.aesthetic talk
ITZAN ESCAMILLA
*Breaking the Script
written + interview Juan Martí
It’s a pleasant and very surprising feeling when you discover that an actor is nothing like the characters they portray. That’s what happens with the young Spanish actor Itzan Escamilla.
The Madrid native is fun, cheeky, curious, and a huge film buff, with a particular love for horror movies. Like the characters who survive at the end of a horror film, Itzan has managed to escape typecasting and become something much bigger than his role in Élite. His passion for film isn’t limited to his acting career; he’s also a big consumer of filmographies, always ready to watch the next great movie, whether it’s a horror classic like The Exorcist or something more contemporary like Hereditary. His life took a drastic turn when he starred in Netflix’s teenage hit Élite, which turned him into a mass idol, almost like the protagonist of a horror movie who suddenly becomes the 'chosen one' of a new generation.
Now, after leaving his time at Las Encinas behind, Itzan is looking to take on new challenges, like returning to theater, this time with the genius Ana Rujas. It’s like a 'new beginning' in his career, like when the monster of the story finally faces its greatest challenge. While we await the premiere of that new play, we can enjoy his most international project on Apple TV, the thriller series Midnight Family, which stars him alongside one of Hollywood’s rising stars, Diego Calva. One thing we can be sure of: Itzan Escamilla’s adventure has just begun, and the suspense over what comes next in his career remains like a mystery movie that never loses its tension.
full look MAISON MARGIELA
pants KENZO
coat + pants KENZO
shoes CAMPERLAB
Juan Martí
Itzan, I’m so glad to talk to you! How are you?
Itzan Escamilla
I'm good, thank you! I’m preparing for the play I’ll premiere next year.
You star in La Otra Bestia, an adaptation of the book by actress and director Ana Rujas, right?
Yes, that's right. It will premiere at Matadero Madrid.
But you didn’t know her personally before, did you?
No, I knew her by sight. We’d greeted each other a few times and followed each other on Instagram and social media, but that was about it. Then, she wrote to me, saying she was preparing this play and that she’d love for me to participate. She sent me the script, I read it, and I really liked the character. We started exchanging messages, and at first, it was a bit complicated because I wasn’t sure I could do the project. It clashed with another commitment. However, there was an internal situation, and they decided to create a shared character because the actor originally cast for my role also had another commitment. Since neither of us could be available full-time at Matadero, they decided to have two actors play the same character. This arrangement ended up working out for both of us.
Who is the other actor you share the role with?
Teo Planell, a really cool guy. This isn’t your first time in a theater project; a few years ago, you participated in the Spanish adaptation of Rabbit Hole by David Lindsay-Abaire.
Yes, that was a long time ago. It was my first play and the only one I’ve done so far. It’s true that I trained at Cristina Rota’s school, and the training there was very theater-focused. Not exclusively, but the theater component in Cristina Rota’s training is very important. However, I’ve only done theater once in my life, and honestly, I was very nervous: excited, scared, nervous.
Can you tell me something about your character in La Otra Bestia?
It’s hard to describe because the whole play moves in a kind of code that’s somewhat detached from more earthly reality; I think it’s somewhere between a half-dreamy and half-poetic level. It has something very special that describing it would fall short, so it’s better to go see it. To give you an idea, it’s inspired by a movie used as a reference to develop the script and adapt the poetry book La Otra Bestia. They were inspired by Possession, a 1970s film by Andrzej Żuławski, which has a rather extreme tone.
Are you more of an Isabelle Adjani fan or Isabelle Huppert?
Huppert. I love The Pianist.
A classic. How do you remember your days in Rabbit Hole?
I really enjoyed it. David Serrano, the director, is someone I always say I’ve learned the most from because he knew a lot, had a great eye for actors, and was very intelligent. We had a great time, and the cast was amazing.
You played the role of Jason, right? That’s a very powerful role.
