Maxi and Cardy

When I escaped from Barcelona to Malaga to free myself from the family and social conditioning of my city, it was there that, while frequenting the theatre company of Doña Ángeles Rubio Argüelles, Countess of Berlanga and widow of Cecil B. De Mille (there was something of Hollywood in Malaga), I was able to meet a Dutch cellist called Gert Kretz, whom I convinced to put on a clown and music act. De Mille (there was a bit of Hollywood in Malaga), I was able to meet a Dutch cellist called Gert Kretz whom I convinced to put on a clown and music act. Together we created the couple Maxi and Cardy.

In this act, which we presented in a cabaret in Malaga, my friend Gert appeared with his cello dressed in tails and full of medals and decorations that, among other things, he had won in his successful career as a musician. He was followed by the clown Maxi who, with a series of comical movements, was trying to get rid of a chewing gum that was keeping him hopelessly stuck to the floor.

It is not difficult to guess that this struggle to free himself from the ground was the transgression of the inner struggle that was asserting itself in me to turn definitively to the vocation of a silent film comedian, even though I was born in an era that I knew did not fit in with my dreams of innocence.