WEBVTT - Marina de Tavira / "Roma" 0:00:15.480 --> 0:00:19.000 You're listening to play back a Variety I Heart Radio podcast. 0:00:19.720 --> 0:00:23.599 I'm your host, Variety Awards Editor Chris Tapley. This week, 0:00:23.640 --> 0:00:26.159 we continue our streak of chats with Oscar nominees with 0:00:26.239 --> 0:00:30.760 Marina did Tavera, the supporting Actress nominee from Alphonso Quaron's Roma. 0:00:31.880 --> 0:00:35.040 She was a surprise supporting Actress nominee at that which 0:00:35.640 --> 0:00:39.199 was kind of awesome. Um, Marina is one of the 0:00:39.240 --> 0:00:42.000 coolest people on the circuit. She's been such a great 0:00:42.000 --> 0:00:44.920 presence all year long. And uh, I don't know, you 0:00:44.920 --> 0:00:48.479 look for these moments every year. I guess where uh 0:00:48.920 --> 0:00:52.919 you can kind of see the seismic potential of I guess, 0:00:52.960 --> 0:00:55.480 you know, this time of year or this recognition and 0:00:55.520 --> 0:00:57.760 what it can mean for a career. And I think 0:00:57.760 --> 0:00:59.440 we're gonna be seeing a lot more of Marina in 0:00:59.480 --> 0:01:02.120 the future. And I'm happy to finally catch up with him. 0:01:02.160 --> 0:01:06.080 So here's my chat with Marina di Tavera. Rainy weekend. Yeah, 0:01:08.600 --> 0:01:11.520 it's usually better than this, as you know, well, ye, 0:01:12.319 --> 0:01:15.280 but it's not that bad because you know, it could 0:01:15.280 --> 0:01:16.680 be a lot worst, could be in New York, could 0:01:16.680 --> 0:01:21.240 be in Chicago. Man of Lake, Michigan. It was like 0:01:21.280 --> 0:01:25.160 frozen completely. So I'm not. I'm not a cold weather 0:01:25.200 --> 0:01:29.440 person at all. In fact, the warmer for me, the better. Yeah, 0:01:30.200 --> 0:01:32.920 and I'm gonna bring up questions. I'm not checking text messages. 0:01:33.000 --> 0:01:38.240 I well, you never know, you never know these days. 0:01:40.440 --> 0:01:43.560 All right, Okay, everyone, I'm here with Marina di Tavera, 0:01:44.080 --> 0:01:47.320 the Oscar nominated star of Roma. Thank you for coming 0:01:47.360 --> 0:01:50.520 on the show first and foremost. You say that, and 0:01:50.640 --> 0:01:54.320 I just don't. I mean, huh, I can't believe it yet. 0:01:54.840 --> 0:01:57.400 Tell me about that morning I was. I burst into 0:01:57.440 --> 0:02:00.560 applause spontaneously because it was like the second and they called, 0:02:00.600 --> 0:02:03.000 and I was like, oh my god, what was your morning? Like, 0:02:03.040 --> 0:02:06.040 I mean, were you awake watching this unfold? Yes? I 0:02:06.080 --> 0:02:09.320 was awake, totally aware that the nominations were coming out. 0:02:09.760 --> 0:02:12.400 I was waking my son up for him to go 0:02:12.440 --> 0:02:16.080 to school. But and I was expecting that Roma made 0:02:16.320 --> 0:02:19.120 some nominations in some categories, but I wouldn't. I never 0:02:19.160 --> 0:02:23.240 expected to be on the list, like in a personal nomination. 0:02:23.600 --> 0:02:27.280 So when I heard it, I just I screamed. I 0:02:27.400 --> 0:02:29.840 ran to my son's room and I was yelling like 0:02:30.120 --> 0:02:32.200 I got nominated, I got nomine And he was like 0:02:32.320 --> 0:02:34.919 what what what do what the film? Do you mean 0:02:34.919 --> 0:02:37.200 the film? And I was not, I don't know yet, 0:02:38.040 --> 0:02:40.760 but me so, yeah, I think it's the first time 0:02:40.840 --> 0:02:44.800 I've cried out of joy. That's a great way to 0:02:44.800 --> 0:02:49.440 wake up your something. Yeah, I got him out. Um, 0:02:49.480 --> 0:02:52.399 you know, I wanted to go back and just kind 0:02:52.400 --> 0:02:54.120 of get to know you a little bit. Like your 0:02:54.120 --> 0:02:56.680 passion for acting? Where did they come from? Was at 0:02:56.680 --> 0:02:58.560 an early age? I read this thing. Tell me if 0:02:58.600 --> 0:03:01.400 this is true, you were six and you snuck out 0:03:01.440 --> 0:03:04.480 onto a glass ceiling or something during rehearsals for Macbeth. 