1 00:00:07,160 --> 00:00:10,399 Speaker 1: I'm Lisa and Akazawa join me on season two of 2 00:00:10,480 --> 00:00:12,920 Speaker 1: Stars and Stars with Lisa, where I sit down with 3 00:00:13,000 --> 00:00:15,400 Speaker 1: some of the most exciting stars of our time to 4 00:00:15,440 --> 00:00:18,520 Speaker 1: find out what their birth chart reveals about their life's purpose, 5 00:00:18,680 --> 00:00:22,360 Speaker 1: their relationships, and their challenges. Winner of the Signal Award 6 00:00:22,400 --> 00:00:25,720 Speaker 1: for Most Inspirational Podcast, Stars and Stars will help you 7 00:00:25,760 --> 00:00:28,760 Speaker 1: make sense of today's complicated times. Even if you're an 8 00:00:28,760 --> 00:00:31,720 Speaker 1: astrology skeptic. You can listen to Stars and Stars with 9 00:00:31,720 --> 00:00:34,880 Speaker 1: Lisa wherever you get your podcasts. Don't forget to follow 10 00:00:34,920 --> 00:00:39,519 Speaker 1: the show so you never miss an episode. 11 00:00:41,640 --> 00:00:45,360 Speaker 2: We're about to unfold the story of Frankenstein. He is 12 00:00:45,400 --> 00:00:48,760 Speaker 2: one of the strangest tales ever told. I think it 13 00:00:48,800 --> 00:00:52,960 Speaker 2: will three you, It may shock you, It might even. 14 00:00:53,320 --> 00:01:05,839 Speaker 3: Horrify From Fudromidia, It's Latino Usa. I'm Maria Josa today, 15 00:01:05,840 --> 00:01:09,839 Speaker 3: the heartthrobed actor of the moment, oscar Isaac who stars 16 00:01:09,880 --> 00:01:22,559 Speaker 3: as doctor Victor Frankenstein in the newest Netflix adaptation. From 17 00:01:22,600 --> 00:01:26,880 Speaker 3: the Andes Mountains, through the Caribbean Islands and up to 18 00:01:26,920 --> 00:01:32,039 Speaker 3: the Sonoran Desert. There is a mysticism that covers Latin America. 19 00:01:33,560 --> 00:01:38,040 Speaker 3: Think of you know, monsters like the Chupacabras, or spirits 20 00:01:38,240 --> 00:01:43,959 Speaker 3: like Laurona, or tales of dark family secrets. Sure it 21 00:01:44,120 --> 00:01:50,720 Speaker 3: sounds like a novella, but literature calls it gothic stories 22 00:01:50,760 --> 00:01:55,320 Speaker 3: that frighten and force us to confront our own fears. Now, 23 00:01:55,400 --> 00:01:59,600 Speaker 3: Mexican filmmaker Guillemo del Toro, who has long loved monsters 24 00:01:59,640 --> 00:02:03,200 Speaker 3: and says he even identifies with them, has reimagined a 25 00:02:03,280 --> 00:02:09,160 Speaker 3: classic Gothic monster story, but this time with a Latin 26 00:02:09,160 --> 00:02:10,080 Speaker 3: American twist. 27 00:02:10,440 --> 00:02:13,040 Speaker 4: It's not an accident that my Victor is being played 28 00:02:13,080 --> 00:02:14,080 Speaker 4: by Oscar Isaac. 29 00:02:13,919 --> 00:02:19,399 Speaker 3: Ernandez played by Hollywood actor Oscar Isaac Ernandez Estrada, who 30 00:02:19,480 --> 00:02:23,760 Speaker 3: you might know as Oscar Isaac. The new Doctor Victor 31 00:02:23,800 --> 00:02:29,079 Speaker 3: Frankenstein is seriously Latino, and according to Oscar, this Frankenstein 32 00:02:29,240 --> 00:02:36,399 Speaker 3: might be the most telenovela adaptation yet. The watermelon born 33 00:02:36,480 --> 00:02:39,000 Speaker 3: actor with a Cuban father is known for his roles 34 00:02:39,240 --> 00:02:42,440 Speaker 3: in Dune as Duke Ledo atreates. 35 00:02:42,160 --> 00:02:45,679 Speaker 5: A great man, doesn't seek to laid, he's called to it. 36 00:02:46,280 --> 00:02:50,720 Speaker 3: He played Nathan the crazed billionaire in ex Machina Dance 37 00:02:51,280 --> 00:02:55,320 Speaker 3: Check It Out, and Hoe in Star Wars. 38 00:02:55,440 --> 00:02:58,520 Speaker 4: You're the best fighter we have We need you out there, 39 00:02:58,639 --> 00:02:59,320 Speaker 4: not here. 40 00:02:59,480 --> 00:03:03,040 Speaker 3: And we so much experience acting in science fiction, it's 41 00:03:03,080 --> 00:03:07,520 Speaker 3: no wonder that Doro chose Isaac for his long awaited Frankenstein. 42 00:03:09,600 --> 00:03:14,120 Speaker 3: Inspired by the Toro's Mexican upbringing, Frankenstein is full of 43 00:03:14,280 --> 00:03:19,120 Speaker 3: Catholic imagery, long stares into the camera, and family secret's 44 00:03:19,200 --> 00:03:23,760 Speaker 3: gone awry. This adaptation also takes from Mary Shelley's eighteen 45 00:03:23,880 --> 00:03:27,880 Speaker 3: eighteen novel The Gothic genre allowed Shelley to speak on 46 00:03:27,960 --> 00:03:31,520 Speaker 3: our cultural fears of motherhood and life, as well as 47 00:03:31,560 --> 00:03:35,600 Speaker 3: her personal experiences with multiple miscarriages and the deaths of 48 00:03:35,640 --> 00:03:36,760 Speaker 3: her children. 49 00:03:38,520 --> 00:03:40,200 Speaker 6: That Doro's film borrows from. 50 00:03:40,320 --> 00:03:44,600 Speaker 3: All of that, plus, this new Frankenstein poses a pretty 51 00:03:44,640 --> 00:03:50,720 Speaker 3: political question, how do we remain human during such inhumane times? 52 00:03:57,120 --> 00:03:59,160 Speaker 3: Oh Scott, thank you so much for joining me on 53 00:03:59,240 --> 00:04:01,840 Speaker 3: Latino USA. It's it's really great to speak with you. 54 00:04:02,040 --> 00:04:04,680 Speaker 5: Oh no, I'm very happy to very hip to speak you. See. 55 00:04:05,400 --> 00:04:09,480 Speaker 3: So you are cast with the amazing Ye Moodel Toro 56 00:04:10,080 --> 00:04:14,480 Speaker 3: to play doctor Victor Frankenstein commolodition Franken. 