1 00:00:00,160 --> 00:00:02,800 Speaker 1: I know friendship, I know what that is, but what 2 00:00:02,880 --> 00:00:06,880 Speaker 1: I have with Gaile is something else. What we have 3 00:00:07,280 --> 00:00:10,719 Speaker 1: is call more like your chosen family that goes deeper, 4 00:00:10,760 --> 00:00:13,840 Speaker 1: that is always present. It's to be companions, you know, 5 00:00:13,960 --> 00:00:18,160 Speaker 1: to compliment each other in every possible way. And that's 6 00:00:18,200 --> 00:00:19,400 Speaker 1: a little more than friendship. 7 00:00:23,920 --> 00:00:28,080 Speaker 2: From Putro Media and PRX, It's Latino USA. I'm Maria 8 00:00:28,160 --> 00:00:33,159 Speaker 2: Ino Rosa Today a conversation with Mexican actors Diego Luna 9 00:00:33,440 --> 00:00:42,479 Speaker 2: and Gayel Garcia Bernald. What's your favorite thing that you 10 00:00:42,520 --> 00:00:44,960 Speaker 2: can show me that it is like a boxing trick, 11 00:00:45,200 --> 00:00:48,920 Speaker 2: Because then, dear listener, I'll be honest with you, I 12 00:00:49,000 --> 00:00:52,880 Speaker 2: love to box. And you might have picked this up 13 00:00:53,040 --> 00:01:01,600 Speaker 2: if you follow me on Instagram. I've been doing it 14 00:01:01,640 --> 00:01:06,600 Speaker 2: since twenty fifteen. Almost every single morning that I'm in 15 00:01:06,720 --> 00:01:09,360 Speaker 2: New York City, I go out to my local park 16 00:01:09,440 --> 00:01:12,520 Speaker 2: in Harlem and I work out with my crew. But 17 00:01:12,640 --> 00:01:16,040 Speaker 2: today I'm doing something I've never done before. I'm going 18 00:01:16,080 --> 00:01:20,800 Speaker 2: to be boxing in a recording studio with some special guests. 19 00:01:21,319 --> 00:01:24,360 Speaker 3: There's there's many, there's many, but there's one thing that 20 00:01:24,440 --> 00:01:24,720 Speaker 3: I love. 21 00:01:25,600 --> 00:01:29,280 Speaker 2: This is actor gayel Garcia Bernal. He's about to show 22 00:01:29,319 --> 00:01:30,679 Speaker 2: me some moves. 23 00:01:30,840 --> 00:01:34,440 Speaker 3: Yeah, nomnstance like you're right hand with Okay, So there's 24 00:01:34,440 --> 00:01:36,240 Speaker 3: one thing that the Russians are doing good. That's why 25 00:01:36,280 --> 00:01:39,240 Speaker 3: I'm being fascinated by the Rosan box. They bounce around. 26 00:01:41,240 --> 00:01:46,240 Speaker 3: Always be a job, Yes, look at you. 27 00:01:49,120 --> 00:01:53,440 Speaker 2: His friend and fellow actor, Diego Luna, is also in 28 00:01:53,520 --> 00:01:54,040 Speaker 2: the room. 29 00:01:54,640 --> 00:01:59,960 Speaker 1: It's a good trick. It's like, Okay, I'm enjoying. 30 00:02:00,520 --> 00:02:06,160 Speaker 2: Gaye learned some of these moves for La Machina. This 31 00:02:06,360 --> 00:02:11,000 Speaker 2: is his and Diego's newest show. It's on Hulu and 32 00:02:11,080 --> 00:02:18,160 Speaker 2: it's Hulu's first original Spanish language series. In it, Gayel 33 00:02:18,240 --> 00:02:23,079 Speaker 2: plays an older, accomplished Mexican boxer. Diego is his manager, 34 00:02:23,720 --> 00:02:24,040 Speaker 2: if you. 35 00:02:24,040 --> 00:02:28,720 Speaker 1: Ever need like a manager getting hurt. 36 00:02:31,240 --> 00:02:34,640 Speaker 2: They've performed together a few times, including their starring roles 37 00:02:34,919 --> 00:02:37,200 Speaker 2: in the two thousand and one Coming of Age story 38 00:02:37,280 --> 00:02:46,480 Speaker 2: which made them famous, the movie Itamen, and they're leading 39 00:02:46,560 --> 00:02:50,959 Speaker 2: men in their own solo projects as well. Diego has 40 00:02:51,000 --> 00:02:56,120 Speaker 2: starred in Narcos Mexico, also the Star Wars film Rogue 41 00:02:56,160 --> 00:02:59,680 Speaker 2: one and its spin off series and Or, where he 42 00:02:59,720 --> 00:03:01,840 Speaker 2: played the title character. 43 00:03:02,400 --> 00:03:05,440 Speaker 4: They can't imagine it, can't imagine. 44 00:03:05,000 --> 00:03:08,600 Speaker 1: What that someone like me would ever get inside their house. 45 00:03:09,080 --> 00:03:13,920 Speaker 2: Gael played some pretty iconic roles in Amoris Perro's Go 46 00:03:14,160 --> 00:03:18,200 Speaker 2: Go Mozart in the Jungle and recently the twenty twenty 47 00:03:18,200 --> 00:03:23,160 Speaker 2: three film Cassandro, Come On Me, my man, Come on. 48 00:03:24,320 --> 00:03:27,040 Speaker 3: I'll still be watching you from home with your kids 49 00:03:27,720 --> 00:03:28,600 Speaker 3: and your wife. 50 00:03:29,000 --> 00:03:32,720 Speaker 2: The two have also worked together behind the camera. Diego 51 00:03:32,840 --> 00:03:36,680 Speaker 2: and Gael are executive producers of the new documentary State 52 00:03:36,680 --> 00:03:42,080 Speaker 2: of Silence. The film documents and follows threats and dangers 53 00:03:42,080 --> 00:03:47,480 Speaker 2: that Mexican journalists face while working in Mexico. The documentary 54 00:03:47,520 --> 00:03:57,040 Speaker 2: is now streaming on Netflix. Their career spans decades, and 55 00:03:57,120 --> 00:04:00,680 Speaker 2: their close friendship well that's been the case for practically 56 00:04:00,720 --> 00:04:05,480 Speaker 2: their entire lives, actually, because their parents were close since 57 00:04:05,560 --> 00:04:09,640 Speaker 2: before the two were even born, and they passed that 58 00:04:09,760 --> 00:04:15,920 Speaker 2: friendship along to their sons. So today I'm in the 59 00:04:15,960 --> 00:04:19,080 Speaker 2: studio in New York City with Diego, Luna and Guyl 60 00:04:19,160 --> 00:04:22,920 Speaker 2: Garcia Bernal. We're going to talk about their latest projects, 61 00:04:22,960 --> 00:04:29,400 Speaker 2: fostering this lifelong friendship and creating politically powerful art. And yes, 62 00:04:29,640 --> 00:04:33,320 Speaker 2: dear listener, we're going to talk about boxing too. So 63 00:04:33,480 --> 00:04:43,080 Speaker 2: here we go. So I have to ask you this. 64 00:04:43,560 --> 00:04:46,240 Speaker 2: A lot of people don't realize that what you do, 65 00:04:46,320 --> 00:04:49,320 Speaker 2: Like when you're on a press tour, like, not only 66 00:04:49,400 --> 00:04:53,960 Speaker 2: is it exhausting, right, but it's also really lonely. It 67 00:04:54,000 --> 00:04:55,440 Speaker 2: can be you know, at the end of the day, 68 00:04:55,520 --> 00:04:57,880 Speaker 2: you go home to an empty hotel room and you're 69 00:04:57,920 --> 00:05:01,880 Speaker 2: like alone. Then I was like, but these guys they're 70 00:05:01,880 --> 00:05:04,560 Speaker 2: best friends and they're on tour together. Yeah. 71 00:05:04,600 --> 00:05:06,400 Speaker 4: Yeah, and it still can feel lonely. 72 00:05:07,360 --> 00:05:09,440 Speaker 3: I think the reason why it feels like that is 73 00:05:09,440 --> 00:05:13,960 Speaker 3: because the experience is so intense and know, you're I 74 00:05:14,000 --> 00:05:16,880 Speaker 3: mean in the project like this, We're so happy, We're 75 00:05:16,920 --> 00:05:18,120 Speaker 3: so into it. 76 00:05:18,200 --> 00:05:20,400 Speaker 4: There's a lot to say, there's a lot to talk about. 