Speaker 1: This episode is brought to you by Me and M,
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Speaker 1: to wear in the kitchen or the restaurant, also polished
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Speaker 1: I'd really recommend heading to their beautiful, brand new flagship
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Speaker 1: Guillermo del Toro in his extraordinary movies Pan Slambermouth, The
Speaker 1: Shape of Water Pinocchio takes us to his worlds surreal, mystical,
Speaker 1: sometimes dark. But when he and I met in the
Speaker 1: River Cafe, my world. We started talking and we didn't
Speaker 1: really stop for two hours. Connected by a love for
Speaker 1: Mexican people, Mexican food, and Mexican culture. It's Sunday morning
Speaker 1: and Geramo and I are together again in the River
Speaker 1: Cafe to talk about the power of love and trust,
Speaker 1: understanding monsters as gentle and peaceful. When we're done, I'll
Speaker 1: know more about trust, I'll know more about food. But
Speaker 1: most of all, I hope i'll know more about Guillermo,
Speaker 1: my magical and magnificent friend.
Speaker 2: No, thank you, my learning.
Speaker 1: I make it good. So what we do now is
Speaker 1: we read. You chose a recipe. This was pizza with
Speaker 1: tledgio artichoke. Yes, you read the recipe, then we'll have
Speaker 1: our conversation.
Speaker 3: Well, this is a recipe for pizza with the legio
Speaker 3: artichokes improcudo. It serves six six by twenty five centimeters
Speaker 3: pizza dough into balls, rolled out six small artichokes, two
Speaker 3: tablespoons of extra virgin olive oil, one bunch of thyme,
Speaker 3: four hundred grams of to ledio cheese roughly got ryan removed,
Speaker 3: and three hundred grams of prescudo thinly slice.
Speaker 2: This is what you need to make this now white
Speaker 2: the ledo.
Speaker 1: We like to legends in northern cheese. It melts very
Speaker 1: beautifully and it has a kind of saltiness that you
Speaker 1: know that is a contrast almost to the doughiness of pizza.
Speaker 1: I mean, we love pizza with mozzarella. We love pizza.
Speaker 1: I think today he might be doing a pizza with
Speaker 1: cork and sola and figs. But this to led you,
Speaker 1: I'd like you to try it because it has a
Speaker 1: saltiness and a kind of slightly surprising when you have it.
Speaker 1: You order pizza at the River Cafe and you get
Speaker 1: a very thin crust and then you get the layer
Speaker 1: of to ledgo nice.
Speaker 3: So you know how to make it is in a
Speaker 3: heavy bottom band, heat the olive oil, add the art
Speaker 3: heart sometime could the hearts, turning them for about ten minutes.
Speaker 3: Heavy bottom pan is important because.
Speaker 1: Because it distributes the heat in the distribute. You use
Speaker 1: a thin pan, you'll get some pieces that burnt, some
Speaker 1: pieces that are not cooked. And it's better to invest
Speaker 1: in a good saucepan and keep it for the rest
Speaker 1: of your life. Stainless steel is important. Aluminum thin pads
Speaker 1: too much.
Speaker 2: You know.
Speaker 3: I know a little about this because when I was
Speaker 3: a young man, for about ten years I studied and
Speaker 3: did make up effects, makeup effects, special makeup effects. And
Speaker 3: when you cook the latex, the foam latex, you have
Speaker 3: to design the oven with heavy walls of real iron
Speaker 3: or like expensive iron to distribute the heat.
Speaker 1: So what do you do with the latex?
Speaker 3: You cook it, you make it, you form it using
Speaker 3: you know, three or four parts, and then as you
Speaker 3: cook they ventilate. But the latex take is curing for decades.
Speaker 3: It doesn't stop. It's quite a quite an alchemy anyway,
Speaker 3: not late this remove the pan and cool right dot
Speaker 3: the pieces of the leado over rolled out pizza vases
Speaker 3: scatter the artist chokes are over and then season nice
Speaker 3: baking the preheat oven until the door is cooked crispy
Speaker 3: and the cheese is melted if you like her, with
Speaker 3: a slice of proscutta laid over the top of the pizza.
Speaker 2: This is like the kama.
Speaker 1: Do you want a pizza?
Speaker 2: I would like to try this?
Speaker 1: Can we ask for pizza to come? It's not what
Speaker 1: you today, It's with gorganzole and fig What would you
Speaker 1: want to do you want to let you? They can
Speaker 1: make you whatever you want?
Speaker 2: Is it like.
Speaker 1: Do you want? Do you want what you prefer? The okay?
Speaker 1: Can you ask them to make it? To let your
Speaker 1: precuto pizza?
Speaker 2: I like it?
Speaker 1: God yourself oiled. Well, I mean honestly, not many people
Speaker 1: get to choose the pizza they want.
Speaker 2: Well, look, you know what happened.
Speaker 1: I like spoiling people. That's why I like having a restaurant.
Speaker 1: People always say, what do you say, Ruth? In a restaurant?
Speaker 1: You know what I say to say yes? Yes, somebody
Speaker 1: wants something, Say yes. It makes life easy.
Speaker 2: Do you say you never hear yeah, you'll never hear
Speaker 2: me say no to that restaurant.
Speaker 1: But even when you're working, don't you think if you
Speaker 1: can say yes, well it's funny, you have to say
Speaker 1: no funny?
Speaker 2: Ye? Do you say that?
Speaker 3: Because I have described the role of a director, I
Speaker 3: say there are directors that are hosts and directors that
Speaker 3: are guests.
Speaker 2: There are directors that like to be.
Speaker 3: Served by every department, and there are directors, which is
Speaker 3: my case, that I'd like to host every department to
Speaker 3: deliver their best and coach them, coach them and coordinate
Speaker 3: them into an orchestra.
Speaker 2: You know, I'm a.
Speaker 3: Host as you, and I think the universal rule that
Speaker 3: is without flow true is when people say, how would
Speaker 3: you define somebody being rich? It's not what you have
Speaker 3: is how much you can give? Right, So hosting is
Speaker 3: actually the most rewarding thing you can do for yourself,
Speaker 3: and at the same time, it's a paradox is the
Speaker 3: most selfless and most selfish thing you can do because
Speaker 3: you are ultimately giving, but you get in return. It's
Speaker 3: really a very simple cosmic law.
Speaker 2: I agree.
Speaker 1: I often think that I have the best job in
Speaker 1: the world.
Speaker 2: Now you do.
Speaker 1: I come in here and hopefully after two hours people
Speaker 1: will leave feeling better than when they arrived. Because people
Speaker 1: you never know. It's like making sure you'd ever know
Speaker 1: if the person on that table has just been fired,
Speaker 1: or it's just had a baby, or it's just had
Speaker 1: bad news. Good news, was fired by the baby, maybe
Speaker 1: fired by a baby baby.
Speaker 2: When they take to what did it take my baby
Speaker 2: fired me give me a double you can.
