"Spaghetti feminist western". Actor, musician and horse whisperer. The next film in which Rueda acts is another short by Enrique Novials
Diari de Tarragona
May 8, 2021
Gabriel Rueda, are you a cowboy?
A: Of course... at specific times. When I come down to reality, I see that no, I am not in the West, ha, ha, ha. But yes, being a cowboy is in my DNA.
Q: Do you identify with the stereotypical cowboy character?
A: No. Stereotyped, no. I identify with a unique, unrepeatable cowboy character that nobody has seen, and that nobody knows, and that is me.
Q: Very nice! And you're about to participate in the shooting of a new movie, a short film by Enrique Novials, called 'Kill them and don't come back alone', right?
A: We are going to shoot it in July in Tabernas, Almería. Indeed, it is a project of Enrique Novials, who is the director, and who may also participate as an actor. The title is a nod to Kill them and come back alone, a classic that was shot in 1968 in Almeria. Kill them and don't come back alone is a spaghetti feminist western.
Q: A feminist spaghetti western? Can you explain?
A: That in a western it is the woman who takes the chestnuts out of the fire and kills the bandits and rescues the prisoner, and is the heroine of the movie, is rarely seen. With Enrique Novials we already made Calamity Jane 1882, a short film based on the letters that this outlaw, which really existed, and who drank whiskey and cheated poker, wrote to his daughter.
Q: 'Calamity Jane 1882' won last year many recognitions and awards at national and international festivals, right?
A: Yes, all last year we have been receiving news of nominations and awards at festivals around the world: India, Greece, Turkey, Uruguay, Japan, in many US cities such as Texas, Oklahoma, Los Angeles... In Arizona we have won the awards for best director, best supporting and best actress. It's been like an invasion of prizes, up to 14. Now Calamity Jane 1882 is competing in Houston, in the official section of a festival.
Q: What role do you play in 'Calamity Jane 1882'?
A: Bad gunman. I kidnapped Calamity Jane's girlfriend, because in the movie they are both lesbians.
Q: I see that the argument is innovative.
A: It turns out that we are part of the sheriff's gang, but we are corrupt, and we do all kinds of misdeeds. And we learn that Calamity Jane has cheated in the game, in poker, and that she has won $ 20,000, and then, we go to a brothel to find Calamity Jane's girlfriend to kidnap her.
A: Yes, what a fabric. We kidnapped her, and we asked for a ransom. Then Calamity Jane comes, peels us all and takes the bride. Very briefly, the argument is like this.
Q: And in the short film you're going to shoot in the summer, 'Kill Them and Don't Come Back Alone', what is your character?
A: Again, I play the outlaw, the bad guy. I start by robbing a bank.
Q: How do you feel in these types of roles?
A: Man, it's hard for me to play bad, because I'm very good. So, you see, I have to work a lot. And I don't play bad things around, because that's dangerous for one's psychology. You can deviate from yourself and from real life. In order not to get into those problems, I avoid playing with it.
Q: You speak like a person already used to acting. Do you have many years of experience?
A: Well, yes. I studied theater. In fact, as a child we played theater with my friends, between six and eight years old. I was born in Barcelona and at the age of 17 I came to Tarragona. I started with the theater officially at the Escola Josep Ixart. I was also at the Escola d'Art. I set up several companies.
Q: Did you set up several theater companies? Which?
A: Cerebral Light, of happenings and performances; Those of the Cosmos, of mime and pantomime; Plis Plas, children's theatre... I was also at La Fura dels Baus. Then I went to Nicaragua and set up a circus school. It was a project of the Associació Nou Barris and the Committee of Solidarity with Nicaragua. I was at the circus school in Barcelona doing clown, clown, juggling and fixed trapeze and acrobatics classes. My entire career in the world of theater, circus and horse can be seen in https://gabriel-rueda.wixsite.com/actor/biografia.
Q: In the world of the horse?
A: That's how I met director Enrique Novials, because he came to our equestrian because he wanted to ride a western and wanted to learn to ride a horse.
Q: Wait a minute: what does an actor paint in an equestrian?
A: About ten years ago I began to lower the piston of my most theatrical, performer and cirquera part, and I dedicated myself more to horses. I met Anna Salas. She is a horse tamer who has dedicated her entire life to this. For me Anna Salas is an eminence in natural dressage and in everything related to horses. Respect for the animal, how to tame without violence, the connection with the horse... I learned all this from her. It was when the crisis of 2008. Then there were many people who could not support their horses, and we set out to rescue those who were abandoned or abused.
Q: In an equestrian?
A: They donated us a farm in La Nou de Gaià and we set up an outdoor horse riding. We had the horses there loose, and we taught to ride without bite, with respect, to learn how to approach a horse and get hold of it little by little, until the horse trusts you and you trust him, to make the union of natural dressage, and many things.
Q: So you're an actor and a horse tamer.
A: Horse whisperer. And musician since life. I play guitar and mouth harp and give lessons, I write lyrics and music, and I sing. At the Mostra de Músics de Tarragona in 1990 he played with Los Enigmáticos. I also played with Blue Bus, Simago Boys, Absentha Brothers, Los Leonardos and Los Kiroga. Now I play with the Dalton Paints and Los Siderales.
Q: And you told me that one day the director Enrique Novials appeared for the equestrian.
A: Yes. I wanted to set up a western and I wanted to learn how to ride. It's a long process, and more complicated than it seems. I was dedicated for five years and I still have to learn a lot.
Q: What did you discover thanks to horses?
A: I discovered that I had advantages to ride, because as I had done a lot of theater, mime, pantomime and acrobatics, I dominated my body, I had a sense of balance, I had awareness of all the parts of my body and movement, and an agility and a preparation that gave me a lot. With the students, what I did was teach them to become aware of their body – "foot to ground", "I am a horse" – because you can feel very insecure when you do not know anything about the horse, nor its psychology, nor its behavior, nor its way of being, nor its thoughts, nor its emotions.
Q: And talking to Enrique...
A: I told him I wanted to be in the western. In the end, I starred in the teaser of The Crossing, which was sent to the Almería Western Film Festival. And we were able to see it on the big screen, at the Oasys Minihollywood, which has a Western room that is where very good films have been shot. Where with Enrique we are going to shoot in July, Sergio Leone filmed, with Clint Eastwood, Lee Van Cleef...
Q: What is it about westerns that hook you so much? Could it be that they give room for a little crazy creativity, because the Wild West is outside civilization?
A: Yes, it's fun because there's a lot of freedom and you can do almost anything you want. It's like living in a time when everything is allowed.
Q: When you told Enrique that you wanted to go out in the western, he must have said yes right away, right? Because I have you in front of me and the truth is that it costs me nothing to see in you an outlaw.
A: The bag or life! Ha ha ha. Well, that's what everyone tells me. I don't get it.