0:03:04.639 --> 0:03:07.680 Is this true? Well, yeah, my my my dad, My 0:03:07.800 --> 0:03:11.640 dad had this um a group of the actors that 0:03:11.919 --> 0:03:14.000 used to come home for rehearsky. He wanted to be 0:03:14.040 --> 0:03:16.200 an actor. Then he couldn't. He ended up being a lawyer, 0:03:16.240 --> 0:03:19.119 and then and then his life went in another way. 0:03:19.120 --> 0:03:22.680 But he always kept doing theater at home. We had 0:03:22.760 --> 0:03:25.120 even we didn't even have a space. We called theater 0:03:25.400 --> 0:03:28.919 the theater, and he would rehearse there. So I would 0:03:28.960 --> 0:03:32.840 always like spy on them. And and this was a 0:03:32.919 --> 0:03:39.360 Macbeth version of Yanesco, the the French dramatist. And and 0:03:39.360 --> 0:03:42.320 and I was like spying and then the glass broke 0:03:42.400 --> 0:03:45.560 and everybody noticed I was there, like he crashed onto 0:03:45.600 --> 0:03:48.480 the scene. Yeah, so what was the draw? Why were 0:03:48.480 --> 0:03:52.040 you so interested? Why why were you spying on this? 0:03:52.560 --> 0:03:56.080 Because it was theater for me was a world I 0:03:56.120 --> 0:03:59.360 wanted to belong to. I come from a family that 0:03:59.520 --> 0:04:02.840 has a tradition, so I was able to go to 0:04:02.960 --> 0:04:06.080 see some place that were not even for children and 0:04:06.120 --> 0:04:09.720 then get to go backstage and see the actresses, and 0:04:09.760 --> 0:04:13.160 they were my relatives. So I would always think, I 0:04:13.200 --> 0:04:16.080 want to belong to that world. There's something that they 0:04:16.120 --> 0:04:19.400 have that moves me really deeply, and and I just 0:04:19.440 --> 0:04:21.960 wanted my life to be about that and that that 0:04:22.080 --> 0:04:25.240 I knew it like from like in my early years. 0:04:25.480 --> 0:04:27.359 What do you think it was? Was it there's a 0:04:27.360 --> 0:04:30.760 sense of community in theater? I don't know if it's that. 0:04:30.880 --> 0:04:32.480 I mean, like, what what? What is it that was 0:04:33.000 --> 0:04:36.040 specifically grabbing you? Was just the kind of they the 0:04:36.800 --> 0:04:42.280 way they seem to to recreate a completely different world, 0:04:42.839 --> 0:04:47.680 like they immerged in another reality and and and watching 0:04:47.720 --> 0:04:51.240 that as a as as an audience was like, um, 0:04:53.560 --> 0:04:58.280 they really made my me like I had experienced things 0:04:58.320 --> 0:05:00.640 I didn't imagine. So I I said I want to 0:05:00.640 --> 0:05:02.039 be there. I want to be one of them. I 0:05:02.040 --> 0:05:04.640 want to be one of the ones that create this 0:05:04.839 --> 0:05:10.400 completely different world. So make Believe as a kid like 0:05:11.560 --> 0:05:15.480 where you I don't know one of the cheesy questions 0:05:15.480 --> 0:05:17.680 that you ask actors about their childhood, right like where 0:05:17.760 --> 0:05:20.160 you playing make Believe a lot? Where you were you 0:05:20.200 --> 0:05:23.479 into that kind of just did you like putting on 0:05:23.560 --> 0:05:26.919 shows for family members and stuff where you much outward spirit? 0:05:27.000 --> 0:05:28.320 I mean, was this just all a part of who 0:05:28.400 --> 0:05:31.960 you were? I mean, that was my favorite game to 0:05:31.960 --> 0:05:34.880 to like. It was called plays with my cousins, and 0:05:34.880 --> 0:05:37.080 we used to do like you have fifteen minutes to 0:05:37.080 --> 0:05:39.039 do a play and you have fifth and then we 0:05:39.080 --> 0:05:41.440 watch yours and then you watch ours. It wasn't even 0:05:41.480 --> 0:05:44.360 about a contest. It was just about the doing a play. 0:05:44.560 --> 0:05:47.200 And and I mean I was I didn't watch TV 0:05:47.320 --> 0:05:49.600 a lot. I didn't have permission to watch to be 0:05:49.920 --> 0:05:54.880 only one hour a day, so I would yeah, I 0:05:54.880 --> 0:05:57.640 