Speaker 1: Say to the baby, what would you do if you
Speaker 1: were a baby?
Speaker 2: Yeah?
Speaker 3: Yeah, the baby would say I would poop my pants
Speaker 3: and then cry, which which right away is a great
Speaker 3: thing recommended. I thought it would be good to bring
Speaker 3: you things from my hometown or my region.
Speaker 2: Let me let me, let's have the but I'll explain
Speaker 2: what this is.
Speaker 1: Somebody open the box.
Speaker 3: Butter skirt, this is this is from the same state
Speaker 3: that the.
Speaker 2: Kila comes from.
Speaker 3: It's called Sahula, and Sahula was the place my father
Speaker 3: used to go to hunt. They would go in the summers.
Speaker 3: They would hunt for large geese and dogs and all that.
Speaker 3: I hated it because I hate it because you know,
Speaker 3: I don't like hunting. I don't like anybody killing an animal.
Speaker 3: I was a very thin and frail little boy, you know.
Speaker 3: And and they once or twice they forgot me while
Speaker 3: they were hunting. So I was left behind for several hours.
Speaker 3: And one time without boots, I worked and a thorny
Speaker 3: mud the landscape for about three hours.
Speaker 1: Wow.
Speaker 3: And my father family and said, don't tell your mother.
Speaker 3: I said, what happened?
Speaker 2: That is I forgot my god, which I think I've
Speaker 2: been in treatment for two days on that alone. That
Speaker 2: they were.
Speaker 3: But the good thing about that region was this butter
Speaker 3: scotch or this is a coheta. But this is a
Speaker 3: recipe that a family, the Lugo family, which still makes it.
Speaker 3: In nineteen fifteen, they started making because they were short
Speaker 3: of cash and they the matron of the family remembered
Speaker 3: that when she worked for a very rich family of
Speaker 3: Spanish origin, they made this duel said a legend. This cageta, right,
Speaker 3: and it was basically milk, eggs, vanilla sugar.
Speaker 1: I think so many cultures have Spanish crem caramel. You know,
Speaker 1: the French have a creme.
Speaker 2: The Cuban maker fantastic one.
Speaker 3: Yeah, but it is the exact same recipe from nineteen fifteen.
Speaker 3: Is this, and they burn it at the end, so
Speaker 3: it's caramelized at the end. I'm gonna, I'm gonna take
Speaker 3: the first bite.
Speaker 2: But you take it. I can give you this. And
Speaker 2: this was a good part of going hunting with my dad.
Speaker 1: Oh, they would take this.
Speaker 2: It would find me one of these.
Speaker 1: So when you have this, what do you think of
Speaker 1: being in the fields with the kid?
Speaker 2: Yeah, I'm a kid, and the hard thing is to stop.
Speaker 1: This is so good. No, give it to me.
Speaker 2: Yeah, I'm gonna, I'm gonna grab a little more.
Speaker 1: You know what's so good about it? It's very it's
Speaker 1: not very sweet.
Speaker 3: No, it's not very sweet, and it's completely natural good.
Speaker 3: And the fact that it comes in this little wooden box, handmade,
Speaker 3: is so beautiful beautiful.
Speaker 1: Tell me about me about the food from your region.
Speaker 1: Other foods from well Mexico's wahaka that you've never had
Speaker 1: because you lived in it.
Speaker 3: Like like there are many regions where, for example, their
Speaker 3: signature is there how they riff on molay, you know,
Speaker 3: so like Wahaka has the black molly, and Puebla has
Speaker 3: the more the one that is more naughty, you know.
Speaker 3: And then there is Pepian which is the pumpkin seed molley.
Speaker 3: And but my my hometown or my region doesn't have
Speaker 3: so much sophistication.
Speaker 2: We have a great gold barbecue called Beria. You know.
Speaker 2: We have a go yeah, go Barbie. I eat it.
Speaker 2: They cook it now they do it.
Speaker 3: In ament on the earth and all that, and then
Speaker 3: for a long long time with leaves and so forth.
Speaker 3: But the other thing is we have a very hearty
Speaker 3: soup of oval called menudo. Not really not not in
Speaker 3: we have we have a large the largest lake in Mexico,
Speaker 3: Lake Chappella. When I was a child and we would
Speaker 3: go there in the seas, we would wake up really early,
Speaker 3: like four thirty five am and go fishing with a net.
Speaker 1: I love the butterscotch. It's very very good.
Speaker 2: You like it? Yeah?
Speaker 1: Do you take it wherever you go?
Speaker 2: No? I wanted to bring it with you.
Speaker 1: That if you're filming somewhere. I'm sure that you have
Speaker 1: the kind of food that you love.
Speaker 3: I love not really, but in this case, a friend
Speaker 3: came to visit a few weeks ago.
Speaker 1: Do you like staying in people's houses or do you
Speaker 1: like that people?
Speaker 2: I hate that too. I hate that. I can't.
Speaker 3: I never feel comfortable no matter how close I am
Speaker 3: to the person.
Speaker 2: I hate it.
Speaker 3: You know, I grew up with my brothers and my brothers,
Speaker 3: my older brother, every time anyone used the toilet, he
Speaker 3: would kick the door open and scream. So I have
Speaker 3: to be completely privacy.
Speaker 1: And he did not want anybody.
Speaker 2: No, no, he liked to scare people. Oh I see, Yeah,
Speaker 2: that was my older brother. He would.
Speaker 3: Now he's in Texas, you know the he makes cars,
Speaker 3: he restores cars. Yeah, he's a great guy. And we
Speaker 3: were talking about regional food. And the thing is I
Speaker 3: lived in Texas. I've been in Texas many many times
Speaker 3: over the years, hundreds of times. And I lived in
Speaker 3: Texas a few years after the kidnapping of my dad.
Speaker 1: I know, I'm sorry, So where is your father now?
Speaker 3: My father died, but many many years after the kidnam
Speaker 3: he came back.
Speaker 2: He survived, he thrived, I'm.
Speaker 1: Sorry, and you know, no, it's like being lost in
Speaker 1: the on the hunting trip, isn't well.
Speaker 2: Yeah, not anymore.
Speaker 3: I actually understand perfectly that it's a cycle and if
Speaker 3: you are not good with any part of the cycle,
Speaker 3: don't get in life.
Speaker 2: Life has the ups and the downs.
Speaker 1: And you can't I mean yeah. But when you say
Speaker 1: don't get in, I mean.
Speaker 3: No, you know, like like like if you if you're
Speaker 3: injureds for the good part you're gonna It's a completely
Speaker 3: silly attitude to have with life.
Speaker 1: But think that also comes from your culture of Day
Speaker 1: of the Dead.
Speaker 2: We're very happy about that.
Speaker 3: Yeah, Like I'm very happy knowing like I can make
Speaker 3: a prediction and I packed filmhouse and say everybody in
Speaker 3: this film house is going to die.