It was a very complex experience. It was an intermittent role in the play, which always makes you feel a bit dizzy because when you’re on stage, you warm up, and in some way, you enter the journey. But when you’re constantly going in and out of the stage, you have to stay focused all the time. Besides the dramatic and traumatic elements of the character, which were a challenge in themselves, there was also the difficulty of staying alert all the time, even when you weren’t on stage at certain moments, because you knew that at any moment you’d have to go on with all the energy.
Now that you're returning to the stage, how have you changed?
I imagine that age gives you experience, and you use that experience as an actor, plus it provides you with more background and more work experience. I also think it gives you greater awareness. The years since I was in theater, the projects I’ve been involved in, and life circumstances have made me more aware. It’s not that I didn’t have that awareness before, but I do think that now I have a deeper understanding of how lucky you are when you’re given an opportunity to work as an actor, and I have more respect for it.
It’s not that I didn’t respect it before, but now I see it in a different light. I have more respect when facing a character, when looking at the work, and more responsibility.
“I learned to be part of a whole... finding my place within such a big machine.”
Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital
total look BALENCIAGA
Out of all the roles you’ve played, which one stands out to you?
I don’t know if it’s because of the roles I’ve gotten or because of who I am, but I always view myself with self-criticism. It’s like I never see myself in a positive light; I’m always very hard on myself. So, the role I choose isn’t because I think I’m good at it, but because, objectively, it seems to have the most potential, the one that can be “squeezed” the most, the one that has the most to explore and where you can get the most out of it. And that would be the one in Rabbit Hole.
It’s a fantastic role.
Yes, because I really liked the script. I’m drawn to those kinds of stories. It’s a script that’s very well balanced between comedy and drama, which is something I feel about one of my favorite movies, Manchester by the Sea. It’s one of many movies I love that talk about human clumsiness when something very dramatic happens, and how people react in a clumsy way, which generates humor, but uncomfortable humor. I feel like everything is treated in an opposite way to what you would normally expect, not in a melodramatic way. My character had a bit of that, and for me, as an actor, it was very interesting because it went against what you’d expect from such a big drama. So, from an acting perspective, it offered many opportunities to investigate and try new things.
Do you think young actors in Spain are given those kinds of opportunities?
I think it’s a bit of everything. There’s something undeniable and also natural, given the times, the budgets, and everything else: taking risks and betting on an actor’s profile that might not fit right away is complicated. The times are what they are, and the money at stake is what it is, so often, they choose to bet on what we already know will work. I think, on one hand, there’s a comfort zone when profiles are pigeonholed into specific roles within each project, but I also think there are directors who take a chance on something different. That’s where a more auteur-driven approach comes in, which always brings a breath of fresh air, an attempt to look beyond what we’ve already seen, giving a new face to what’s familiar.
I realize that talking to you, I see that you’re nothing like the characters you’ve portrayed or your personal concerns.
I don’t yet have the ability to choose the roles I take. I hope to have it someday, but right now, I don’t. So, I’m really proud of what I’ve done because, for starters, it’s work, and though this expression is overused, working is very important in a profession where there’s so much unemployment. So, I think there’s a natural arc; everyone has it in their own way, and you can’t generalize. I think mine is mine, and the others’ arcs are theirs. But at least in mine, there’s a natural progression where, first, you have to do what people see you can do, give it your all, do your best to start showing different sides of yourself, so that they begin to see you in other ways and start to shape a more multidimensional profile.
What did you learn during your Élite days?
Yes, I learned a lot. I learned mainly about what a shoot involves because, in the end, it was a role that required me to be on set or outdoors almost every week, Monday to Friday. So, I became very aware of what a shoot is, the complications that arise, the mistakes you can make, what you should and shouldn’t do. And I think, as an experience, what I take away the most is learning to be part of a whole. That is, having a more experienced perspective when understanding what’s going on around me on set, knowing where to go, where not to go, and finding my place within such a big machine.