mean maybe at the yeah it was. It felt strict 0:05:57.680 --> 0:06:00.320 at the moment, But now I really am it ful 0:06:00.360 --> 0:06:04.160 because that like opened up imagination and you know, something 0:06:04.200 --> 0:06:05.560 that you're not allowed to be a part of just 0:06:05.600 --> 0:06:11.080 makes you want to do it all the more. I guess, yeah, absolutely. Um, 0:06:11.160 --> 0:06:13.360 you know with this film with Roma, you know you 0:06:13.400 --> 0:06:15.840 didn't know it was an Alfonso Korn movie to begin with. 0:06:16.400 --> 0:06:19.480 As I understand it, what what was the early process 0:06:19.760 --> 0:06:25.039 of getting involved with Roma, like before knowing as director? Well, 0:06:25.279 --> 0:06:28.080 you know, for actress, auditions and castings are part of 0:06:28.160 --> 0:06:31.720 our daily life. I think it's when we suffer the most. Well, 0:06:31.800 --> 0:06:34.040 for me, it is that way. You have to like 0:06:35.080 --> 0:06:39.160 always being facing real rejection or not or you know, 0:06:39.279 --> 0:06:42.760 the nervousness of not knowing. But that's what we do. 0:06:43.040 --> 0:06:44.920 So I was called up for for an addition and 0:06:45.080 --> 0:06:48.160 they say, believe me, this is something special. We just 0:06:48.240 --> 0:06:50.680 can't tell you much, but it's worth it. So I 0:06:50.960 --> 0:06:54.320 just went on and do it. And they they told 0:06:54.320 --> 0:06:56.160 me it was going to be going to be something 0:06:56.800 --> 0:07:01.240 between the nineties seventies and that it was about a divorce. 0:07:02.040 --> 0:07:04.320 So I said to myself, Oh, I know about that. 0:07:05.200 --> 0:07:07.600 I know about that. I think I can't portray it. 0:07:08.279 --> 0:07:11.160 So I just kept on doing it. They kept calling 0:07:11.200 --> 0:07:14.600 me back, and then at the end of the third one, 0:07:14.760 --> 0:07:18.400 I think they said that it was Alfonso who was 0:07:18.440 --> 0:07:20.880 going to direct this film. I knew he was coming 0:07:20.920 --> 0:07:23.480 back to Mexico because we had heard about that, you know, 0:07:24.000 --> 0:07:27.560 you hear about those things. And but I was like, oh, 0:07:27.720 --> 0:07:31.160 so that's the film I've been auditioning for. So it 0:07:31.320 --> 0:07:34.560 was really crazy. Made the decision easy at that point, 0:07:34.600 --> 0:07:37.040 I imagine, I mean, we're you weren't looking at a 0:07:37.120 --> 0:07:39.440 script though right now, we're just kind of doing interaction 0:07:39.520 --> 0:07:41.480 stuff with the ALSA and stuff like this. I mean, 0:07:41.600 --> 0:07:43.760 well not with her. I mean I met her out 0:07:43.800 --> 0:07:46.440 there at the end of the process. Also by myself. 0:07:47.080 --> 0:07:49.680 The first one was only talking about who I was, 0:07:49.880 --> 0:07:53.880 like my biography, where was I born, what what neighborhood 0:07:53.920 --> 0:07:58.320 I was raised in, and my parents story. And then 0:07:58.400 --> 0:07:59.880 they just said, now we're going to make an imp 0:08:00.160 --> 0:08:03.200 l It's about a woman that's waiting for her husband. 0:08:03.440 --> 0:08:07.840 She knows that something's been going on. And then and 0:08:07.880 --> 0:08:11.880 then I thought, at the moment, you know, the very 0:08:12.080 --> 0:08:15.400 first reaction like impulse would be like be really mad 0:08:16.040 --> 0:08:18.120 and jelling and you know. And then I said, but 0:08:18.200 --> 0:08:20.240 that's not it. That's not the way it would be 0:08:20.360 --> 0:08:23.360 in that time, or even that's not the way it is. 0:08:23.440 --> 0:08:26.000 I mean, so I went into it. They did it 0:08:26.520 --> 0:08:29.760 the complete opposite way. I just like said, waited there, 0:08:29.840 --> 0:08:32.280 and when I had like to talk to to the 0:08:32.320 --> 0:08:35.800 guy was just so really calmed. And and then when 0:08:35.840 --> 0:08:38.280 alf also talked to me about the character, it really 0:08:38.320 --> 0:08:42.000 made sense because she said that the woman in that 0:08:42.240 --> 0:08:46.480 moment and and and Sophia specifically will never like be 0:08:47.280 --> 0:08:50.400 um asking something for her husband, like in a violent 0:08:50.520 --> 0:08:54.679 way or in a because they couldn't because because she 0:08:54.880 --> 0:08:58.160 was like in a very vulnerable, uh moment in her life, 0:08:58.240 --> 0:09:02.280 like he was the one that was ringing the money home, 0:09:02.440 --> 0:09:05.760 and so she had to really play it down. Uh. 0:09:05.840 --> 0:09:07.520 And hopefully you know movie has been out for a while. 0:09:07.520 --> 0:09:09.200 If you haven't seen Rome, it's on Netflix. Go see 0:09:09.200 --> 0:09:11.400 it right now. It's the best movie of the year. Um. 0:09:11.600 --> 0:09:14.000 We've talked about this before, but let's let's break it 0:09:14.040 --> 0:09:15.760 down for folks. You did not get to look at 0:09:15.800 --> 0:09:19.480 a script. It was very much discover your reality day 0:09:19.520 --> 0:09:23.360 by day, your professional actress, surrounded by a lot of 0:09:23.480 --> 0:09:27.120 non actors, a lot of first time actors, and uh, 0:09:27.400 --> 0:09:29.520 you know, you're the pro of the bunch, and presumably 0:09:29.880 --> 0:09:33.360 your kind of instincts would be rubbed against a little 0:09:33.360 --> 0:09:36.439 bit by this process. So just tell me how the 0:09:36.520 --> 0:09:39.040 process of not having a script and learning things data. 0:09:39.280 --> 0:09:42.200 How how that affected you as a professional actor. Well, 0:09:42.400 --> 0:09:45.679 not having the script didn't really affect me. You know, 0:09:45.800 --> 0:09:48.440 in acting school you're used to play with whatever they 0:09:48.480 --> 0:09:50.680 tell you to do. Sometimes they just give you directions 0:09:50.720 --> 0:09:52.920 like and you go ahead and play it and improvise 0:09:53.000 --> 0:09:55.480 the scenes. So that wasn't really a problem. I think 0:09:55.800 --> 0:10:00.079 it was understanding what the what I fonto want it 0:10:00.520 --> 0:10:03.320 we should? It was like difficult for me to understand 0:10:03.360 --> 0:10:06.680 at the beginning because he would give us the lines, 0:10:07.600 --> 0:10:09.240 but then he would say, but you don't have to 0:10:09.520 --> 0:10:14.840 really say exactly the same words, and there's some small 0:10:15.000 --> 0:10:19.319 room for improvising. But that's that means with dealing with 0:10:19.520 --> 0:10:22.559 what you don't expect and what once it happens you 0:10:22.640 --> 0:10:25.880 have there You have room to do whatever it comes, 0:10:26.480 --> 0:10:29.280 but not that much. I mean you can't just play 0:10:29.440 --> 0:10:33.720 another scene. I mean, you know, invent something something weird. 0:10:34.559 --> 0:10:38.319 So getting adjusting to that that was difficult to understand 0:10:38.320 --> 0:10:39.839 that that was what we did the first week. It 0:10:40.000 --> 0:10:43.120 was like trying to really understand what he meant like 0:10:43.520 --> 0:10:46.280 because it's not improvising, but it's not all but all. 0:10:46.400 --> 0:10:49.480 It also isn't like the way we we usually do that. 0:10:49.600 --> 0:10:51.760 We we stick to the words that we have and 0:10:51.880 --> 0:10:55.480 we rehearse. There were no rehearsals at all, and there 0:10:55.559 --> 0:10:58.800 was no previous work. We shot this in chronological order, 0:10:59.160 --> 0:11:01.120 and the only previous work I did with al phones. 