Carolina Yuste: “I don’t want to have the responsibility of being a benchmark or flag of anything, because I’m still learning”
When he finished his studies at RESAD, Carolina Yuste (Badajoz, 1991) began to study Anthropology at the UNED. The subjects that she liked the most were Sociology. She made him happy. “I loved learning about other life possibilities than what they taught me in Europe,” she shares. Soon she started working and she could no longer make her career compatible. It consoles her to think that acting is not far from those interests, because “the work of an actress consists of the study of human behavior”. Hence, she has turned that curiosity into atypical women that it is not usual to find in fiction. From the love story between two gypsies in Carmen and Lola to the introverted girl who emulated Amy Winehouse in The coverof the sex worker in the play Prostitution to a girl from the outskirts in girls and a girlfriend from a low social class who demolishes the prejudices of her future, wealthy mother-in-law in The perfect family. His latest role is even more difficult: that of a business graduate who works as a cleaning woman, suspected of murder, in love with a police officer and rejected by her mother for her homosexuality.
- Was it any pressure for you to win the Goya for Best Supporting Actress in 2019?
- I don’t feel that way, but as I have continued working, I have experienced a strange fear. I’m afraid it’s all going to end because they’re going to realize that I’m really doing it wrong. Over time, however, I have been gaining confidence. I try not to accommodate myself and I try to renew myself by shooting projects that are different from each other. I need to feel that there is change, that things flow.
- And what change of record has brought you no footprints?
- It is a series that has allowed me to dare a little more, get closer but not cross that line in which the plot stops being credible. The serial code is very shot, but when it has to go ashore, it does. If it had been a drama, we would have ended up very exhausted. But the bet of no footprints It has been lowering with action and with comedy.
- The action scenes are always characterized by a very precise choreography, is it also difficult to interpret them from a clumsy character?
- Our characters are clumsy. There is no epic or sexualization of the action. That is what I liked the most. If what happened to them happened to you and me, we would probably scream like we were unstitched. The complexity involved combining the scare with the emotional wounds that they bring, action and comedy.
- Did you laugh as much on set as it seems?
- It has been many months, so I have gone through all the moods, as in life, but among the creators, the directors, the technical team and the cast there has been a very good vibe. With co-star Camila Sodi, she couldn’t stop laughing. About to shoot we would have fits of laughter and we had the whole team hating us. It’s like when you were in school, the more they call your attention, the more you laugh.
- How important is the responsibility of interpreting a character that brings together three groups that are almost absent in fiction: the gypsy, the LGTBi and the cleaning women?
- It is the part of this work with which I am happiest, because justice is generated in fiction. Desi is a woman who has studied Business, but due to the racist and sexist bias she has not been able to find a job. I don’t want to have the responsibility of being a flag for anything, because it’s likely that I’ll screw up, that neatness that being a benchmark implies is hard for me, because I’m learning. Now there are things I know that I didn’t know two years ago and later, I will know even more. But as a citizen there are issues that concern me and occupy me, so there is some commitment, because I know that I am a tool at the service of those issues.
- How did you make sure that he was not going to fall into stereotypes?
- If I accepted the role it was because I knew that we were very protected. The creators were informed, they had contacted both the Gypsy Secretariat and Mexican groups. There was a lot of love and respect, an attempt to learn. The choices of how they are dressed was important to me. We couldn’t represent a cliché. It was very delicate. For my part, I inquired about the union of kellys and I decided that I was going to work from the feeling of justice and from the family wounds. Instead of getting stepped on, Desi fights back tooth and nail.
- When are you going to defend a vegan, a minority to which you belong?
- It would be good, because we have always been represented from the parody. It is something common in everything that is out of what we call normal. When what we don’t know scares us, we have two options: try to laugh or accept it. There are more and more different life choices, the cool thing is that they are more represented, so that those girls who think differently from the rest of their class do not feel like weirdos.
- Who do you look at?
- Now I look a lot at fellow actresses with whom I have worked: Carmen Machi is spectacular, I really like Vicky Luengo’s way of understanding things and I am fascinated by Esther Ortega’s courage in the theater. My references have to encompass more things, apart from her talent as an actress. I have not had coffee or exchanged messages with Cate Blanchett or Jennifer Lawrence, but they are also admirable.
- Do you still have an old Nokia phone, without internet or social networks?
- No, I have an Android (sad voice). I endured a little bit with the Nokia after the pandemic, but I came back because the locker room and hairdresser people asked me for photos to see how my hair was and since my cell phone did not have a camera, I had to go home, take a photo, insert the card on the computer… It was too much. At times, when I’m not working, I’d like to go back to a more rudimentary phone, because I get dizzy with technology.