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Speaker 1: La Brega is back this season. We're spending time with

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Speaker 1: the people and symbols that represent Puerto Rico.

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Speaker 2: We're proud Borriquas and what does that mean? And we're

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Speaker 2: still terrified.

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Speaker 1: We're telling stories about champions from a place worth fighting for,

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Speaker 1: stories that will inspire you no matter where you're from.

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Speaker 1: Come ok, wow, this is La Brega Campeones. Listen early

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Speaker 1: and ad free with Fuluto.

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Speaker 2: Plus who comes to mind when I say, think of

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Speaker 2: two actor besties and no it's not Matt Damon and

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Speaker 2: Ben Affleck. No, no, no, think a little bit younger,

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Speaker 2: a little bit less mainstream, and way more Mexican. So yes,

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Speaker 2: I'm talking about Mexican actors and best friends Diego Luna

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Speaker 2: and guyel Garcia bernal To do acting powerhouses both here

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Speaker 2: in the US and in their home country of Mexico.

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Speaker 2: Now they've performed together a few times, including their starring

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Speaker 2: roles in the two thousand and one Coming of Age

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Speaker 2: story Itomama Tambien, The.

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Speaker 3: Not Scholo Sonovia Parida Sin Julia in Sistem Parla quin.

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Speaker 4: Sola Gee.

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Speaker 2: Melaquina. They've been leading men in their own solo projects too,

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Speaker 2: for example, Diego has starred in Narcos Mexico, the Star

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Speaker 2: Wars film Rogue One and its spin off series and Or,

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Speaker 2: where he plays the title character.

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Speaker 3: They can't imagine it. I can't imagine what that someone

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Speaker 3: like me would ever get inside their house.

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Speaker 2: Guyan has also starred in some pretty iconic roles, for example,

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Speaker 2: Amore Esperro's Goco Mozart in the Jungle and the twenty

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Speaker 2: twenty three film Cassandro. Come On, be my man. Come on,

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Speaker 2: I still be watching you from home with your kids

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Speaker 2: and your wife and together. Diego and Guyet have worked

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Speaker 2: behind the camera as executive producers of the documentary film

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Speaker 2: State of Silence. The film documents and follows the threats

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Speaker 2: and dangers that Mexican journalists face while reporting in their country,

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Speaker 2: and it's now streaming on Netflix.

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Speaker 3: Those stand Asian NASAs and supont Sela, Sir Karonara.

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Speaker 2: Since this episode aired, you might have caught Diego in

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Speaker 2: Kiss of the Spider Woman along j Low and Guyet

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Speaker 2: has starred in the twenty twenty five film Magellan, the

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Speaker 2: Historic Epic, and also alongside Nicole Kidman in the film

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Speaker 2: Holland So Dearly Listener.

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Speaker 5: You get it right.

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Speaker 2: Their careers span decades, and their friendship, well that's been

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Speaker 2: going on practically for their entire lives because their parents

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Speaker 2: were close friends since before the two of them were

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Speaker 2: even born, and they passed that friendship along to their sons.

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Speaker 3: I know friendship, I know what that is. But what

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Speaker 3: I have with Gaile is something else. What we have

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Speaker 3: is call more like your chosen family that goes deeper,

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Speaker 3: that it's always present to be companions, you know, to

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Speaker 3: compliment each other in every possible way, and that's a

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Speaker 3: little more than friendship.

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Speaker 2: From Podromidia, it's Latino Usa. I'm Mariano Rosa, and today

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Speaker 2: as we celebrate February fourteenth and Diade la morrie la pistad,

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Speaker 2: the Day of Love and Friendship, we're going to bring

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Speaker 2: back my conversation with El Gacie Bernald and Dievo Luna

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Speaker 2: when we recorded this in twenty twenty four. We spoke

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Speaker 2: about working together, about their fostering a lifelong friendship, creating

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Speaker 2: politically powerful art together, and a whole lot more. So

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Speaker 2: I have to ask you this La Machina. I didn't

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Speaker 2: know what to expect. I thought it was a comedy.

