Giovanni Cicchia reviews his career: “I’m not happy to remember Django especially for the rooftop scene” | Interview | Downstairs is the room | Diego Montalban | Don’t tell anyone TVMAS

There are many more propositions to work on than that John Cicchia Ridella (Lima, 1971) rejected more than he accepted during his nearly three-decade artistic career. The man responsible for such iconic roles as the elusive criminal ‘Django’ – perhaps his most enduring role – or the dictator Diego Montalban “Downstairs is the room”, he only accepts roles that really move him or say something or condemn him.

“I turned down theater, film and television proposals because I had to find something for him that would move or fascinate me as a director, producer or actor. This is more than just an economic issue. I have something to say or something important to share. They could give me the most wonderful or juiciest thing in the world, financially speaking, but if it’s not my turn, it’s hard for me to do that. There has to be an artistic connection, otherwise it’s not going to work for me. Once, while on a project, I had to apologize and withdraw because I didn’t feel comfortable”, says one of the most important Peruvian actors in recent years and winner of the 2022 Lucius Award for Best Television Actor.

He made his stage acting debut in Moliere’s classic adaptation of “Tardueffe” (1993). I am 23 years old. Later he did shows like “The King of Sodom”, “The Great Magic”, “Seventh Heaven” with Alberto Ezola.

How do you get to the movies?

I came through the theater because a good friend, Ricardo Velázquez, was a notable actor in Francisco Lombardi’s “Tell No One” (1998). They already had all the actors. The only thing missing is the madman, Coquero, and bisexual boy Alfonso Cordova, who engages in the character of Santiago Magil. Because I was too old for the role (I was 26), I had to lose weight, cut my hair and change my appearance. I lost more than 6 kg. In the end they chose me.

─A controversial character at the time, who received both praise and criticism. How did you deal with them?

Luckily he didn’t think so small of me. I faced them with pride and joy. I don’t remember feeling bad about some ugly comment, even though I’ve had horrible things yelled at me on the street.

─What did they tell you?

Coquero, drug addict, human waste, disgusting. People often confuse the character with the actor. A family member said it was immoral because in the film I passionately kissed another man.

─What did your parents say?

My mother is a well-read person and she knows Paley’s novel. He knew where it was going. I was happy. My father was not very happy when his son exposed himself naked and kissed another man. But it was not my first daring role. It was in the play “King of Sodom”. From my early days as an actor I did characters that surprised me.

─Your first leading role came with “Tinta Roja”.

Exactly. And I was a little nervous because Alfonso Fernandez appeared in all the scenes. It was a very bold film, it had very strong language. In Spain they censored it and took a few minutes out of it.

Which area was audited?

This is one of the narrations of Saúl Faúndez, Gianfranco Brero’s character, who says very strong things.

─To create Alphonso, you went with police journalists and photojournalists for their daily coverage. How was that experience?

Photographer Pantera (Alejandro Rojas) showed how he photographed the bloody scenes. It’s a great learning experience. I always do research beforehand to create a character and I try to dress like what the character is doing. Just as I did “The Gospel of the Flesh”, some friends from the Villa El Salvador police station let me spend a few days with them to see how everything worked. We dress up as police. When the criminals recognized us, we went crazy. That way, you learn a lot.

─In 2002 you starred in the film “Django: The Other Side”. Is it true that some people did not agree to give you the lead role?

My best friend Gustavo Sánchez, who had this project, really liked my work. But I know he discussed with the director (Ricardo Velasquez) and the team. They said to him: “How a white boy from San Borja becomes a criminal from Callo”. But Gustavo bet me that I could do well.

─You have taken on a great responsibility.

And I did my best. Until then, “Tell No One” and “Red Ink” were in my environment, but not Django. I had to meet Osvaldo (a criminal who inspired the film) to completely get away from me. It was a real challenge. Fifteen years later, I had my first child as a filmmaker, “Django: Blood of My Blood” (2018). Then came “Django: In the Name of the Son” (2019). It was one of the most beautiful things that happened to me and I am so grateful for it. Django grew up with me. We grew old together.

