1 00:00:00,720 --> 00:00:04,360 Speaker 1: Six roles in thirteen years that went to AFRO Latino 2 00:00:04,480 --> 00:00:08,360 Speaker 1: leads fifty three thousand characters in a thirteen year period 3 00:00:08,640 --> 00:00:11,799 Speaker 1: and less than five percent of Latinos had speaking parts. 4 00:00:12,080 --> 00:00:13,520 Speaker 2: Like that ain't even close. 5 00:00:13,920 --> 00:00:16,919 Speaker 1: So that's what I see as wrong with the awards 6 00:00:17,000 --> 00:00:20,000 Speaker 1: is that it's not fun. But also there's no opportunity 7 00:00:20,040 --> 00:00:20,720 Speaker 1: for us to be there. 8 00:00:25,280 --> 00:00:30,080 Speaker 3: From Futro Media and PRX, It's Latino Usa. I'm Marieinojosa 9 00:00:30,480 --> 00:00:33,120 Speaker 3: today ahead of the Oscars, a look back at a 10 00:00:33,159 --> 00:00:37,160 Speaker 3: big year for Latinos in Hollywood and what comes next 11 00:00:37,320 --> 00:00:43,840 Speaker 3: for our film community. Why. 12 00:00:44,280 --> 00:00:48,479 Speaker 4: From Santamonica, California, the annual Alatama Award. 13 00:00:48,800 --> 00:00:50,440 Speaker 3: It's Hollywood's biggest night. 14 00:00:52,960 --> 00:00:56,120 Speaker 4: The Academy of Motion Picture Arts and Sciences, twenty fifth 15 00:00:56,120 --> 00:01:00,000 Speaker 4: Annual Academy of forty ninth Annual the Academy Award. 16 00:01:00,680 --> 00:01:03,560 Speaker 1: From the Dorothy Chandler Pavilion in Los Angeles. 17 00:01:03,720 --> 00:01:05,640 Speaker 3: It's the sixty eighth Annual Academy. 18 00:01:05,680 --> 00:01:08,800 Speaker 4: This is the seventy second Annual Academy. 19 00:01:08,360 --> 00:01:11,759 Speaker 3: Award, also known as the Oscars Live TV. 20 00:01:12,120 --> 00:01:16,640 Speaker 5: Here we go, Welcome to the ninety third Oscar. 21 00:01:20,080 --> 00:01:23,480 Speaker 3: For nearly a century, the Oscars have been considered the 22 00:01:23,520 --> 00:01:28,160 Speaker 3: most prestigious award in filmmaking, and their influence reaches way 23 00:01:28,280 --> 00:01:32,400 Speaker 3: beyond the US. And yet not all is golden at 24 00:01:32,440 --> 00:01:36,679 Speaker 3: the Academy Awards. The OSCARS track record with non white, 25 00:01:37,040 --> 00:01:41,200 Speaker 3: non male, and international filmmakers has been abysmal. 26 00:01:41,319 --> 00:01:43,840 Speaker 6: The popular hashtag is calling out the award show for 27 00:01:43,920 --> 00:01:45,440 Speaker 6: its lack of diversity. Again. 28 00:01:46,080 --> 00:01:50,080 Speaker 3: The Oscars So White controversy, which became widespread in twenty sixteen, 29 00:01:50,640 --> 00:01:55,480 Speaker 3: encouraged some change and pushed the Academy to diversify its membership. 30 00:01:55,800 --> 00:02:00,800 Speaker 6: We want opportunity, what the black actors to get the 31 00:02:00,960 --> 00:02:03,160 Speaker 6: same opportune. 32 00:02:02,680 --> 00:02:06,000 Speaker 3: But the lack of diversity remains and we're still having 33 00:02:06,160 --> 00:02:10,799 Speaker 3: the same conversation. Essentially, the problem isn't just the Oscars. 34 00:02:11,000 --> 00:02:14,640 Speaker 3: The awards tend to reflect what's happening in mainstream Hollywood, 35 00:02:14,880 --> 00:02:18,200 Speaker 3: and that's where black and Latino and Latina creators are 36 00:02:18,240 --> 00:02:22,600 Speaker 3: often shut out. Twenty twenty one, though seemed a little 37 00:02:22,600 --> 00:02:26,720 Speaker 3: different on paper, it was actually a pretty big year 38 00:02:26,800 --> 00:02:31,400 Speaker 3: for films featuring Latino and Latinak characters and talent. Popular 39 00:02:31,480 --> 00:02:35,280 Speaker 3: musicals like Encanto, West Side Story, and In the Heights 40 00:02:35,480 --> 00:02:38,120 Speaker 3: come to mind. The first two were nominated for Best 41 00:02:38,200 --> 00:02:41,800 Speaker 3: Animated Film and Best Picture. This year you also have 42 00:02:41,840 --> 00:02:44,800 Speaker 3: films like Being the Ricardo's, a biopic about Lucille ball 43 00:02:44,919 --> 00:02:49,480 Speaker 3: and Cuban American actor Desiernez, and Nightmare, Ali, Guillermo del 44 00:02:49,520 --> 00:02:54,000 Speaker 3: Toro's latest film, which got a Best Picture nod. But 45 00:02:54,080 --> 00:02:58,360 Speaker 3: it's worth asking, is this the representation and inclusion of 46 00:02:58,480 --> 00:03:02,919 Speaker 3: Latinos and Latinas that we were looking for? And after 47 00:03:03,160 --> 00:03:07,119 Speaker 3: nearly a century's worth of exclusion from the biggest awards 48 00:03:07,160 --> 00:03:15,080 Speaker 3: in the industry, is this enough? So on today's show, 49 00:03:15,120 --> 00:03:17,639 Speaker 3: we're going to talk about, yes, the Oscars, but also 50 00:03:17,840 --> 00:03:22,520 Speaker 3: the state of Latino filmmaking and film criticism. Three Latino 51 00:03:22,560 --> 00:03:24,720 Speaker 3: and Latina film critics join us for the kind of 52 00:03:24,720 --> 00:03:27,480 Speaker 3: conversation you're not going to hear in mainstream media ahead 53 00:03:27,520 --> 00:03:30,840 Speaker 3: of the Oscars. So go grab your popcorn or in 54 00:03:30,880 --> 00:03:40,520 Speaker 3: my case, follow meetas and here we go. So, Clayton, Getristina, 55 00:03:40,760 --> 00:03:42,720 Speaker 3: and Jack, Welcome to Latino USA. 56 00:03:42,920 --> 00:03:44,880 Speaker 4: Thanks for having us, Thank you for having us, Hi, 57 00:03:44,960 --> 00:03:45,920 Speaker 4: thank you for having us. 58 00:03:46,200 --> 00:03:48,440 Speaker 3: So let's just go ahead and have you each introduce 59 00:03:48,520 --> 00:03:51,400 Speaker 3: yourselves with the little quick one liner of who you are. 60 00:03:51,600 --> 00:03:55,040 Speaker 1: I'm Clayton Davis, I'm the Film Awards editor at Variety. 61 00:03:55,400 --> 00:03:59,640 Speaker 4: Alla, I'm Christina Escovar. I am a freelance journalist and 62 00:03:59,680 --> 00:04:01,800 Speaker 4: the co founder of Latina Media Puntok. 63 00:04:02,320 --> 00:04:04,760 Speaker 6: And I am Jack Rico. I am a filming culture 64 00:04:04,760 --> 00:04:06,520 Speaker 6: critic for the last twenty years. 65 00:04:06,800 --> 00:04:10,000 Speaker 3: Okay, So the Oscars are coming up on March twenty seventh, 66 00:04:10,040 --> 00:04:12,800 Speaker 3: and there's been a lot of news about what this 67 00:04:12,920 --> 00:04:14,960 Speaker 3: show is actually going to be like. So you have 68 00:04:15,040 --> 00:04:18,760 Speaker 3: a host, actually three actresses, Amy Schumer, Regina Hall, and 69 00:04:18,800 --> 00:04:22,360 Speaker 3: Wanda Sykes. And the ceremony is doing a new thing 70 00:04:22,440 --> 00:04:26,560 Speaker 3: and recognizing a fan favorite film this year, so anyone 71 00:04:26,640 --> 00:04:28,839 Speaker 3: can cast a vote for their favorite film of twenty 72 00:04:28,880 --> 00:04:31,279 Speaker 3: twenty one. But I'd like to hear your take on 73 00:04:31,320 --> 00:04:35,640 Speaker 3: the nominations, especially the Latinos and Latinas and non white 74 00:04:35,680 --> 00:04:38,800 Speaker 3: folks who are up for awards. So, Clayton, who should 75 00:04:38,839 --> 00:04:40,880 Speaker 3: I be looking out for in this year's awards? 76 00:04:41,480 --> 00:04:44,480 Speaker 1: This year, you know, we have Arianna Debos that's carrying 77 00:04:44,480 --> 00:04:47,880 Speaker 1: the torch and Lemonel Miranda is one step closer to 78 00:04:47,960 --> 00:04:50,960 Speaker 1: egot status because he's nominated for Best Original Song. 79 00:04:51,520 --> 00:04:54,479 Speaker 3: Those Sodu Gitas and I. 80 00:04:56,520 --> 00:04:59,200 Speaker 1: And we had our first Latina ever nominated for Best 81 00:04:59,200 --> 00:05:09,640 Speaker 1: Original Score Jermaine Franco. So things are looking up. But 82 00:05:10,200 --> 00:05:12,600 Speaker 1: I am one that always says that Oscars are used 83 00:05:12,640 --> 00:05:14,919 Speaker 1: as a scapegoat because the real problem is Hollywood. They 84 00:05:14,920 --> 00:05:18,600 Speaker 1: can't nominate what's not there, so we continue to move forward. 85 00:05:18,839 --> 00:05:22,400 Speaker 1: But it was a better than usual day in Latino 86 00:05:22,440 --> 00:05:23,360 Speaker 1: world at the Oscars. 87 00:05:23,440 --> 00:05:26,480 Speaker 3: I love that you can't nominate what doesn't exist, Gistina, 88 00:05:27,040 --> 00:05:29,159 Speaker 3: what's your quick take on the nominations. 