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Speaker 1: On the Dog Cast, the questions asked if movies have

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Speaker 1: women and them, are all their discussions just boyfriends and husbands,

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Speaker 1: or do they have individualism? The patriarchy? Zef in best

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Speaker 1: start changing it with the Bell Cast. Hey Jamie, Hey, Caitlin,

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Speaker 1: seize your moment. You know, I know you've been wanting

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Speaker 1: to play music and that's your secret passion, and I

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Speaker 1: think you should just go for seize your moment. And

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Speaker 1: who cares what your family says. I'm the dog Dante

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Speaker 1: by the way, Wow, that's exciting. Well, I love Dante.

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Speaker 1: I want a Dante at my house. I love Dante

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Speaker 1: so much. I know, he's one of my favorite Pixar

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Speaker 1: Disney animal familiars in many moons, and he doesn't even

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Speaker 1: need to talk. I always feel like I'm like, whenever

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Speaker 1: a Disney animal companions so good they don't even need

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Speaker 1: to speak, You're like, that's a that's a heavy heater. Yeah,

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Speaker 1: Dante's in the Hall of Fame. Welcome to the Bechtel Cast.

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Speaker 1: My name is Caitlin Darante, my name is Jamie Loftus,

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Speaker 1: and this is our podcast where we take a look

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Speaker 1: at your favorite movies using an intersectional feminist lens with

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Speaker 1: some of our favorite people in the world, and we

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Speaker 1: do that using the Bechdel Test as a jumping off

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Speaker 1: point for discussion, which I simply don't remember. What is that, Caitlin,

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Speaker 1: I'll remind you. It's been it's been half We've been

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Speaker 1: doing the show for half a decade, and yet what

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Speaker 1: even is it? Well, it's always changing and growing, and

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Speaker 1: our version of it these days fluid. Yeah, it is

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Speaker 1: very fluid. So it's a media metric created by queer

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Speaker 1: cartoonist Alison Becktel, sometimes called the Bechtel Wallace test, in

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Speaker 1: which our version is two people of a marginalized gender

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Speaker 1: have to have names, they must speak to each other

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Speaker 1: about something other than a man for at least two

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Speaker 1: lines of dialogue, and ideally that conversation is narratively important

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Speaker 1: and not just like hey Judy, you know, hey Sally,

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Speaker 1: you know when you hear it, when you hear it,

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Speaker 1: meaning full exchange, you're like, Okay, something happened there, yea.

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Speaker 1: And we have a very popular request on the show

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Speaker 1: today with a very popularly requested guest. She's been on

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Speaker 1: the show many, many times, and the movie is Coco,

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Speaker 1: and the guest is if you clicked. You already know.

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Speaker 1: But Caitlyn give us the give us the rentdown. She's

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Speaker 1: a writer, she's an actress. You remember her from our

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Speaker 1: episodes on tomb Raider and The Adams Family. It's Danny Fernandez.

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Speaker 1: Welcome back for having me. God, thanks for coming back.

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Speaker 1: I'm so glad that y'all had me watched this movie earlier,

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Speaker 1: Like I just haven't watched it in like a year,

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Speaker 1: and I was like, I needed a reason to cry

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Speaker 1: than all of the other reasons that we have to cry. Right,

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Speaker 1: it felt good though. I could feel it coming on

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Speaker 1: and I just let it take over. I was like,

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Speaker 1: that feels good. Sometimes you just need that sweet Coco

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Speaker 1: cry release really, Like it's no matter how many times

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Speaker 1: you see certain parts coming Like last night, I was like,

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Speaker 1: I've seen this movie before at this point, like I

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Speaker 1: I'm going to be able to compartmentalize through this part

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Speaker 1: and I've never been successful. Wrong, wrong, wrong, I didn't

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Speaker 1: like hydrate properly before watching like the whole thing. Oh

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Speaker 1: my gosh. So Danny, what's your relationship and history and

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Speaker 1: all that with Coco. Well, it's uh, you know, representative

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Speaker 1: of my family and background, my families from Mexico and um,

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Speaker 1: actually have a big I'll have to send you guys

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Speaker 1: a picture so that you can share it if you

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Speaker 1: want to. But I have a big Coco guitar that

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Speaker 1: has like painting of of like the characters from Coco.

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Speaker 1: It's really beautiful. It's actually one of my favorite is

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Speaker 1: of art that I own because you can see I

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Speaker 1: also have art of other Disney art and stuff behind me.

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Speaker 1: But um, I don't know, I have so many different

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Speaker 1: launching points into this. One thing is that I I

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Speaker 1: sent y'all also a video of my niece reading the

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Speaker 1: Coco book, like the Golden Book. Yeah, And so it

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Speaker 1: was so funny because we didn't really feel like we had,

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Speaker 1: you know, as far as representation goes, like before this,

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Speaker 1: we had Mowanna and so that was around the time

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Speaker 1: that she was born and she was like one or

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Speaker 1: two and mo Wanna came out, and so we're getting

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Speaker 1: her all Mahanna stuff. We just wanted anything that kind

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Speaker 1: of looked like her to have, if that makes sense.

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Speaker 1: And so I think on her second birthday was like

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Speaker 1: all Mohanna stuff. Want what she still has? She like

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Speaker 1: loves her Ma Wanna dolls. And then Coco came out,

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Speaker 1: and I was like, great, I have something from her culture,

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Speaker 1: from her background that we can we can help, you know,

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Speaker 1: teach her. Uh So then I got her the Coco guitar,

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Speaker 1: like the White famous like guitar hab she can play on.

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Speaker 1: My brother has pictures of him like playing guitar for

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Speaker 1: her when he would like, um, play her to like

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Speaker 1: to sleep, and so like it was just I don't know,

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Speaker 1: I felt like so many different intersections. I'm also pretty um,

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Speaker 1: pretty open about having issues in my own family and

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Speaker 1: not being close with certain people in my family, and

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Speaker 1: so like I really related to that aspect of of

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Speaker 1: the movie. Um. And then we also have an a

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Speaker 1: friend at my brother has that he taught my niece

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Speaker 1: and nephew and so we have our our deceased relatives

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Speaker 1: on there and it has candles and like they've they've

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Speaker 1: taught their kids, you know about that and so yeah,

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Speaker 1: so so it was it was great. You know, before this,

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Speaker 1: we had the Book of Life by Jorge Gautierrez and

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Speaker 1: and she also has that movie in that book as well.

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Speaker 1: And so the more representation, the more stories around this

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Speaker 1: that we can tell, I think is is really important.

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Speaker 1: But I personally just felt very happy that this existed

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Speaker 1: so that we could pass this in my family. Oh

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Speaker 1: that's so wonderful, beautiful a little bit, Jamie. What's your

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Speaker 1: relationship with Coco? Uh? Pretty simple. I mean, I just

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Speaker 1: I've seen it several times. It makes me cry every time,

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Speaker 1: and I take a lot of joy in it. It

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Speaker 1: is I mean, I'm not of Mexican descent at all,

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Speaker 1: and I might think my my knowledge and my just

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Speaker 1: experience of an understanding of Dia del Maritas and I

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Speaker 1: think very like basic aspects of Mexican culture. I mean,

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Speaker 1: I just don't know enough basically, and I think that

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Speaker 1: this a lot of what this movie does. Although there

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Speaker 1: is some criticism that we'll get into as well, but

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Speaker 1: like I I've learned from this movie too. And then

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Speaker 1: the way that Coco kind of ingratiates Mexican culture into

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Speaker 1: the plot in a way that is very natural is

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Speaker 1: like I wish that this movie had existed when I

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Speaker 1: was a kid, But yeah, true, but I'm glad it

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Speaker 1: exists when I'm an adult. It's great, totally. I was

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Speaker 1: just talking about this with a shout out to my

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Speaker 1: Spanish tutor Adriana, who I have a whole segment from

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Speaker 1: her because she was born and raised and grew up

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Speaker 1: and lived most of her life in Mexico, and I

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Speaker 1: wanted to get her thoughts on it. So she shared

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Speaker 1: a lot of insight that all I will share later.

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Speaker 1: But um, I was saying, like I didn't learn about

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Speaker 1: Dia delusmortos until I mean, I took Spanish in high

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Speaker 1: school and learned about it then. But you know, I

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Speaker 1: spent so many years like not knowing so much about

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Speaker 1: so many cultures because well, one, the American education system

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Speaker 1: did not expose me too much of anything, and to

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Speaker 1: all the movies I was exposed to were just about

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Speaker 1: white people, white Americans. So I was like, yeah, I

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Speaker 1: really wish I had this movie growing up two just

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Speaker 1: for the sake of like I could have learned a thing.

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Speaker 1: But same, I love this movie. I saw it in

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Speaker 1: theaters I think twice. I've seen it several times since then.

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Speaker 1: This movie makes me cry, cry cry. I teach it

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Speaker 1: in my screenwriting classes. Also, Like there's a segment I

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Speaker 1: do in world building that I have my students like

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Speaker 1: read a trunk of the script and then we watch

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Speaker 1: that and like see how it translates from the page

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Speaker 1: to the screen, and there's just like I love this movie,

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Speaker 1: so I'm excited to talk about it. Um, should we

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Speaker 1: get into the recap and just go from there? Yeah,

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Speaker 1: let's do it as per usual. Let's do it. I

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Speaker 1: was just saying, how I think this is the longest

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Speaker 1: recap I've ever written on the show. Can't wait, just

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Speaker 1: because like, this story is so good and it's like complicated,

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Speaker 1: but not in a way that it's like overwhelming or

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Speaker 1: like confusing or anything like that. It's just like so

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Speaker 1: rich and there's just so much detail I didn't want

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Speaker 1: to leave out, so bear with me. But um, here

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Speaker 1: we go. So we get some backstory about the rivera

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Speaker 1: family where long ago there was a musician who had

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Speaker 1: a wife and a daughter, and one day the man

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Speaker 1: left with his guitar and never returned. So the mother,

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Speaker 1: the woman, banished all music from her life became a shoemaker,

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Speaker 1: which she passed down to several generations of her family.

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Speaker 1: That woman was Miguel's great great grandmother, Emelda, and her

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Speaker 1: daughter is Miguel's great grandma Coco. And then Miguel's family

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Speaker 1: tells this story every year on El Dia de los Mortos,

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Speaker 1: so then we meet Miguel. He's a young twelve year

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Speaker 1: old boy in Mexico. The rest of his family, you know,

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Speaker 1: his mom, his dad, aunt and uncles, his grandma, and

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Speaker 1: his great grandma Coco. We meet them on screen. They

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Speaker 1: are all still very anti music. But Miguel has a secret.

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Speaker 1: He loves music. He plays the guitar. He worships Ernesto

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Speaker 1: de la Cruz, who was a famous musician back in

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Speaker 1: the day. And Miguel loves his song entitled Remember Me

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Speaker 1: Secretly Loving Music has to be like the sweetest rebellion ever.

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Speaker 1: It's such a fascinating like when as writers, I'm like

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Speaker 1: always thinking of like it's such a fascinating plot. You know,

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Speaker 1: You're like, how are we going to make a movie

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Speaker 1: about this holiday? And like what can we do? And

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Speaker 1: let's have his whole family hate music, but he loves it.

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Speaker 1: It's such a good It's like such a classic Disney setup.

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Speaker 1: It feels like of like know this then the you know,

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Speaker 1: like the Little Mermaid, like all she wants to do

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Speaker 1: is go to the shore, and her whole family is like, no,

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Speaker 1: that's an abomination. I wrote that down to where it

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Speaker 1: felt like I mean and obviously like the stories are

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Speaker 1: very different. But like when appolita Um smashes Miguel's guitar

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Speaker 1: spoiler alert, I was like, well, King Triton ruining the garrotto.

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Speaker 1: It's like same, same, devastating, like how could you? I

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Speaker 1: thought I could trust you energy. So that night, there's

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Speaker 1: a music talent competition for Dia de los Mortos in

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Speaker 1: Miguel's town's plaza and Miguel wants to sign up, but

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Speaker 1: his family is like no way. But then Miguel discovers

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Speaker 1: from a photograph on his family's o frienda that his

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Speaker 1: great great grandfather was Ernesto de la Cruz. His face

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Speaker 1: has been torn off of the photo, but Miguel recognizes

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Speaker 1: his famous guitar, so he decides to seize his moment

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Speaker 1: and enter the talent competition. But his grandma finds out

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Speaker 1: what he's doing and he's that's the scene where she

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Speaker 1: smashes his guitar. So then Miguel goes to de la

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Speaker 1: Cruz's mausoleum to borrow the guitar there, but when he

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Speaker 1: strums on the guitar, it transports him from his living

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Speaker 1: state to a kind of like apparition in which he

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Speaker 1: cannot be seen by the living, but can be seen

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Speaker 1: by all of the dead people who have crossed over

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Speaker 1: to the Land of the living for Diadels mortals. This

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Speaker 1: sequence is so beautiful and well done, Like it's one

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Speaker 1: of there are so many amazingly animated scenes in this movie,

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Speaker 1: but the one where it's so seamless and it's I

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Speaker 1: feel like it also like you you're so put into

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Speaker 1: Miguel's shoes of like it's a little jarring and confusing,

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Speaker 1: and then you realize what's going on, and uh, that

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Speaker 1: sequence is just like so well paced and animated. I

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Speaker 1: love it absolutely so. Then he runs into his dead ancestors,

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Speaker 1: including his Tia Rosita, Tia Victoria, Papa Julio, TiO Oscar,

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Speaker 1: or in TiO Philippe, who bring him across the bridge

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Speaker 1: to the Land of the Dead, which is this huge,

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Speaker 1: beautiful city where everyone's dead family and ancestors live. It's

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Speaker 1: also full of alabris, which are spirit animals. And then

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Speaker 1: they go through this like customs type thing where Miguel

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Speaker 1: sees a dead skeleton guy trying to cross into the

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Speaker 1: Land of the living, but he can't because his photo

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Speaker 1: isn't on anyone's a frienda. So then the family finds

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Speaker 1: Mama Emelda, who couldn't cross over to the Land of

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Speaker 1: the Living because Miguel had taken her photo off of

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Speaker 1: his family's a FRIENDA. Then Miguel learns that he needs

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Speaker 1: his family's blessing to be able to cross back over

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Speaker 1: to the Land of the living, but he has to

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Speaker 1: do so by sunrise or else he will turn into

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Speaker 1: a skeleton and be stuck in the Land of the

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Speaker 1: dead forever. More. Little Mermaid vines, yeah, yeah, you have

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Speaker 1: three days, says Ursula. Yeah. So then Mama Emelda gives

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Speaker 1: Miguel her blessing to return home, but with the condition

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Speaker 1: that he never play music again, since she was like

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Speaker 1: the original like no music lady, she invented the foot

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Speaker 1: loose rules to the family exactly, but the second Miguel

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Speaker 1: is transported back, he picks up de la Cruz's guitar

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Speaker 1: and is immediately transported back to the Land of the

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Speaker 1: Dead because he broke his promise. So then Miguel gets

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Speaker 1: the idea to get his blessing from Ernesto de la

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Speaker 1: Cruz since they're related, so that Miguel can return home

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Speaker 1: and still play music. So Miguel sneaks away from his

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Speaker 1: family and sets off with a street dog named Dante,

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Speaker 1: who had also crossed over to the land of the dead.

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Speaker 1: Because dogs are just transient beings who can cross dimensions.

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Speaker 1: I think that that is like a tradition that's like

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Speaker 1: rooted in real mythology too, of like dogs as yeah,

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Speaker 1: like intermediaries between the living and the dead. Mm So,

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Speaker 1: then Miguel sets off to find Ernesto de la Cruz.

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Speaker 1: So Miguel comes across that guy who saw at the

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Speaker 1: customs section who he overhears saying that he knows de

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Speaker 1: la Cruz. This is Hector, voiced by Gael Garcia. Brnow,

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Speaker 1: by the way, who is my number one celebrity crush?

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Speaker 1: Is it? Yes? I don't see you tweeting about him enough? Then,

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Speaker 1: well are you trying to keep it on the I

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Speaker 1: feel like anytime someone has a celebrity crush, like I know,

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Speaker 1: I just do you all know who mine is? Tell us? Oh,

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Speaker 1: I thought you were going to say yes, of course.

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Speaker 1: I feel like when you say it, I'm like, wait,

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Speaker 1: I've seen those tweets. Yeah, I'm pretty sure. I feel

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Speaker 1: like this is in line with this. It's Selmahiac. Oh yeah,

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Speaker 1: I feel like I've tweeted yeah about her. I try

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Speaker 1: to be chill though, because I feel like, not that

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Speaker 1: we all know each other, but we're kind of like,

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Speaker 1: I don't know, like adjacent. There's six degrees element. Yeah,

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Speaker 1: yeah for sure. And I know someone I think I

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Speaker 1: haven't told. I've told this story before another podcast, but

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Speaker 1: I guess not on this one. But I like the

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Speaker 1: New Bachelorette was like thirty five or something shocking horrible old,

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Speaker 1: and somebody tweeted that essentially like oh she's thirty five,

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Speaker 1: and I said, some hikes fifty five and I would

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Speaker 1: ruin my life for her. And I didn't tag her

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Speaker 1: because again, like we're professional, we all work in this

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Speaker 1: business together. And somebody sent it to her though, because

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Speaker 1: she screamshot it. She put it on Instagram, not just

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Speaker 1: on Twitter, and like found me and tagged me and

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Speaker 1: was like thank you. Danny was like, I was like,

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Speaker 1: I would ruin my life for her, and she was like,

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Speaker 1: thank you, Danny. I'm like, I'm going to do this

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Speaker 1: for Gail because I don't, like, I don't tweet about

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Speaker 1: really anything, um except for Paddington. That's true. That's true,

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Speaker 1: but I mean, like, I don't like when people tag that.

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Speaker 1: I just think it's and well, it's especially we were

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Speaker 1: just because we we were like you know a lot

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Speaker 1: of us work on different shows and movies and like,

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Speaker 1: you know whatever, Like that's very awkward and I never

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Speaker 1: wanted to be like weird, so I don't ever tag them.

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Speaker 1: But if you found it on your own, that's not

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Speaker 1: my fault. That's very good. I mean, this ship have

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Speaker 1: I mean not to shout it out once an episode,

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Speaker 1: but Alfred Molina was on the podcast. These things do happen,

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Speaker 1: I know, Selman, I will have our moment our. Yeah,

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Speaker 1: you gotta start thirst tweeting more. I love. I love

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Speaker 1: when a thirst tweet leads to something beautiful. That's nice. Alright,

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Speaker 1: Well this is my cue to send out more thirst tweets.

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Speaker 1: I don't know what's stopped. The stakes are low. I'm

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Speaker 1: barely in the industry, so I don't even have to

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Speaker 1: worry about like professionalism here. So um, okay, where were we?

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Speaker 1: So we see Hector again and he and Miguel make

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Speaker 1: a deal. If Hector helps Miguel find de la Cruz,

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Speaker 1: then Miguel will put up Hector's photo On and a

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Speaker 1: friend to when he returns to the Land of the Living,

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Speaker 1: so that Hector can cross over and see his family,

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Speaker 1: which he hasn't been able to do for quite some time.

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Speaker 1: Miguel learns that De la Cruz is hosting a very

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Speaker 1: exclusive party that night, and that the winner of this

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Speaker 1: talent competition that's happening gets to play at this exclusive party,

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Speaker 1: So Miguel and Hector set off to find a guitar.

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Speaker 1: This is also the scene where Miguel meets Freda Carlo

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Speaker 1: and has a fun interaction with her. Then Hector takes

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Speaker 1: Miguel to a place where dead people who don't have

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Speaker 1: families or people to visit in the Land of the Living,

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Speaker 1: they all kind of have formed this community, and we

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Speaker 1: learned that if enough time passes, these kind of forgotten

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Speaker 1: people will fade away and eventually disappear forever and have

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Speaker 1: their what they call it a final death, which is

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Speaker 1: illustrated through like the saddest scene ever committed. So we

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Speaker 1: see this with this guy Chon who's voiced by Edward

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Speaker 1: James almost by the way, So Hector borrows a guitar

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Speaker 1: from him. He is fading and then we see him

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Speaker 1: like die his final death. We also learn in this

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Speaker 1: scene that Hector was a former musician and that Hector

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Speaker 1: is also fading because his family in the Land of

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Speaker 1: the Living is forgetting him. The plant and payoff of

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Speaker 1: this movie is so good, like the screenwriting is absolutely incredible.

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Speaker 1: So with the guitar, they head to this talent competition

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Speaker 1: and Miguel performs, but Miguel's skeleton family, who has been

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Speaker 1: chasing after him this whole time, shows up to this show,

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Speaker 1: and this is where Hector learns that Miguel does have

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Speaker 1: other family who could give their blessing and send him

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Speaker 1: back to the Land of the Living. So he's like,

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Speaker 1: why am I trying to help you find d La Cruz.

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Speaker 1: So then Miguel runs away but bumps into Mamma Emelda,

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Speaker 1: who reveals that she used to love music, but of

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Speaker 1: course that changed when her husband left, and Miguel is like,

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Speaker 1: you you should understand and support my passion for music,

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Speaker 1: and she's like no, so then he runs away. Miguel

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Speaker 1: is a very emotionally intelligent kid. I'm like, I don't

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Speaker 1: know if I was firing off ship like that when

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Speaker 1: I was twelve, right, He's great not to be like

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Speaker 1: I was so emotionally intelligent, but like I have, I

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00:20:30,320 --> 00:20:32,520
Speaker 1: have like diaries of mine from that time, and I

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00:20:32,560 --> 00:20:36,800
Speaker 1: was so angsty and just thought I was like so

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Speaker 1: smart and I don't know, like I just I definitely

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Speaker 1: was very I was like a very emotional twelve year

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Speaker 1: old for sure. That's great. I was very emotionally. I

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Speaker 1: was just always repressing all of my emotions, which I

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Speaker 1: do to this day very healthily, I think I was.