57 00:04:14,160 --> 00:04:20,160 Speaker 4: Steam But okay, Victorio, he would always say on set, 58 00:04:20,560 --> 00:04:29,520 Speaker 4: Victorio giving a Victorio giving Like when we made this movie, 59 00:04:29,560 --> 00:04:32,320 Speaker 4: there you know, there was a time We're sitting next 60 00:04:32,360 --> 00:04:34,640 Speaker 4: to each other and it's so big and we only 61 00:04:34,680 --> 00:04:35,840 Speaker 4: spoke in Spanish to each other. 62 00:04:35,880 --> 00:04:37,440 Speaker 5: On set. It was just like I say, it was 63 00:04:37,480 --> 00:04:38,960 Speaker 5: like making a movie with my Tia. 64 00:04:39,120 --> 00:04:41,800 Speaker 4: You know, it was just he was It was just 65 00:04:41,839 --> 00:04:45,560 Speaker 4: so close and fun and incredibly intimate. That's the first 66 00:04:45,560 --> 00:04:48,640 Speaker 4: time I've ever worked that way. And at one point, 67 00:04:48,680 --> 00:04:51,080 Speaker 4: you know, because it is it is not naturalism. You know, 68 00:04:51,120 --> 00:04:54,680 Speaker 4: he wanted speed, he wanted expression, he wanted a lot 69 00:04:54,680 --> 00:04:58,000 Speaker 4: of emotion, and you know, sometimes he would direct me 70 00:04:58,320 --> 00:05:02,960 Speaker 4: with like telenovela things. You'd say, give me that Maria Christina, 71 00:05:04,040 --> 00:05:07,280 Speaker 4: you know when you like stop and look back the camera, 72 00:05:07,760 --> 00:05:10,240 Speaker 4: and I'd be like, really, it's like, come on, mad Cristina, mucho, 73 00:05:10,320 --> 00:05:13,280 Speaker 4: come on. I was like, all right, okay, And then 74 00:05:13,320 --> 00:05:16,360 Speaker 4: he said, you know, it's not it's not an accident 75 00:05:16,440 --> 00:05:19,320 Speaker 4: that my Victor is being played by Oscar is like Anandez. 76 00:05:19,480 --> 00:05:22,440 Speaker 4: You know, He's like, this is a Latin American point 77 00:05:22,480 --> 00:05:27,040 Speaker 4: of view to a very European story. It is completely 78 00:05:27,120 --> 00:05:31,760 Speaker 4: through the prism of his experience and things that he'd loved, 79 00:05:31,800 --> 00:05:35,080 Speaker 4: things that created him, without judgment about you know, whether 80 00:05:35,120 --> 00:05:36,839 Speaker 4: they're a highbrow or a low brow. 81 00:05:37,520 --> 00:05:38,599 Speaker 5: This is his experience. 82 00:05:38,640 --> 00:05:42,479 Speaker 4: It's his biography, but not his literal biography, but it's 83 00:05:42,600 --> 00:05:45,760 Speaker 4: his dream biography. It's like the DNA that makes him up, 84 00:05:45,880 --> 00:05:48,039 Speaker 4: and he asks for us to bring the same thing. 85 00:05:48,120 --> 00:05:51,880 Speaker 4: So when we first met, it was, you know, I 86 00:05:51,920 --> 00:05:54,360 Speaker 4: was at his house and just you know, eating Cuban food, 87 00:05:54,760 --> 00:05:56,960 Speaker 4: take out Cuban food, and we're sitting there talking and 88 00:05:57,000 --> 00:05:58,760 Speaker 4: we just talked for an Now it was just a 89 00:05:58,800 --> 00:06:02,200 Speaker 4: general meeting for an hour about how we grew up 90 00:06:02,320 --> 00:06:06,440 Speaker 4: and about our fathers and about our religious trauma. Him 91 00:06:06,440 --> 00:06:09,920 Speaker 4: as a Catholic, the growing up Evangelical Christian in Miami, 92 00:06:10,680 --> 00:06:11,640 Speaker 4: and well that's a. 93 00:06:11,600 --> 00:06:12,200 Speaker 6: Lot right there. 94 00:06:12,560 --> 00:06:15,560 Speaker 3: Yeah, yeah, and that was your first meeting. Was like, hey, 95 00:06:15,600 --> 00:06:17,720 Speaker 3: we got this religious trauma. 96 00:06:17,880 --> 00:06:18,560 Speaker 5: Yeah, we have this. 97 00:06:18,600 --> 00:06:21,680 Speaker 4: We have fathers that loom very large, that have you know, 98 00:06:21,760 --> 00:06:25,760 Speaker 4: been sources of inspiration but also of great pain. And 99 00:06:25,839 --> 00:06:28,440 Speaker 4: we are also now fathers, and yet somehow we still 100 00:06:28,440 --> 00:06:32,240 Speaker 4: feel like we identify as sons. And at what point 101 00:06:32,279 --> 00:06:35,159 Speaker 4: do you start being a father and being president enough 102 00:06:35,160 --> 00:06:35,839 Speaker 4: to see. 103 00:06:35,600 --> 00:06:39,239 Speaker 5: That you're not you're no longer trying to prove something 104 00:06:39,480 --> 00:06:40,200 Speaker 5: to your father. 105 00:06:41,040 --> 00:06:43,120 Speaker 4: And so that's what we talked about and then at 106 00:06:43,160 --> 00:06:45,240 Speaker 4: the end of that conversation, he said, I think you 107 00:06:45,279 --> 00:06:46,640 Speaker 4: need to play Victor of Frankenstein. 108 00:06:49,839 --> 00:06:51,240 Speaker 6: Oh my god, did you know that it was going 109 00:06:51,320 --> 00:06:51,880 Speaker 6: to go that way? 110 00:06:52,200 --> 00:06:55,040 Speaker 5: I didn't even know that he was making a movie. 