Speaker 2: And another that I'm being mean is just the fact.
Speaker 3: So let's say that you're board a train or a
Speaker 3: boss that says death. You can't complain when it gets
Speaker 3: to the destination.
Speaker 1: But the person who's died, but this is another conversation,
Speaker 1: but the people who left behind. You've had grief, you
Speaker 1: missed your father, you said, it's taken me a long time.
Speaker 3: Rick said that death is like stupidity. It doesn't affect
Speaker 3: the person having it. You only are people that are around.
Speaker 1: And it does, doesn't it. So you can say it's
Speaker 1: fine and it's part of life and it's it. But
Speaker 1: the person who's left and you know it, and I know,
Speaker 1: I know it's it's not easy, is it.
Speaker 2: No, it is, it isn't.
Speaker 3: But you know, the culture when I was a kid,
Speaker 3: death was so near all the time. It's simply you
Speaker 3: would be walking on a street and somebody would get shot.
Speaker 3: When I was going out on a day, I don't.
Speaker 1: We just stopped there. Why would somebody walk down?
Speaker 2: There's a lot of guns. There's a lot of guns
Speaker 2: ever since.
Speaker 1: I can't remember when you were talking how many years ago.
Speaker 2: No, any year, you take a break.
Speaker 3: And there's a famous anecdote of Louis Monoel going to
Speaker 3: Mexico and noticing everybody had a gun, and he went
Speaker 3: to the Minister of Culture. I said, I'm surprised how
Speaker 3: many people. The only people that don't have a gun
Speaker 3: is you and me, And the guy said.
Speaker 2: Speak for yourself. You know.
Speaker 3: Well, my dad, when we would go out on Saturday night,
Speaker 3: he would say, don't forget your gun. Really, yeah, I
Speaker 3: mean I adore my country about all things. But part
Speaker 3: of the language is violence. It is part of that.
Speaker 3: And you can substract the good with the bat when
Speaker 3: you talk about Italy, when you talk about countries that
Speaker 3: are capable of great sentimental outbursts, are capable of great
Speaker 3: violence too.
Speaker 2: You know.
Speaker 3: It is the thing that I find curious now is
Speaker 3: when you discuss anything, it seems to be that we
Speaker 3: can only accept the mammalian sweet side of our nature
Speaker 3: and not the territorial, the predatorial, the savage side of
Speaker 3: being a primate of sorts. You have to understand that
Speaker 3: all those things are going to be expressed. And the
Speaker 3: more you push the topper we're down trying to keep
Speaker 3: them in, the more they're gonna spill through the sides.
Speaker 1: Well, you could also say that we are we are animals,
Speaker 1: but we are evolving. We're better than agg Wells.
Speaker 3: In the island of doctor moraw and I'm gonna paraphrase,
Speaker 3: I'm sure I'm doing it wrong, but he said he
Speaker 3: watched the animals. This caused the law, and he said,
Speaker 3: and every time they mentioned the law, they would mention
Speaker 3: something that suppressed something that was essential to their names.
Speaker 3: He says, they're in a nutshell is mankind, you know.
Speaker 3: And I think that the thing is if you have
Speaker 3: an open discussion and a tacit or open agreement about behavior,
Speaker 3: that's the social contract we all live in. And within
Speaker 3: that social contract there are real spiritual rewards at being good,
Speaker 3: and I have no doubt there are a spiritual punishment
Speaker 3: for not being good.
Speaker 1: What do you what would that be?
Speaker 3: I think that you one hundred percent attract what you
Speaker 3: are if you give your receive. The laws are very simple,
Speaker 3: you know. One simple simple law is, if you aren't happy,
Speaker 3: you're thinking about yourself. If you're happy, you're thinking about others.
Speaker 3: It's very simple and it sounds like a Chinese cookie
Speaker 3: and nugget, but it's from litrue. When I talk to
Speaker 3: my kids, I say, you want to be happy, think
Speaker 3: about what you can do for somebody else.
Speaker 2: Period.
Speaker 1: Did you grow up with your parents this way? Did
Speaker 1: you come to this yourself to yes to your parents
Speaker 1: being this way?
Speaker 2: Or yes? No?
Speaker 3: I think I think if my friends were going in
Speaker 3: different directions. But I like my mother was very much
Speaker 3: into the you know, in all the hermetic laws, and
Speaker 3: she was sort of a white witch, and you know,
Speaker 3: she read the taro for me and taught me how
Speaker 3: to read the tarol blah blah blah. She was very
Speaker 3: very interesting in a spirit. But I think eventually you
Speaker 3: realize that these are very simple truths. I mean, it's
Speaker 3: like when you were young when you say, if I
Speaker 3: managed to be out of debt and have twenty thousand
Speaker 3: in the bank, I'll be done.
Speaker 2: Then you do that and you.
Speaker 3: Say if I managed to get a handred in the
Speaker 3: bank and a house, and so I'll be fine, And
Speaker 3: then you keep going, and the more you need, the
Speaker 3: less you have. My father won the lottery in nineteen
Speaker 3: sixty nine, and he immediately moved the whole family to
Speaker 3: a house that was the most part of the block.
Speaker 3: And I could go in the town and I could
Speaker 3: go for weeks magically finding food in the fridge and
Speaker 3: never sing a living person for weeks. I would arrive
Speaker 3: at midnight. Nobody would be there saying what were you
Speaker 3: doing out so late? Nobody would say good morning. I
Speaker 3: would ride my bicycle in the house like Danny in
Speaker 3: the shining, you know, nobody would be there. And I
Speaker 3: came to a very simple role. If if you cannot say,
Speaker 3: honeywere are my shoes? And somebody heard you was to
Speaker 3: be that's.
Speaker 1: A good lue, that's the honeywaere am I?
Speaker 2: Yeah?
Speaker 1: How old were you when he won the lottery? I
Speaker 1: was about four, So you didn't know life before that?
Speaker 2: What was I did? I did I have a what.
Speaker 1: Was life before the lottery?
Speaker 2: My mother and father.
Speaker 3: My mother came from a family that you know, was very,
Speaker 3: very rooted in the region. The name was, you know,
Speaker 3: one of the founding names of the city. And she
Speaker 3: had about she had. The dowry was about six or
Speaker 3: seven houses that they gave her in a row, and
Speaker 3: my father used that to create a car salesmanship. But
Speaker 3: we lived in a middle class home. I remember my
Speaker 3: mother used to grab the matches came with a little
Speaker 3: landscape printed in the back, and she would turn them
Speaker 3: around and glue them to.
Speaker 2: A little frame and would hang them on the wall.
Speaker 2: You know. It was a very My mother was a
Speaker 2: very good cook, so she would cook.
Speaker 3: She would cook back then, and I remember the change
Speaker 3: when the lottery came.
Speaker 2: It was a big, big change.
Speaker 1: How much did you wind in the lottery?