77 00:05:20,440 --> 00:05:23,560 Speaker 3: We're always like trying to get there, defend the project 78 00:05:23,600 --> 00:05:26,080 Speaker 3: and at the same time come up with new ideas 79 00:05:26,200 --> 00:05:29,200 Speaker 3: or new words that signify what you wanted to do, 80 00:05:29,279 --> 00:05:32,640 Speaker 3: and this and that and all this introspection, and then 81 00:05:32,920 --> 00:05:35,800 Speaker 3: it's difficult to come down. It's difficult to wind down, 82 00:05:35,800 --> 00:05:38,200 Speaker 3: and it's been difficult to get to sleep because your 83 00:05:38,200 --> 00:05:40,880 Speaker 3: head is spinning and you're like, oh and excited and. 84 00:05:41,560 --> 00:05:43,640 Speaker 1: I should have said this, and I should have said that. 85 00:05:44,440 --> 00:05:48,159 Speaker 1: But the loneliness comes from not being able to be 86 00:05:49,279 --> 00:05:53,200 Speaker 1: in part of your other life, life is happening, and 87 00:05:53,279 --> 00:05:57,320 Speaker 1: you have to pretend you don't care to disconnect for 88 00:05:57,440 --> 00:06:01,080 Speaker 1: completely from that, you know, and then the jet lug 89 00:06:01,279 --> 00:06:05,919 Speaker 1: just intensifies that. The feeling of like not knowing what's 90 00:06:05,960 --> 00:06:09,000 Speaker 1: the time, if you're hungry for a breakfast or you 91 00:06:09,040 --> 00:06:12,400 Speaker 1: want to be here. You know, that kind of feeling 92 00:06:12,520 --> 00:06:12,719 Speaker 1: is this. 93 00:06:13,120 --> 00:06:16,880 Speaker 2: And because both of you are so kind of emotionally 94 00:06:16,880 --> 00:06:20,320 Speaker 2: connected to all the work, it like weighs on you emotionally. Existentially, 95 00:06:20,400 --> 00:06:21,080 Speaker 2: it can weigh. 96 00:06:20,920 --> 00:06:24,880 Speaker 1: Out definitely, But it's true. It's true. Obviously we don't 97 00:06:24,880 --> 00:06:27,640 Speaker 1: talk much about it, but it's true that we are 98 00:06:27,720 --> 00:06:31,360 Speaker 1: very lucky, not just to live it together and not alone, 99 00:06:31,440 --> 00:06:34,080 Speaker 1: but to live it with someone you care and you 100 00:06:34,360 --> 00:06:38,240 Speaker 1: like that. You're happy to spend your little time off 101 00:06:38,279 --> 00:06:45,359 Speaker 1: between one interview, the traffic and the almost running over 102 00:06:45,520 --> 00:06:48,919 Speaker 1: like ten people to move from one interview to the 103 00:06:48,960 --> 00:06:53,599 Speaker 1: other in New York, Like we just witnessed that. Right anyway, 104 00:06:53,839 --> 00:06:55,039 Speaker 1: New York, We're here. 105 00:06:55,240 --> 00:06:58,920 Speaker 2: Welcome, thank you, welcome, Welcome. So here's the thing about 106 00:06:59,040 --> 00:07:01,640 Speaker 2: La Machina. I didn't know what to expect. I thought 107 00:07:01,640 --> 00:07:05,120 Speaker 2: it was a comedy, not so I start watching it 108 00:07:05,160 --> 00:07:07,880 Speaker 2: and I'm like, oh, my god. Well, one, it's an 109 00:07:07,880 --> 00:07:10,840 Speaker 2: older boxer, it's a Mexican. So I'm like, I'm right there, 110 00:07:11,040 --> 00:07:14,800 Speaker 2: I'm a Mexican older boxer. I'm orally. Then you start 111 00:07:15,040 --> 00:07:18,720 Speaker 2: there's a journalist character, and then it's like, oh my god, 112 00:07:19,520 --> 00:07:24,840 Speaker 2: suddenly it became so intense and now I'm weeping. Now 113 00:07:24,880 --> 00:07:28,560 Speaker 2: I'm like crying watching the series, and I'm like, how 114 00:07:28,560 --> 00:07:33,600 Speaker 2: many Mexican men, Latino men are going to have intense 115 00:07:33,680 --> 00:07:39,200 Speaker 2: emotional reactions to La Machina because you go deep into machismo, 116 00:07:39,520 --> 00:07:43,000 Speaker 2: you go deep into marianismo, right, which is women who 117 00:07:43,040 --> 00:07:46,320 Speaker 2: treat their sons like babies. It's fun to witness you 118 00:07:46,400 --> 00:07:50,280 Speaker 2: being treated like a baby by Lucia Mendez Y. It's amazing. 119 00:07:51,000 --> 00:07:54,720 Speaker 2: You deal with alcoholism, you deal with depression, you deal 120 00:07:54,800 --> 00:07:58,800 Speaker 2: with mental health. So I actually wondered. I was like, 121 00:07:58,800 --> 00:08:01,600 Speaker 2: in telenovelas, there is a lot of crying, but I 122 00:08:01,600 --> 00:08:05,040 Speaker 2: don't know if I see a lot of men weeping 123 00:08:06,000 --> 00:08:10,480 Speaker 2: in telenovelas. Obviously you thought about all of this when 124 00:08:10,480 --> 00:08:13,080 Speaker 2: you were putting this series together, But were you just like, yeah, 125 00:08:13,080 --> 00:08:16,040 Speaker 2: we're gonna go there, Yeah, we're gonna have Mexican men. 126 00:08:16,360 --> 00:08:18,080 Speaker 2: The both of us, our characters are going to be 127 00:08:18,080 --> 00:08:22,560 Speaker 2: we being crying about being abandoned as men or being maltreated. 128 00:08:23,200 --> 00:08:27,800 Speaker 1: Yes, definitely. In it's a lot about the traps we 129 00:08:27,840 --> 00:08:31,400 Speaker 1: get ourselves into or the system gets you into. Right 130 00:08:32,880 --> 00:08:35,760 Speaker 1: in the big picture, you see the success as this 131 00:08:35,840 --> 00:08:40,160 Speaker 1: trap that doesn't give the freedom to finish his career 132 00:08:40,200 --> 00:08:42,800 Speaker 1: the way he would want. You know, this boxer and 133 00:08:43,200 --> 00:08:47,320 Speaker 1: its manager, But then there are other traps that they're in. 134 00:08:47,480 --> 00:08:50,360 Speaker 1: Now you know, the relation with the mother for Andy 135 00:08:50,480 --> 00:08:53,480 Speaker 1: crucial to understand Andy. He's been trying to place his 136 00:08:53,559 --> 00:08:56,079 Speaker 1: mom since day won, and it's never going to happen, right. 137 00:08:56,440 --> 00:09:00,640 Speaker 1: The absence of the father is crucial to the stand him. 138 00:09:01,520 --> 00:09:05,320 Speaker 1: And you have this man really wanting, begging for attention, 139 00:09:05,800 --> 00:09:09,560 Speaker 1: begging to please, that is going through a very lonely 140 00:09:09,640 --> 00:09:14,600 Speaker 1: process of growing up without the certainty of his skills 141 00:09:14,640 --> 00:09:16,600 Speaker 1: and what he's good at, and the only thing he 142 00:09:16,760 --> 00:09:20,440 Speaker 1: thinks he's good at is based on lies. He's a 143 00:09:20,480 --> 00:09:23,880 Speaker 1: professional liar, but he would love to be just a 144 00:09:23,960 --> 00:09:29,400 Speaker 1: loyal person, but he can't. And there is so many 145 00:09:29,440 --> 00:09:33,360 Speaker 1: reflections on what we expect, not just from men, but 146 00:09:34,040 --> 00:09:39,440 Speaker 1: from a sports figure, from a popular person, for someone 147 00:09:39,480 --> 00:09:41,840 Speaker 1: that means so much for so many there's a moment 148 00:09:41,880 --> 00:09:44,840 Speaker 1: where we forget that there's a real person there right, 149 00:09:45,000 --> 00:09:49,040 Speaker 1: that there's a real man with needs and struggles and family. 150 00:09:52,600 --> 00:09:55,000 Speaker 2: But did you have a conversation between the two of 151 00:09:55,000 --> 00:09:59,920 Speaker 2: you guys, did you say, Savinski, let's really turn mech 152 00:10:00,080 --> 00:10:05,280 Speaker 2: second manhood inside out and show the vulnerability of Mexican manhood. 