Alejandro Bertero: “I’ve Been On A Shoot That Was Like A Churrea For The Director”

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Alejandro Bertero, at his home in Valdemorillo on September 5.alvaro garcia

Alejandro Bertero (Madrid, 42 years) has spent two decades SPECIALIST, just rolled back napoleon, Ridley Scott’s blockbuster with Joaquin Phoenix for Apple TV, and before that he worked on the fifth Indiana Jones film, where, among many other things, he took part in a motorcycle chase that didn’t disappear in any installment of the saga can. However, he does not talk much about new films. Experts are not stars, but they also sign confidentiality contracts.

ask. How did you get started in this?

answer. By profession. 20 years ago I was studying engineering and in the afternoon I practiced with classmates specialist schools only who was in Spain. There came a time when I had to choose between preparing for a more stable job or this one that gave me life.

P. And he was right.

R. Well, now, with the issue of platforms, there’s a lot of work: Netflix’s Tres Cantos has some pretty big studios. And HBO, Movistar or Amazon are generating the content. but 20 years ago I was central hospital And a little more.

P. I’ve seen them have over 100 accredited shoots.

R. I don’t know. Over 100, sure. But for years I was in a theme park that included shows with filming, because then there were no action series.

P. I agree that each expert It has its own unique capabilities.

R. Yes, it could be a battle of the stage, caltitude aids, diving, Driving… I am, above all, a lot of motorcycles. They have been working on the show for many years doing fights and riding. This gives you a lot of boards.

P. Any artistic requirements?

R. You’ll also need to enter a profile depending on which actor you double. You can be great, but if you’re two meters tall and you’re too black and the actor is short and fair, you don’t deserve it.

P. Has this happened to you?

R. if ever. Earlier, you also dubbed women or black actors. That doesn’t happen anymore.

P. Have you had multiple injuries?

R. Few, but a lot, are rehearsed. On the day of shooting you go with the work done. We do not improve. With that uncertainty comes no idea what job it will be if you’ll be able to work the next day.

P. if there is an accident stop filming,

R. Not necessarily. Many times we dub actors for this reason: they don’t let them participate, not only because of skill, but because of the feasibility of the production. Sometimes you’re going to do very delicate things and other times you just have to stand next to the explosion or get into a passenger car because nothing can happen to the actor. In some series I’m going to double down on an actor who has to ride a motorcycle, because they believe there’s a certain risk, that he might fall or whatever. Many ask for double. Others, some, don’t, but they wear it whether they like it or not.

P. and then there is The Tom Cruise Myth That Does It All.

R. He is a creator, he can do whatever he wants.

P. Have you had any bad experiences with directors?

R. I went on a shoot that was like a chureriya for the director. In one I had to fall off a ladder and I said to the coordinator: “Which side? Let’s do a rehearsal.” Suddenly the director came shouting: “Rehearsal? We’re not here to do it right. We’ve come to do it, and if it goes well, it’s good.” Well, maybe not, but at least it’s safe, because on one side is my uncle, on the other something else…

P. And with the stars?

R. Everything is there. They have their own dressing room and sometimes their make-up artists and hairdressers are not like the rest of the artistic team. So you don’t agree with him. Sometimes you only find them on stage because they don’t rest where they are or anything. There are people who mix more, who empathize faster, and others who don’t. As in all jobs.

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