What were you like as a teenager?
I don’t know, in many ways. I don’t really remember well, to be honest. As I got older, I was the class clown, the one who liked to joke around, I guess. I really liked being the class clown. I was a very curious, restless person. I really liked studying, I was pretty good at it, I didn’t fit the profile of a bad student, I was a good student. And I don’t know, I was someone who always had the need to explore hobbies or interests that I didn’t see around me. I always wanted to be part of something special, something different. I had this constant urge to not settle for what was closest, but to look for something out of the ordinary. So, I kept trying, trying everything. I did a lot of sports, skateboarding, martial arts... whatever it was. I kept trying until acting came into my path, and that’s when everything changed.
Do you remember your graduation trip?
I had a problem throughout my adolescence, which was that when I was 11, I had an epileptic seizure. Because of that, my neurologist strictly prohibited anything related to alcohol. I really liked surfing, and they even had to put a life jacket on me to do it. And that kind of carried over into my entire social life, as if I suddenly started receiving a lot of attention that I hadn’t had before.
My parents weren’t exactly neglectful, but they weren’t overprotective either. So, from that point on, everything changed a bit for me. At first, I lived with a lot of fear, and that feeling aligned with my parents’ caution. I was also a bit embarrassed because everything changed suddenly. But I think, after a while, I started doing whatever I wanted.
What’s the craziest thing you did with your friends?
I probably did more things, but the one that we always remember is when we set off a huge firecracker at the Palacio de Hielo shopping center. We thought it was going to make a little noise, but it went off like a bomb. At that time, there was still a risk of attacks. The alarm went off immediately, the police came, and they asked all my friends for descriptions of me. I ran and hid behind a bench, while police cars started to line up in the area. I don’t know if it was the paranoia of the moment, but they really were chasing me. That’s the story my friends and I still remember vividly.
coat JUNYA WATANABLE
socks + shoes MM6
“When you find a passion and decide to go for it, knowing you’re going to have to build your future on your own, it gives you confidence and the drive to commit.”
Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital
How does one go from being a troublemaker to a committed actor?
Well, age and the fact that when you find a passion and you decide to go for it, without financial or family support behind you, and you know you’re going to have to build your future on your own, it gives you confidence and the drive to commit.
Do you think that, even as time passes, the desire to throw a firecracker in the middle of a shopping center goes away?
Yes, I got over it (laughs).
Has your twenties been more chill?
Not really, because I starred in Élite.
When did you realize the impact of Élite?
I was in Bogotá promoting Élite before it had been released, and when I came back, it had already premiered. So, I went out for a drink with a friend, like we are now, and suddenly people started staring at me and asking for photos. I remember the first few times they asked me for pictures, I got all red... I didn’t know how to react. And from that moment on, it didn’t stop.
You’ve explored teen drama, human drama... What would you like to explore now?
I really like comedy, and I’d love to do something with Paco Plaza, for example. Paco Plaza is known for his horror films. I really liked REC.
What’s the scariest movie you’ve seen so far?
Oh, I remember one starring Demi Moore that really scared me, I think it was called Half Light. But there’s one scene that has traumatized me the most of all—one that makes your heart skip a beat and leaves you pale for days. It’s a scene where she’s, I think, in the water near the shore, and suddenly the child appears, coming out of the water. I remember leaning back on the couch, feeling like I was having a micro heart attack at that moment. It traumatized me so much that for days, I couldn’t sleep, with the image of that child’s face coming out of the water stuck in my mind. I don’t know, it’s a horror movie that I remember with a lot of fear. The Exorcist is one I really like, but it also scares me a lot. It’s more the underlying aura of the film that gets to me than what you actually see, like the vomiting and those scenes. Although, I mean, with time, it has a bit of a B-movie feel to it, it becomes more gore, more “body horror,” and all that, which sometimes makes you watch it almost from a comic perspective.
