“The female characters are the ones who generate the events and I think it is very important: it is not usual for us, women, to be the ones who move the plot forward,” explains Eva Santolaria. She is an actress of Todos mienten but also a screenwriter alongside the creator, Pau Freixas, her husband in real life. The male characters, for the record, were not neglected: “It was important to create that recognizable environment of school parents, of married couples who are friends, where men are as important as women.” With this look at the characters and an unusual tone between thriller and comedy, they brought together one of the most dazzling casts on Spanish television with Natalia Verbeke and Miren Ibarguren, present in the interview, and Juan Diego Botto, Irene Arcos, Leonardo Sbaraglia , Ernesto Alterio, Amaia Salamanca or Alberto San Juan, who has been incorporated into the new episodes.
For the reader who still does not know Everyone Lies, here is a brief summary trying not to spoil the viewing. In the first season, a teacher from Belmonte, an exclusive coastal neighborhood, had an affair with a student, who was also the son of her best friend. A viral video uncovered the relationship and, in the midst of the scandal, the teenager's body was found murdered. The thing ended with the characters of Arcos and Verbeke throwing another body through a quarry. In the second, which Movistar Plus premieres on Thursday, the puzzle twists: there are inopportune witnesses, people left in a coma, unexpected corpses and crossed accusations, but what draws attention is the way in which the comedy has been elevated.
“I read the script and screamed. She excited me. “I couldn't believe they had that imagination,” Verbeke remembers when the pages arrived. Her role is not simple: she plays a mother who has lost her son, who covers up a murder, and who is deranged by her inability to process grief. “I'm glad that the character came to me after being a mother, because of the knowledge it entails. “She couldn't have come to this interpretation in the same way,” she explains of her process. The season is also very marked by motherhood. How far would we be willing to go to protect a child? “If you ask the question with someone else, you know what the right thing to do is. You consider that every person should assume the consequences of their actions, which is the way to help them. But, when it comes to your son, you do everything possible to avoid it,” says Santolaria. Verbeke moves along the same line: “My daughter is the most important thing in my life, I am ready for anything, like my character.”
“There is also another leitmotif: the feeling of guilt for not realizing the children's problems sooner,” reflects Miren Ibarguren, who plays Maite, the police chief. She joined the project for two reasons. The first was the trust of Freixas, who offered her the role despite never having worked on a similar record. The other was character development: “The relationships between women were very rich in both nuances and situations.” When they were filming in Maresme, the stars aligned: “We wanted to come back because Pau does a lot of work. We take care of ourselves. “There was a desire to take the AVE because concentrating on Everyone Lies became an oasis.”
Another piece of the Belmonte puzzle are the children: Carmen Arrufat (Elite), Berta Castañé (Cites), Lu Colomina (Com si fos ahir) and Marc Balaguer (Polseres vermelles). And did they give you any advice, taking advantage of the decades of experience you have in the audiovisual industry? “If they ask you for advice, you give it to them. But if they don't ask you, no," explains Ibarguren. “Do you know what happens to me with young people? I see them with great affection and at no time do I want to make them more nervous. I try to accompany them from a distance and, if you can help them, you will help them. They are already very nervous to work with someone who makes them even more nervous. It is inevitable to become maternal and feel that you were like that for nothing.”
Of course, when they compare their beginnings with those of their young colleagues, they are clear that the new generations arrive very prepared. “They have a confidence and an attitude that I would have liked to have had when I was starting out,” highlights Verbeke. They also have a theory: that their children in fiction are more prepared to understand the profession because they were born with cameras built into their cell phones, computers and everywhere, unlike them who did not even know how to position themselves when a camera was placed on them. ahead at a casting. “They are another generation,” they agree.