Speaker 2: He won six million dollars in nineteen sixty.
Speaker 1: Wow, which was buying a lottery ticket.
Speaker 2: Yeah.
Speaker 3: Well, he bought it with other pe about the whole series,
Speaker 3: the whole the whole sheep, and the other people lost
Speaker 3: their money and my father kept.
Speaker 2: It the decades.
Speaker 1: I mean he kept the money that.
Speaker 3: Most of the people that win the lottery lose the money.
Speaker 2: My father was one of the guys that managed.
Speaker 1: Did you all eat together in the evening? Did you
Speaker 1: have a cook?
Speaker 3: Depends on what decade, and it is very in my generation.
Speaker 3: All the kids married and had houses within three blocks
Speaker 3: of their parents' house, and you ate with your parents
Speaker 3: three four times a week, always on Sunday.
Speaker 1: Even if you weren't living in the house.
Speaker 2: Doesn't matter. You came home. It was always your home.
Speaker 3: After lunch, all the women would go to one room
Speaker 3: and the men would go to another room and take
Speaker 3: a cs.
Speaker 1: The River Cafe Cafe, our all day space and just
Speaker 1: steps away from the restaurant, is now open. In the
Speaker 1: morning an Italian breakfast with cornetti, chiambella and crostada from
Speaker 1: our pastry kitchen. In the afternoon, ice creamed coops and
Speaker 1: River Cafe classic desserts. We have sharing plates Salumi, misti, mozzarella, brisquetto,
Speaker 1: red and yellow peppers, Vitello Tonato and more. Come in
Speaker 1: the evening for cocktails with our resident pianist in the bar.
Speaker 1: No need to book see you here. If we were
Speaker 1: going back to the days of the review the pizza,
Speaker 1: there we go. What do you think it's good? Do
Speaker 1: you want any of you guys want some pizza? Anybody
Speaker 1: over there? It's a good cheese, isn't it. It has
Speaker 1: a kind of mild but it also this might be
Speaker 1: quite salty because it has.
Speaker 2: So wood.
Speaker 1: I'm really interested about your father, the lottery, the change
Speaker 1: in the way that you still ate very local foods.
Speaker 1: And then when you left home. How old were you
Speaker 1: actually when you left or did you ever leave home?
Speaker 1: Or did you live just around the corner in one
Speaker 1: of those houses?
Speaker 2: I know I was very very fast to leave home.
Speaker 1: How old were you?
Speaker 2: Well?
Speaker 3: I am about fifteen, maybe sixteen fifteen sixteen. I started
Speaker 3: doing makeup, effects and effects and storyboards and all that,
Speaker 3: and I would sleep in my office.
Speaker 1: What did you eat that?
Speaker 2: I cook? Horrible? What I mean?
Speaker 3: You could buy a good roasted chicken and it will
Speaker 3: last you the week. Yeah, but cooking, I'm a terrible cook.
Speaker 1: Did it ever interest you to cook for yourself? Yes?
Speaker 2: But that's the.
Speaker 3: Difference with an interest and talent. It includes dancing and cooking.
Speaker 1: Okay, I agree, And also I don't think it's important.
Speaker 1: If you don't want to cook, you don't have to.
Speaker 3: By the way, there is there is a lot of wisdom.
Speaker 2: In knowing how to eat how to eat. Yeah, I
Speaker 2: mean I think it's what is.
Speaker 1: The wisdom of knowing how to eat well?
Speaker 3: It's like a good conversation, isn't it. I mean, you
Speaker 3: want to listen.
Speaker 1: What is a pizza telling you well?
Speaker 2: To me?
Speaker 3: For example, one of the things I value and I
Speaker 3: think is it has a molecular explanation. There are two
Speaker 3: things that I love in food. One is when something
Speaker 3: is slight slightly burned, and I mean burned, not caramelized, no, no,
Speaker 3: no fancy terms.
Speaker 2: Burned.
Speaker 3: If the dois has little black spots of where it
Speaker 3: burned a little more thorough. That bitterness makes a lot
Speaker 3: for the flavor. This crust is great for me. It's thin,
Speaker 3: it has parts that are really black and and crunchy
Speaker 3: and carbonized in a great way that distributes the flavor differently.
Speaker 3: And I talked to a chef friend of mine and
Speaker 3: I was talking about reheated food. I said, why is
Speaker 3: it bad? And he said, well, there depends on the food.
Speaker 3: So some foods concentrate and they're good. But most food
Speaker 3: loses all these qualities after cooking. But certain soups and
Speaker 3: certain things with heavy sauces, they can concentrate over over.
Speaker 3: And one thing when my family was in that big house,
Speaker 3: a delicious thing for me, and it still is. It's
Speaker 3: like vicious walls of beans because it does the fancy
Speaker 3: term for cold beans in my fridge, you know, but
Speaker 3: it was really really good. You blended it, you blended
Speaker 3: the beans and it came like a very thick, vicious wild,
Speaker 3: very delicious, and you know, but all they were the
Speaker 3: cold beans nobody wanted.
Speaker 1: A fond son and mutual friend of ours told me
Speaker 1: that in Mexico, and he's made films about this that well.
Speaker 1: He said that in the United States, when you had wealth,
Speaker 1: you got bigger, you had a bigger house, a bigger kitchen,
Speaker 1: a bigger refridge, writer, a bigger car. And in Mexico,
Speaker 1: when you had wealth, you had more domestic people kept
Speaker 1: the house, small, small kitchen, small house, but you had
Speaker 1: more people working iron in that was that the case
Speaker 1: in your.
Speaker 3: Case, when in the case of my father, the house
Speaker 3: got bigger and we got a lot of people had
Speaker 3: both yeah, and but he he made it a point
Speaker 3: to raise the kids blue collar. Like if you wanted money,
Speaker 3: he would say, what are you going to do for me?
Speaker 3: Like I wanted a toy, he said, save my older brother.
Speaker 3: One says, One said, oh, but you know we I
Speaker 3: shouldn't happen because we're rich. On my first at Amorridge,
Speaker 3: you're not, and neither are your brothers.
Speaker 1: It's like back to I want to know why Louis
Speaker 1: but Well was in Mexico? Did he shoot a movie
Speaker 1: in Mexico?
Speaker 2: When you escaped?
Speaker 3: Right around the Francoira he went to I believe he
Speaker 3: went to New York first. I think he came into
Speaker 3: a really bad situation with Theli and I think Dali
Speaker 3: was very pro Franko, very profascist, and he hated Bunuel.
Speaker 3: They started together, but he hated him and he was
Speaker 3: fired from his position in New York because of Deli.
Speaker 3: And I think years later he encountered Ali on the
Speaker 3: street and he punched them, and Bunuel had said very
Speaker 3: famously he said to his friends, he said, if I disappeared.
Speaker 2: Look everywhere from me except Mexico.
