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Speaker 1: This episode is brought to you by Me and M,

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Speaker 1: the British modern luxury clothing label designed for busy women.

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Speaker 1: Founded and designed in London. Me and M is about

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Speaker 1: intelligence style. Much thought and care are put into the

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Speaker 1: design process, so every piece is flattering, functional and made

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Speaker 1: to last forever. Me and M is well known for

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Speaker 1: its trousers and how I got to know the brand.

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Speaker 1: It's my go to for styles that are comfortable enough

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Speaker 1: to wear in the kitchen or the restaurant, also polished

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Speaker 1: enough for meetings. Me and M is available online and

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Speaker 1: its stores across London, Edinburgh, New York. If you're in London,

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Speaker 1: I'd really recommend heading to their beautiful, brand new flagship

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Speaker 1: store in Marlevin, which opens on the twenty ninth of October.

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Speaker 1: Guillermo del Toro in his extraordinary movies Pan Slambermouth, The

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Speaker 1: Shape of Water Pinocchio takes us to his worlds surreal, mystical,

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Speaker 1: sometimes dark. But when he and I met in the

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Speaker 1: River Cafe, my world. We started talking and we didn't

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Speaker 1: really stop for two hours. Connected by a love for

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Speaker 1: Mexican people, Mexican food, and Mexican culture. It's Sunday morning

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Speaker 1: and Geramo and I are together again in the River

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Speaker 1: Cafe to talk about the power of love and trust,

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Speaker 1: understanding monsters as gentle and peaceful. When we're done, I'll

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Speaker 1: know more about trust, I'll know more about food. But

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Speaker 1: most of all, I hope i'll know more about Guillermo,

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Speaker 1: my magical and magnificent friend.

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Speaker 2: No, thank you, my learning.

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Speaker 1: I make it good. So what we do now is

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Speaker 1: we read. You chose a recipe. This was pizza with

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Speaker 1: tledgio artichoke. Yes, you read the recipe, then we'll have

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Speaker 1: our conversation.

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Speaker 3: Well, this is a recipe for pizza with the legio

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Speaker 3: artichokes improcudo. It serves six six by twenty five centimeters

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Speaker 3: pizza dough into balls, rolled out six small artichokes, two

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Speaker 3: tablespoons of extra virgin olive oil, one bunch of thyme,

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Speaker 3: four hundred grams of to ledio cheese roughly got ryan removed,

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Speaker 3: and three hundred grams of prescudo thinly slice.

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Speaker 2: This is what you need to make this now white

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Speaker 2: the ledo.

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Speaker 1: We like to legends in northern cheese. It melts very

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Speaker 1: beautifully and it has a kind of saltiness that you

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Speaker 1: know that is a contrast almost to the doughiness of pizza.

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Speaker 1: I mean, we love pizza with mozzarella. We love pizza.

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Speaker 1: I think today he might be doing a pizza with

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Speaker 1: cork and sola and figs. But this to led you,

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Speaker 1: I'd like you to try it because it has a

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Speaker 1: saltiness and a kind of slightly surprising when you have it.

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Speaker 1: You order pizza at the River Cafe and you get

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Speaker 1: a very thin crust and then you get the layer

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Speaker 1: of to ledgo nice.

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Speaker 3: So you know how to make it is in a

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Speaker 3: heavy bottom band, heat the olive oil, add the art

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Speaker 3: heart sometime could the hearts, turning them for about ten minutes.

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Speaker 3: Heavy bottom pan is important because.

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Speaker 1: Because it distributes the heat in the distribute. You use

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Speaker 1: a thin pan, you'll get some pieces that burnt, some

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Speaker 1: pieces that are not cooked. And it's better to invest

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Speaker 1: in a good saucepan and keep it for the rest

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Speaker 1: of your life. Stainless steel is important. Aluminum thin pads

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Speaker 1: too much.

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Speaker 2: You know.

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Speaker 3: I know a little about this because when I was

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Speaker 3: a young man, for about ten years I studied and

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Speaker 3: did make up effects, makeup effects, special makeup effects. And

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Speaker 3: when you cook the latex, the foam latex, you have

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Speaker 3: to design the oven with heavy walls of real iron

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Speaker 3: or like expensive iron to distribute the heat.

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Speaker 1: So what do you do with the latex?

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Speaker 3: You cook it, you make it, you form it using

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Speaker 3: you know, three or four parts, and then as you

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Speaker 3: cook they ventilate. But the latex take is curing for decades.

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Speaker 3: It doesn't stop. It's quite a quite an alchemy anyway,

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Speaker 3: not late this remove the pan and cool right dot

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Speaker 3: the pieces of the leado over rolled out pizza vases

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Speaker 3: scatter the artist chokes are over and then season nice

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Speaker 3: baking the preheat oven until the door is cooked crispy

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Speaker 3: and the cheese is melted if you like her, with

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Speaker 3: a slice of proscutta laid over the top of the pizza.

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Speaker 2: This is like the kama.

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Speaker 1: Do you want a pizza?

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Speaker 2: I would like to try this?

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Speaker 1: Can we ask for pizza to come? It's not what

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Speaker 1: you today, It's with gorganzole and fig What would you

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Speaker 1: want to do you want to let you? They can

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Speaker 1: make you whatever you want?

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Speaker 2: Is it like.

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Speaker 1: Do you want? Do you want what you prefer? The okay?

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Speaker 1: Can you ask them to make it? To let your

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Speaker 1: precuto pizza?

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Speaker 2: I like it?

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Speaker 1: God yourself oiled. Well, I mean honestly, not many people

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Speaker 1: get to choose the pizza they want.

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Speaker 2: Well, look, you know what happened.

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Speaker 1: I like spoiling people. That's why I like having a restaurant.

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Speaker 1: People always say, what do you say, Ruth? In a restaurant?

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Speaker 1: You know what I say to say yes? Yes, somebody

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Speaker 1: wants something, Say yes. It makes life easy.

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Speaker 2: Do you say you never hear yeah, you'll never hear

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Speaker 2: me say no to that restaurant.

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Speaker 1: But even when you're working, don't you think if you

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Speaker 1: can say yes, well it's funny, you have to say

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Speaker 1: no funny?

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Speaker 2: Ye? Do you say that?

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Speaker 3: Because I have described the role of a director, I

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Speaker 3: say there are directors that are hosts and directors that

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Speaker 3: are guests.

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Speaker 2: There are directors that like to be.

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Speaker 3: Served by every department, and there are directors, which is

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Speaker 3: my case, that I'd like to host every department to

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Speaker 3: deliver their best and coach them, coach them and coordinate

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Speaker 3: them into an orchestra.

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Speaker 2: You know, I'm a.

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Speaker 3: Host as you, and I think the universal rule that

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Speaker 3: is without flow true is when people say, how would

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Speaker 3: you define somebody being rich? It's not what you have

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Speaker 3: is how much you can give? Right, So hosting is

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Speaker 3: actually the most rewarding thing you can do for yourself,

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Speaker 3: and at the same time, it's a paradox is the

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Speaker 3: most selfless and most selfish thing you can do because

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Speaker 3: you are ultimately giving, but you get in return. It's

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Speaker 3: really a very simple cosmic law.

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Speaker 2: I agree.

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Speaker 1: I often think that I have the best job in

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Speaker 1: the world.

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Speaker 2: Now you do.

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Speaker 1: I come in here and hopefully after two hours people

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Speaker 1: will leave feeling better than when they arrived. Because people

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Speaker 1: you never know. It's like making sure you'd ever know

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Speaker 1: if the person on that table has just been fired,

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Speaker 1: or it's just had a baby, or it's just had

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Speaker 1: bad news. Good news, was fired by the baby, maybe

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Speaker 1: fired by a baby baby.

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Speaker 2: When they take to what did it take my baby

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Speaker 2: fired me give me a double you can.

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Speaker 1: Say to the baby, what would you do if you

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Speaker 1: were a baby?

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Speaker 2: Yeah?

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Speaker 3: Yeah, the baby would say I would poop my pants

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Speaker 3: and then cry, which which right away is a great

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Speaker 3: thing recommended. I thought it would be good to bring

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Speaker 3: you things from my hometown or my region.

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Speaker 2: Let me let me, let's have the but I'll explain

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Speaker 2: what this is.

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Speaker 1: Somebody open the box.

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Speaker 3: Butter skirt, this is this is from the same state

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Speaker 3: that the.

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Speaker 2: Kila comes from.

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Speaker 3: It's called Sahula, and Sahula was the place my father

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Speaker 3: used to go to hunt. They would go in the summers.

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Speaker 3: They would hunt for large geese and dogs and all that.

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Speaker 3: I hated it because I hate it because you know,

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Speaker 3: I don't like hunting. I don't like anybody killing an animal.

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Speaker 3: I was a very thin and frail little boy, you know.

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Speaker 3: And and they once or twice they forgot me while

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Speaker 3: they were hunting. So I was left behind for several hours.

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Speaker 3: And one time without boots, I worked and a thorny

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Speaker 3: mud the landscape for about three hours.

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Speaker 1: Wow.

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Speaker 3: And my father family and said, don't tell your mother.

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Speaker 3: I said, what happened?

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Speaker 2: That is I forgot my god, which I think I've

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Speaker 2: been in treatment for two days on that alone. That

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Speaker 2: they were.

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Speaker 3: But the good thing about that region was this butter

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Speaker 3: scotch or this is a coheta. But this is a

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Speaker 3: recipe that a family, the Lugo family, which still makes it.

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Speaker 3: In nineteen fifteen, they started making because they were short

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Speaker 3: of cash and they the matron of the family remembered

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Speaker 3: that when she worked for a very rich family of

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Speaker 3: Spanish origin, they made this duel said a legend. This cageta, right,

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Speaker 3: and it was basically milk, eggs, vanilla sugar.

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Speaker 1: I think so many cultures have Spanish crem caramel. You know,

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Speaker 1: the French have a creme.

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Speaker 2: The Cuban maker fantastic one.

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Speaker 3: Yeah, but it is the exact same recipe from nineteen fifteen.

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Speaker 3: Is this, and they burn it at the end, so

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Speaker 3: it's caramelized at the end. I'm gonna, I'm gonna take

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Speaker 3: the first bite.

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Speaker 2: But you take it. I can give you this. And

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Speaker 2: this was a good part of going hunting with my dad.

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Speaker 1: Oh, they would take this.

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Speaker 2: It would find me one of these.

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Speaker 1: So when you have this, what do you think of

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Speaker 1: being in the fields with the kid?

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Speaker 2: Yeah, I'm a kid, and the hard thing is to stop.

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Speaker 1: This is so good. No, give it to me.

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Speaker 2: Yeah, I'm gonna, I'm gonna grab a little more.

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Speaker 1: You know what's so good about it? It's very it's

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Speaker 1: not very sweet.