0:11:01.120 --> 0:11:03.559 So it was a very long talk about what he 0:11:03.679 --> 0:11:07.600 remembered about his mother, and he didn't say anything about 0:11:07.640 --> 0:11:10.960 what was going to happen to her in the during 0:11:11.000 --> 0:11:13.800 the film. He just stopped at the very moment where 0:11:13.880 --> 0:11:16.439 we would do the first thing, he said everything that 0:11:16.520 --> 0:11:20.079 she had lived just before, and then we started with 0:11:20.240 --> 0:11:24.160 no rehearsals, with no like getting to know the other actors, 0:11:24.600 --> 0:11:28.080 because he truly believed and I think he was right 0:11:28.600 --> 0:11:32.440 that that would actually emerge by the way we were working, 0:11:32.600 --> 0:11:35.400 and because he think I think he thought that he 0:11:35.480 --> 0:11:39.680 had like really really concentrated in choosing the right person 0:11:39.880 --> 0:11:42.839 for each character and that they could really emboid it 0:11:42.920 --> 0:11:47.960 and they that they had it within them. We had it? Yeah, Well, um, 0:11:50.240 --> 0:11:52.839 was it? Were you nervous knowing that you were playing 0:11:52.840 --> 0:11:56.040 his mother? Isn't you know? In this movie? Essentially? And 0:11:56.160 --> 0:11:59.480 that that kind of gives you the sense that there's 0:11:59.480 --> 0:12:01.400 an even more watchful eye on you than just a 0:12:01.480 --> 0:12:04.800 director I mean, you're playing a man's mother, so well, 0:12:05.679 --> 0:12:08.560 you know, it wasn't. I was really nervous, really really nervous. 0:12:08.559 --> 0:12:11.240 I remember the first day I walked and the first 0:12:11.280 --> 0:12:13.880 day I worked there, my heart was being so so 0:12:14.040 --> 0:12:17.440 fast that the people on sound were really worried because 0:12:17.440 --> 0:12:19.920 they couldn't hear my words, they were only listening to 0:12:20.040 --> 0:12:24.000 my heart. So but it wasn't because of I was 0:12:24.080 --> 0:12:25.920 because I was playing his mother. It was because I 0:12:26.040 --> 0:12:29.199 was working with him, and I really he I mean, 0:12:29.480 --> 0:12:32.800 I sometimes you when you admire someone so much, you 0:12:33.000 --> 0:12:35.840 feel like, really, I want to be up to the standards. 0:12:36.040 --> 0:12:40.079 I really don't want to fail here, you know, fail 0:12:40.240 --> 0:12:43.439 him because he trusted me, but the fact that it 0:12:43.679 --> 0:12:47.520 was his mother that really didn't because I felt I 0:12:47.559 --> 0:12:49.719 could really relate to it, and I trusted that he 0:12:49.800 --> 0:12:51.480 knew why he chose me, and I knew what he 0:12:51.600 --> 0:12:53.880 chose me because Sophia has a lot to do with 0:12:54.000 --> 0:12:55.719 my own mother and has a lot to do with 0:12:55.840 --> 0:12:59.319 my life. So it was it was about him and 0:12:59.440 --> 0:13:02.880 about really trying to understand what he wanted. Because I 0:13:03.280 --> 0:13:07.360 I understood it wasn't something like common like just common acting. 0:13:07.480 --> 0:13:09.679 It was something else you touched on this, but I 0:13:09.760 --> 0:13:11.680 was just wondering how much like you put yourself into 0:13:11.720 --> 0:13:15.040 the role, but put your own personal I guess life 0:13:15.120 --> 0:13:17.120 or whatever under the role. I mean, was that is 0:13:17.160 --> 0:13:19.640 that something you do anyway as an actress? That because 0:13:19.679 --> 0:13:22.240 we talked about make believe you know something, a bit 0:13:22.280 --> 0:13:24.560 of escapism and that as well. But as an actress, 0:13:25.120 --> 0:13:28.160 do you enjoy putting yourself into the part that you're playing? 0:13:28.520 --> 0:13:32.320 And now I I think I can't work in another way. 0:13:32.720 --> 0:13:36.280 I always I'm always pulling from my own experience, and 0:13:36.679 --> 0:13:40.280 of course the character's experience is not it's never yours, 0:13:40.720 --> 0:13:43.959 and and sometimes they go through things you've never gone through, 0:13:44.040 --> 0:13:48.120 but you can relate to something in your life I have. 0:13:48.400 --> 0:13:50.880 I always have to pull from my own experience. But 0:13:51.080 --> 0:13:54.280 sometimes it's sometimes you have more, more, more, more things 0:13:54.320 --> 0:13:56.559 to work with. And in this case with Sophia, I 0:13:56.679 --> 0:13:58.920 had a lot, a lot, a lot. I mean, I 0:13:59.160 --> 0:14:01.520 I