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Speaker 2: Not so I start watching it, and I'm like, oh

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Speaker 2: my god, well, one, it's an older boxer, it's a Mexican.

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Speaker 2: So I'm like, I'm right there, I'm a Mexican older boxer.

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Speaker 2: I'm orally. Then you start there's a journalist character, and

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Speaker 2: then it's like, oh my god, suddenly it became so

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Speaker 2: intense and now I'm weeping. Now I'm like crying watching

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Speaker 2: the series, and I'm like, how many Mexican men, Latino

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Speaker 2: men are going to have intense emotional reactions to La

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Speaker 2: Machina because you go deep into much You go deep

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Speaker 2: into Marianismo, right, which is women who treat their sons

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Speaker 2: like babies. It's fun to witness you being treated like

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Speaker 2: a baby by Lucia Mendez.

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Speaker 3: It is amazing.

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Speaker 2: You deal with alcoholism, you deal with depression, you deal

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Speaker 2: with mental health. So I actually wondered. I was like,

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Speaker 2: in telenovelas, there is a lot of crying, but I

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Speaker 2: don't know if I see a lot of men weeping

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Speaker 2: in telenovelas. Obviously you thought about all of this when

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Speaker 2: you were putting this series together, but were you just like, yeah,

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Speaker 2: we're going to go there, Yeah, we're gonna have Mexican

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Speaker 2: men the both of us. Our characters are going to

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Speaker 2: be we being crying about being abandoned as men or

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Speaker 2: being maltreated. Did you have a conversation between the two

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Speaker 2: of you guys, did you say, saves k, let's really

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Speaker 2: turn Mexican manhood inside out and show the vulnerability of

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Speaker 2: Mexican manhood.

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Speaker 5: It's not the consequential approach for us. It's more, you know,

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Speaker 5: for example, we started discovering cinemata men and intamin. Implicitly,

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Speaker 5: there's there's the whole gray areas of the preconceived ideas

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Speaker 5: of men and women. Like in a way, it's a

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Speaker 5: it's a deep, thorough kind of like questioning of of

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Speaker 5: that of that identity or those preconceived ideas. No, because

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Speaker 5: I would argue culturally, I would say that thing of

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Speaker 5: the stoic man or men that that doesn't cry, that

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Speaker 5: is it is completely his universal, it's not exclusive for Mexico.

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Speaker 5: Mexico actually something exists that maybe it doesn't exist in

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Speaker 5: many other cultures, which is culturally we have many expressions

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Speaker 5: of men crying, all the mariachisongs, you know, and there

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Speaker 5: is that kind of that melodramatic aspect which is interesting.

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Speaker 5: But I think going deeper into the kind of like

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Speaker 5: the flow of those ideas. I think it has to

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Speaker 5: do with with a kind of let's try something that

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Speaker 5: we haven't seen. Yes, and we haven't seen for example,

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Speaker 5: what we were conscious of, and we were saying, like,

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Speaker 5: let's do a couple that have a good relationship, the

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Speaker 5: next couple that have a good relationship. So between the

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Speaker 5: character that I play and the character that Asa Gonzalez

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Speaker 5: play place, we were like, let's have them have a

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Speaker 5: healthy relationship. Almost that you get confused as an audience

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Speaker 5: if there's still career like what's happening, like what the

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Speaker 5: brother sister?

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Speaker 3: Like, what's going on?

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Speaker 5: You know, that kind of thing, and that it's not

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Speaker 5: that we haven't seen that in specifically in Mexico or

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Speaker 5: in Latin America. It's more we haven't seen that in general,

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Speaker 5: Like it's not common, no, especially for a boxer.

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Speaker 3: Or celebrate a Mexican boxer. We haven't talked about what

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Speaker 3: it is to be a boxer in Mexico. You know,

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Speaker 3: there's so many everyone says like, oh, boxing has been shot.