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Speaker 3: No, it's not very sweet, and it's completely natural good.

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Speaker 3: And the fact that it comes in this little wooden box, handmade,

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Speaker 3: is so beautiful beautiful.

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Speaker 1: Tell me about me about the food from your region.

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Speaker 1: Other foods from well Mexico's wahaka that you've never had

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Speaker 1: because you lived in it.

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Speaker 3: Like like there are many regions where, for example, their

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Speaker 3: signature is there how they riff on molay, you know,

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Speaker 3: so like Wahaka has the black molly, and Puebla has

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Speaker 3: the more the one that is more naughty, you know.

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Speaker 3: And then there is Pepian which is the pumpkin seed molley.

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Speaker 3: And but my my hometown or my region doesn't have

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Speaker 3: so much sophistication.

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Speaker 2: We have a great gold barbecue called Beria. You know.

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Speaker 2: We have a go yeah, go Barbie. I eat it.

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Speaker 2: They cook it now they do it.

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Speaker 3: In ament on the earth and all that, and then

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Speaker 3: for a long long time with leaves and so forth.

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Speaker 3: But the other thing is we have a very hearty

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Speaker 3: soup of oval called menudo. Not really not not in

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Speaker 3: we have we have a large the largest lake in Mexico,

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Speaker 3: Lake Chappella. When I was a child and we would

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Speaker 3: go there in the seas, we would wake up really early,

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Speaker 3: like four thirty five am and go fishing with a net.

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Speaker 1: I love the butterscotch. It's very very good.

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Speaker 2: You like it? Yeah?

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Speaker 1: Do you take it wherever you go?

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Speaker 2: No? I wanted to bring it with you.

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Speaker 1: That if you're filming somewhere. I'm sure that you have

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Speaker 1: the kind of food that you love.

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Speaker 3: I love not really, but in this case, a friend

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Speaker 3: came to visit a few weeks ago.

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Speaker 1: Do you like staying in people's houses or do you

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Speaker 1: like that people?

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Speaker 2: I hate that too. I hate that. I can't.

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Speaker 3: I never feel comfortable no matter how close I am

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Speaker 3: to the person.

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Speaker 2: I hate it.

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Speaker 3: You know, I grew up with my brothers and my brothers,

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Speaker 3: my older brother, every time anyone used the toilet, he

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Speaker 3: would kick the door open and scream. So I have

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Speaker 3: to be completely privacy.

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Speaker 1: And he did not want anybody.

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Speaker 2: No, no, he liked to scare people. Oh I see, Yeah,

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Speaker 2: that was my older brother. He would.

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Speaker 3: Now he's in Texas, you know the he makes cars,

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Speaker 3: he restores cars. Yeah, he's a great guy. And we

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Speaker 3: were talking about regional food. And the thing is I

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Speaker 3: lived in Texas. I've been in Texas many many times

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Speaker 3: over the years, hundreds of times. And I lived in

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Speaker 3: Texas a few years after the kidnapping of my dad.

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Speaker 1: I know, I'm sorry, So where is your father now?

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Speaker 3: My father died, but many many years after the kidnam

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Speaker 3: he came back.

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Speaker 2: He survived, he thrived, I'm.

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Speaker 1: Sorry, and you know, no, it's like being lost in

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Speaker 1: the on the hunting trip, isn't well.

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Speaker 2: Yeah, not anymore.

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Speaker 3: I actually understand perfectly that it's a cycle and if

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Speaker 3: you are not good with any part of the cycle,

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Speaker 3: don't get in life.

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Speaker 2: Life has the ups and the downs.

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Speaker 1: And you can't I mean yeah. But when you say

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Speaker 1: don't get in, I mean.

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Speaker 3: No, you know, like like like if you if you're

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Speaker 3: injureds for the good part you're gonna It's a completely

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Speaker 3: silly attitude to have with life.

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Speaker 1: But think that also comes from your culture of Day

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Speaker 1: of the Dead.

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Speaker 2: We're very happy about that.

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Speaker 3: Yeah, Like I'm very happy knowing like I can make

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Speaker 3: a prediction and I packed filmhouse and say everybody in

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Speaker 3: this film house is going to die.

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Speaker 2: And another that I'm being mean is just the fact.

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Speaker 3: So let's say that you're board a train or a

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Speaker 3: boss that says death. You can't complain when it gets

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Speaker 3: to the destination.

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Speaker 1: But the person who's died, but this is another conversation,

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Speaker 1: but the people who left behind. You've had grief, you

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Speaker 1: missed your father, you said, it's taken me a long time.

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Speaker 3: Rick said that death is like stupidity. It doesn't affect

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Speaker 3: the person having it. You only are people that are around.

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Speaker 1: And it does, doesn't it. So you can say it's

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Speaker 1: fine and it's part of life and it's it. But

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Speaker 1: the person who's left and you know it, and I know,

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Speaker 1: I know it's it's not easy, is it.

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Speaker 2: No, it is, it isn't.

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Speaker 3: But you know, the culture when I was a kid,

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Speaker 3: death was so near all the time. It's simply you

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Speaker 3: would be walking on a street and somebody would get shot.

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Speaker 3: When I was going out on a day, I don't.

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Speaker 1: We just stopped there. Why would somebody walk down?

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Speaker 2: There's a lot of guns. There's a lot of guns

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Speaker 2: ever since.

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Speaker 1: I can't remember when you were talking how many years ago.

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Speaker 2: No, any year, you take a break.

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Speaker 3: And there's a famous anecdote of Louis Monoel going to

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Speaker 3: Mexico and noticing everybody had a gun, and he went

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Speaker 3: to the Minister of Culture. I said, I'm surprised how

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Speaker 3: many people. The only people that don't have a gun

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Speaker 3: is you and me, And the guy said.

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Speaker 2: Speak for yourself. You know.

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Speaker 3: Well, my dad, when we would go out on Saturday night,

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Speaker 3: he would say, don't forget your gun. Really, yeah, I

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Speaker 3: mean I adore my country about all things. But part

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Speaker 3: of the language is violence. It is part of that.

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Speaker 3: And you can substract the good with the bat when

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Speaker 3: you talk about Italy, when you talk about countries that

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Speaker 3: are capable of great sentimental outbursts, are capable of great

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Speaker 3: violence too.

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Speaker 2: You know.

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Speaker 3: It is the thing that I find curious now is

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Speaker 3: when you discuss anything, it seems to be that we

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Speaker 3: can only accept the mammalian sweet side of our nature

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Speaker 3: and not the territorial, the predatorial, the savage side of

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Speaker 3: being a primate of sorts. You have to understand that

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Speaker 3: all those things are going to be expressed. And the

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Speaker 3: more you push the topper we're down trying to keep

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Speaker 3: them in, the more they're gonna spill through the sides.

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Speaker 1: Well, you could also say that we are we are animals,

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Speaker 1: but we are evolving. We're better than agg Wells.

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Speaker 3: In the island of doctor moraw and I'm gonna paraphrase,

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Speaker 3: I'm sure I'm doing it wrong, but he said he

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Speaker 3: watched the animals. This caused the law, and he said,

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Speaker 3: and every time they mentioned the law, they would mention

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Speaker 3: something that suppressed something that was essential to their names.

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Speaker 3: He says, they're in a nutshell is mankind, you know.

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Speaker 3: And I think that the thing is if you have

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Speaker 3: an open discussion and a tacit or open agreement about behavior,

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Speaker 3: that's the social contract we all live in. And within

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Speaker 3: that social contract there are real spiritual rewards at being good,

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Speaker 3: and I have no doubt there are a spiritual punishment

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Speaker 3: for not being good.

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Speaker 1: What do you what would that be?

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Speaker 3: I think that you one hundred percent attract what you

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Speaker 3: are if you give your receive. The laws are very simple,

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Speaker 3: you know. One simple simple law is, if you aren't happy,

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Speaker 3: you're thinking about yourself. If you're happy, you're thinking about others.

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Speaker 3: It's very simple and it sounds like a Chinese cookie

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Speaker 3: and nugget, but it's from litrue. When I talk to

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Speaker 3: my kids, I say, you want to be happy, think

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Speaker 3: about what you can do for somebody else.

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Speaker 2: Period.

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Speaker 1: Did you grow up with your parents this way? Did

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Speaker 1: you come to this yourself to yes to your parents

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Speaker 1: being this way?

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Speaker 2: Or yes? No?

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Speaker 3: I think I think if my friends were going in

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Speaker 3: different directions. But I like my mother was very much

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Speaker 3: into the you know, in all the hermetic laws, and

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Speaker 3: she was sort of a white witch, and you know,

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Speaker 3: she read the taro for me and taught me how

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Speaker 3: to read the tarol blah blah blah. She was very

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Speaker 3: very interesting in a spirit. But I think eventually you

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Speaker 3: realize that these are very simple truths. I mean, it's

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Speaker 3: like when you were young when you say, if I

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Speaker 3: managed to be out of debt and have twenty thousand

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Speaker 3: in the bank, I'll be done.

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Speaker 2: Then you do that and you.

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Speaker 3: Say if I managed to get a handred in the

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Speaker 3: bank and a house, and so I'll be fine, And

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Speaker 3: then you keep going, and the more you need, the

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Speaker 3: less you have. My father won the lottery in nineteen

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Speaker 3: sixty nine, and he immediately moved the whole family to

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Speaker 3: a house that was the most part of the block.

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Speaker 3: And I could go in the town and I could

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Speaker 3: go for weeks magically finding food in the fridge and

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Speaker 3: never sing a living person for weeks. I would arrive

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Speaker 3: at midnight. Nobody would be there saying what were you

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Speaker 3: doing out so late? Nobody would say good morning. I

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00:18:24,880 --> 00:18:28,600
Speaker 3: would ride my bicycle in the house like Danny in

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00:18:28,640 --> 00:18:32,679
Speaker 3: the shining, you know, nobody would be there. And I

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Speaker 3: came to a very simple role. If if you cannot say,

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Speaker 3: honeywere are my shoes? And somebody heard you was to

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Speaker 3: be that's.

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Speaker 1: A good lue, that's the honeywaere am I?

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Speaker 2: Yeah?

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Speaker 1: How old were you when he won the lottery? I

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Speaker 1: was about four, So you didn't know life before that?

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Speaker 2: What was I did? I did I have a what.

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Speaker 1: Was life before the lottery?

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Speaker 2: My mother and father.

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Speaker 3: My mother came from a family that you know, was very,

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Speaker 3: very rooted in the region. The name was, you know,

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Speaker 3: one of the founding names of the city. And she

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00:19:11,480 --> 00:19:16,080
Speaker 3: had about she had. The dowry was about six or

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00:19:16,119 --> 00:19:19,320
Speaker 3: seven houses that they gave her in a row, and

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00:19:19,400 --> 00:19:25,359
Speaker 3: my father used that to create a car salesmanship. But

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00:19:25,440 --> 00:19:28,320
Speaker 3: we lived in a middle class home. I remember my

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00:19:28,400 --> 00:19:34,000
Speaker 3: mother used to grab the matches came with a little

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Speaker 3: landscape printed in the back, and she would turn them

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Speaker 3: around and glue them to.