Speaker 3: And he ended up in Mexico because there was a
Speaker 3: very strong colony of intellectual you know, left wing Marxist intellectuals,
Speaker 3: and Bunuel landed. He started making movies there and he
Speaker 3: stayed there the rest of his life. And he ran
Speaker 3: a very conservative household. He was very wild in his mind,
Speaker 3: but in his every day he was Don Louise.
Speaker 2: He was a very.
Speaker 3: He ran a very Catholic Yeah, yeah, very you know. Yeah,
Speaker 3: the kids needed to be home at nine. He was
Speaker 3: a very jealous man. He won the traditional roles in
Speaker 3: his family. The wife stayed at home. He went and
Speaker 3: earned a breath. It was a very interesting paradox. Such
Speaker 3: a great filmmaker, incredible filmmaker. I mean, I think that
Speaker 3: the thing with filmmaking is your paradox is what gives
Speaker 3: you your vocabulary. People have this word vision, and I
Speaker 3: think it's a hostage negotiation with reality.
Speaker 2: Filmmaking is not dictating.
Speaker 3: Filmmaking is negotiating an image or a moment with the actors,
Speaker 3: with reality, with the sun, with the light, with the color,
Speaker 3: you know, and it's a complete dialogue with what is
Speaker 3: happening in front of you.
Speaker 2: Is an active.
Speaker 3: Is not a dictatorial position?
Speaker 2: To me?
Speaker 3: Is the dialogue with reality produces art.
Speaker 1: And the collaboration with other people people.
Speaker 3: Yeah, I think that film is a very social and
Speaker 3: I think that for people, you have a filmography for
Speaker 3: you is part of your biography. You neglect family, you
Speaker 3: neglect friends, you neglect everything, and in exchange you get
Speaker 3: a family of Andred and twenty people for twelve twenty weeks,
Speaker 3: and you have to treat that those people like family, and.
Speaker 1: Then you say goodbye to them.
Speaker 2: Yeah, but you know it's carnival. It's a carnival.
Speaker 3: You will meet them in another town down the road
Speaker 3: in another season, and you have to accept it like that.
Speaker 3: You know, Carneys the tradition and a carnival. Most of
Speaker 3: the people were outlaws because they were running from there
Speaker 3: around so they would they would say, look, I cannot
Speaker 3: go to that town. I'll see you three towns down
Speaker 3: because I'm wanted in that town because I was a
Speaker 3: burglar or a shop lifter or whatever.
Speaker 2: And they would skip a town.
Speaker 3: The carney is called each other other mo, how are you?
Speaker 2: Because they didn't want anyone to hear their real names.
Speaker 1: And is that like what is it like on a film?
Speaker 3: He's very you know William Friedkin, he used to call
Speaker 3: everybody in the head mo.
Speaker 1: Yeah, I know somebody who was another film director always
Speaker 1: called everybody darling.
Speaker 2: Yeah, well that that was very common.
Speaker 3: That was like darling, Oh my darling, what's my name?
Speaker 3: I don't know darling?
Speaker 1: It was, it was it was Richard Attenborough apparently he
Speaker 1: always called everyone very theater.
Speaker 2: Yeah, it's very theater.
Speaker 1: Well, you meet a lot of people, with a lot
Speaker 1: of people. You have to when you're writing your films.
Speaker 1: Before when you're alone in the room, if you are writing,
Speaker 1: do you write by yourself?
Speaker 2: I tried to.
Speaker 3: Reality is sometimes I like association because it takes care
Speaker 3: of even if you don't like what is being written,
Speaker 3: you know how you corrected and it becomes active. The
Speaker 3: loneliness of the the page is very, very difficult.
Speaker 2: But there are movies. For example, this Frankenstein I could
Speaker 2: not co write with anyone.
Speaker 1: Can we talk about Frank It's like Pans Labyrinth.
Speaker 3: I couldn't co write it with anyone. I couldn't explain
Speaker 3: what I wanted. Pans Labyrinth. It took me six months
Speaker 3: to find the opening image, and once I found the
Speaker 3: opening image. I understood the whole movie, and I wrote
Speaker 3: it in six weeks or nine weeks, something really quick.
Speaker 3: With Frankenstein. I wrote the opening fifteen pages, and the
Speaker 3: studio said, how is it going. It's fantastic because I
Speaker 3: started writing that movie the idea for more than twenty
Speaker 3: years ago.
Speaker 2: Yeah. I thought, this is what I'm going to do. Yeah,
Speaker 2: and you laid the plan.
Speaker 3: And then I wrote those fifteen pages, and I stopped
Speaker 3: until I collected. I put the novel on the on
Speaker 3: the computer, the entire novel, and I started taking every
Speaker 3: paragraph that I liked and then discarding the ones that
Speaker 3: I thought I had absorbed, until I have nothing on
Speaker 3: the page again. So he went through a novel that way,
Speaker 3: and then I wrote, But it took it took a while.
Speaker 3: It took a while too, And.
Speaker 1: That brings us to a monster.
Speaker 3: You know.
Speaker 1: I know it's probably an anathematic for you to mention,
Speaker 1: but you know mel Brooks's I love it, you know,
Speaker 1: and one thing that one of the great do you think?
Speaker 1: So I'm so pleased you say that because I did
Speaker 1: a podcast with mel No it's ninety eight now, and
Speaker 1: for me, one of the beautiful things about Young Frankenstein
Speaker 1: was of course the singing, the songs and the humor,
Speaker 1: but was also there was nobody in that that whole
Speaker 1: trajectory that was a bad person. No, you know everyone,
Speaker 1: there's no villain, you know. And the the loneliness of Frankenstein,
Speaker 1: you know, and the and the creature when he just
Speaker 1: sits on that rock. And so I'm glad you liked that,
Speaker 1: So tell me about you. Why do you think it's
Speaker 1: a masterpiece.
Speaker 3: It is not a pastiche It was something that was
Speaker 3: very dear to Jim Wilder first, and then to Jim
Speaker 3: Wilder and mel Brooks second. Uh is not based so
Speaker 3: much on Bride or the original Frankstin is based much
Speaker 3: more on Son of Frankenstein, which, in my opinion, is
Speaker 3: one of the great movies. It is a very very
Speaker 3: good movie that few people know that the origin of
Speaker 3: the of the assistant's name being igor in the Original
Speaker 3: of Frankenstein is called Fritz you know. But Son of
Speaker 3: Frankenstein is a really interesting movie. It was done by
Speaker 3: a director that was an improvisation on director. He didn't
Speaker 3: want to be to stick to the screenplay, so he
Speaker 3: would I don't want to lie you know. It's the
Speaker 3: last movie where a card of plays the monster. And
Speaker 3: the director would come in the morning and and say, well,
Speaker 3: what am we gonna do.
Speaker 2: Let's try this, Let's try that.
Speaker 3: The movie went overbodyed, over schedule, but the result is
Speaker 3: very creative, incredibly visual vela Lugosi who was.
