I was in avery good position... making movies all the time...
And...José Luis Merino called me to make this movie. I read the script and I didn't like my character.
So I told him I wouldn't do it.
And he told me not to worry. He told me to revise the script and to transform my role, and so on.
And as to that transformation...it is also true that he told me, 'extend it as much as you want', and, it is also true that I wasn't able do too a long project then
because I was making another movie...
But I took the script and it was then that the necrophiliac idea came into my head, and the number 13 and so on...
because actually my character wasn't a great thing, just a gravedigger put there. They killed him and that was all.
And I transformed him into a living dead, a zombie, and it's curious that nowadays my Igor character is a kind of a myth.
But the reality is that I made it for this reason: Merino was very excited to make a movie with me. I believe we already made a Tarzan flm.
A very weird Tarzan, but it had the then-famous actress, Nadiuska. And, well, I considered it once the role had a little bit of dimensionality...
I told him that I would make the movie.
And I have to say that the movie...it surprised me a lot, because...because the truth is that it has an excellent ambience...
We shot it in Lleida, in one of those villages that has remained amazingly near-intact for centuries, and...
It has 'something'. I believe it is a very interesting movie.
I am an actor, when I am acting, I don't disturb what I am not asked to do.
I know there is a director; the director has a responsibility: he is responsible for the result of the flm, and so I won't tell him how to do his work.
Then, with Merino, I agreed or disagreed with many aspects but I have got a thing that
when I am just the actor, I am only thinking in the character and I completely forget other aspects that can alter the flm...
even if I think that it could have been made in another way.
Then, in my sequences with Merino, in this flm and the other one...
I never had a problem. We had avery good relationship.
I must tell you avery odd anecdote about Tarzán en las Minas del Rey Salomón...
That movie, I...I think it is okay to tell this because it is by the same writer...
He contracted me out of the way because I was shooting Una Libélula Para Cada Muerto in Milan.
So, I was extremely exhausted, because I was shooting in Milan at night... we made the shooting this way, and I...
well, Merino was very insistent and he asked me so many times to play Stanley role that I fnally arranged it and...
I shot in Milan at night and then I took a plane. They came for me at the airport, and at 1:00 PM I was shooting Tarzan.
Then, by night, I took another plane to Milan --so it was really hard work during 3 weeks, almost 3 weeks.
But I did it and the movie is out there, a movie that, inside the adventure cinema genre, is not that bad.
I did not prepare the role in an elaborate sense, and...no, I wrote an enrichment of the character.
Then, instead making a plain character as he was, who was just a man who buried the dead and then gets killed
I turned him into a perverse character: with necrophilia, disquieting, such that, fnally, he even becomes a living dead.
And I believe it was very good for the movie, because I now constantly see things from the movie.
And it's me, Paul Naschy who, really, does not fool us, who really sustains the movie.
So it's very possible that had I played it the Merino way, we would have now another, different, story.
And I probably wouldn't be here, doing an interview for the USA.
But this is the reality, so...
Well, I'd surely give more details, but...that would make the movie change so much, such that the rest of the characters would seem very deteriorated...
as if they had just a flu.
And, on the other hand, it wasn't an extremely good cast--they do not fool us.
I believe that the best actor there, the one I was most interested in was Gérard Tichy.
A marvelous actor, marvelous, very characteristic of Spanish flms, who had a great career here, in our cinema,
and with whom I later worked in a movie I directed, 'La Bestia y la Espada Mágica'.
I thought that Gérard Tichy was perfect in his role as the mad doctor; you know, the one who creates the monsters and so on.
And...the rest of the cast, I....was a cast with...
Dyanik Zurakowska, I already knew her. With her I made 'La Marca del Hombre-Lobo'.
And Aurora de Alba, with whom I also worked...curious, right? I also made with her 'La Marca del Hombre-Lobo'.
Maria Pia Conte--you know she was an Italian supporting actress who has had some...
some little success, right?
Jeff Cooper was an Italian actor who used to call himself Jeff Cooper.
But I didn't...I was not very friendly with him.
But...in general, it was hard shooting because we made it in winter, with difcult weather, and...It was very cold.
By the way, the movie. I am saying that I made it with love. I liked the character.
Those scenes with the candle, when he is watching over, observing the girl in the room...
I think that this character without the necrophilia would hold little interest... I think it, the necrophilia, was the basic element.