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Speaker 2: A little frame and would hang them on the wall.

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Speaker 2: You know. It was a very My mother was a

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Speaker 2: very good cook, so she would cook.

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Speaker 3: She would cook back then, and I remember the change

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Speaker 3: when the lottery came.

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Speaker 2: It was a big, big change.

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Speaker 1: How much did you wind in the lottery?

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Speaker 2: He won six million dollars in nineteen sixty.

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Speaker 1: Wow, which was buying a lottery ticket.

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Speaker 2: Yeah.

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Speaker 3: Well, he bought it with other pe about the whole series,

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Speaker 3: the whole the whole sheep, and the other people lost

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Speaker 3: their money and my father kept.

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Speaker 2: It the decades.

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Speaker 1: I mean he kept the money that.

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00:20:12,680 --> 00:20:15,520
Speaker 3: Most of the people that win the lottery lose the money.

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Speaker 2: My father was one of the guys that managed.

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Speaker 1: Did you all eat together in the evening? Did you

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Speaker 1: have a cook?

400
00:20:22,280 --> 00:20:26,960
Speaker 3: Depends on what decade, and it is very in my generation.

401
00:20:28,000 --> 00:20:31,840
Speaker 3: All the kids married and had houses within three blocks

402
00:20:31,840 --> 00:20:35,280
Speaker 3: of their parents' house, and you ate with your parents

403
00:20:35,359 --> 00:20:38,159
Speaker 3: three four times a week, always on Sunday.

404
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Speaker 1: Even if you weren't living in the house.

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Speaker 2: Doesn't matter. You came home. It was always your home.

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Speaker 3: After lunch, all the women would go to one room

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Speaker 3: and the men would go to another room and take

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Speaker 3: a cs.

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Speaker 1: The River Cafe Cafe, our all day space and just

410
00:21:02,840 --> 00:21:06,719
Speaker 1: steps away from the restaurant, is now open. In the

411
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Speaker 1: morning an Italian breakfast with cornetti, chiambella and crostada from

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Speaker 1: our pastry kitchen. In the afternoon, ice creamed coops and

413
00:21:14,760 --> 00:21:20,600
Speaker 1: River Cafe classic desserts. We have sharing plates Salumi, misti, mozzarella, brisquetto,

414
00:21:20,680 --> 00:21:24,320
Speaker 1: red and yellow peppers, Vitello Tonato and more. Come in

415
00:21:24,359 --> 00:21:27,480
Speaker 1: the evening for cocktails with our resident pianist in the bar.

416
00:21:28,200 --> 00:21:38,640
Speaker 1: No need to book see you here. If we were

417
00:21:38,640 --> 00:21:43,399
Speaker 1: going back to the days of the review the pizza,

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00:21:44,520 --> 00:21:47,119
Speaker 1: there we go. What do you think it's good? Do

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00:21:47,160 --> 00:21:49,360
Speaker 1: you want any of you guys want some pizza? Anybody

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00:21:49,359 --> 00:21:54,240
Speaker 1: over there? It's a good cheese, isn't it. It has

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00:21:54,280 --> 00:21:57,000
Speaker 1: a kind of mild but it also this might be

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00:21:57,080 --> 00:21:58,520
Speaker 1: quite salty because it has.

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Speaker 2: So wood.

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Speaker 1: I'm really interested about your father, the lottery, the change

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00:22:07,920 --> 00:22:11,399
Speaker 1: in the way that you still ate very local foods.

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Speaker 1: And then when you left home. How old were you

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00:22:14,640 --> 00:22:16,800
Speaker 1: actually when you left or did you ever leave home?

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00:22:17,040 --> 00:22:18,800
Speaker 1: Or did you live just around the corner in one

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Speaker 1: of those houses?

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00:22:19,920 --> 00:22:23,280
Speaker 2: I know I was very very fast to leave home.

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Speaker 1: How old were you?

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00:22:24,359 --> 00:22:24,520
Speaker 2: Well?

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00:22:24,560 --> 00:22:31,520
Speaker 3: I am about fifteen, maybe sixteen fifteen sixteen. I started

434
00:22:31,560 --> 00:22:34,639
Speaker 3: doing makeup, effects and effects and storyboards and all that,

435
00:22:35,560 --> 00:22:36,960
Speaker 3: and I would sleep in my office.

436
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Speaker 1: What did you eat that?

437
00:22:39,760 --> 00:22:42,560
Speaker 2: I cook? Horrible? What I mean?

438
00:22:42,600 --> 00:22:45,200
Speaker 3: You could buy a good roasted chicken and it will

439
00:22:45,280 --> 00:22:48,680
Speaker 3: last you the week. Yeah, but cooking, I'm a terrible cook.

440
00:22:49,200 --> 00:22:51,159
Speaker 1: Did it ever interest you to cook for yourself? Yes?

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00:22:51,240 --> 00:22:52,280
Speaker 2: But that's the.

442
00:22:52,240 --> 00:22:55,399
Speaker 3: Difference with an interest and talent. It includes dancing and cooking.

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00:22:55,520 --> 00:22:58,120
Speaker 1: Okay, I agree, And also I don't think it's important.

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00:22:58,160 --> 00:22:59,600
Speaker 1: If you don't want to cook, you don't have to.

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00:23:00,520 --> 00:23:03,560
Speaker 3: By the way, there is there is a lot of wisdom.

446
00:23:03,200 --> 00:23:06,240
Speaker 2: In knowing how to eat how to eat. Yeah, I

447
00:23:06,280 --> 00:23:08,120
Speaker 2: mean I think it's what is.

448
00:23:08,080 --> 00:23:10,359
Speaker 1: The wisdom of knowing how to eat well?

449
00:23:10,440 --> 00:23:12,359
Speaker 3: It's like a good conversation, isn't it. I mean, you

450
00:23:12,440 --> 00:23:13,119
Speaker 3: want to listen.

451
00:23:13,880 --> 00:23:15,520
Speaker 1: What is a pizza telling you well?

452
00:23:16,000 --> 00:23:16,199
Speaker 2: To me?

453
00:23:16,320 --> 00:23:19,280
Speaker 3: For example, one of the things I value and I

454
00:23:19,320 --> 00:23:23,520
Speaker 3: think is it has a molecular explanation. There are two

455
00:23:23,520 --> 00:23:26,040
Speaker 3: things that I love in food. One is when something

456
00:23:26,119 --> 00:23:30,920
Speaker 3: is slight slightly burned, and I mean burned, not caramelized, no, no,

457
00:23:30,920 --> 00:23:32,040
Speaker 3: no fancy terms.

458
00:23:32,320 --> 00:23:32,679
Speaker 2: Burned.

459
00:23:33,280 --> 00:23:37,320
Speaker 3: If the dois has little black spots of where it

460
00:23:37,400 --> 00:23:40,440
Speaker 3: burned a little more thorough. That bitterness makes a lot

461
00:23:40,480 --> 00:23:43,560
Speaker 3: for the flavor. This crust is great for me. It's thin,

462
00:23:43,760 --> 00:23:46,520
Speaker 3: it has parts that are really black and and crunchy

463
00:23:47,000 --> 00:23:52,440
Speaker 3: and carbonized in a great way that distributes the flavor differently.

464
00:23:52,760 --> 00:23:55,159
Speaker 3: And I talked to a chef friend of mine and

465
00:23:55,240 --> 00:23:59,280
Speaker 3: I was talking about reheated food. I said, why is

466
00:23:59,320 --> 00:24:02,200
Speaker 3: it bad? And he said, well, there depends on the food.

467
00:24:02,800 --> 00:24:07,240
Speaker 3: So some foods concentrate and they're good. But most food

468
00:24:07,480 --> 00:24:11,520
Speaker 3: loses all these qualities after cooking. But certain soups and

469
00:24:11,560 --> 00:24:16,080
Speaker 3: certain things with heavy sauces, they can concentrate over over.

470
00:24:16,720 --> 00:24:20,840
Speaker 3: And one thing when my family was in that big house,

471
00:24:21,320 --> 00:24:24,000
Speaker 3: a delicious thing for me, and it still is. It's

472
00:24:24,119 --> 00:24:28,840
Speaker 3: like vicious walls of beans because it does the fancy

473
00:24:28,920 --> 00:24:32,320
Speaker 3: term for cold beans in my fridge, you know, but

474
00:24:32,440 --> 00:24:36,080
Speaker 3: it was really really good. You blended it, you blended

475
00:24:36,080 --> 00:24:38,720
Speaker 3: the beans and it came like a very thick, vicious wild,

476
00:24:38,840 --> 00:24:42,600
Speaker 3: very delicious, and you know, but all they were the

477
00:24:42,640 --> 00:24:43,840
Speaker 3: cold beans nobody wanted.

478
00:24:44,240 --> 00:24:47,760
Speaker 1: A fond son and mutual friend of ours told me

479
00:24:47,800 --> 00:24:51,960
Speaker 1: that in Mexico, and he's made films about this that well.

480
00:24:52,280 --> 00:24:55,919
Speaker 1: He said that in the United States, when you had wealth,

481
00:24:56,359 --> 00:24:59,200
Speaker 1: you got bigger, you had a bigger house, a bigger kitchen,

482
00:24:59,240 --> 00:25:03,960
Speaker 1: a bigger refridge, writer, a bigger car. And in Mexico,

483
00:25:04,480 --> 00:25:07,880
Speaker 1: when you had wealth, you had more domestic people kept

484
00:25:07,880 --> 00:25:11,320
Speaker 1: the house, small, small kitchen, small house, but you had

485
00:25:11,320 --> 00:25:14,920
Speaker 1: more people working iron in that was that the case

486
00:25:14,960 --> 00:25:15,439
Speaker 1: in your.

487
00:25:15,320 --> 00:25:18,720
Speaker 3: Case, when in the case of my father, the house

488
00:25:18,800 --> 00:25:21,040
Speaker 3: got bigger and we got a lot of people had

489
00:25:21,080 --> 00:25:24,960
Speaker 3: both yeah, and but he he made it a point

490
00:25:25,359 --> 00:25:29,760
Speaker 3: to raise the kids blue collar. Like if you wanted money,

491
00:25:29,920 --> 00:25:31,359
Speaker 3: he would say, what are you going to do for me?

492
00:25:32,320 --> 00:25:37,440
Speaker 3: Like I wanted a toy, he said, save my older brother.

493
00:25:37,480 --> 00:25:40,600
Speaker 3: One says, One said, oh, but you know we I

494
00:25:40,600 --> 00:25:43,160
Speaker 3: shouldn't happen because we're rich. On my first at Amorridge,

495
00:25:43,760 --> 00:25:45,840
Speaker 3: you're not, and neither are your brothers.