89 00:05:29,800 --> 00:05:31,320 Speaker 4: I mean, I think we're all going to root for 90 00:05:31,360 --> 00:05:39,479 Speaker 4: Adana the Boss. She is indeed the one Whybill, But 91 00:05:39,600 --> 00:05:42,360 Speaker 4: I would also say, you know, we had some great 92 00:05:42,400 --> 00:05:45,320 Speaker 4: films this year. We had some amazing outputs. You know, 93 00:05:45,360 --> 00:05:47,880 Speaker 4: we don't see anything for in the Heights. I don't 94 00:05:47,880 --> 00:05:51,640 Speaker 4: see anything for Passing, which started Latina after Latina and 95 00:05:51,680 --> 00:05:54,640 Speaker 4: Tessa Thompson, and so I feel like we are making 96 00:05:54,680 --> 00:05:58,880 Speaker 4: in roads, but it's slower in the quote unquote prestige space, 97 00:05:58,960 --> 00:06:00,720 Speaker 4: you know, the Awards space, and I think it is 98 00:06:00,760 --> 00:06:02,960 Speaker 4: in other places. And it's slower in film than it 99 00:06:03,000 --> 00:06:06,839 Speaker 4: is in television. And that's still on the frustrating side. 100 00:06:07,520 --> 00:06:10,839 Speaker 3: Jack, Are you frustrated or are you like? What's your take? 101 00:06:11,360 --> 00:06:14,360 Speaker 6: I actually feel that this year in particular, we've actually 102 00:06:14,400 --> 00:06:17,080 Speaker 6: made some progress for what everybody else was saying in 103 00:06:17,200 --> 00:06:22,200 Speaker 6: terms of you can't really award something that doesn't exist. Well, 104 00:06:22,400 --> 00:06:26,440 Speaker 6: this year we actually had a lot of films that 105 00:06:26,480 --> 00:06:28,440 Speaker 6: should have been nominated, and I think when you look 106 00:06:28,480 --> 00:06:32,719 Speaker 6: at the director's category, in particular, Lady Maniela Miranda, I 107 00:06:32,760 --> 00:06:35,520 Speaker 6: thought he did an incredible job with Tik Tak Boom 108 00:06:35,600 --> 00:06:39,600 Speaker 6: for his directorial debut. Rinaldo Marcus Green, who did King 109 00:06:39,680 --> 00:06:42,640 Speaker 6: Richard nominated for Best Picture, he wasn't nominated for director, 110 00:06:43,240 --> 00:06:47,320 Speaker 6: Giermo del Toro Nightmare Aley Best Picture, not nominated for Director. 111 00:06:47,839 --> 00:06:51,479 Speaker 6: You have Spencer with Kristin Stewart who was nominated for 112 00:06:51,520 --> 00:06:55,600 Speaker 6: Best Actress, but Bablo Lorrain was not nominated, Jennisa Bravo 113 00:06:55,640 --> 00:06:59,960 Speaker 6: for Zola. So there was enough there to actually nominate 114 00:07:00,320 --> 00:07:04,120 Speaker 6: along with supporting actors, et cetera. Yet none of these 115 00:07:04,160 --> 00:07:07,080 Speaker 6: people were nominated. And so the question to me is 116 00:07:07,680 --> 00:07:10,480 Speaker 6: what do we have to do to get into these 117 00:07:10,640 --> 00:07:14,040 Speaker 6: categories where we're usually not even though we put out 118 00:07:14,120 --> 00:07:18,120 Speaker 6: great films. If this isn't a good banner year for 119 00:07:18,240 --> 00:07:21,840 Speaker 6: directors for Latino directors, then what other years are we 120 00:07:21,880 --> 00:07:25,280 Speaker 6: going to have? We submit so many great films and 121 00:07:25,320 --> 00:07:26,360 Speaker 6: that they're not nominated. 122 00:07:26,680 --> 00:07:30,880 Speaker 3: There was some controversy shortly after the nominations were announced. 123 00:07:30,920 --> 00:07:34,920 Speaker 3: Remember that Javier by them press conference. 124 00:07:34,640 --> 00:07:41,480 Speaker 2: Awkward Espanolas one of the person Espanolis. 125 00:07:43,240 --> 00:07:46,280 Speaker 3: So some context. He was nominated for Best Actor for 126 00:07:46,400 --> 00:07:50,320 Speaker 3: his role in Being the Ricardos, where he played Desi Ernez, 127 00:07:50,400 --> 00:07:54,160 Speaker 3: the famous Cuban American actor. The thing is, Javier, who 128 00:07:54,280 --> 00:07:58,400 Speaker 3: is an actor from Spain, chose to speak out about 129 00:07:58,440 --> 00:08:03,520 Speaker 3: the lack of Spanish as in Spain representation in film. 130 00:08:03,960 --> 00:08:07,280 Speaker 3: He said that Spaniards are actually a minority in Hollywood 131 00:08:07,280 --> 00:08:09,760 Speaker 3: and that Latin Americans are represented just fine, but that 132 00:08:09,840 --> 00:08:14,480 Speaker 3: he doesn't see Spanish roles anywhere. Caristina, did this get 133 00:08:14,480 --> 00:08:18,080 Speaker 3: a nerve for you? Were you just okay? It was definitely. 134 00:08:19,520 --> 00:08:23,000 Speaker 4: I think that is the wrong approach for him to take, 135 00:08:23,080 --> 00:08:25,160 Speaker 4: and for Spanish folks to take as well. I mean, 136 00:08:25,200 --> 00:08:28,480 Speaker 4: there's a little thing called colonialism. It operates a lot 137 00:08:28,520 --> 00:08:31,400 Speaker 4: of our world and controls it. You know, the Spanish 138 00:08:31,480 --> 00:08:34,280 Speaker 4: colonized a whole continent and we're still dealing with the 139 00:08:34,320 --> 00:08:37,120 Speaker 4: impacts of that, and you see that to this day now, 140 00:08:37,160 --> 00:08:41,040 Speaker 4: I'm not one who thinks that only Chicanos can play 141 00:08:41,040 --> 00:08:44,880 Speaker 4: Mexican Americans on screen. I don't think you see Anglos saying, oh, 142 00:08:44,920 --> 00:08:47,559 Speaker 4: you're from Australia, you can't play an American. I think 143 00:08:47,600 --> 00:08:49,880 Speaker 4: that is a little bit silly that there should be 144 00:08:50,000 --> 00:08:53,480 Speaker 4: some flexibility. But there is a big, big difference being 145 00:08:53,720 --> 00:08:58,360 Speaker 4: from Europe and being a white person versus being from 146 00:08:58,440 --> 00:09:00,680 Speaker 4: Latin America, and they experience and so you get in 147 00:09:00,720 --> 00:09:04,080 Speaker 4: the United States in particular, right, it might be different 148 00:09:04,160 --> 00:09:06,800 Speaker 4: actually in Latin America, but when you come to the US, 149 00:09:07,240 --> 00:09:11,000 Speaker 4: being a Latino is different than being from Spain, and 150 00:09:11,080 --> 00:09:15,040 Speaker 4: there is a different expectation and there are frankly different opportunities. 151 00:09:15,080 --> 00:09:17,440 Speaker 4: And so to sort of see him taking up that 152 00:09:17,600 --> 00:09:21,280 Speaker 4: space and then doubling down on it, to me, showed 153 00:09:21,280 --> 00:09:24,560 Speaker 4: a lack of sort of self awareness and also is 154 00:09:24,600 --> 00:09:27,000 Speaker 4: frustrating for our community. That's just like trying so hard 155 00:09:27,040 --> 00:09:28,840 Speaker 4: to get in the door, to get some of the roles, 156 00:09:28,840 --> 00:09:30,040 Speaker 4: to tell our own stories. 157 00:09:30,400 --> 00:09:32,920 Speaker 6: What were your thoughts, Jack, I think when he uses 158 00:09:32,960 --> 00:09:34,880 Speaker 6: the word minority, I think what he really kind of 159 00:09:34,920 --> 00:09:38,160 Speaker 6: meant to say was omission. When you look at the 160 00:09:38,240 --> 00:09:41,480 Speaker 6: last I don't know ten years of Javier Bordam's career. 161 00:09:42,000 --> 00:09:44,880 Speaker 6: He's a Spaniard from Europe who comes to the United 162 00:09:44,920 --> 00:09:48,720 Speaker 6: States and has immediately labeled a Latino, and white media 163 00:09:48,760 --> 00:09:51,280 Speaker 6: has him like that, and I think that his frustration is, 164 00:09:51,360 --> 00:09:55,920 Speaker 6: why aren't we seeing more Spaniard roles in Hollywood? Every 165 00:09:55,920 --> 00:09:58,840 Speaker 6: time I go to Hollywood, I'm playing a Latino, whether 166 00:09:58,880 --> 00:10:02,960 Speaker 6: it's Pablo escobar Are or Desi Arnez. It's why can't 167 00:10:02,960 --> 00:10:08,360 Speaker 6: I play a Spaniard? But in America, Spaniards sort of 168 00:10:08,400 --> 00:10:11,559 Speaker 6: become Latinos and they're viewed like that. And I think 169 00:10:11,600 --> 00:10:14,720 Speaker 6: his frustration is why are we omitted? But I think 170 00:10:14,840 --> 00:10:17,960 Speaker 6: the word minority and the way he framed the whole thing, 171 00:10:18,600 --> 00:10:20,960 Speaker 6: I think was a misstep on his part and a 172 00:10:21,040 --> 00:10:24,560 Speaker 6: rare mystup because he's usually very articulate, but I think 173 00:10:24,600 --> 00:10:25,600 Speaker 6: he bombed on this one. 174 00:10:25,679 --> 00:10:26,560 Speaker 3: What are your thoughts on that? 175 00:10:26,600 --> 00:10:31,040 Speaker 1: Clayton Javier Bardem three of his four Oscar nominated roles 176 00:10:31,120 --> 00:10:32,240 Speaker 1: were playing Latinos. 