Clara Segura: "The Goya is a recognition outside of Catalonia, but the Creu de Sant Jordi had a big impact on me"

Sant Just Desvern50 days in the life of a 50-year-old woman, the actress Clara Segura (Sant Just Desvern, 1974). On December 23 she is awarded the Creu de Sant Jordi; on January 15 she receives the Cygnus award, at the University of Alcalá de Henares; on January 18 she cannot collect the Gaudí for best supporting actress because she is in the theater with All eyes; On January 25th he is awarded the Feroz prize, but he cannot be at the gala in Pontevedra for the same reason, and on February 8th, on Saturday, between a theatre performance in Vic on Friday and another on Sunday in Balaguer, he does go to Granada to lift his first Goya. After the tsunami of emotions, the conversation.

In the last month and a half, the Creu de Sant Jordi, a Gaudí, a Feroz, a Cygnus and a Goya. What does this mean to you?

— Let's see: Goya, Feroz, Gaudí and Cygnus are for a specific work, for The 47, but with the Creu de Sant Jordi I did a kind of life recapitulation. It's also good that something as beautiful as the Creu de Sant Jordi makes you stop: wow, I'm 50, I've come this far, I come from where I come from, from a family that wasn't actors. I felt the need to thank the people I love for whom the recognition was thanks to their emotional support. I have a lot of respect for this award, but it's very nice when you see that you share it with people with more anonymous jobs, not as exposed as mine, who have done brilliant work for the culture, science or sport of our country.

If I asked you to rank these latest awards in order of importance, how would you do it?

— Well, I would tell you that the Creu de Sant Jordi had a big impact on me. And then I would add the Goya, not to belittle Gaudí, but Gaudí already had it. The Goya has been more of a recognition outside of Catalonia. Here I feel super well rated and super dearI have worked more here, I have worked on my language and that has had... I was going to say a price, but I don't consider it to be a price. I think it is a value.

Do an exercise: imagine that you are not from this world and you see the galas that people in the movies put on.

— There is a very good point; we have to dress up, like to welcome the new year, to get married, to the funeral, because they are important events. Now, from there to the physical effort you need to endure these galas... From a few days before you are already nervous... dress, jewelry, makeup... Obviously, those of us who have more aesthetic pressure are women and we let ourselves be carried away by that. Even though this year I would have liked to go with pants, you end up playing the game. I would have loved to go with a tracksuit. A cool tracksuit. But let's not get carried away. They are exhausting. The next day I met Emma [Vilarasau] on the plane, we were both exhausted and we had a theater gig. I don't know how she did it, but I was...

In one of her last articles in the ARA, Mònica Planas spoke about the Goya Awards speeches. She said that they were becoming more emotional and hyperventilated. Do you share that feeling?

— Maybe, I don't know. I guess there is this tendency that we catch from each other and from each other to take advantage of the opportunity to say things that we think. Normally people do it related to the movie and since movies say things, well, I Creature I wanted to talk about some things and in The 47 I wanted to talk about other things. There is a point where you have to take the pressure off. I was grateful that the Academy asked us to give a minute's speech. That's it, let's summarize.

Sometimes it's the content, and sometimes it's the overflowing emotion. Actors, actresses, who are so used to playing feelings, it seems strange that you don't have more emotional control up there.

— Because there is no character, it's you. They are giving you the award and you are overcome by the most instinctive, purest emotion. People jump, scream, go blank, tremble and, at some point, I am also grateful for it. We are absolutely human. We have to to disfigure this society. People fall, people get dizzy, like myself, who after the Goya I got a bird that I had to run away.

When did they give it to you?

— Then. You leave the stage out of breath and another one begins. photocall and fifteen other interviews.

So when you disappear from the stage after you receive the award, you don't go back to your seat in the stands?

— If you notice, it takes us a long time to come back, because you do an interview, a photocall beast and a battery of journalists, now one, now another... And there I said: I'm very hot, I'm getting dizzy. I guess it's from nerves. I would have preferred to sit in a chair and hug the people I love.

I have the last few lines of your speech written down. Since they only gave you one minute at the Goyas, I'll give you an extra minute so you can elaborate: "That we were all foreigners at some point, that the earth doesn't belong to us and that it only accompanies us for a while while we live."

— Yes, because I think that feeling like we own something where thousands of years ago there were other people, there were animals, seems selfish to me. I'm not saying that you shouldn't defend your culture or your origins. I said this above all because the policies that are being promoted all over the world, with this culture of fear, of throwing out those who are different from you, of believing that this is yours and that no one else can enter here, scare me. With these policies, genocides have been committed, like the one in Gaza, like what happened in the Congo, and it's all a question of the land, sometimes, and an economic question.

I looked at the last elections and the neighborhood of Barcelona where the extreme right had the most votes is Torre Baró, where the action takes place. The 47.

— Yes. It is very sad to think that you do things that were done to you. I remember a lot of the phrase that Fires The grandmother told her granddaughter: "You have to break the chain of hate, you have to learn to read, write, speak and love."