496
00:25:46,280 --> 00:25:49,359
Speaker 1: It's like back to I want to know why Louis

497
00:25:49,359 --> 00:25:51,480
Speaker 1: but Well was in Mexico? Did he shoot a movie

498
00:25:51,480 --> 00:25:51,959
Speaker 1: in Mexico?

499
00:25:52,119 --> 00:25:53,440
Speaker 2: When you escaped?

500
00:25:54,560 --> 00:25:58,359
Speaker 3: Right around the Francoira he went to I believe he

501
00:25:58,440 --> 00:26:02,240
Speaker 3: went to New York first. I think he came into

502
00:26:02,440 --> 00:26:06,400
Speaker 3: a really bad situation with Theli and I think Dali

503
00:26:06,720 --> 00:26:10,920
Speaker 3: was very pro Franko, very profascist, and he hated Bunuel.

504
00:26:11,080 --> 00:26:14,320
Speaker 3: They started together, but he hated him and he was

505
00:26:14,359 --> 00:26:17,399
Speaker 3: fired from his position in New York because of Deli.

506
00:26:18,400 --> 00:26:20,520
Speaker 3: And I think years later he encountered Ali on the

507
00:26:20,520 --> 00:26:25,120
Speaker 3: street and he punched them, and Bunuel had said very

508
00:26:25,119 --> 00:26:29,760
Speaker 3: famously he said to his friends, he said, if I disappeared.

509
00:26:29,800 --> 00:26:32,040
Speaker 2: Look everywhere from me except Mexico.

510
00:26:33,119 --> 00:26:35,760
Speaker 3: And he ended up in Mexico because there was a

511
00:26:35,880 --> 00:26:41,760
Speaker 3: very strong colony of intellectual you know, left wing Marxist intellectuals,

512
00:26:41,760 --> 00:26:45,560
Speaker 3: and Bunuel landed. He started making movies there and he

513
00:26:45,600 --> 00:26:49,680
Speaker 3: stayed there the rest of his life. And he ran

514
00:26:49,760 --> 00:26:54,600
Speaker 3: a very conservative household. He was very wild in his mind,

515
00:26:54,640 --> 00:26:57,679
Speaker 3: but in his every day he was Don Louise.

516
00:26:57,840 --> 00:26:58,800
Speaker 2: He was a very.

517
00:27:00,119 --> 00:27:04,560
Speaker 3: He ran a very Catholic Yeah, yeah, very you know. Yeah,

518
00:27:04,680 --> 00:27:08,240
Speaker 3: the kids needed to be home at nine. He was

519
00:27:08,280 --> 00:27:11,600
Speaker 3: a very jealous man. He won the traditional roles in

520
00:27:11,640 --> 00:27:14,399
Speaker 3: his family. The wife stayed at home. He went and

521
00:27:14,440 --> 00:27:19,000
Speaker 3: earned a breath. It was a very interesting paradox. Such

522
00:27:19,040 --> 00:27:21,919
Speaker 3: a great filmmaker, incredible filmmaker. I mean, I think that

523
00:27:23,280 --> 00:27:26,640
Speaker 3: the thing with filmmaking is your paradox is what gives

524
00:27:26,680 --> 00:27:31,080
Speaker 3: you your vocabulary. People have this word vision, and I

525
00:27:31,080 --> 00:27:33,240
Speaker 3: think it's a hostage negotiation with reality.

526
00:27:34,040 --> 00:27:36,199
Speaker 2: Filmmaking is not dictating.

527
00:27:37,560 --> 00:27:42,000
Speaker 3: Filmmaking is negotiating an image or a moment with the actors,

528
00:27:42,000 --> 00:27:44,600
Speaker 3: with reality, with the sun, with the light, with the color,

529
00:27:45,119 --> 00:27:48,000
Speaker 3: you know, and it's a complete dialogue with what is

530
00:27:48,040 --> 00:27:49,000
Speaker 3: happening in front of you.

531
00:27:49,200 --> 00:27:50,200
Speaker 2: Is an active.

532
00:27:51,640 --> 00:27:53,440
Speaker 3: Is not a dictatorial position?

533
00:27:54,240 --> 00:27:54,480
Speaker 2: To me?

534
00:27:54,720 --> 00:27:58,040
Speaker 3: Is the dialogue with reality produces art.

535
00:27:58,400 --> 00:28:00,240
Speaker 1: And the collaboration with other people people.

536
00:28:00,400 --> 00:28:07,560
Speaker 3: Yeah, I think that film is a very social and

537
00:28:08,320 --> 00:28:11,240
Speaker 3: I think that for people, you have a filmography for

538
00:28:11,320 --> 00:28:14,560
Speaker 3: you is part of your biography. You neglect family, you

539
00:28:14,640 --> 00:28:17,480
Speaker 3: neglect friends, you neglect everything, and in exchange you get

540
00:28:17,480 --> 00:28:21,840
Speaker 3: a family of Andred and twenty people for twelve twenty weeks,

541
00:28:22,520 --> 00:28:25,520
Speaker 3: and you have to treat that those people like family, and.

542
00:28:25,520 --> 00:28:26,680
Speaker 1: Then you say goodbye to them.

543
00:28:27,160 --> 00:28:31,200
Speaker 2: Yeah, but you know it's carnival. It's a carnival.

544
00:28:31,280 --> 00:28:33,520
Speaker 3: You will meet them in another town down the road

545
00:28:33,560 --> 00:28:36,760
Speaker 3: in another season, and you have to accept it like that.

546
00:28:37,440 --> 00:28:40,760
Speaker 3: You know, Carneys the tradition and a carnival. Most of

547
00:28:40,800 --> 00:28:44,120
Speaker 3: the people were outlaws because they were running from there

548
00:28:44,120 --> 00:28:47,200
Speaker 3: around so they would they would say, look, I cannot

549
00:28:47,200 --> 00:28:49,120
Speaker 3: go to that town. I'll see you three towns down

550
00:28:49,720 --> 00:28:51,760
Speaker 3: because I'm wanted in that town because I was a

551
00:28:52,080 --> 00:28:55,120
Speaker 3: burglar or a shop lifter or whatever.

552
00:28:55,240 --> 00:28:56,680
Speaker 2: And they would skip a town.

553
00:28:58,080 --> 00:29:04,160
Speaker 3: The carney is called each other other mo, how are you?

554
00:29:04,400 --> 00:29:06,600
Speaker 2: Because they didn't want anyone to hear their real names.

555
00:29:06,720 --> 00:29:09,280
Speaker 1: And is that like what is it like on a film?

556
00:29:09,600 --> 00:29:12,840
Speaker 3: He's very you know William Friedkin, he used to call

557
00:29:12,880 --> 00:29:14,000
Speaker 3: everybody in the head mo.

558
00:29:14,360 --> 00:29:17,880
Speaker 1: Yeah, I know somebody who was another film director always

559
00:29:17,880 --> 00:29:18,880
Speaker 1: called everybody darling.

560
00:29:19,120 --> 00:29:21,160
Speaker 2: Yeah, well that that was very common.

561
00:29:21,320 --> 00:29:25,000
Speaker 3: That was like darling, Oh my darling, what's my name?

562
00:29:25,280 --> 00:29:26,160
Speaker 3: I don't know darling?

563
00:29:27,880 --> 00:29:32,240
Speaker 1: It was, it was it was Richard Attenborough apparently he

564
00:29:32,280 --> 00:29:34,000
Speaker 1: always called everyone very theater.

565
00:29:34,240 --> 00:29:35,480
Speaker 2: Yeah, it's very theater.

566
00:29:35,640 --> 00:29:37,440
Speaker 1: Well, you meet a lot of people, with a lot

567
00:29:37,480 --> 00:29:40,680
Speaker 1: of people. You have to when you're writing your films.

568
00:29:40,720 --> 00:29:44,280
Speaker 1: Before when you're alone in the room, if you are writing,

569
00:29:44,320 --> 00:29:45,400
Speaker 1: do you write by yourself?

570
00:29:45,640 --> 00:29:46,200
Speaker 2: I tried to.

571
00:29:47,320 --> 00:29:51,640
Speaker 3: Reality is sometimes I like association because it takes care

572
00:29:51,720 --> 00:29:54,920
Speaker 3: of even if you don't like what is being written,

573
00:29:55,040 --> 00:29:59,080
Speaker 3: you know how you corrected and it becomes active. The

574
00:29:59,080 --> 00:30:02,400
Speaker 3: loneliness of the the page is very, very difficult.

575
00:30:02,640 --> 00:30:05,200
Speaker 2: But there are movies. For example, this Frankenstein I could

576
00:30:05,240 --> 00:30:06,400
Speaker 2: not co write with anyone.

577
00:30:06,640 --> 00:30:08,840
Speaker 1: Can we talk about Frank It's like Pans Labyrinth.

578
00:30:08,920 --> 00:30:11,600
Speaker 3: I couldn't co write it with anyone. I couldn't explain

579
00:30:11,680 --> 00:30:16,960
Speaker 3: what I wanted. Pans Labyrinth. It took me six months

580
00:30:17,120 --> 00:30:20,000
Speaker 3: to find the opening image, and once I found the

581
00:30:20,040 --> 00:30:22,440
Speaker 3: opening image. I understood the whole movie, and I wrote

582
00:30:22,440 --> 00:30:26,200
Speaker 3: it in six weeks or nine weeks, something really quick.

583
00:30:26,920 --> 00:30:32,040
Speaker 3: With Frankenstein. I wrote the opening fifteen pages, and the

584
00:30:32,040 --> 00:30:34,160
Speaker 3: studio said, how is it going. It's fantastic because I

585
00:30:34,520 --> 00:30:37,760
Speaker 3: started writing that movie the idea for more than twenty

586
00:30:37,800 --> 00:30:38,320
Speaker 3: years ago.

587
00:30:40,080 --> 00:30:42,240
Speaker 2: Yeah. I thought, this is what I'm going to do. Yeah,

588
00:30:42,520 --> 00:30:43,520
Speaker 2: and you laid the plan.

589
00:30:43,720 --> 00:30:46,880
Speaker 3: And then I wrote those fifteen pages, and I stopped

590
00:30:47,280 --> 00:30:50,440
Speaker 3: until I collected. I put the novel on the on

591
00:30:50,480 --> 00:30:54,440
Speaker 3: the computer, the entire novel, and I started taking every

592
00:30:54,480 --> 00:30:58,400
Speaker 3: paragraph that I liked and then discarding the ones that

593
00:30:58,480 --> 00:31:01,520
Speaker 3: I thought I had absorbed, until I have nothing on

594
00:31:01,560 --> 00:31:05,240
Speaker 3: the page again. So he went through a novel that way,

595
00:31:05,480 --> 00:31:08,600
Speaker 3: and then I wrote, But it took it took a while.