Have you ever had a supernatural experience?
Yes, I was sitting on a bench with a friend of mine because we used to do graffiti. We were out on the streets late at night. We were sitting on a bench, and we hadn’t smoked any weed or anything, we were perfectly lucid. At some point, my friend was really into UFOs and always talked about them. There was kind of a relationship between his obsession with UFOs and me, who always made fun of him about it. I’d tease him a lot about it, I was quite atheistic in that sense. We were sitting on the bench, looking at the sky, philosophizing, talking. And at some point, next to the moon, I saw this orange ball. At first, I thought, “Well, it must be a star or a satellite,” but the ball started descending and getting bigger. I remember I was so impressed I couldn’t even speak, and it was a very brief moment. So I tapped my friend to look, and we both just stared, stunned. Suddenly, the glowing sphere shot up to the sky at full speed, leaving a small trail, and then it disappeared.
After that, my heart was racing. I ran, feeling this strange magnetic pull, and even though I’m not into auras or vibes stuff and all that, at that moment, I felt kind of hypnotized. I thought, “I need to get out of here.” I ran, and from that day on, I started sleeping a lot at my grandparents’ house, where I was raised. In my room at my grandparents’ house, I couldn’t sleep. I had that constant feeling of wondering, “What did I just see?” I started getting into all the alien abduction stories. I became interested in horror movies about it, like The Fourth Kind, the one with Milla Jovovich. And from that day on, every day, at a certain time, I think it was around 2 a.m., I would hear this huge engine sound, like it had a lot of power, right above my room. I’d hear the sound of an engine, and I didn’t dare to look, but when I did, I couldn’t see anything. However, every day at that same time, I’d hear that engine above, on the roof of my grandparents' house.
Do you believe in UFOs? Would you go to Montserrat to see if you saw a UFO?
I was in Tepoztlán, which is in Mexico. It's a magical town very related to UFO sightings and all that.
What was it like shooting Midnight Family in Mexico?
Really good, except that I caught three bacteria that destroyed my life for four months.
Maybe they were alien bacteria.
I thought maybe they had cast an evil eye on me (laughs). But seriously, working in Mexico and doing Midnight Family was cool, it was intense. What was happening outside of the shoot really blended with what was happening inside. So, when everything was going well, everything was awesome, but when it wasn’t, it became more difficult. But well, now, looking back, I have very good memories of it because I met people with a lot of talent in Mexico. I had the opportunity to be with them, work with them, see how they work, and honestly, they do it in a way that's quite similar to mine, or to what I had seen around me. An example: Mexico is a city that works a lot in chaos. There’s very little order, really. It’s very frantic, things are constantly happening, but without a clear order directing them. It’s as if everything is left to free will, and in the end, it will probably work out. So, they trust that it will work out and that the chaos is viable. It’s a city that works a bit like that, and I think that also influences how actors and actresses work, at least the ones I had by my side in this project. I always make sure to specify that it was a concrete experience, from one project, because it was probably more of a particular experience than a general one of how their modus operandi is.
Has this experience helped you to be more spontaneous?
I think you have to keep a spontaneous part, because otherwise, you become a Swiss clock, and I think that’s the antithesis of good work. Because in chaos, you always find brilliance or unforeseen things, and that’s where the gem of an interpretation is, when you’re not controlling everything, when there’s a moment of improvisation. But for me, I think I need to have control first, in order to break it from there. I’m speaking from little experience, but if I had to create a sketch of an acting method, it would be something like control, an analysis of the character and the text and then forgetting all about it. In other words, doing all that work beforehand and then forgetting it, so I’m not rusty or focused on any of it when the action happens, and I’m facing the moment. I would like to find a method similar to that.
team credits
seen RAÚL RUZ
styled JAVO GONZÁLEZ
production (off-set) JUAN MARTÍ
make up + hair AMPARO SÁNCHEZ
art direction URI SERRA
production assistant AVA