153 00:10:05,920 --> 00:10:08,439 Speaker 4: It is not the consequential approach for us. 154 00:10:08,480 --> 00:10:12,480 Speaker 3: It's more, you know, for example, we started discovering cinematomata 155 00:10:12,520 --> 00:10:17,600 Speaker 3: men and intamin implicitly, there's there's the whole gray areas 156 00:10:17,640 --> 00:10:21,440 Speaker 3: of the preconceived ideas of men and women. Like in 157 00:10:21,480 --> 00:10:24,240 Speaker 3: a way, it's a it's a deep, thorough kind of 158 00:10:24,280 --> 00:10:28,280 Speaker 3: like questioning of of that of that identity or those 159 00:10:28,520 --> 00:10:32,600 Speaker 3: preconceived ideas. No, because I would argue culturally, I would 160 00:10:32,600 --> 00:10:38,120 Speaker 3: say that thing of the stoic man or men that 161 00:10:38,120 --> 00:10:42,360 Speaker 3: that doesn't cry, that is completely his universal, it's not 162 00:10:42,440 --> 00:10:46,400 Speaker 3: exclusive for Mexico. Mexico actually something exists that maybe it 163 00:10:46,400 --> 00:10:49,640 Speaker 3: doesn't exist in many other cultures. Which is culturally we 164 00:10:49,679 --> 00:10:53,400 Speaker 3: have many expressions of men crying, all the Mariachi songs, 165 00:10:53,440 --> 00:11:03,040 Speaker 3: you know, modu, and there is that kind of that 166 00:11:03,120 --> 00:11:07,240 Speaker 3: melodramatic aspect, which is interesting, but I think going deeper 167 00:11:07,280 --> 00:11:10,040 Speaker 3: into the kind of like the flux of those ideas, 168 00:11:10,520 --> 00:11:12,199 Speaker 3: I think it has to do with with a kind 169 00:11:12,240 --> 00:11:16,280 Speaker 3: of let's try something that we haven't seen. Yes, and 170 00:11:16,320 --> 00:11:19,040 Speaker 3: we haven't seen for example, what we were conscious of, 171 00:11:19,559 --> 00:11:22,800 Speaker 3: and we were saying, like, let's do a couple that 172 00:11:23,000 --> 00:11:25,080 Speaker 3: have a good relationship, the next couple that have a 173 00:11:25,080 --> 00:11:28,280 Speaker 3: good relationship. So between the character that I play and 174 00:11:28,600 --> 00:11:31,400 Speaker 3: the character that Asa mon Salez play place, we were like, 175 00:11:31,600 --> 00:11:34,200 Speaker 3: let's have them have a healthy relationship. Almost that you 176 00:11:34,200 --> 00:11:38,120 Speaker 3: get confused as an audience if there's still like what's happening, 177 00:11:38,200 --> 00:11:41,000 Speaker 3: like what the brother sister? Like, what's going on? No, 178 00:11:41,080 --> 00:11:43,280 Speaker 3: and that kind of thing, And that it's not that 179 00:11:43,360 --> 00:11:46,719 Speaker 3: we haven't seen that in specifically in Mexico or in 180 00:11:46,800 --> 00:11:49,880 Speaker 3: Latin America. It's more we haven't seen that in general, 181 00:11:50,240 --> 00:11:53,760 Speaker 3: Like it's not common, no, especially for a boxer. 182 00:11:53,720 --> 00:11:58,720 Speaker 1: Or or celebrate a Mexican boxer. We haven't talked about 183 00:11:58,760 --> 00:12:01,080 Speaker 1: what it is to be a box in Mexico. You know, 184 00:12:01,120 --> 00:12:04,160 Speaker 1: there's so many everyone says like, oh, boxing has been shot. 185 00:12:05,000 --> 00:12:14,200 Speaker 1: The last reference from boxing is a better advanta you know, 186 00:12:14,320 --> 00:12:18,959 Speaker 1: like we we haven't dissect why is it that Mexico 187 00:12:19,320 --> 00:12:23,679 Speaker 1: has such an important tradition culture of boxing and what 188 00:12:23,720 --> 00:12:26,640 Speaker 1: does it mean socially. I think there is one other 189 00:12:26,679 --> 00:12:30,800 Speaker 1: thing about the approach we have, you know, is when 190 00:12:30,840 --> 00:12:35,920 Speaker 1: we decided to do this story and we chose these 191 00:12:36,040 --> 00:12:40,640 Speaker 1: characters and started finding out who they are who, we 192 00:12:40,720 --> 00:12:43,640 Speaker 1: go as deep as as as an actor needs to 193 00:12:43,720 --> 00:12:46,760 Speaker 1: know what characters, and that richness is part of the show. 194 00:12:47,200 --> 00:12:50,320 Speaker 1: Like normally you're not you're invited once the show is 195 00:12:50,559 --> 00:12:53,240 Speaker 1: or the film is written, and you do you go 196 00:12:53,480 --> 00:12:56,280 Speaker 1: very deep into finding out who that guy you're gonna 197 00:12:56,280 --> 00:12:59,240 Speaker 1: play is. Here, we found the guys and then we 198 00:12:59,280 --> 00:13:02,640 Speaker 1: wrote a story about it with that richness. Therefore, it 199 00:13:02,679 --> 00:13:05,320 Speaker 1: has every element you're talking about, But it's just a 200 00:13:05,400 --> 00:13:09,680 Speaker 1: natural approach on how we started developing this project. 201 00:13:09,920 --> 00:13:13,120 Speaker 2: So one of the things that I also felt really 202 00:13:13,280 --> 00:13:17,520 Speaker 2: drawn to in the series unexpectedly right, was the whole 203 00:13:17,559 --> 00:13:21,080 Speaker 2: conversation around friendship. There's that scene between the two of 204 00:13:21,120 --> 00:13:24,400 Speaker 2: you where it's like, is k, you're my best friend 205 00:13:24,400 --> 00:13:26,480 Speaker 2: and I'm here to protect you, and I would do 206 00:13:26,520 --> 00:13:28,679 Speaker 2: this because I love you, man might love you as 207 00:13:28,720 --> 00:13:31,680 Speaker 2: my best friend. And it's just like this beautiful moment 208 00:13:31,720 --> 00:13:37,320 Speaker 2: of friendship right between two men and separate from the 209 00:13:37,360 --> 00:13:40,360 Speaker 2: series La Makina. I actually wanted to ask you about 210 00:13:41,000 --> 00:13:47,000 Speaker 2: how as you've gotten older, has your definition of friendship changed. 211 00:13:47,040 --> 00:13:50,160 Speaker 1: With the years. What I've found is, I know friendship. 212 00:13:51,200 --> 00:13:54,440 Speaker 1: I know what that is, deep friendships I do have, 213 00:13:54,960 --> 00:13:59,160 Speaker 1: But what I have with Gaile is something else. I 214 00:13:59,160 --> 00:14:03,760 Speaker 1: think what we have is called more like that your 215 00:14:03,880 --> 00:14:07,439 Speaker 1: chosen family that goes deeper, that is always there, it's 216 00:14:07,480 --> 00:14:12,920 Speaker 1: always present. It's to be companions, you know, to compliment 217 00:14:13,080 --> 00:14:16,480 Speaker 1: each other in every possible way, and that's a little 218 00:14:16,520 --> 00:14:20,920 Speaker 1: more than friendship. I think that has a lot to 219 00:14:20,960 --> 00:14:25,200 Speaker 1: do with our mothers loving each other in a way 220 00:14:25,480 --> 00:14:29,520 Speaker 1: that it marked us. Then I lost my mother, so 221 00:14:29,600 --> 00:14:33,160 Speaker 1: I think that also brought a more intense kind of 222 00:14:33,280 --> 00:14:37,600 Speaker 1: like need for our parents in general to make sure 223 00:14:38,000 --> 00:14:41,400 Speaker 1: we stick together. And I think we learned that without 224 00:14:41,440 --> 00:14:46,280 Speaker 1: even asking for it, because it has happened naturally, almost 225 00:14:46,360 --> 00:14:49,360 Speaker 1: as if you even didn't want to, and it just 226 00:14:50,000 --> 00:14:54,480 Speaker 1: like happens in front of you suddenly. Every time every 227 00:14:54,480 --> 00:14:58,800 Speaker 1: time I've needed something, every time something has changed dramatically, 228 00:14:59,160 --> 00:15:02,080 Speaker 1: every time I've I had a great opportunity. Every time 229 00:15:02,120 --> 00:15:05,600 Speaker 1: I felt that I felt, and it hurt like no 230 00:15:05,720 --> 00:15:09,520 Speaker 1: other time he's been around. And that's something very special. 