596
00:31:08,840 --> 00:31:10,200
Speaker 3: It took a while too, And.

597
00:31:10,080 --> 00:31:11,760
Speaker 1: That brings us to a monster.

598
00:31:12,240 --> 00:31:12,440
Speaker 3: You know.

599
00:31:12,520 --> 00:31:14,920
Speaker 1: I know it's probably an anathematic for you to mention,

600
00:31:15,360 --> 00:31:19,280
Speaker 1: but you know mel Brooks's I love it, you know,

601
00:31:20,040 --> 00:31:22,800
Speaker 1: and one thing that one of the great do you think?

602
00:31:22,840 --> 00:31:25,360
Speaker 1: So I'm so pleased you say that because I did

603
00:31:25,360 --> 00:31:29,360
Speaker 1: a podcast with mel No it's ninety eight now, and

604
00:31:29,600 --> 00:31:33,280
Speaker 1: for me, one of the beautiful things about Young Frankenstein

605
00:31:33,400 --> 00:31:35,400
Speaker 1: was of course the singing, the songs and the humor,

606
00:31:35,800 --> 00:31:39,080
Speaker 1: but was also there was nobody in that that whole

607
00:31:39,120 --> 00:31:42,800
Speaker 1: trajectory that was a bad person. No, you know everyone,

608
00:31:44,120 --> 00:31:48,920
Speaker 1: there's no villain, you know. And the the loneliness of Frankenstein,

609
00:31:49,600 --> 00:31:52,280
Speaker 1: you know, and the and the creature when he just

610
00:31:52,320 --> 00:31:55,120
Speaker 1: sits on that rock. And so I'm glad you liked that,

611
00:31:55,200 --> 00:31:58,520
Speaker 1: So tell me about you. Why do you think it's

612
00:31:58,520 --> 00:31:59,120
Speaker 1: a masterpiece.

613
00:32:00,760 --> 00:32:04,000
Speaker 3: It is not a pastiche It was something that was

614
00:32:04,080 --> 00:32:06,600
Speaker 3: very dear to Jim Wilder first, and then to Jim

615
00:32:06,600 --> 00:32:11,400
Speaker 3: Wilder and mel Brooks second. Uh is not based so

616
00:32:11,560 --> 00:32:14,800
Speaker 3: much on Bride or the original Frankstin is based much

617
00:32:14,800 --> 00:32:18,800
Speaker 3: more on Son of Frankenstein, which, in my opinion, is

618
00:32:18,840 --> 00:32:23,560
Speaker 3: one of the great movies. It is a very very

619
00:32:23,600 --> 00:32:25,880
Speaker 3: good movie that few people know that the origin of

620
00:32:25,960 --> 00:32:29,880
Speaker 3: the of the assistant's name being igor in the Original

621
00:32:29,880 --> 00:32:33,360
Speaker 3: of Frankenstein is called Fritz you know. But Son of

622
00:32:33,400 --> 00:32:37,720
Speaker 3: Frankenstein is a really interesting movie. It was done by

623
00:32:38,440 --> 00:32:42,280
Speaker 3: a director that was an improvisation on director. He didn't

624
00:32:42,320 --> 00:32:45,240
Speaker 3: want to be to stick to the screenplay, so he

625
00:32:45,280 --> 00:32:50,560
Speaker 3: would I don't want to lie you know. It's the

626
00:32:50,680 --> 00:32:55,400
Speaker 3: last movie where a card of plays the monster. And

627
00:32:55,440 --> 00:32:58,600
Speaker 3: the director would come in the morning and and say, well,

628
00:32:58,600 --> 00:32:59,320
Speaker 3: what am we gonna do.

629
00:32:59,440 --> 00:33:00,600
Speaker 2: Let's try this, Let's try that.

630
00:33:01,360 --> 00:33:05,360
Speaker 3: The movie went overbodyed, over schedule, but the result is

631
00:33:05,640 --> 00:33:10,560
Speaker 3: very creative, incredibly visual vela Lugosi who was.

632
00:33:10,520 --> 00:33:11,320
Speaker 2: Down on his luck.

633
00:33:12,680 --> 00:33:15,120
Speaker 3: He was out of money, and Universal didn't want to

634
00:33:15,120 --> 00:33:19,520
Speaker 3: pay him well at all, and the director said, don't worry,

635
00:33:20,200 --> 00:33:23,480
Speaker 3: I'll keep you around. And he kept him around for months.

636
00:33:23,880 --> 00:33:26,280
Speaker 3: And the movie is one of the three masterpieces that

637
00:33:26,320 --> 00:33:30,800
Speaker 3: includes many of the part The wardrobe that Jim Wilder

638
00:33:30,880 --> 00:33:34,200
Speaker 3: has is from that movie, The man with the wooden arm,

639
00:33:35,280 --> 00:33:38,440
Speaker 3: the constable is from that movie. Many many of the

640
00:33:38,480 --> 00:33:41,720
Speaker 3: things are from that movie. And the score of Young

641
00:33:41,760 --> 00:33:45,280
Speaker 3: Frankenstein is one of the great most melancholic.

642
00:33:45,400 --> 00:33:46,680
Speaker 1: Yeah exactly.

643
00:33:46,920 --> 00:33:50,440
Speaker 3: You know. The composer Morris, he composed two of the

644
00:33:50,440 --> 00:33:53,960
Speaker 3: most melancholic, longing scores in the history of movies, The

645
00:33:54,000 --> 00:33:56,640
Speaker 3: Elephant Man and Young Frankenstein.

646
00:33:57,600 --> 00:33:59,680
Speaker 1: I haven't when they had it here in the West

647
00:33:59,760 --> 00:34:02,680
Speaker 1: End in London, and I know mel So we went,

648
00:34:02,960 --> 00:34:05,560
Speaker 1: you know, together, and I went, but I think I

649
00:34:05,640 --> 00:34:08,480
Speaker 1: took almost everyone who worked here. I felt kind of.

650
00:34:08,520 --> 00:34:10,200
Speaker 1: I just wanted to take everyone to see.

651
00:34:10,280 --> 00:34:13,719
Speaker 3: Yeah, it's funny, but it's not is making. It's so

652
00:34:13,840 --> 00:34:16,360
Speaker 3: affectionate and affectionate.

653
00:34:16,440 --> 00:34:18,319
Speaker 1: So tell me about your Frankenstein.

654
00:34:19,160 --> 00:34:21,759
Speaker 3: Well, but you know, there are certain tales that grow

655
00:34:21,840 --> 00:34:24,200
Speaker 3: with you and they become you, and then you can

656
00:34:24,320 --> 00:34:25,799
Speaker 3: you know, it's like a great song.

657
00:34:26,120 --> 00:34:27,880
Speaker 2: You know, you sing on your range.

658
00:34:29,040 --> 00:34:32,040
Speaker 3: Nobody wants to sing out of their range, and there

659
00:34:32,040 --> 00:34:34,840
Speaker 3: are two or three you know, everybody gets.

660
00:34:34,640 --> 00:34:36,800
Speaker 2: Up and you don't want to do karaoke.

661
00:34:37,239 --> 00:34:40,120
Speaker 3: Yeah, you know, and that's why I love John Frankenstan

662
00:34:40,160 --> 00:34:41,040
Speaker 3: He's not karaoke.

663
00:34:42,480 --> 00:34:45,400
Speaker 2: It's a new song by the boys.

664
00:34:45,440 --> 00:34:50,319
Speaker 3: You haven't heard about a thing that is universal, and

665
00:34:50,560 --> 00:34:53,080
Speaker 3: I can say that that's what I want to do.

666
00:34:53,160 --> 00:34:54,080
Speaker 1: What is universal?

667
00:34:54,600 --> 00:34:57,440
Speaker 3: Well, there are certain characters that are about ten twenty

668
00:34:57,520 --> 00:34:58,719
Speaker 3: characters in the history of.

669
00:34:58,760 --> 00:35:03,040
Speaker 2: Mankind's narrative at our universe. I'll tell you. For example.

670
00:35:03,120 --> 00:35:04,919
Speaker 3: You know, these are characters that, even if you haven't

671
00:35:04,960 --> 00:35:08,320
Speaker 3: read the book, you know what they mean. Dracula instantly,

672
00:35:08,600 --> 00:35:14,000
Speaker 3: Sherlock Holmes instantly, Tarzan, Pinocchio, Frankenstein. There are very few.

673
00:35:14,040 --> 00:35:17,360
Speaker 3: The Count of Monte Cristo. You now, you know the basics,

674
00:35:17,640 --> 00:35:20,160
Speaker 3: no matter if you haven't read it. You know comment

675
00:35:20,320 --> 00:35:25,920
Speaker 3: Christians about revenge, you know, Pinocchio wants to be human, etcetera, etcetera, etcetera.

676
00:35:26,320 --> 00:35:31,000
Speaker 3: So these few characters become the vocabulary of humanity in

677
00:35:31,040 --> 00:35:34,480
Speaker 3: the same way that certain symbols are common to all humanity.

678
00:35:34,600 --> 00:35:37,600
Speaker 2: Dragons. All cultures have dragons.

679
00:35:38,680 --> 00:35:42,839
Speaker 3: The theory behind it anthropologically is that people combine the predators,

680
00:35:42,880 --> 00:35:47,240
Speaker 3: the mammals fear the most an eagle and a lizard

681
00:35:48,160 --> 00:35:52,160
Speaker 3: like a large alligator, and they combined them and they

682
00:35:52,160 --> 00:35:55,680
Speaker 3: became an object of fear vampirism. Not every culture, but

683
00:35:55,800 --> 00:35:59,120
Speaker 3: most of them have it. Ghosts. So these are the

684
00:35:59,200 --> 00:36:05,200
Speaker 3: vocabulary of humanity. And when that character is that big,

685
00:36:05,800 --> 00:36:10,120
Speaker 3: it can be rephrased and it changes value. What do

686
00:36:10,160 --> 00:36:12,680
Speaker 3: I mean by that? Romeo and Juliet, right, there is

687
00:36:12,760 --> 00:36:15,360
Speaker 3: a huge premise. I told you Romeyan and Juliet. You

688
00:36:15,360 --> 00:36:17,879
Speaker 3: say I've seen it. I said, no, no, no, no, no, wait,

689
00:36:18,520 --> 00:36:22,319
Speaker 3: it's an aphavela in Brazil. I haven't seen it in

690
00:36:22,400 --> 00:36:26,040
Speaker 3: nineteen sixty five, the year that they you know. And

691
00:36:26,080 --> 00:36:31,240
Speaker 3: then the specifics bring down the register of the song

692
00:36:31,680 --> 00:36:33,560
Speaker 3: and change the modulation of the song. And all of

693
00:36:33,600 --> 00:36:36,880
Speaker 3: a sudden the song is new. That happens if a

694
00:36:37,000 --> 00:36:39,439
Speaker 3: thing is that personal to you and it's the same.

