Ivana Baquero started in horror cinema at just 8 years old with Paco Plaza and Jaume Balagueró, but it was the Mexican director Guillermo del Toro who propelled her to fame with her first leading role in Pan's Labyrinth. That allowed her to cross the ocean and enter the world of Hollywood productions. As an adult, she has sought to transition to all kinds of roles and genres, all while studying law. Ivana Baquero answers our questions from her native Barcelona, where she is spending some time after her latest filming.
Your first film was "Romasanta: The Werewolf Hunt" (2004), directed by Paco Plaza. How did that come about? Did you enjoy the world of acting?
I actually started by chance. They came to my school to hold auditions because they were looking for a girl who spoke English. I attended the American School, and they chose me out of all the girls. That's how I started. It was filmed in Galicia, I remember, and I loved the experience. I traveled while making the film, went to other places; it was very beautiful to have it as my first project.
In 2005, you worked again with Paco Plaza in "Christmas Tale" and with Jaume Balagueró in "Fragile". Two of our most renowned horror directors. Your mother accompanied you on those sets; did you watch the films afterward or were they too scary for a child?
I had the 'luck' to be an only child, so my parents could always be there for me. My mother accompanied me, my father came when he could as well. That was the reason I could continue acting for so long. My mother was always there, very attentive, which I appreciate. Having that adult figure looking out for you is crucial for an actor because ultimately, it's an adult world. You're surrounded by things that might not be appropriate for your age, so you do need someone to protect you. But I wasn't afraid to watch the films. I started with genre films, so I was already accustomed to blood, dismembered bodies... Then, when I watched the movie, it didn't impact me as much, because I already knew what we had filmed.
"Pan's Labyrinth" (2006) was your first leading role, directed by Guillermo del Toro. It brought all the attention to you. Was it a turning point?
Absolutely, it was a springboard in my career. The film went to the Oscars, the Golden Globes, Cannes... and then, in Spain, it also had a very long trajectory of festivals, awards, the Goyas... I would say it has been one of the projects that has had the most impact, both personally and professionally in my career, even though I was so young.
It brought you numerous awards, including the Goya for Best New Actress. What do these kinds of recognitions mean to you?
I took it as a way to be accepted by the industry and by my peers. To take it even more seriously, if possible, because even though it was already a job for me, at the beginning, when I was little, I wasn't sure if necessarily it was going to be there for the rest of my life. I didn't know what the future held for me, but winning the Goya made me realize that maybe this was indeed my path, that I was really good at it, that I had to make the most of this journey and opportunity, that this was what I wanted to do for the rest of my life.
In 2009, you played Kevin Costner's daughter in "The New Daughter". Was that your first international film?
Before that, I had already done international co-productions. With Germany, with France, like "The Anarchist's Wife", for example, and "Pan's Labyrinth", which was also part Mexican and part Spanish. But "The New Daughter" was indeed the first American film, and it certainly opened many doors for me in the US. I got an agent, which is very important to enter the industry. From there, I started working more there, but for me, it was a fairly natural transition. Having gone to the American School, I could have been an actress or anything else, but I always saw myself somehow in the US.
From here, the world of big Hollywood productions opened up to you: "The Shannara Chronicles", "Black Friday", "Feedback"... What differences do you find with Spanish productions?
Perhaps the magnitude. Historically speaking, there is much more budget in a Hollywood project, and you can tell because the teams are bigger, the setup is much larger, you have more time for filming planning, to go to different locations... But also, to be fair, the industry has been changing in recent years, and with the arrival of platforms in Spain and Europe, very large productions are being made. It's becoming equal. And then, artistically, there isn't much difference, frankly, because in both countries, in the end, the stories being told have the same value, and whether it's a big or small production, when you step onto the set as an actor, it doesn't matter if there are two hundred people around you or five, the work is ultimately the same.
You balance acting with studying law.
I do it online; the exams are in person, and I go slowly. The goal was never to practice law, but simply to educate myself because I was interested. Instead of reading another book, I read the Civil Code and took advantage. I'm still doing it; in fact, I just finished the exams for this semester. I take a couple of subjects a year, so it's going to take a while.
Many of your roles have been in genre films. Is that what you personally enjoy the most, or did it just happen that way?
I started somewhat by chance. In horror movies, there's usually a little girl, so it was easier to get access through that. And then it's true that the genre has always been with me. I've been lucky to do fantasy productions, horror, even very gory ones, and I've enjoyed them a lot; I was very attracted to this type of project. I'm also a consumer of them; my favorite genre is fantasy, and in some ways, it was very appropriate for me. But as I've grown older, I've sought a transition to more drama, contemporary, or action genres.
You've taken on riskier roles, such as Aurora in "Demonios Tus Ojos" (2017). I imagine you like to vary your roles.
Absolutely. It's the most fun in the end. You do a series for several years with a specific character, which is exciting and very fun, but you feel like breaking out and trying something different. That's what I enjoy about acting; suddenly one day you're wicked, and the next day, you're in an action movie.
The latest film you've shot is "Offline," a short film by Gerard Vidal Cortés. It was shot in the vineyards of Jumilla (Murcia). What's it about?
It's very current. It talks about artificial intelligence, the danger of relying too much on it, and the importance of human connection. It's very well done; it's a beautiful contrast between technology and what is a much more human and earthly place like vineyards. It's a project I was very excited about; I shot it in Spain and also took it as the chance to spend some time here [in Spain].
You've done a lot of movies and TV. Have you ever ventured into theater?
I've never done theater, not even started with the typical plays that children usually do. I started directly on screen. It has its own technique; one has to train to be a good stage actress. I have a lot of respect for it. With the right project, I would be interested in giving it a try.
And behind the camera? Can you see yourself directing, writing scripts, or producing?
Yes, and I like it a lot because I've always enjoyed writing, telling stories both in front of and behind the camera. I'm also interested in the production side, putting together a project from the ground up.
(c) Interview by Club Influencers.
Translation by Ivana Baquero Italia.
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