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Speaker 3: The last reference from boxing is a better evan you know,

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Speaker 3: like we we haven't dissect why is it that Mexico

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Speaker 3: has such an important tradition culture of boxing and what

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Speaker 3: does it mean socially. I think there is one other

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Speaker 3: thing about the approach we have, you know, is when

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Speaker 3: we decided to do this story and we chose these

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Speaker 3: characters and started finding out who they are who, we

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Speaker 3: go as deep as as as an actor needs to

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Speaker 3: know what characters, and that richness is part of the show.

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Speaker 3: Like normally you're not you're invited once the show is

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Speaker 3: or the film is written, and you do you go

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Speaker 3: very deep into finding out who that guy you're gonna

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Speaker 3: play is. Here, we found the guys and then we

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Speaker 3: wrote a story about it with that richness. Therefore, it

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Speaker 3: has every element you're talking about. But it's just a

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Speaker 3: natural approach on how we started developing this project.

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Speaker 2: So one of the things that I also felt really

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Speaker 2: drawn to in the series, unexpectedly right, was the whole

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Speaker 2: conversation around friendship. There's that scene between the two of

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Speaker 2: you where it's like, is k You're my best friend

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Speaker 2: and I'm here to protect you and I would do

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Speaker 2: this because I love you man might love you as

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Speaker 2: my best friend. And it's just like this beautiful moment

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Speaker 2: of friendship right between two men and separate from the

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Speaker 2: series La Makina. I actually wanted to ask you about

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Speaker 2: how as you've gotten older, has your definition of friendship

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Speaker 2: changed with the years.

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Speaker 3: What I've found is, I know friendship. I know what

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Speaker 3: that is, deep friendships I do have, But what I

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Speaker 3: have with Gaile is something else. I think what we

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Speaker 3: have is called more like that your chosen family that

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Speaker 3: goes deeper, that is always there, it's always pressed, and

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Speaker 3: it's to be companions, you know, to compliment each other

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Speaker 3: in every possible way, and that's a little more than friendship.

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Speaker 3: I think that has a lot to do with our

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Speaker 3: mothers loving each other in a way that it marked us.

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Speaker 3: Then I lost my mother, so I think that also

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Speaker 3: brought a more intense kind of like need for our

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Speaker 3: parents in general to make sure we stick together. And

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Speaker 3: I think we learned that without even asking for it,

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Speaker 3: because it has happened naturally, almost as if you even

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Speaker 3: didn't want to, and it just like happens in front

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Speaker 3: of you suddenly every time. Therefore, we are probably the

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Speaker 3: best two actors to do a film or a story

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Speaker 3: about friendship. Not the best actors like to do it.

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Speaker 3: Many can do it, but like between ourselves because it's

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Speaker 3: almost like we are two brothers saying like, yeah, let's

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Speaker 3: play this game of being friends.

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Speaker 2: God, what about for you if you had to define

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Speaker 2: what friendship means for you now?

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Speaker 5: Yeah, taking from what Diego said, there is this there

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Speaker 5: is a thing that with Diego because we were born

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Speaker 5: with the same songs, in the same stage. We were

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Speaker 5: born in the same place of play, we were born

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Speaker 5: in the theater, and that allows us to communicate with

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Speaker 5: each other in a way that with other people. It's

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Speaker 5: very different. And we've been working together, and it's difficult

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Speaker 5: to define friendship as a person that you can work with. Also,

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Speaker 5: that's why Also what Diego says resonates, because it's like

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Speaker 5: it's it's different. It's not only friendship is something I

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Speaker 5: don't know. We work together. We you know, we're good

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Speaker 5: at making decisions, at planning and accompanying each other in

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Speaker 5: our work as well. Is that like what friendship is about?

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Speaker 5: Also not necessarily, No, with many friends, we don't work.

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Speaker 3: I'm sorry because we went somewhere else with your question.