Speaker 2: Down on his luck.
Speaker 3: He was out of money, and Universal didn't want to
Speaker 3: pay him well at all, and the director said, don't worry,
Speaker 3: I'll keep you around. And he kept him around for months.
Speaker 3: And the movie is one of the three masterpieces that
Speaker 3: includes many of the part The wardrobe that Jim Wilder
Speaker 3: has is from that movie, The man with the wooden arm,
Speaker 3: the constable is from that movie. Many many of the
Speaker 3: things are from that movie. And the score of Young
Speaker 3: Frankenstein is one of the great most melancholic.
Speaker 1: Yeah exactly.
Speaker 3: You know. The composer Morris, he composed two of the
Speaker 3: most melancholic, longing scores in the history of movies, The
Speaker 3: Elephant Man and Young Frankenstein.
Speaker 1: I haven't when they had it here in the West
Speaker 1: End in London, and I know mel So we went,
Speaker 1: you know, together, and I went, but I think I
Speaker 1: took almost everyone who worked here. I felt kind of.
Speaker 1: I just wanted to take everyone to see.
Speaker 3: Yeah, it's funny, but it's not is making. It's so
Speaker 3: affectionate and affectionate.
Speaker 1: So tell me about your Frankenstein.
Speaker 3: Well, but you know, there are certain tales that grow
Speaker 3: with you and they become you, and then you can
Speaker 3: you know, it's like a great song.
Speaker 2: You know, you sing on your range.
Speaker 3: Nobody wants to sing out of their range, and there
Speaker 3: are two or three you know, everybody gets.
Speaker 2: Up and you don't want to do karaoke.
Speaker 3: Yeah, you know, and that's why I love John Frankenstan
Speaker 3: He's not karaoke.
Speaker 2: It's a new song by the boys.
Speaker 3: You haven't heard about a thing that is universal, and
Speaker 3: I can say that that's what I want to do.
Speaker 1: What is universal?
Speaker 3: Well, there are certain characters that are about ten twenty
Speaker 3: characters in the history of.
Speaker 2: Mankind's narrative at our universe. I'll tell you. For example.
Speaker 3: You know, these are characters that, even if you haven't
Speaker 3: read the book, you know what they mean. Dracula instantly,
Speaker 3: Sherlock Holmes instantly, Tarzan, Pinocchio, Frankenstein. There are very few.
Speaker 3: The Count of Monte Cristo. You now, you know the basics,
Speaker 3: no matter if you haven't read it. You know comment
Speaker 3: Christians about revenge, you know, Pinocchio wants to be human, etcetera, etcetera, etcetera.
Speaker 3: So these few characters become the vocabulary of humanity in
Speaker 3: the same way that certain symbols are common to all humanity.
Speaker 2: Dragons. All cultures have dragons.
Speaker 3: The theory behind it anthropologically is that people combine the predators,
Speaker 3: the mammals fear the most an eagle and a lizard
Speaker 3: like a large alligator, and they combined them and they
Speaker 3: became an object of fear vampirism. Not every culture, but
Speaker 3: most of them have it. Ghosts. So these are the
Speaker 3: vocabulary of humanity. And when that character is that big,
Speaker 3: it can be rephrased and it changes value. What do
Speaker 3: I mean by that? Romeo and Juliet, right, there is
Speaker 3: a huge premise. I told you Romeyan and Juliet. You
Speaker 3: say I've seen it. I said, no, no, no, no, no, wait,
Speaker 3: it's an aphavela in Brazil. I haven't seen it in
Speaker 3: nineteen sixty five, the year that they you know. And
Speaker 3: then the specifics bring down the register of the song
Speaker 3: and change the modulation of the song. And all of
Speaker 3: a sudden the song is new. That happens if a
Speaker 3: thing is that personal to you and it's the same.
Speaker 3: For example, most people say I love singing in the
Speaker 3: Ring and I love that song, and you say, yes,
Speaker 3: say it and they know it, but they don't know
Speaker 3: that this was the third or fourth time that song
Speaker 3: had been in a movie since the thirties, know, and
Speaker 3: it had never quite catched on the wave called Jim Kelly.
Speaker 3: So in creating something like Binocchio or Frankenstein, these are
Speaker 3: things that have been absorbed more likeularly by me. And
Speaker 3: when I sing them, I hope you haven't heard that song,
Speaker 3: you know, that's the way you got it. If you
Speaker 3: didn't have anything to add, don't get up.
Speaker 1: Yeah, because we can as a person in the audience,
Speaker 1: we long as you said, to hear the different you
Speaker 1: know you're Frankenstein. If you like listening to Ruthie's Table
Speaker 1: for would you please make sure to rate and review
Speaker 1: the podcast on the iHeartRadio app, Apple Podcasts O wherever
Speaker 1: you get your podcasts. Thank you. But when you wake
Speaker 1: up in the morning, do you think about what you're
Speaker 1: going to eat that day? Or when you like.
Speaker 3: One of the things I adore, but it's very, very
Speaker 3: hard to find truly truly expressive is eggs. I think
Speaker 3: eggs are one of the things that tell you the
Speaker 3: culture of the country. The French eggs are amazing, the
Speaker 3: best eggs in my opinion. Spanish, you know, Japanese eggs
Speaker 3: are Japanese eggs.
Speaker 1: Okay, So you're talking about the way they cook the eggs.
Speaker 3: No, you're talking about the quality. All is either musical
Speaker 3: and beautiful or dour. And I must say, and you
Speaker 3: have to guide me in here. I haven't had an
Speaker 3: interesting dialogue with UK eggs.
Speaker 2: Maybe it's been very, very.
Speaker 1: Very We could try and set up that dialogue, but
Speaker 1: it is, you know, it's very tower I think, yeah,
Speaker 1: we'll try. What about the United States? I mean, you
Speaker 1: know that's really if we're going to go for culture
Speaker 1: and eggs, we have to say, have you had an
Speaker 1: omelet in New York or no?
Speaker 3: That's because look, there is one of the most intimate foods.
Speaker 1: Right an egg and egg. Well, let's talk about.
Speaker 2: It comes from the chicken. It does the whole being
Speaker 2: of the chicken going into it. Here we go, and
Speaker 2: if the chicken is.
Speaker 3: Unhappy and sad, and you know whatever it is, the
Speaker 3: egg is a really depressing egg.
Speaker 1: So what do you do for eggs?
Speaker 2: I got to friends or wait for to get lucky
Speaker 2: and go to Spain, to.
Speaker 1: Spain, and this is why I had really good eggs
Speaker 1: in Mexico. You know, there's the wavos divorces, wavos rancheros,
Speaker 1: there's wos Mexicana. There's there's so many ways.
Speaker 2: Is a poem?
Speaker 1: Can you tell the audience what it is?
Speaker 2: How kill is? What you do is you chobolic tortilla.