177 00:10:32,400 --> 00:10:35,360 Speaker 3: There's Desia. 178 00:10:37,679 --> 00:10:40,880 Speaker 1: Before Night Falls, he played a Cuban, you know, Nokuch Froben. 179 00:10:40,920 --> 00:10:43,080 Speaker 1: He's playing a Mexican and he's playing a Cuban again 180 00:10:43,120 --> 00:10:44,559 Speaker 1: and being the ricardos. 181 00:10:44,960 --> 00:10:45,920 Speaker 2: Thank you very much. 182 00:10:47,000 --> 00:10:47,280 Speaker 3: Ah. 183 00:10:47,480 --> 00:10:49,959 Speaker 2: Usually right now, I've been doing the final audience warnut, 184 00:10:50,120 --> 00:10:51,680 Speaker 2: I tell you and a Yogato. 185 00:10:52,559 --> 00:10:57,080 Speaker 1: And yet there have been four Latinos that have been 186 00:10:57,120 --> 00:11:01,400 Speaker 1: nominated for Best Actor in History ty four years, four 187 00:11:01,440 --> 00:11:03,400 Speaker 1: of them, and we could add a fifth this year 188 00:11:03,640 --> 00:11:06,679 Speaker 1: if a Latino actually got that role of playing Desi Arnez. 189 00:11:07,240 --> 00:11:09,760 Speaker 1: Like many people when it was announced that Wesize story 190 00:11:09,840 --> 00:11:12,040 Speaker 1: was coming out, my first question was like, why are 191 00:11:12,040 --> 00:11:14,200 Speaker 1: we doing this again? And if it's for the sole 192 00:11:14,240 --> 00:11:16,960 Speaker 1: reason of getting Ariana Debos and Rachel Zegler in our lives, 193 00:11:17,000 --> 00:11:21,520 Speaker 1: then I'll take it. But the truth is that dot 194 00:11:21,640 --> 00:11:24,520 Speaker 1: On Wood win, Ariana de bos wins the Oscar. She's 195 00:11:24,600 --> 00:11:29,000 Speaker 1: going to be the second Latina to ever win an 196 00:11:29,040 --> 00:11:32,040 Speaker 1: acting Oscar. The second and the first was Rito Moreno 197 00:11:32,240 --> 00:11:36,320 Speaker 1: playing the same role. So we are not seeing the 198 00:11:36,360 --> 00:11:39,360 Speaker 1: progress in this space. And to say that there are 199 00:11:39,480 --> 00:11:44,600 Speaker 1: roles for Latinos, sure, they're usually gang members and janitors. 200 00:11:45,440 --> 00:11:48,719 Speaker 3: Mm hmmmm, All right, Jack, can you just chime in 201 00:11:49,000 --> 00:11:53,280 Speaker 3: and YouTube Christina? What makes a film a Latin or 202 00:11:53,320 --> 00:11:56,720 Speaker 3: Latina film? Obviously, all we do on this program is 203 00:11:56,720 --> 00:11:59,280 Speaker 3: talk about the complexity of this community. So on the 204 00:11:59,320 --> 00:12:01,840 Speaker 3: issue of film, what is it? Because it does begin 205 00:12:01,880 --> 00:12:04,079 Speaker 3: to feel a little boxed in. 206 00:12:04,600 --> 00:12:08,200 Speaker 6: Things are so complicated and weird now in terms of 207 00:12:08,240 --> 00:12:11,320 Speaker 6: the regulations and the policies in the Academy. For example, 208 00:12:11,360 --> 00:12:14,000 Speaker 6: Memoria till the Swinton was in it, but it took 209 00:12:14,080 --> 00:12:16,400 Speaker 6: place in Colombia? Was that a Colombian film? Was that 210 00:12:16,440 --> 00:12:20,960 Speaker 6: a European film? So I think that the basic fundamental 211 00:12:21,000 --> 00:12:23,720 Speaker 6: of what a Latino movie is is if it has 212 00:12:23,840 --> 00:12:28,319 Speaker 6: a Latino themed story with Latino actors. Does the director, 213 00:12:28,720 --> 00:12:30,560 Speaker 6: like for example, John Chewing in The Heights, does he 214 00:12:30,640 --> 00:12:32,719 Speaker 6: need to be Latino for that film to be a 215 00:12:32,800 --> 00:12:37,040 Speaker 6: Latino movie. For the most part, most journalists, most Latin critics, 216 00:12:37,080 --> 00:12:39,000 Speaker 6: when they look at a movie like In the Heights, 217 00:12:39,040 --> 00:12:42,120 Speaker 6: we call that a Latino film. When you talk about 218 00:12:42,160 --> 00:12:45,679 Speaker 6: West Side Story, to me, as a Latino critic, I 219 00:12:45,720 --> 00:12:48,560 Speaker 6: see that as a Latino film because the majority of 220 00:12:48,640 --> 00:12:53,000 Speaker 6: the emphasis and the focus was on the Puerto Ricans 221 00:12:53,000 --> 00:12:54,079 Speaker 6: in this particular film. 222 00:12:54,080 --> 00:12:55,640 Speaker 2: So I would call that a Latino film. 223 00:12:56,040 --> 00:13:02,280 Speaker 3: Get your shoes on, I want to dance. I'll just 224 00:13:02,320 --> 00:13:05,200 Speaker 3: be straight up. I mean Steven Spielberg and he's directed 225 00:13:05,240 --> 00:13:07,760 Speaker 3: obviously phenomenal films, but there was a part of me 226 00:13:07,800 --> 00:13:12,680 Speaker 3: that was like, Okay, why Stephen, though, is your sense 227 00:13:12,720 --> 00:13:15,440 Speaker 3: that then West Side Story is a Latino film or not? 228 00:13:16,840 --> 00:13:19,440 Speaker 4: I think that one's tricky. I think we have to 229 00:13:19,480 --> 00:13:23,199 Speaker 4: take it as one of ours because of the amazing 230 00:13:23,240 --> 00:13:26,320 Speaker 4: performances that the Latinas and Latinos put in on that film, 231 00:13:26,360 --> 00:13:28,320 Speaker 4: and we have to celebrate them and shot them out 232 00:13:28,360 --> 00:13:30,840 Speaker 4: and scream from the rooftops about how great they did, 233 00:13:30,920 --> 00:13:33,800 Speaker 4: because we don't want to be only able to work 234 00:13:33,840 --> 00:13:36,520 Speaker 4: with Latino creatives. But we also need to say really 235 00:13:36,559 --> 00:13:41,360 Speaker 4: clearly that it is not enough that West Side Story 236 00:13:41,440 --> 00:13:44,640 Speaker 4: is very limited. It's very limited in its portrayal of 237 00:13:44,679 --> 00:13:47,960 Speaker 4: our community. It's limited. They did the best that some 238 00:13:48,040 --> 00:13:50,800 Speaker 4: white guys can do, but they couldn't bridge the gap 239 00:13:50,840 --> 00:13:54,280 Speaker 4: and make it meaningful and advance I think the representation 240 00:13:54,400 --> 00:13:57,280 Speaker 4: of our community outside of giving the platform over to 241 00:13:57,320 --> 00:14:01,640 Speaker 4: some amazing actors. So is it a Latino film? I 242 00:14:01,679 --> 00:14:04,600 Speaker 4: guess so, But it's not the ones that we're looking for, right. 243 00:14:04,640 --> 00:14:06,520 Speaker 4: We want to be the ones who are behind the camera, 244 00:14:06,559 --> 00:14:10,360 Speaker 4: who are writing the stories, who are directing, and who 245 00:14:10,360 --> 00:14:13,120 Speaker 4: are really shaping it from start to finish, not sort 246 00:14:13,120 --> 00:14:17,920 Speaker 4: of rehashing old pieces and being subsumed into this larger 247 00:14:18,200 --> 00:14:22,000 Speaker 4: Anglo narrative that sees us in these very limited ways 248 00:14:22,080 --> 00:14:25,800 Speaker 4: as violent or maybe sex objects. 249 00:14:27,720 --> 00:14:30,360 Speaker 3: Coming up on Latino USA, we continue to break down 250 00:14:30,440 --> 00:14:33,200 Speaker 3: the past year in Latino movies and we asked the 251 00:14:33,240 --> 00:14:40,160 Speaker 3: big question, do the oscars really even matter? Stay with us? 252 00:14:40,600 --> 00:14:40,720 Speaker 5: Why? 253 00:14:40,840 --> 00:15:27,640 Speaker 3: Yes, Hey, we're back. I've been talking with film critics 254 00:15:27,640 --> 00:15:32,800 Speaker 3: and journalists Clayton Davis, Jack Rico, and Christina Escobard about 255 00:15:32,800 --> 00:15:35,960 Speaker 3: the oscars and Latino films that came out last year. 256 00:15:36,240 --> 00:15:38,760 Speaker 3: We're going to keep that conversation going now and talk 257 00:15:38,760 --> 00:15:43,480 Speaker 3: about how we build the future of Latino filmmaking. One 258 00:15:43,520 --> 00:15:45,800 Speaker 3: of the things that we have seen this year is 259 00:15:45,840 --> 00:15:50,360 Speaker 3: that a lot of the Latino Latino films are big musicals. 