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Speaker 3: But I think it's it's let's let's see. No, it's

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Speaker 3: just that like it's there's not many opportunities to actually

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Speaker 3: talk long and profoundly, you know, with him, Like we

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Speaker 3: spend all day long doing it, six minute interviews where

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Speaker 3: you can't really get it.

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Speaker 2: You're like, it's public radio.

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Speaker 3: Let's just talk.

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Speaker 2: Coming up on Latino USA. We look at Diego and

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Speaker 2: Guyell's documentary State of Silence.

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Speaker 5: Even even making the film sound good for example, or

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Speaker 5: look good, that was a political statement. There was something like, well, interesting,

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Speaker 5: they're playing with this medium, so everything was at stake.

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Speaker 2: Stay with us.

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Speaker 4: Yes, there's a lot going on right now, mounting economic

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Speaker 4: and equality threats, the democracy, environmental disaster, the sour stench

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Speaker 4: of chaos in the air. I'm Brook Gladstone, host of

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Speaker 4: WNYC's On the Media. Want to understand the reasons and

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Speaker 4: the meanings of the narratives that let us hear and

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Speaker 4: maybe how.

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Speaker 6: To head them off at the pass.

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Speaker 2: That's on the media's specialty. Take a listen wherever you

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Speaker 2: get your podcasts. Hey, we're back. We're going to continue

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Speaker 2: my conversation with actors Diego Luna and Gael Garcia Bernald.

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Speaker 2: The two collaborated on the documentary State of Silence. It

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Speaker 2: focuses on the dangers that journalists face in Mexico, also

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Speaker 2: narco politics and systemic corruption. We're going to get back

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Speaker 2: now to my twenty twenty four conversation with the two

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Speaker 2: actors and their friendship, and we're going to start with

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Speaker 2: politics and well some boxing. So why did I start boxing?

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Speaker 2: It was twenty fifteen and my dad was dying, Mike

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Speaker 2: Brima in las Uala, Mexico was dying, and my best

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Speaker 2: friend was dying, and Donald Trump was running for office.

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Speaker 2: I was so angry. I was so angry at life.

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Speaker 2: So for me, it really boxing became a massive healing

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Speaker 2: and then it was important for me to feel strong.

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Speaker 2: But my question is not about boxing is healing. My

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Speaker 2: question is actually about how you have learned to create

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Speaker 2: art under political repression.

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Speaker 5: It's interesting because we've been reflecting on that, on how

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Speaker 5: things have changed, because when we started to make films,

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Speaker 5: for example, that was something really interesting happening, is that

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Speaker 5: none of the films were seen. When we started to

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Speaker 5: do films, I mean, I thought it was going to

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Speaker 5: be my only film, A More Esperos. There were only

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Speaker 5: six films that year in Mexico, So there was nothing

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Speaker 5: like an anticipation or an industry or an expectation for

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Speaker 5: the films to be seen at cinemas. And we were

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Speaker 5: beginning at the year two thousand and just in Mexico,

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Speaker 5: we had just started to experience citizenship in the way

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Speaker 5: that we felt that our vote was counting for the

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Speaker 5: first time. There had been a major building of institutions

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Speaker 5: straight after the Frauwel Intellections in nineteen eighty eight. So

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Speaker 5: when we started to make films, everything felt intransgressive. Everything

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Speaker 5: became incredibly free as well, you know or free. Everything

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Speaker 5: felt it had a lot of meaning. That's why Also

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Speaker 5: the films have that energy as well, because it was

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Speaker 5: like wow, wow. Even making the film sound good, for example,

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Speaker 5: look good, that was a political statement. There was something like,

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Speaker 5: well interesting, they're playing with this medium different. So everything

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Speaker 5: was at stake when we were young. And obviously when

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Speaker 5: you're young, the.

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Speaker 3: More you break taboos, the more you like it.