could have been one of those kids, you know 0:14:01.720 --> 0:14:03.679 my story, my it could have been one of the 0:14:04.040 --> 0:14:06.840 it could have been little Sofia. Did you ever talked 0:14:06.840 --> 0:14:08.559 to phones about that or did you keep that here? 0:14:08.640 --> 0:14:10.959 And you know I kept it. He's heard about that 0:14:11.040 --> 0:14:14.760 now that we've been traveling together. And because we never 0:14:14.920 --> 0:14:19.800 made it like a irrational analysis of the film er 0:14:19.960 --> 0:14:23.200 of the characters. It was really about like surrendering to 0:14:23.360 --> 0:14:29.800 them in a you know, very emotional and deep and way, 0:14:30.000 --> 0:14:33.360 not not like thinking or talking or oh I remember this. 0:14:33.560 --> 0:14:36.320 It was just being a being there and feeling it. 0:14:37.040 --> 0:14:40.000 So I would I would mostly only listen to him. 0:14:40.560 --> 0:14:43.720 I would I would like never speak a lot. He 0:14:43.720 --> 0:14:46.080 would would, he would come to me. I would listen, 0:14:47.040 --> 0:14:48.920 and then he would come back again, and I would 0:14:48.960 --> 0:14:53.640 listen and I wouldn't. I was like trying to keep 0:14:53.720 --> 0:14:56.680 silent because I think I thought that if I talked 0:14:56.720 --> 0:15:00.320 too much, I was being doing something else. It about 0:15:00.360 --> 0:15:04.120 receiving and trying to respond with acting and not with 0:15:04.360 --> 0:15:08.000 thinking or words. And it's very immersive too when you're 0:15:08.040 --> 0:15:13.280 in these like meticulously recreated locations. Uh. I assume that 0:15:13.360 --> 0:15:15.560 does something for your performance as well, right, because you 0:15:16.160 --> 0:15:17.800 you feel like you're in his house, you feel like 0:15:18.160 --> 0:15:21.440 it's real totally. And he really took care of that. 0:15:22.160 --> 0:15:26.600 I mean, he he respected our our acting process beautifully. 0:15:27.160 --> 0:15:29.800 It was very important for him that this was a house, 0:15:30.680 --> 0:15:33.240 that it would feel like a real house. That because 0:15:33.400 --> 0:15:37.280 even and since we were working with uh first time actors. 0:15:37.800 --> 0:15:40.280 It was like if they felt that they were on 0:15:40.400 --> 0:15:43.880 a set or something that would like, yeah, put them 0:15:44.840 --> 0:15:48.360 away from from the story and from the character's life. 0:15:48.520 --> 0:15:51.000 So it was a real, real house. Every every corner 0:15:51.080 --> 0:15:53.880 you looked at, it was filled with things, and so 0:15:54.240 --> 0:15:57.880 it really he really took care of that detail, like 0:15:58.520 --> 0:16:02.000 we could feel it was real life all the time constantly. 0:16:02.280 --> 0:16:05.040 I mean, in my my, my, my clothes were in 0:16:05.120 --> 0:16:08.520 the clothes were in the closet of Sofia's room. There's 0:16:08.560 --> 0:16:11.640 what the people from from. They would take them out 0:16:11.720 --> 0:16:15.240 from there. They were hanging there all the time. I 0:16:15.320 --> 0:16:18.080 think it deserves that award very much for a production 0:16:18.120 --> 0:16:20.120 design because it's so meticulous. I mean, it built this 0:16:20.240 --> 0:16:23.920 big street scene as well. And you know he's talked 0:16:23.920 --> 0:16:27.600 about telling the production designer, I might go into any 0:16:27.640 --> 0:16:30.120 one of these shows, so I needed to be filled 0:16:30.120 --> 0:16:33.840 out with everything. What's kind of mean. I know that, 0:16:34.040 --> 0:16:36.240 And it happened a lot that, like they when they 0:16:37.160 --> 0:16:40.320 were done, we're like, really, are you done? Yeah, but 0:16:40.400 --> 0:16:43.000 I mean there's you didn't see that way and that 0:16:43.120 --> 0:16:47.920 way and that way. Now there you go. He's an artist. Yeah, 0:16:48.520 --> 0:16:50.400 you've traveled all over with this film, I mean the 0:16:50.440 --> 0:16:53.280 movie first it debuted at Venice and then went to 0:16:53.400 --> 0:16:55.080 tell you right where I saw where I saw it 0:16:55.200 --> 0:17:00.000 and I met you and Jelisa there. Um, I've been curious. 