231 00:15:09,600 --> 00:15:14,800 Speaker 1: And I think I am starting to understand that because 232 00:15:14,880 --> 00:15:17,920 Speaker 1: I see the world from a different perspective, because I'm 233 00:15:17,960 --> 00:15:22,120 Speaker 1: a father of teenagers now that are building relations, because 234 00:15:22,160 --> 00:15:25,800 Speaker 1: I lost my dad already, because I've been doing what 235 00:15:25,920 --> 00:15:31,120 Speaker 1: I love for more than twenty years. So I mean, 236 00:15:31,160 --> 00:15:34,720 Speaker 1: I'm not defining friendship, but I'm telling you that there's 237 00:15:34,920 --> 00:15:38,600 Speaker 1: the friend I can ask myself to be today. It's 238 00:15:38,640 --> 00:15:41,880 Speaker 1: not the one I could ask myself at twenty or 239 00:15:41,960 --> 00:15:46,120 Speaker 1: at thirty, right, and today I understand things differently, and 240 00:15:46,240 --> 00:15:51,720 Speaker 1: what we have is not friendship. Therefore, we are probably 241 00:15:51,760 --> 00:15:54,520 Speaker 1: the best two actors to do a film or a 242 00:15:54,520 --> 00:15:58,720 Speaker 1: story about friendship. Not the best actors like to do it. 243 00:15:58,760 --> 00:16:01,680 Speaker 1: Many can do it, but between ourselves because it's almost 244 00:16:01,680 --> 00:16:04,640 Speaker 1: like we are two brothers saying like, yeah, let's play 245 00:16:04,680 --> 00:16:06,480 Speaker 1: this game of being friends. 246 00:16:07,200 --> 00:16:09,480 Speaker 2: God, what about for you if you had to define 247 00:16:09,480 --> 00:16:10,640 Speaker 2: what friendship means for you? 248 00:16:10,720 --> 00:16:10,960 Speaker 4: Now? 249 00:16:11,200 --> 00:16:15,800 Speaker 3: Yeah, taking from what Diego said, there is this there 250 00:16:15,840 --> 00:16:18,480 Speaker 3: is a thing that with Diego because we were born 251 00:16:18,560 --> 00:16:21,640 Speaker 3: with the same songs, in the same stage, We were 252 00:16:21,640 --> 00:16:24,520 Speaker 3: born in the same place of play. We were born 253 00:16:24,520 --> 00:16:28,160 Speaker 3: in the theater, and that allows us to communicate with 254 00:16:28,200 --> 00:16:30,040 Speaker 3: each other in a way that with other people. 255 00:16:30,080 --> 00:16:33,440 Speaker 4: It's very different. And we've been working together. 256 00:16:33,520 --> 00:16:35,600 Speaker 3: And it's difficult to define friendship as a person that 257 00:16:35,640 --> 00:16:38,640 Speaker 3: you can work with. Also, that's why Also what Diego 258 00:16:39,040 --> 00:16:43,160 Speaker 3: says resonates because it's like it's it's different. It's not 259 00:16:43,480 --> 00:16:45,680 Speaker 3: only friendship is something I don't know. 260 00:16:45,720 --> 00:16:46,480 Speaker 4: We work together. 261 00:16:46,600 --> 00:16:49,960 Speaker 3: We you know, we're good at making decisions, at planning 262 00:16:50,040 --> 00:16:53,280 Speaker 3: and accompanying each other in our work as well. Is 263 00:16:53,280 --> 00:16:58,120 Speaker 3: that like what friendship is about? Also not necessarily. No, 264 00:16:58,320 --> 00:16:59,560 Speaker 3: with many friends, we don't work. 265 00:16:59,880 --> 00:17:03,960 Speaker 1: I'm sorry because we went somewhere else with your question, 266 00:17:04,080 --> 00:17:09,120 Speaker 1: but I think it's it's let's let's see. No, it's 267 00:17:09,160 --> 00:17:13,520 Speaker 1: just that, like it's there's not many opportunities to actually 268 00:17:14,200 --> 00:17:17,960 Speaker 1: talk long and profoundly, you know, with him, Like we 269 00:17:18,680 --> 00:17:22,320 Speaker 1: spend all day long doing it, six minute interviews where 270 00:17:22,359 --> 00:17:23,080 Speaker 1: you can't read. 271 00:17:23,160 --> 00:17:31,080 Speaker 2: Guys, you're like, it's public Radio's just talk. Coming up, 272 00:17:31,320 --> 00:17:34,880 Speaker 2: we look at Diego and Guayle's other project together, their 273 00:17:34,960 --> 00:17:51,200 Speaker 2: newest documentary, State of Silence. Stay with us notes, Hey, 274 00:17:51,200 --> 00:18:00,160 Speaker 2: we're back. We're going to continue my conversation with actors 275 00:18:00,200 --> 00:18:04,680 Speaker 2: and producers Diego Luna and Guiel Garcia Bernal. The two 276 00:18:04,960 --> 00:18:07,640 Speaker 2: not only collaborate in front of the camera but also 277 00:18:08,000 --> 00:18:13,440 Speaker 2: behind it. For example, their newest documentary is State of Silence. 278 00:18:13,840 --> 00:18:17,840 Speaker 2: The film focuses on the dangers that journalists face in 279 00:18:17,960 --> 00:18:22,359 Speaker 2: Mexico just for doing their jobs. The doc also looks 280 00:18:22,400 --> 00:18:27,840 Speaker 2: at narco politics and systemic corruption. So it was obvious 281 00:18:27,960 --> 00:18:31,399 Speaker 2: that Diego Luna and Guyle Garcia Bernal, We're going to 282 00:18:31,480 --> 00:18:40,680 Speaker 2: be asked some questions about politics, so switching entirely from 283 00:18:40,720 --> 00:18:45,920 Speaker 2: that to politics, actually politics and art. So why did 284 00:18:45,960 --> 00:18:50,760 Speaker 2: I start boxing? It was twenty fifteen and my dad 285 00:18:51,000 --> 00:18:54,440 Speaker 2: was dying, Mike Brima in Las Rila, Mexico was dying, 286 00:18:54,480 --> 00:18:57,359 Speaker 2: and my best friend was dying, and Donald Trump was 287 00:18:57,400 --> 00:19:00,840 Speaker 2: running for office. I was so angry. I was so 288 00:19:00,960 --> 00:19:04,960 Speaker 2: angry at life. So for me, it really boxing became 289 00:19:05,400 --> 00:19:10,760 Speaker 2: a massive healing and then it was important for me 290 00:19:10,840 --> 00:19:14,720 Speaker 2: to feel strong. But my question is not about boxing 291 00:19:14,800 --> 00:19:19,080 Speaker 2: is healing. My question is actually about how you have 292 00:19:19,280 --> 00:19:26,880 Speaker 2: learned to create art under political repression, like under Trump 293 00:19:27,119 --> 00:19:30,760 Speaker 2: in Mexico. On the politics are just creating on you. 294 00:19:31,000 --> 00:19:34,880 Speaker 3: It's interesting because We've been reflecting on that and how 295 00:19:34,920 --> 00:19:38,000 Speaker 3: things have changed, because when we started to make films, 296 00:19:38,040 --> 00:19:41,120 Speaker 3: for example, there was something really interesting happening is that 297 00:19:41,320 --> 00:19:44,119 Speaker 3: none of the films were seen. When we started to 298 00:19:44,160 --> 00:19:46,280 Speaker 3: do films, I mean, I thought it was going to 299 00:19:46,320 --> 00:19:49,560 Speaker 3: be my only film and more esperos. There were only 300 00:19:49,600 --> 00:19:53,560 Speaker 3: six films done that year in Mexico, so there was 301 00:19:53,640 --> 00:19:57,720 Speaker 3: nothing like an anticipation or an industry or an expectation 302 00:19:57,880 --> 00:20:00,840 Speaker 3: for the films to be seen at cinemas. And we 303 00:20:00,840 --> 00:20:03,920 Speaker 3: were beginning at the year two thousand and just in Mexico, 304 00:20:04,000 --> 00:20:07,760 Speaker 3: we had just started to experience citizenship in the way 305 00:20:07,800 --> 00:20:09,480 Speaker 3: that we felt that our vote. 306 00:20:09,359 --> 00:20:10,760 Speaker 4: Was counting for the first time. 307 00:20:13,800 --> 00:20:17,160 Speaker 3: There had been a major building of institutions straight after 308 00:20:17,240 --> 00:20:19,440 Speaker 3: the Frauwel Intellections in nineteen eighty eight. 