Now Almodóvar said he had another part that would be perfect for Anaya, and this time she would not be required to play a household object. It was in fact the lead female role in an adaptation of a trashy 1984 French novella, Tarantula by Thierry Jonquet, which the director had been working on for years. “My entire blood stopped for a few seconds,” says Anaya. She starts to whisper, and her entrancing eyes – one deep brown, the other lighter – grow wider. “I couldn’t believe it. Everything was part of a dream and I am still inside the dream now.”
“Elena’s main feature is how far she can go in the most compromising scenes, I mean physically,” says Almodóvar. “She is very good at difficulties and tension. She’s very open-minded, the word ‘risk’ is part of her work. This is why I picked her.”
...
Anaya seems to have been a woman on the verge of a breakthrough for years now. Born in July 1975, a few months before General Franco died, she is the youngest of three children; her father was an industrial engineer and her mother a housewife. Franco was no patron of the arts, closing the national cinema school and forcing many artists and film-makers out of the country, and Anaya believes that Spain has been catching up ever since.
“Even though it was 36 years ago, Franco has been like a big brick,” she explains over drinks in a London hotel. “Ladrillo is a word we have in Spain, it is like a heavy piece of stone in the middle of creation. And it affected a whole generation of people growing up.”
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