0:17:00.000 --> 0:17:03.320 I've asked you this before. But just meeting different people, 0:17:03.400 --> 0:17:06.879 seeing people different people react to the movie in different 0:17:06.880 --> 0:17:10.480 ways and sometimes very interestingly similar ways. What has just 0:17:10.800 --> 0:17:14.480 the road trip, there's a there's a celebration, Yeah somewhere, 0:17:15.520 --> 0:17:19.520 let's join me bring him in. No, but I don't 0:17:19.520 --> 0:17:23.200 know if anyone heard that, but yeah, just seeing people 0:17:23.240 --> 0:17:26.760 react to it around the world, essentially in different ways. 0:17:26.800 --> 0:17:29.639 What's that been like for you? That was at the 0:17:29.680 --> 0:17:33.560 beginning of a surprise the first time, and it was 0:17:33.640 --> 0:17:36.440 intelliright actually, because in Venice, I didn't have a time, 0:17:36.720 --> 0:17:38.920 actually time to talk to anybody. I just saw like 0:17:39.040 --> 0:17:42.680 the the the applause, and everybody like stood up and 0:17:43.119 --> 0:17:47.440 applauded for like fifteen minutes I don't remember, but we 0:17:47.560 --> 0:17:50.919 didn't actually talk to anyone because we flew directly to Telly, right, 0:17:51.560 --> 0:17:54.960 So it was there where I could see the first 0:17:55.000 --> 0:17:57.399 time they were like screening the film and then I 0:17:57.880 --> 0:18:01.000 saw all these people coming out before the Q and 0:18:01.080 --> 0:18:03.239 A just going back really quick to the bathroom when 0:18:03.240 --> 0:18:05.560 they were crying, and then I was like, oh my god, 0:18:05.920 --> 0:18:08.440 and they would say, oh god, mms, and I was 0:18:08.560 --> 0:18:11.720 did the film did this? And then there's where I 0:18:11.800 --> 0:18:15.119 started to see what it was happening and that people 0:18:15.200 --> 0:18:18.879 were really really relating to it, that it maybe at 0:18:18.920 --> 0:18:21.480 the beginning I thought that it may be something local 0:18:21.840 --> 0:18:25.359 or really like from Mexico, and then I realized that no, 0:18:25.680 --> 0:18:30.159 that that that that when you go really personal and 0:18:30.440 --> 0:18:35.359 compromise with that, somehow that hits everybody and it's childhood. 0:18:35.960 --> 0:18:39.639 It's childhood scars, and it's the people that raised us. 0:18:40.200 --> 0:18:45.720 And also uh incredible like questioning our our fear of 0:18:45.880 --> 0:18:50.399 difference and you know, racial difference and social difference. And 0:18:50.480 --> 0:18:52.159 I feel like the way he's filmed the movie and 0:18:52.240 --> 0:18:54.920 what we just talked about earlier, it really helps to 0:18:55.080 --> 0:18:59.200 and still empathy with the characters that are, you know, 0:18:59.359 --> 0:19:02.920 going through things you might have no understanding or experience with. 0:19:03.119 --> 0:19:06.440 But the way that he filmed the movie, I don't know, 0:19:06.560 --> 0:19:09.320 it just it translates that empathy to you in some sense. 0:19:09.400 --> 0:19:11.560 And I mean I've said it before. I was like 0:19:11.680 --> 0:19:14.720 full body crying during a certain scene in a hospital 0:19:14.840 --> 0:19:16.840 late in the film, which is I think the scene 0:19:16.880 --> 0:19:19.480 that gets a lot of people. But there's just a 0:19:19.560 --> 0:19:22.200 matter of factness to the filmmaking that just allows you 0:19:22.280 --> 0:19:25.280 to come into it instead of being presentational. Do you 0:19:25.320 --> 0:19:28.760 know what I mean? I totally do. It's Uh, that's 0:19:28.760 --> 0:19:31.240 something I really he I think he really accomplished that. 0:19:31.359 --> 0:19:34.960 It's like there's no comment on anything, not even the 0:19:35.040 --> 0:19:37.840 fact that there's no score, you know, and like the 