695
00:36:40,239 --> 00:36:45,279
Speaker 3: For example, most people say I love singing in the

696
00:36:45,360 --> 00:36:48,560
Speaker 3: Ring and I love that song, and you say, yes,

697
00:36:48,640 --> 00:36:53,719
Speaker 3: say it and they know it, but they don't know

698
00:36:53,760 --> 00:36:56,759
Speaker 3: that this was the third or fourth time that song

699
00:36:56,800 --> 00:37:00,520
Speaker 3: had been in a movie since the thirties, know, and

700
00:37:00,640 --> 00:37:04,560
Speaker 3: it had never quite catched on the wave called Jim Kelly.

701
00:37:05,000 --> 00:37:09,000
Speaker 3: So in creating something like Binocchio or Frankenstein, these are

702
00:37:09,040 --> 00:37:12,400
Speaker 3: things that have been absorbed more likeularly by me. And

703
00:37:12,560 --> 00:37:16,080
Speaker 3: when I sing them, I hope you haven't heard that song,

704
00:37:16,920 --> 00:37:18,799
Speaker 3: you know, that's the way you got it. If you

705
00:37:18,880 --> 00:37:22,520
Speaker 3: didn't have anything to add, don't get up.

706
00:37:22,520 --> 00:37:25,560
Speaker 1: Yeah, because we can as a person in the audience,

707
00:37:26,000 --> 00:37:28,400
Speaker 1: we long as you said, to hear the different you

708
00:37:28,440 --> 00:37:38,040
Speaker 1: know you're Frankenstein. If you like listening to Ruthie's Table

709
00:37:38,160 --> 00:37:42,200
Speaker 1: for would you please make sure to rate and review

710
00:37:42,360 --> 00:37:47,160
Speaker 1: the podcast on the iHeartRadio app, Apple Podcasts O wherever

711
00:37:47,280 --> 00:37:55,440
Speaker 1: you get your podcasts. Thank you. But when you wake

712
00:37:55,520 --> 00:37:57,359
Speaker 1: up in the morning, do you think about what you're

713
00:37:57,360 --> 00:38:00,880
Speaker 1: going to eat that day? Or when you like.

714
00:38:01,040 --> 00:38:04,120
Speaker 3: One of the things I adore, but it's very, very

715
00:38:04,200 --> 00:38:09,480
Speaker 3: hard to find truly truly expressive is eggs. I think

716
00:38:09,600 --> 00:38:12,319
Speaker 3: eggs are one of the things that tell you the

717
00:38:12,360 --> 00:38:17,600
Speaker 3: culture of the country. The French eggs are amazing, the

718
00:38:17,640 --> 00:38:21,960
Speaker 3: best eggs in my opinion. Spanish, you know, Japanese eggs

719
00:38:21,960 --> 00:38:22,919
Speaker 3: are Japanese eggs.

720
00:38:22,960 --> 00:38:25,280
Speaker 1: Okay, So you're talking about the way they cook the eggs.

721
00:38:25,440 --> 00:38:31,120
Speaker 3: No, you're talking about the quality. All is either musical

722
00:38:31,160 --> 00:38:35,440
Speaker 3: and beautiful or dour. And I must say, and you

723
00:38:35,560 --> 00:38:37,640
Speaker 3: have to guide me in here. I haven't had an

724
00:38:38,719 --> 00:38:40,760
Speaker 3: interesting dialogue with UK eggs.

725
00:38:41,000 --> 00:38:43,439
Speaker 2: Maybe it's been very, very.

726
00:38:43,200 --> 00:38:46,000
Speaker 1: Very We could try and set up that dialogue, but

727
00:38:46,080 --> 00:38:49,560
Speaker 1: it is, you know, it's very tower I think, yeah,

728
00:38:49,680 --> 00:38:55,160
Speaker 1: we'll try. What about the United States? I mean, you

729
00:38:55,160 --> 00:38:58,200
Speaker 1: know that's really if we're going to go for culture

730
00:38:58,200 --> 00:39:00,880
Speaker 1: and eggs, we have to say, have you had an

731
00:39:00,880 --> 00:39:02,160
Speaker 1: omelet in New York or no?

732
00:39:03,080 --> 00:39:07,040
Speaker 3: That's because look, there is one of the most intimate foods.

733
00:39:06,760 --> 00:39:10,080
Speaker 1: Right an egg and egg. Well, let's talk about.

734
00:39:09,840 --> 00:39:12,920
Speaker 2: It comes from the chicken. It does the whole being

735
00:39:12,960 --> 00:39:15,440
Speaker 2: of the chicken going into it. Here we go, and

736
00:39:15,520 --> 00:39:16,600
Speaker 2: if the chicken is.

737
00:39:18,040 --> 00:39:21,080
Speaker 3: Unhappy and sad, and you know whatever it is, the

738
00:39:21,120 --> 00:39:23,239
Speaker 3: egg is a really depressing egg.

739
00:39:23,520 --> 00:39:24,880
Speaker 1: So what do you do for eggs?

740
00:39:25,320 --> 00:39:27,920
Speaker 2: I got to friends or wait for to get lucky

741
00:39:27,960 --> 00:39:29,719
Speaker 2: and go to Spain, to.

742
00:39:29,680 --> 00:39:32,400
Speaker 1: Spain, and this is why I had really good eggs

743
00:39:32,400 --> 00:39:37,600
Speaker 1: in Mexico. You know, there's the wavos divorces, wavos rancheros,

744
00:39:37,640 --> 00:39:43,880
Speaker 1: there's wos Mexicana. There's there's so many ways.

745
00:39:44,480 --> 00:39:45,040
Speaker 2: Is a poem?

746
00:39:47,160 --> 00:39:48,799
Speaker 1: Can you tell the audience what it is?

747
00:39:49,000 --> 00:39:52,760
Speaker 2: How kill is? What you do is you chobolic tortilla.

748
00:39:53,840 --> 00:39:57,600
Speaker 3: It can be either dry or fresh, and then you

749
00:39:57,719 --> 00:40:04,760
Speaker 3: soak it in a really good salta with onion, garlic, tomato, salt,

750
00:40:05,880 --> 00:40:08,280
Speaker 3: and you soak it until the until the chili killos

751
00:40:08,320 --> 00:40:13,160
Speaker 3: are soggy, gets soggy again. But it has to be

752
00:40:13,200 --> 00:40:16,680
Speaker 3: the perfect balance. Can be too soggy, can be too dry.

753
00:40:17,040 --> 00:40:19,680
Speaker 3: I don't like crisp chilla killis. They had to be

754
00:40:19,719 --> 00:40:22,640
Speaker 3: slightly soggy, and then you put them on a plate.

755
00:40:22,680 --> 00:40:25,560
Speaker 3: You put cream, cheese and a fried egg on top

756
00:40:25,719 --> 00:40:27,640
Speaker 3: and a side of fried beans.

757
00:40:28,200 --> 00:40:30,960
Speaker 2: We have them, and that's for me to be. That's

758
00:40:31,000 --> 00:40:32,640
Speaker 2: what I miss the most.

759
00:40:34,360 --> 00:40:36,560
Speaker 1: Can make that? Where do you live?

760
00:40:36,960 --> 00:40:38,840
Speaker 2: Mostly Los Angeles?

761
00:40:39,840 --> 00:40:43,640
Speaker 3: Uh and part part of the time in Toronto, and

762
00:40:43,840 --> 00:40:46,680
Speaker 3: you cannot get chila killers in Toronto.

763
00:40:47,160 --> 00:40:48,680
Speaker 2: If you held the Prime Minister for.

764
00:40:48,800 --> 00:40:55,239
Speaker 3: Ransom, you can l a oh my lord, Yes you can.

765
00:40:55,200 --> 00:40:57,920
Speaker 1: Have cream chili sauce. Isn't it.

766
00:41:00,040 --> 00:41:02,440
Speaker 3: Antillo so as you're gonna have domentillo, so so you're

767
00:41:02,440 --> 00:41:06,640
Speaker 3: gonna have red tomato sauce. But in La I can

768
00:41:06,719 --> 00:41:11,239
Speaker 3: have every great Mexican food I need every day if

769
00:41:11,239 --> 00:41:13,239
Speaker 3: I want to, and I often do.

770
00:41:13,880 --> 00:41:18,120
Speaker 1: When we think about food, we think about you know

771
00:41:18,360 --> 00:41:21,719
Speaker 1: what we were saying about sharing about your parents, whay

772
00:41:21,719 --> 00:41:25,000
Speaker 1: you cooked at home, about the power of deciding. And

773
00:41:25,040 --> 00:41:27,600
Speaker 1: it's also seduction. And I think in the shape of water,

774
00:41:27,680 --> 00:41:30,399
Speaker 1: what really moved me was the scene with the egg.

775
00:41:31,080 --> 00:41:34,239
Speaker 1: You know, when the beautiful woman is holding the It's

776
00:41:34,280 --> 00:41:37,439
Speaker 1: just a simple boiled egg, isn't it. It's just an egg.

777
00:41:37,520 --> 00:41:40,000
Speaker 1: Tell me about that scene. Can you describe that scene?

778
00:41:40,120 --> 00:41:43,040
Speaker 1: Because it is an almost it's insane. Come to me,

779
00:41:43,160 --> 00:41:46,759
Speaker 1: isn't it saying I will get this creature from the water.

780
00:41:46,840 --> 00:41:50,359
Speaker 1: That could be frightening, that could be scary with an egg,

781
00:41:50,560 --> 00:41:53,480
Speaker 1: you know, and you can see that the creature is

782
00:41:53,520 --> 00:41:58,760
Speaker 1: coming out of the water and not entirely, but entirely.

783
00:42:00,000 --> 00:42:03,440
Speaker 3: Tell me that the one thing I do every week

784
00:42:03,800 --> 00:42:09,040
Speaker 3: is I hard boiled eggs. That's my my dietary supplement

785
00:42:09,440 --> 00:42:12,000
Speaker 3: is And the only thing I cook is hard boiled eggs,

786
00:42:12,000 --> 00:42:13,000
Speaker 3: and I do it perfectly.

787
00:42:13,040 --> 00:42:14,960
Speaker 1: Okay, tell me how do you cook a hardboiled egg?

788
00:42:15,200 --> 00:42:17,440
Speaker 3: Well, the way I like them is you boil the

789
00:42:17,440 --> 00:42:20,239
Speaker 3: water for fifteen minutes until it's really really really hot,

790
00:42:20,760 --> 00:42:23,200
Speaker 3: and then you put the eggs and you let it simmer.

791
00:42:23,680 --> 00:42:25,640
Speaker 1: Do you turn off then heat? You keep it simmering.