260 00:15:50,360 --> 00:15:53,360 Speaker 3: Oftentimes they're about family. We're getting young kids who are 261 00:15:53,360 --> 00:15:57,440 Speaker 3: speaking Spanglish and you know Abuelita for example in Encanto 262 00:15:57,760 --> 00:16:02,400 Speaker 3: featuring a Colombian family voice by LATINX actors, nominated for 263 00:16:02,600 --> 00:16:09,600 Speaker 3: Best Animated Feature, and Kanta was a big commercial hit. 264 00:16:09,680 --> 00:16:12,920 Speaker 3: The song we Don't Talk About Bruno topped the Billboard 265 00:16:13,000 --> 00:16:16,200 Speaker 3: chart for weeks and has become more popular than let 266 00:16:16,240 --> 00:16:20,120 Speaker 3: It Go from Frozen. All Right, so there is LATINX 267 00:16:20,160 --> 00:16:23,320 Speaker 3: representation on screen right, But at the same time, is 268 00:16:23,360 --> 00:16:26,440 Speaker 3: this what we really want? And so I'm wondering what 269 00:16:26,520 --> 00:16:30,880 Speaker 3: the quote unquote right kind of representation is. Do you 270 00:16:30,960 --> 00:16:34,280 Speaker 3: think that something's missing here? And by the way, I 271 00:16:34,360 --> 00:16:37,680 Speaker 3: love these films, but there is an element still of cliche, 272 00:16:38,280 --> 00:16:41,520 Speaker 3: and I'm wondering if you feel the same way, Jack, Absolutely. 273 00:16:41,800 --> 00:16:43,680 Speaker 6: I think what we need now is we need to 274 00:16:43,720 --> 00:16:49,240 Speaker 6: start developing talent, more LATINX talent, writers, directors, producers, people 275 00:16:49,320 --> 00:16:51,640 Speaker 6: who are on the pulse of what's happening in the 276 00:16:51,760 --> 00:16:54,480 Speaker 6: United States with the Latino community. For example, I've been 277 00:16:54,480 --> 00:16:58,880 Speaker 6: waiting for the Roberto Clemente biopic for decades ready. Why 278 00:16:59,000 --> 00:17:00,240 Speaker 6: hasn't that been done. 279 00:17:00,320 --> 00:17:02,080 Speaker 2: Because Javi ar Barden isn't available. 280 00:17:05,720 --> 00:17:08,800 Speaker 6: Touche, Yeah, you'll play the Puerto Rican, you in to 281 00:17:08,840 --> 00:17:12,639 Speaker 6: the Puerto Rican, You'll play everybody. It just needs to 282 00:17:12,640 --> 00:17:15,000 Speaker 6: come to a point that we need to start telling 283 00:17:15,200 --> 00:17:19,000 Speaker 6: authentic stories about our own lives within the United States, 284 00:17:19,119 --> 00:17:22,359 Speaker 6: within Latin America and the relationship that we have with 285 00:17:22,440 --> 00:17:28,600 Speaker 6: the world. What our frustrations, our struggles, our joys, our celebrations. 286 00:17:29,119 --> 00:17:32,000 Speaker 6: These stories need to be told. But there seems to 287 00:17:32,040 --> 00:17:36,880 Speaker 6: be a challenge with the gatekeepers that we're not hot enough, 288 00:17:37,000 --> 00:17:40,520 Speaker 6: we don't have enough superstars to package deals. I don't 289 00:17:40,560 --> 00:17:44,240 Speaker 6: even know if we still have a legitimate A list actor, 290 00:17:44,320 --> 00:17:48,080 Speaker 6: a La Tom Cruise that is Latino. And that's the problem. 291 00:17:48,280 --> 00:17:51,760 Speaker 6: And unless we get to these places, to this hierarchy, 292 00:17:51,800 --> 00:17:55,399 Speaker 6: to this tier, we're gonna maintain sort of the status 293 00:17:55,440 --> 00:17:56,520 Speaker 6: quo what we have right now. 294 00:17:56,800 --> 00:17:59,280 Speaker 3: I agree with the talent is out there, but it's 295 00:17:59,280 --> 00:18:01,879 Speaker 3: like getting through the door. So there's a frustration on 296 00:18:01,920 --> 00:18:03,240 Speaker 3: that element too, right. 297 00:18:03,400 --> 00:18:05,760 Speaker 1: Yeah, it's getting through the door. But there is also 298 00:18:06,600 --> 00:18:10,320 Speaker 1: again the Hollywood idea of what a Latino or LATINX 299 00:18:10,359 --> 00:18:14,240 Speaker 1: person is for women, especially like unless you're Jennifer Lopez 300 00:18:14,280 --> 00:18:18,879 Speaker 1: or Sophia Vigara, like that's latinas to Hollywood only. And 301 00:18:18,960 --> 00:18:22,359 Speaker 1: I remember having this argument with someone during Roma about 302 00:18:22,600 --> 00:18:26,880 Speaker 1: Julita Padiicio, and I was like, I've seen her more 303 00:18:26,880 --> 00:18:29,720 Speaker 1: in my life than i've seen j Lo's and you're 304 00:18:29,720 --> 00:18:32,800 Speaker 1: trying to generalize five hundred million people and you can't 305 00:18:32,840 --> 00:18:35,680 Speaker 1: do that. So again, you have to expand your way 306 00:18:35,680 --> 00:18:39,080 Speaker 1: of thinking. And then also, and I'll put this out there, 307 00:18:39,600 --> 00:18:42,440 Speaker 1: Latinos have to write their own house too. Because I'll 308 00:18:42,480 --> 00:18:47,400 Speaker 1: never be able to have an articulate conversation really on 309 00:18:47,720 --> 00:18:51,200 Speaker 1: social media when I bring up something like latinos are 310 00:18:51,200 --> 00:18:54,399 Speaker 1: not seen, and then I look at the thread and 311 00:18:54,480 --> 00:18:57,879 Speaker 1: there's like five hundred comments about LATINX and that's what 312 00:18:57,920 --> 00:19:00,920 Speaker 1: they're arguing about about, Like why are you on this LATINX? 313 00:19:01,240 --> 00:19:04,080 Speaker 1: And I'm like, we're not on TV or movies, but 314 00:19:04,119 --> 00:19:06,640 Speaker 1: you want to argue about this LATINX term like die 315 00:19:06,640 --> 00:19:09,199 Speaker 1: on that hill? And we have a colorism problem. We 316 00:19:09,240 --> 00:19:11,439 Speaker 1: have a lot of issues within our own community that 317 00:19:11,480 --> 00:19:14,919 Speaker 1: we have to address also. And that's why there's not 318 00:19:14,960 --> 00:19:17,280 Speaker 1: being progress because if I was a white producer, I 319 00:19:17,280 --> 00:19:19,520 Speaker 1: would look and say, oh, they're arguing over there. I'll 320 00:19:19,600 --> 00:19:22,760 Speaker 1: keep just doing my thing while they keep arguing over 321 00:19:23,520 --> 00:19:26,439 Speaker 1: a letter in the alphabet. So that's what's going to 322 00:19:26,520 --> 00:19:27,120 Speaker 1: keep happening. 323 00:19:27,600 --> 00:19:31,560 Speaker 3: So, Christina, your whole life is basically dedicated to advancing 324 00:19:31,600 --> 00:19:36,880 Speaker 3: this conversation. So how do we advance the conversation beyond representation? 325 00:19:37,080 --> 00:19:42,040 Speaker 3: Because I've been having this conversation for years, right, how 326 00:19:42,040 --> 00:19:46,119 Speaker 3: do you think about advancing this conversation critically in a 327 00:19:46,160 --> 00:19:49,880 Speaker 3: more profound way that goes beyond this quote unquote representation. 328 00:19:50,400 --> 00:19:54,040 Speaker 4: Well, we have to work on multiple levels. Right. Hollywood 329 00:19:54,080 --> 00:19:56,640 Speaker 4: is a complex system in and of itself, and it's 330 00:19:56,640 --> 00:20:00,639 Speaker 4: an even more complex ecosystem when you think about the 331 00:20:00,680 --> 00:20:03,959 Speaker 4: studios and the distribution and the critical analysis and all 332 00:20:04,000 --> 00:20:06,159 Speaker 4: of that piece. So we need to work on building 333 00:20:07,040 --> 00:20:10,560 Speaker 4: in front of behind the camera as cultural gatekeepers all 334 00:20:10,600 --> 00:20:12,879 Speaker 4: of that stuff. And part of what we need to 335 00:20:12,880 --> 00:20:16,160 Speaker 4: do as Latinos and latinx Is and our community. Pert 336 00:20:16,200 --> 00:20:19,320 Speaker 4: Clayton's point, I couldn't agree with it more is organize 337 00:20:19,359 --> 00:20:22,680 Speaker 4: our own house so that we can see each other 338 00:20:23,040 --> 00:20:27,040 Speaker 4: and be excited about each other and recognize a unity 339 00:20:27,040 --> 00:20:31,080 Speaker 4: in ourselves to say we are not perfect, we are 340 00:20:31,119 --> 00:20:35,160 Speaker 4: not equal. We have problems, yes, but we are going 341 00:20:35,200 --> 00:20:37,840 Speaker 4: to see that there is a strength in it being 342 00:20:37,920 --> 00:20:40,359 Speaker 4: together in a group. There's a political strength in it, 343 00:20:40,400 --> 00:20:42,880 Speaker 4: there's a market share strength in it, and we're going 344 00:20:42,920 --> 00:20:46,200 Speaker 4: to use that to get what we want. But that's 345 00:20:46,240 --> 00:20:48,240 Speaker 4: not going to work if we're saying, oh, actually, black 346 00:20:48,280 --> 00:20:50,920 Speaker 4: folks aren't part of our community. There are no black Mexicans, 347 00:20:50,920 --> 00:20:54,080 Speaker 4: there are no Asian Latinos there, we don't really have 348 00:20:54,160 --> 00:20:56,480 Speaker 4: queer people like. None of that will help us. That 349 00:20:56,520 --> 00:20:58,480 Speaker 4: will just further divide us. So we need to figure 350 00:20:58,480 --> 00:21:01,080 Speaker 4: out how to address some of those issues. And then 351 00:21:01,080 --> 00:21:03,400 Speaker 4: we also need to build our own houses. Like if 352 00:21:03,400 --> 00:21:05,920 Speaker 4: we're sitting there waiting for Hollywood to call on us 353 00:21:06,000 --> 00:21:09,720 Speaker 4: or whatever industry, that's never going to happen. So we 354 00:21:09,840 --> 00:21:13,720 Speaker 4: need to be building our own institutions and our own 355 00:21:13,800 --> 00:21:17,600 Speaker 4: pathways and using those to build up ourselves while also 356 00:21:17,720 --> 00:21:21,680 Speaker 4: pushing on the power structures that exist to push for change. 