309 00:20:19,560 --> 00:20:20,000 Speaker 4: So when we. 310 00:20:19,960 --> 00:20:25,520 Speaker 3: Started to make films, everything felt intransgressive. Everything became incredibly 311 00:20:26,880 --> 00:20:30,760 Speaker 3: free as well, you know or free. Everything felt it 312 00:20:30,800 --> 00:20:33,040 Speaker 3: had a lot of meaning. That's why also the films 313 00:20:33,080 --> 00:20:36,480 Speaker 3: have that energy as well, because it was like wow, wow. 314 00:20:36,760 --> 00:20:41,040 Speaker 3: Even making the film sound good, for example, or look good, 315 00:20:41,680 --> 00:20:45,040 Speaker 3: that was a political statement. There was something like what 316 00:20:45,480 --> 00:20:48,399 Speaker 3: interesting they're playing with this media? Different so everything was 317 00:20:48,440 --> 00:20:49,280 Speaker 3: at stake. 318 00:20:53,600 --> 00:20:54,320 Speaker 4: When we were young. 319 00:20:54,480 --> 00:20:58,600 Speaker 3: And obviously when you're young, the more you break taboos, 320 00:20:58,600 --> 00:21:01,879 Speaker 3: the more you like it. No, the more you go 321 00:21:01,960 --> 00:21:05,240 Speaker 3: against the norm just sounds better. No, And so that's 322 00:21:05,240 --> 00:21:08,080 Speaker 3: why we did these films. In my case, I did 323 00:21:08,359 --> 00:21:13,000 Speaker 3: mean more person then, Totam then, and these films that 324 00:21:13,200 --> 00:21:16,520 Speaker 3: were actually kind of you know, talking about topics that 325 00:21:16,640 --> 00:21:20,120 Speaker 3: weren't being talked about, but it felt incredibly free and resonant, 326 00:21:20,119 --> 00:21:22,520 Speaker 3: and the power of cinema was amazing in order to 327 00:21:22,960 --> 00:21:27,199 Speaker 3: accompany or to be an emollient of certain issues that 328 00:21:27,280 --> 00:21:30,399 Speaker 3: were happening and that the society was already discussing. Now, 329 00:21:31,000 --> 00:21:33,919 Speaker 3: but what happens that now, twenty years after, when this 330 00:21:34,119 --> 00:21:37,919 Speaker 3: situation where cinema for some reason, it doesn't feel so 331 00:21:38,040 --> 00:21:43,280 Speaker 3: free anymore. Why was it an act of transgression that 332 00:21:43,320 --> 00:21:50,800 Speaker 3: we talked in Spanish at themes. 333 00:21:48,960 --> 00:21:53,560 Speaker 5: M menidos alosmis world We passed that, But still it 334 00:21:53,560 --> 00:21:56,760 Speaker 5: feels a little bit a little bit like which we 335 00:21:56,840 --> 00:21:59,600 Speaker 5: appreciate a lot the compliments that we got from from that, 336 00:21:59,680 --> 00:22:01,920 Speaker 5: like oh great, you guys say that was amazing. 337 00:22:02,280 --> 00:22:05,760 Speaker 3: It's like yeah, but it comes out naturally as well, 338 00:22:05,840 --> 00:22:09,120 Speaker 3: like weren't we supposed to be already, you know, being 339 00:22:09,160 --> 00:22:10,120 Speaker 3: able to play. 340 00:22:09,800 --> 00:22:12,199 Speaker 2: With this and be able to be bilingual. 341 00:22:12,760 --> 00:22:12,960 Speaker 4: Yeah. 342 00:22:13,000 --> 00:22:15,040 Speaker 3: It has to do with with a political atmosphere that 343 00:22:15,080 --> 00:22:18,320 Speaker 3: we're living nowadays, not only in the United States, in 344 00:22:18,359 --> 00:22:21,040 Speaker 3: many parts of the world, but here in the United States. 345 00:22:22,320 --> 00:22:23,520 Speaker 4: It is very particular. 346 00:22:24,160 --> 00:22:28,600 Speaker 2: So that leads me, Guyl to want to ask you 347 00:22:28,600 --> 00:22:32,600 Speaker 2: about a project that actually you are involved with as 348 00:22:32,640 --> 00:22:37,000 Speaker 2: an executive producer, but the project of State of Silence, 349 00:22:37,800 --> 00:22:41,400 Speaker 2: because now this is an idea that you have, right, Diego, 350 00:22:41,640 --> 00:22:42,920 Speaker 2: state of Silence. 351 00:22:43,119 --> 00:22:46,120 Speaker 1: Yes, the project, right, put it that way, And then. 352 00:22:46,200 --> 00:22:50,080 Speaker 2: Diego says to you, Hey, guy, are you interested in 353 00:22:50,119 --> 00:22:53,360 Speaker 2: getting involved in any way in a documentary that has 354 00:22:53,480 --> 00:22:58,359 Speaker 2: nothing to do with, you know, anything dramatic Hollywood. It 355 00:22:58,400 --> 00:23:02,359 Speaker 2: said that it's a very serious, is frankly must watch, 356 00:23:02,400 --> 00:23:06,120 Speaker 2: but painful documentary about the state of journalism and journalists 357 00:23:06,160 --> 00:23:09,240 Speaker 2: in Mexico. My decision to become a journalist in the 358 00:23:09,359 --> 00:23:12,440 Speaker 2: United States was not because I was inspired by American 359 00:23:12,480 --> 00:23:18,399 Speaker 2: women journalists. It was Mexican women journalists like Elena Ponska 360 00:23:18,480 --> 00:23:22,240 Speaker 2: or Blanche Petric. So my question to you is about 361 00:23:22,680 --> 00:23:25,960 Speaker 2: deciding to work on a project with Diego where you're 362 00:23:26,000 --> 00:23:28,240 Speaker 2: actually going to be like, no, I'm just supporting you 363 00:23:28,280 --> 00:23:31,720 Speaker 2: in this project and those decisions that are made, like 364 00:23:32,320 --> 00:23:34,239 Speaker 2: I'm not going to be involved involved, but I'm going 365 00:23:34,240 --> 00:23:34,840 Speaker 2: to support you. 366 00:23:34,960 --> 00:23:39,520 Speaker 3: That's perhaps the community or the film family that we've 367 00:23:39,560 --> 00:23:45,560 Speaker 3: built together that we become first fans and last fans 368 00:23:46,040 --> 00:23:49,320 Speaker 3: of whatever project that we do together. And we've been 369 00:23:49,320 --> 00:23:51,959 Speaker 3: experiencing this for a long time with many projects and 370 00:23:52,000 --> 00:23:56,439 Speaker 3: with many documentaries that are risk you know, like that 371 00:23:56,640 --> 00:23:59,399 Speaker 3: kind of thread the fine waters of an interesting and 372 00:23:59,440 --> 00:24:03,480 Speaker 3: a very urgent topic. We've done not with the with 373 00:24:03,640 --> 00:24:07,920 Speaker 3: the them with ironically styles, with the State of Silence. 374 00:24:08,000 --> 00:24:10,080 Speaker 4: And we built Ambulante. 375 00:24:10,359 --> 00:24:13,159 Speaker 3: I mean well we built together with all the Ambulante 376 00:24:13,240 --> 00:24:16,720 Speaker 3: team that has been there for twenty years, this documentary 377 00:24:17,240 --> 00:24:19,200 Speaker 3: the Travels Amazingmentary Film Festival. 