Interview with Analía Ivars (from May 2025)

B-movie lovers know Analía Ivars mostly for her roles in films by Jess Franco from his 80’s and 90’s era. While some of them were prominent, there is very little information about this actress online, apart from pages listing her filmography and two video interviews in Spanish.

I decided to fix this by interviewing Analía, and what I learned about her only confirmed the unfairness of the lack of information about this hard-working, highly professional, creative, intelligent, and brave woman.

So let’s get down to business and learn more about Analía Ivars.

As far as I know, your acting career started with theater. How did you become an actress?

The truth is that my professional acting career began in film, alongside Jess Franco. Later on, I did theater.

How did you start acting in cinema?

I was discovered by Jess's makeup artist in a shoe store while I was shopping — Juana De la Morena, the late wife of Antonio Mayans. She came up to me and asked if I would like to work in film. She gave me the phone number of the hotel where they were staying, and I showed up the next day on set for a screen test. It was a small role, but Jess liked my performance and decided to rewrite the script and extend my part. The film is called Los blues de la calle Pop.

Have you ever been in a situation where you had to deal with danger on a film set?

Yes, when making Golden Temple Amazons, once the vine snapped while I was on a very tall tree, and I fell from a considerable height. What saved me was my intense sports training, and I wasn’t injured.

On another occasion, I crashed into a tree while carrying Tarzana’s [at least in the English version, this character’s name is Liana] knife strapped to my leg, and it hurt me.

During that same shoot, I had to make a quick trip due to family matters. I had Tarzana’s costume and the knife in my backpack. I got into a taxi at night to return to the hotel. The driver stopped in the middle of the countryside, and seeing his intentions, before he got out of the car, I put the knife to his neck and told him to keep driving because people were waiting for me. The man’s face was one of terror and surprise.

It was a very difficult time for women in Spain. I had to be Tarzana both on and off the screen. I carried a knife in my purse for more than 20 years. In this case, it was no longer Tarzana’s huge knife, but rather a small pocket knife.

There was also an incident with a loaded rifle when filming Bahía Blanca?

Well, that was in the scene from ¿Cuánto cobra un espía?.

I had to shoot that scene with Eva León and Antonio Mayans, where I pointed a rifle at them and fired. When we finished, we realized the rifle had a bullet in it.

[In Analía’s Spanish interview on YouTube, she explains that in professional cinema, there is a weapons master profession. This is the person responsible for preparation of weapons and taking all related safety measures. But in this case, there was none. The rifle was prepared by a props master who handled all other items and wasn’t a weapon professional.]

Analia Ivars in ¿Cuánto cobra un espía?

Analia Ivars in Bahia Blanca

Could you, please, also tell the funny monkey story that happened during the filming of Golden Temple Amazons?

Well, Rocky (that was his name) was a bit obsessed with me. At first, the trainer said it was good for us to have a lot of contact so he could get used to me, and since I'm very affectionate with animals — I love them — he picked up on that and took me as a member of his troop. He wouldn’t let anyone else near me and only followed my commands. That was great for the movie, but not so much for the rest of the crew.

There's a scene where we're captured and locked in a cave, tied with chains. I give him the order to free us, and everything goes well until he gets to António Mayans and decides to pee on his head. Maybe he saw him as a rival. Jess got really mad and asked for another monkey to be brought in.

I also developed a very special relationship with Bimba, the elephant. She seemed to have telepathy with me: before I gave her an order, she would guess my thoughts and act. She wouldn’t let anyone get close.

How would you describe your main personal qualities?

I am a sensitive and creative person. I enjoy writing, reading, painting, nature, and animals.

Analía Ivars in March 2024

One of them must also be courage. You broke a man’s jaw for making inappropriate advances on you… What did he do? And how did this happen?

That happened during a vacation at a nightclub in Ibiza.

The man pushed me, and I slapped him. Later, he touched my breast and asked if I would slap him again, so I kicked him in the face. At that time, I was practicing martial arts.

The man fainted, and the nightclub security guards protected my friend and me because they knew it was self-defense. They escorted us to the hotel. It was a very unpleasant event. Unfortunately, I have many such stories.

When I traveled with theater tours or worked in the orchestra, I found myself in very dangerous situations. Now things have changed a bit, but in the '80’s, men had no respect for women.
 

Luckily, I ran very fast 😂.

And you don’t seem to be narcissistic, as becoming famous has never been your priority.

Certainly not. Fame felt uncomfortable to me. It was never my goal. I’m passionate about acting. It’s a wonderful profession. Fame is something else. I’ve always cared more about earning the respect of directors and being called to work.

I have been a "worker of art."

As far as I know, you’ve turned down an inappropriate offer from a producer to star in a big production film in exchange for sleeping with him? That speaks of your dignity as well.

Yes, for me, cinema has always been my job, the way I pay my expenses — not an obstacle course where anything goes. My dignity and my private life are untouchable.

But like most of us, you were also timid when you were younger? The first time you had to undress on camera was traumatic for you. You refused and broke into tears before finally agreeing. I’m surprised you hadn’t been warned about this requirement before accepting the role. How come this wasn’t disclosed in the contract?