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Speaker 5: No, the more you go against the norm sounds better, no,

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Speaker 5: And so that's why we did these films. In my case,

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Speaker 5: I did mean more Pedals and then Totam then and

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Speaker 5: these films that were actually kind of you know, talking

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Speaker 5: about topics that weren't being talked about.

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Speaker 3: But it felt incredibly free and.

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Speaker 5: Resonant and the power of cinema was amazing in order

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Speaker 5: to accompany or to be an emollient of certain issues

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Speaker 5: that were happening and that the society was already discussing. Now.

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Speaker 5: But what happens that now, twenty years after, when this

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Speaker 5: situation where cinema for some reason, it doesn't feel so

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Speaker 5: free anymore. And why was it an act of transgression

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Speaker 5: that we talked in Spanish at themes not.

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Speaker 3: Yes menidos alosmis.

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Speaker 5: World We passed that, but still it feels a little bit,

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Speaker 5: a little bit like which we appreciate a lot the

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Speaker 5: compliments that we got from from that, like oh great,

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Speaker 5: you guys, Yeah, that was amazing. It's like, yeah, but

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Speaker 5: it comes out naturally as well, like weren't we supposed

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Speaker 5: to be already, you know, being able to play with this.

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Speaker 2: And be able to be bilingual.

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Speaker 4: Yeah.

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Speaker 5: It has to do with with a political atmosphere that

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Speaker 5: we're living nowadays, not only in the United States, in

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Speaker 5: many parts of the world, but here in the United

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Speaker 5: States it is very particular.

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Speaker 2: So that leads me, Guy to want to ask you

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Speaker 2: about a project that actually you are involved with as

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Speaker 2: an executive producer. But the project of State of Silence,

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Speaker 2: because now this is an idea that you you have, right, Diego,

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Speaker 2: state of Silence, Yes, project right, put it that way,

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Speaker 2: and then Diego says to you, hey, guy, are you

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Speaker 2: interested in getting involved in any way in a documentary

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Speaker 2: that has nothing to do with, you know, anything dramatic Hollywood?

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Speaker 2: It said that it's a very serious, frankly must watch,

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Speaker 2: but painful documentary about the state of journalism and journalists

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Speaker 2: in Mexico. I love the film. I think it's a

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Speaker 2: really essential and important film and we should be talking

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Speaker 2: more about it.

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Speaker 3: Definitely. I think people should watch A State of Silence, definitely,

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Speaker 3: because what's happening to journalists in Mexico doesn't just belong

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Speaker 3: to Mexico. It's happening around the world. And we all,

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Speaker 3: we all have the right to have access to free

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Speaker 3: information right, and we have to step side by side

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Speaker 3: with the journalist community that are struggling for freedom of

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Speaker 3: speech and that are struggling to do their jobs. And

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Speaker 3: they need us. They need us because we need them

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Speaker 3: to be citizens and we need them to be free.

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Speaker 3: You know, news of Mexico matter here as much as

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Speaker 3: the news here matter there. Right, It's like we have

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Speaker 3: to be telling ourselves our stories because we're interconnected, all

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Speaker 3: of us, and that access to information is again access

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Speaker 3: to freedom.

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Speaker 2: Let's pause here and finish our conversation. After the break. Hey,

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Speaker 2: we're back and we're going to wrap up my conversation

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Speaker 2: now with Diego and Gael. So another one of the

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Speaker 2: things that I feel like when I was trying to

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Speaker 2: identify with the both of you and getting ready for

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Speaker 2: this interview, I was like, like, these guys, they are

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Speaker 2: actually able to do something that I consider it a

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Speaker 2: superpower to be able to think about Mexico when you're

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Speaker 2: in the United States, or think about the United States

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Speaker 2: when you're in Mexico, and it's like, see, so that yeah,

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Speaker 2: but in many ways that both of you you're playing

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Speaker 2: and working on both sides of that border. You're able

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Speaker 2: to do that between the United States and Mexico kind

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Speaker 2: of fluidly, And I'm just wondering what that feels like,

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Speaker 2: the fact that you're able to be in these places

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Speaker 2: and have impact in media in both places, both countries,

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Speaker 2: which means both languages.