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Speaker 1: I just had like O c D, like true O

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Speaker 1: c D notebook full of I would write down what

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Speaker 1: everybody was wearing around me at all times because I

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Speaker 1: thought I would die if I didn't do that. And

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Speaker 1: then I would also write about my crushes for four

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Speaker 1: to five hundred pages at that time. My god, so

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00:21:15,680 --> 00:21:21,920
Speaker 1: there was more volume. There wasn't a lot of quality, hilarious, gosh. Anyways,

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Speaker 1: Miguel is is very in touch with his his emotional

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Speaker 1: needs and understands adults better than uh, certainly I ever

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Speaker 1: did for sure. So then we see Miguel sneak into

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Speaker 1: Ernesto de la Cruz's party. Miguel finds him and tells

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Speaker 1: him that he is de la Cruz's great great grandson,

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Speaker 1: which de La Cruz thinks is awesome, and he is

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Speaker 1: about to give his blessing to Miguel to go back

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Speaker 1: home and be a musician, but just then Hector shows

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Speaker 1: up and reveals that all of de la Cruz's songs

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Speaker 1: were actually Hector's and that Ernesto the Cruise stole them,

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Speaker 1: And then we get this flashback that reveals that the

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Speaker 1: La Cruz poisoned Hector so that he could steal his songs. Twist,

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00:22:10,040 --> 00:22:13,200
Speaker 1: What a what a twist. I remember the first time

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Speaker 1: watching that being like it really gets you, I know.

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Speaker 1: I was just like, wait, this movie is for babies,

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Speaker 1: and I didn't know that was gonna happen. This movies

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Speaker 1: for baby. That's the thing about Pixar movies, though, is

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Speaker 1: that like, yeah, the target audiences children, but they're also

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Speaker 1: like so well written that all ages can. Excuse me,

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Speaker 1: but I have to say on behalf of Brad Bird

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Speaker 1: that the target audience is family. Is everyone? That's yes,

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00:22:42,800 --> 00:22:48,280
Speaker 1: that's true. Sorry, no, I'm sorry, Pixar director Bradbird. It's

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Speaker 1: very adamant that these are not for children. I'm sorry,

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Speaker 1: I'm sorry, Bradbird. I'm just a single adults. I don't

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Speaker 1: know what constitutes a family. Okay, Brad Bird, your your

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00:23:03,600 --> 00:23:07,239
Speaker 1: statement still doesn't include me somehow. No, I feel like

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Speaker 1: he would think that you were a fan like you.

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00:23:10,680 --> 00:23:14,119
Speaker 1: You complete yourself, Jamie, Yeah, you are a family with

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Speaker 1: Bird would feel that way. I am my own family unit.

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00:23:18,760 --> 00:23:22,600
Speaker 1: Please and yeah, exactly, And that's why I feel entitled

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Speaker 1: to watch The Incredibles two whenever I want. Exactly, I'm

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Speaker 1: more of an incredible as one. I'm sorry, but that's

385
00:23:29,440 --> 00:23:34,320
Speaker 1: that's quite a correct answer. You're right, okay. So then

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00:23:34,720 --> 00:23:37,600
Speaker 1: de la Cruz has Hector and Miguel taken away by

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Speaker 1: security and thrown into a cave, where we get another

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00:23:41,920 --> 00:23:45,960
Speaker 1: big reveal that Hector's daughter. The reason he wants to

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00:23:45,960 --> 00:23:50,879
Speaker 1: cross back over is Coco a k a. Miguel's great

390
00:23:50,880 --> 00:23:55,040
Speaker 1: grandmother a k a. Hector, not Ernesto de la Cruz

391
00:23:55,400 --> 00:23:59,520
Speaker 1: is Miguel's great great grandfather, and Hector wrote the song

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00:23:59,680 --> 00:24:04,560
Speaker 1: Remember Me for Coco. Then Mama Emailda shows up with

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00:24:04,560 --> 00:24:08,920
Speaker 1: her Alibrique and rescues Miguel and Hector. Hector tells her

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00:24:09,040 --> 00:24:11,680
Speaker 1: what happened that you know, he didn't leave her, he

395
00:24:11,880 --> 00:24:15,439
Speaker 1: was murdered, and she's like, um, yeah, I guess. But

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00:24:15,520 --> 00:24:18,080
Speaker 1: I still can't forgive you, but she does want to

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00:24:18,119 --> 00:24:20,119
Speaker 1: help him not be forgotten. I do like that. It

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00:24:20,200 --> 00:24:22,320
Speaker 1: kind of like turns into like the last act of

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00:24:22,400 --> 00:24:25,760
Speaker 1: a rom com. Once they're once they very unite to

400
00:24:26,000 --> 00:24:29,120
Speaker 1: where it's like, well, these two kids figure it out.

401
00:24:29,440 --> 00:24:34,120
Speaker 1: You're kind of like, I don't know, let's see right. Um.

402
00:24:34,160 --> 00:24:36,640
Speaker 1: So they head back to dela Cruz's place to get

403
00:24:36,680 --> 00:24:40,920
Speaker 1: Hector's photo back because de la Cruz had stolen it. Um.

404
00:24:40,960 --> 00:24:44,800
Speaker 1: They find him backstage right before his big concert and

405
00:24:44,880 --> 00:24:47,240
Speaker 1: they get back the photo. But then Mama Emelda is

406
00:24:47,800 --> 00:24:51,439
Speaker 1: like accidentally gets sent to the stage in front of

407
00:24:51,440 --> 00:24:55,679
Speaker 1: thousands of people, and she has no choice but to

408
00:24:55,720 --> 00:24:59,800
Speaker 1: sing and perform, and in so doing, she rediscovers her

409
00:25:00,040 --> 00:25:03,119
Speaker 1: of of music and then is about to give Miguel

410
00:25:03,280 --> 00:25:07,600
Speaker 1: her blessing free of any conditions. But then de la

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00:25:07,640 --> 00:25:11,119
Speaker 1: Cruz shows back up and tries to murder Miguel, but

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Speaker 1: it's all caught on video, so everyone at the show

413
00:25:15,160 --> 00:25:19,040
Speaker 1: learns that De la Cruz is a fraud and a murderer.

414
00:25:19,880 --> 00:25:25,080
Speaker 1: Mama Emelda's Labrique saves Miguel, but Hector's photo is lost,

415
00:25:25,400 --> 00:25:29,399
Speaker 1: so now Miguel can't put it on the frienda and

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00:25:29,680 --> 00:25:33,040
Speaker 1: Hector is dying because Coco is forgetting him, and it's

417
00:25:33,040 --> 00:25:36,320
Speaker 1: almost sunrise, so the family has to quickly give their

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00:25:36,359 --> 00:25:38,679
Speaker 1: blessing and send Miguel back to the land of the living.

419
00:25:39,520 --> 00:25:41,959
Speaker 1: So now that he's back, Miguel rushes to Mama Coco

420
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Speaker 1: and tries to get her to remember her Papa Hector.

421
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Speaker 1: He starts singing remember Me, which gets Coco to remember,

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00:25:51,760 --> 00:25:55,159
Speaker 1: and she starts singing along, and everyone's crying, crying, crying,

423
00:25:55,280 --> 00:25:59,840
Speaker 1: are balling our eyes out. I remember I was at

424
00:25:59,840 --> 00:26:02,560
Speaker 1: a screening and there was a mom with like three

425
00:26:02,600 --> 00:26:05,760
Speaker 1: boys there. I was like, oh man, she must be

426
00:26:05,760 --> 00:26:07,919
Speaker 1: like a mommy block. I mean, who brings like so

427
00:26:07,960 --> 00:26:12,600
Speaker 1: many children into it pr screening or whatever. And I

428
00:26:12,680 --> 00:26:16,399
Speaker 1: just remember the kid being like, Mom, why are you crying? Mom?

429
00:26:16,520 --> 00:26:19,600
Speaker 1: Why are you crying? Like you know when kids like

430
00:26:19,640 --> 00:26:22,520
Speaker 1: don't quite like grasp something. And she was just like

431
00:26:23,040 --> 00:26:27,439
Speaker 1: full blown, like sniffling in the theater. I remember he

432
00:26:27,480 --> 00:26:33,160
Speaker 1: kept like pulling on her sleeve like. So Miguel and

433
00:26:33,440 --> 00:26:37,600
Speaker 1: Mama Coco were singing together, and Miguel's living family is

434
00:26:37,680 --> 00:26:41,080
Speaker 1: there and sees Miguel playing music, but they see how

435
00:26:41,160 --> 00:26:44,240
Speaker 1: much Coco responds to it, so they're like, oh, wow,

436
00:26:44,240 --> 00:26:47,080
Speaker 1: maybe music is actually a good thing. And then Coco

437
00:26:47,160 --> 00:26:50,159
Speaker 1: takes out her photo of her papa and it is

438
00:26:50,160 --> 00:26:53,240
Speaker 1: confirmed that it is Hector. So then we cut to

439
00:26:53,400 --> 00:26:57,160
Speaker 1: a year later. The next day de Losmortos, the photo

440
00:26:57,320 --> 00:27:00,320
Speaker 1: of Emelda and Hector is on the al frienda, as

441
00:27:00,440 --> 00:27:02,840
Speaker 1: is Coco's. Apparently she had passed away at some point

442
00:27:02,920 --> 00:27:06,679
Speaker 1: during the last year. In the Land of the Dead, Emelda, Hector,

443
00:27:06,760 --> 00:27:10,639
Speaker 1: and Coco are all united. They cross over and visit

444
00:27:10,680 --> 00:27:13,760
Speaker 1: their family. In the Land of the Living. Micguil is

445
00:27:13,960 --> 00:27:18,880
Speaker 1: playing music for his family. Everyone's happy, everyone's together. I'm

446
00:27:18,920 --> 00:27:27,480
Speaker 1: crying more. And the movie is over. So that's the story.

447
00:27:28,240 --> 00:27:30,400
Speaker 1: Let's take a quick break and then we will come

448
00:27:30,400 --> 00:27:40,520
Speaker 1: back to discuss and we're back. Where shall we begin.

449
00:27:40,920 --> 00:27:43,600
Speaker 1: There's there's so much to talk about here. Yeah, Danny,

450
00:27:43,640 --> 00:27:45,440
Speaker 1: do you have any place you want to kind of

451
00:27:45,520 --> 00:27:48,000
Speaker 1: jump off from? No. I just wanted to make a

452
00:27:48,080 --> 00:27:51,760
Speaker 1: note that my favorite part of this movie is when

453
00:27:52,560 --> 00:27:56,520
Speaker 1: Coco is reunited with her parents and she's still old,

454
00:27:56,840 --> 00:27:59,480
Speaker 1: and it's like so sweet because they just like, oh,

455
00:27:59,520 --> 00:28:01,919
Speaker 1: that's our Coco, and they like pick her up and

456
00:28:01,960 --> 00:28:04,520
Speaker 1: it's just like It's funny because you never think of

457
00:28:04,560 --> 00:28:08,280
Speaker 1: like your kids being older than you, I guess or whatever.

458
00:28:08,400 --> 00:28:10,200
Speaker 1: And that's just like how she was when she went

459
00:28:10,359 --> 00:28:13,960
Speaker 1: to the afterlife. And it was just really really sweet

460
00:28:14,000 --> 00:28:16,800
Speaker 1: for them to just like love her even like that,

461
00:28:16,960 --> 00:28:19,199
Speaker 1: like to just like unconditional love. It was I just

462
00:28:19,240 --> 00:28:22,680
Speaker 1: wanted that noted that that was my favorite part. Of course. Yeah,

463
00:28:23,320 --> 00:28:27,119
Speaker 1: I loved that too. Every part of this movie just

464
00:28:27,160 --> 00:28:31,560
Speaker 1: like tugs at my heart strings. Also, his dad, I

465
00:28:31,640 --> 00:28:37,520
Speaker 1: actually tweeted and I, okay, so Miguel's dad, there's there's

466
00:28:37,600 --> 00:28:40,000
Speaker 1: like a picture, I'll send it to y'all. He like

467
00:28:40,080 --> 00:28:43,520
Speaker 1: has his arms wrapped around Miguel's mom. And I did

468
00:28:43,560 --> 00:28:46,120
Speaker 1: that picture, and then I did a picture of Gomez

469
00:28:46,200 --> 00:28:48,840
Speaker 1: loving on more Tisha, and I tweeted and I said, God,

470
00:28:49,480 --> 00:28:53,440
Speaker 1: I see what you have done for others. So if

471
00:28:53,480 --> 00:28:56,920
Speaker 1: you could please, I would love I mean, if not Selma, hi,

472
00:28:57,240 --> 00:29:00,720
Speaker 1: I would love a Latino king to like love on me.

473
00:29:01,000 --> 00:29:03,640
Speaker 1: I think I deserve to be adored and loved and like,

474
00:29:04,040 --> 00:29:08,760
Speaker 1: please send me my Latino king. Thank you. Uh. They're

475
00:29:09,080 --> 00:29:11,239
Speaker 1: his parents are very very sweet. I mean, it's like

476
00:29:11,400 --> 00:29:15,680
Speaker 1: this movie is so stacked with characters that it's like

477
00:29:15,760 --> 00:29:18,720
Speaker 1: I didn't like Sure, I guess I wish that we

478
00:29:18,880 --> 00:29:21,680
Speaker 1: knew Miguel's parents a little better. But I also feel

479
00:29:21,720 --> 00:29:26,240
Speaker 1: like this movie takes given, you know, whatever the restrictions

480
00:29:26,240 --> 00:29:28,920
Speaker 1: of the time they have. I like that the older

481
00:29:29,000 --> 00:29:32,920
Speaker 1: characters are prioritized, and like the older women in particular

482
00:29:33,040 --> 00:29:36,720
Speaker 1: are prioritized in this movie, where you know, we get

483
00:29:36,760 --> 00:29:39,480
Speaker 1: to see a kid who lives in a multi generational home.

484
00:29:39,640 --> 00:29:42,360
Speaker 1: You don't get that a lot in children's media at all.

485
00:29:42,480 --> 00:29:46,200
Speaker 1: You're usually stuck in the same, you know, upper middle class,

486
00:29:46,240 --> 00:29:50,000
Speaker 1: white suburb. But Miguel lives in a multi generational home.

487
00:29:50,400 --> 00:29:54,880
Speaker 1: And then we focus mostly on his grandmother is his Abulita,

488
00:29:55,080 --> 00:30:00,360
Speaker 1: and then also on Coco, who is It seems, you know,

489
00:30:00,440 --> 00:30:03,640
Speaker 1: she's her memory is not all there, and she needs

490
00:30:03,640 --> 00:30:05,840
Speaker 1: help and her daughter helps her a lot. But I

491
00:30:05,960 --> 00:30:10,600
Speaker 1: just I loved that, given all the characters this movie

492
00:30:10,640 --> 00:30:14,880
Speaker 1: could have focused on, they prioritize the older matriarchs of

493
00:30:14,880 --> 00:30:18,880
Speaker 1: of the family along with Mama. Emaileda to like that,

494
00:30:19,080 --> 00:30:22,040
Speaker 1: like oncee Miguel crosses over to the Land of the Dead,

495
00:30:22,120 --> 00:30:26,479
Speaker 1: like she's very clearly like the matriarch, She's in charge,

496
00:30:26,600 --> 00:30:30,680
Speaker 1: She's making all of the family decisions. Also Coco like,

497
00:30:31,160 --> 00:30:33,880
Speaker 1: because Latina's don't age the same as everyone else, she

498
00:30:33,960 --> 00:30:38,200
Speaker 1: has to be at least five hundred for her to

499
00:30:38,240 --> 00:30:40,600
Speaker 1: have all those wrinkles. I'm like, Okay, she's been around

500
00:30:40,640 --> 00:30:45,560
Speaker 1: for she's at least five hundred years old. Well, and

501
00:30:45,600 --> 00:30:48,240
Speaker 1: we'll we'll get into this. I mean, I love this

502
00:30:48,280 --> 00:30:51,040
Speaker 1: movie so much. Most of the problems or like, most

503
00:30:51,080 --> 00:30:53,960
Speaker 1: of the things that any grapes I have, are with

504
00:30:54,160 --> 00:30:58,440
Speaker 1: Disney's conduct surrounding the movie, which we'll get into. I'm

505
00:30:58,520 --> 00:31:01,200
Speaker 1: very curious what I'll so to get into what you're

506
00:31:01,560 --> 00:31:04,560
Speaker 1: u because I'm Chicana, so I grew up here in

507
00:31:04,560 --> 00:31:07,400
Speaker 1: the States, and so like, I'm very curious about people

508
00:31:07,440 --> 00:31:10,440
Speaker 1: who actually were born and raised in Mexico who how

509
00:31:10,560 --> 00:31:15,240
Speaker 1: they came out there first, actually before it dropped here,

510
00:31:15,360 --> 00:31:17,360
Speaker 1: they got it a little bit earlier than we did.

511
00:31:17,400 --> 00:31:20,120
Speaker 1: So I'm very curious because it, you know, took place

512
00:31:20,560 --> 00:31:23,840
Speaker 1: there in Mexico. And so I always consider us like

513
00:31:23,880 --> 00:31:27,120
Speaker 1: kind of in the in between where I wrote about

514
00:31:27,120 --> 00:31:29,880
Speaker 1: this and the Good Immigrant this book, where I wrote

515
00:31:29,880 --> 00:31:31,320
Speaker 1: an essay in it where it kind of feels like

516
00:31:31,400 --> 00:31:35,000
Speaker 1: we definitely don't fit in here in the in the US,

517
00:31:35,400 --> 00:31:38,280
Speaker 1: but we're also kind of removed from growing up in Mexico,

518
00:31:38,360 --> 00:31:39,600
Speaker 1: so it kind of it kind of just feels like

519
00:31:39,600 --> 00:31:42,240
Speaker 1: we're in this weird in between space. So I'm very

520
00:31:42,240 --> 00:31:45,000
Speaker 1: curious about people who who grew up there, how how

521
00:31:45,160 --> 00:31:49,080
Speaker 1: they resonated with with this portrayal. Sure well, let me

522
00:31:49,160 --> 00:31:54,920
Speaker 1: share what Adriana Ortega, my Spanish tutor, and Adriana hi

523
00:31:56,640 --> 00:32:01,600
Speaker 1: wonderful person all around, she had had this to say.

524
00:32:02,000 --> 00:32:05,160
Speaker 1: As a Mexican born and raised in Mexico, I can

525
00:32:05,200 --> 00:32:09,280
Speaker 1: say Coco is considered a Mexican movie. Since it came out,

526
00:32:09,320 --> 00:32:13,640
Speaker 1: we started seeing Coco Pinata's labriquets and crafts, and then

527
00:32:13,680 --> 00:32:17,320
Speaker 1: Adriana included a bunch of photos of like Coco guitars

528
00:32:17,360 --> 00:32:21,120
Speaker 1: and costumes and just like things sold in Mexico from

529
00:32:21,120 --> 00:32:25,959
Speaker 1: the movie. She says, the mariachi's at parties started playing

530
00:32:25,960 --> 00:32:29,400
Speaker 1: the songs from the soundtrack as if they existed forever.

531
00:32:30,080 --> 00:32:33,160
Speaker 1: She also included a YouTube link with a medley of

532
00:32:33,200 --> 00:32:37,120
Speaker 1: traditional Mexican songs with Poco Loco um, which is one

533
00:32:37,120 --> 00:32:39,360
Speaker 1: of the songs that Miguel plays in the movie. Um

534
00:32:39,600 --> 00:32:43,080
Speaker 1: will share a link to that and people in general

535
00:32:43,120 --> 00:32:46,120
Speaker 1: We're happy to see Mexico represented not as a place

536
00:32:46,120 --> 00:32:48,920
Speaker 1: of crime and poverty, but as a source of culture

537
00:32:48,960 --> 00:32:52,800
Speaker 1: and traditions interesting to the world. I'm personally obsessed with

538
00:32:52,880 --> 00:32:55,520
Speaker 1: the movie, and I can't watch it without sobbing like

539
00:32:55,560 --> 00:32:58,440
Speaker 1: a baby, no matter how many times I've watched it before.

540
00:32:59,200 --> 00:33:02,400
Speaker 1: The movie is so well done that even little details

541
00:33:02,440 --> 00:33:05,000
Speaker 1: like the way the town where the characters live looks

542
00:33:05,040 --> 00:33:09,000
Speaker 1: and feels and the family dynamics show that clearly Mexicans

543
00:33:09,040 --> 00:33:11,960
Speaker 1: were involved in the project. A clear example is the

544
00:33:12,000 --> 00:33:15,120
Speaker 1: way all family decisions have to be approved by the matriarch.

545
00:33:15,520 --> 00:33:18,320
Speaker 1: I lived it when my grandma was alive, and she

546
00:33:18,440 --> 00:33:21,560
Speaker 1: didn't approve of something. Doing that thing was an act

547
00:33:21,640 --> 00:33:24,800
Speaker 1: of rebellion. On the other side, as someone who works

548
00:33:24,800 --> 00:33:28,240
Speaker 1: with people in Mexico who lived undocumented in the United States,

549
00:33:28,560 --> 00:33:31,080
Speaker 1: I must point out what I don't like about Coco.