357 00:21:22,240 --> 00:21:24,399 Speaker 3: All right, We're going to turn the cameras now onto 358 00:21:24,480 --> 00:21:27,800 Speaker 3: you and talk about your field. And you know, people 359 00:21:27,880 --> 00:21:31,360 Speaker 3: love to hate film critics, but I'd like to dig 360 00:21:31,400 --> 00:21:34,120 Speaker 3: into your roles and really understand why is it important 361 00:21:34,119 --> 00:21:37,040 Speaker 3: for us to have critics who are LATINX, who are 362 00:21:37,080 --> 00:21:40,359 Speaker 3: Afro Latino, who are black, And how can you use 363 00:21:40,640 --> 00:21:43,639 Speaker 3: the platforms that you work on to advance the conversation 364 00:21:43,680 --> 00:21:47,600 Speaker 3: about inclusion in Hollywood. And let's start with you, Clayton. 365 00:21:48,240 --> 00:21:53,159 Speaker 1: It's all around representation and entertainment. A film like In 366 00:21:53,200 --> 00:22:01,720 Speaker 1: the Heights in particular. You know, In the Heights wasn't 367 00:22:01,760 --> 00:22:03,920 Speaker 1: my favorite film of the year, but I cried during 368 00:22:03,920 --> 00:22:06,520 Speaker 1: the whole thing because it was my first time coming 369 00:22:06,520 --> 00:22:08,920 Speaker 1: back to a movie theater and I was there watching 370 00:22:09,800 --> 00:22:12,199 Speaker 1: a piece of me on screen that I don't get 371 00:22:12,240 --> 00:22:16,280 Speaker 1: to see very often. But I looked around and there 372 00:22:16,280 --> 00:22:19,879 Speaker 1: were very little journalists that looked like me that shared 373 00:22:19,920 --> 00:22:23,040 Speaker 1: that same space. It was critically acclaimed, It did so 374 00:22:23,160 --> 00:22:26,720 Speaker 1: well critically, but I remember reading through so many of 375 00:22:26,920 --> 00:22:28,119 Speaker 1: the reviews and. 376 00:22:28,160 --> 00:22:28,800 Speaker 2: It was just. 377 00:22:30,520 --> 00:22:32,120 Speaker 1: There were a lot of like, I want to say, 378 00:22:32,160 --> 00:22:36,600 Speaker 1: basic takes. But I was waiting to read the part 379 00:22:36,760 --> 00:22:42,040 Speaker 1: where Abuela has like, I don't know, babiyah boiling like 380 00:22:42,080 --> 00:22:45,040 Speaker 1: on her stove. I was waiting to see eating rice 381 00:22:45,080 --> 00:22:48,840 Speaker 1: and beans at the table. Just these little nuances that 382 00:22:49,480 --> 00:22:55,040 Speaker 1: are us. There's so few Christina Escobars and Jack Rico's 383 00:22:55,560 --> 00:22:58,520 Speaker 1: in the world. There is just us. So we have 384 00:22:58,640 --> 00:23:01,920 Speaker 1: to have each other's backs or who else is going 385 00:23:01,960 --> 00:23:06,040 Speaker 1: to And that's the next big thing that needs to change. 386 00:23:05,760 --> 00:23:05,960 Speaker 4: You know. 387 00:23:06,080 --> 00:23:08,120 Speaker 3: Jack Clayton just brought up In the Heights. Of course, 388 00:23:08,160 --> 00:23:10,040 Speaker 3: as you know, I'm a little partial because I had 389 00:23:10,080 --> 00:23:13,560 Speaker 3: a role in In the Heights, and I do feel 390 00:23:13,600 --> 00:23:17,320 Speaker 3: like In the Heights was entirely snubbed, shut out, even 391 00:23:17,359 --> 00:23:20,600 Speaker 3: though there was legit criticism. But I do feel like, 392 00:23:21,240 --> 00:23:24,840 Speaker 3: as you said, Clayton, there were people crying throughout the 393 00:23:25,000 --> 00:23:29,680 Speaker 3: entire film, and I'm wondering Jack Visa viv the conversation 394 00:23:29,840 --> 00:23:33,680 Speaker 3: of Latino and Latina film critics. How you see how 395 00:23:33,720 --> 00:23:36,840 Speaker 3: that played out. I love that there's a sense of community, 396 00:23:37,040 --> 00:23:39,120 Speaker 3: but there's also a tremendous amount of pressure on you. 397 00:23:39,560 --> 00:23:42,359 Speaker 6: Well, the first thing is actually Clayton created the Latino 398 00:23:42,440 --> 00:23:46,800 Speaker 6: Entertainment Journalist Association, which is probably the only right I 399 00:23:46,880 --> 00:23:52,520 Speaker 6: love that Latino Film Critics organization where Latino film critics 400 00:23:52,520 --> 00:23:54,560 Speaker 6: can go. But you know, part of the problems is 401 00:23:55,320 --> 00:23:57,359 Speaker 6: we're not all working for the New York Times or 402 00:23:57,400 --> 00:24:00,800 Speaker 6: the Washington Post. We're independent, and so scale is a 403 00:24:00,880 --> 00:24:05,080 Speaker 6: massive problem with Latino LATINX film critics. We don't have 404 00:24:05,160 --> 00:24:08,200 Speaker 6: the mass audience to be able to talk about a 405 00:24:08,280 --> 00:24:11,800 Speaker 6: Latino film and have that go viral or national or 406 00:24:11,840 --> 00:24:15,240 Speaker 6: be shared by the elite, by the influencers who actually 407 00:24:15,440 --> 00:24:19,240 Speaker 6: change rules and laws depending on what we say. I 408 00:24:19,240 --> 00:24:21,720 Speaker 6: think the other second challenge about Latino critics is that 409 00:24:22,200 --> 00:24:24,879 Speaker 6: sometimes we just don't want to criticize our films because 410 00:24:25,160 --> 00:24:28,400 Speaker 6: we're barely getting any promotion. And if you have Latino critics, 411 00:24:28,520 --> 00:24:31,119 Speaker 6: bash a couple of Latino films that are key, for example, 412 00:24:31,160 --> 00:24:33,680 Speaker 6: like even in the Heights or West Side story. Then 413 00:24:35,080 --> 00:24:38,760 Speaker 6: the support for that then dies because an executive in 414 00:24:38,800 --> 00:24:43,359 Speaker 6: Hollywood says, see, even Latino critics are bashing their own movies. 415 00:24:43,440 --> 00:24:45,520 Speaker 1: Which, by the way, is the most racist thing. I 416 00:24:45,520 --> 00:24:47,640 Speaker 1: think this is the thing that drives me nuts all 417 00:24:47,680 --> 00:24:49,720 Speaker 1: the time when I get pictures and they're like, but 418 00:24:49,760 --> 00:24:54,000 Speaker 1: you're Latino, and like it's literally the argument, like, we 419 00:24:54,040 --> 00:24:56,800 Speaker 1: don't have to like just one thing, you know, we 420 00:24:56,960 --> 00:24:59,520 Speaker 1: like other things, and we also need to stop putting 421 00:25:00,160 --> 00:25:04,240 Speaker 1: all the weight of our culture on women. Well, Miranda's 422 00:25:04,240 --> 00:25:08,480 Speaker 1: shoulders to represent for everyone. I thought he gave the 423 00:25:08,480 --> 00:25:11,720 Speaker 1: best response in the Heights the colorism debate, where he 424 00:25:11,840 --> 00:25:13,960 Speaker 1: was like, listen, I will try better next time. I 425 00:25:14,000 --> 00:25:16,400 Speaker 1: can't expect him to get all of us in one go. 426 00:25:16,800 --> 00:25:19,679 Speaker 1: There's like, again, five hundred million of us, Like come on. 427 00:25:20,119 --> 00:25:23,160 Speaker 3: Yeah, Gristina, Well I would add that. 428 00:25:23,600 --> 00:25:25,840 Speaker 4: So we at Latina Media Co. We do a lot 429 00:25:25,840 --> 00:25:28,840 Speaker 4: of work on helping Latinas, in particular because women are 430 00:25:28,840 --> 00:25:32,280 Speaker 4: even more underrepresented, speak out and share their