111 00:06:55,839 --> 00:06:56,520 Speaker 6: Is my yaes Day? 112 00:06:56,960 --> 00:06:59,560 Speaker 5: Boy? No, Like my defense has come up, right. So 113 00:06:59,600 --> 00:07:01,440 Speaker 5: I'm like, oh, I'm sure. He says this to all 114 00:07:01,440 --> 00:07:04,800 Speaker 5: the girls, and it's like, I'm sure. It's like I'll 115 00:07:04,839 --> 00:07:06,919 Speaker 5: take this. I'll take this with a grain of salt. 116 00:07:06,920 --> 00:07:07,480 Speaker 5: We'll see. 117 00:07:08,040 --> 00:07:10,280 Speaker 4: And then but then he gave me Mary Shelley's Franks 118 00:07:10,280 --> 00:07:12,640 Speaker 4: Sin and he gave me the Dowdy Ching and he said, 119 00:07:12,920 --> 00:07:16,440 Speaker 4: go read these, and I read them immediately. 120 00:07:15,880 --> 00:07:17,520 Speaker 5: And we just started having conversations. 121 00:07:17,560 --> 00:07:20,360 Speaker 4: And within a year, a little over a year, he 122 00:07:20,440 --> 00:07:22,680 Speaker 4: came to New York with the first thirty pages, in 123 00:07:22,720 --> 00:07:25,760 Speaker 4: the last thirty pages, and we sat in the hotel 124 00:07:25,800 --> 00:07:28,880 Speaker 4: room and I read all the characters and at the end, 125 00:07:28,960 --> 00:07:33,320 Speaker 4: and I read that last scene where he finally sees 126 00:07:33,400 --> 00:07:35,320 Speaker 4: himself for what he is, which is the father of 127 00:07:35,360 --> 00:07:38,600 Speaker 4: this creature that he's rejected, and the creature forgives him, 128 00:07:38,680 --> 00:07:40,920 Speaker 4: and I just broke down in the tears, and he 129 00:07:40,960 --> 00:07:44,120 Speaker 4: was crying as well, and that yeah, and that began the. 130 00:07:44,160 --> 00:07:45,640 Speaker 3: Journey, so that, yeah, I'm gonna go to the film 131 00:07:45,680 --> 00:07:47,080 Speaker 3: and I'm gonna end up crying. 132 00:07:46,880 --> 00:07:47,840 Speaker 5: If you have a heart. 133 00:07:50,040 --> 00:07:51,840 Speaker 4: Funny, he was just saying, you know that when he 134 00:07:51,880 --> 00:07:54,320 Speaker 4: started out, they would tell him, you know that there's 135 00:07:54,520 --> 00:07:57,600 Speaker 4: elements of tenderness in your horror, but now it's there's 136 00:07:57,680 --> 00:08:01,400 Speaker 4: elements of horror in your tenderness. And the film is 137 00:08:01,800 --> 00:08:05,560 Speaker 4: and of course it has elements of gruesome things, of 138 00:08:05,720 --> 00:08:10,360 Speaker 4: the body parts of blood of dread, but it's not 139 00:08:10,480 --> 00:08:11,560 Speaker 4: interested in being. 140 00:08:11,320 --> 00:08:13,920 Speaker 5: A genre piece in that way. It's an opera. 141 00:08:15,080 --> 00:08:18,760 Speaker 3: Obviously. This book was written so long ago, Mary Shelley. 142 00:08:19,200 --> 00:08:21,880 Speaker 3: It was written during the time of the Industrial Revolution. 143 00:08:22,360 --> 00:08:25,680 Speaker 3: It's a tale we know about modernity. What do you 144 00:08:25,680 --> 00:08:29,360 Speaker 3: think are the parallels between what's happening right now in 145 00:08:29,400 --> 00:08:32,040 Speaker 3: our country? A lot of people feel like things are 146 00:08:32,040 --> 00:08:36,319 Speaker 3: out of control, that ethical boundaries are being crossed everywhere. 147 00:08:36,720 --> 00:08:42,439 Speaker 3: Is there that kind of sentiment in this film? 148 00:08:42,640 --> 00:08:46,720 Speaker 4: Well, every movie that's made is a product of it's time, 149 00:08:48,280 --> 00:08:54,160 Speaker 4: and you know, every performer, as Shakespeare very beautifully put 150 00:08:54,320 --> 00:08:59,600 Speaker 4: is the chronicle of the time, right, So you can't 151 00:08:59,640 --> 00:09:00,840 Speaker 4: really escape that. 152 00:09:01,720 --> 00:09:05,040 Speaker 5: So of course it is. It is about what's happening now. 153 00:09:06,120 --> 00:09:10,000 Speaker 4: That being said, the way that Yermo approached it, he 154 00:09:10,120 --> 00:09:13,800 Speaker 4: felt that it you know, he's has completely submerged themselves 155 00:09:13,880 --> 00:09:14,439 Speaker 4: for such. 156 00:09:14,240 --> 00:09:16,400 Speaker 5: A long time in the Romantics in what was. 157 00:09:16,360 --> 00:09:19,080 Speaker 4: Happening at that time, and all of that is infused 158 00:09:19,160 --> 00:09:22,960 Speaker 4: into this frankt sign. But for him, it's really clear 159 00:09:23,000 --> 00:09:26,520 Speaker 4: that it is Mary Shirley's biography as well of her 160 00:09:26,679 --> 00:09:29,800 Speaker 4: dealing with the death, the miscarriages, that she had a 161 00:09:29,800 --> 00:09:32,600 Speaker 4: miscarriage and the baby never was named and so to 162 00:09:32,640 --> 00:09:36,480 Speaker 4: be put into the ground without a name, and yes, 163 00:09:36,520 --> 00:09:41,920 Speaker 4: and living in this incredibly patriarchal, repressive moment and the 164 00:09:41,960 --> 00:09:44,880 Speaker 4: industrial revolutions just starting to get going in this idea 165 00:09:44,880 --> 00:09:47,640 Speaker 4: of like, you know, anything for the future. And the 166 00:09:47,720 --> 00:09:51,520 Speaker 4: Romantics were iconoclasts. They were the punk rock they were 167 00:09:51,600 --> 00:09:54,319 Speaker 4: like the punk rock generation. They were fighting against this thing, 168 00:09:54,679 --> 00:10:00,000 Speaker 4: and they were also very expressive about emotion. And also 169 00:10:00,120 --> 00:10:04,040 Speaker 4: so you know, the novel ends on a really dark note. 170 00:10:04,320 --> 00:10:07,120 Speaker 4: There isn't a moment of forgiveness, and the creature self 171 00:10:07,160 --> 00:10:14,000 Speaker 4: emolates at the end, and so they were kind of 172 00:10:14,679 --> 00:10:16,800 Speaker 4: loving the idea that it was like a counter to 173 00:10:16,840 --> 00:10:18,040 Speaker 4: this futurism. 