550
00:33:31,480 --> 00:33:34,600
Speaker 1: The way transit between the world of the living and

551
00:33:34,680 --> 00:33:39,240
Speaker 1: the dead resembles the Department of Homeland Security controls for

552
00:33:39,320 --> 00:33:43,080
Speaker 1: undocumented people and even for people with documents entering the

553
00:33:43,200 --> 00:33:46,880
Speaker 1: US is a nightmare. Every Mexican that has ever come

554
00:33:46,920 --> 00:33:49,920
Speaker 1: to the US has a horror story about Homeland Security.

555
00:33:50,400 --> 00:33:52,840
Speaker 1: Depending on their privilege, the color of their skin and

556
00:33:52,880 --> 00:33:56,160
Speaker 1: their papers. Those stories are different, but many times they're

557
00:33:56,160 --> 00:33:59,560
Speaker 1: at least unpleasant. I think the creators of Coco could

558
00:33:59,600 --> 00:34:02,320
Speaker 1: have found way to create conflict for the character of

559
00:34:02,360 --> 00:34:05,600
Speaker 1: Hector without implying that the Department of Homeland Security and

560
00:34:05,680 --> 00:34:09,640
Speaker 1: similar controls are a quote necessary evil instead of a

561
00:34:09,719 --> 00:34:14,480
Speaker 1: very deliberate evil created to discriminate against foreigners, especially if

562
00:34:14,520 --> 00:34:19,719
Speaker 1: they're brown. Um. And then when I spoke with Adriana today, Um,

563
00:34:19,760 --> 00:34:23,120
Speaker 1: she just had a couple other insights, saying that she

564
00:34:23,280 --> 00:34:26,920
Speaker 1: only watches the movie in Spanish with like the Spanish dub,

565
00:34:27,120 --> 00:34:30,280
Speaker 1: which she says is like really really good. Not all

566
00:34:30,600 --> 00:34:33,960
Speaker 1: movies dubbed in Spanish are well done as far as

567
00:34:34,040 --> 00:34:36,120
Speaker 1: the dubbing, but she said the Cocoa one is very

568
00:34:36,200 --> 00:34:39,879
Speaker 1: very good. The actors and just like people that they

569
00:34:40,040 --> 00:34:44,400
Speaker 1: hired to do the dub are like just this slate

570
00:34:44,480 --> 00:34:48,960
Speaker 1: of like all star actors, iconic people in general from

571
00:34:49,000 --> 00:34:52,880
Speaker 1: Mexican culture. She was really impressed with the Spanish dub.

572
00:34:53,400 --> 00:34:57,640
Speaker 1: And then finally she said that um so el Dia

573
00:34:57,680 --> 00:35:03,799
Speaker 1: Delersmortos is more commonly celebrated in southern Mexico, especially in

574
00:35:04,080 --> 00:35:08,760
Speaker 1: the state of Mito Kan in Mexico, and Miguel's village

575
00:35:08,840 --> 00:35:13,120
Speaker 1: was inspired by a town called pats Quaro, So this

576
00:35:13,200 --> 00:35:16,799
Speaker 1: is kind of just like where Dia de los Mortos

577
00:35:17,080 --> 00:35:22,319
Speaker 1: was more commonly celebrated in Mexico until this movie came out.

578
00:35:23,080 --> 00:35:25,279
Speaker 1: In different other parts of Mexico, it was not a

579
00:35:25,360 --> 00:35:29,720
Speaker 1: super important holiday, but Adriana said that after this movie,

580
00:35:30,320 --> 00:35:34,000
Speaker 1: the holiday grew in popularity pretty significantly around all of

581
00:35:34,080 --> 00:35:38,840
Speaker 1: Mexico where it is now like because because of this movie,

582
00:35:39,480 --> 00:35:43,480
Speaker 1: like art influencing culture kind of thing, the holiday is

583
00:35:43,840 --> 00:35:48,440
Speaker 1: much more widely celebrated throughout the country. So all that's cool,

584
00:35:48,760 --> 00:35:51,319
Speaker 1: I know, right, It is interesting because I feel like

585
00:35:51,400 --> 00:35:55,520
Speaker 1: we've at least here in um southern California, and there's

586
00:35:55,520 --> 00:35:59,560
Speaker 1: always been like a big celebration at least since I've

587
00:35:59,600 --> 00:36:02,319
Speaker 1: lived here that we have here in l A. And

588
00:36:02,400 --> 00:36:06,480
Speaker 1: so that's fascinating. Though. I also figured that the cast

589
00:36:06,840 --> 00:36:09,759
Speaker 1: I think a lot of the castes overlap because they

590
00:36:09,800 --> 00:36:12,719
Speaker 1: purposely had people who could speak Spanish and sing in

591
00:36:12,760 --> 00:36:15,840
Speaker 1: Spanish as the leads. So I feel like that's probably

592
00:36:15,840 --> 00:36:18,960
Speaker 1: wise because they're great actors. They were doing both the

593
00:36:19,000 --> 00:36:24,080
Speaker 1: English version and the Spanish version for sure. Yeah. Um,

594
00:36:24,239 --> 00:36:28,280
Speaker 1: Coco is the first motion picture with a nine figure budget,

595
00:36:28,320 --> 00:36:31,719
Speaker 1: which is the budget of this movie is humongous, but

596
00:36:31,760 --> 00:36:34,600
Speaker 1: it also grossed way more money. I mean it's like,

597
00:36:34,640 --> 00:36:36,000
Speaker 1: I feel like this is kind of on par for

598
00:36:36,120 --> 00:36:38,600
Speaker 1: Pixar movie budgets too. Well, it took them like six

599
00:36:38,719 --> 00:36:41,760
Speaker 1: years to make this. Yeah. So it's the first motion

600
00:36:41,800 --> 00:36:44,640
Speaker 1: picture with a nine figure budget to feature and all

601
00:36:44,760 --> 00:36:49,239
Speaker 1: Latino like major cast. Um so, the principal cast of

602
00:36:49,840 --> 00:36:54,000
Speaker 1: even the English language version of the movie is all

603
00:36:54,320 --> 00:36:58,360
Speaker 1: Latino Latin X Latin. A. Maybe there's a conversation to

604
00:36:58,440 --> 00:37:00,840
Speaker 1: be had here about what's the US language to you?

605
00:37:01,440 --> 00:37:09,480
Speaker 1: Absolutely not, Kalen, absolutely not. It's a lose lose situation.

606
00:37:09,560 --> 00:37:12,400
Speaker 1: I'm like, I don't even discuss it on podcasts anymore.

607
00:37:13,120 --> 00:37:15,200
Speaker 1: I just tweeted and I said, like, because you know,

608
00:37:15,200 --> 00:37:17,640
Speaker 1: it was our Heritage Month. I don't know when this

609
00:37:17,680 --> 00:37:21,880
Speaker 1: is dropping, um, but I just was like happy whatever

610
00:37:22,120 --> 00:37:25,360
Speaker 1: term that people are going to just obsess over instead

611
00:37:25,360 --> 00:37:29,200
Speaker 1: of paying attention to my accomplishments Heritage month, because this

612
00:37:29,239 --> 00:37:32,080
Speaker 1: whole month is about like propping us up and like, Wow,

613
00:37:32,160 --> 00:37:33,520
Speaker 1: look at all this stuff that we're doing. Look all

614
00:37:33,520 --> 00:37:36,560
Speaker 1: the stuff that I'm doing in this community, in this industry,

615
00:37:36,640 --> 00:37:38,080
Speaker 1: and it's just like, but you're just going to spend

616
00:37:38,080 --> 00:37:40,200
Speaker 1: the whole time arguing about like which term to use

617
00:37:40,280 --> 00:37:45,240
Speaker 1: under my Twitter. So I was like, we just started, like, actually,

618
00:37:45,280 --> 00:37:47,520
Speaker 1: a bunch of us writers just started to you just

619
00:37:47,600 --> 00:37:51,440
Speaker 1: say Heritage month, like we didn't even label anything. And

620
00:37:51,440 --> 00:37:53,799
Speaker 1: I remember people tweeting like, so we're just saying heritage month,

621
00:37:53,800 --> 00:37:55,319
Speaker 1: like we won't even say the word, and I'm like,

622
00:37:55,400 --> 00:37:57,880
Speaker 1: I don't know, it's just not worth it. Sure, this

623
00:37:58,000 --> 00:38:00,200
Speaker 1: is also a joke. I don't please, do not write,

624
00:38:00,360 --> 00:38:06,239
Speaker 1: please like totally leave Danny a lot. Yeah, we don't

625
00:38:06,239 --> 00:38:07,680
Speaker 1: have to get into it. Just I guess just to

626
00:38:07,680 --> 00:38:11,680
Speaker 1: say that, like where aware of the different options for

627
00:38:11,719 --> 00:38:14,600
Speaker 1: the language to use, there doesn't seem to be much

628
00:38:14,640 --> 00:38:19,600
Speaker 1: agreement on what is like the preferred language, so I

629
00:38:19,719 --> 00:38:22,040
Speaker 1: might just kind of switch back and forth between a

630
00:38:22,040 --> 00:38:24,319
Speaker 1: couple of different things. For sure, I switch back and

631
00:38:24,360 --> 00:38:26,200
Speaker 1: forth between all of them. And I think the one

632
00:38:26,239 --> 00:38:28,239
Speaker 1: thing that I'll say, anyone who follows me knows that,

633
00:38:28,320 --> 00:38:30,600
Speaker 1: like it's so important to be inclusive. So at the

634
00:38:30,680 --> 00:38:33,239
Speaker 1: end of the day, I truly do not care what

635
00:38:33,560 --> 00:38:36,000
Speaker 1: term we if we even make up a whole word

636
00:38:36,000 --> 00:38:38,359
Speaker 1: that doesn't even that's not even a word that we've

637
00:38:38,360 --> 00:38:42,640
Speaker 1: heard yet. Um, as long as people feel included, especially

638
00:38:42,680 --> 00:38:46,719
Speaker 1: the most vulnerable people in our community feel because I

639
00:38:47,000 --> 00:38:49,520
Speaker 1: I say this all the time, but Latina, I am

640
00:38:49,560 --> 00:38:51,839
Speaker 1: a Latina and like that's I've always been represented by

641
00:38:51,880 --> 00:38:54,440
Speaker 1: that term, and so I've never had to wonder what

642
00:38:54,520 --> 00:38:57,200
Speaker 1: it was like to to not be represented. And so

643
00:38:58,000 --> 00:39:00,279
Speaker 1: that's what I care about. But I also altern nate

644
00:39:00,640 --> 00:39:05,120
Speaker 1: between all of our terms often. Sure, totally. Yeah, So

645
00:39:05,640 --> 00:39:09,680
Speaker 1: just again shout out to Adriana for sharing her wonderful insights.

646
00:39:09,920 --> 00:39:12,200
Speaker 1: Thank you so much to Adriana. She's been such a

647
00:39:12,640 --> 00:39:17,160
Speaker 1: wonderful person and bechtelcast listener over the years. Um, she's

648
00:39:17,200 --> 00:39:20,359
Speaker 1: the greatest. And I she pointed out, I think one

649
00:39:20,440 --> 00:39:26,560
Speaker 1: of the few repeated criticisms of this movie that I mean,

650
00:39:26,600 --> 00:39:29,239
Speaker 1: maybe it's just best to kind of get through the

651
00:39:29,480 --> 00:39:31,640
Speaker 1: criticisms at the top of the episode and then get

652
00:39:31,680 --> 00:39:34,400
Speaker 1: into what we really loved about the movie. Um, but

653
00:39:34,520 --> 00:39:39,719
Speaker 1: what she mentioned about the use of the Department of

654
00:39:39,760 --> 00:39:45,200
Speaker 1: Homeland Security metaphor as a way to cross between realms

655
00:39:45,239 --> 00:39:47,600
Speaker 1: seemed to be that was a criticism that I saw

656
00:39:47,680 --> 00:39:51,000
Speaker 1: in a bunch of places. There was a really good

657
00:39:51,120 --> 00:39:54,160
Speaker 1: essay published in The Mary Sue when this movie first

658
00:39:54,160 --> 00:39:58,440
Speaker 1: came out by Carla Tamis that. I mean she opens

659
00:39:58,440 --> 00:40:01,239
Speaker 1: the essay by saying that that just vision triggered her

660
00:40:01,320 --> 00:40:03,319
Speaker 1: as she was watching the movie and sent her back

661
00:40:03,360 --> 00:40:06,800
Speaker 1: to an experience she had with her mother when crossing

662
00:40:06,800 --> 00:40:10,520
Speaker 1: into the US when she was a kid, and um,

663
00:40:10,560 --> 00:40:12,719
Speaker 1: it does seem to I don't know. I mean, I'm

664
00:40:12,719 --> 00:40:15,319
Speaker 1: curious to know what everyone thinks, because that was like

665
00:40:15,920 --> 00:40:19,239
Speaker 1: one of the only things that like stuck out to

666
00:40:19,400 --> 00:40:23,640
Speaker 1: me as I don't know, like I maybe understand the

667
00:40:23,680 --> 00:40:27,520
Speaker 1: impulse to reference that in the movie, but I don't

668
00:40:27,560 --> 00:40:29,680
Speaker 1: like how it's like, if you're going to make that

669
00:40:29,840 --> 00:40:32,439
Speaker 1: decision creatively, I feel like it really needs to bear

670
00:40:32,480 --> 00:40:35,600
Speaker 1: out in a productive way, and for especially for a

671
00:40:35,680 --> 00:40:40,480
Speaker 1: children's movie, in an optimistic way. It's a Disney movie.

672
00:40:40,680 --> 00:40:43,279
Speaker 1: But I was kind of surprised that by the end

673
00:40:43,320 --> 00:40:47,960
Speaker 1: of the movie that system was very much upheld to

674
00:40:48,000 --> 00:40:52,480
Speaker 1: the point where Hector goes through customs. I don't know,

675
00:40:52,520 --> 00:40:54,200
Speaker 1: I just feel like there wasn't a lot of criticism

676
00:40:54,200 --> 00:40:56,920
Speaker 1: on that system. It was just like, well, this is

677
00:40:56,960 --> 00:40:59,719
Speaker 1: the way things are, and the movie does take a

678
00:41:00,160 --> 00:41:03,200
Speaker 1: in a way that I really appreciated and thought was

679
00:41:03,239 --> 00:41:07,000
Speaker 1: like a very thoughtful, I don't know, like pixar deep

680
00:41:07,440 --> 00:41:10,959
Speaker 1: approach to the subject of showing that the way things

681
00:41:10,960 --> 00:41:15,480
Speaker 1: are done does other and it does marginalize people in

682
00:41:15,680 --> 00:41:18,080
Speaker 1: the world of the Dead as well, where the people

683
00:41:18,080 --> 00:41:21,120
Speaker 1: who are slowly being forgotten they live. They're kind of

684
00:41:21,160 --> 00:41:25,520
Speaker 1: the underclass of this world. And by the end it's

685
00:41:25,560 --> 00:41:31,000
Speaker 1: like Miguel's family has managed to navigate that system in

686
00:41:31,040 --> 00:41:35,160
Speaker 1: a way and so the individuals are doing okay, but

687
00:41:35,280 --> 00:41:37,600
Speaker 1: that system is still upheld in a way that feels

688
00:41:37,640 --> 00:41:41,600
Speaker 1: like unusual for even like Pixar movies, where there was

689
00:41:41,640 --> 00:41:44,160
Speaker 1: a there's a YouTube essay I watched about it, which

690
00:41:44,400 --> 00:41:46,479
Speaker 1: you know are very hit or miss, but just even

691
00:41:46,520 --> 00:41:49,520
Speaker 1: in the world of Pixar, like they are all about

692
00:41:50,120 --> 00:41:52,840
Speaker 1: systems and then subverting the systems by the end of

693
00:41:52,880 --> 00:41:57,280
Speaker 1: the movie, where you're like, you have whatever monsters incorporated

694
00:41:57,560 --> 00:42:01,960
Speaker 1: stay with the system in that movie is we scare

695
00:42:02,040 --> 00:42:05,239
Speaker 1: kids and turn it into energy. But through the character's

696
00:42:05,320 --> 00:42:08,759
Speaker 1: journey they realize this is a flawed system. We need

697
00:42:08,800 --> 00:42:13,200
Speaker 1: to change it to be a more you know, societally positive,

698
00:42:13,800 --> 00:42:17,799
Speaker 1: less bad system and then it turns into like Billy

699
00:42:17,840 --> 00:42:20,000
Speaker 1: Crystal does bad stand up at you, and then that

700
00:42:20,040 --> 00:42:24,440
Speaker 1: turns into energy, like so much more efficient energy. Yeah right,

701
00:42:24,600 --> 00:42:27,720
Speaker 1: but it's like that doesn't happen in Cocoa. The system doesn't.

702
00:42:27,880 --> 00:42:32,080
Speaker 1: The characters go through incredibly nuanced arcs and the family

703
00:42:32,120 --> 00:42:35,799
Speaker 1: goes through this huge journey, but the system is upheld

704
00:42:35,960 --> 00:42:39,040
Speaker 1: in a way that is, you know, unfortunately probably true

705
00:42:39,040 --> 00:42:41,000
Speaker 1: to life. But it doesn't feel like a Pixar movie.

706
00:42:41,040 --> 00:42:43,000
Speaker 1: I don't know what, what did everyone think about that?

707
00:42:44,120 --> 00:42:47,400
Speaker 1: To me, it feels especially weird to include in a

708
00:42:47,560 --> 00:42:54,200
Speaker 1: movie that showcases Mexican culture so well by most of

709
00:42:54,239 --> 00:42:58,040
Speaker 1: the accounts that I've read, to show that system that

710
00:42:58,200 --> 00:43:01,840
Speaker 1: kind of like border control system in a movie about

711
00:43:01,880 --> 00:43:07,680
Speaker 1: a community where that system so largely harmfully affects that community,

712
00:43:08,040 --> 00:43:11,480
Speaker 1: it felt like a strange choice to me. Yeah, you know,

713
00:43:11,640 --> 00:43:16,960
Speaker 1: I would be curious to hear how Adrian Molina, who

714
00:43:17,200 --> 00:43:21,320
Speaker 1: co wrote and co directed this, who is Latino his

715
00:43:21,520 --> 00:43:24,799
Speaker 1: thoughts on it, because you know, kind of, like you said,

716
00:43:24,840 --> 00:43:28,279
Speaker 1: like I'm not as a storyteller and as as you know,

717
00:43:28,280 --> 00:43:31,120
Speaker 1: people who use things from our background, like I'm not

718
00:43:31,200 --> 00:43:36,080
Speaker 1: against using something that is harmful, evil whatever, Like those

719
00:43:36,120 --> 00:43:39,480
Speaker 1: elements do exist in stories, and they you know for

720
00:43:39,520 --> 00:43:42,080
Speaker 1: a reason, like he like you said, like he couldn't

721
00:43:42,080 --> 00:43:44,400
Speaker 1: get through, we couldn't get over, and that was harmful,

722
00:43:44,840 --> 00:43:47,120
Speaker 1: you know, and so that was saying something. However, I

723
00:43:47,200 --> 00:43:48,920
Speaker 1: understand what you're saying in the end is like that

724
00:43:49,239 --> 00:43:52,960
Speaker 1: they upheld that as opposed to like destroying that. So

725
00:43:53,320 --> 00:43:57,520
Speaker 1: but for me, though, as as a storyteller, I'm never like,

726
00:43:58,040 --> 00:44:00,800
Speaker 1: I'm not going to show this because this is triggering

727
00:44:00,880 --> 00:44:02,840
Speaker 1: or this is upsetting. It's like it is triggering and

728
00:44:02,920 --> 00:44:05,840
Speaker 1: up upsetting, and like I think sometimes that is included

729
00:44:05,920 --> 00:44:09,360
Speaker 1: unfortunately in our stories is things like that. And sometimes

730
00:44:09,560 --> 00:44:12,120
Speaker 1: you know, the audience which is this is you know,

731
00:44:12,239 --> 00:44:13,680
Speaker 1: this is a Disney movie, so it's going to a

732
00:44:13,719 --> 00:44:17,960
Speaker 1: lot of people, but for for other audiences need to

733
00:44:18,000 --> 00:44:21,560
Speaker 1: see that sometimes. So I'm never like, don't ever show this.

734
00:44:22,280 --> 00:44:27,040
Speaker 1: But I'm not sure why other than it was they

735
00:44:27,080 --> 00:44:31,640
Speaker 1: needed a way for him to be policed saying this

736
00:44:31,719 --> 00:44:34,440
Speaker 1: in quotes, like in some way to be to not

737
00:44:34,520 --> 00:44:37,439
Speaker 1: be able to to to be stopped, you know, from

738
00:44:37,560 --> 00:44:40,279
Speaker 1: some some type of security, some type of whatever. So

739
00:44:40,320 --> 00:44:42,399
Speaker 1: I don't know the conversations that happened in that room,

740
00:44:42,440 --> 00:44:45,799
Speaker 1: and I'd be very curious to hear how Adrian who

741
00:44:45,840 --> 00:44:48,360
Speaker 1: did work on it, who did write this or co

742
00:44:48,480 --> 00:44:51,920
Speaker 1: wrote this with Lee Anchorage, um, how he he felt

743
00:44:52,000 --> 00:44:54,279
Speaker 1: and like his thoughts behind it, because I don't ever

744
00:44:54,320 --> 00:44:58,840
Speaker 1: want to discredit other Latinos and they're you know, they're

745
00:44:58,880 --> 00:45:01,319
Speaker 1: they're wise, and I don't I don't ever want to

746
00:45:01,320 --> 00:45:04,640
Speaker 1: censor any of us from what we feel we wanted

747
00:45:04,680 --> 00:45:06,640
Speaker 1: to add or needed to add. And I don't know

748
00:45:06,680 --> 00:45:09,800
Speaker 1: if in the end it also all of us being writers,

749
00:45:09,840 --> 00:45:12,279
Speaker 1: I know that we know that you pitch stuff and

750
00:45:12,320 --> 00:45:14,440
Speaker 1: you're like, this is how I wanted to be and

751
00:45:14,480 --> 00:45:19,640
Speaker 1: then that's not always how it comes out. Never. Yeah,

752
00:45:19,920 --> 00:45:22,480
Speaker 1: writing on TV shows like it's so funny seeing people

753
00:45:22,520 --> 00:45:24,880
Speaker 1: tweet and they'll be watching a Netflix show and this

754
00:45:24,920 --> 00:45:27,160
Speaker 1: is my second Netflix show that I've written on now

755
00:45:27,160 --> 00:45:28,879
Speaker 1: that I'm writing on now, and people will be like,

756
00:45:29,120 --> 00:45:31,320
Speaker 1: why didn't they do this? Why didn't I don't understand

757
00:45:31,320 --> 00:45:33,200
Speaker 1: why wouldn't you? And I'm like, I can guarantee you

758
00:45:33,320 --> 00:45:37,879
Speaker 1: if there were ten writers, ten talented writers in that room,

759
00:45:38,040 --> 00:45:41,760
Speaker 1: they probably did. They probably brought that up. They probably

760
00:45:41,800 --> 00:45:45,640
Speaker 1: did say hey, let's not do this or hey, like

761
00:45:45,840 --> 00:45:47,520
Speaker 1: you know they're gonna say why don't you do this?

