A low energy person (with the appearance of having a cold from which we hope he will recover soon) receives him as if he were a relative from whom a war had separated him. They sit at the table—and I haven’t noticed the height of the seats this time; I’m so sorry—and Motorcycles. Why do you have some post-its? I wonder.
“It’s an addictive book,” says Motos. When a big celebrity goes—already The anthill Many famous people go—Motos is truly curious. This is not like interviewing the actors of a fashion series.
The interview begins with some striking audio problems, since Preysler has chosen a dress with transparencies that does not facilitate the placement of the tie microphone. She wears a button type one, like Madonna’s on the tour. Vogueand it doesn’t sound good. They go to advertising and, upon returning, it is clear that the noise is going to last the entire program.
Anecdotes of late Francoist history
Motos starts off strong, asking Isabel about her virginity. Her expression is killer, but she has to tell about the Filipino banker boyfriend and the night of love that resulted from a damaged plane. That’s when our heroine’s transformation arc begins. They bring her to Spain to escape the shame of having slept with a heartthrob and pilot ten years older than her.
Upon his arrival at Paseo de la Castellana in Madrid, a feat of strength of anecdotes of late Franco pijerío: parties, meals, snacks, and ladies who look like their names are Tita and Mayte. The thing about is absolutely irrelevant, except when she says that she got married while pregnant. That’s one of the bombshells of the book. That’s why she cried at her wedding. “Julio behaved like a gentleman” is the last thing I would have expected to hear about the popular singer (who, by the way, I think it was Peñafiel who said he was going after Isabel just because she didn’t pay attention to him).
“Have you ever been angry with your children for doing something you don’t like?” Preysler avoids mentioning the episode in which Tamara marries him even after it is known that he flirted with a stranger at Burning Man. This thorn, every time it appears, makes Isabel twist her expression (within her possibilities).
Tight smiles
Isabel Preysler knows how to be in a chocolate advertisement, in a magazine, or in a very brief passage on a set, but it is not suitable for a long interview, because she will never open up. She has triumphed by being the perfect and glamorous shell. Preysler ran so Pombo could crawl. When Motos (who is not exactly an incisive interviewer) asks an uncomfortable question (such as infidelity), Isabel smiles nervously. But it fails to convey closeness.
The question of the children comes up. All good, thank you. Leave the thing about Enrique for when he tells it (how does this lady know how to distribute the exclusives), and from Tamara he says that he has learned “forgiveness”; In other words, he can’t even see Iñigo, like the rest of us Spaniards.
The interview has ups and downs. Isabel reacts when Motos asks about “the nose thing,” which is something we have all wondered about. Well yes: a problem in the operating room that gets complicated. When she is finally telling something interesting, Motos intervenes to talk about when he went to a spa with his wife and asked to have Botox injected. Thanks for nothing, Pablo.
We pass by husbands (Falcó on tiptoe, by the way) and nothing he says about love is credible. De Boyer says she was “fascinated by his intelligence.” It gives the impression that she is a lady who has calculated each and every one of her loves, with the exception of Julio Iglesias and the incident of the plane pilot bandit lover. Talking about Boyer seems to evoke more of a quiet life than love. She openly says of herself that she is right-wing, and calls Alfonso Guerra an “enemy.”
We continue with Boyer and the confrontation with Ruiz Mateos, which is like mixing the Colbys with Anita and Montoya. And “one day, without warning, Miguel suffered a stroke.” She makes it clear that “she was already a widow” when she met Vargas Llosa, which is not what the tabloid press has reported. It is, as usual, Tamara Falcó who says something interesting. “There I was the one who was protecting the family.” (like Boyer, like Falcó), is treated with vague disdain by the two celebrities. After the terrible taste of as part of the book. Vargas Llosa, I insist, is dead. He never dedicated that novel to her that in theory he was going to dedicate to her, but he did talk about it in the story The windsthat we had it right under our noses and we didn’t know how to see it.
“It was a fall in love with the pichula, not with the heart. With that pichula that now no longer serves me for anything, except to pee,” the story said. According to those familiar with the Peruvian Nobel Prize, he was talking about Preysler. And she “Oh yeah? Well now I’ll go and publish your faces, hey!” Moto reads two of the letters. One (from Mario to Isabel) leaves her feeling good. The other one (from Isabel to Mario) makes Mario feel bad. In the latter, Isabel talks about differences in status and income. Are you calling Vargas Llosa “stiff”? Isabel makes some comments about things that have been said in the press, and they finally say goodbye to give way to the discussion.
I finally realize that each post it in the book is a couple of Isabel’s: Julito, Falcó, Boyer, and Vargas Llosa. It is very clear that this woman is only known by her partners, but she also respects her children. It is very clear that any program that hires Tamara has, at least, one visit from Preysler included in the contract.
I feel an echo of truth in his words, but I find no truth in this interview. Isabel Preysler has already said many things. She has been photographed her entire life, but she has never done a real interview, and I don’t think she intends to. It was not going to be Pablo Motos who changed this.
If you want good gossip about it, I recommend the book Julio Iglesias. Truhan or sir? Written by Antonio del Valle, who was the butler of the violet soloist.
In this book he says that Preysler sent Julito a copy of the Hello with a post-it that said “I will always have more covers than you.” In that act there was more force than in this entire interview and, I imagine, in the entire book that Preysler has gone to promote.