174 00:10:18,400 --> 00:10:19,000 Speaker 5: It was. 175 00:10:18,840 --> 00:10:20,800 Speaker 4: It was it was a counter of saying like, look 176 00:10:20,840 --> 00:10:22,680 Speaker 4: at the destruction and the death this can cause. 177 00:10:23,320 --> 00:10:25,280 Speaker 5: So that is in the DNA of this thing. You know. 178 00:10:25,320 --> 00:10:28,920 Speaker 4: Guillermo has moved it up a bit from where the 179 00:10:28,960 --> 00:10:31,760 Speaker 4: novel takes place, and so he surrounds it with the 180 00:10:31,800 --> 00:10:35,520 Speaker 4: crimean war which the Romantics were, you know, although it's 181 00:10:35,559 --> 00:10:38,520 Speaker 4: not spoken of directly in the book, you know it 182 00:10:38,559 --> 00:10:40,160 Speaker 4: was a response to what was happening, to the war 183 00:10:40,200 --> 00:10:43,080 Speaker 4: that was happening around them, and so he does. Guirmo 184 00:10:43,200 --> 00:10:47,480 Speaker 4: has Mia God's character Elizabeth speak directly about the war, 185 00:10:47,720 --> 00:10:50,800 Speaker 4: and directly she says, and it's a beautiful line about 186 00:10:50,920 --> 00:10:56,199 Speaker 4: what happens when great ideas in quotes, great ideas are 187 00:10:56,240 --> 00:10:57,240 Speaker 4: pursued by fools. 188 00:10:57,960 --> 00:10:59,079 Speaker 6: Of that is. 189 00:10:59,120 --> 00:11:07,520 Speaker 3: Very apropos for twenty twenty five. I would say, oh, Scott, 190 00:11:08,080 --> 00:11:12,560 Speaker 3: you actually Nacilo in Watemala, born in Whatatemala, and you 191 00:11:12,600 --> 00:11:20,400 Speaker 3: are oscar isaac Ernandez estradaciono te correct correct, being big, big, big, big, big, 192 00:11:20,880 --> 00:11:23,800 Speaker 3: Tell me the quick love affair between your mother, who's Waatemalan, 193 00:11:24,600 --> 00:11:27,679 Speaker 3: one of the most indigenous countries in Latin America, and 194 00:11:27,720 --> 00:11:32,720 Speaker 3: your father is Juano. I'm like, is there a ten 195 00:11:32,760 --> 00:11:35,080 Speaker 3: second love storyline that you can tell me about those two? 196 00:11:35,440 --> 00:11:39,840 Speaker 5: Oh? I mean yeah, not ten seconds, no, ten seconds no. 197 00:11:40,200 --> 00:11:42,160 Speaker 4: But the short of it is that my father went 198 00:11:42,200 --> 00:11:44,920 Speaker 4: to medical school at Tamala and it was at a 199 00:11:45,040 --> 00:11:47,840 Speaker 4: dance for the university where he's at that he met 200 00:11:47,880 --> 00:11:51,760 Speaker 4: my mother and they were married. My sister was born, 201 00:11:52,480 --> 00:11:56,200 Speaker 4: I was born, and then shortly after that they moved. 202 00:11:56,559 --> 00:11:59,160 Speaker 5: They immigrated to first to Washington, d C. 203 00:11:59,480 --> 00:12:07,800 Speaker 4: Baltimore in Louisiana, and then to Florida. 204 00:12:08,400 --> 00:12:09,200 Speaker 6: Let's pause here. 205 00:12:09,360 --> 00:12:11,680 Speaker 3: After the break, we pick up in Miami and Oscar 206 00:12:11,720 --> 00:12:14,640 Speaker 3: Isaac tells us why he dropped his last name when 207 00:12:14,679 --> 00:12:17,280 Speaker 3: he started pursuing a career as an actor. 208 00:12:17,440 --> 00:12:20,160 Speaker 5: Oscar Hernanda's in Miami is like John Smith. 209 00:12:21,160 --> 00:12:35,000 Speaker 3: Stay with us, Yes, hey, we're back. Before the break, 210 00:12:35,080 --> 00:12:38,840 Speaker 3: actor Oscar Isaac dove deep into his role as doctor 211 00:12:38,960 --> 00:12:44,160 Speaker 3: Victor Frankenstein in Guilllmo del Toro's Newest Frankenstein adaptation. But 212 00:12:45,080 --> 00:12:48,280 Speaker 3: before Oscar was the Hollywood heart throb that you know now, 213 00:12:48,800 --> 00:12:53,480 Speaker 3: Oscar Isaac anandez Istrada was just another Latino actor in 214 00:12:53,520 --> 00:12:56,320 Speaker 3: Miami trying to make it in a very crowded field. 215 00:12:57,000 --> 00:13:01,000 Speaker 3: What happened to the Ernandez Estrada And when did the 216 00:13:01,040 --> 00:13:04,000 Speaker 3: decision come to be like, I'm Oscar Isaac. 217 00:13:04,240 --> 00:13:09,439 Speaker 5: Yeah, so my father's what's got this? My grandfather's what's 218 00:13:09,480 --> 00:13:10,040 Speaker 5: gone this? 219 00:13:11,480 --> 00:13:18,079 Speaker 4: And when I began acting, I actually started working professionally 220 00:13:18,320 --> 00:13:22,000 Speaker 4: in South Florida, in Miami, and I would try to 221 00:13:22,000 --> 00:13:25,000 Speaker 4: get auditions. I wouldn't really be cast as you know, 222 00:13:25,080 --> 00:13:28,160 Speaker 4: be brought in for anything other than Baniero number three, 223 00:13:28,720 --> 00:13:29,800 Speaker 4: you know, the dead body. 224 00:13:30,040 --> 00:13:31,880 Speaker 6: So you're a working actor at this time. 225 00:13:31,840 --> 00:13:34,840 Speaker 4: Well, I'm trying I have like a featured extra part. 226 00:13:34,920 --> 00:13:37,760 Speaker 4: When I was fifteen and something, I'm still in high school. 227 00:13:37,880 --> 00:13:39,480 Speaker 3: You already knew in high school, you were like, I'm 228 00:13:39,520 --> 00:13:39,800 Speaker 3: doing this. 229 00:13:39,880 --> 00:13:40,520 Speaker 6: I'm an actor. 