762
00:45:47,600 --> 00:45:52,880
Speaker 1: And then you don't always have the final say so,

763
00:45:52,880 --> 00:45:56,359
Speaker 1: so I will just also say that as well. It's

764
00:45:56,400 --> 00:45:58,520
Speaker 1: like and you and you know that, like especially like

765
00:45:58,760 --> 00:46:05,000
Speaker 1: these whatever figure budget movies are noted and workshopped probably

766
00:46:05,000 --> 00:46:08,560
Speaker 1: within an inch of their very lives. Yeah, I mean

767
00:46:08,960 --> 00:46:11,480
Speaker 1: I would, yeah, I would be curious to know what

768
00:46:11,560 --> 00:46:16,040
Speaker 1: those conversations were. Yeah, I mean, I don't know, because

769
00:46:16,080 --> 00:46:18,799
Speaker 1: it's I think you're totally right where it's like there's

770
00:46:18,840 --> 00:46:21,960
Speaker 1: nothing wrong and it does feel very like Pixar house

771
00:46:22,000 --> 00:46:26,880
Speaker 1: style to reference real world issues in children's stories, like

772
00:46:26,920 --> 00:46:29,080
Speaker 1: that's something that they're really good at. I just yeah,

773
00:46:29,200 --> 00:46:31,680
Speaker 1: I would just be curious about the conversations were about,

774
00:46:31,800 --> 00:46:37,160
Speaker 1: like why it landed the way it did. I don't know. Um,

775
00:46:37,239 --> 00:46:39,680
Speaker 1: let's take another quick break and then we'll come back

776
00:46:39,719 --> 00:46:48,480
Speaker 1: for a more discussion and we're we're back. I just

777
00:46:48,480 --> 00:46:51,480
Speaker 1: want to reference I think the other well. I feel

778
00:46:51,520 --> 00:46:55,160
Speaker 1: like one of the defining controversies of this movie took

779
00:46:55,160 --> 00:46:58,000
Speaker 1: place I think almost four years before the movie actually

780
00:46:58,560 --> 00:47:01,439
Speaker 1: came out, because Danny, as you were saying, this movie

781
00:47:01,480 --> 00:47:06,279
Speaker 1: was in production for seven years. Lee Unkrich, who is

782
00:47:06,320 --> 00:47:10,640
Speaker 1: a white director, pitched it in The story changed a lot.

783
00:47:11,040 --> 00:47:13,520
Speaker 1: He brought in Adrian Molina, who had worked as I

784
00:47:13,560 --> 00:47:15,960
Speaker 1: believe an editor in Pixar Movies, who is now on

785
00:47:16,000 --> 00:47:19,600
Speaker 1: the senior creative team. And this movie was being developed

786
00:47:19,680 --> 00:47:24,360
Speaker 1: for a very very long time in there was something

787
00:47:24,400 --> 00:47:28,959
Speaker 1: that I remember this happening, but I just hadn't thought

788
00:47:28,960 --> 00:47:32,160
Speaker 1: about it in years. But there was a I would

789
00:47:32,200 --> 00:47:35,799
Speaker 1: say a very Disney scandal where I think that at

790
00:47:35,840 --> 00:47:39,680
Speaker 1: one point Dia de los Morito's was the working title

791
00:47:39,719 --> 00:47:44,520
Speaker 1: for this movie and Disney was attempting to trademark that

792
00:47:44,640 --> 00:47:50,759
Speaker 1: phrase in two US. No one was happy about this,

793
00:47:52,200 --> 00:47:56,960
Speaker 1: Like everyone was like, uh, sorry, what the fuck? So

794
00:47:57,160 --> 00:48:02,040
Speaker 1: when that scandal bro there were uh I mean, there

795
00:48:02,080 --> 00:48:04,959
Speaker 1: were a number of Mexican people, of Mexican American people

796
00:48:04,960 --> 00:48:07,719
Speaker 1: who are all like, you cannot do that. That's that's

797
00:48:07,760 --> 00:48:12,040
Speaker 1: so deeply fucked up. And that seemed to be kind

798
00:48:12,040 --> 00:48:14,880
Speaker 1: of a turning point in the production of this movie,

799
00:48:14,960 --> 00:48:19,239
Speaker 1: where I mean, whatever, this this is too dense a

800
00:48:19,320 --> 00:48:22,319
Speaker 1: topic for a single podcast episode, but Disney has been

801
00:48:22,360 --> 00:48:28,279
Speaker 1: appropriating and misrepresenting cultures for almost a century now, It's

802
00:48:28,440 --> 00:48:31,960
Speaker 1: entire run. Yeah, then and you know, fumbling it almost

803
00:48:31,960 --> 00:48:35,040
Speaker 1: every single time, and and it didn't seem like until

804
00:48:36,320 --> 00:48:40,400
Speaker 1: when this very obvious like no, you're not going to

805
00:48:40,520 --> 00:48:45,120
Speaker 1: get away with trademarking, you know, Di del Smuertos, that

806
00:48:45,200 --> 00:48:50,440
Speaker 1: the production then really ramped up and began to include

807
00:48:50,640 --> 00:48:55,680
Speaker 1: more Mexican and Mexican American artists and creatives in the project.

808
00:48:55,760 --> 00:48:59,080
Speaker 1: Where it's I feel like that it's so often that

809
00:48:59,200 --> 00:49:04,000
Speaker 1: it does feel like people are screaming into avoid online,

810
00:49:04,040 --> 00:49:07,680
Speaker 1: which sometimes we are, but in this case, there there

811
00:49:07,800 --> 00:49:12,360
Speaker 1: was like an actual discernible change that took place in

812
00:49:12,400 --> 00:49:16,280
Speaker 1: the production of this movie because Disney tried to Disney

813
00:49:16,360 --> 00:49:19,279
Speaker 1: and people weren't having it, And by all accounts, the

814
00:49:19,360 --> 00:49:23,239
Speaker 1: result of that was hiring a number of Mexican and

815
00:49:23,280 --> 00:49:26,480
Speaker 1: Mexican American creatives to work on the movie, which then

816
00:49:26,560 --> 00:49:29,359
Speaker 1: came out four years later. But even in some of

817
00:49:29,400 --> 00:49:32,040
Speaker 1: the very positive reviews of this movie, that scandal was

818
00:49:32,280 --> 00:49:36,839
Speaker 1: referenced because it's just you know, so egregious. Yeah. One

819
00:49:36,880 --> 00:49:42,920
Speaker 1: of those was a Mexican American editorial cartoonist, Lalo Alcorrez.

820
00:49:45,239 --> 00:49:49,080
Speaker 1: What a poster. Definitely definitely know him. He I want

821
00:49:49,080 --> 00:49:52,680
Speaker 1: to share a quote about this um you know, Disney

822
00:49:52,719 --> 00:49:57,160
Speaker 1: trying to commercialize and appropriate the name of a holiday.

823
00:49:57,760 --> 00:50:00,120
Speaker 1: He says, quote, it's just frustrating because I've spoken to

824
00:50:00,239 --> 00:50:03,000
Speaker 1: some of these companies begging them to have more people

825
00:50:03,000 --> 00:50:05,920
Speaker 1: of color in the legal department, behind the camera and

826
00:50:05,960 --> 00:50:10,040
Speaker 1: green lighting projects, but they won't listen and not just tokens.

827
00:50:10,080 --> 00:50:12,319
Speaker 1: It's got to be real. So he, you know, was

828
00:50:12,560 --> 00:50:18,560
Speaker 1: very outspoken about meaningfully including people in these important creative

829
00:50:18,760 --> 00:50:22,640
Speaker 1: and development decisions and just you know, any decisions that

830
00:50:22,680 --> 00:50:26,320
Speaker 1: are made as far as putting a movie together. Posts

831
00:50:26,520 --> 00:50:29,040
Speaker 1: these remarks, he was then hired as one of the

832
00:50:29,080 --> 00:50:34,640
Speaker 1: consultants on this movie, along with Octavio Solis who's a playwright,

833
00:50:34,840 --> 00:50:40,520
Speaker 1: and Marcella Davison Aveliz, who is the former CEO of

834
00:50:40,640 --> 00:50:44,880
Speaker 1: the Mexican Heritage Core. So it's this group of people,

835
00:50:45,000 --> 00:50:49,760
Speaker 1: along with the co director and co writer Adrian Molina,

836
00:50:49,880 --> 00:50:54,360
Speaker 1: who were the people who seemed to be providing a

837
00:50:54,400 --> 00:50:58,200
Speaker 1: lot of the cultural consultation that allowed for the movie

838
00:50:58,239 --> 00:51:02,400
Speaker 1: to feel as authentic and for the representation as far

839
00:51:02,440 --> 00:51:04,400
Speaker 1: as the culture and the people in the movie, for

840
00:51:04,440 --> 00:51:10,000
Speaker 1: that representation to feel responsible and respectful. Because despite these

841
00:51:10,040 --> 00:51:12,839
Speaker 1: consultants um a lot of the people who are making

842
00:51:12,880 --> 00:51:17,000
Speaker 1: major creative decisions behind the movie are still non Mexican

843
00:51:17,320 --> 00:51:22,000
Speaker 1: white people. Yeah, I was gonna say, it's it's interesting

844
00:51:22,080 --> 00:51:24,959
Speaker 1: like I feel, you know, I feel in the past

845
00:51:25,040 --> 00:51:27,840
Speaker 1: decade and I've gotten to work with Disney, you know,

846
00:51:27,920 --> 00:51:31,200
Speaker 1: like I've I've you know, obviously was in a Disney movie,

847
00:51:31,280 --> 00:51:34,240
Speaker 1: I've hosted with Disney. I feel like they've really taken

848
00:51:34,239 --> 00:51:37,279
Speaker 1: good care of me. They also it's wild. I mean,

849
00:51:37,280 --> 00:51:39,120
Speaker 1: you all follow me on Twitter. I say whatever the

850
00:51:39,160 --> 00:51:42,160
Speaker 1: funk I want to at all times, and they're still like,

851
00:51:42,200 --> 00:51:44,560
Speaker 1: what do you want to host this a lad in

852
00:51:44,719 --> 00:51:47,479
Speaker 1: press conference with all the Disney princesses. And I'm like, sure,

853
00:51:49,160 --> 00:51:51,239
Speaker 1: I'm not going to change the way. You know, I'm

854
00:51:51,239 --> 00:51:54,080
Speaker 1: not gonna ever censor myself. Um, I'm always kid friendly

855
00:51:54,200 --> 00:51:56,080
Speaker 1: when I'm like doing stuff with them, but like on

856
00:51:56,120 --> 00:51:58,680
Speaker 1: my personal page, you know, I mean to me, I'm like,

857
00:51:58,680 --> 00:52:00,759
Speaker 1: if Sarah Silverman can say whatever she wants, then like

858
00:52:00,800 --> 00:52:02,840
Speaker 1: I should be able to as well. And so I

859
00:52:02,920 --> 00:52:06,560
Speaker 1: have actually gotten to see that change, like I have.

860
00:52:06,880 --> 00:52:09,600
Speaker 1: One of the people who worked with me on Ralph,

861
00:52:09,719 --> 00:52:12,360
Speaker 1: Josie Trinidad. She was the lead storyboard artist and she

862
00:52:12,400 --> 00:52:15,120
Speaker 1: also worked on his Utopia. She is now getting to

863
00:52:15,160 --> 00:52:19,000
Speaker 1: direct her own. They have a slate of directors of

864
00:52:19,040 --> 00:52:23,040
Speaker 1: color who are now directing their own films. Another one

865
00:52:23,200 --> 00:52:25,919
Speaker 1: that I know is Carlo Slope's Astrada, who did Ryan

866
00:52:25,960 --> 00:52:30,160
Speaker 1: the Last Dragon. And so like the industry as a whole,

867
00:52:30,680 --> 00:52:34,399
Speaker 1: the industry as a whole is not anywhere near where

868
00:52:34,440 --> 00:52:36,879
Speaker 1: it needs to be. I think, you know, we were

869
00:52:36,880 --> 00:52:41,200
Speaker 1: having this conversation off air, but I still feel like,

870
00:52:42,680 --> 00:52:46,960
Speaker 1: you know, we're very much in these boxes where Um,

871
00:52:47,040 --> 00:52:48,960
Speaker 1: for me, the stuff that is easiest for me to

872
00:52:49,000 --> 00:52:51,120
Speaker 1: get green lit is like this this idea of this

873
00:52:51,200 --> 00:52:54,400
Speaker 1: like one big happy Latino family, Like we're all just

874
00:52:54,480 --> 00:52:57,200
Speaker 1: one big happy family. That's like easy for white people

875
00:52:57,200 --> 00:53:00,520
Speaker 1: to digest. You know, we don't get to play sci

876
00:53:00,600 --> 00:53:03,239
Speaker 1: fi as much and fantasy as much and like, which

877
00:53:03,320 --> 00:53:06,880
Speaker 1: this is to some extent like definitely, Um, but I

878
00:53:06,920 --> 00:53:08,600
Speaker 1: just feel like as a whole, we don't get to

879
00:53:08,600 --> 00:53:13,839
Speaker 1: play around as much as a lot of other white storytellers. Um,

880
00:53:13,840 --> 00:53:16,280
Speaker 1: because I want to play in horror. I want to play,

881
00:53:16,280 --> 00:53:18,000
Speaker 1: and you know, I don't want anything to have to

882
00:53:18,040 --> 00:53:21,200
Speaker 1: do with like I'm not even that close with a

883
00:53:21,239 --> 00:53:23,520
Speaker 1: lot of members of my family you know, and like

884
00:53:23,600 --> 00:53:25,799
Speaker 1: I also want to play in like queer stories and

885
00:53:25,800 --> 00:53:27,799
Speaker 1: what it's like to come out and like have to

886
00:53:27,800 --> 00:53:31,040
Speaker 1: have to have find your family, like found family, Like

887
00:53:31,080 --> 00:53:32,719
Speaker 1: those are kind of stories that I want, I want

888
00:53:32,760 --> 00:53:35,960
Speaker 1: to tell. This is all to say, I do see

889
00:53:36,360 --> 00:53:39,879
Speaker 1: it changing. I see on Disney Plus with like um

890
00:53:40,480 --> 00:53:44,239
Speaker 1: Diary of of a Future President, Like, I definitely do

891
00:53:44,400 --> 00:53:48,280
Speaker 1: see more of us, more representation, more of us getting

892
00:53:48,320 --> 00:53:50,279
Speaker 1: to tell our own stories, which I think is the

893
00:53:50,280 --> 00:53:52,919
Speaker 1: most important. Not to have wallpaper, which I still feel

894
00:53:52,920 --> 00:53:54,799
Speaker 1: like is a lot of a lot of places, and

895
00:53:54,840 --> 00:53:58,080
Speaker 1: not saying that they don't do that, but um, just

896
00:53:58,120 --> 00:54:01,080
Speaker 1: in the past decade, I have gotten to witness that,

897
00:54:01,239 --> 00:54:04,600
Speaker 1: and so I'm hoping that that continues, you know, I'm

898
00:54:04,600 --> 00:54:08,640
Speaker 1: hoping that you know, this also came out. What year

899
00:54:08,640 --> 00:54:12,520
Speaker 1: did this? Did Coco come out? The next year we

900
00:54:12,600 --> 00:54:17,080
Speaker 1: had Black Panther, And it was like, you know, allowing

901
00:54:18,080 --> 00:54:21,440
Speaker 1: like the reason why it feels so authentic is, you know,

902
00:54:22,080 --> 00:54:24,080
Speaker 1: to some extent, like you said, like having people like

903
00:54:24,200 --> 00:54:27,400
Speaker 1: Lolo or having people like Ryan Coogler, like getting to

904
00:54:27,440 --> 00:54:29,880
Speaker 1: be involved in these projects so so that it it

905
00:54:29,880 --> 00:54:36,200
Speaker 1: doesn't feel like wallpaper. I still feel all studios have

906
00:54:36,760 --> 00:54:39,480
Speaker 1: have a ways to go, but I'm hoping that this

907
00:54:39,880 --> 00:54:44,200
Speaker 1: also with the numbers with shung Chi like blew the

908
00:54:44,280 --> 00:54:46,960
Speaker 1: numbers out of the water. No one I don't think

909
00:54:47,080 --> 00:54:50,560
Speaker 1: was expecting to do that well allows us Unfortunately it

910
00:54:50,640 --> 00:54:56,200
Speaker 1: is we're in this capitalistic society. But it makes people go, oh,

911
00:54:56,400 --> 00:55:00,200
Speaker 1: we can make money telling stories with people of color. Wow, Okay,

912
00:55:00,480 --> 00:55:05,400
Speaker 1: And unfortunately that you know sounds cynical, but like that's

913
00:55:05,520 --> 00:55:09,480
Speaker 1: how our industry works, right, And so having the success

914
00:55:09,480 --> 00:55:11,719
Speaker 1: of Coco, having the success of Black Panther, having the

915
00:55:11,719 --> 00:55:14,879
Speaker 1: success of Shuan Chi and Ryan and these other ones,

916
00:55:14,960 --> 00:55:17,960
Speaker 1: is allows for more of us to get into the

917
00:55:17,960 --> 00:55:19,680
Speaker 1: door and be able to tell these stories. And so

918
00:55:19,760 --> 00:55:22,800
Speaker 1: I'm glad that they have the slate of POC directors

919
00:55:22,840 --> 00:55:26,920
Speaker 1: coming up that are that are getting to because when

920
00:55:26,960 --> 00:55:31,000
Speaker 1: you see a lot of the quotes from director Lee

921
00:55:31,200 --> 00:55:34,520
Speaker 1: unk Rich, who's this like, you know, Pixar Legacy guy,

922
00:55:34,719 --> 00:55:37,600
Speaker 1: he either director or co directed Toy Story two and three,

923
00:55:37,600 --> 00:55:41,399
Speaker 1: Monsters inc. Finding Nemo. He you know, was talking about

924
00:55:41,520 --> 00:55:44,680
Speaker 1: developing and directing Coco and how he has how he

925
00:55:44,760 --> 00:55:48,799
Speaker 1: had all this anxiety about making the film because he's like,

926
00:55:48,800 --> 00:55:51,040
Speaker 1: you know, what we're taking on this real culture and

927
00:55:51,080 --> 00:55:54,160
Speaker 1: the fact that I'm not Mexican or Latino myself. I

928
00:55:54,200 --> 00:55:57,200
Speaker 1: felt this enormous responsibility on my shoulders to do it right.

929
00:55:57,719 --> 00:56:00,000
Speaker 1: And it's like, well, I'm glad you feel that responsible,

930
00:56:00,360 --> 00:56:02,680
Speaker 1: but can you like step back and be like, hey,

931
00:56:02,719 --> 00:56:04,880
Speaker 1: am I the person? Am I the best person to

932
00:56:04,880 --> 00:56:08,200
Speaker 1: be directing this movie? It does feel kind of I

933
00:56:08,200 --> 00:56:10,960
Speaker 1: don't know, I mean, it's it's Moanna and Coco came

934
00:56:11,000 --> 00:56:13,760
Speaker 1: out back to back years. Mohanna came out sixteen, Coco

935
00:56:13,800 --> 00:56:17,839
Speaker 1: came out seventeen, and it does feel like this kind

936
00:56:17,880 --> 00:56:22,960
Speaker 1: of like half step middle thing production wise, where it's

937
00:56:23,000 --> 00:56:27,000
Speaker 1: like on Moana there were a lot of consultants brought on,

938
00:56:27,239 --> 00:56:31,240
Speaker 1: but there's still these like legacy white directors and composers

939
00:56:31,280 --> 00:56:33,160
Speaker 1: at the top of the project. And I think that

940
00:56:33,160 --> 00:56:38,680
Speaker 1: that was improved upon in Coco because Adrian Molina clearly

941
00:56:38,719 --> 00:56:42,840
Speaker 1: had such like I really enjoyed watching his press junket

942
00:56:42,920 --> 00:56:46,520
Speaker 1: interviews for this movie, and like he just I don't know,

943
00:56:46,560 --> 00:56:49,440
Speaker 1: it's I would I I wish he had been just

944
00:56:49,800 --> 00:56:53,560
Speaker 1: you know, credited as a director, because it just seemed

945
00:56:53,600 --> 00:56:56,320
Speaker 1: like he had more influence on the story just watching

946
00:56:56,640 --> 00:56:59,440
Speaker 1: his interviews next to the young Witches whatever. I don't know.