voice, and 431 00:25:32,359 --> 00:25:34,919 Speaker 4: that feels amazing and I love doing that. But I 432 00:25:34,960 --> 00:25:38,520 Speaker 4: also want to say, the whole industry is a mess, 433 00:25:39,200 --> 00:25:42,240 Speaker 4: and the folks that I look at who've made it, 434 00:25:42,280 --> 00:25:46,240 Speaker 4: who are editors at big publications or who get great jobs, 435 00:25:46,800 --> 00:25:49,520 Speaker 4: then they're one layoff away. I've seen them rise up, 436 00:25:49,600 --> 00:25:52,479 Speaker 4: do amazing stuff for years, get acclaim, and then they 437 00:25:52,480 --> 00:25:54,879 Speaker 4: get laid off. There's a part of me that feels like, 438 00:25:55,160 --> 00:25:58,159 Speaker 4: am I encouraging Latinas to go into an industry that 439 00:25:58,359 --> 00:26:00,560 Speaker 4: is not going to respect them, it's not going to 440 00:26:00,640 --> 00:26:02,480 Speaker 4: value them, that's going to be the first to lay 441 00:26:02,520 --> 00:26:04,840 Speaker 4: them off, no matter how good they do, no matter 442 00:26:04,840 --> 00:26:09,320 Speaker 4: what audience they build. And that is a problem that 443 00:26:09,480 --> 00:26:11,920 Speaker 4: is in many ways bigger than us. But we need 444 00:26:11,960 --> 00:26:16,400 Speaker 4: to build different systems because this one isn't working. It's 445 00:26:16,400 --> 00:26:19,120 Speaker 4: not working for Latinos, but it's not working in general 446 00:26:19,200 --> 00:26:24,600 Speaker 4: in terms of getting meaningful, strong criticism out there and 447 00:26:24,720 --> 00:26:27,880 Speaker 4: elevated from a variety of different voices. 448 00:26:28,560 --> 00:26:31,879 Speaker 3: Yeah, it's really frustrating, especially when you think about the 449 00:26:32,040 --> 00:26:36,240 Speaker 3: kinds of stories that exist in our communities across the board. 450 00:26:36,880 --> 00:26:40,080 Speaker 3: You know, Latinos and Latinas we consume one out of 451 00:26:40,080 --> 00:26:42,840 Speaker 3: every four movie tickets. Oh my god, when movie tickets 452 00:26:42,880 --> 00:26:46,119 Speaker 3: were sold. But you know, we're a quarter of the 453 00:26:46,160 --> 00:26:51,160 Speaker 3: movie going audience and we're getting older, and that means 454 00:26:51,200 --> 00:26:54,160 Speaker 3: that there's another generation of younger people who are developing 455 00:26:54,200 --> 00:26:57,520 Speaker 3: their own desires and tastes visa v. Hollywood and film. 456 00:26:58,080 --> 00:27:00,840 Speaker 3: So I was speaking with another young latin and she 457 00:27:01,000 --> 00:27:03,840 Speaker 3: was like, Uh, you know, it's an Aaron Sorkin film. 458 00:27:04,240 --> 00:27:08,080 Speaker 3: I'm not gonna go see that, or look, Steven Spielberg great, 459 00:27:08,119 --> 00:27:10,280 Speaker 3: but West Side Story, I'm not so sure. So it 460 00:27:10,320 --> 00:27:14,480 Speaker 3: feels like there's this tension where you have a generation 461 00:27:14,840 --> 00:27:18,960 Speaker 3: of younger Latinos and Latinas they're not actually watching what 462 00:27:19,000 --> 00:27:23,679 Speaker 3: the Oscars are doing. They're kind of losing interest. Clayton, 463 00:27:23,720 --> 00:27:25,719 Speaker 3: let's start with you. What does that mean for the 464 00:27:25,760 --> 00:27:31,159 Speaker 3: future of Hollywood If Latinos are essentially like, You're not 465 00:27:31,560 --> 00:27:34,760 Speaker 3: valuable and I'm not turning to you to give me 466 00:27:34,800 --> 00:27:35,680 Speaker 3: the props that I need. 467 00:27:36,560 --> 00:27:41,520 Speaker 1: So the Oscars not being watched is I think it's 468 00:27:41,560 --> 00:27:43,920 Speaker 1: more complex, maybe not even complex. I would say even 469 00:27:43,960 --> 00:27:49,560 Speaker 1: more simplistic than Latino's not seeing themselves there, which is 470 00:27:49,640 --> 00:27:53,679 Speaker 1: a part of it, but it also is The Oscars 471 00:27:53,840 --> 00:27:56,680 Speaker 1: and all awards shows the need to revamp the way 472 00:27:56,920 --> 00:28:00,639 Speaker 1: awards are delivered. Last year was a prime example, was 473 00:28:00,800 --> 00:28:05,360 Speaker 1: a very bad ceremony, devoid of fun, or film clips. 474 00:28:05,880 --> 00:28:10,200 Speaker 1: So if you're going to celebrate film, truly celebrate film. 475 00:28:11,119 --> 00:28:15,000 Speaker 1: And I think when you add in the parts of 476 00:28:15,680 --> 00:28:18,840 Speaker 1: Latinos not being there as well, or just people of 477 00:28:18,880 --> 00:28:23,960 Speaker 1: color in general, then it only further pushes that narrative. 478 00:28:24,320 --> 00:28:26,320 Speaker 1: John leg Was almost said this best. I interviewed him 479 00:28:26,320 --> 00:28:28,239 Speaker 1: one time. He said, I'm not even asking for more, 480 00:28:28,280 --> 00:28:30,520 Speaker 1: I'm asking for what's mine. So if we're twenty five 481 00:28:30,560 --> 00:28:33,720 Speaker 1: percent of the buying power in America, then twenty five 482 00:28:33,720 --> 00:28:35,199 Speaker 1: percent of the movies needs to have us in it. 483 00:28:35,480 --> 00:28:37,040 Speaker 1: And then if we're not there, then I could be like, 484 00:28:37,119 --> 00:28:38,880 Speaker 1: we just didn't make it, but we're not. 485 00:28:39,520 --> 00:28:43,120 Speaker 3: It feels like when Latinos and Latinas kind of raise 486 00:28:43,200 --> 00:28:46,040 Speaker 3: their hands and are kind of saying the things we 487 00:28:46,160 --> 00:28:49,840 Speaker 3: come with the data the responses often can you all 488 00:28:49,960 --> 00:28:55,440 Speaker 3: just relax? What's the matter with you? You feel that, Christina? 489 00:28:55,640 --> 00:28:56,040 Speaker 1: I do. 490 00:28:56,440 --> 00:28:59,920 Speaker 4: I think that the Oscars, the award shows, they do 491 00:29:00,200 --> 00:29:03,320 Speaker 4: make a difference in terms of they still shape what 492 00:29:03,440 --> 00:29:07,400 Speaker 4: Hollywood makes, what Hollywood considers quote unquote good, and so 493 00:29:07,600 --> 00:29:10,480 Speaker 4: there is still a significance to them. Listen, it's not 494 00:29:10,680 --> 00:29:13,160 Speaker 4: cheap to make a movie. It's certainly not one like 495 00:29:13,200 --> 00:29:16,320 Speaker 4: Westside Story or to make a TV show. They're expensive, 496 00:29:16,880 --> 00:29:20,720 Speaker 4: and Hollywood is a business, and I think we've proven 497 00:29:20,840 --> 00:29:24,520 Speaker 4: many a time over that we can make money. But 498 00:29:24,640 --> 00:29:27,280 Speaker 4: it's not so much to me about that as it 499 00:29:27,320 --> 00:29:30,880 Speaker 4: is about we just need so much more, right, We 500 00:29:30,920 --> 00:29:33,560 Speaker 4: need so many more depictions, so many more options. Part 501 00:29:33,560 --> 00:29:36,040 Speaker 4: Clayton's point. If we want to win these awards, and 502 00:29:36,080 --> 00:29:37,520 Speaker 4: I think we do want to win them, I think 503 00:29:37,560 --> 00:29:40,920 Speaker 4: it's worth hollering about and advocating for, but it's certainly 504 00:29:40,920 --> 00:29:43,880 Speaker 4: also not the only thing that we should be working 505 00:29:43,920 --> 00:29:47,160 Speaker 4: on in Hollywood, or entertainment, or representation either. The awards 506 00:29:47,200 --> 00:29:49,920 Speaker 4: are a part of the ecosystem, but it's not the 507 00:29:50,000 --> 00:29:53,440 Speaker 4: only part, and they're not even the only part of criticism. 508 00:29:54,160 --> 00:29:57,000 Speaker 4: You look at who are critics, and they're still overwhelmingly 509 00:29:57,120 --> 00:30:00,520 Speaker 4: white and male, and that sets a limited view for 510 00:30:00,600 --> 00:30:04,440 Speaker 4: what is considered good that isn't reflective of the viewing 511 00:30:04,520 --> 00:30:07,520 Speaker 4: populace or the world. And it also leads, I would say, 512 00:30:07,520 --> 00:30:09,520 Speaker 4: to more boring art. You just sort of see the 513 00:30:09,520 --> 00:30:12,400 Speaker 4: same stuff over and over again, and instead of seeing 514 00:30:12,400 --> 00:30:14,720 Speaker 4: the whole sort of breadth and depth and beauty of 515 00:30:14,800 --> 00:30:19,080 Speaker 4: the world and all the different perspectives including Latinos obviously, right. 