230 00:13:40,880 --> 00:13:41,600 Speaker 5: I already knew. 231 00:13:41,640 --> 00:13:45,040 Speaker 4: And before that, in elementary school, I was already like, 232 00:13:45,080 --> 00:13:46,880 Speaker 4: it's just what I loved. I didn't think this is 233 00:13:46,920 --> 00:13:48,480 Speaker 4: what I'm going to do. It is what I am doing. 234 00:13:48,480 --> 00:13:51,560 Speaker 4: It's just what I love to do. And my parents 235 00:13:51,640 --> 00:13:54,280 Speaker 4: were incredibly supportive of that. I think they saw it. 236 00:13:54,320 --> 00:13:57,319 Speaker 4: There was you know, resistance was fudial at that point. 237 00:13:57,760 --> 00:13:59,360 Speaker 4: And so when I started, you know, I got a 238 00:13:59,360 --> 00:14:01,559 Speaker 4: headshot and I thought I was able to find an 239 00:14:01,559 --> 00:14:05,480 Speaker 4: agent and would go out and Oscar Hernandez in Miami 240 00:14:05,640 --> 00:14:06,480 Speaker 4: is like John Smith. 241 00:14:06,679 --> 00:14:08,959 Speaker 5: You know. It's like it's at that point when there 242 00:14:08,960 --> 00:14:10,400 Speaker 5: was phone books. You could look it up, but there 243 00:14:10,440 --> 00:14:12,520 Speaker 5: was just hundreds and hundreds and hundreds. I would go 244 00:14:12,559 --> 00:14:14,960 Speaker 5: to auditions, there'd be other Oscar. I remember I went there. 245 00:14:15,000 --> 00:14:17,240 Speaker 5: There was two other Oscar hernandez Is at the audition. 246 00:14:18,000 --> 00:14:19,120 Speaker 5: So I was like, all right, maybe I. 247 00:14:19,080 --> 00:14:21,200 Speaker 4: Could differentiate myself and then they won't know. Maybe they'll 248 00:14:21,240 --> 00:14:23,680 Speaker 4: bring me in for different roles you know that are 249 00:14:23,720 --> 00:14:25,280 Speaker 4: not just these other parts. 250 00:14:25,640 --> 00:14:27,400 Speaker 5: And so they I started to be brought in. 251 00:14:27,440 --> 00:14:29,360 Speaker 4: When I was like, I just say that that Oscar 252 00:14:29,400 --> 00:14:31,240 Speaker 4: Isaac okay, I started every brought it. And I remember 253 00:14:31,240 --> 00:14:34,600 Speaker 4: there was a story where Barry Sonenfeld was making a movie 254 00:14:35,240 --> 00:14:37,760 Speaker 4: and I couldn't get in to be seen for this 255 00:14:37,880 --> 00:14:39,880 Speaker 4: Cuban part. And it's like, well, it's because he just 256 00:14:39,920 --> 00:14:41,000 Speaker 4: wants to see Cuban actors. 257 00:14:41,000 --> 00:14:54,000 Speaker 5: I'm like, but my actually internande. Yeah. 258 00:14:54,040 --> 00:14:56,080 Speaker 4: So then I went to I moved to New York 259 00:14:56,360 --> 00:14:57,880 Speaker 4: and I went to drama school in New York. 260 00:14:58,000 --> 00:14:59,760 Speaker 3: Well wait wait wait wait wait wait, yeah, I love 261 00:14:59,800 --> 00:15:01,280 Speaker 3: the way you're just like And I went to drama 262 00:15:01,280 --> 00:15:04,440 Speaker 3: school in New York. You went to Juilliard, right, I 263 00:15:04,440 --> 00:15:08,400 Speaker 3: mean that's that's like pretty heavy duty stuff. Obviously your 264 00:15:08,400 --> 00:15:11,160 Speaker 3: family could see your talent. What was it when you're 265 00:15:11,200 --> 00:15:16,280 Speaker 3: Likewoy the Miami Melwoy Buhn York and your family was like, yeah, definitely. 266 00:15:16,480 --> 00:15:18,800 Speaker 4: Well, actually, the way that I really started professionally was 267 00:15:18,800 --> 00:15:21,480 Speaker 4: with a place called Aria Stage, which is John Rhodas 268 00:15:21,520 --> 00:15:26,560 Speaker 4: and Maria Rood as incredible artists and theater directors. 269 00:15:26,840 --> 00:15:29,520 Speaker 5: And they had this little theater on Lincoln Road in 270 00:15:29,560 --> 00:15:30,120 Speaker 5: South Beach. 271 00:15:30,520 --> 00:15:31,720 Speaker 6: Oh my god, I love this. 272 00:15:31,920 --> 00:15:35,040 Speaker 3: Yeah, Like that's like seriously like on Lincoln Road in 273 00:15:35,120 --> 00:15:36,400 Speaker 3: South Beach, a little theater. 274 00:15:36,760 --> 00:15:38,360 Speaker 4: Yeah, I mean this was a different time, right, This 275 00:15:38,440 --> 00:15:40,520 Speaker 4: was like ninety Yeah, this is like ninety seven, ninety 276 00:15:40,560 --> 00:15:44,240 Speaker 4: eight and early early two thousands. And I say, you know, 277 00:15:44,280 --> 00:15:46,120 Speaker 4: I first saw my first mam At play there and 278 00:15:46,160 --> 00:15:48,480 Speaker 4: I was you know, and I started doing plays there 279 00:15:48,720 --> 00:15:53,240 Speaker 4: and through that I did a play with a guy 280 00:15:53,400 --> 00:15:55,880 Speaker 4: named Michael John Garsas, and then he was doing a 281 00:15:55,920 --> 00:15:58,640 Speaker 4: play in New York and he said you can come 282 00:15:58,640 --> 00:16:00,240 Speaker 4: audition for it. So I flew up to New Work 283 00:16:00,240 --> 00:16:02,080 Speaker 4: and I auditioned for it, and it was to play 284 00:16:02,160 --> 00:16:03,880 Speaker 4: a young fist. 285 00:16:04,080 --> 00:16:05,400 Speaker 6: And now I must see another man. 286 00:16:05,480 --> 00:16:06,920 Speaker 5: I got the and I got the park. 287 00:16:07,000 --> 00:16:09,520 Speaker 4: I got it and it was a off off Broadway 288 00:16:09,680 --> 00:16:11,640 Speaker 4: at the Cherry Lane Theater and I came up to 289 00:16:11,680 --> 00:16:13,720 Speaker 4: do the the play. And while I was up doing 290 00:16:13,760 --> 00:16:18,000 Speaker 4: the play, I passed by Juilliard and I thought, oh shit, Juilliard, 291 00:16:18,360 --> 00:16:18,680 Speaker 4: let me. 292 00:16:18,720 --> 00:16:20,280 Speaker 5: Let me go in and see and maybe they'll give 293 00:16:20,280 --> 00:16:20,960 Speaker 5: me an application. 