Speaker 3: It can be either dry or fresh, and then you
Speaker 3: soak it in a really good salta with onion, garlic, tomato, salt,
Speaker 3: and you soak it until the until the chili killos
Speaker 3: are soggy, gets soggy again. But it has to be
Speaker 3: the perfect balance. Can be too soggy, can be too dry.
Speaker 3: I don't like crisp chilla killis. They had to be
Speaker 3: slightly soggy, and then you put them on a plate.
Speaker 3: You put cream, cheese and a fried egg on top
Speaker 3: and a side of fried beans.
Speaker 2: We have them, and that's for me to be. That's
Speaker 2: what I miss the most.
Speaker 1: Can make that? Where do you live?
Speaker 2: Mostly Los Angeles?
Speaker 3: Uh and part part of the time in Toronto, and
Speaker 3: you cannot get chila killers in Toronto.
Speaker 2: If you held the Prime Minister for.
Speaker 3: Ransom, you can l a oh my lord, Yes you can.
Speaker 1: Have cream chili sauce. Isn't it.
Speaker 3: Antillo so as you're gonna have domentillo, so so you're
Speaker 3: gonna have red tomato sauce. But in La I can
Speaker 3: have every great Mexican food I need every day if
Speaker 3: I want to, and I often do.
Speaker 1: When we think about food, we think about you know
Speaker 1: what we were saying about sharing about your parents, whay
Speaker 1: you cooked at home, about the power of deciding. And
Speaker 1: it's also seduction. And I think in the shape of water,
Speaker 1: what really moved me was the scene with the egg.
Speaker 1: You know, when the beautiful woman is holding the It's
Speaker 1: just a simple boiled egg, isn't it. It's just an egg.
Speaker 1: Tell me about that scene. Can you describe that scene?
Speaker 1: Because it is an almost it's insane. Come to me,
Speaker 1: isn't it saying I will get this creature from the water.
Speaker 1: That could be frightening, that could be scary with an egg,
Speaker 1: you know, and you can see that the creature is
Speaker 1: coming out of the water and not entirely, but entirely.
Speaker 3: Tell me that the one thing I do every week
Speaker 3: is I hard boiled eggs. That's my my dietary supplement
Speaker 3: is And the only thing I cook is hard boiled eggs,
Speaker 3: and I do it perfectly.
Speaker 1: Okay, tell me how do you cook a hardboiled egg?
Speaker 3: Well, the way I like them is you boil the
Speaker 3: water for fifteen minutes until it's really really really hot,
Speaker 3: and then you put the eggs and you let it simmer.
Speaker 1: Do you turn off then heat? You keep it simmering.
Speaker 3: You keep it simmering for another fifteen and then you
Speaker 3: turn it off, but leave them there. Yeah, and then
Speaker 3: you grab one and you roll it and if you
Speaker 3: can take the shell out in one single move, then
Speaker 3: that they're good.
Speaker 2: Yeah, you know.
Speaker 3: And I do it every week with twenty thirty every week,
Speaker 3: and the first two days you don't want to open
Speaker 3: the fridge because it's.
Speaker 2: Melt like a boiled egg. But and Kim hates it.
Speaker 2: She goes, oh my god, you're boiling egs.
Speaker 3: Go yeah, sorry, but that's my favorite sort of pocket food,
Speaker 3: so to speak.
Speaker 1: And so when you did that scene, I'm.
Speaker 2: The fish.
Speaker 3: Of all I belong in water I'm I'm a great swimmer,
Speaker 3: good scuba diver. If I am in water all day long,
Speaker 3: I'm happy. But also the egg is a symbol of
Speaker 3: two things, fertility and immortality, right, And I think there
Speaker 3: was a beautiful courtship, very succinct thing with her being
Speaker 3: represented by the egg. And you know she you know,
Speaker 3: the movie opens with her putting a timer in the
Speaker 3: shape of an egg and she has three minutes to
Speaker 3: find pleasure in the bathtub before going.
Speaker 2: To work, you know. And it's a symbol of what
Speaker 2: is eternal.
Speaker 3: And for me in the movie is you find people
Speaker 3: of relative values except her, that are social values. The
Speaker 3: guy wants power, the bad guy wants power, The Americans
Speaker 3: want to win the space race, this and that. And
Speaker 3: you find a creature that is a god, and then
Speaker 3: they chain it, they to operate upon it. They want
Speaker 3: to kill it, they want to make it submissive, they
Speaker 3: want to make it a thing.
Speaker 2: And then at the end.
Speaker 3: It's revealed he is a god. So the eternal of
Speaker 3: the egg was at play. There's a many's. The way
Speaker 3: I tried to layer the movies is you don't have
Speaker 3: to read them the way I write them, but I
Speaker 3: write them very carefully in terms of symbols or organizing
Speaker 3: the colors and the things to mean something that doesn't mean.
Speaker 3: You have the obligation of reading it that way. And
Speaker 3: that is very much like cooking and eating. When you
Speaker 3: are an audience member in a movie theater or in
Speaker 3: a museum with a piece of painting, you can see
Speaker 3: the piece of painting and say I like it or
Speaker 3: I don't like it, and then you move on to
Speaker 3: the next one.
Speaker 2: If you are an educated you have an educated balette.
Speaker 3: You learn to see the composition, the brushstrokes, the color balance,
Speaker 3: the point of view, the thematic elements, the rendition, et cetera,
Speaker 3: et cetera, and have a dialogue with a painting for
Speaker 3: an hour two hours, depending on your level of sort
Speaker 3: of balete sophistication. Same is true with a movie.
Speaker 1: But I say that my husband was an architect, and
Speaker 1: many of my film friends are filmmakers, And I say,
Speaker 1: you create a work of art and it lasts forever.
Speaker 1: You know, if somebody doesn't like your building today, they
Speaker 1: might understand it in a week's time, or year's time
Speaker 1: or ten years time. Or if you make a movie
Speaker 1: and it got bad reviews, then we might all understand it.
Speaker 1: It makes a work of art, and it's like in
Speaker 1: five minutes and it's gone.
Speaker 2: Yeah, but I don't think it's I don't think if
Speaker 2: ever gone. I don't think it's ever gone. A memory,
Speaker 2: especially if it has a heavy cheese, it never leaves.
Speaker 3: No, No, let's talk about that, because I do think
Speaker 3: I have had a few meals in my lifetime that
Speaker 3: are as cherished for me as family memory.
Speaker 2: And I'm not excited. I'm not being hyperbolic. I mean it.
Speaker 3: I remember very particularly there was a soup in Albui
Speaker 3: and north of Barcelona that was for many years the
Speaker 3: most famous restaurant in the world.
Speaker 1: Yeah.