That happened in the first film, and as I already told you, the script was being written as we went along. From then on, I learned the lesson to specify which scenes involved nudity.

I'm still shy, although I've also learned how to hide it.

During the filming of a western by director Mariano Ozores, one of the women doing a special background role dropped out — she was supposed to bathe nude in a lake. The production manager, thinking I was young and easy to trick, told me I had to do it. I refused, pointing out that both my role and any nude scenes were clearly specified in my contract (lesson learned). He exploded with anger and threatened to ruin my career, but the opposite happened.

Later, the same director called me for his next film to congratulate me on my determination. Although it was a very unpleasant event — being shouted at and insulted in front of a huge crew — I didn’t hesitate for a second.

In this job, you have to be strong or they’ll eat you alive.

And after that first time, did it still bother you when you were required to get undressed? When watching Jess Franco’s films like Vampire Blues, I imagine you got comfortable with it.

I learned to separate Analía from the actress. In a mental exercise, when I heard the sound of the camera motor... I was already the character. I either did that or I would have left this profession because at that time every film had nudity.

I am emotionally sensitive but mentally strong.

I have also turned down a few roles where I wouldn’t have felt comfortable with some of the scenes. Not everything is about money.

I noticed a quick and drastic change of your body between Tender Flesh (1997) and Vampire Blues (1999). It gained beautiful and seductive curves as opposed to the fragility it had before. Was this due to maternity?

No, I suffered a severe pneumonia that almost cost me my life. The doctor recommended that I gain weight for my recovery.

More fragile Analía Ivars in Tender Flesh (1997)

Curvier Analía Ivars in Vampire Blues (1999)

But you do have children, don’t you?

Yes, my son was born in 1993.

It was you who took care of Jess Franco after Lina’s passing away and until his own last day. Could you, please, share memories about this period?

It’s a very sad period for me.

My relationship with Lina and Jess for nearly 30 years was purely professional. They were a very private couple, with a symbiotic relationship between them. Jess relied heavily on Lina for both his daily life and his professional work. She answered his emails and managed his schedule and household. Over the years, closeness naturally developed, and my affection for both of them was unquestionable, although time also brought some professional conflicts.

When Lina passed away unexpectedly, I knew Jess would not only be devastated (they deeply loved each other) but also helpless, and that moved me. I knew the director, not the person, but my affection and gratitude were immense.

In the last few years, we hardly spoke — Lina had created a kind of firewall, possibly out of professional jealousy, though I’m not sure. They also owed me quite a bit of money, which is why I stopped working with them. But the new circumstances made me forget all of that, and I came to Jess’s aid.

It was a very difficult time because he was completely alone and very sad. He’s not an easy man to deal with in daily life, especially while being dependent on a wheelchair. His mind remained sharp at all times, but he didn’t know how to use a computer or do anything other than think and give orders. That’s when I realized how hard Lina’s life must have been by his side.

I wasn’t with him until his death — my health didn’t allow it. But during the months I took care of him, I cooked his favorite dishes, wrote his articles, received journalists, cleaned his house, and was the closest thing to a true friend.

I have bittersweet memories of that time, despite having enjoyed beautiful conversations together, watching films, and listening to jazz music. I don’t think I’ve fully recovered from it yet.

Which director was the most interesting or pleasant to work with and why?

Being a film director seems to me like a very difficult profession, so I’m not inclined to criticize how they work. I would rather describe those I worked with as more or less professional. I did a small collaboration with Almodóvar, and I found him to be a sensitive man, very devoted to working with actors.

I also had an accident on set with Paul Naschy, and I believe he was quite considerate.

With Mariano Ozores, I always remember the order, punctuality, and the value he placed on professional actors. He never liked working with amateurs.

In Argentina, where I worked for two years, I admired their ability to improvise with great talent, which made up very well for the lack of resources at the time.

I also worked in Chile on television and found them to be great professionals. In Uruguay, I was surprised by the number of journalists and media outlets, programs, and the country’s rich culture. Wonderful actors and directors. It’s a country that fascinates me.

Among French directors, I highlight their great sensitivity in presenting stories. I really like contemporary French cinema.

An accident with Paul Naschy? What happened?

Yes, in the film Operación Mantis: el exterminio del macho, I had a fight scene with a Swedish actress, and she actually punched me for real (despite rehearsing several times with the fight choreographer). It was a very hard hit to the nose, which made me cry and messed up my makeup. I told Paul to have me made up again before my face got swollen so we could shoot the scene and finish the film — it was the last day of filming, and that’s what we did.

He congratulated me on my professionalism and gave me quite a generous financial compensation, as the injury would prevent me from working for several weeks.

He believed the actress did it on purpose to get me out of the film. But if that’s true — which I don’t know — her plan didn’t work. 😂 She never worked in Spain again.

When did you work in the countries of South America?
 

From 1987 to 1989.

What projects did you work on in South America apart from television?

I did a musical and two films. Several commercials. And various TV programs in Argentina, Chile, and Uruguay.

The films: La clínica loca and Paraíso Relax.