947
00:57:00,200 --> 00:57:02,160
Speaker 1: This is animation at a very high level, but it

948
00:57:02,200 --> 00:57:05,800
Speaker 1: does seem like that thing where it's you know, there's

949
00:57:05,840 --> 00:57:09,960
Speaker 1: a they had a um I wish I had his name,

950
00:57:10,000 --> 00:57:15,320
Speaker 1: but they had a Mexican music consultant consulting the white composer.

951
00:57:15,360 --> 00:57:20,000
Speaker 1: But ultimately the white composer gets the credit and you

952
00:57:20,080 --> 00:57:22,400
Speaker 1: have to imagine a hell of a lot more money

953
00:57:22,640 --> 00:57:26,120
Speaker 1: for for being consulted on on how to properly represent

954
00:57:26,680 --> 00:57:30,400
Speaker 1: Mexican music. So it's like this in between place that

955
00:57:31,360 --> 00:57:35,000
Speaker 1: like you were just describing Danny. Fortunately, seems like this

956
00:57:35,080 --> 00:57:38,480
Speaker 1: company and a lot of companies are working their way

957
00:57:38,560 --> 00:57:42,960
Speaker 1: out of of like no actually having you know, experience helps,

958
00:57:43,000 --> 00:57:45,280
Speaker 1: but like having a white guy at the top of

959
00:57:45,480 --> 00:57:49,360
Speaker 1: every project is going to disservice a lot of projects,

960
00:57:49,400 --> 00:57:52,360
Speaker 1: and it's you know, like it's it's getting in the

961
00:57:52,440 --> 00:57:56,960
Speaker 1: way and it's holding back creative freedom and resources, and

962
00:57:57,320 --> 00:58:00,760
Speaker 1: like you're saying, like capital from margin allies people who

963
00:58:00,760 --> 00:58:04,520
Speaker 1: will do a better job. So those elements are definitely

964
00:58:04,640 --> 00:58:06,840
Speaker 1: present in this movie. But it is nice that I mean,

965
00:58:06,880 --> 00:58:09,600
Speaker 1: it's it's less than five years later, and that already

966
00:58:09,600 --> 00:58:13,880
Speaker 1: does seem like it is indeed process of changing. Like

967
00:58:13,920 --> 00:58:18,240
Speaker 1: you're saying, yeah, I don't even know if now where

968
00:58:18,240 --> 00:58:23,120
Speaker 1: we're at one, like if you could do that. I

969
00:58:23,440 --> 00:58:25,680
Speaker 1: don't know if they are. I haven't looked at their slate,

970
00:58:25,760 --> 00:58:29,080
Speaker 1: but I don't even think that there are other their

971
00:58:29,120 --> 00:58:31,400
Speaker 1: live action that I just named. You know, shan Chi

972
00:58:31,520 --> 00:58:35,240
Speaker 1: had an Asian director, and Black Panther had a black director,

973
00:58:35,280 --> 00:58:39,040
Speaker 1: and like that. Also we also have Captain Marvel has

974
00:58:39,040 --> 00:58:41,360
Speaker 1: a black director, which is you know, the Captain Marvel two,

975
00:58:41,360 --> 00:58:44,240
Speaker 1: which is very important. We should not be directing just

976
00:58:44,400 --> 00:58:48,240
Speaker 1: our own stories, yes, please, we should be directing our stories,

977
00:58:48,280 --> 00:58:51,000
Speaker 1: but also we can direct your stories too, because we

978
00:58:51,040 --> 00:58:53,960
Speaker 1: grew up that is a lens through which all media

979
00:58:54,040 --> 00:58:57,160
Speaker 1: has been told since the inception of media. So it's

980
00:58:57,200 --> 00:59:00,840
Speaker 1: actually so much easier for us to write white characters

981
00:59:00,880 --> 00:59:03,840
Speaker 1: because that's all of the shows, you know, the majority

982
00:59:03,840 --> 00:59:07,240
Speaker 1: of television and film totally, where whereas it doesn't work

983
00:59:07,280 --> 00:59:10,200
Speaker 1: the other way around. So what I'm saying is like

984
00:59:10,320 --> 00:59:13,120
Speaker 1: that already feels like it's changing in the last couple

985
00:59:13,120 --> 00:59:17,200
Speaker 1: of years, So I am hopeful. I don't know if

986
00:59:17,240 --> 00:59:20,440
Speaker 1: they're doing I've heard so much about like a Coco too,

987
00:59:20,480 --> 00:59:22,480
Speaker 1: but that was like reference and I don't know if

988
00:59:22,520 --> 00:59:26,080
Speaker 1: it's like super under wraps or like, I have no

989
00:59:27,320 --> 00:59:30,080
Speaker 1: it was like announced I felt at some point, or

990
00:59:30,160 --> 00:59:32,840
Speaker 1: it was like leaked and then it disappeared. I just

991
00:59:33,000 --> 00:59:36,280
Speaker 1: assume everything gets it too now, even though it's like

992
00:59:36,760 --> 00:59:40,040
Speaker 1: I don't know Coco does. Like it's just the writing

993
00:59:40,120 --> 00:59:43,040
Speaker 1: is so good that it's like I guess that you know.

994
00:59:43,360 --> 00:59:46,320
Speaker 1: It's not like they left any hanging threads, but they

995
00:59:46,360 --> 00:59:50,080
Speaker 1: also created this incredible universe that anyone would be happy

996
00:59:50,120 --> 00:59:53,080
Speaker 1: to go back to. So I don't I hope, I hope?

997
00:59:53,120 --> 00:59:56,000
Speaker 1: So um. I also, was this the Was this the

998
00:59:56,040 --> 01:00:00,200
Speaker 1: project that got Robert Lopez and Kristin Anderson Lopez their egot? Like?

999
01:00:00,240 --> 01:00:04,400
Speaker 1: When when did they effectively? He got there? There the

1000
01:00:04,440 --> 01:00:08,960
Speaker 1: songwriting and composing married couple that wrote Remember Me, and

1001
01:00:09,040 --> 01:00:12,400
Speaker 1: they wrote all of the Frozen songs. They're like, and

1002
01:00:12,440 --> 01:00:15,840
Speaker 1: I think that they started with Avenue Q. Is that right?

1003
01:00:16,480 --> 01:00:19,120
Speaker 1: I'm not sure. Yeah, the Book of Mormon and Avenue Q.

1004
01:00:19,920 --> 01:00:24,640
Speaker 1: I'm fans of theirs, but I think that this might

1005
01:00:24,640 --> 01:00:27,240
Speaker 1: have been the project where they formally got their egot

1006
01:00:27,280 --> 01:00:32,800
Speaker 1: because most egots are musicians and composers. Because so as

1007
01:00:32,800 --> 01:00:39,440
Speaker 1: we learned on that really old episode of which I

1008
01:00:39,920 --> 01:00:42,160
Speaker 1: don't know, but I do know that this that Remember

1009
01:00:42,200 --> 01:00:46,320
Speaker 1: Me won the Oscar for Best Original Song, so it's

1010
01:00:46,400 --> 01:00:49,720
Speaker 1: very possible. UM. I wanted to speak a little bit

1011
01:00:49,880 --> 01:00:56,880
Speaker 1: to co director Adrian Molino's involvement in the filmmaking where

1012
01:00:56,880 --> 01:01:01,040
Speaker 1: he started out in on the projects in Reception as

1013
01:01:01,040 --> 01:01:05,560
Speaker 1: a story artist. Um, he would like submit notes throughout

1014
01:01:05,560 --> 01:01:09,280
Speaker 1: that process and the people writing the script and like

1015
01:01:09,320 --> 01:01:11,440
Speaker 1: developing the story because this movie is I think four

1016
01:01:11,640 --> 01:01:15,880
Speaker 1: story by credits. They would hit roadblocks with the narrative.

1017
01:01:16,440 --> 01:01:19,880
Speaker 1: So at one point Adrian Malina started submitting screenplay pages

1018
01:01:20,440 --> 01:01:22,720
Speaker 1: just basically saying like, let me just take a crack

1019
01:01:22,760 --> 01:01:25,680
Speaker 1: at this. You don't you don't have to read it

1020
01:01:25,720 --> 01:01:28,520
Speaker 1: if you don't want to. Lee Unchorage, but I thought

1021
01:01:28,600 --> 01:01:31,360
Speaker 1: I'd take a stab, and then he thought like Lee

1022
01:01:31,400 --> 01:01:34,080
Speaker 1: Anchorage thought they were great. So then he asked Adrian

1023
01:01:34,120 --> 01:01:37,160
Speaker 1: to come on board as a screenwriter and he said

1024
01:01:37,200 --> 01:01:40,040
Speaker 1: he found himself relying more and more on Adrian's input,

1025
01:01:40,160 --> 01:01:42,480
Speaker 1: so eventually had him come on board as a co

1026
01:01:42,600 --> 01:01:46,280
Speaker 1: director as well. So he didn't even start out as

1027
01:01:46,320 --> 01:01:49,000
Speaker 1: like a co screenwriter and co director. It was just

1028
01:01:49,080 --> 01:01:54,240
Speaker 1: like his insight and his kind of continued and increasing

1029
01:01:54,640 --> 01:01:57,920
Speaker 1: involvement is what got him to be brought on and

1030
01:01:58,000 --> 01:02:03,200
Speaker 1: this greater capacity. For example, it was his idea. So

1031
01:02:03,280 --> 01:02:05,640
Speaker 1: the other writers were trying to figure out the mechanics

1032
01:02:05,720 --> 01:02:08,320
Speaker 1: of Miguel being in the land of the dead and

1033
01:02:08,400 --> 01:02:11,120
Speaker 1: like what he would need to do to get back

1034
01:02:11,160 --> 01:02:13,800
Speaker 1: to the land of the living, And it was Adrian

1035
01:02:13,800 --> 01:02:17,120
Speaker 1: Milina who contributed the idea that Miguel would need his

1036
01:02:17,160 --> 01:02:20,600
Speaker 1: family's blessing to return home, because that came from something

1037
01:02:20,680 --> 01:02:23,920
Speaker 1: very personal in his own life, where you know, like

1038
01:02:23,960 --> 01:02:27,720
Speaker 1: when he went to college, his parents offered their blessing,

1039
01:02:27,760 --> 01:02:30,200
Speaker 1: which is something that he like hadn't expected them to

1040
01:02:30,240 --> 01:02:32,360
Speaker 1: do based on, I think what he wanted to study

1041
01:02:32,680 --> 01:02:36,439
Speaker 1: or something. But he's like, yeah, let's what about this

1042
01:02:36,600 --> 01:02:40,480
Speaker 1: being an element of the story. And according to Unchorach,

1043
01:02:40,800 --> 01:02:44,160
Speaker 1: that part of the story quote ended up being really

1044
01:02:44,160 --> 01:02:47,440
Speaker 1: central and thematically on point. It helped solve some problems

1045
01:02:47,520 --> 01:02:50,680
Speaker 1: we've been having, and that is like a a crucial

1046
01:02:50,720 --> 01:02:52,840
Speaker 1: part of the story. So it just like goes to

1047
01:02:52,880 --> 01:02:56,800
Speaker 1: show when you have people who understand the culture and

1048
01:02:57,040 --> 01:03:00,439
Speaker 1: know what they're talking about and bring them on your

1049
01:03:00,520 --> 01:03:03,640
Speaker 1: story is just have like a pack of white guys

1050
01:03:03,720 --> 01:03:07,640
Speaker 1: fumbling around in the dark, which sounds like we're the

1051
01:03:07,920 --> 01:03:11,160
Speaker 1: was the early production of this movie. In fact, Lee

1052
01:03:11,240 --> 01:03:14,880
Speaker 1: Unkridge also said that in an early draft of this script,

1053
01:03:15,240 --> 01:03:18,760
Speaker 1: the character of Miguel was going to be a Mexican

1054
01:03:18,760 --> 01:03:22,200
Speaker 1: American kid who would have and I think the movie

1055
01:03:22,240 --> 01:03:24,920
Speaker 1: would have been set in the US, and he was

1056
01:03:25,040 --> 01:03:27,440
Speaker 1: dealing with the death of his mother, So it was

1057
01:03:27,480 --> 01:03:30,760
Speaker 1: still going to revolve around Dia de lo Smuertos, and

1058
01:03:30,880 --> 01:03:33,680
Speaker 1: Lee Anchorage says, quote our first stab, but the story

1059
01:03:34,120 --> 01:03:35,920
Speaker 1: reflected the fact that none of us at the time

1060
01:03:35,960 --> 01:03:38,560
Speaker 1: were from Mexico, so it made sense to tell it

1061
01:03:38,600 --> 01:03:41,040
Speaker 1: from an outside perspective because I knew we were going

1062
01:03:41,080 --> 01:03:43,680
Speaker 1: to have to teach an audience about the traditions and

1063
01:03:43,760 --> 01:03:46,720
Speaker 1: about Mexico, and that seemed like a logical way to

1064
01:03:46,760 --> 01:03:51,400
Speaker 1: do it initially. Uh and quote so it's like, okay, well, well,

1065
01:03:51,480 --> 01:03:54,600
Speaker 1: I would say I am kind of like impressed, isn't

1066
01:03:54,640 --> 01:03:56,440
Speaker 1: the word, because it's like you can't really hand it

1067
01:03:56,440 --> 01:03:59,240
Speaker 1: to anyone in this situation. But I feel like it

1068
01:03:59,360 --> 01:04:02,520
Speaker 1: is kind of rare to hear a white director publicly

1069
01:04:02,640 --> 01:04:05,600
Speaker 1: vocalize it and not just be like oh yeah, but totally.

1070
01:04:05,640 --> 01:04:08,080
Speaker 1: And I googled and I went to the library, and

1071
01:04:08,160 --> 01:04:10,320
Speaker 1: like I figured it out. Like I feel like that's

1072
01:04:10,440 --> 01:04:12,520
Speaker 1: normally more what you get. And I feel like I

1073
01:04:12,600 --> 01:04:15,200
Speaker 1: bring up the quote where Robert Egger says he went

1074
01:04:15,240 --> 01:04:18,840
Speaker 1: to the library and that's why he understands indigenous American culture,

1075
01:04:19,040 --> 01:04:21,080
Speaker 1: Like I feel like you get a lot of that,

1076
01:04:21,280 --> 01:04:25,560
Speaker 1: and uh, I guess like it still feels like it

1077
01:04:25,560 --> 01:04:28,640
Speaker 1: should just be Adrian Molina's movie, and that it is,

1078
01:04:29,320 --> 01:04:32,400
Speaker 1: but you know, at least the Uncher just like, yeah,

1079
01:04:32,440 --> 01:04:34,400
Speaker 1: I kind of didn't know what I was doing. But

1080
01:04:34,440 --> 01:04:36,600
Speaker 1: did I take the directing credit? Did I take the money?

1081
01:04:37,040 --> 01:04:41,120
Speaker 1: I shared it? I had one more. I feel like

1082
01:04:41,440 --> 01:04:44,520
Speaker 1: we haven't even started talking about this story yet. Uh,

1083
01:04:44,920 --> 01:04:48,920
Speaker 1: but there was one more criticism I just wanted to

1084
01:04:50,160 --> 01:04:54,240
Speaker 1: bring up because it's something I saw in several different places,

1085
01:04:54,280 --> 01:04:57,760
Speaker 1: and that was um and again in that essay in

1086
01:04:58,040 --> 01:05:01,840
Speaker 1: the Marys Sue, it came up and um, the writer,

1087
01:05:01,960 --> 01:05:05,880
Speaker 1: Oh my gosh, I have so many taps. Okay. Carla

1088
01:05:05,960 --> 01:05:10,000
Speaker 1: tamise about how there's only one shade of brown in

1089
01:05:10,040 --> 01:05:13,200
Speaker 1: the movie in terms of skin tone, and how that

1090
01:05:13,320 --> 01:05:15,520
Speaker 1: was something that stuck out to her as just a

1091
01:05:15,880 --> 01:05:21,000
Speaker 1: frustration and a disappointment, and uh. Conversation that I think

1092
01:05:21,160 --> 01:05:24,800
Speaker 1: is had all the time and yet rarely taken action

1093
01:05:24,920 --> 01:05:29,160
Speaker 1: upon in projects is colorism and the fact that there

1094
01:05:29,160 --> 01:05:32,880
Speaker 1: are many shades of brown, and also there are white

1095
01:05:32,920 --> 01:05:36,120
Speaker 1: people that live in Mexico like there. So I just

1096
01:05:36,160 --> 01:05:39,040
Speaker 1: want to quote from her piece because she does it

1097
01:05:39,080 --> 01:05:43,440
Speaker 1: better than I ever could. Obviously. Um, so she says, quote,

1098
01:05:43,680 --> 01:05:46,560
Speaker 1: I'm not naive enough to have expected a fair representation

1099
01:05:46,680 --> 01:05:49,960
Speaker 1: of what Mexican people can and do look like, but wow,

1100
01:05:50,000 --> 01:05:52,680
Speaker 1: it was still surprisingly disappointing to find that picks are

1101
01:05:52,840 --> 01:05:55,520
Speaker 1: found one shade of brown and really committed to it.

1102
01:05:56,040 --> 01:05:58,840
Speaker 1: Like any colonized land united under a flag that was

1103
01:05:58,880 --> 01:06:02,480
Speaker 1: imposed by settlers and voyagers on its indigenous inhabitants and

1104
01:06:02,480 --> 01:06:04,520
Speaker 1: the slaves who were brought in to help it make

1105
01:06:04,560 --> 01:06:07,240
Speaker 1: it suitable to white needs. There is no one way

1106
01:06:07,240 --> 01:06:09,760
Speaker 1: that a Mexican can look. I always think of the

1107
01:06:09,800 --> 01:06:13,200
Speaker 1: Sandra Ses Narrows quote from Caromelo. So now we're quoting

1108
01:06:13,200 --> 01:06:16,840
Speaker 1: Sandra's narrows. Um, there are green eyed Mexicans, there are

1109
01:06:16,920 --> 01:06:20,520
Speaker 1: rich blonde Mexicans, the Mexicans with the faces of Arab Chics,

1110
01:06:20,560 --> 01:06:23,640
Speaker 1: the Jewish Mexicans, the big Footed is a German Mexicans,

1111
01:06:23,680 --> 01:06:28,960
Speaker 1: the leftover French Mexicans, the Chaparrito compact Mexicans. Um. This

1112
01:06:29,040 --> 01:06:31,040
Speaker 1: quote goes on for a while, but all that to

1113
01:06:31,120 --> 01:06:34,360
Speaker 1: say she She concludes by saying that lack of physical

1114
01:06:34,400 --> 01:06:37,560
Speaker 1: diversity on screen is simply an extension of a continued

1115
01:06:37,600 --> 01:06:42,040
Speaker 1: failure of big stage Mexican representation in embracing both our

1116
01:06:42,120 --> 01:06:47,680
Speaker 1: extensive ethnic heritage and our pre colonial history unquote, which

1117
01:06:47,960 --> 01:06:49,920
Speaker 1: is a point of sag in a few different places.

1118
01:06:49,960 --> 01:06:54,200
Speaker 1: And honestly, I mean I felt foolish because I hadn't noticed.

1119
01:06:54,880 --> 01:06:57,640
Speaker 1: I just wanted to bring that up as well. Yeah,

1120
01:06:57,760 --> 01:07:00,800
Speaker 1: I think, yes, I completely agree, and I feel like,

1121
01:07:01,440 --> 01:07:04,040
Speaker 1: you know, I understand to some extent his his family,

1122
01:07:04,440 --> 01:07:07,760
Speaker 1: you know, being the same color and um like his

1123
01:07:07,840 --> 01:07:10,880
Speaker 1: parents and looking like him. But as far as his village,

1124
01:07:11,080 --> 01:07:15,720
Speaker 1: they are correct, and that there is still colorism both

1125
01:07:15,840 --> 01:07:19,720
Speaker 1: in Latin American countries and in our country, very obviously

1126
01:07:19,720 --> 01:07:23,440
Speaker 1: amongst Latinos. And I do feel like they took that

1127
01:07:23,600 --> 01:07:26,400
Speaker 1: note with their new movie that they have with them

1128
01:07:26,440 --> 01:07:31,200
Speaker 1: Stephanie Beatrice, because that family seems very um diverse skin

1129
01:07:31,280 --> 01:07:35,680
Speaker 1: color wise and actually being including after Latinos, but that

1130
01:07:35,840 --> 01:07:41,280
Speaker 1: is something that I feel is an afterthought and uh,

1131
01:07:41,520 --> 01:07:44,520
Speaker 1: Miguel's shade, I feel like, is what people think of

1132
01:07:44,520 --> 01:07:47,600
Speaker 1: when they think of Latino, you know, and I've I've

1133
01:07:47,600 --> 01:07:52,320
Speaker 1: said that as well, like when I audition for roles,

1134
01:07:52,840 --> 01:07:56,200
Speaker 1: it's never debated about whether I'm Latina or not, whereas

1135
01:07:56,320 --> 01:08:00,800
Speaker 1: my Afro Latina friends sometimes they're not even considered. And

1136
01:08:00,920 --> 01:08:03,880
Speaker 1: so that is still a huge problem that we're that

1137
01:08:03,920 --> 01:08:06,360
Speaker 1: we're still dealing with Um that we saw, you know,

1138
01:08:06,440 --> 01:08:09,640
Speaker 1: the conversation surrounding in the Heights. I think that just

1139
01:08:10,240 --> 01:08:12,680
Speaker 1: in media, that has been thought of as the skin

1140
01:08:12,760 --> 01:08:16,800
Speaker 1: color for for Latinos, and it's just not correct that

1141
01:08:16,880 --> 01:08:18,640
Speaker 1: we do come in all shades. And I want to

1142
01:08:18,680 --> 01:08:22,200
Speaker 1: say though that yes, although there are white Latinos like,

1143
01:08:22,240 --> 01:08:27,760
Speaker 1: I'm more concerned with Afro Latinos being shown. No. I

1144
01:08:27,800 --> 01:08:30,639
Speaker 1: know that she that's what She's not wrong, but I'm

1145
01:08:30,680 --> 01:08:34,320
Speaker 1: just like, yes, but also I personally don't know if

1146
01:08:34,360 --> 01:08:38,160
Speaker 1: I care as much as UM because I just feel white.