─What is your favorite movie in Saga?

I like the second one because it’s a human family drama about a man trying to get his life back, his family. However, the first film is loved by people because the script is awesome. There is a large amount of Peruvian in his conversations in the much-celebrated Creole, Moth, and Peruvian Bendezada.

─It is most remembered for the scene on the roof.

“Django” is 90 minutes long and people celebrate the 45-second scene where the two actors have sex to support the whole love triangle story. For me it falls short of the rest of the film. I’m not happy that she’s remembered specifically for that scene, because I think there’s a lot more interesting work beyond that.

─What is the best scene of your career?

In the procession scene in “The Gospel of the Flesh,” my character (Police Officer Vicente Camarra) carries his wife Julia (Jimena Lindo) and tries to reach the image of the Lord of Miracles. It is a royal procession in October. It was a wonderful sight, and I remember it as a great act of courage on our part. Many believed that he was actually a desperate man trying to save his wife.

─How long did it take you to record that scene?

From 6 am to noon, always carrying Jimina. I had costochondritis, (the cartilage that connects the rib cage to the chest) which left me half paralyzed for six months. I have a bad body (laughs). I have severe double scoliosis. My spine always bothers me. Physical work is not recommended for me. Despite everything, I am proud to know that I was a part of that terrible Peru movie where no one has salvation. It is very painful, very difficult. Talk about human misery. When we finished recording it, I hugged Eduardo (Mendoza de Echave, director) and said to him: “Why did you make such a beautiful ugly film?”.

─At that time, you received a proposal to play Diego Montalban in the third season of “Al Fondo Hey Sitio”. Why do you think your character didn’t develop then?

I went in with a lot of desire, but little time. As I was doing films and plays, I had no space to record. I became a problem for the product. I was sad when the series ended in 2016. In March 2021, until we got out of a terrible epidemic that hit us all, Gigio Aranda called me and said, “There is room in this. Background He wanted to come back and trust me. I immediately said yes.

─And they gave another dimension to your character. A friend of Miguel Ignacio, he became the head of the Maldini family.

Even though he has been kicked out of his home now, I believe he will get back because he loves his family deeply. He loves Francesca and I love Yvonne. She is the best actress in this country.

─Diego Montalban should be one of the most hated characters for his evil deeds, but he is the most loved and most relevant in the current phase of “Al Fondo Hay Sitio”. What is your success?

Although he represents a very tough and toxic sector of society, I think he gained the affection of the public because he has his funny side. But I think a lot of people recognize me for all my work. Even my underground music. Chabelos is not on radio or television, but he has a large audience.

─How was “Sadder Than Rain” the song you created as a tribute to Kenneth Queiroz? Stir up a lot of emotions?

It was a catharsis, I had to do that song. I have lost my friend, my partner, my partner. We were making music and suddenly everything disappeared. Ricardo Mendes and Mapache supported me to do it. We gave it a rock and very raw tone. So, a very desperate and painful song was left. We played the first year, we won’t play anymore. We don’t want to be sad or cry anymore. We want to celebrate that he was with us, remember him and spread the word about what we did together. We’ll be picking up some of the pending material on our new album (“With Eggs Hung”) for Chapelos’ 20th anniversary.

─When will the new album come out?

By the end of the year I hope. It will have 14 themes. It is produced by Diego DeBose. It has very current, political, critical and humorous songs.

─Is it true that you are the next person to introduce yourself to the public during a Sabelos concert?

(Laughs) I couldn’t do that because of my scoliosis. Sergio is the one to do it, but what happened last time was exaggerated. It was totally unexpected. They didn’t like it because it wasn’t manufactured. It’s not like they said they didn’t want to catch him.

How would you define this phase of your life?

It’s intense, requiring a lot of work and growth at all levels: maturity and aging.

─ Does the passing of years scare you?

I’m not afraid of time because that’s the only way things happen. Losing abilities and health is something I fear.