The musical: Las chicas lindas del tiempo aquel.

TV program in Buenos Aires: Hiperhumor, a mix of music and comedy.

You also participated in a Brazilian carnival, didn't you? And you nailed it very well although it was your first time.

Yes, at that time I did backup vocals for various artists and worked in an orchestra. I also danced on Spanish Television (RTVE).

The Brazilian Carnival group was a very fun experience. I was doing many things at the same time. My work capacity was astonishing. I slept very few hours and did a lot of sports. Hyperactivity.

I also worked as a hand and body model, did voiceovers for TV and radio spots. I still had time to read many books and take courses. I still think it’s incredible today. Haha!

I have the feeling I’ve lived 120 years 😂

I also did theater tours.

You did backing vocals? So you also sing! Are there any recordings where we could hear you singing?

Well, in the Hiperhumor program in Buenos Aires, I had to sing, and I took singing lessons daily for several months in order to do it, but I am not a singer. I just manage to hold my own a little.

I have also taken dance classes, although I don’t consider myself a dancer. I really enjoy dancing, and it has helped me in some of my jobs.

Could you, please, tell me about your theater career?

Theatre has fascinated me since I was a child. I did a lot of theatre at school and in high school.

My first professional play was in Madrid; it premiered at the Reina Victoria Theatre and was called “Hermano Hombre.” It tells the true story of Saint Francis of Assisi — not the Catholic version. In his lifetime, he was never Catholic; in fact, he opposed the Church system. It's a beautiful and controversial story.

We had problems because the Church tried to shut us down. One day, they put silicone in the door locks so we couldn’t perform. However, the convent of the Poor Clares supported us and were in the audience every day. There were 17 actors on stage, only three women, and the energy among us was wonderful. I remember it fondly.

I played a nun.

Then came many comedy plays, and I toured Spain with Ramón Tejela’s company.

I also did classical theatre directed by Fernando Fernán-Gómez. A musical.

Later, I joined the Calderón de la Barca company, and we had three plays running. We performed all over Spain. I stayed with them for several years, combining that work with my film career.

I also did theatre with the Hispano-Arabic Institute of Culture. We performed the play Wallada, a piece of classical theatre based on a story from the year 1000. I played an Arab dancer, a sort of odalisque.

According to IMDb, you made a 14-year break between 2000 (Helter Skelter) and 2014 (Haz de tu vida una obra de arte). Why?

I retired. The last stage of filmmaking with One Shot Production [Jess Franco’s company in the 90’s] was exhausting. The work pace was frantic. Emotionally and professionally, it wasn’t worth it. Lina made my life very difficult during those final shoots.

Helter Skelter is not a film I actually worked on. It’s a montage of scenes taken from other films I did with Jess. I didn’t want to work with him anymore. And the only condition the producer set to finance his films was that I had to be in them. So for Jess, cinema also came to an end. From then on, he started making very cheap experimental videos in his own home.

Jess had a problem with money. He always wanted to make more films and didn’t pay the actors.

And you didn’t continue working with other directors. Why did you decide to stop your acting career in general?

There were many factors. I was balancing my acting career with work in advertising. With the rise of private television channels, there was a lot of unqualified competition. Actors started earning less even though there were more opportunities.

I did some TV work, but eventually I decided to dedicate myself full-time to advertising as a fashion stylist and makeup artist. I worked for 15 years with one of the best photographers in Spain. I also worked on political campaigns and directed several events for major brands. A very appealing professional field opened up for me. Later, I worked as editor-in-chief at a magazine, taught styling and makeup classes, and eventually moved to Mallorca where I worked in television.

You are also a writer. What kinds of writing do you do?

I enjoy writing. I worked for two magazines as a writer and editor-in-chief (Hosteltur, a tourism magazine and Dígame, a general-interest magazine).

I've also written plays — the comedy play La otra función (The Other Performance) — and poetry — the kind I publish on Facebook.

You also co-authored a Jess Franco’s biography book?

I started writing it, and it became too painful to continue. I'm still planning to finish it.

You mentioned painting as one of your hobbies. What kind of paintings do you do?

I paint with oils, watercolors, and acrylics.

What are your favorite films from your filmography and your favorite roles?

I don’t know if I have favorite films, but the first one, Los Blues de la Calle Pop, which was my first participation in cinema, I remember fondly. All the films from the first stage with Jess. Playing Tarzana [Liana in Golden Temple Amazons] was a big challenge, also Juego Sucio en Casablanca, and Bahía Blanca seemed like a very tender story.

In the last gore film stage, Tender Flesh felt fun to me, the rest was exhausting.

Are there any things that you would love to change in your career or in your life if you could go back to the past and do something differently?

I don’t usually look back. I enjoyed my work for many years. I was absolutely professional, and everyone who worked with me can say so — and they do. But that applies to all the jobs I’ve done throughout my life. I put love into what I do, and that fulfills me.

Additional resources:

• Video interview in Spanish 1
• Video interview in Spanish 2
• Analía's Facebook
• Trailer of a 2019 short film Jove. Eternamente Joven by Analía's friend

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