1147
01:08:38,240 --> 01:08:40,400
Speaker 1: Then if you are white, you have other things to

1148
01:08:40,560 --> 01:08:43,519
Speaker 1: latch onto. You know, you're you have had other people

1149
01:08:43,560 --> 01:08:45,760
Speaker 1: that look like you and princesses that look like you

1150
01:08:45,840 --> 01:08:48,759
Speaker 1: and and superheroes and people in Star Wars and whatever

1151
01:08:48,840 --> 01:08:51,200
Speaker 1: that that are your skin color, then even if they're

1152
01:08:51,200 --> 01:08:53,680
Speaker 1: not Latino, they do still have your skin color. And

1153
01:08:53,760 --> 01:08:58,720
Speaker 1: so I'm very concerned with Afro and Indigenous representation of

1154
01:08:58,840 --> 01:09:03,320
Speaker 1: Latinos and just feel like that has not been And

1155
01:09:03,360 --> 01:09:05,519
Speaker 1: I know Jamie is sorry, I know that's not what

1156
01:09:05,560 --> 01:09:08,480
Speaker 1: you're saying. I just wanted to say, or or necessarily

1157
01:09:08,479 --> 01:09:11,800
Speaker 1: what she's saying, but I just wanted to say that, like,

1158
01:09:12,240 --> 01:09:15,720
Speaker 1: I just don't see enough representation and I feel a

1159
01:09:15,760 --> 01:09:19,360
Speaker 1: lot of times like they're they're just not considered, you know,

1160
01:09:19,800 --> 01:09:22,280
Speaker 1: um like in the in the auditions that I get

1161
01:09:22,360 --> 01:09:25,200
Speaker 1: it just and it's hard. There is no one way

1162
01:09:25,240 --> 01:09:27,920
Speaker 1: to be Latino like that. That it's also like we're

1163
01:09:28,000 --> 01:09:30,320
Speaker 1: kind of we have this term and yet we're so

1164
01:09:30,479 --> 01:09:33,880
Speaker 1: different that it's hard to put us all. It's hard

1165
01:09:33,920 --> 01:09:37,240
Speaker 1: to put us all in this under this term. And

1166
01:09:37,320 --> 01:09:39,880
Speaker 1: so for me, it's so important with everything that I make,

1167
01:09:40,160 --> 01:09:42,599
Speaker 1: that that I actually make. I don't I can't control

1168
01:09:42,640 --> 01:09:44,240
Speaker 1: the shows you know that I write on that I

1169
01:09:44,280 --> 01:09:46,280
Speaker 1: have bosses and it's their show and I'm just a

1170
01:09:46,320 --> 01:09:48,320
Speaker 1: writer on there. I try to push as much as

1171
01:09:48,360 --> 01:09:51,400
Speaker 1: I can, uh, and I do, but I'm at the

1172
01:09:51,479 --> 01:09:52,800
Speaker 1: end of the day, not the one that's making the

1173
01:09:52,840 --> 01:09:55,080
Speaker 1: final decision, but at least in the things that I make,

1174
01:09:55,240 --> 01:09:59,640
Speaker 1: I feel pretty proud of being able to represent my community.

1175
01:09:59,680 --> 01:10:02,600
Speaker 1: But I do feel like there needs to be more

1176
01:10:03,320 --> 01:10:07,799
Speaker 1: more of our stories greenlits, so that one singular movie

1177
01:10:07,920 --> 01:10:10,640
Speaker 1: or one singular show doesn't have to represent all of us,

1178
01:10:10,680 --> 01:10:13,120
Speaker 1: because I think that's that's such a burden that white

1179
01:10:13,160 --> 01:10:16,000
Speaker 1: people don't have, and it I just think it's so

1180
01:10:16,760 --> 01:10:20,720
Speaker 1: unfair and hard on uh, Like I think of even Insecure,

1181
01:10:20,880 --> 01:10:25,120
Speaker 1: and I remember people you know, writing as about like, well,

1182
01:10:25,200 --> 01:10:27,439
Speaker 1: this is kind of classes because you're showing this type

1183
01:10:27,439 --> 01:10:29,840
Speaker 1: of class of black people, and I'm like, well, one,

1184
01:10:29,920 --> 01:10:32,880
Speaker 1: she was also an uber driver for one, but like two,

1185
01:10:33,040 --> 01:10:35,120
Speaker 1: that's such that's such a burden too place of like

1186
01:10:35,240 --> 01:10:38,799
Speaker 1: she needs to represent the wealth of the black community,

1187
01:10:38,840 --> 01:10:41,519
Speaker 1: and I'm like that's just impossible. That's that's not something

1188
01:10:41,560 --> 01:10:43,639
Speaker 1: that is put on white on white creators to represent

1189
01:10:43,680 --> 01:10:46,360
Speaker 1: every single element of their community. And so I literally

1190
01:10:46,360 --> 01:10:49,120
Speaker 1: have lost sleep about this with my own community of

1191
01:10:49,160 --> 01:10:53,080
Speaker 1: like I actually cannot I cannot represent you know, the

1192
01:10:53,320 --> 01:10:56,600
Speaker 1: full breadth of my community. And even experiences. As we

1193
01:10:56,640 --> 01:10:58,519
Speaker 1: were thinking. As I was thinking, like Lee Ridge took

1194
01:10:58,520 --> 01:11:00,120
Speaker 1: this on and he's not in the community, I was like,

1195
01:11:00,320 --> 01:11:01,760
Speaker 1: I don't even know if I could take on like

1196
01:11:01,880 --> 01:11:05,920
Speaker 1: Argentinean like representation. I'm like that that's just not that's

1197
01:11:05,920 --> 01:11:08,960
Speaker 1: not my Like, I'm just not in that community, and

1198
01:11:09,000 --> 01:11:10,800
Speaker 1: so like, I don't even know if I would feel

1199
01:11:11,000 --> 01:11:13,120
Speaker 1: And I have had projects come across like that, and

1200
01:11:13,120 --> 01:11:15,040
Speaker 1: I'm like I pass on them because I'm like, that's

1201
01:11:15,040 --> 01:11:17,680
Speaker 1: such a that would be so much time to when

1202
01:11:17,680 --> 01:11:20,880
Speaker 1: it could just go to someone that that's their authentic selve,

1203
01:11:20,960 --> 01:11:24,960
Speaker 1: their authentic background in truth and culture. And so, but

1204
01:11:25,000 --> 01:11:27,280
Speaker 1: that is all to say that it's like impossible for

1205
01:11:27,320 --> 01:11:30,960
Speaker 1: one single Latino person to represent every single Latino person.

1206
01:11:31,120 --> 01:11:33,960
Speaker 1: And so what the truth is is that more of

1207
01:11:33,960 --> 01:11:37,880
Speaker 1: those stories need to be greenlit. More after Latino creators

1208
01:11:38,040 --> 01:11:40,559
Speaker 1: need to have uh need to be green light, need

1209
01:11:40,560 --> 01:11:42,919
Speaker 1: to be given the funds to make their own stories

1210
01:11:42,960 --> 01:11:44,880
Speaker 1: and shows so that they don't have to feel like

1211
01:11:44,880 --> 01:11:47,880
Speaker 1: they're a side character in somebody else's movie or side

1212
01:11:47,920 --> 01:11:52,439
Speaker 1: you know, or an afterthought. Right, Yeah, And I want

1213
01:11:52,439 --> 01:11:58,040
Speaker 1: to acknowledge that we've had conversations on this show the demonstrate.

1214
01:11:58,360 --> 01:11:59,920
Speaker 1: I don't want to speak for you, Jamie, but like

1215
01:12:00,400 --> 01:12:05,839
Speaker 1: my misunderstanding that I had for a long time about

1216
01:12:06,120 --> 01:12:10,680
Speaker 1: Latin X Latin A communities and people in which I

1217
01:12:10,760 --> 01:12:14,240
Speaker 1: kind of assumed, oh, all people in that community are

1218
01:12:14,280 --> 01:12:17,960
Speaker 1: people of color. And we've had conversations about like Latina

1219
01:12:18,000 --> 01:12:23,519
Speaker 1: actresses who are white people of European descent who are

1220
01:12:23,520 --> 01:12:26,439
Speaker 1: still also Latina, but we were referring to them as

1221
01:12:26,479 --> 01:12:29,680
Speaker 1: people of color, and we've you know, had friends and

1222
01:12:29,760 --> 01:12:34,879
Speaker 1: listeners clarify for us, just because someone is Latina doesn't

1223
01:12:34,880 --> 01:12:38,920
Speaker 1: automatically mean they're also a person of color. And I

1224
01:12:38,960 --> 01:12:43,400
Speaker 1: think the confusion for me at least comes from the

1225
01:12:43,520 --> 01:12:48,759
Speaker 1: colorism and featurism that exists in media and movies and stuff,

1226
01:12:49,040 --> 01:12:54,200
Speaker 1: where white European features are favored and are considered to

1227
01:12:54,240 --> 01:12:58,040
Speaker 1: be more attractive. So a lot of the famous Latin

1228
01:12:58,280 --> 01:13:01,240
Speaker 1: X actors in both the U S and in Latin

1229
01:13:01,280 --> 01:13:05,880
Speaker 1: America are of European descent, and they are not indigenous,

1230
01:13:05,880 --> 01:13:09,120
Speaker 1: and they are not Afro Latino, or if they're mixed,

1231
01:13:09,320 --> 01:13:13,880
Speaker 1: they tend to have more European features. So again it

1232
01:13:14,040 --> 01:13:18,360
Speaker 1: speaks to the need to have far more representation across

1233
01:13:18,400 --> 01:13:23,360
Speaker 1: the board to fully represent all the communities and subcultures

1234
01:13:23,400 --> 01:13:26,800
Speaker 1: that fall under the Latin umbrella. So this is all

1235
01:13:26,920 --> 01:13:32,280
Speaker 1: something that I didn't have a super clear understanding of

1236
01:13:33,080 --> 01:13:35,680
Speaker 1: at first, and I've had to do a lot of

1237
01:13:35,720 --> 01:13:40,000
Speaker 1: research and reading and talking to people. And again, there

1238
01:13:40,040 --> 01:13:45,240
Speaker 1: are past episodes where our misunderstanding is fully on display.

1239
01:13:45,479 --> 01:13:49,040
Speaker 1: So I want to hold ourselves accountable for that and

1240
01:13:49,560 --> 01:13:53,080
Speaker 1: to acknowledge that. Yeah, no, I totally. I mean we've

1241
01:13:53,160 --> 01:13:57,240
Speaker 1: we've very much fumbled and it made and I think

1242
01:13:57,280 --> 01:14:02,320
Speaker 1: just like made not uncommon but completely incorrect assumptions in

1243
01:14:02,360 --> 01:14:05,639
Speaker 1: the past on this show. And it's something that's like, yeah,

1244
01:14:05,640 --> 01:14:09,320
Speaker 1: our listeners have have been kind and moments that honestly

1245
01:14:09,360 --> 01:14:12,800
Speaker 1: they didn't need to be about letting us know about

1246
01:14:12,840 --> 01:14:16,080
Speaker 1: about stuff, and and you know, it's conversations that we're

1247
01:14:16,320 --> 01:14:20,040
Speaker 1: committed to continuing to have. But yeah, I mean, it's

1248
01:14:20,080 --> 01:14:24,640
Speaker 1: it's even in this particular scenario with with cocoa, I

1249
01:14:24,760 --> 01:14:27,680
Speaker 1: was I was like, oh, like, Jamie, how did you

1250
01:14:27,760 --> 01:14:30,160
Speaker 1: not notice that? Like what could because it's like, once

1251
01:14:30,720 --> 01:14:33,040
Speaker 1: it's brought to your attention, you can't un see it.

1252
01:14:33,080 --> 01:14:36,839
Speaker 1: And I learned about this criticism between you know, whatever

1253
01:14:36,920 --> 01:14:40,720
Speaker 1: viewings for this show, and I don't know, and like

1254
01:14:40,760 --> 01:14:43,880
Speaker 1: you're saying, Danny, it's a completely unreasonable request and an

1255
01:14:43,920 --> 01:14:49,400
Speaker 1: additional pressure put on marginalized creators to represent their entire

1256
01:14:49,680 --> 01:14:55,040
Speaker 1: culture every time they're creatively producing something that is impossible

1257
01:14:55,120 --> 01:14:58,599
Speaker 1: and and setting up people for for failure because it's

1258
01:14:58,640 --> 01:15:02,040
Speaker 1: not a realistic expectation and of a creator. Yeah, so

1259
01:15:02,200 --> 01:15:05,400
Speaker 1: I mean, the it should just be the answers to

1260
01:15:05,439 --> 01:15:09,680
Speaker 1: have allowed more more people to get to tell their

1261
01:15:09,720 --> 01:15:12,680
Speaker 1: stories and will eventually, I mean, I'm hoping that we

1262
01:15:12,720 --> 01:15:17,160
Speaker 1: eventually get to that that place. So no single POC

1263
01:15:17,280 --> 01:15:21,439
Speaker 1: creator feels like they have to represent every single element

1264
01:15:21,560 --> 01:15:24,840
Speaker 1: of their or even every single element of their you know,

1265
01:15:24,840 --> 01:15:27,080
Speaker 1: commute like like I was saying in East's cases, like

1266
01:15:27,479 --> 01:15:31,200
Speaker 1: representing all types of different wealth or poverty or like whatever.

1267
01:15:31,240 --> 01:15:33,240
Speaker 1: I'm like, Oh, she just is kind of making a

1268
01:15:33,280 --> 01:15:37,160
Speaker 1: story about dating as a as a black millennial, you know,

1269
01:15:37,280 --> 01:15:39,479
Speaker 1: but like to to have to like and I totally

1270
01:15:39,560 --> 01:15:42,920
Speaker 1: understand that, and but it's just like it's just something

1271
01:15:42,960 --> 01:15:46,919
Speaker 1: that we don't place on on white on like girls,

1272
01:15:47,479 --> 01:15:49,439
Speaker 1: you know, like that wasn't I mean, I don't know,

1273
01:15:49,479 --> 01:15:53,640
Speaker 1: I didn't watch the show, but is that a commentary

1274
01:15:53,720 --> 01:15:56,040
Speaker 1: on Ship's Creek. Well, actually I think it did because

1275
01:15:56,040 --> 01:15:59,160
Speaker 1: they were poor and then they got but like at last,

1276
01:15:59,200 --> 01:16:03,400
Speaker 1: so I don't know, Okay, things less like you can

1277
01:16:03,520 --> 01:16:07,880
Speaker 1: name white leads for the next five days. No, but

1278
01:16:07,960 --> 01:16:11,200
Speaker 1: you're totally right, Like, these same burdens are not placed

1279
01:16:11,240 --> 01:16:15,200
Speaker 1: on white creators, largely because there's been so much representation

1280
01:16:15,640 --> 01:16:18,840
Speaker 1: of white people in media that the full spectrum has

1281
01:16:18,920 --> 01:16:23,360
Speaker 1: already been represented. And of course there are groups that

1282
01:16:23,439 --> 01:16:28,120
Speaker 1: haven't been represented enough or well. And that's you know, obviously,

1283
01:16:28,160 --> 01:16:30,360
Speaker 1: that's what we talk about all the time on the podcast.

1284
01:16:30,960 --> 01:16:35,080
Speaker 1: But even so, a lot of queer stories and stories

1285
01:16:35,120 --> 01:16:40,080
Speaker 1: about disability and stories about women still center white people.

1286
01:16:40,560 --> 01:16:43,880
Speaker 1: So again, this all just continues to speak to the

1287
01:16:43,920 --> 01:16:48,479
Speaker 1: need for a much larger scope of representation of all people,

1288
01:16:49,000 --> 01:16:54,640
Speaker 1: all communities, all identities, all intersections everyone. Yeah, and like

1289
01:16:54,760 --> 01:16:57,360
Speaker 1: behind the camera too, Yes, I was gonna say to

1290
01:16:57,479 --> 01:17:00,120
Speaker 1: like also just being able to represent both. Like one

1291
01:17:00,120 --> 01:17:04,160
Speaker 1: of my favorite a Filatino characters is Miles Morales, and

1292
01:17:04,200 --> 01:17:06,120
Speaker 1: I feel like a lot of times people forget that

1293
01:17:06,200 --> 01:17:10,400
Speaker 1: he is black and Latino, and I just feel like

1294
01:17:10,439 --> 01:17:14,200
Speaker 1: a lot of times they're a lot of stories don't

1295
01:17:14,240 --> 01:17:18,240
Speaker 1: allow for the full complexity or full depth of of

1296
01:17:18,280 --> 01:17:21,639
Speaker 1: both of those, you know, And so it's it's kind

1297
01:17:21,640 --> 01:17:25,200
Speaker 1: of like one or the other, and that is you can't, um,

1298
01:17:25,240 --> 01:17:28,160
Speaker 1: you can't separate those two. Those are two. That is

1299
01:17:28,200 --> 01:17:30,559
Speaker 1: his identity, like you can't. You can't like you know,

1300
01:17:30,760 --> 01:17:33,240
Speaker 1: pick one or the other. And so that is his

1301
01:17:33,360 --> 01:17:37,320
Speaker 1: identity in full. And so it just is um allowing

1302
01:17:37,360 --> 01:17:41,240
Speaker 1: more characters. I think too that our a Filatino to

1303
01:17:41,040 --> 01:17:44,439
Speaker 1: have to have all those layers is important. But I

1304
01:17:44,439 --> 01:17:46,519
Speaker 1: think a lot of times people forget and have that

1305
01:17:46,600 --> 01:17:52,559
Speaker 1: not be such a rarity too. Yeah, I wanted to

1306
01:17:52,600 --> 01:17:56,200
Speaker 1: talk a little about the use of Spanish in the

1307
01:17:56,240 --> 01:18:00,200
Speaker 1: movie Coco, where not a ton is spoken and in

1308
01:18:00,320 --> 01:18:05,240
Speaker 1: like the English language version of the movie, Um, but

1309
01:18:05,439 --> 01:18:10,240
Speaker 1: there is some there. And I wanted to share something

1310
01:18:10,479 --> 01:18:14,000
Speaker 1: from a New York Times piece entitled how Picks Are

1311
01:18:14,040 --> 01:18:18,400
Speaker 1: Made Sure Coco was culturally conscious by Reggie Ugu points

1312
01:18:18,400 --> 01:18:21,679
Speaker 1: out that quote. Throughout the film, several main characters voiced

1313
01:18:21,720 --> 01:18:24,920
Speaker 1: by a nearly all Latino cast that includes Gayle Garcia Brunell,

1314
01:18:25,040 --> 01:18:28,719
Speaker 1: Benjamin Bratt, and the young Anthony Gonzalez as Miguel slip

1315
01:18:28,800 --> 01:18:33,160
Speaker 1: in and out of untranslated Spanish a rarity in commercial

1316
01:18:33,240 --> 01:18:39,040
Speaker 1: American cinema. And then there's an additional quote from Octavio Solis,

1317
01:18:39,080 --> 01:18:41,680
Speaker 1: who is one of the consultants that was hired on

1318
01:18:41,720 --> 01:18:45,200
Speaker 1: the film, says, quote the original idea was to have

1319
01:18:45,280 --> 01:18:48,280
Speaker 1: the characters speak only in English, with the understanding that

1320
01:18:48,320 --> 01:18:51,879
Speaker 1: they were really speaking in Spanish. But for us, language

1321
01:18:51,920 --> 01:18:55,880
Speaker 1: is binary, and we code switch from English to Spanish seamlessly.

1322
01:18:56,439 --> 01:18:58,600
Speaker 1: End quote. Um, which is just like a feature that

1323
01:18:58,640 --> 01:19:02,320
Speaker 1: I thought was really cool. It gives people watching this

1324
01:19:02,439 --> 01:19:07,760
Speaker 1: who aren't Spanish speakers exposure to the language. Like I

1325
01:19:07,840 --> 01:19:10,880
Speaker 1: think it just like has all these great benefits that

1326
01:19:11,240 --> 01:19:14,040
Speaker 1: I thought was like cool to include. But I'm interested

1327
01:19:14,080 --> 01:19:17,960
Speaker 1: to hear other perspectives on that as well. Well. I

1328
01:19:17,960 --> 01:19:20,960
Speaker 1: feel like that's how a lot of families, at least here,

1329
01:19:21,000 --> 01:19:22,880
Speaker 1: you know, it's fascinating because it was in Mexico, so

1330
01:19:22,920 --> 01:19:26,920
Speaker 1: obviously it's probably all in you know, Spanish, but like

1331
01:19:27,040 --> 01:19:29,760
Speaker 1: here in the States, I feel like it's that's very

1332
01:19:29,800 --> 01:19:31,719
Speaker 1: common to just kind of switched back and forth between

1333
01:19:31,720 --> 01:19:35,120
Speaker 1: Spanish and English kind of seamlessly, uh, in conversation. So

1334
01:19:35,160 --> 01:19:37,400
Speaker 1: I like that, and I also just like, you know,

1335
01:19:37,560 --> 01:19:43,439
Speaker 1: hearing Mexican accents with while English speaking, and you know,

1336
01:19:43,560 --> 01:19:47,240
Speaker 1: just teaching even young Latino Like my niece is currently

1337
01:19:47,360 --> 01:19:49,920
Speaker 1: in um in a school where like half of the

1338
01:19:50,000 --> 01:19:53,360
Speaker 1: days in English and then after lunch it's all in Spanish.