378 00:24:19,240 --> 00:24:22,480 Speaker 2: It's amazing, so for people that don't know basically traveling 379 00:24:22,480 --> 00:24:26,280 Speaker 2: documentaries for free in Mexican towns and cities. I mean 380 00:24:26,280 --> 00:24:28,119 Speaker 2: I witnessed it in Wahaka where all of a sudden, 381 00:24:28,160 --> 00:24:30,840 Speaker 2: people are just pulling up chairs in La Plaza and 382 00:24:30,880 --> 00:24:34,640 Speaker 2: I was like, oh, no, Kista Passando Orland, and I'm 383 00:24:34,680 --> 00:24:35,880 Speaker 2: like that's pretty cool. 384 00:24:35,920 --> 00:24:39,920 Speaker 3: Yeah, it's fantastic and it comes from our I'd say 385 00:24:39,920 --> 00:24:43,119 Speaker 3: that that the natural progression for us to become producers 386 00:24:43,160 --> 00:24:46,440 Speaker 3: in a way is because we're fans of cinema and 387 00:24:46,440 --> 00:24:47,800 Speaker 3: we're fans of the work. 388 00:24:47,600 --> 00:24:49,679 Speaker 4: That we do in a way or the ideas that 389 00:24:49,720 --> 00:24:50,360 Speaker 4: we come up with. 390 00:24:50,720 --> 00:24:52,480 Speaker 3: But at the same time is that if we have 391 00:24:52,520 --> 00:24:55,919 Speaker 3: the ability to express ourselves freely, then we might as 392 00:24:56,000 --> 00:24:58,720 Speaker 3: well really go for it, and not only that, we 393 00:24:58,880 --> 00:25:03,240 Speaker 3: might even go further in order for other people to also. 394 00:25:03,080 --> 00:25:06,520 Speaker 4: Have that opportunity. And that is something that we've also shared. 395 00:25:06,520 --> 00:25:10,719 Speaker 3: It's almost like an ethical, i don't know, inspirational political 396 00:25:11,680 --> 00:25:14,000 Speaker 3: We come from the same political vein. Maybe that's also 397 00:25:14,280 --> 00:25:16,600 Speaker 3: what makes us also work together well. And this is 398 00:25:16,640 --> 00:25:19,320 Speaker 3: the first time that we say it, but we politically 399 00:25:19,320 --> 00:25:22,880 Speaker 3: we think alike very much. Where we stand certain things, 400 00:25:23,280 --> 00:25:25,960 Speaker 3: our reactions, you know, we might have different ways of 401 00:25:26,040 --> 00:25:28,760 Speaker 3: approaching it, but at the same time, the essence or 402 00:25:28,800 --> 00:25:30,600 Speaker 3: where we stand this is on the same side. 403 00:25:30,640 --> 00:25:31,080 Speaker 4: Always. 404 00:25:31,200 --> 00:25:33,719 Speaker 3: I feel very, very privileged to be a fan of 405 00:25:33,760 --> 00:25:37,159 Speaker 3: this project, ever since Diego came up with it, and 406 00:25:37,240 --> 00:25:39,119 Speaker 3: ever since you encountered it as well, because that's what 407 00:25:39,160 --> 00:25:41,159 Speaker 3: happened now with films, is you encounter them in a 408 00:25:41,200 --> 00:25:42,639 Speaker 3: way you recognize them. 409 00:25:43,359 --> 00:25:46,240 Speaker 2: So what do you want people to know? 410 00:25:46,920 --> 00:25:50,199 Speaker 1: I want people to know one other thing. I know 411 00:25:50,240 --> 00:25:53,600 Speaker 1: we gotta go no, But it's just like I want 412 00:25:53,600 --> 00:25:56,760 Speaker 1: to compliment what is saying because I remember it's the 413 00:25:56,800 --> 00:26:00,560 Speaker 1: beginning of a bulante and it's a reaction to parallel 414 00:26:00,640 --> 00:26:03,040 Speaker 1: with the series of La Machine. It's a reaction to 415 00:26:03,119 --> 00:26:08,480 Speaker 1: the trap of success that being popular gets you in, right, 416 00:26:08,600 --> 00:26:11,359 Speaker 1: Like there's so much attention for you, and you don't 417 00:26:11,440 --> 00:26:13,680 Speaker 1: know what to do with that because you, in fact 418 00:26:13,720 --> 00:26:17,040 Speaker 1: don't have that much to say, you know. But we 419 00:26:17,160 --> 00:26:19,920 Speaker 1: learned when we were twenty, like, is there a way 420 00:26:20,000 --> 00:26:23,480 Speaker 1: to shift that attention and to send that attention to 421 00:26:23,680 --> 00:26:26,720 Speaker 1: those projects that we are fans of that we are 422 00:26:26,920 --> 00:26:30,720 Speaker 1: already loving and wanting to share somehow? And I think 423 00:26:30,720 --> 00:26:36,200 Speaker 1: that strategy, that kind of like tidy approach to attention 424 00:26:37,440 --> 00:26:41,399 Speaker 1: is what makes us produce so much, you know, because 425 00:26:41,400 --> 00:26:43,480 Speaker 1: at the end it's like, yeah, how do we like it? 426 00:26:44,119 --> 00:26:46,720 Speaker 1: He was not just a fan. He was very helpful 427 00:26:47,000 --> 00:26:50,240 Speaker 1: with his notes, and then the film screened for the 428 00:26:50,280 --> 00:26:52,840 Speaker 1: first time in Tribeca and he was on the stage 429 00:26:52,960 --> 00:26:58,000 Speaker 1: and that helps the film profoundly, like it helps her fly, 430 00:26:58,520 --> 00:27:00,640 Speaker 1: and he knows that, and he's there in the moment 431 00:27:00,680 --> 00:27:03,800 Speaker 1: he has to And that is something that to me 432 00:27:03,920 --> 00:27:05,800 Speaker 1: matters a lot, is to know what to do with 433 00:27:05,920 --> 00:27:08,840 Speaker 1: what you have in your hands. You know that sometimes 434 00:27:09,520 --> 00:27:13,440 Speaker 1: could could be difficult to handle, and in our case, 435 00:27:13,440 --> 00:27:16,640 Speaker 1: we've been capable of actually doing something with that thing. 436 00:27:19,920 --> 00:27:22,720 Speaker 2: I love the film. I think it's a really essential 437 00:27:22,720 --> 00:27:25,720 Speaker 2: and important film and we should be talking more about. 438 00:27:25,480 --> 00:27:29,359 Speaker 1: It, definitely. I think people should watch A State of Silence, definitely, 439 00:27:29,400 --> 00:27:33,040 Speaker 1: because what's happening to journalists in Mexico doesn't just belong 440 00:27:33,119 --> 00:27:37,760 Speaker 1: to Mexico. It's happening around the world, and we all, 441 00:27:38,080 --> 00:27:41,920 Speaker 1: we all have the right to have access to free 442 00:27:41,960 --> 00:27:46,160 Speaker 1: information right, and we have to step side by side 443 00:27:46,240 --> 00:27:50,879 Speaker 1: with the journalist community that are struggling for freedom of 444 00:27:51,040 --> 00:27:54,080 Speaker 1: speech and that are struggling to do their jobs. And 445 00:27:54,320 --> 00:27:57,640 Speaker 1: they need us. They need us because we need them 446 00:27:57,800 --> 00:28:00,439 Speaker 1: to be citizens and we need them to be free. 447 00:28:00,480 --> 00:28:05,400 Speaker 1: You know, news of Mexico matter here as much as 448 00:28:05,440 --> 00:28:08,320 Speaker 1: the news here matter there. Right, It's like we have 449 00:28:08,400 --> 00:28:12,000 Speaker 1: to be telling ourselves our stories because we're interconnecting all 450 00:28:12,040 --> 00:28:15,800 Speaker 1: of us and that access to information is again access 451 00:28:15,800 --> 00:28:20,160 Speaker 1: to freedom. 452 00:28:20,200 --> 00:28:22,520 Speaker 2: So another one of the things that I feel like 453 00:28:22,880 --> 00:28:25,159 Speaker 2: when I was trying to identify with the both of 454 00:28:25,200 --> 00:28:27,840 Speaker 2: you and getting ready for this interview, I was like, like, 455 00:28:27,920 --> 00:28:32,240 Speaker 2: these guys, they are actually able to do something that 456 00:28:32,600 --> 00:28:36,280 Speaker 2: I considered it a superpower to be able to think 457 00:28:36,320 --> 00:28:39,640 Speaker 2: about Mexico when you're in the United States, or think 458 00:28:39,640 --> 00:28:42,160 Speaker 2: about the United States when you're in Mexico, and it's like, 459 00:28:42,200 --> 00:28:45,320 Speaker 2: see gee, so that yeah, but in many ways that 460 00:28:45,360 --> 00:28:48,760 Speaker 2: both of you you're playing and working on both sides 461 00:28:48,800 --> 00:28:51,440 Speaker 2: of that border. You're able to do that between the 462 00:28:51,600 --> 00:28:55,000 Speaker 2: United States and Mexico kind of fluidly, And I'm just 463 00:28:55,040 --> 00:28:58,200 Speaker 2: wondering what that feels like. The fact that you're able 464 00:28:58,240 --> 00:29:01,720 Speaker 2: to be in these places have impact in media in 465 00:29:01,800 --> 00:29:04,760 Speaker 2: both places, both countries, which means both languages. 