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Speaker 3: But I think it's the nature of cinema and theater.

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Speaker 3: You belong somewhere, like the story belongs somewhere there is

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Speaker 3: a connection with the space, like the theaters you've worked,

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Speaker 3: like its places where you've spent many nights, where you

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Speaker 3: can call home, you feel home, something happened to you there.

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Speaker 3: It's about a territory and once you have that connection,

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Speaker 3: you might be anywhere, but you'll have the freedom and

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Speaker 3: the feeling of belonging because you'll never forget where you

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Speaker 3: come from. The stories I get involved with, they become

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Speaker 3: Mexican immediately. You know, it doesn't matter how far I

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Speaker 3: want to go. It doesn't matter if it's like I mean,

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Speaker 3: it doesn't matter. And there is something really beautiful in

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Speaker 3: accepting that you always have your place. Like we're not

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Speaker 3: here or somewhere else because we want something to happen

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Speaker 3: to us. It's because there's an opportunity. But if opportunities

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Speaker 3: don't come, we know where we belong. And every time

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Speaker 3: they ask us where do you live, we immediately say

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Speaker 3: Mexico Immediately. Last year I probably spent more nights in

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Speaker 3: London because over the show I was doing. But every

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Speaker 3: time they asked me, I say Mexico, Mexico. Were in

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Speaker 3: Mexico because that's that that's where I will be if

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Speaker 3: I had nothing else to do.

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Speaker 2: You know, that's and if that's what I was jealous of,

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Speaker 2: because that's where I would be if I had nothing

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Speaker 2: else to do.

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Speaker 3: But then you can be in this country and experience

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Speaker 3: this country, and live in this country and try to

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Speaker 3: understand this country and the journey of people in this country.

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Speaker 3: But the same thing can happen in Spain, in France,

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Speaker 3: in London. We've worked in many places, but our company,

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Speaker 3: the company that did La Machina, is based in Mexico City.

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Speaker 3: If we think about, like we were talking in the car,

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Speaker 3: I need to work with an ad with an assistant director,

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Speaker 3: I might end working with someone from Mexico City, even

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Speaker 3: if I shoot somewhere else, you know, because it's where.

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Speaker 3: If we talk about understanding, if we talk about care,

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Speaker 3: native connection, if we talk about like we think not

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Speaker 3: just Mexico, I think Koyakan, you know.

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Speaker 2: I think, now you're really rubbing it in Noo. No. No,

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Speaker 2: he was like, and guess what, man, I go to

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Speaker 2: the mercado and I have orstadas whatever there wre.

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Speaker 3: But sometimes I spend I spend a lot of time

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Speaker 3: far away from that place, you know, But I don't

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Speaker 3: see it like I left it behind or anything, because

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Speaker 3: this this is the nature of what we do. We

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Speaker 3: are playing these friends that have nothing to do with

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Speaker 3: the hospital, but at the end, we are reflecting on

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Speaker 3: the most valuable but precious thing we have together, which

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Speaker 3: is our friendship. Like we are somehow we are talking

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Speaker 3: also about something that is profoundly intimate, but not we

368
00:23:53,119 --> 00:23:56,200
Speaker 3: are doing this manager and this boxer and they're full

369
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Speaker 3: of shit and their relation is like the most toxic

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Speaker 3: thing you can see likable, right, But at the same

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Speaker 3: time we are we are talking about family. We're talking

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Speaker 3: about what matters the origins.

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Speaker 2: So finally, you guys are not on Instagram, but I'm

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Speaker 2: watching your Instagrams and your fan stuff and everything. And

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Speaker 2: one of the things that I can see is that

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Speaker 2: you have so much fun. You enjoy being really silly.

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Speaker 3: I think I enjoy Kyle being really silly is really.