1339
01:19:53,400 --> 01:19:56,120
Speaker 1: And so I do love I love the fact that

1340
01:19:56,200 --> 01:19:58,880
Speaker 1: you know that this is a family or four kids,

1341
01:19:59,000 --> 01:20:03,559
Speaker 1: you know, family movie, and so it's teaching young kids,

1342
01:20:03,600 --> 01:20:07,599
Speaker 1: whether they are of Latino descent or not. Like getting

1343
01:20:07,600 --> 01:20:10,400
Speaker 1: to hear some Spanish and a massive one of the

1344
01:20:10,439 --> 01:20:13,800
Speaker 1: things that actor Hector Navarro, Um, he's a host for

1345
01:20:14,280 --> 01:20:17,200
Speaker 1: Nurdict and down a bunch of other things. We both

1346
01:20:17,240 --> 01:20:20,200
Speaker 1: like wrote each other about the beginning to hear the

1347
01:20:20,800 --> 01:20:23,720
Speaker 1: Disney movie. I mean the Disney music that was at

1348
01:20:23,720 --> 01:20:26,640
Speaker 1: the beginning of the movie with the castle was Mariachi's

1349
01:20:26,800 --> 01:20:29,599
Speaker 1: and like that was a huge deal to us, Like

1350
01:20:29,640 --> 01:20:31,720
Speaker 1: that that was really important. That meant a lot, and

1351
01:20:31,760 --> 01:20:34,800
Speaker 1: so like even little things like that, to to have

1352
01:20:34,960 --> 01:20:39,280
Speaker 1: these like Disney, you know, American Disney whatever moments, but

1353
01:20:39,360 --> 01:20:46,120
Speaker 1: like from our culture just feels really special. Yeah. Absolutely, Okay,

1354
01:20:46,160 --> 01:20:47,960
Speaker 1: I have one last thing I promised, and then we're

1355
01:20:47,960 --> 01:20:50,559
Speaker 1: going to talk about the story. I know it's late. Um,

1356
01:20:51,560 --> 01:20:55,599
Speaker 1: the last thing I wanted to to bring up was

1357
01:20:55,960 --> 01:21:00,519
Speaker 1: I was looking back at this movie was extremely well reviewed,

1358
01:21:00,720 --> 01:21:05,120
Speaker 1: like it has like in the nineties, seven critics score

1359
01:21:05,120 --> 01:21:09,360
Speaker 1: on Rotten Tomatoes. Right, this was an extremely well reviewed movie. However,

1360
01:21:09,880 --> 01:21:15,280
Speaker 1: there was a piece on a website called Rameskla. I

1361
01:21:15,280 --> 01:21:18,840
Speaker 1: had never been on it before, but it's it's a website,

1362
01:21:19,080 --> 01:21:24,759
Speaker 1: grassroots project that documents Latin culture, and they published this

1363
01:21:25,479 --> 01:21:29,320
Speaker 1: article as Coco was coming out, saying like, yeah, everyone's

1364
01:21:29,320 --> 01:21:32,280
Speaker 1: loving Coco, but on the Rotten Tomatoes page there is

1365
01:21:32,320 --> 01:21:37,519
Speaker 1: not one Latin movie reviewer who has reviewed this movie

1366
01:21:37,600 --> 01:21:40,599
Speaker 1: to the point where this site ended up, you know,

1367
01:21:40,640 --> 01:21:42,920
Speaker 1: recruiting and reaching out to a number of I mean

1368
01:21:42,960 --> 01:21:45,000
Speaker 1: because as we've talked about on the Show of a

1369
01:21:45,080 --> 01:21:50,160
Speaker 1: jillion times, there's no shortage of non white film reviewers.

1370
01:21:50,280 --> 01:21:53,719
Speaker 1: That's just who ordinarily gets the job at the highest

1371
01:21:53,760 --> 01:21:56,080
Speaker 1: level and who ends up on the Rotten Tomatoes page.

1372
01:21:56,680 --> 01:22:00,559
Speaker 1: And it's something that's changing very slowly to the point

1373
01:22:00,640 --> 01:22:03,800
Speaker 1: where it's like it would have been very glaring in

1374
01:22:04,680 --> 01:22:08,559
Speaker 1: to anyone who was looking that there were no Latin

1375
01:22:08,880 --> 01:22:12,800
Speaker 1: reviewers reviewing this movie. So this website, Ramesque Club put

1376
01:22:12,800 --> 01:22:15,519
Speaker 1: together a number I think it was five or six

1377
01:22:16,120 --> 01:22:20,879
Speaker 1: reviewers who were of Mexican descent to review this movie,

1378
01:22:21,240 --> 01:22:24,200
Speaker 1: and the reviews were still extremely positive. But the I

1379
01:22:24,240 --> 01:22:26,800
Speaker 1: mean the point of everything was, like we've sort of

1380
01:22:26,840 --> 01:22:30,760
Speaker 1: been referencing at different points in this episode, there's a

1381
01:22:30,840 --> 01:22:35,600
Speaker 1: lack of representation at every single level where you know,

1382
01:22:35,680 --> 01:22:38,240
Speaker 1: the average movie viewer isn't thinking, well, who's writing my

1383
01:22:38,840 --> 01:22:43,200
Speaker 1: movie reviews? But it absolutely makes a difference. So yeah,

1384
01:22:43,240 --> 01:22:46,960
Speaker 1: I just want to point that as well. I mean,

1385
01:22:47,200 --> 01:22:50,400
Speaker 1: I think it's similarly, it's worth noting that Coco is

1386
01:22:50,560 --> 01:22:56,960
Speaker 1: Pixar's nineteenth movie and the first one to feature a

1387
01:22:57,000 --> 01:23:01,679
Speaker 1: minority character in the lead role. Interesting, all the other

1388
01:23:01,720 --> 01:23:06,519
Speaker 1: ones up until that point had been coated toys or

1389
01:23:06,600 --> 01:23:11,040
Speaker 1: peoples or cars. Did you see white coated toys? Yes?

1390
01:23:11,040 --> 01:23:20,200
Speaker 1: I did, w John Goodman coated monsters, Owen Wilson coated cars.

1391
01:23:20,680 --> 01:23:24,240
Speaker 1: I'm sorry, but solely is a monster of color? Um

1392
01:23:26,920 --> 01:23:31,880
Speaker 1: the color is blue blue. Yeah, I mean, look, it's

1393
01:23:31,960 --> 01:23:34,960
Speaker 1: it's it's hard. We have these conversations so so much

1394
01:23:35,000 --> 01:23:38,080
Speaker 1: internally of like yes, please, like we want to be

1395
01:23:38,120 --> 01:23:40,680
Speaker 1: able to review Cocoa and mo Wana and whatever, But

1396
01:23:40,760 --> 01:23:42,880
Speaker 1: as I continue to say, we we don't want to

1397
01:23:42,920 --> 01:23:46,880
Speaker 1: be your token person that I remember when Mo Wanna

1398
01:23:46,960 --> 01:23:48,680
Speaker 1: came out, I got hit. I'm like, I'm not I'm

1399
01:23:48,720 --> 01:23:51,280
Speaker 1: not even from this car. I'm just the closest thing

1400
01:23:51,320 --> 01:23:55,479
Speaker 1: you have, you know. And so it's hard because we

1401
01:23:55,520 --> 01:23:57,800
Speaker 1: want to be included in in the conversation, like even

1402
01:23:57,800 --> 01:24:00,160
Speaker 1: with this podcast, Like if you had invited an their

1403
01:24:00,200 --> 01:24:02,839
Speaker 1: white person, I don't know how it would feel. Probably

1404
01:24:02,880 --> 01:24:05,439
Speaker 1: wouldn't be as important, right, but like, but but you

1405
01:24:05,520 --> 01:24:07,120
Speaker 1: have also had me on what did you say, like

1406
01:24:07,200 --> 01:24:10,080
Speaker 1: Laura Croft tomb Rater and like that family, and so

1407
01:24:10,160 --> 01:24:12,439
Speaker 1: like you're not just like let's get Danny on this

1408
01:24:12,960 --> 01:24:14,680
Speaker 1: Latino one and then we're like not going to let

1409
01:24:14,680 --> 01:24:17,680
Speaker 1: her talk about anything else, and so like that's so

1410
01:24:17,760 --> 01:24:19,800
Speaker 1: I do want to say, yes, we do want to

1411
01:24:19,840 --> 01:24:22,400
Speaker 1: be included in these but I don't. I just don't

1412
01:24:22,560 --> 01:24:24,680
Speaker 1: think that we want to be boxed in like pigeonholed

1413
01:24:24,680 --> 01:24:27,280
Speaker 1: and that's the only thing we're allowed to talk about.

1414
01:24:27,320 --> 01:24:29,960
Speaker 1: And I know that you know, our friends during Black

1415
01:24:30,000 --> 01:24:32,040
Speaker 1: History Month, same thing, it's like all of a sudden,

1416
01:24:32,080 --> 01:24:34,080
Speaker 1: their inboxes are full, and like, let's have you on

1417
01:24:34,200 --> 01:24:36,160
Speaker 1: every single panel and to talk about all of this,

1418
01:24:36,200 --> 01:24:39,000
Speaker 1: and then all of a sudden after February, it's like nothing,

1419
01:24:39,560 --> 01:24:43,000
Speaker 1: you know, and so it's it's let us talk about

1420
01:24:43,040 --> 01:24:48,280
Speaker 1: all the things like Laura Croft, tomb Rat It's yeah,

1421
01:24:48,320 --> 01:24:51,360
Speaker 1: which is like, I mean, if if there were less

1422
01:24:51,360 --> 01:24:54,240
Speaker 1: white film reviewers reviewing every single film that comes out,

1423
01:24:54,280 --> 01:24:57,640
Speaker 1: like that would also rectify that issue of like there's

1424
01:24:57,960 --> 01:24:59,680
Speaker 1: what I mean, this is really getting into weeds, but

1425
01:24:59,720 --> 01:25:04,360
Speaker 1: into of staff writing positions for magazines and like you know,

1426
01:25:04,520 --> 01:25:07,280
Speaker 1: go to film reviews as opposed to the freelance model

1427
01:25:07,400 --> 01:25:13,320
Speaker 1: that I think kind of empowers that kind of tokenizing behavior. True. Yeah, yeah,

1428
01:25:13,560 --> 01:25:17,280
Speaker 1: let's talk about the movie. Yeah, let's let's talk about

1429
01:25:17,479 --> 01:25:23,599
Speaker 1: co Co the story thoughts. I like it. I honestly

1430
01:25:23,600 --> 01:25:26,519
Speaker 1: thought this was really clever. Yeah. I still like, you know,

1431
01:25:26,600 --> 01:25:28,479
Speaker 1: my writer brain, like I still think this is such

1432
01:25:28,520 --> 01:25:33,280
Speaker 1: a clever way to approach this, like to be like,

1433
01:25:33,320 --> 01:25:35,080
Speaker 1: how are we going to make a film about this

1434
01:25:35,760 --> 01:25:38,680
Speaker 1: really special day? Um? Yeah, I felt like this was

1435
01:25:38,840 --> 01:25:42,240
Speaker 1: very clever and it was. It was very different than

1436
01:25:42,880 --> 01:25:46,440
Speaker 1: Book of Life, like completely different. So it is fascinating.

1437
01:25:46,840 --> 01:25:49,479
Speaker 1: Oh you should, you definitely should. Yeah, And I love

1438
01:25:49,520 --> 01:25:52,400
Speaker 1: Jorges um he has Maya and the Three coming out

1439
01:25:52,400 --> 01:25:56,360
Speaker 1: on Netflix. Also cried watching that trailer. Also cried. I

1440
01:25:56,439 --> 01:25:59,400
Speaker 1: watched that trailer so many times and cried. Also, something

1441
01:25:59,439 --> 01:26:02,280
Speaker 1: that took him like three years to make this series

1442
01:26:02,320 --> 01:26:04,639
Speaker 1: that's coming out on Netflix. I mean, animation takes so long.

1443
01:26:04,640 --> 01:26:09,599
Speaker 1: But he has a very cool, very unique artistic style

1444
01:26:09,720 --> 01:26:12,120
Speaker 1: that you can't miss. Like I've seen I've seen his

1445
01:26:12,200 --> 01:26:14,320
Speaker 1: work on the side of buildings and I'm like, oh

1446
01:26:14,320 --> 01:26:17,519
Speaker 1: that's more hey, um, but yeah, check that out. What

1447
01:26:17,560 --> 01:26:19,280
Speaker 1: I'm saying though, is that I love that we can

1448
01:26:19,360 --> 01:26:23,439
Speaker 1: have multiple movies and we should because like, how many

1449
01:26:23,520 --> 01:26:27,639
Speaker 1: Christmas movies are there billion about white people? Yeah? Exactly

1450
01:26:27,920 --> 01:26:31,800
Speaker 1: how many Christmas Lifetime movies do we white people moving

1451
01:26:31,800 --> 01:26:35,160
Speaker 1: in with their parents? Yeah, that live in a nice house,

1452
01:26:35,439 --> 01:26:38,439
Speaker 1: or like reconnecting with their high school love or something. Yeah,

1453
01:26:39,680 --> 01:26:42,160
Speaker 1: I mean whatever, now disrespect to people who but like

1454
01:26:42,400 --> 01:26:48,200
Speaker 1: what anyways? Yeah, I also something that just I can like,

1455
01:26:48,760 --> 01:26:50,920
Speaker 1: this is a really good movie in so many ways.

1456
01:26:51,000 --> 01:26:54,360
Speaker 1: It's also like a really good Disney movie. I can't

1457
01:26:54,360 --> 01:26:58,120
Speaker 1: remember what like more, but this movie has like Dela

1458
01:26:58,200 --> 01:27:02,519
Speaker 1: Cruz is such a good Disney villain. Like I felt

1459
01:27:02,560 --> 01:27:07,080
Speaker 1: like I hadn't seen like one of my goofy who

1460
01:27:07,120 --> 01:27:12,719
Speaker 1: gives a ship millennial gripes with more recent Disney movies

1461
01:27:12,840 --> 01:27:15,360
Speaker 1: is like, I like when a villain falls off a

1462
01:27:15,360 --> 01:27:18,280
Speaker 1: cliff at the end, I like it, like and I

1463
01:27:18,320 --> 01:27:21,000
Speaker 1: feel like Dela Cruz, who literally I mean he gets

1464
01:27:21,000 --> 01:27:24,960
Speaker 1: crushed by a bella second time poetic justice. We was like, yeah,

1465
01:27:25,320 --> 01:27:29,479
Speaker 1: like his character. Not only is the writing surrounding his

1466
01:27:29,560 --> 01:27:32,280
Speaker 1: character so strong and everything is so firmly planted, but

1467
01:27:32,320 --> 01:27:35,840
Speaker 1: like when you reach the twist, it is so like rewarding.

1468
01:27:36,320 --> 01:27:38,400
Speaker 1: But on top of that, it felt like this really

1469
01:27:38,439 --> 01:27:42,400
Speaker 1: cool meeting between you know, the more recent Disney quote

1470
01:27:42,439 --> 01:27:45,160
Speaker 1: unquote villains. I feel like you're encouraged to empathize with them,

1471
01:27:45,160 --> 01:27:46,880
Speaker 1: and then by the end maybe you see them in

1472
01:27:46,920 --> 01:27:50,200
Speaker 1: a different way, which you do a little bit with

1473
01:27:50,240 --> 01:27:52,400
Speaker 1: Dela Cruz, but you still get that kind of satisfying

1474
01:27:52,479 --> 01:27:55,519
Speaker 1: nineties Disney villain where he falls off a cliff and

1475
01:27:55,720 --> 01:28:00,439
Speaker 1: is double dead. Now, um yeah, I I really enjoyed

1476
01:28:00,520 --> 01:28:03,840
Speaker 1: how his plot line bore out too, and how it

1477
01:28:04,040 --> 01:28:07,920
Speaker 1: affected Miguel of you know, Miguel was kind of being

1478
01:28:08,000 --> 01:28:13,080
Speaker 1: gently encouraged by someone he thought was his relative of like, oh,

1479
01:28:13,160 --> 01:28:15,680
Speaker 1: you know, like it was all worth it, this thing

1480
01:28:15,760 --> 01:28:18,760
Speaker 1: that I did, Like, I would recommend it to everybody,

1481
01:28:18,880 --> 01:28:21,919
Speaker 1: which you get is kind of overly simplistic because everyone's

1482
01:28:21,960 --> 01:28:25,920
Speaker 1: family is different. But I mean, he had me going.

1483
01:28:26,080 --> 01:28:28,760
Speaker 1: I fell for the first time I watched it. I

1484
01:28:28,880 --> 01:28:33,479
Speaker 1: was like, wow, he's right, no notes, he's great. Yeah,

1485
01:28:33,560 --> 01:28:37,240
Speaker 1: I I too abandoned my family to pursue comedy and

1486
01:28:37,280 --> 01:28:39,800
Speaker 1: I never looked back. I know, I was like, yeah,

1487
01:28:39,840 --> 01:28:43,559
Speaker 1: I guess we all didn't do that. Um, so we're

1488
01:28:43,560 --> 01:28:45,920
Speaker 1: all gonna get crushed by bells, etcetera. Like it's an

1489
01:28:45,920 --> 01:28:50,240
Speaker 1: it's an oversimplification, but I just yeah, I was like, wow,

1490
01:28:50,280 --> 01:28:54,320
Speaker 1: like a Disney villain, I missed them. It was exciting.

1491
01:28:54,840 --> 01:28:58,479
Speaker 1: One thing I really loved. And even though the main

1492
01:28:58,600 --> 01:29:02,679
Speaker 1: vehicle of this story is Miguel seeking the blessing of

1493
01:29:03,080 --> 01:29:07,360
Speaker 1: a male family member, there's so much emphasis in the

1494
01:29:07,360 --> 01:29:11,479
Speaker 1: movie on something that Adriana was speaking to in terms

1495
01:29:11,479 --> 01:29:14,080
Speaker 1: of like the matriarchs of the family, and how there's

1496
01:29:14,760 --> 01:29:19,280
Speaker 1: multiple women in the movie who are like the authority

1497
01:29:19,320 --> 01:29:23,280
Speaker 1: figures of the household. They're calling the shots. They are

1498
01:29:23,320 --> 01:29:27,040
Speaker 1: revered and respected by the rest of the family, strong

1499
01:29:27,080 --> 01:29:32,120
Speaker 1: women who Miguel sure butts heads with. But you know,

1500
01:29:32,280 --> 01:29:34,559
Speaker 1: he has an arc in which he does like come

1501
01:29:34,600 --> 01:29:37,640
Speaker 1: to learn to appreciate his family and the love that

1502
01:29:37,720 --> 01:29:41,479
Speaker 1: his family provides for him thanks to the kind of

1503
01:29:41,479 --> 01:29:43,880
Speaker 1: guidance of these women and his family. And then the

1504
01:29:43,920 --> 01:29:47,840
Speaker 1: women also arc in the sense that they realized maybe

1505
01:29:47,880 --> 01:29:50,679
Speaker 1: they were being a bit too hard on him and

1506
01:29:51,000 --> 01:29:54,479
Speaker 1: a little bit too rigid, and you know again when

1507
01:29:54,520 --> 01:29:58,920
Speaker 1: they see how much music means to him and they

1508
01:29:58,960 --> 01:30:02,920
Speaker 1: see the effect that it has on him, and just

1509
01:30:03,000 --> 01:30:06,559
Speaker 1: like like kind of the larger cultural scope of things,

1510
01:30:07,200 --> 01:30:11,639
Speaker 1: they're like, oh, I was maybe being unreasonable to banish

1511
01:30:11,640 --> 01:30:16,559
Speaker 1: all music for the first I do wish that this

1512
01:30:16,640 --> 01:30:19,439
Speaker 1: is like a very tiny nippet, but I do wish

1513
01:30:19,439 --> 01:30:21,599
Speaker 1: that we had gotten to see some of the women

1514
01:30:21,640 --> 01:30:24,920
Speaker 1: in this story have a little more fun where it

1515
01:30:25,000 --> 01:30:27,639
Speaker 1: felt like there was with with Hector and with Miguel.