516 00:30:19,160 --> 00:30:22,480 Speaker 3: So if not the Oscars, where do we churn for 517 00:30:23,280 --> 00:30:27,000 Speaker 3: excellence in Latinos and Latinas. We want to be celebrated. 518 00:30:27,040 --> 00:30:29,600 Speaker 3: We want to have those awards statements next to our 519 00:30:29,640 --> 00:30:33,720 Speaker 3: big billboards. If not the Oscars, then to war take 520 00:30:33,800 --> 00:30:34,440 Speaker 3: us out, Clayton. 521 00:30:34,880 --> 00:30:37,400 Speaker 1: The thing is, that's why we need the Oscars there, 522 00:30:37,560 --> 00:30:40,880 Speaker 1: like whether we like it or not, they are the 523 00:30:40,920 --> 00:30:45,600 Speaker 1: pinnacle of what is deemed success in this business. Now 524 00:30:45,760 --> 00:30:49,240 Speaker 1: saying that like it should be that way, but they 525 00:30:49,280 --> 00:30:53,640 Speaker 1: do offer something to strive for in this business. And 526 00:30:53,800 --> 00:30:57,440 Speaker 1: why I believe the Oscars are important I never want 527 00:30:57,480 --> 00:31:01,400 Speaker 1: to see them go away, is because they have always 528 00:31:01,440 --> 00:31:06,480 Speaker 1: provided a relevant cultural snapshot of a cinematic year. There 529 00:31:06,600 --> 00:31:09,480 Speaker 1: is no reason for me to ever know the movie 530 00:31:09,600 --> 00:31:13,480 Speaker 1: How Green was My Valley other than it's the film 531 00:31:13,520 --> 00:31:16,760 Speaker 1: that beats Citizen Kane at the Oscars. But also they 532 00:31:16,800 --> 00:31:20,240 Speaker 1: reflect the mindset of the country at a time. How 533 00:31:20,280 --> 00:31:23,959 Speaker 1: Green Was My Valley beat Citizen Kane because Pearl Harbor 534 00:31:24,040 --> 00:31:26,560 Speaker 1: was bombed like two months before the Oscars and everyone 535 00:31:26,560 --> 00:31:30,080 Speaker 1: got into a real pro America mood. Those are things 536 00:31:30,080 --> 00:31:34,080 Speaker 1: that we're able to learn and reflect on. And if 537 00:31:34,080 --> 00:31:36,320 Speaker 1: you don't have the Oscars to kind of do that 538 00:31:36,400 --> 00:31:39,680 Speaker 1: in that cinematic form. That's how films get lost, That's 539 00:31:39,720 --> 00:31:43,240 Speaker 1: how we don't discover cinema over the years. So why 540 00:31:43,520 --> 00:31:47,880 Speaker 1: Parasite now lives in the eons or a Roma again 541 00:31:48,040 --> 00:31:51,680 Speaker 1: lives in our soul because it was nearly there but 542 00:31:51,960 --> 00:31:54,320 Speaker 1: it just missed. And there's an argument that like Moonlight 543 00:31:54,560 --> 00:31:57,600 Speaker 1: wins Best Picture because Trump won the presidency and there 544 00:31:57,600 --> 00:31:59,280 Speaker 1: was a way to give the middle finger. You know, 545 00:31:59,360 --> 00:32:02,000 Speaker 1: those are the that we need and will always need 546 00:32:02,080 --> 00:32:03,320 Speaker 1: and I never want to lose that. 547 00:32:04,920 --> 00:32:07,640 Speaker 3: Jack, where do we turn if not the Oscars? 548 00:32:07,800 --> 00:32:10,680 Speaker 6: Well, Latino USA will probably have a movie review podcast 549 00:32:10,840 --> 00:32:19,200 Speaker 6: where starring Latino critics. But I think I agree with 550 00:32:19,320 --> 00:32:23,480 Speaker 6: Clayton because the thing about the Oscars from its inception, 551 00:32:23,640 --> 00:32:26,760 Speaker 6: it was always meant to promote movies after they leave 552 00:32:26,800 --> 00:32:29,680 Speaker 6: the theaters, to give it a new run, to make 553 00:32:29,800 --> 00:32:31,920 Speaker 6: money and revenue off of it. And it's always been 554 00:32:31,960 --> 00:32:36,720 Speaker 6: a promotional platform and what we use the Oscars for 555 00:32:37,400 --> 00:32:43,640 Speaker 6: it still is a cultural shaper of society. People get 556 00:32:43,680 --> 00:32:47,240 Speaker 6: to be stars if they're nominated. What happened to Jalita 557 00:32:47,280 --> 00:32:49,880 Speaker 6: Barricio is one of the most phenomenal things of this 558 00:32:50,000 --> 00:32:55,080 Speaker 6: decade because she's Indigenous and we never really had an 559 00:32:55,120 --> 00:32:57,280 Speaker 6: actress like that, and that was because of the Oscars. 560 00:32:57,280 --> 00:33:01,120 Speaker 6: So it still manages to reach a global audience and 561 00:33:01,200 --> 00:33:04,880 Speaker 6: to change careers and to give Latino films that have 562 00:33:05,080 --> 00:33:09,040 Speaker 6: not before been discovered a platform for them to be 563 00:33:09,120 --> 00:33:12,080 Speaker 6: discovered and change the lives of those creators and the 564 00:33:12,200 --> 00:33:14,360 Speaker 6: viewer as well to kind of know that, oh my god, 565 00:33:14,360 --> 00:33:17,600 Speaker 6: I missed this movie. This movie changed my life. And 566 00:33:17,640 --> 00:33:19,040 Speaker 6: maybe that was because of the Oscars. 567 00:33:19,440 --> 00:33:22,240 Speaker 4: But Yalitza, we still haven't seen a second movie from her. 568 00:33:22,440 --> 00:33:25,960 Speaker 3: Ah there you go, right, you know, but she's on 569 00:33:26,000 --> 00:33:28,600 Speaker 3: the cover of Vogue, but she's working on one. Yeah. 570 00:33:28,760 --> 00:33:31,880 Speaker 4: No, listen, it's not enough. It's not enough. The power 571 00:33:32,000 --> 00:33:34,240 Speaker 4: is shifting. And as much as I to have loved 572 00:33:34,280 --> 00:33:36,440 Speaker 4: the Oscars, I think it would be okay if they 573 00:33:36,800 --> 00:33:39,240 Speaker 4: were some other places. They don't exist yet, I don't think, 574 00:33:39,600 --> 00:33:41,960 Speaker 4: and I think there is a power in them being 575 00:33:42,640 --> 00:33:45,200 Speaker 4: broad and multicultural. Like I think there's certainly a place 576 00:33:45,200 --> 00:33:48,880 Speaker 4: where Latinos and the Latino Entertainment Journalists Association has their 577 00:33:48,920 --> 00:33:49,720 Speaker 4: own awards, so you can. 578 00:33:49,720 --> 00:33:50,320 Speaker 6: Check those out. 579 00:33:50,800 --> 00:33:54,560 Speaker 4: But I feel like as much as movies have been 580 00:33:54,880 --> 00:33:58,280 Speaker 4: highlighted as this sort of pinnacle of American art, there's 581 00:33:58,320 --> 00:34:00,640 Speaker 4: other stuff now right, Like TV has a lot of 582 00:34:00,680 --> 00:34:03,400 Speaker 4: really great stuff and maybe a less elitist of an 583 00:34:03,400 --> 00:34:05,080 Speaker 4: infrastructure around criticism. 584 00:34:05,280 --> 00:34:06,680 Speaker 3: There's like web videos. 585 00:34:06,720 --> 00:34:08,960 Speaker 4: There's all sorts of other types of art that are 586 00:34:08,960 --> 00:34:11,400 Speaker 4: coming out. And as much as I love the movies 587 00:34:11,400 --> 00:34:14,360 Speaker 4: and I love the oscars, maybe it's okay that it 588 00:34:14,360 --> 00:34:16,919 Speaker 4: doesn't have the same cultural cachet and that my kids 589 00:34:16,920 --> 00:34:18,680 Speaker 4: are not going to care about it, and that they 590 00:34:18,680 --> 00:34:21,239 Speaker 4: will instead be looking at like the Netflix Top ten 591 00:34:21,280 --> 00:34:24,800 Speaker 4: lists or whatever, that there'll be other ways of measuring things. 592 00:34:25,280 --> 00:34:27,920 Speaker 4: I don't see that as a sadness or a loss, 593 00:34:27,960 --> 00:34:31,360 Speaker 4: but rather as an evolution and an opportunity. Like I 594 00:34:31,360 --> 00:34:33,600 Speaker 4: think it would be okay for it not to be 595 00:34:33,719 --> 00:34:36,600 Speaker 4: the cultural juggernaut it has been, but I'll still be 596 00:34:36,640 --> 00:34:37,160 Speaker 4: watching too. 597 00:34:38,680 --> 00:34:41,239 Speaker 3: Well, Hey, I'm happy. I'm feeling a lot better about 598 00:34:41,239 --> 00:34:43,600 Speaker 3: the whole situation after speaking with the three of you. 599 00:34:44,000 --> 00:34:46,399 Speaker 3: Before we wrap up, just a quick question, is there 600 00:34:46,520 --> 00:34:51,920 Speaker 3: something some person a film, an actor, director, editor, Latino 601 00:34:52,040 --> 00:34:54,920 Speaker 3: Latina that you just want to celebrate, that you just 602 00:34:54,960 --> 00:34:57,239 Speaker 3: want to give a shout out that maybe was or 603 00:34:57,360 --> 00:35:00,440 Speaker 3: was not in the Oscars this year, and start with 604 00:35:00,480 --> 00:35:00,920 Speaker 3: you Clayton. 