294 00:16:21,600 --> 00:16:22,880 Speaker 6: And you like knock on the door. 295 00:16:23,080 --> 00:16:27,960 Speaker 5: Yeah yeah, yeah yeah. And they gave me an application 296 00:16:28,000 --> 00:16:29,720 Speaker 5: a lady and she's like, well, it was due. It 297 00:16:29,760 --> 00:16:31,080 Speaker 5: was due on Friday. It was Monday. 298 00:16:31,120 --> 00:16:33,480 Speaker 4: And I said, okay, if I fill it out tonight 299 00:16:33,480 --> 00:16:34,640 Speaker 4: and I bring it back, can you help me. 300 00:16:34,680 --> 00:16:36,360 Speaker 5: I was like, okay, honey, but if you bring it 301 00:16:36,400 --> 00:16:37,440 Speaker 5: back tomorrow. 302 00:16:37,800 --> 00:16:39,240 Speaker 6: Because of course it was by hand. 303 00:16:39,320 --> 00:16:40,880 Speaker 5: Yeah yeah yeah. So I filled it up a hand. 304 00:16:40,920 --> 00:16:42,480 Speaker 5: I came back the next day. I gave it. Yeah, 305 00:16:42,480 --> 00:16:43,520 Speaker 5: it's analog days. 306 00:16:43,680 --> 00:16:45,520 Speaker 4: And then I gave it to her and uh and 307 00:16:45,560 --> 00:16:48,240 Speaker 4: she postated it and and then and I got an 308 00:16:48,240 --> 00:16:49,120 Speaker 4: audition and I got it. 309 00:16:49,800 --> 00:16:52,920 Speaker 3: Then yes, I'm you. You actually had like a little 310 00:16:52,920 --> 00:16:54,360 Speaker 3: theater angel watching over you. 311 00:16:55,080 --> 00:16:59,400 Speaker 4: Yeah yeah, and just grim determination and you know, just 312 00:17:00,160 --> 00:17:04,240 Speaker 4: just a very strong belief. But also I didn't audition 313 00:17:04,359 --> 00:17:06,920 Speaker 4: for other places, so it wasn't so much the goal 314 00:17:07,040 --> 00:17:10,159 Speaker 4: to I must go to a school. But at a 315 00:17:10,160 --> 00:17:13,399 Speaker 4: certain point I thought, anyway, maybe I'd go to film school. 316 00:17:13,720 --> 00:17:15,840 Speaker 5: But when the call came that I got into Juilliard, 317 00:17:15,880 --> 00:17:17,560 Speaker 5: I said, well, this is right's in front of me, 318 00:17:18,160 --> 00:17:20,600 Speaker 5: and so I went by the way. 319 00:17:20,680 --> 00:17:22,240 Speaker 3: I also wanted to be an actor. That's how I 320 00:17:22,320 --> 00:17:27,440 Speaker 3: ended up in New York nor But I wonder when 321 00:17:27,600 --> 00:17:30,399 Speaker 3: the fact that you were so young and you knew, like, 322 00:17:30,600 --> 00:17:32,919 Speaker 3: was there an actor that you saw or a TV 323 00:17:33,040 --> 00:17:36,240 Speaker 3: show or a movie where you like that, that's the 324 00:17:36,280 --> 00:17:37,399 Speaker 3: reason why I want to do this. 325 00:17:38,080 --> 00:17:38,359 Speaker 5: Yeah. 326 00:17:38,600 --> 00:17:42,320 Speaker 4: Yeah, it was Tim Curry. Because I was watching legend, 327 00:17:42,480 --> 00:17:45,399 Speaker 4: Ridley Scott's Legend, and at a certain point, the Lord 328 00:17:45,440 --> 00:17:49,639 Speaker 4: of Darkness, the Devo himself, his lip just curls up 329 00:17:49,680 --> 00:17:53,880 Speaker 4: in this smile, and I suddenly thought, oh. 330 00:17:53,720 --> 00:17:55,240 Speaker 5: My god, that's the guy from Klue. 331 00:17:55,280 --> 00:17:57,480 Speaker 2: I trying to find out who killed him and where 332 00:17:57,760 --> 00:17:59,760 Speaker 2: and with what st need to shout. 333 00:18:00,000 --> 00:18:05,520 Speaker 4: I'm shopping for an I'm shopping, I'm shopping. 334 00:18:05,520 --> 00:18:08,280 Speaker 5: And I couldn't believe that there was the same person. 335 00:18:08,680 --> 00:18:09,600 Speaker 5: Because I love the Clue. 336 00:18:09,640 --> 00:18:11,280 Speaker 4: I thought it was such a funny movie, even though 337 00:18:11,280 --> 00:18:13,000 Speaker 4: I was so young when I saw it, and it 338 00:18:13,160 --> 00:18:15,560 Speaker 4: just blew my mind that this could be the same 339 00:18:15,720 --> 00:18:19,800 Speaker 4: person and that he could be this creature and still 340 00:18:19,960 --> 00:18:21,639 Speaker 4: also come through as himself. 341 00:18:21,680 --> 00:18:24,960 Speaker 5: And I think that's really what really got me excited. 342 00:18:27,760 --> 00:18:29,960 Speaker 3: Okay, but it's not lost on the both of us 343 00:18:30,320 --> 00:18:32,720 Speaker 3: that Tim Curry's big moment, of course is. 344 00:18:33,359 --> 00:18:35,159 Speaker 5: Rocky Horror Pictures Show, which is. 345 00:18:35,400 --> 00:18:39,600 Speaker 3: A little bit like Frankensteinia. 346 00:18:40,720 --> 00:18:47,879 Speaker 5: You know, exactly, no, exactly, Yeah. 347 00:18:45,840 --> 00:19:03,400 Speaker 6: We'll be right back. Hey, welcome back. 348 00:19:03,680 --> 00:19:06,840 Speaker 3: Let's get back to my conversation with actor Oscar Isaac. 