Age: 48
male
Son of Augustin Rodriguez and Andres Botet Servilia Maria del Carmen Lopez Nieto. After living his first five years in his hometown, due to the work of his father, he moved to live another five years to Cuenca, followed by two years in Almería and finally to Granada where he lived until graduating from Fine Arts in 2001 . In 2002 he moved to Madrid where he lived until 2009 at least. At 5 years you are diagnosed with Marfan Syndrome, and is involved in Madrid to solve your pectus excavatum, at age 20 because of back problems and later at 28 to prevent problems themselves aortic disease. Hypermobility of certain tissues that carries this syndrome give extremely long, thin fingers and a height of 2 meters and a peculiar physical aspect, coupled with his willingness to performing arts, offered his first chance in the world of cinema in a horror film directed by Brian Yuzna: Beneath stil water (2005); after these follow other special success, especially Rec (2007), directed by Jaume Balagueró and Paco Plaza; He has also acted as occasional actor in numerous television serials such as Planta 25, The looming, Genesis, Los hombres de Paco and Pluto BRB Nero etc. In 2010 Botet embodies one of the roles of Frankenstein (same rendering two actors play the monster) in the stage adaptation titled Frankenstein, directed by Gustavo Tambascio and which shares the bill with players like Raul Eduardo Peña or Casanova.La play was performed in the Canal Theatre in the Community of Madrid. Plays the haunting "Mama" Mama's hit movie produced by Guillermo del Toro released in 2013. Coming shoot a movie with Neve Campbell and Dougray Scott called Division 19.
Javier Botet
Professor Pyg
for Professor Pyg in SILENCE THE BATMAN
Suggested by miguelrodriguez
Gotham has learned to live with fear. Now it is learning to live with silence. In the wake of escalating violence and fractured justice, Batman has become more distant—less myth, more obsession. Crime has not disappeared; it has gone underground, reorganized, and adapted. The city whispers his name not with hope, but with uncertainty. Even Batman is no longer sure what he has become. A new pattern emerges: riddles left at crime scenes that don’t taunt the police—but accuse the Dark Knight himself. The architect is The Riddler, resurfacing with a refined ideology. This time, he isn’t exposing Gotham’s corruption—he’s exposing Batman’s failures. Every clue points inward, forcing Bruce Wayne to confront the collateral damage of his crusade. Working alongside him is Selina Kyle, now deeply embedded in Gotham’s criminal ecosystem. Smarter, sharper, and more decisive, Selina becomes essential in deciphering Riddler’s network, which reaches into every level of the city. Their partnership is tense but intimate—two survivors trying to outthink a city designed to break them. As the underworld scrambles, power shifts violently. Oswald Cobblepot tightens his grip on Gotham’s docks, while Hush operates in secrecy, erasing identities and rewriting the past for a price. Overseeing it all is the decaying authority of Carmine Falcone, clinging to relevance in a city that no longer respects him. Midway through the film, that illusion of control shatters. During a covert meeting meant to reestablish order, Falcone is executed in cold blood—shot by a Riddler henchman in front of Gotham’s remaining power players. The message is clear: the old system is dead. Gotham is now a puzzle—and everyone is a piece. Batman is no longer alone in the shadows. Dick Grayson, now operating independently as Nightwing, challenges Bruce’s methods, accusing him of turning war into habit. Meanwhile, Jason Todd, reckless and angry, serves as the new Robin—desperate to prove himself in a city that offers no mercy. That desperation is exploited. From the darkness emerges The Joker, no longer content to observe. He abducts Jason Todd, holding him captive not for leverage—but for theater. Joker doesn’t negotiate. He waits. And when Batman finally tracks him down, Jason is murdered without ceremony, without spectacle—just silence. It breaks something in Bruce. As Gotham descends into chaos, a brief appearance by Deathstroke signals that Batman’s war has drawn attention far beyond the city—professional killers watching from the edges, waiting for weakness. The final confrontation forces Batman to face both Joker and Riddler—not as enemies seeking victory, but as men convinced that Batman’s existence has poisoned Gotham. Riddler wants him erased. Joker wants him empty. With Selina at his side and Nightwing fighting to keep him grounded, Batman refuses to disappear—but he changes. He stops chasing fear. He listens. He endures. The film ends not with triumph, but restraint. Batman remains. But Gotham is quieter now. And the silence is terrifying.