466 00:29:04,920 --> 00:29:11,200 Speaker 1: But I think it's the nature of cinema and theater. 467 00:29:13,040 --> 00:29:18,320 Speaker 1: You belong somewhere, like the story belongs somewhere. There is 468 00:29:18,320 --> 00:29:23,400 Speaker 1: a connection with the space, like the theaters you've worked like. 469 00:29:23,760 --> 00:29:27,280 Speaker 1: It's places where you've spent many nights, where you can 470 00:29:27,320 --> 00:29:30,920 Speaker 1: call home, you feel home, something happened to you there. 471 00:29:31,240 --> 00:29:34,680 Speaker 1: It's about a territory, and once you have that connection, 472 00:29:36,520 --> 00:29:40,520 Speaker 1: you might be anywhere but you'll have the freedom and 473 00:29:40,560 --> 00:29:44,280 Speaker 1: the feeling of belonging because you'll never forget where you 474 00:29:44,400 --> 00:29:48,840 Speaker 1: come from. The stories I get involved with, they become 475 00:29:48,960 --> 00:29:52,880 Speaker 1: Mexican immediately. You know, it doesn't matter how far I 476 00:29:52,960 --> 00:29:55,840 Speaker 1: want to go, It doesn't matter if it's like I mean, 477 00:29:57,240 --> 00:30:02,520 Speaker 1: it doesn't matter. And there is something really beautiful in 478 00:30:02,640 --> 00:30:07,400 Speaker 1: accepting that you always have your place. Like we're not 479 00:30:07,600 --> 00:30:11,640 Speaker 1: here or somewhere else because we want something to happen 480 00:30:11,680 --> 00:30:15,600 Speaker 1: to us. It's because there's an opportunity. But if opportunities 481 00:30:15,600 --> 00:30:19,760 Speaker 1: don't come, we know where we belong. And every time 482 00:30:20,200 --> 00:30:23,200 Speaker 1: they ask us, where do you live, we immediately say 483 00:30:23,320 --> 00:30:27,520 Speaker 1: Mexico immediately. Last year I probably spent more nights in 484 00:30:27,600 --> 00:30:30,640 Speaker 1: London because over the show I was doing. But every 485 00:30:30,640 --> 00:30:33,840 Speaker 1: time they asked me, I say Mexico, Mexico, in Mexico, 486 00:30:33,920 --> 00:30:37,800 Speaker 1: because that's that's where I will be if I had 487 00:30:37,840 --> 00:30:40,840 Speaker 1: nothing else to do. You know, That's and. 488 00:30:41,440 --> 00:30:43,720 Speaker 2: That's what I was jealous of, because that's where I 489 00:30:43,720 --> 00:30:45,360 Speaker 2: would be if I had nothing else to do. 490 00:30:49,040 --> 00:30:52,000 Speaker 1: But then you can be in this country and experience 491 00:30:52,040 --> 00:30:54,680 Speaker 1: this country, and live in this country and try to 492 00:30:54,760 --> 00:30:58,000 Speaker 1: understand this country and the journey of people in this country. 493 00:30:58,360 --> 00:31:01,960 Speaker 1: That same thing can happen in Spain, in France, in London. 494 00:31:02,000 --> 00:31:06,040 Speaker 1: We've worked in many places. But our company, the company 495 00:31:06,080 --> 00:31:11,960 Speaker 1: that did La Machina, is based in Mexico City. If 496 00:31:11,960 --> 00:31:14,400 Speaker 1: we think about, like we were talking in the car, 497 00:31:14,720 --> 00:31:18,000 Speaker 1: I need to work with an ad with an assistant director, 498 00:31:18,440 --> 00:31:22,120 Speaker 1: I might end working with someone from Mexico City, even 499 00:31:22,160 --> 00:31:25,080 Speaker 1: if I shoot somewhere else, you know, because it's where. 500 00:31:25,400 --> 00:31:29,200 Speaker 1: If we talk about understanding, if we talk about creative connection, 501 00:31:29,360 --> 00:31:32,680 Speaker 1: if we talk about like we think not just Mexico. 502 00:31:33,000 --> 00:31:34,760 Speaker 1: I think Kakan, you know. 503 00:31:35,360 --> 00:31:38,760 Speaker 2: I think, now you're really rubbing it in. No no, no, 504 00:31:38,800 --> 00:31:40,320 Speaker 2: I was like, and guess. 505 00:31:40,040 --> 00:31:42,760 Speaker 4: What man. 506 00:31:44,280 --> 00:31:50,440 Speaker 2: Like I go to the mercado and I have orstadas, 507 00:31:50,520 --> 00:31:51,080 Speaker 2: whatever there is. 508 00:31:51,120 --> 00:31:53,520 Speaker 1: But sometimes I spend I spend a lot of time 509 00:31:53,680 --> 00:31:56,600 Speaker 1: far away from that place, you know, but I don't 510 00:31:56,600 --> 00:32:00,360 Speaker 1: see it like I left it behind or anything. Because 511 00:32:00,760 --> 00:32:04,240 Speaker 1: this is the nature of what we do. We are 512 00:32:04,280 --> 00:32:07,120 Speaker 1: playing these friends that have nothing to do with the Ozbitala. 513 00:32:07,400 --> 00:32:10,000 Speaker 1: But at the end we are reflecting on the most 514 00:32:10,080 --> 00:32:14,440 Speaker 1: valuable but precious thing we have together, which is our friendship. 515 00:32:14,840 --> 00:32:18,120 Speaker 1: Like we are somehow we are talking also about something 516 00:32:18,120 --> 00:32:22,160 Speaker 1: that is profoundly intimate, but not we are doing this 517 00:32:22,320 --> 00:32:25,200 Speaker 1: manager and this boxer and they're full of shit and 518 00:32:25,280 --> 00:32:29,480 Speaker 1: their relation is like the most toxic thing you can see, 519 00:32:29,640 --> 00:32:33,240 Speaker 1: Like right, but at the same time, we are talking 520 00:32:33,240 --> 00:32:36,280 Speaker 1: about family. We're talking about what matters the origins. 521 00:32:37,400 --> 00:32:40,000 Speaker 2: So finally, you guys are not on Instagram, but I'm 522 00:32:40,040 --> 00:32:42,760 Speaker 2: watching your Instagrams and your fans stuff and everything. And 523 00:32:42,760 --> 00:32:44,680 Speaker 2: one of the things that I can see is that 524 00:32:45,080 --> 00:32:48,440 Speaker 2: you have so much fun. You enjoy being really silly. 525 00:32:49,120 --> 00:32:51,600 Speaker 1: I think I enjoy Kyle being really silly. 526 00:32:52,480 --> 00:32:54,640 Speaker 2: Is really silly Gayl I mean right now, he's been 527 00:32:54,760 --> 00:32:58,320 Speaker 2: very serious, but he's really silly, and you're pretty silly. 528 00:32:58,400 --> 00:33:03,600 Speaker 2: I think it doesn't take you to Yeah, so having fun, 529 00:33:03,760 --> 00:33:05,440 Speaker 2: like what is I know that you're like, oh my god, 530 00:33:05,480 --> 00:33:07,320 Speaker 2: if I have to choose, I'm going to Mexico City. 531 00:33:07,320 --> 00:33:09,080 Speaker 2: But when you go to Mexico City or if that's 532 00:33:09,080 --> 00:33:12,360 Speaker 2: the place, like, what do you do for fun? Like 533 00:33:12,480 --> 00:33:13,840 Speaker 2: to ale Glaida. 534 00:33:15,120 --> 00:33:19,200 Speaker 3: I think nowadays for everybody, I mean and not only 535 00:33:19,200 --> 00:33:22,680 Speaker 3: for people that are well known or that are popular, 536 00:33:23,960 --> 00:33:27,800 Speaker 3: is that there are places where they take the cameras, 537 00:33:28,040 --> 00:33:32,360 Speaker 3: they take the cell phones off people. There's this nightclub, 538 00:33:33,320 --> 00:33:36,400 Speaker 3: and like, what's amazing about this nightclub is that they 539 00:33:36,440 --> 00:33:41,800 Speaker 3: take this telephone and the camera and they just take it, 540 00:33:41,880 --> 00:33:43,280 Speaker 3: you know, that you lock it in. 541 00:33:43,600 --> 00:33:44,680 Speaker 2: So no one can record. 