0:19:37.960 --> 0:19:42.399 camera is always like this distant eye of something really 0:19:43.920 --> 0:19:46.720 that that's happening, like in a really deep way, but 0:19:46.840 --> 0:19:49.760 there's not like that. That was important for acting. Also 0:19:50.119 --> 0:19:53.240 that he worked a lot with that, like never comment 0:19:53.359 --> 0:19:56.600 on your emotion as an actor, because sometimes as actors 0:19:56.680 --> 0:19:59.080 we we want to put in the surface what's going 0:19:59.160 --> 0:20:02.320 on in emotions because that's acting and you want the 0:20:02.359 --> 0:20:05.600 audience to see it. And in this case with Sophia, 0:20:05.760 --> 0:20:08.040 it was going the other way all the time, the 0:20:08.119 --> 0:20:10.920 other way, like if the emotion would come to the surface, 0:20:11.280 --> 0:20:14.320 he would stop and we would start again, and he 0:20:14.359 --> 0:20:17.080 would say, no, it has to be there in a 0:20:17.200 --> 0:20:20.560 really strong way, but never never show it or never 0:20:20.800 --> 0:20:25.160 even worse, try to show it. Yeah, And the way 0:20:25.160 --> 0:20:29.040 he's filming as well, Um, what was the most it 0:20:29.160 --> 0:20:30.879 was the most fun you had making the movie? Like, 0:20:30.960 --> 0:20:34.920 what was there scene that it was more enjoyable? Well, 0:20:35.040 --> 0:20:39.119 definitely the scene words of crushes the car. That was that. 0:20:39.480 --> 0:20:42.119 I mean he said, now you can't do it, go 0:20:42.280 --> 0:20:45.080 ahead and just enjoy it and do it. And I 0:20:45.119 --> 0:20:49.159 wanted you really and I and I never had he 0:20:49.200 --> 0:20:51.760 would tell me that that very same day. I was like, 0:20:52.080 --> 0:20:54.640 they call me, let's go. They call me on set, 0:20:54.920 --> 0:20:56.520 and I didn't know what I was gonna do. So 0:20:56.680 --> 0:20:59.840 there's a car and then he comes and said, now 0:21:00.000 --> 0:21:02.879 are gonna crush it? You. We went out with your friends, 0:21:02.960 --> 0:21:06.120 you with your friend you had, you were drinking. You're 0:21:06.160 --> 0:21:08.960 really sad, you're really mad. You haven't heard about your husband, 0:21:09.000 --> 0:21:10.879 he hadn't sent any money, and you were just like 0:21:11.040 --> 0:21:13.920 drinking with your friends and letting it all out. And 0:21:14.080 --> 0:21:17.119 you're like driving and listening to this Mexican song about 0:21:17.280 --> 0:21:20.679 women pain, you know, and and the way they are 0:21:20.840 --> 0:21:24.520 like so heard by men, and then you at the 0:21:24.600 --> 0:21:28.040 beginning it's an accident. And then once you realize it's 0:21:28.040 --> 0:21:31.119 an accident, you just enjoy it and go and do it. 0:21:31.400 --> 0:21:34.080 And we did it like I don't know seven times, 0:21:34.560 --> 0:21:37.000 but I remember that. For me, the most difficult part 0:21:37.040 --> 0:21:39.720 in that scene was I was afraid of running the 0:21:39.840 --> 0:21:42.119 camera because he would say, just going, going, going, and 0:21:42.200 --> 0:21:44.480 when we say stop, you stopped, and I would always 0:21:44.480 --> 0:21:48.359 stop before, you know, like an impulse and that trust me, 0:21:48.760 --> 0:21:50.920 trust me. He would say, I'm gonna tell you when 0:21:51.160 --> 0:21:55.000 just trust me, and I was okay, okay, let's okay, 0:21:55.000 --> 0:21:58.120 I will because you know, the camera was really really near. 0:22:00.080 --> 0:22:01.960 And then you have that great line to Jalizza there 0:22:02.000 --> 0:22:06.280 as well, women are alone. Yeah, that's a sad line, 0:22:06.359 --> 0:22:10.480 but the way it's delivered is it's like, yeah, you 0:22:10.880 --> 0:22:13.720 just said he said that, like you're a little bit drunk, 0:22:14.600 --> 0:22:20.879 and there's you're enjoying your bitterness, yes, exactly, exactly. And 0:22:20.920 --> 0:22:23.320 then getting back to just people responding to it around 0:22:23.320 --> 0:22:27.160