349 00:19:07,600 --> 00:19:10,159 Speaker 3: And so when you saw Tim Curry then kind of 350 00:19:10,200 --> 00:19:12,840 Speaker 3: in drag, I mean, he was really breaking all gender 351 00:19:12,880 --> 00:19:16,320 Speaker 3: barriers absolutely, and you thought, also, this guy, I love 352 00:19:16,359 --> 00:19:17,360 Speaker 3: the fact that he's doing this. 353 00:19:17,440 --> 00:19:19,159 Speaker 5: Well, that's what I'm saying. Then I saw him in that, 354 00:19:19,359 --> 00:19:22,639 Speaker 5: and then it's just the fluidity and that he was 355 00:19:22,760 --> 00:19:23,640 Speaker 5: all things. 356 00:19:23,720 --> 00:19:26,960 Speaker 4: And you know, I also felt very much like I 357 00:19:27,000 --> 00:19:29,320 Speaker 4: don't fit anywhere. You know, I don't have a lot 358 00:19:29,320 --> 00:19:32,240 Speaker 4: of male friends, you know I have there's a lot 359 00:19:32,240 --> 00:19:35,199 Speaker 4: of femininity in things, you know as well, and the 360 00:19:35,280 --> 00:19:38,040 Speaker 4: mask and how those two things kind of morphed together, 361 00:19:38,160 --> 00:19:42,440 Speaker 4: and so to see somebody that was just not contained 362 00:19:42,480 --> 00:19:46,560 Speaker 4: by those things and also kind of ethnically ambiguous as well. 363 00:19:46,880 --> 00:19:48,840 Speaker 5: You know, I couldn't really put compelling. 364 00:19:49,000 --> 00:19:51,239 Speaker 4: He's got this beautiful English voice, but I couldn't really 365 00:19:51,440 --> 00:19:54,080 Speaker 4: the curly brown hair and those dark eyes, and I'm like. 366 00:19:54,080 --> 00:19:55,639 Speaker 5: Where is he? I kind of looks a little. It 367 00:19:55,640 --> 00:19:57,080 Speaker 5: looks like I'd be related to him. 368 00:19:57,119 --> 00:20:02,000 Speaker 3: Which actually the whole question about being ethnically ambiguous. I mean, 369 00:20:02,040 --> 00:20:05,000 Speaker 3: you have played Timothy Charlomai's father. 370 00:20:05,880 --> 00:20:07,280 Speaker 5: Will you protect our son. 371 00:20:08,920 --> 00:20:10,160 Speaker 3: With my life? 372 00:20:10,240 --> 00:20:12,240 Speaker 5: I'm asking his mother, I'm asking the bene jesturet. 373 00:20:13,840 --> 00:20:16,280 Speaker 6: You've also played a pharaoh from. 374 00:20:16,080 --> 00:20:20,440 Speaker 5: The past you left behind and the future the lies hand. 375 00:20:20,880 --> 00:20:23,679 Speaker 3: So what do you think is gained or what do 376 00:20:23,680 --> 00:20:28,040 Speaker 3: you think is lost? When you're clearly deeply tied to 377 00:20:28,160 --> 00:20:34,760 Speaker 3: your watermelon cuban roots. But also you are gorgeous and 378 00:20:34,800 --> 00:20:36,639 Speaker 3: ethnically ambiguous, So what's gained? 379 00:20:36,680 --> 00:20:38,760 Speaker 6: What's lost? Sorry about the gorgeous, just have to throw 380 00:20:38,760 --> 00:20:38,960 Speaker 6: it in. 381 00:20:39,760 --> 00:20:44,160 Speaker 5: Oh, thank you, India. You know it's just play. 382 00:20:44,240 --> 00:20:47,320 Speaker 4: You know, underneath all those things, which are all beautiful 383 00:20:47,359 --> 00:20:49,800 Speaker 4: things that I love, that are inherited, you know, in 384 00:20:50,000 --> 00:20:53,560 Speaker 4: a way, this is what Frankenstein is. You know, a 385 00:20:53,680 --> 00:20:57,320 Speaker 4: thing that is that it comes into being, that is 386 00:20:57,480 --> 00:21:02,639 Speaker 4: that inherits, you know, parts and all from all sorts 387 00:21:02,640 --> 00:21:08,040 Speaker 4: of different places and is kind of perfect when they 388 00:21:08,119 --> 00:21:10,919 Speaker 4: come out and then are told by the world what 389 00:21:11,080 --> 00:21:13,479 Speaker 4: they are. And I think that that that's the magic 390 00:21:13,520 --> 00:21:15,560 Speaker 4: trick that is exciting. That's what I saw when I 391 00:21:15,600 --> 00:21:20,480 Speaker 4: saw Tim Curry as the Devil and as this beautiful 392 00:21:20,520 --> 00:21:31,560 Speaker 4: transvesta from Transylvania and as the crazy butler include you know, 393 00:21:31,600 --> 00:21:35,840 Speaker 4: there was someone that was traversing all these boundaries and 394 00:21:35,960 --> 00:21:38,880 Speaker 4: boundless and that's still very innately exciting. 395 00:21:39,359 --> 00:21:41,760 Speaker 3: Well, it's interesting that you would bring up the word 396 00:21:41,960 --> 00:21:45,040 Speaker 3: boundaries and boundless because that's where I was going to 397 00:21:45,119 --> 00:21:48,560 Speaker 3: go next. We are living through a time as Latinos 398 00:21:48,560 --> 00:21:53,600 Speaker 3: and Latinas as immigrants, where in fact, boundaries, walls, all 399 00:21:53,640 --> 00:21:57,240 Speaker 3: of these things defining the Supreme Court basically saying if 400 00:21:57,280 --> 00:22:00,560 Speaker 3: you look like you were me reason enough, Yeah, that's 401 00:22:00,720 --> 00:22:04,359 Speaker 3: just what's going on for you as an American, as 402 00:22:04,400 --> 00:22:06,160 Speaker 3: an immigrant processing. 403 00:22:06,280 --> 00:22:10,440 Speaker 5: Truthfully, it's a deep, deep sadness. 404 00:22:11,040 --> 00:22:13,080 Speaker 4: It's what's there and I know it needs to turn 405 00:22:13,119 --> 00:22:15,760 Speaker 4: into active things and that that there's that there too. 406 00:22:16,119 --> 00:22:18,960 Speaker 4: But I'm profoundly sad about what's happening, about the cruelty 407 00:22:19,000 --> 00:22:24,520 Speaker 4: that's being shown to Latinos, to us, being made to 408 00:22:24,520 --> 00:22:29,480 Speaker 4: feel that the lie that you know, the blindness to 409 00:22:29,640 --> 00:22:33,600 Speaker 4: that we contributed to every facet of this country, from 410 00:22:33,640 --> 00:22:36,760 Speaker 4: the top to the bottom, in every field. 