542 00:33:45,560 --> 00:33:48,120 Speaker 4: Yeah, and people are just having so much fun. 543 00:33:48,720 --> 00:33:53,840 Speaker 3: People are laughing and dancing and being completely crazy, and 544 00:33:53,920 --> 00:33:56,560 Speaker 3: none of the things that okay, you might end up okay, 545 00:33:56,600 --> 00:33:59,200 Speaker 3: people might end up having sex or whatever that is 546 00:33:59,240 --> 00:34:01,080 Speaker 3: not happening, is just people dancing. 547 00:34:02,040 --> 00:34:05,600 Speaker 4: And it's the best nightclub and I love it. It's 548 00:34:05,640 --> 00:34:06,440 Speaker 4: it's in Berlin. 549 00:34:06,800 --> 00:34:09,200 Speaker 2: Oh, it's in Berlin. I was like, don't and you're like, 550 00:34:09,400 --> 00:34:10,120 Speaker 2: it's in Berlin. 551 00:34:10,200 --> 00:34:13,080 Speaker 3: I know he's I. 552 00:34:13,040 --> 00:34:17,720 Speaker 1: Mean, he's tempting you to organize a party soon home 553 00:34:17,920 --> 00:34:21,320 Speaker 1: and say to everyone, leave your phones in the kitchen 554 00:34:21,640 --> 00:34:25,279 Speaker 1: and don't pick it until you're living, you know, don't 555 00:34:25,280 --> 00:34:27,080 Speaker 1: even go every half an hour. And you see, like 556 00:34:27,360 --> 00:34:31,000 Speaker 1: we all have excuses, but fifteen years ago, there was 557 00:34:31,080 --> 00:34:31,880 Speaker 1: no cell phones. 558 00:34:31,960 --> 00:34:33,920 Speaker 3: To my best my best year, my best plan for 559 00:34:33,960 --> 00:34:36,799 Speaker 3: a party would be a party that involves a lot 560 00:34:36,800 --> 00:34:40,520 Speaker 3: of dancing, a lot of anyone by the way, but 561 00:34:40,640 --> 00:34:43,960 Speaker 3: without without the cell phone and the camera, because then 562 00:34:44,360 --> 00:34:47,319 Speaker 3: everything becomes like, you know, everything becomes a performance and 563 00:34:47,360 --> 00:34:47,759 Speaker 3: you're like. 564 00:34:47,760 --> 00:34:50,480 Speaker 4: No, you don't want to perform, you want to you know. 565 00:34:50,520 --> 00:34:52,000 Speaker 2: Full I don't know that you were such a good 566 00:34:52,000 --> 00:34:54,600 Speaker 2: sell side dancer. There were that oh thank you, somebody 567 00:34:54,600 --> 00:34:57,680 Speaker 2: did capture you dancing with Lucy amen as you know this, yeah, 568 00:34:57,840 --> 00:35:00,799 Speaker 2: dancing Sid And I was like, Nina is Hospasos and 569 00:35:00,840 --> 00:35:06,680 Speaker 2: you even have that little shoulders a movie about that. 570 00:35:07,360 --> 00:35:08,720 Speaker 1: I've done my work, but. 571 00:35:09,320 --> 00:35:12,640 Speaker 2: So diego yes for you. Fun? 572 00:35:15,320 --> 00:35:15,959 Speaker 4: Oh my god. 573 00:35:16,080 --> 00:35:20,479 Speaker 1: I love his answer because it applies in general for life, Like, yeah, 574 00:35:20,719 --> 00:35:24,000 Speaker 1: definitely fun comes when you don't feel you're being streamed 575 00:35:24,120 --> 00:35:28,600 Speaker 1: twenty four to seven. Okay, I'm gonna say real fun 576 00:35:29,000 --> 00:35:34,040 Speaker 1: is when we have the opportunity to just like fuck around, 577 00:35:34,080 --> 00:35:37,040 Speaker 1: what's the next thing we're gonna do? You know? And 578 00:35:38,160 --> 00:35:41,160 Speaker 1: I mean there's so many projects that I'm glad never happened, 579 00:35:41,560 --> 00:35:45,120 Speaker 1: But just the moment of like having those ideas and 580 00:35:45,160 --> 00:35:48,480 Speaker 1: exploring and then saying yeah, like this personal REDDA and 581 00:35:48,520 --> 00:35:52,960 Speaker 1: then flying or spending time waiting for an interview or 582 00:35:52,960 --> 00:35:56,360 Speaker 1: waiting for this waiting for that becomes moments of like 583 00:35:56,520 --> 00:35:59,120 Speaker 1: what if we do this? Now? What if we do that? 584 00:36:00,040 --> 00:36:03,640 Speaker 1: And I really enjoy that and it's fun it's fun 585 00:36:03,680 --> 00:36:07,880 Speaker 1: because we picture the same thing and there's always tissing involved, 586 00:36:07,920 --> 00:36:09,319 Speaker 1: So yeah, it's fun. 587 00:36:09,440 --> 00:36:11,839 Speaker 2: Thank you so much for having enough fun to dream 588 00:36:11,880 --> 00:36:14,560 Speaker 2: up La Machina. Yeah, and also a State of Silence, 589 00:36:15,160 --> 00:36:17,800 Speaker 2: and thank you for thank you for the time for 590 00:36:18,120 --> 00:36:19,360 Speaker 2: us here on the USA. 591 00:36:19,600 --> 00:36:24,280 Speaker 1: Thank you for creating time for us to talk nicely. 592 00:36:24,360 --> 00:36:26,320 Speaker 4: Yes, thank you so much, profoundly. 593 00:36:29,680 --> 00:36:33,560 Speaker 2: That was Diego Luna and Gael Garcia Bernald. Their new 594 00:36:33,680 --> 00:36:37,880 Speaker 2: series La Machina is on Hulu. Their documentary State of 595 00:36:37,920 --> 00:36:42,440 Speaker 2: Silence is available on Netflix and Dear listener, this time, 596 00:36:42,640 --> 00:36:46,160 Speaker 2: you can head over to our Latino USA YouTube page 597 00:36:46,520 --> 00:36:49,520 Speaker 2: to watch my one on one interview with both of 598 00:36:49,560 --> 00:36:52,719 Speaker 2: these guys. It's an extended version of the conversation you 599 00:36:52,960 --> 00:36:55,839 Speaker 2: just heard with a lot of great visuals. I'll see 600 00:36:55,880 --> 00:37:17,000 Speaker 2: you there. This episode was produced by Renaldo Leanos Junior 601 00:37:17,040 --> 00:37:21,040 Speaker 2: and edited by Alejandra Salasa. It was mixed by Leah 602 00:37:21,040 --> 00:37:25,440 Speaker 2: Shaw Damroan with engineering support from jj Krubin. The Latino 603 00:37:25,560 --> 00:37:30,440 Speaker 2: USA team also includes Julia Caruso, Jessica Ellis, Victoria Estrada, 604 00:37:30,719 --> 00:37:35,320 Speaker 2: Stephanie Lebou, Andre Lopez Grusado, Lois Luna, Flori mad Marquez, 605 00:37:35,640 --> 00:37:40,239 Speaker 2: Marta Martinez, Nor Saudi and Nancy Trujillo. Benileei Ramirez is 606 00:37:40,280 --> 00:37:43,880 Speaker 2: our co executive producer along with myself, and I'm your host, 607 00:37:43,920 --> 00:37:47,359 Speaker 2: Mariano Rosa. Remember you can find Latino USA on your 608 00:37:47,440 --> 00:37:52,279 Speaker 2: podcast feed. Also on our website, which is latinousa dot org. 609 00:37:52,640 --> 00:37:56,000 Speaker 2: You'll find extended versions of our stories dropping every Friday 610 00:37:56,120 --> 00:38:01,000 Speaker 2: and Sunday, so please subscribe to Latino USA wherever you 611 00:38:01,040 --> 00:38:04,160 Speaker 2: get your podcasts. Join us again on our next episode. 612 00:38:04,200 --> 00:38:06,239 Speaker 2: In the meantime, I'll see you on all of our 613 00:38:06,280 --> 00:38:13,359 Speaker 2: social media, especially you know, boxing on Instagram, Joe. 614 00:38:16,960 --> 00:38:21,760 Speaker 1: Latino USA is made possible in part by the Ford Foundation, 615 00:38:22,360 --> 00:38:26,279 Speaker 1: working with visionaries on the front lines of social change worldwide, 616 00:38:27,160 --> 00:38:31,720 Speaker 1: Michelle Mercer and Bruce Golden and Agnes Gund