Carol Rovira (Camarles, 1989) is one of the renewed commitments of Eufòria, the TV3 musical talent in which she is now a member of the jury along with Elena Gadel and Lildami after working as a coach in the first season.
The interpreter and singer is about to launch two fiction projects and has published the single My place in you with her brother, also a singer Joan Rovira.
As a spectator, it seems that this year being a jury in Eufòria is not going to be easy because there is a high level…
It is very complicated! This year there are many professionals, people who are already doing this, but there are also contestants who define themselves as room musicians. I find it very beautiful because you see this innocence and unconsciousness at the same time. What is clear is that they are people with a lot of training, and this year we noticed it.
The call effect after the successful first edition must have been noticed…
It is so. People already know what Eufòria is, they know that it is a format that has worked and continues to do so, and this is very cool because you see how the contestants come to embrace the program thinking that it is already a success.
What is Euphoria for you?
A great opportunity. In the first edition I was a coach, so I was behind the cameras, and I really liked being able to do this basic work with the contestants. This year I have a slightly more “ungrateful” role because I have to nominate, and it’s not always easy. It is a new facet for me, I am having a great time and I believe that I can contribute my grain of sand from humility, and this makes me very happy on the program. For me Eufòria is fun and a gift to be able to be close to so much talent.
How is your new role on the jury living?
It’s harder than I thought, really. It is true that last year I was already at the castings, but I had not yet grown fond of the contestants. When you’re on the show and you know their stories and you follow them every week, it’s very difficult. How have I seen myself? In the first gala I saw myself well in terms of the arguments, but I detected that he was testing the ground a bit. In the second gala I already felt at home and I had a better time. In the end my goal is to have fun every Friday.
What do you base your evaluations on each week and what do you look for in a Carol Rovira winner?
A performance on an emotional level comes to me much more than a technical one. There are technical aspects that I cannot ignore, but there are times when a small mismatch can humanize that performance if the result has reached me. I rely a lot on emotion and intuition.
It must be difficult to have to say no to a person, and have them understand it as a decision that allows them to improve…
It is very difficult and, besides, I am an artist and I know what it means to face a no. My intention is to communicate this negative from a constructive and positive place, and it is something that I am learning to do with tact and the necessary empathy because I know what that means.
Have you worked to know how to also receive those refusals in castings?
I think it’s inevitable that it affects you because little is said about the mourning you have to go through when you’ve been working on a character for a long time, and at the last minute they tell you no. In the end, you have become attached to a character that you have never finished interpreting, in addition to all the hours invested to work on it. I am going to confess to you, and I think that it is a part that has to be known and is true, that in the last 15 days I have received up to four noes, all of them in the final phase. I have had four little mourning in fictional roles. The only thing left to do is get up and keep fighting, and this is a job that artists are going to have to do continuously. We get a lot of no’s, but luckily we also get yes’s, and in my case I can’t complain.
In addition, they are usually unstable jobs, you can go from having to choose to having nothing in a while…
Luckily I haven’t had to deal much with the latter, this is the first time I have so many negatives in my backpack. I am lucky that I have been working on splicing fiction projects for seven years. Now I am in this phase, but I think that receiving a no is something natural, and it can also be healthy because when the yes arrives, you value it more.
In the first season you worked as a coach, what relationship do you have with Paula Malia, your replacement?
Very good. She and I come from the same school and she has plenty of tools to get by and is doing great. Preparing these classes involves a great deal of creativity and great responsibility. Personally, never in my life would I have thought of being in a talent like this and the truth is that I feel that it is contributing a lot to me, not only on a professional level, but also on a personal level.
Their ratings have an impact on social networks. How do you handle the whole movement, for better and for worse, that we see in them?
Nobody ever agrees that you nominate anyone (Smiles). At the first gala I did look at something, but then I forced myself not to do it because you know that if you have to nominate, you will always find people who will not agree. You have to understand that they are all very good but you have to nominate because if you don’t progress. Some time ago I made the decision not to have Twitter and, although I think it’s good to receive feedback, it doesn’t do me good to read according to what things. I prefer to be myself and do the job for which I am being paid.
The feeling is that they wanted to build a white program that avoids conflicting assessments or bad cops in the jury as we have seen in other formats…
It is something that comes naturally; It was already what we were looking for when we did the first meetings. I often talk to Elena and Dami and ask for their advice on how to say something so it doesn’t sound so harsh. When they asked me to be a jury, I was looking for examples of other juries from similar programs, to see more or less where the shots were going. The truth is that I found some examples of some members of the jury of other talent from a long time ago that I think would currently be denounceable. What comments are those! They hurt my heart and I don’t understand how someone could come to accept something so intolerable. In the end, television is a school, and what you have to do is educate and set an example.
Beyond those four refusals that you have told me, what professional moment are you in right now?
It’s a good year because I have two premieres pending. One is a series that I shot last year in Berlin by the writer of the Dark series, and then also the premiere of Better Days with Blanca Portillo, Francesc Orella and many other actors. A few days ago I also published a new single with my brother Joan Rovira called My place in you.
Being in a daily series like Amar es para siempre for almost two years should be a school for you…
It was the best school I could have, and a brutal daily training. Also, my character, who had a love story with another, worked so well that it was decided to make a spin-off that has now been released on HBO Latin America and it works very well.