792
00:42:25,640 --> 00:42:28,200
Speaker 3: You keep it simmering for another fifteen and then you

793
00:42:28,440 --> 00:42:30,879
Speaker 3: turn it off, but leave them there. Yeah, and then

794
00:42:30,880 --> 00:42:33,160
Speaker 3: you grab one and you roll it and if you

795
00:42:33,200 --> 00:42:36,239
Speaker 3: can take the shell out in one single move, then

796
00:42:36,280 --> 00:42:36,919
Speaker 3: that they're good.

797
00:42:37,120 --> 00:42:37,880
Speaker 2: Yeah, you know.

798
00:42:38,000 --> 00:42:41,359
Speaker 3: And I do it every week with twenty thirty every week,

799
00:42:42,040 --> 00:42:44,200
Speaker 3: and the first two days you don't want to open

800
00:42:44,200 --> 00:42:45,120
Speaker 3: the fridge because it's.

801
00:42:45,000 --> 00:42:47,799
Speaker 2: Melt like a boiled egg. But and Kim hates it.

802
00:42:47,880 --> 00:42:49,759
Speaker 2: She goes, oh my god, you're boiling egs.

803
00:42:49,920 --> 00:42:55,120
Speaker 3: Go yeah, sorry, but that's my favorite sort of pocket food,

804
00:42:55,160 --> 00:42:55,719
Speaker 3: so to speak.

805
00:42:56,360 --> 00:43:00,120
Speaker 1: And so when you did that scene, I'm.

806
00:42:59,200 --> 00:42:59,880
Speaker 2: The fish.

807
00:43:01,160 --> 00:43:04,400
Speaker 3: Of all I belong in water I'm I'm a great swimmer,

808
00:43:04,800 --> 00:43:08,200
Speaker 3: good scuba diver. If I am in water all day long,

809
00:43:08,280 --> 00:43:11,799
Speaker 3: I'm happy. But also the egg is a symbol of

810
00:43:11,840 --> 00:43:16,080
Speaker 3: two things, fertility and immortality, right, And I think there

811
00:43:16,239 --> 00:43:22,439
Speaker 3: was a beautiful courtship, very succinct thing with her being

812
00:43:22,480 --> 00:43:25,640
Speaker 3: represented by the egg. And you know she you know,

813
00:43:25,840 --> 00:43:29,200
Speaker 3: the movie opens with her putting a timer in the

814
00:43:29,239 --> 00:43:31,560
Speaker 3: shape of an egg and she has three minutes to

815
00:43:31,960 --> 00:43:34,080
Speaker 3: find pleasure in the bathtub before going.

816
00:43:33,920 --> 00:43:37,440
Speaker 2: To work, you know. And it's a symbol of what

817
00:43:37,600 --> 00:43:38,200
Speaker 2: is eternal.

818
00:43:39,000 --> 00:43:42,720
Speaker 3: And for me in the movie is you find people

819
00:43:42,760 --> 00:43:46,759
Speaker 3: of relative values except her, that are social values. The

820
00:43:47,320 --> 00:43:51,240
Speaker 3: guy wants power, the bad guy wants power, The Americans

821
00:43:51,280 --> 00:43:53,680
Speaker 3: want to win the space race, this and that. And

822
00:43:53,719 --> 00:43:58,160
Speaker 3: you find a creature that is a god, and then

823
00:43:57,960 --> 00:44:02,439
Speaker 3: they chain it, they to operate upon it. They want

824
00:44:02,440 --> 00:44:04,600
Speaker 3: to kill it, they want to make it submissive, they

825
00:44:04,640 --> 00:44:06,160
Speaker 3: want to make it a thing.

826
00:44:06,800 --> 00:44:07,680
Speaker 2: And then at the end.

827
00:44:07,680 --> 00:44:10,640
Speaker 3: It's revealed he is a god. So the eternal of

828
00:44:10,680 --> 00:44:13,520
Speaker 3: the egg was at play. There's a many's. The way

829
00:44:13,560 --> 00:44:16,120
Speaker 3: I tried to layer the movies is you don't have

830
00:44:16,200 --> 00:44:17,960
Speaker 3: to read them the way I write them, but I

831
00:44:18,000 --> 00:44:23,000
Speaker 3: write them very carefully in terms of symbols or organizing

832
00:44:23,040 --> 00:44:26,839
Speaker 3: the colors and the things to mean something that doesn't mean.

833
00:44:26,880 --> 00:44:29,239
Speaker 3: You have the obligation of reading it that way. And

834
00:44:29,280 --> 00:44:32,880
Speaker 3: that is very much like cooking and eating. When you

835
00:44:33,040 --> 00:44:36,920
Speaker 3: are an audience member in a movie theater or in

836
00:44:36,960 --> 00:44:39,680
Speaker 3: a museum with a piece of painting, you can see

837
00:44:39,719 --> 00:44:42,480
Speaker 3: the piece of painting and say I like it or

838
00:44:42,520 --> 00:44:44,480
Speaker 3: I don't like it, and then you move on to

839
00:44:44,520 --> 00:44:45,080
Speaker 3: the next one.

840
00:44:45,560 --> 00:44:48,520
Speaker 2: If you are an educated you have an educated balette.

841
00:44:48,960 --> 00:44:53,120
Speaker 3: You learn to see the composition, the brushstrokes, the color balance,

842
00:44:53,719 --> 00:44:59,040
Speaker 3: the point of view, the thematic elements, the rendition, et cetera,

843
00:44:59,080 --> 00:45:01,680
Speaker 3: et cetera, and have a dialogue with a painting for

844
00:45:01,840 --> 00:45:06,000
Speaker 3: an hour two hours, depending on your level of sort

845
00:45:06,040 --> 00:45:09,720
Speaker 3: of balete sophistication. Same is true with a movie.

846
00:45:09,800 --> 00:45:12,799
Speaker 1: But I say that my husband was an architect, and

847
00:45:12,880 --> 00:45:16,719
Speaker 1: many of my film friends are filmmakers, And I say,

848
00:45:16,840 --> 00:45:21,160
Speaker 1: you create a work of art and it lasts forever.

849
00:45:21,320 --> 00:45:23,799
Speaker 1: You know, if somebody doesn't like your building today, they

850
00:45:23,880 --> 00:45:26,960
Speaker 1: might understand it in a week's time, or year's time

851
00:45:27,040 --> 00:45:29,480
Speaker 1: or ten years time. Or if you make a movie

852
00:45:29,960 --> 00:45:32,960
Speaker 1: and it got bad reviews, then we might all understand it.

853
00:45:33,200 --> 00:45:35,360
Speaker 1: It makes a work of art, and it's like in

854
00:45:35,480 --> 00:45:36,760
Speaker 1: five minutes and it's gone.

855
00:45:36,960 --> 00:45:39,200
Speaker 2: Yeah, but I don't think it's I don't think if

856
00:45:39,239 --> 00:45:41,560
Speaker 2: ever gone. I don't think it's ever gone. A memory,

857
00:45:41,840 --> 00:45:45,759
Speaker 2: especially if it has a heavy cheese, it never leaves.

858
00:45:45,880 --> 00:45:48,760
Speaker 3: No, No, let's talk about that, because I do think

859
00:45:51,040 --> 00:45:54,800
Speaker 3: I have had a few meals in my lifetime that

860
00:45:55,080 --> 00:45:58,560
Speaker 3: are as cherished for me as family memory.

861
00:45:58,960 --> 00:46:02,200
Speaker 2: And I'm not excited. I'm not being hyperbolic. I mean it.

862
00:46:02,840 --> 00:46:07,279
Speaker 3: I remember very particularly there was a soup in Albui

863
00:46:07,719 --> 00:46:11,160
Speaker 3: and north of Barcelona that was for many years the

864
00:46:11,560 --> 00:46:13,000
Speaker 3: most famous restaurant in the world.

865
00:46:13,640 --> 00:46:14,600
Speaker 1: Yeah.

866
00:46:14,680 --> 00:46:19,440
Speaker 3: Well, one time we went the last night last night

867
00:46:19,480 --> 00:46:22,200
Speaker 3: they were open for the season, and one of the

868
00:46:22,239 --> 00:46:26,680
Speaker 3: dishes which made me cry, it was a soup or

869
00:46:26,760 --> 00:46:30,400
Speaker 3: potato three ways. That was like you were eating a

870
00:46:30,480 --> 00:46:34,840
Speaker 3: souper potato that was your grandma, grandma's if she was

871
00:46:34,840 --> 00:46:38,279
Speaker 3: a chemical engineer. I'm a molecular engineer. So there was

872
00:46:38,320 --> 00:46:42,759
Speaker 3: a molecular density to it that was completely It filled you,

873
00:46:42,840 --> 00:46:46,000
Speaker 3: it moved you with caress you, it comford you, and

874
00:46:46,120 --> 00:46:49,239
Speaker 3: I cried. I am not making this up. I'm not

875
00:46:49,280 --> 00:46:52,120
Speaker 3: trying to be interesting for the podcast. I cried and

876
00:46:52,160 --> 00:46:54,120
Speaker 3: it reminded me of my childhood. It was a full

877
00:46:54,200 --> 00:46:59,279
Speaker 3: rattuy moment. And at the end of the night they said,

878
00:46:59,320 --> 00:47:03,200
Speaker 3: well and they they served the dessert once a crab

879
00:47:03,760 --> 00:47:07,400
Speaker 3: of crem which means that they made a film. You

880
00:47:07,440 --> 00:47:10,960
Speaker 3: know how the milk creates that film on top that

881
00:47:11,040 --> 00:47:13,719
Speaker 3: is just cream, like a skin of cream. They would

882
00:47:13,800 --> 00:47:17,520
Speaker 3: use that to make a crap that was filled with

883
00:47:17,560 --> 00:47:21,680
Speaker 3: another cream. And they were closer and I said, did

884
00:47:21,760 --> 00:47:23,600
Speaker 3: any of those get left behind?

885
00:47:23,640 --> 00:47:25,120
Speaker 2: And they said about twenty.

886
00:47:25,280 --> 00:47:27,920
Speaker 3: And they brought them to the table and we dispose

887
00:47:28,000 --> 00:47:30,399
Speaker 3: of the cref the cream and it.

888
00:47:30,320 --> 00:47:34,400
Speaker 1: Was brilliant, genius, wonderful, wonderful, wonderful. Yeah, food is memory.

889
00:47:34,800 --> 00:47:37,680
Speaker 1: And so when you make a movie, and I do

890
00:47:37,800 --> 00:47:40,960
Speaker 1: want to talk for a few minutes just about lovable monsters,

891
00:47:41,040 --> 00:47:44,360
Speaker 1: because that is something that is very important to me

892
00:47:45,000 --> 00:47:48,040
Speaker 1: because it tells the lesson of life about how you

893
00:47:48,120 --> 00:47:51,080
Speaker 1: love something as you say the other But let's just

894
00:47:51,120 --> 00:47:55,160
Speaker 1: get to the process of making a film and food.