Gotho's case is...totally...he is absolutely in love with death.
He is a man who even believes that the dead live for him; he wants her for himself. So the necrophilia is as present there as it is in Igor's case.
Maybe with an important difference: since in Gotho's case he is a very romantic character, romantic until decadence, romantic until the baroque, to the maximum baroque...
whereas Igor's character is more...more dirty...more...I mean, he mostly looks for sex with the dead and in the case of...
In Gotho's case this is just another element because of the sex... it is impossible to omit it, sex, in a love relationship between a man and a woman.
But just that. While in Igor's case what he is looking for is this kind of meeting between life and death that he desires...he desires the dead.
And it is very well expressed in the movie because we see from the very beginning that he wanders...
searching and looking her and trying to discover how to possess her, etc.
I thought that. I thought that it wouldn't be wrong that this man, who was so close to the dead, who fnally becomes a zombie
to be moved by the sinister mechanisms of this doctor.
Then, it's clear that I found it very interesting, and since José Luis Merino agreed, we decided to...to...
make him the living dead. I am going to tell you an anecdote that's very little known.
I believe that nobody knows it...
You know that when...when Jeff Cooper decapitates me, the head falls and rolls...well, that head is the same head we used in El Espanto surge de la Tumba.
An extraordinary head, impossible to re-make because it was the artwork of the best make-up producer ever in this Julián Ruiz.
He made a perfect head, out of wax...and since I kept that head from El Espanto surge de la Tumba...Merino told me, 'yeah, but the bad side is that...
' and I said, 'don't worry. We will make-up Igor in a similar way as...
as Alaric de Marnac'...and he said, 'You're right'. So I bring the head, and that head that got its importance because was avery short shoot and it was the perfect thing...
was the head Julián Ruiz made for 'El Espanto surge de la Tumba'.
And I am going to tell you more...they showed me a wig I had to wear as Igor and I said, 'I prefer to wear the one I had in El Espanto surge de la Tumba
because I believe it fts better onto the false head we have'. And this is purely an anecdote but this is the way things are made.
I believe that all my characters have a part of myself, my way of thinking.
So if Igor has a part of me, there's also a part in Gotho, in Waldemar Daninsky, in Alaric de Marnac, in Kantaka, in many names that...that...
in many characters I have played.
And...right, is...well, this is entering into philosophical disquisitions, almost metaphysical...
then, if you analyze my movies, they did it very well in the Cinémathèque Fran <i>ç</i> aise, you must see that, that...
this post-Spanish Civil War attitude infuences the conception of all the characters you develop during your entire life.
Even with all their differences.
In El Carnaval de las Bestias it was the Nazi hydra. It was my admiration for Pasolini and Fellini in some stuff, something very weird, almost Valle-Inclán-esque...
and this part of my own way of thinking and acting. So, when this happens...and when... how do I say it?
Sometimes is not that easy to see...those details, those kind of circumstances that cause a flmography to have a certain...a certain...
coherence by itself beside the context of the one who built it.
Because, let's not forget that I am not only an actor, but That I also write the stories and I also...direct them much of the time.
What happens then? The work becomes impregnated and that also...I will more or less be in agreement with the directors who directed me in the past, many times.
I can say, 'he succeeded more or less'. His eye, maybe I'd use it, maybe not. He hit on something in certain parts and didn't in another.
But there is something very clear: my spirit is in it because I wrote those scripts.
And this can't be forgotten.
Even in this case...in La 0rgía de los Muertos, where I just re-built the character in my way, you see that there are also certain connotations...because I wrote it.
All those ideas, were...were...Merino permitted me to add all those things.
And, logically...everyone felt it. Very much.
I believe that Merino...and I am saying this without taking anyvalue away from him, he wasn't conscious that he was shooting his best movie.
I know a big part of Merino's flmography...and I believe there is no discussion possible: this is clearly his best movie.
And it is a movie that, inside the fantastic genre...it is quite important and, so, I...
I think that it worthwhile...it's important to recover it.
Because I have a way of thinking that...the movies, if they are not transferred to DVD, they are in risk. They are in danger. And I'm going to tell you why:
Copies can deteriorate, can get lost...a lot of things can happen.
But when...when the...base is of high resistance and the Force that has the...DVD, the movies can resist the passage of time and
something impossible in 35and with negatives.
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