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Speaker 2: Silly gay And I mean right now he's being very serious,

379
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Speaker 2: but he's really silly, and you're pretty silly. I think

380
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Speaker 2: it doesn't take you to Yeah, so having fun, like

381
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Speaker 2: what is I know that you're like, oh my god,

382
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Speaker 2: if I have to choose, I'm going to Mexico City.

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Speaker 2: But when you go to Mexico City or if that's

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Speaker 2: the place, Like what do you do for fun? Like

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Speaker 2: tu a le grace Labida.

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Speaker 5: I think nowadays for everybody, I mean, not only for

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Speaker 5: people that are well known or that are popular, is

388
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Speaker 5: that there are places where they take the cameras, they

389
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Speaker 5: take the cell phones of people. There's this nightclub and like,

390
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Speaker 5: what's amazing about this nightclub is that they take this

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Speaker 5: uh this telephone and the and the and the camera

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Speaker 5: and they just take it.

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Speaker 2: You know that you lock it in so no one

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Speaker 2: can record.

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Speaker 3: Yeah, and people are just having so much fun.

396
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Speaker 5: People are laughing and dancing and being completely crazy and

397
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Speaker 5: none of the things that okay, you might end up okay,

398
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Speaker 5: people might end up having sex or whatever, that is

399
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Speaker 5: not happening. It's just people dancing and it's the best

400
00:25:34,520 --> 00:25:38,040
Speaker 5: nightclub and I love it. It's it's in Berlin.

401
00:25:38,440 --> 00:25:40,760
Speaker 2: Oh it's in Berlin. I was like, don't and you're like,

402
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Speaker 2: it's in Berlin.

403
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Speaker 3: I know he's I mean, he's tempting you to organize

404
00:25:47,119 --> 00:25:51,359
Speaker 3: a party soon home and say to everyone, leave your

405
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Speaker 3: phones in the kitchen and don't pick it until you're living.

406
00:25:56,080 --> 00:25:58,280
Speaker 3: You know, don't even go every half an hour to

407
00:25:58,359 --> 00:26:01,680
Speaker 3: see like we all have EXQ just but fifteen years

408
00:26:01,720 --> 00:26:03,520
Speaker 3: ago there was no cell phones.

409
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Speaker 5: To my best my best year, my best plan for

410
00:26:05,560 --> 00:26:08,359
Speaker 5: a party would be a party that involves a lot

411
00:26:08,400 --> 00:26:12,080
Speaker 5: of dancing, a lot of anyone by the way, but

412
00:26:12,240 --> 00:26:15,520
Speaker 5: without without the cell phone and the camera, because then

413
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Speaker 5: everything becomes like, you know, everything becomes a performance and

414
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Speaker 5: you're like, no.

415
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Speaker 2: You don't want to perform, you want to you know

416
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Speaker 2: full I don't know that you were such a good

417
00:26:23,600 --> 00:26:26,119
Speaker 2: seal side dancer. They were that, oh thank you, somebody

418
00:26:26,200 --> 00:26:29,320
Speaker 2: did capture you dancing with Lucy amen as you know this, yeah,

419
00:26:29,480 --> 00:26:31,679
Speaker 2: dancing sid Sa And I was like, mid, I saw

420
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Speaker 2: Spassos and you even have that little shoulders.

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Speaker 3: A movie about that. I've done my work, But so

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Speaker 3: diego yes for you.

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Speaker 2: Fun?

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Speaker 3: Oh my god. I love his answer because it applies

425
00:26:48,440 --> 00:26:52,120
Speaker 3: in general for life, Like, yeah, definitely, fun comes when

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Speaker 3: you don't feel you're being streamed twenty four to seven. Okay,

427
00:26:56,000 --> 00:27:00,359
Speaker 3: I'm gonna say real fun is when we have the

428
00:27:00,440 --> 00:27:04,760
Speaker 3: opportunity to just like fuck around, what's the next thing

429
00:27:04,840 --> 00:27:05,440
Speaker 3: we're gonna do?

