El Embarcadero on SALTO: an ambivalent role for The Professor at La Casa de Papel

El embarcadero on salto: an ambivalent role for the professor at la casa de papel

After the abrupt disappearance of her husband Oscar, Alejandra discovers that he had been leading a double life for years with another. Meet the Spanish actor Álvaro Morte, who meets the creators of La Casa de Papel in this intimate thriller.

In El Embarcadero you find the two creators of La Casa de Papel, Álex Pina and Esther Martínez Lobato, with whom you previously worked. Did you collaborate differently this time? What was new in your work dynamic?

ATlvaro Morte: It was a totally different project that Alex and Esther worked on a lot. They tried to tell this story in a very innovative way, and the character that I play in it is also very different from what I did in La Casa de Papel. After playing El Profesor, they trusted me again, and I was really happy to be able to work with them again.

Was it obvious for the creators to offer you the role of Oscar?

VSIt is precisely because the character of Oscar was totally new to me that I liked it so much, even though I was not sure that I would live up to expectations again.ATlex and Esther. But in the same way as El Profesor, Oscar has a dark side that we will discover as we go along, and I really liked it. I then proved to myself that I was capable of playing this role, and it was a real pleasure to do so.

What did you like about this character?

Oscar is an ambivalent character, impossible to describe. He is a good looking man, but who has fallen in love with another woman. It was a real challenge to translate this emotional torment that he lived and that he had to hide for eight years, and to restore this inner life that he has maintained during all these years, and I really enjoyed exploring it.

The series is very intimate and singular in its subject matter, and also deeply Spanish in its DNA. Do you think it can find its audience internationally, in the same way as La Casa de Papel?

I like to think so, in the same way that we couldn’t predict the success of La Casa de Papel by making it. I think El Embarcadero has all the ingredients to please the public. Even if the story of this man torn between two women has already been told many times in the fictions, it is shown here in another way, through a change of point of view between the protagonists. I think this new perspective will be very interesting for the viewer.

As you say, infidelity and its consequences on the couple have fueled many fictions. What is the series about, beyond this theme?

To be more precise, the starting point of the story is the discovery of Oscar’s infidelity following his disappearance, which is immediately labeled as guilty in the eyes of the beholder. But the series then takes another path, seeking to understand what can tip a person to the point of lying to their loved one. She explores that sense of guilt Oscar feels while having this affair. This is the story we tried to tell: what if we could tell the story of an infidelity without looking for the culprit, but trying to understand what happened? It’s not just the story of a married man cheating on his wife and only looking for sexual pleasure, it’s much deeper than that.

The series is ultimately about polyamory.

Exactly! Oscar loves his wife Alejandra with all his heart, at no time does he stop loving her, but he feels the same for Verónica, his lover, and that’s what complicates everything and makes this story so fascinating. I think the series has the capacity to open a rich debate on this subject.

What are your future projects, for television or cinema? How would you like to move towards an international career?

I have several projects in progress, both in Spain and abroad and for cinema and television. What interests me above all is to choose unpredictable characters, who ask me to constantly adapt and imagine where I can take them, more than the scale of the productions that are presented to me. If film projects are often better visually than series, I make no preference between the two: it is really the singularity of the characters that I am offered that makes me choose.

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Interview on January 17, 2019

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