411 00:22:37,080 --> 00:22:39,240 Speaker 5: We're the backbone of this country. 412 00:22:39,359 --> 00:22:43,280 Speaker 4: And to be used right now in such a way, 413 00:22:43,359 --> 00:22:49,120 Speaker 4: with such cruelty and such fear and terror. And there's 414 00:22:49,160 --> 00:22:51,840 Speaker 4: moments of hope when I see, you know, communities standing 415 00:22:51,960 --> 00:22:55,280 Speaker 4: up to this intense militarization that you're seeing in so 416 00:22:55,320 --> 00:22:59,600 Speaker 4: many of our neighborhoods as well. It's just it's it's 417 00:23:00,040 --> 00:23:03,800 Speaker 4: terrifying and it's astounding, and it's infuriating, and it's I 418 00:23:04,359 --> 00:23:05,320 Speaker 4: grieve for. 419 00:23:05,200 --> 00:23:07,560 Speaker 5: What the country. What's happening right now in this country? 420 00:23:10,160 --> 00:23:11,280 Speaker 6: How are you finding joy? 421 00:23:11,880 --> 00:23:14,119 Speaker 3: What is I mean, obviously you're an actor and an artist, 422 00:23:14,119 --> 00:23:17,159 Speaker 3: but get that Tria, like, where do you find yourself 423 00:23:17,240 --> 00:23:21,199 Speaker 3: kind of going when the sadness hits? What is it 424 00:23:21,240 --> 00:23:23,840 Speaker 3: that you turn to for the other side, for the uplifting, 425 00:23:23,920 --> 00:23:24,479 Speaker 3: for the happy? 426 00:23:25,359 --> 00:23:28,800 Speaker 4: I mean, the truth is just my kids, My children, 427 00:23:30,200 --> 00:23:34,520 Speaker 4: they are so funny and so crazy, and. 428 00:23:34,760 --> 00:23:37,080 Speaker 5: You know, incredibly musical. We play a lot of music 429 00:23:37,119 --> 00:23:40,800 Speaker 5: together and that's just a yeah. 430 00:23:40,640 --> 00:23:45,560 Speaker 4: It's just a source of incredible, explosive love. 431 00:23:47,440 --> 00:23:50,199 Speaker 3: Well, can't wait for the album because we also know 432 00:23:50,240 --> 00:23:53,520 Speaker 3: that you're a musician, So Oscott, Isaac and. 433 00:23:53,600 --> 00:23:56,000 Speaker 5: Kids, Yeah, yeah, it's coming. 434 00:23:56,760 --> 00:23:57,280 Speaker 6: It's coming. 435 00:23:57,640 --> 00:23:59,920 Speaker 3: Thank you so much, Oscott for making time to speak 436 00:24:00,040 --> 00:24:03,399 Speaker 3: with me here on the USA. In the meanwhile, Felicidasorto 437 00:24:03,480 --> 00:24:07,400 Speaker 3: Familia Mascinada. 438 00:24:05,760 --> 00:24:08,240 Speaker 6: Thank you for for your incredible artistry. 439 00:24:08,320 --> 00:24:11,680 Speaker 3: You have many, many, many, many many fans and yes, 440 00:24:11,720 --> 00:24:12,240 Speaker 3: you know it. 441 00:24:12,560 --> 00:24:14,399 Speaker 6: All the women were like, what are you? 442 00:24:14,440 --> 00:24:22,159 Speaker 5: Some of the men too, hopefully come on now, okay, okay. 443 00:24:25,359 --> 00:24:26,480 Speaker 6: That was actor Oscar. 444 00:24:26,520 --> 00:24:39,680 Speaker 3: Isaac Frankenstein is now out on Netflix. This episode was 445 00:24:39,720 --> 00:24:42,959 Speaker 3: produced by Monica Morales Garcia, who was edited by Andrea 446 00:24:43,000 --> 00:24:46,440 Speaker 3: Lopes Crusado and Revecca Abara. It was mixed by Lea 447 00:24:46,520 --> 00:24:51,560 Speaker 3: Shaw Dameron. Fernando Echari is our managing editor. The Latino 448 00:24:51,640 --> 00:24:56,240 Speaker 3: USA team also includes Proxana Guire, Julia Caruso, Jessica Ellis, 449 00:24:56,240 --> 00:25:01,560 Speaker 3: Renaldo Leanos Junior, Stephanie lebou Luis, Luna Joniman Marquez, Julieta Martinelli, 450 00:25:01,800 --> 00:25:05,960 Speaker 3: jj Karubin, Adriana Rodriguez and Nancy Truchuillo Penni, le Ramirez 451 00:25:06,000 --> 00:25:09,040 Speaker 3: and I are executive producers and I'm your host, Maria Jojosa. 452 00:25:09,200 --> 00:25:10,000 Speaker 6: Remember, dear listener. 453 00:25:10,080 --> 00:25:13,320 Speaker 3: Latino USA is part of Iheart's Michael Tura podcast Network. 454 00:25:13,680 --> 00:25:16,920 Speaker 3: Executive producers at iHeart are Leo Gomes and Arlen Santana. 455 00:25:17,320 --> 00:25:18,639 Speaker 6: Join us again on our next episode. 456 00:25:18,680 --> 00:25:19,959 Speaker 3: In the meantime, I'll see you on all of our 457 00:25:20,000 --> 00:25:22,760 Speaker 3: social media and remember, dear listener. 458 00:25:23,280 --> 00:25:25,280 Speaker 6: Do it now. Join Futuro Plus. 459 00:25:25,440 --> 00:25:28,400 Speaker 3: You'll skip all the ads and you'll get juicy bonus content. 460 00:25:28,720 --> 00:25:32,440 Speaker 3: Thanks for supporting us, Yes, Joe. 461 00:25:33,920 --> 00:25:38,360 Speaker 1: Latino USA is made possible in part by the Ford Foundation, 462 00:25:39,000 --> 00:25:43,080 Speaker 1: working with visionaries on the front lines of social change worldwide, 463 00:25:43,720 --> 00:25:50,000 Speaker 1: the Heising Simons Foundation unlocking knowledge, opportunity and possibilities. More 464 00:25:50,160 --> 00:25:54,960 Speaker 1: at hsfoundation dot org and Skyline Foundation.