your mouth is the least thing, what I want is out of your head, out of your mind,” Eugenio Derbez tells us.
Now, to be the son of one of the queens of melodrama, Sylvia Derbez, It’s also something the actor has always been grateful for and now he’s able to remember and take advantage of for his role: “It served me a lot, because I grew up watching my mom make up her characters. I wanted to be a dramatic actress for my mom. For example, Maria Isabel made the first TV movie of Yolanda Vargas Dolce And I remember going with my dad to the hill to learn Mixtec, how to hold a baby, and everything. And I said I wanted to do that, to be a dramatic actor. Which I haven’t been able to do yet, with Coda,” said the satisfied actor.
Comprehensive in many ways
Sian Header was a key in the entire regeneration process That Eugenio Derbez lived with his character, communicating through drama without losing a touch of humor was a complex task, and he always had the filmmaker’s support to build the origin and motivations of Bernardo, a Mexican who, upon making the crossing, found his true passion: to become a music teacher at a small town school. .
“Eugenio is a great dramatic actor, I know everyone knows him from comedy, because he’s very good, but he has incredible abilities as an actor., emotionally and personally attached to the character, a successful Mexican who decided to leave his country to achieve new goals, faced some setbacks and did not succeed in being the star he wanted, although he found his true passion as a teacher,” she said. sian head a m 2.
The director asserts that Eugenio should provide more drama,”She’s a wonderful and warm person on screen and helped by her sense of humor. There have been many people who have approached me to tell me that they are in touch with Bernardo because they have a teacher like him in their lives, and I think we all remember one of them with fondness because he supported us; Eugenio really found this character and built it in a special way.”
In terms of acting, Sian considers her film to focus on society that requires greater visibility on screen, not only in front of the cameras, but also in the back; That’s why, since I started the screenwriting process, I’ve also taken sign language lessons, and included deaf actors in the cast, including the Academy Award winner. Marley Matlin, Who is playing jackie russian.
“There was little representation of deaf people and their culture on the big screen, It’s been over 30 years since Marley won an Oscar. The director explained that it is very important for me, especially as a listener, to surround myself with deaf collaborators, not only in front of the camera, as it happened with the actors, but also behind the camera.
For Sian, it was very important for the film and production to be respectful of the deaf community, precisely because of their underrepresentation in cinema, “Something similar happened with Eugenio, he felt conceited, how often must a gardener be; it is important in terms of Acting, we need more stories and people to showcase these communities.”