Speaker 3: Well, one time we went the last night last night
Speaker 3: they were open for the season, and one of the
Speaker 3: dishes which made me cry, it was a soup or
Speaker 3: potato three ways. That was like you were eating a
Speaker 3: souper potato that was your grandma, grandma's if she was
Speaker 3: a chemical engineer. I'm a molecular engineer. So there was
Speaker 3: a molecular density to it that was completely It filled you,
Speaker 3: it moved you with caress you, it comford you, and
Speaker 3: I cried. I am not making this up. I'm not
Speaker 3: trying to be interesting for the podcast. I cried and
Speaker 3: it reminded me of my childhood. It was a full
Speaker 3: rattuy moment. And at the end of the night they said,
Speaker 3: well and they they served the dessert once a crab
Speaker 3: of crem which means that they made a film. You
Speaker 3: know how the milk creates that film on top that
Speaker 3: is just cream, like a skin of cream. They would
Speaker 3: use that to make a crap that was filled with
Speaker 3: another cream. And they were closer and I said, did
Speaker 3: any of those get left behind?
Speaker 2: And they said about twenty.
Speaker 3: And they brought them to the table and we dispose
Speaker 3: of the cref the cream and it.
Speaker 1: Was brilliant, genius, wonderful, wonderful, wonderful. Yeah, food is memory.
Speaker 1: And so when you make a movie, and I do
Speaker 1: want to talk for a few minutes just about lovable monsters,
Speaker 1: because that is something that is very important to me
Speaker 1: because it tells the lesson of life about how you
Speaker 1: love something as you say the other But let's just
Speaker 1: get to the process of making a film and food.
Speaker 1: Do you care about what you feed the people who
Speaker 1: work on your set? And do you mind stuck up
Speaker 1: at lunchtime for stopping work?
Speaker 3: I don't I don't like it, like when you do
Speaker 3: it in Spain. For example, if you should have moved
Speaker 3: in Spain, there will be wine involved. Yeah, and that
Speaker 3: means that the hour after the lunch is going to
Speaker 3: start really really slow, and then you quite never quite recuperate,
Speaker 3: you know, but if you do it.
Speaker 2: My favorite is what they call French howers.
Speaker 1: French howers. I've learned about French hours.
Speaker 3: Ten hours, ten hours of work and that's it. You concentrate.
Speaker 3: There's food on the set.
Speaker 2: But that's it.
Speaker 1: Where are you on it? Have you finished filming it?
Speaker 2: Now? I finished Friday. I finished shooting.
Speaker 1: That's what I thought. Are you going home? Then?
Speaker 2: Yeah? You stayed for this?
Speaker 1: No? And so when will you be back?
Speaker 2: I don't know.
Speaker 3: Depend on the ta kila, okay, but but I am
Speaker 3: in post production.
Speaker 2: I caught every day.
Speaker 1: Where will you edit it?
Speaker 2: I will finish anything in la and then yeah.
Speaker 1: And do you eat when you're editing? You know?
Speaker 2: Yes? And no?
Speaker 3: I mean I have a coffee with whatever is there. Yeah,
Speaker 3: And I have bowls and bowls of tangerines.
Speaker 1: Yeah.
Speaker 3: And I eat the tangerines with the peel, and with
Speaker 3: the peel, I wash them and the peel is so good.
Speaker 1: It is good. I sometimes eat the fruit and then
Speaker 1: I go back to the peel. Never kind of crunch.
Speaker 3: In Mexico weed the caramelized fruit, and I love lemons
Speaker 3: in Mexico.
Speaker 1: How often do you go back to Mexico?
Speaker 3: I used to go a lot, and now my my well,
Speaker 3: my parents are dead, and I don't like every time
Speaker 3: I land, I feel really lonely.
Speaker 2: I mean, it's really difficult for me.
Speaker 1: Even knowing that they took the train.
Speaker 3: And they went on, it doesn't matter because because to me,
Speaker 3: the the parents and the kids leave a hole in
Speaker 3: the universe. Basically part of the universe just caeesars to exist,
Speaker 3: and there's no way you can process. That is tatanmic,
Speaker 3: you know, to the point where if you lose a kid,
Speaker 3: there's no word for you. There's no one you know,
Speaker 3: if you lose her husband or a wife, you're a widow.
Speaker 3: Or if you lose her parents, would you lose a kid,
Speaker 3: you are you are undescribably destroyed. So you know, the
Speaker 3: thing with my parents is I didn't know my father died,
Speaker 3: and I process did reasonably well, and then when my
Speaker 3: mother died, I couldn't.
Speaker 2: I won't to do, but I can't.
Speaker 1: Yeah, but Mexico City is on fire.
Speaker 2: Yeah, that's amazing.
Speaker 1: Now, you know, we should go. The food is incredible,
Speaker 1: the art is amazing.
Speaker 2: One of the great cities of the world, I think. So.
Speaker 1: People sometimes ask me where you'd like to live other
Speaker 1: than London, expect me to say an Italian city. For me, Mexico.
Speaker 1: It was really powerful to me.
Speaker 2: It is.
Speaker 3: As a kid from a provincial city, which my city
Speaker 3: was a provincial city. I still get a thrill going
Speaker 3: to Mexico City. Still on the mornings. The smell of
Speaker 3: the mornings in Mexico City with the wet streets.
Speaker 2: Is incredible.
Speaker 1: I don't think people realize how green Mexico City. That's
Speaker 1: the thing that really hit me was how green a
Speaker 1: city was. The trees. I couldn't see the sky sometimes.
Speaker 2: And it's a.
Speaker 3: City that is patterned after after Paris, you know that.
Speaker 1: I didn't know that.
Speaker 3: Yeah, during the Porphyrio ideas period, the model was Paris,
Speaker 3: the Heisman's Osmond's Paris with the large boulevards and the
Speaker 3: big buildings, you know, and the biggest artes and the Reformer.
Speaker 2: And all that Reformer.
Speaker 1: Yeah, if you had to think of a food that
Speaker 1: when you were needing comfort, not when you're hungry, not
Speaker 1: when you want to celebrate, not when you want something
Speaker 1: to eat for your kids. Is there something that gives
Speaker 1: you comfort?
Speaker 2: Yes, it's such a cliche. Refried beans beans?
Speaker 1: Yeah, is it a cliche?
Speaker 2: It is a little bit. I have it.
Speaker 3: I mean it's to me, and they are not one
Speaker 3: thing like there are at least ten ways of have
Speaker 3: a refright being. Tell me one way that I like that.
Speaker 3: I only drive ones in a in a little stand
Speaker 3: in Mexico City. Is they mix them with lentils. Lentils
Speaker 3: and refraed beans together. And it was so fantastic. If
Speaker 3: you try it in the restaurant, call them beans.
Speaker 1: Okay, we will, We'll call the beans. Thank you. It
Speaker 1: was a beautiful interview.
Speaker 2: Well, darling, darling, thank you. Oh god, you get you get? Yeah, No,
Speaker 2: I'll have a lunch. Why are you kidding me?
Speaker 1: Do we have more glasses? Come? You have some more?
Speaker 1: Do your guys want in tequila?