605 00:35:01,440 --> 00:35:03,600 Speaker 1: Ah, yeah, I made a whole list about it right 606 00:35:03,600 --> 00:35:06,319 Speaker 1: before voting started because I was trying to make sure 607 00:35:06,360 --> 00:35:09,720 Speaker 1: everyone knew about them. David Alvarez and Westside Storry, Clifton 608 00:35:09,760 --> 00:35:12,080 Speaker 1: Collins Junior and Jockey. 609 00:35:12,920 --> 00:35:16,520 Speaker 2: I forgot a good couple of years left in Mate, Robin. 610 00:35:16,360 --> 00:35:22,280 Speaker 1: Da Hazeus and TikTok Boom was incredible, pounds of Nisio 611 00:35:22,320 --> 00:35:24,600 Speaker 1: del Toro was great in the French dispatch. 612 00:35:24,880 --> 00:35:26,000 Speaker 2: Feelings in my heart. 613 00:35:27,400 --> 00:35:32,560 Speaker 1: I can't happell Coleman, Domingo and Zola respect so I. 614 00:35:32,560 --> 00:35:33,279 Speaker 2: Can go home there. 615 00:35:33,600 --> 00:35:38,160 Speaker 4: Nah, I'm gonna need you to do last. 616 00:35:37,640 --> 00:35:39,560 Speaker 2: My god, there was just like a lot this year. 617 00:35:39,840 --> 00:35:42,200 Speaker 1: And I always say there's people we don't know that 618 00:35:42,280 --> 00:35:46,040 Speaker 1: are Latino that are making strides, like Phil Lord from 619 00:35:46,040 --> 00:35:48,319 Speaker 1: Mitchell's in the Machines. It's Cuban like we had to 620 00:35:48,320 --> 00:35:51,239 Speaker 1: celebrate him. That's like super dope. Oh it's shout out. 621 00:35:51,280 --> 00:35:55,080 Speaker 1: Cheris Castro Smith, who's a co director of Encanto, but 622 00:35:55,160 --> 00:35:57,759 Speaker 1: based on rules of the Academy, co directors cannot be 623 00:35:57,840 --> 00:36:01,120 Speaker 1: nominated only directors, so she doesn't have an Oscar nomination. 624 00:36:01,239 --> 00:36:04,359 Speaker 1: But she wrote encanto and we feel that in every 625 00:36:04,400 --> 00:36:04,880 Speaker 1: frame of that. 626 00:36:05,200 --> 00:36:08,560 Speaker 3: All right, Jack, Latinos and Latinas, you want to celebrate. 627 00:36:08,320 --> 00:36:11,280 Speaker 6: Yes, Mariana Hosa for In the Heights best supporting actress, 628 00:36:12,760 --> 00:36:13,520 Speaker 6: Thank you, thank you. 629 00:36:14,400 --> 00:36:15,359 Speaker 2: He needs a shout out. 630 00:36:16,840 --> 00:36:19,719 Speaker 6: I think a few other ones that I whose performance 631 00:36:19,719 --> 00:36:23,120 Speaker 6: I really enjoyed this year was Oscar Isaac in the 632 00:36:23,160 --> 00:36:23,680 Speaker 6: Car Counter. 633 00:36:23,880 --> 00:36:27,920 Speaker 3: I was an American kid. Confinement of any kind was 634 00:36:28,000 --> 00:36:28,719 Speaker 3: terrifying me. 635 00:36:29,160 --> 00:36:32,520 Speaker 6: I think that few people have seen that performance, and 636 00:36:32,560 --> 00:36:35,160 Speaker 6: it's one of his best performances. I love al Heno 637 00:36:35,200 --> 00:36:36,120 Speaker 6: that are best in coda. 638 00:36:36,320 --> 00:36:40,160 Speaker 3: Remember the little Dog, Big Dog exercise. Okay, little Dog. 639 00:36:41,719 --> 00:36:44,840 Speaker 6: I thought he was fantastic. He was the fire of 640 00:36:44,880 --> 00:36:49,560 Speaker 6: that film. And Olga Meddicent in the Heights were yours? 641 00:36:50,080 --> 00:36:53,480 Speaker 3: Try my mother's old recipe one kind of condensed meal. 642 00:36:53,640 --> 00:36:56,520 Speaker 6: There was a campaign for her from the very get 643 00:36:56,520 --> 00:37:00,440 Speaker 6: go that went sideways. I think these are cheap people 644 00:37:00,880 --> 00:37:03,640 Speaker 6: who should have been nominated, who should have been considered, 645 00:37:03,640 --> 00:37:06,520 Speaker 6: who should still be a part of the Oscar talk 646 00:37:06,680 --> 00:37:09,160 Speaker 6: and buzz, And hopefully we'll see more of them, you know, 647 00:37:09,200 --> 00:37:10,160 Speaker 6: in the next couple of years. 648 00:37:10,480 --> 00:37:14,720 Speaker 4: Love that Christina I would certainly echo Charis Castro Smith. 649 00:37:14,800 --> 00:37:19,000 Speaker 4: She is the Latina Latino LATINX representation on the top 650 00:37:19,080 --> 00:37:22,720 Speaker 4: billing creative team of Incanto, so it feels very silly 651 00:37:22,760 --> 00:37:26,120 Speaker 4: that she wasn't nominated. And I would also say, you know, 652 00:37:26,160 --> 00:37:28,720 Speaker 4: you think of Tessa Thompson in Passing. 653 00:37:28,480 --> 00:37:34,280 Speaker 3: Just played exoticism an interesting what's different kind of emotional excitement. 654 00:37:34,680 --> 00:37:37,920 Speaker 4: I thought that was one of the most interesting innovative 655 00:37:37,960 --> 00:37:42,480 Speaker 4: films I watched this year, and it just completely got overlooked. 656 00:37:42,800 --> 00:37:44,319 Speaker 4: And I can't help but think that has to do 657 00:37:44,360 --> 00:37:48,160 Speaker 4: with race and gender and how deep its thoughts were 658 00:37:48,239 --> 00:37:52,880 Speaker 4: on those issues and maybe over some folks' heads, to 659 00:37:52,960 --> 00:37:56,480 Speaker 4: put it gently, and so not to see her in 660 00:37:56,560 --> 00:38:01,000 Speaker 4: that film nominated just feels like we are making great art, 661 00:38:01,320 --> 00:38:03,480 Speaker 4: but it is maybe not understood by the people who 662 00:38:03,520 --> 00:38:06,239 Speaker 4: are making all of the decisions, and that's where we 663 00:38:06,280 --> 00:38:07,319 Speaker 4: need to keep pushing on. 664 00:38:10,520 --> 00:38:13,479 Speaker 3: So, Cristina Jack Clayton, thank you so much for having 665 00:38:13,480 --> 00:38:16,200 Speaker 3: this great conversation with me on Latino USA. Grascia. 666 00:38:16,320 --> 00:38:17,359 Speaker 2: Thanks for having me. Thank you. 667 00:38:28,920 --> 00:38:32,200 Speaker 3: This episode was produced by Alejandra Salasad and edited by 668 00:38:32,320 --> 00:38:36,040 Speaker 3: Marta Martinez and mixed by Leo Shawl Dameran. The Latino 669 00:38:36,120 --> 00:38:40,840 Speaker 3: USA team includes Andrea Lopez Grusado, Daisy Contreras, Mike Sargent, 670 00:38:40,960 --> 00:38:46,480 Speaker 3: Julieta Martinelli, Victoria Strada, Rinaldo Leanos Junior, Patricia Sulbaran and 671 00:38:46,560 --> 00:38:50,360 Speaker 3: Julia Rocha, with help from Raoul Perez. Our editorial director 672 00:38:50,400 --> 00:38:54,200 Speaker 3: is Julio Ricardo Barella. Our director of Engineering is Stephanie Lebou. 673 00:38:54,360 --> 00:38:57,880 Speaker 3: Our senior engineer is Julia Caruso. Our associate engineers are 674 00:38:57,920 --> 00:39:01,480 Speaker 3: gabriel A Bias and JJ Carubin. Our digital editor is 675 00:39:01,560 --> 00:39:05,480 Speaker 3: Luis Luna. Our fellows are Elisa Raina, Monica Morales and 676 00:39:05,480 --> 00:39:09,480 Speaker 3: Andrew Vignalis. Our theme music was composed by Sana Robindos. 677 00:39:09,719 --> 00:39:12,480 Speaker 3: I'm your host and executive producer marieo Hosa. Join us 678 00:39:12,480 --> 00:39:14,680 Speaker 3: again on our next episode and in the meantime, I'll 679 00:39:14,719 --> 00:39:19,160 Speaker 3: see you on all of our social media at Gerda Shao. 680 00:39:23,680 --> 00:39:28,280 Speaker 5: Latino USA is made possible in part by California Endowment 681 00:39:28,600 --> 00:39:31,920 Speaker 5: building a strong state by improving the health of all Californians, 682 00:39:32,280 --> 00:39:36,319 Speaker 5: the John D. And Catherine T. MacArthur Foundation, and the 683 00:39:36,400 --> 00:39:42,799 Speaker 5: Heising Simons Foundation. Unlocking knowledge, opportunity and possibilities more at 684 00:39:43,040 --> 00:39:44,759 Speaker 5: Hsfoundation dot org. 685 00:39:48,840 --> 00:39:50,759 Speaker 3: I saw you all on the zoom, and y'all are 686 00:39:50,800 --> 00:39:54,000 Speaker 3: looking adorable. I have a nine week old puppy, so 687 00:39:54,040 --> 00:39:56,879 Speaker 3: I'm not looking so cute right now. Yeah, nobody told 688 00:39:56,880 --> 00:39:59,160 Speaker 3: me that it's like when you have a newborn you 689 00:39:59,200 --> 00:40:02,359 Speaker 3: don't sleep. I knew about the hard part during the day. 690 00:40:02,440 --> 00:40:04,120 Speaker 3: I was like, oh, hard work during the day, But 691 00:40:04,160 --> 00:40:05,759 Speaker 3: nobody said, yeah, you don't sleep at night.