430
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Speaker 1: You know?

431
00:27:06,720 --> 00:27:09,840
Speaker 3: And there, I mean, there's so many projects that I'm

432
00:27:09,880 --> 00:27:13,880
Speaker 3: glad never happened, but just the moment of like having

433
00:27:13,960 --> 00:27:16,600
Speaker 3: those ideas and exploring and then saying yeah, like this

434
00:27:16,800 --> 00:27:21,840
Speaker 3: personal red and then flying or spending time waiting for

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00:27:21,960 --> 00:27:25,280
Speaker 3: an interview or waiting for this, waiting for that becomes

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00:27:25,400 --> 00:27:27,159
Speaker 3: moments of like what if we do this?

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00:27:27,520 --> 00:27:27,680
Speaker 2: Now?

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00:27:28,080 --> 00:27:31,040
Speaker 3: What if we do that? And I really enjoy that

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00:27:31,240 --> 00:27:34,920
Speaker 3: and it's fun. It's fun because we picture the same

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00:27:35,040 --> 00:27:39,120
Speaker 3: thing and there's always tissing involved, so yeah, it's fun.

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Speaker 2: Thank you so much for having enough fun to dream

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Speaker 2: up La machina. Yeah, and also a state of silence

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Speaker 2: and thank you for thank you.

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00:27:46,680 --> 00:27:50,399
Speaker 3: For the time for us here, and thank you for

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Speaker 3: creating time for us to talk nicely.

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Speaker 5: Yes, thank you so much.

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00:27:55,560 --> 00:28:06,600
Speaker 2: For those were Mexican actors Guego Luna and guyel Garcia Vernald.

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Speaker 2: This episode, which originally aired in twenty twenty four, was

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Speaker 2: produced by Renaldo Lanos Junior, who was edited by Alejandra Salasad.

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00:28:33,720 --> 00:28:36,639
Speaker 2: It was mixed by Leo Sho Damran, with engineering support

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Speaker 2: by J. J. Carubin. Monica Morales Garcia put this rerun together.

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Speaker 2: Fernando Echavari is our managing editor. Nancy Trujillo is our

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Speaker 2: production manager and The Latino USA team also includes Roxanna Guire,

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Speaker 2: Julia Caruso, Rebecca Vara, Stephanie le Beau, Luis Luna dorimr Marquez,

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Speaker 2: Julieta Martinelli, Paloma Perez, and Arina Rodriguez. Penni Later and

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Speaker 2: I are executive producers. I'm your host Maria Jojosa. Latino

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Speaker 2: USA is part of iheart'smich Udot podcast network. Executive producers

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00:29:08,920 --> 00:29:12,880
Speaker 2: at iHeart are Leo Gomez and Arlene Santana. Join us

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00:29:12,920 --> 00:29:15,640
Speaker 2: again on our next episode. In the meantime, find us

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00:29:15,720 --> 00:29:19,280
Speaker 2: on social media. I'll see you on Instagadam and don't forget,

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00:29:19,360 --> 00:29:23,400
Speaker 2: dear listener, It's so easy to join futuro Plus. You'll

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00:29:23,440 --> 00:29:26,160
Speaker 2: get to listen to everything ad free, and you'll get

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00:29:26,280 --> 00:29:30,520
Speaker 2: bonus episodes and special virtual events. What's not to love?

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00:29:30,840 --> 00:29:35,600
Speaker 2: Join futuo Plus now. Thank you, yest lapproximaes Joo.

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Speaker 6: Latino USA is made possible in part by California Endowment,

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Speaker 6: building a strong state by improving the health of all Californians,

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00:29:47,920 --> 00:29:51,760
Speaker 6: the Ford Foundation, working with visionaries on the front lines

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00:29:51,760 --> 00:29:56,560
Speaker 6: of social change worldwide, and the John D. And Catherine T.

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Speaker 6: MacArthur Foundation,