895
00:47:54,440 --> 00:47:58,040
Speaker 1: Do you care about what you feed the people who

896
00:47:58,080 --> 00:48:00,160
Speaker 1: work on your set? And do you mind stuck up

897
00:48:00,280 --> 00:48:02,000
Speaker 1: at lunchtime for stopping work?

898
00:48:02,120 --> 00:48:04,920
Speaker 3: I don't I don't like it, like when you do

899
00:48:05,000 --> 00:48:07,279
Speaker 3: it in Spain. For example, if you should have moved

900
00:48:07,320 --> 00:48:11,120
Speaker 3: in Spain, there will be wine involved. Yeah, and that

901
00:48:11,239 --> 00:48:13,440
Speaker 3: means that the hour after the lunch is going to

902
00:48:13,520 --> 00:48:18,279
Speaker 3: start really really slow, and then you quite never quite recuperate,

903
00:48:19,040 --> 00:48:20,560
Speaker 3: you know, but if you do it.

904
00:48:20,719 --> 00:48:22,560
Speaker 2: My favorite is what they call French howers.

905
00:48:22,560 --> 00:48:24,480
Speaker 1: French howers. I've learned about French hours.

906
00:48:24,560 --> 00:48:27,400
Speaker 3: Ten hours, ten hours of work and that's it. You concentrate.

907
00:48:27,480 --> 00:48:29,320
Speaker 3: There's food on the set.

908
00:48:29,160 --> 00:48:29,759
Speaker 2: But that's it.

909
00:48:30,000 --> 00:48:31,920
Speaker 1: Where are you on it? Have you finished filming it?

910
00:48:31,960 --> 00:48:33,720
Speaker 2: Now? I finished Friday. I finished shooting.

911
00:48:33,880 --> 00:48:36,480
Speaker 1: That's what I thought. Are you going home? Then?

912
00:48:36,920 --> 00:48:38,840
Speaker 2: Yeah? You stayed for this?

913
00:48:39,200 --> 00:48:40,960
Speaker 1: No? And so when will you be back?

914
00:48:41,200 --> 00:48:41,640
Speaker 2: I don't know.

915
00:48:41,760 --> 00:48:45,960
Speaker 3: Depend on the ta kila, okay, but but I am

916
00:48:46,000 --> 00:48:46,760
Speaker 3: in post production.

917
00:48:46,840 --> 00:48:47,680
Speaker 2: I caught every day.

918
00:48:48,000 --> 00:48:48,960
Speaker 1: Where will you edit it?

919
00:48:49,800 --> 00:48:53,200
Speaker 2: I will finish anything in la and then yeah.

920
00:48:53,560 --> 00:48:55,840
Speaker 1: And do you eat when you're editing? You know?

921
00:48:56,160 --> 00:48:56,719
Speaker 2: Yes? And no?

922
00:48:56,840 --> 00:48:59,680
Speaker 3: I mean I have a coffee with whatever is there. Yeah,

923
00:49:00,280 --> 00:49:03,680
Speaker 3: And I have bowls and bowls of tangerines.

924
00:49:03,880 --> 00:49:04,080
Speaker 1: Yeah.

925
00:49:04,719 --> 00:49:08,839
Speaker 3: And I eat the tangerines with the peel, and with

926
00:49:08,880 --> 00:49:13,080
Speaker 3: the peel, I wash them and the peel is so good.

927
00:49:13,239 --> 00:49:15,799
Speaker 1: It is good. I sometimes eat the fruit and then

928
00:49:15,840 --> 00:49:18,840
Speaker 1: I go back to the peel. Never kind of crunch.

929
00:49:19,440 --> 00:49:25,160
Speaker 3: In Mexico weed the caramelized fruit, and I love lemons

930
00:49:25,160 --> 00:49:25,720
Speaker 3: in Mexico.

931
00:49:25,760 --> 00:49:27,320
Speaker 1: How often do you go back to Mexico?

932
00:49:28,080 --> 00:49:30,520
Speaker 3: I used to go a lot, and now my my well,

933
00:49:30,600 --> 00:49:34,160
Speaker 3: my parents are dead, and I don't like every time

934
00:49:34,200 --> 00:49:37,480
Speaker 3: I land, I feel really lonely.

935
00:49:38,360 --> 00:49:40,040
Speaker 2: I mean, it's really difficult for me.

936
00:49:40,440 --> 00:49:42,040
Speaker 1: Even knowing that they took the train.

937
00:49:41,880 --> 00:49:44,319
Speaker 3: And they went on, it doesn't matter because because to me,

938
00:49:44,520 --> 00:49:50,120
Speaker 3: the the parents and the kids leave a hole in

939
00:49:50,160 --> 00:49:55,400
Speaker 3: the universe. Basically part of the universe just caeesars to exist,

940
00:49:56,239 --> 00:49:59,800
Speaker 3: and there's no way you can process. That is tatanmic,

941
00:50:00,920 --> 00:50:03,040
Speaker 3: you know, to the point where if you lose a kid,

942
00:50:03,080 --> 00:50:06,560
Speaker 3: there's no word for you. There's no one you know,

943
00:50:06,600 --> 00:50:08,680
Speaker 3: if you lose her husband or a wife, you're a widow.

944
00:50:08,800 --> 00:50:11,279
Speaker 3: Or if you lose her parents, would you lose a kid,

945
00:50:11,360 --> 00:50:15,640
Speaker 3: you are you are undescribably destroyed. So you know, the

946
00:50:16,040 --> 00:50:20,600
Speaker 3: thing with my parents is I didn't know my father died,

947
00:50:20,640 --> 00:50:23,640
Speaker 3: and I process did reasonably well, and then when my

948
00:50:23,719 --> 00:50:26,360
Speaker 3: mother died, I couldn't.

949
00:50:27,120 --> 00:50:28,440
Speaker 2: I won't to do, but I can't.

950
00:50:28,600 --> 00:50:31,560
Speaker 1: Yeah, but Mexico City is on fire.

951
00:50:32,120 --> 00:50:33,200
Speaker 2: Yeah, that's amazing.

952
00:50:33,320 --> 00:50:36,359
Speaker 1: Now, you know, we should go. The food is incredible,

953
00:50:37,640 --> 00:50:38,800
Speaker 1: the art is amazing.

954
00:50:38,960 --> 00:50:40,960
Speaker 2: One of the great cities of the world, I think. So.

955
00:50:41,120 --> 00:50:43,600
Speaker 1: People sometimes ask me where you'd like to live other

956
00:50:43,680 --> 00:50:48,200
Speaker 1: than London, expect me to say an Italian city. For me, Mexico.

957
00:50:48,280 --> 00:50:50,040
Speaker 1: It was really powerful to me.

958
00:50:50,160 --> 00:50:50,400
Speaker 2: It is.

959
00:50:52,440 --> 00:50:55,720
Speaker 3: As a kid from a provincial city, which my city

960
00:50:55,840 --> 00:50:59,160
Speaker 3: was a provincial city. I still get a thrill going

961
00:50:59,200 --> 00:51:03,200
Speaker 3: to Mexico City. Still on the mornings. The smell of

962
00:51:03,200 --> 00:51:06,640
Speaker 3: the mornings in Mexico City with the wet streets.

963
00:51:07,719 --> 00:51:08,400
Speaker 2: Is incredible.

964
00:51:08,520 --> 00:51:11,960
Speaker 1: I don't think people realize how green Mexico City. That's

965
00:51:11,960 --> 00:51:14,960
Speaker 1: the thing that really hit me was how green a

966
00:51:15,040 --> 00:51:17,680
Speaker 1: city was. The trees. I couldn't see the sky sometimes.

967
00:51:18,000 --> 00:51:18,440
Speaker 2: And it's a.

968
00:51:18,400 --> 00:51:23,640
Speaker 3: City that is patterned after after Paris, you know that.

969
00:51:23,800 --> 00:51:24,439
Speaker 1: I didn't know that.

970
00:51:24,600 --> 00:51:31,080
Speaker 3: Yeah, during the Porphyrio ideas period, the model was Paris,

971
00:51:31,400 --> 00:51:35,880
Speaker 3: the Heisman's Osmond's Paris with the large boulevards and the

972
00:51:35,920 --> 00:51:40,000
Speaker 3: big buildings, you know, and the biggest artes and the Reformer.

973
00:51:39,440 --> 00:51:40,440
Speaker 2: And all that Reformer.

974
00:51:40,640 --> 00:51:44,240
Speaker 1: Yeah, if you had to think of a food that

975
00:51:44,480 --> 00:51:48,080
Speaker 1: when you were needing comfort, not when you're hungry, not

976
00:51:48,120 --> 00:51:50,680
Speaker 1: when you want to celebrate, not when you want something

977
00:51:50,680 --> 00:51:53,000
Speaker 1: to eat for your kids. Is there something that gives

978
00:51:53,040 --> 00:51:53,560
Speaker 1: you comfort?

979
00:51:54,160 --> 00:51:58,200
Speaker 2: Yes, it's such a cliche. Refried beans beans?

980
00:51:58,280 --> 00:51:59,720
Speaker 1: Yeah, is it a cliche?

981
00:52:00,040 --> 00:52:01,719
Speaker 2: It is a little bit. I have it.

982
00:52:01,760 --> 00:52:04,600
Speaker 3: I mean it's to me, and they are not one

983
00:52:04,680 --> 00:52:08,759
Speaker 3: thing like there are at least ten ways of have

984
00:52:08,800 --> 00:52:13,080
Speaker 3: a refright being. Tell me one way that I like that.

985
00:52:13,120 --> 00:52:16,480
Speaker 3: I only drive ones in a in a little stand

986
00:52:16,520 --> 00:52:22,080
Speaker 3: in Mexico City. Is they mix them with lentils. Lentils

987
00:52:22,080 --> 00:52:26,279
Speaker 3: and refraed beans together. And it was so fantastic. If

988
00:52:26,320 --> 00:52:29,320
Speaker 3: you try it in the restaurant, call them beans.

989
00:52:29,440 --> 00:52:32,759
Speaker 1: Okay, we will, We'll call the beans. Thank you. It

990
00:52:32,880 --> 00:52:33,920
Speaker 1: was a beautiful interview.

991
00:52:37,440 --> 00:52:48,680
Speaker 2: Well, darling, darling, thank you. Oh god, you get you get? Yeah, No,

992
00:52:48,719 --> 00:52:50,319
Speaker 2: I'll have a lunch. Why are you kidding me?

993
00:52:51,680 --> 00:52:54,319
Speaker 1: Do we have more glasses? Come? You have some more?

994
00:52:54,840 --> 00:53:03,480
Speaker 1: Do your guys want in tequila?