The fear of the last thing that arrives.

— The fear that the latest thing that comes along will take away what you have achieved. And this is perfect. In a sleeping society, which does not really look at what is happening to it, which is afraid of facing its demons, it is perfect to blame someone for your ills. It is an incendiary vote, very fast. In a society of reel, by finger, as I say, is perfect, because you have some brutal slogans.

There is only one person who appears in both of the big films of the last year, House in flames and The 47, and her name is Clara Segura. Do you attribute this to having made a good choice or to the fact that you improve everything you touch?

— No, it's a coincidence. It happened during a period, between one play and another, when I had a space to breathe life and Marcel Barrena calls me and tells me what it's about. The 47 and I tell him that it talks about my grandparents who came from Murcia, and when I read House in flames I'm also very interested in it. From there to everything that has ended up happening is the magic of art.

You finish the two shoots and you say: for one of those roles that I have played, I will be given a Goya. Which one would you have chosen?

— I think I would have said The 47Comedy is not always very well rewarded. It is considered a somewhat superficial art, but what I like most are dramatic comedies. And House in flames has it.

Both films have been widely viewed and have won many awards, and in recent weeks there are people who have begun to make a reading, which I personally do not share, which is to say: "Catalan speakers have a house and a boat in Cadaqués and they harass Spanish speakers who come from outside."

— You make a link between the two? I don't agree at all. I am a Catalan speaker, granddaughter of Murcians, my mother was born here, I come from a family of workers and we had a Zodiac when we were children.

But have you heard this?

— Yes, I have heard that in The 47 The bad guys are the Catalans. And I say: what about my character, who is Catalan and a nun and a good person and it's a real case? My grandparents from Murcia had four children and each of these children married someone who was from here, and from that mix the rest of us were born. Reducing it to this is going to places where I don't want to go because of what we said before, because perpetuating hatred radicalizes us. And I don't want to perpetuate hatred.

I think your mother had a PSUC membership card.

— Of course! Like Manolo Vital, which is perhaps what I would criticize the film for.

It looks like a man's struggle...

— And he was from the Workers' Commissions and the PSUC. I think this could be explained in some way.

What is the last political party membership card you had?

— I have never been a member of any political party. I have membership cards for SOS Racisme, for Unicef, for non-governmental organisations. I don't feel that any political party alone represents all my ideas.

One of the latest articles by Jordi Évole in The Vanguard He said that now we are not members of parties, we are members of films or television programs.

— In this sense, The 47 It is much broader than all this. That The 47 It may have been attributed to a political party, well, but it is much more varied. Perhaps many people who fought those struggles were not socialists, they were from another party. From the communist party. It is how to reduce reality. We are in such a hurry that we have to label because otherwise in the reel you don't get it.

What do you think your activism is? Is it your job?

— Trying to be respectful, treating everyone equally. These are the values I have learned from my family. Thinking that you are not always right and listening to others, no matter how different they may be. But now that I am getting older I am starting to not keep quiet and if I do not agree, I say it with great respect. I heard the interview you did with Emma Vilarasau and I agree with what she said. Before I had a certain modesty, a feminine modesty, I think, which I still have to live with. I love young women, they have no problem saying what they think. I felt that I had to be more careful with what I said.

Because you were a woman?

— Yes, of course. Maybe there was a fear and now I've gotten rid of that. I try not to do it with hate or anger, but to be able to say what I think.

Among so many awards, what is the last bad moment you have had?

— It must be a part of age, you see that your parents are getting older, some uncles are starting to miss you, the passage of time, old age, so difficult to bear. It is not a specific bad moment, but it is a murmur that comes from the background. This very clear awareness that "life was serious, one begins to understand it later."

And when was the last time you thought: I'm in over my head, I need to stop?

— Oh, eight hours ago, ha ha.

But you don't stop.

— Twelve hours ago I was wondering: what if I stopped now, what would happen? If you put yourself in the middle, you should stop, but since you don't put yourself in the middle too much...

How long do you have jobs now?

— Until the end of 2026.

If you decided to stop, they might take someone else...

— Yes, of course! We are not indispensable and there is only one life. I have to get organized.

Your children are 15 and 10 years old. What have they said about these latest awards?

— The other day, my oldest said to me: "Mom, you deserve it!" I guess because he sees the stress it causes. My youngest probably notices my absences more than my work. Lluc likes it when I come home and I show him the prize and he is the one who chooses the place in the house where it will go.

Where are these awards now?

— I have some on top of the piano and others in the entrance of the house.

Will any of them end up in Torre Baró?

— Yes, Gaudí will go to Torre Baró. He already has a date to take him to the Residents' Association.

The last two are the same for everyone. The last song that has you hooked.

— I'm now revisiting Tina Turner and I'm thinking: what was this woman, so powerful? Yesterday, when I bought a vinyl record, I discovered a song: A fool in love.

The last words of the interview are yours.

— What a responsibility now, Albert. Moments like these are appreciated. They help you to converse, which I think we need a lot. Too many. whatsapps, too many reels, too many stories.