1516
01:30:27,720 --> 01:30:32,439
Speaker 1: I mean, everyone has these very like dramatic arcs, but

1517
01:30:32,520 --> 01:30:34,840
Speaker 1: you get to see Hector and Miguel have fun and

1518
01:30:34,880 --> 01:30:38,080
Speaker 1: have these like moments of levity with their characters and

1519
01:30:38,400 --> 01:30:40,680
Speaker 1: goof off and just have these silly moments. And I

1520
01:30:40,720 --> 01:30:43,880
Speaker 1: wish that for all of the very well developed and

1521
01:30:43,960 --> 01:30:46,439
Speaker 1: strong women in this story, I wish you got to

1522
01:30:46,479 --> 01:30:48,640
Speaker 1: see them have a little bit of fun. Because it

1523
01:30:48,640 --> 01:30:51,719
Speaker 1: did feel like usually, even though all of the women

1524
01:30:51,760 --> 01:30:55,880
Speaker 1: are I think, you know, very individual characters. I just

1525
01:30:56,000 --> 01:30:57,479
Speaker 1: I don't know. I just wanted to see one of

1526
01:30:57,479 --> 01:31:00,280
Speaker 1: them make a goof have some fun joke, like make

1527
01:31:00,360 --> 01:31:03,240
Speaker 1: a go yeah. I feel like that Mama Melda gets

1528
01:31:03,280 --> 01:31:06,960
Speaker 1: to like embrace her her music background again, she gets

1529
01:31:07,000 --> 01:31:09,600
Speaker 1: to like have that moment that spotlight. I think the

1530
01:31:09,600 --> 01:31:11,360
Speaker 1: only thing that I would say is that this was

1531
01:31:11,439 --> 01:31:17,000
Speaker 1: kind of the answer to all of the Disney Princess movies,

1532
01:31:17,080 --> 01:31:20,200
Speaker 1: which by the way, I personally appreciate, Like, you know,

1533
01:31:20,520 --> 01:31:22,720
Speaker 1: like every new Disney Princess that would come out, I

1534
01:31:22,840 --> 01:31:25,599
Speaker 1: was that Disney Princess for Halloween. It was like every

1535
01:31:25,600 --> 01:31:28,479
Speaker 1: new one, I had the costume. And so I think

1536
01:31:28,479 --> 01:31:30,880
Speaker 1: this was their kind of way of like, Okay, well

1537
01:31:30,960 --> 01:31:33,479
Speaker 1: we're going to instead, because like we said, they had

1538
01:31:33,520 --> 01:31:37,880
Speaker 1: Mowanna right before this, right um, and Frozen and like

1539
01:31:37,920 --> 01:31:41,040
Speaker 1: I mean also all the Disney Princesses and snow White.

1540
01:31:41,439 --> 01:31:43,880
Speaker 1: I think this was one of their ways of like, Okay,

1541
01:31:43,880 --> 01:31:46,599
Speaker 1: now we're going to have a little boy, you know,

1542
01:31:47,160 --> 01:31:49,800
Speaker 1: and like focus on that and his story and like

1543
01:31:50,000 --> 01:31:53,600
Speaker 1: men and like this bonding between a son and this

1544
01:31:53,760 --> 01:31:57,200
Speaker 1: father figure and the fact that he actually has parents

1545
01:31:57,360 --> 01:32:00,519
Speaker 1: and like gets to keep his parents. It's fascinating or

1546
01:32:00,560 --> 01:32:04,920
Speaker 1: a Disney movie. Disney movies famously kill off mothers, and

1547
01:32:04,960 --> 01:32:08,559
Speaker 1: the fact that they are like multiple mother figures. The

1548
01:32:08,640 --> 01:32:13,360
Speaker 1: family grows by the end, there's a new sibling. Yeah,

1549
01:32:13,479 --> 01:32:15,600
Speaker 1: and he has a new sibling. Yeah. So that's the

1550
01:32:15,640 --> 01:32:17,000
Speaker 1: only thing that I would say that it kind of

1551
01:32:17,000 --> 01:32:20,080
Speaker 1: it kind of felt like, you know, my brothers grew

1552
01:32:20,200 --> 01:32:23,600
Speaker 1: up watching me, kind of experiencing not saying that they

1553
01:32:23,640 --> 01:32:26,080
Speaker 1: didn't have their own ship, because they definitely did, but like,

1554
01:32:26,240 --> 01:32:27,880
Speaker 1: you know, when it came to Disney, it was kind

1555
01:32:27,880 --> 01:32:31,200
Speaker 1: of like my time to shine, and they always watched me.

1556
01:32:31,439 --> 01:32:34,559
Speaker 1: They had to watch my Disney movies. It felt like, uh,

1557
01:32:34,600 --> 01:32:37,000
Speaker 1: and they were always the side whatever characters in the

1558
01:32:37,000 --> 01:32:39,120
Speaker 1: Disney movies. And so this was kind of like if

1559
01:32:39,160 --> 01:32:41,559
Speaker 1: this had come out when they were little. You know,

1560
01:32:41,800 --> 01:32:43,680
Speaker 1: if I think of like my older brother getting to

1561
01:32:43,720 --> 01:32:49,200
Speaker 1: see himself in Miguel, you know, where is the closest

1562
01:32:49,240 --> 01:32:51,519
Speaker 1: thing I felt I got was like Jasmine, and I

1563
01:32:52,000 --> 01:32:54,679
Speaker 1: you know, letched onto that. But but yeah, so that's

1564
01:32:54,720 --> 01:32:57,320
Speaker 1: what I would say with them with it being you know,

1565
01:32:57,400 --> 01:33:01,240
Speaker 1: more quote unquote boy if we're like gendering this, but

1566
01:33:01,280 --> 01:33:03,720
Speaker 1: like it's I didn't even have an issue with with

1567
01:33:03,760 --> 01:33:09,200
Speaker 1: the protagonist being a boy or connecting with his male ancestors. Yeah.

1568
01:33:09,240 --> 01:33:10,760
Speaker 1: I just wish that that that the women and the

1569
01:33:10,760 --> 01:33:12,920
Speaker 1: family got to have more fun in the moments that

1570
01:33:13,000 --> 01:33:15,640
Speaker 1: they that they were present because they felt very present. Like,

1571
01:33:16,120 --> 01:33:18,040
Speaker 1: I don't think I would really change too much about

1572
01:33:18,120 --> 01:33:22,599
Speaker 1: like the distribution of screen time really, like it feels

1573
01:33:22,640 --> 01:33:25,479
Speaker 1: like the movie is so well thought out. Yeah, I

1574
01:33:25,600 --> 01:33:28,400
Speaker 1: just know, Jamie. I saw your blog and it said

1575
01:33:28,439 --> 01:33:31,080
Speaker 1: Miguel should have been I did a bunch of math.

1576
01:33:31,240 --> 01:33:35,840
Speaker 1: I like hot take. No, I wanted to say, I

1577
01:33:35,880 --> 01:33:39,960
Speaker 1: did love. I loved and freaked out and was like

1578
01:33:40,200 --> 01:33:43,560
Speaker 1: very excited about freed To. I have a freed To

1579
01:33:43,680 --> 01:33:46,800
Speaker 1: canvas across from me right now of artwork of her

1580
01:33:47,040 --> 01:33:52,360
Speaker 1: my beautiful by icon who I adore. She also popped

1581
01:33:52,439 --> 01:33:54,200
Speaker 1: up in love Craft. I don't know if you all

1582
01:33:54,240 --> 01:33:56,719
Speaker 1: saw that, but like anytime she pops up in pop culture,

1583
01:33:56,920 --> 01:34:00,160
Speaker 1: I get really excited. Um, so I was really happy

1584
01:34:00,360 --> 01:34:03,800
Speaker 1: and she she kind of got you know, she They

1585
01:34:03,840 --> 01:34:07,360
Speaker 1: definitely showed her a little you know, her wild side.

1586
01:34:07,400 --> 01:34:09,120
Speaker 1: I guess she Yeah, I mean she definitely got to

1587
01:34:09,120 --> 01:34:12,960
Speaker 1: goof off. Yeah, yeah, her her wild side, but I

1588
01:34:13,200 --> 01:34:17,400
Speaker 1: was so happy that they had her in it. Yeah,

1589
01:34:17,680 --> 01:34:21,880
Speaker 1: I do appreciate to that. Like, the matriarchs are again

1590
01:34:21,920 --> 01:34:24,760
Speaker 1: these kind of like authoritative figures in the family and

1591
01:34:24,800 --> 01:34:30,400
Speaker 1: therefore often stern, but they are also very appropriately soft

1592
01:34:30,600 --> 01:34:36,000
Speaker 1: and compassionate and like loving and affectionate with Miguel especially

1593
01:34:36,120 --> 01:34:38,720
Speaker 1: and you know, other members of the family. But yeah,

1594
01:34:38,760 --> 01:34:40,960
Speaker 1: it didn't feel I feel like it would have been

1595
01:34:40,960 --> 01:34:46,240
Speaker 1: a like earlier Disney trope or just like media trope

1596
01:34:46,240 --> 01:34:51,280
Speaker 1: in general, to kind of villainize a like matriarchal figure

1597
01:34:51,320 --> 01:34:54,360
Speaker 1: in a family and be like, oh, she's the mom,

1598
01:34:54,479 --> 01:34:58,040
Speaker 1: so she's mean, because we've talked about that trope on

1599
01:34:58,080 --> 01:35:01,920
Speaker 1: a number of episodes. But the these mothers and matriarchs

1600
01:35:01,960 --> 01:35:05,640
Speaker 1: and women in this story have just way more dimension,

1601
01:35:05,760 --> 01:35:10,000
Speaker 1: I feel like than your typical like mother character in

1602
01:35:10,040 --> 01:35:14,680
Speaker 1: a family movie, especially right. Yeah, any other thoughts about

1603
01:35:14,760 --> 01:35:20,599
Speaker 1: the narrative or the characters. Oh, this was something that

1604
01:35:20,720 --> 01:35:24,720
Speaker 1: I so, I mean, I just I love Hector and

1605
01:35:24,840 --> 01:35:28,160
Speaker 1: Miguel's relationship. I love I mean the way that Hector's

1606
01:35:28,240 --> 01:35:33,800
Speaker 1: character is written I thought was so just brilliant, The

1607
01:35:33,840 --> 01:35:37,479
Speaker 1: way that he's introduced like I don't I can't really

1608
01:35:37,520 --> 01:35:40,439
Speaker 1: think of many other movies that do this where I

1609
01:35:40,439 --> 01:35:44,080
Speaker 1: feel like Hector is so very introduced to you as

1610
01:35:44,120 --> 01:35:47,559
Speaker 1: a like side character that you don't see it coming

1611
01:35:47,560 --> 01:35:50,040
Speaker 1: that he is one of the most critical players in

1612
01:35:50,080 --> 01:35:52,439
Speaker 1: the entire story. I just felt like that was so

1613
01:35:52,520 --> 01:35:56,200
Speaker 1: well executed and almost plays on what we know about

1614
01:35:56,240 --> 01:36:00,280
Speaker 1: Disney movies already to be like oh side character at it,

1615
01:36:00,920 --> 01:36:04,920
Speaker 1: and that it ultimately like becomes this story about a

1616
01:36:05,040 --> 01:36:09,080
Speaker 1: father and a daughter by the end where you get

1617
01:36:09,120 --> 01:36:12,680
Speaker 1: to focus on the connection between Hector and Coco. That

1618
01:36:12,840 --> 01:36:16,240
Speaker 1: is like I cried as thinking about it, but but

1619
01:36:16,360 --> 01:36:19,200
Speaker 1: I think that that is kind of a rare thing

1620
01:36:19,760 --> 01:36:23,839
Speaker 1: in in movies, and by extension, like Coco and Miguel

1621
01:36:24,160 --> 01:36:26,479
Speaker 1: like this, like in the beginning of the movie and

1622
01:36:26,560 --> 01:36:28,600
Speaker 1: in the end of the movie, so like during the exposition,

1623
01:36:28,920 --> 01:36:32,320
Speaker 1: there's all this Miguel's talking about, like, oh, I tell

1624
01:36:32,520 --> 01:36:36,519
Speaker 1: my like Mama, Coco doesn't remember that much, but it's fine.

1625
01:36:36,560 --> 01:36:38,400
Speaker 1: I talked to her, I tell her everything, And there's

1626
01:36:38,439 --> 01:36:41,360
Speaker 1: like little montage of all the things he says to

1627
01:36:41,400 --> 01:36:46,120
Speaker 1: her and they do like he re enacts like wrestling

1628
01:36:46,760 --> 01:36:49,960
Speaker 1: with her and then at the end that again like

1629
01:36:50,040 --> 01:36:54,080
Speaker 1: the heart wrenching ist scene of any movie ever, where

1630
01:36:54,400 --> 01:36:59,080
Speaker 1: he's trying to get her to remember Hector and singing

1631
01:36:59,120 --> 01:37:01,320
Speaker 1: to her, and then she start singing along and you

1632
01:37:01,360 --> 01:37:04,400
Speaker 1: see how like how much she comes to life, and

1633
01:37:04,960 --> 01:37:09,439
Speaker 1: which is so inherented, Like I don't know anyone who's

1634
01:37:09,479 --> 01:37:12,639
Speaker 1: ever had an elderly family member who is kind of

1635
01:37:12,680 --> 01:37:15,559
Speaker 1: in and out and in a moment where you when

1636
01:37:15,560 --> 01:37:17,840
Speaker 1: you're like, oh, there they are, you know, and those

1637
01:37:17,880 --> 01:37:20,920
Speaker 1: moments are so precious and beautiful, and it was just

1638
01:37:21,000 --> 01:37:25,960
Speaker 1: like so well done. Yeah. I think that just goes

1639
01:37:26,000 --> 01:37:30,760
Speaker 1: back to like how universal our stories are, you know,

1640
01:37:31,160 --> 01:37:34,600
Speaker 1: like having the story of Miguel like pursuing something that

1641
01:37:34,680 --> 01:37:36,880
Speaker 1: his family doesn't necessarily want him to do. I feel

1642
01:37:36,880 --> 01:37:39,519
Speaker 1: like everyone can relate to that, you know, especially if

1643
01:37:39,520 --> 01:37:43,639
Speaker 1: you're in the creative arts um. And then like you know,

1644
01:37:43,920 --> 01:37:47,559
Speaker 1: having a falling out with a family member or you know,

1645
01:37:47,920 --> 01:37:52,040
Speaker 1: like identity issues or like you said, even kind of

1646
01:37:52,080 --> 01:37:55,400
Speaker 1: losing um an elderly having an elderly family member like

1647
01:37:55,439 --> 01:37:57,439
Speaker 1: maybe not remember you, or kind of going in and

1648
01:37:57,439 --> 01:38:01,840
Speaker 1: out like these are all universal stories and experiences. So

1649
01:38:02,520 --> 01:38:04,720
Speaker 1: I don't know, like I just keep going back to

1650
01:38:04,800 --> 01:38:08,599
Speaker 1: like allowing us to make our stories. But it's just

1651
01:38:08,640 --> 01:38:13,720
Speaker 1: like they're they're universal, they're human stories, human stories. Yeah,

1652
01:38:14,080 --> 01:38:17,280
Speaker 1: I'm really saying like groundbreaking things here that nobody has

1653
01:38:17,320 --> 01:38:21,160
Speaker 1: ever said. Y'all really like really like no one's ever

1654
01:38:21,240 --> 01:38:24,719
Speaker 1: thought of thought of these thoughts. I mean, it's really

1655
01:38:24,760 --> 01:38:28,400
Speaker 1: important to just be reminded of these things and talk

1656
01:38:28,479 --> 01:38:31,560
Speaker 1: about them. That's true. It can't be overstated that. I

1657
01:38:31,600 --> 01:38:35,280
Speaker 1: don't think, yeah, today would have anything else. I think

1658
01:38:35,320 --> 01:38:37,400
Speaker 1: that was about I was as I was going through

1659
01:38:37,439 --> 01:38:38,680
Speaker 1: my nuts. I'm like, I feel like a lot of

1660
01:38:38,680 --> 01:38:42,559
Speaker 1: this was just like I like that. I feel like

1661
01:38:42,600 --> 01:38:47,439
Speaker 1: I'll just like linked to some really good articles I

1662
01:38:47,600 --> 01:38:50,680
Speaker 1: read that. I think it would be like good supplemental

1663
01:38:51,000 --> 01:38:56,040
Speaker 1: things to to read in addition to listening to this episode. Um,

1664
01:38:56,120 --> 01:38:58,599
Speaker 1: we didn't really talk about the and I don't know

1665
01:38:58,680 --> 01:39:00,719
Speaker 1: how much anyone wants to go in to this. If

1666
01:39:00,840 --> 01:39:02,880
Speaker 1: we don't want to go into it, we don't have to,

1667
01:39:02,960 --> 01:39:06,400
Speaker 1: because I would understand not wanting to think about the

1668
01:39:06,439 --> 01:39:09,599
Speaker 1: Trump administration again. But I think it's just at least

1669
01:39:09,600 --> 01:39:13,200
Speaker 1: worth mentioning the kind of cultural context in which this

1670
01:39:13,400 --> 01:39:17,920
Speaker 1: movie came out in the US at least where again

1671
01:39:19,640 --> 01:39:23,960
Speaker 1: not long into the Trump administration, where Trump was, you know,

1672
01:39:24,080 --> 01:39:29,360
Speaker 1: constantly spewing hateful rhetoric about specifically Mexican people, and you

1673
01:39:29,400 --> 01:39:32,080
Speaker 1: know this need to build a wall, and you know,

1674
01:39:32,200 --> 01:39:35,960
Speaker 1: the ramping up of ice, and for this movie to

1675
01:39:36,240 --> 01:39:38,400
Speaker 1: come out like in the midst of all that and

1676
01:39:39,240 --> 01:39:45,160
Speaker 1: be so beloved and to represent the culture so respectfully

1677
01:39:45,240 --> 01:39:49,360
Speaker 1: and responsibly and authentically to be a huge box office hit.

1678
01:39:49,680 --> 01:39:52,519
Speaker 1: This movie, by the way, is the highest grossing film

1679
01:39:52,560 --> 01:39:56,880
Speaker 1: of all time in Mexico. So for that to just

1680
01:39:57,280 --> 01:40:03,880
Speaker 1: be a reprieve basically from all of Trump's awfulness, it's

1681
01:40:03,920 --> 01:40:06,880
Speaker 1: just another thing that goes to show how important it

1682
01:40:07,000 --> 01:40:13,000
Speaker 1: is for these stories to be told on a regular,

1683
01:40:13,160 --> 01:40:16,840
Speaker 1: regular basis. Yeah, I would say, also like our resiliency

1684
01:40:16,880 --> 01:40:21,439
Speaker 1: and like our winning an Academy Award and um Guarrama

1685
01:40:21,520 --> 01:40:25,559
Speaker 1: winning I think like either the year before and then

1686
01:40:25,680 --> 01:40:29,880
Speaker 1: Roma winning and just like our I don't know, like

1687
01:40:29,960 --> 01:40:34,040
Speaker 1: our I was, like our takeover, our just like our

1688
01:40:34,439 --> 01:40:38,800
Speaker 1: ability to resonate with so many people and um in

1689
01:40:38,880 --> 01:40:43,559
Speaker 1: spite of this country's president at the time just wanting

1690
01:40:43,560 --> 01:40:47,439
Speaker 1: to obliterate us, that we still came out on top

1691
01:40:47,479 --> 01:40:50,600
Speaker 1: and we still were dominating, which is a burden you

1692
01:40:50,640 --> 01:40:56,519
Speaker 1: shouldn't have to bear, of course, but yeah, yes, they

1693
01:40:56,520 --> 01:40:58,960
Speaker 1: were like, I hear that you hate us, and we're

1694
01:40:59,000 --> 01:41:02,840
Speaker 1: going to actually win all of these Academy awards over

1695
01:41:02,880 --> 01:41:06,840
Speaker 1: everybody else. Um during that administration. No, literally, like it

1696
01:41:06,920 --> 01:41:09,479
Speaker 1: was like so many Mexican directors, like one after the

1697
01:41:09,479 --> 01:41:13,320
Speaker 1: other after the other. We're like winning during just as

1698
01:41:13,400 --> 01:41:16,400
Speaker 1: kind of like a middle finger. You know, I don't

1699
01:41:16,400 --> 01:41:18,479
Speaker 1: even want to fuck you. I know I'm allowed to

1700
01:41:18,520 --> 01:41:20,240
Speaker 1: say that on here. I was like, what is another

1701
01:41:20,400 --> 01:41:26,960
Speaker 1: term for fuck you? As a middle finger to the president? Yeah,

1702
01:41:28,320 --> 01:41:31,799
Speaker 1: the only last thing I wanted to mention was another

1703
01:41:31,880 --> 01:41:40,160
Speaker 1: like Disney didn't. Another oopsie was that they used they

1704
01:41:40,360 --> 01:41:45,160
Speaker 1: used the likeness of a real woman named Maria de

1705
01:41:45,280 --> 01:41:52,040
Speaker 1: la Salude Ramirez Caballero from a village in Santa Fe

1706
01:41:52,160 --> 01:41:56,400
Speaker 1: de la Laguna in Mexico. They basically used her likeness

1707
01:41:56,520 --> 01:41:59,800
Speaker 1: for the design of Mama Coco. Producers came to her

1708
01:42:00,040 --> 01:42:03,600
Speaker 1: ledge took a picture of Maria, but did not compensate

1709
01:42:03,640 --> 01:42:06,120
Speaker 1: her or her family or give any credit to her

1710
01:42:06,280 --> 01:42:12,519
Speaker 1: or anything like that. So, um, that's just another thing.

1711
01:42:12,880 --> 01:42:15,000
Speaker 1: I don't know killing they had. They only had a

1712
01:42:15,040 --> 01:42:20,400
Speaker 1: budget of two million dollars. So that sucks. That's always

1713
01:42:20,400 --> 01:42:23,080
Speaker 1: so frustrating, and it's like something that that should just

1714
01:42:23,160 --> 01:42:30,000
Speaker 1: be standardized in Hollywood because I I don't know. Unfortunately,

1715
01:42:30,040 --> 01:42:32,639
Speaker 1: I feel like in an industry like this, you cannot

1716
01:42:32,840 --> 01:42:38,200
Speaker 1: count on the goodwill of certainly large corporations, no matter

1717
01:42:38,360 --> 01:42:41,600
Speaker 1: even in a production that seemed this determined to be

1718
01:42:41,760 --> 01:42:45,280
Speaker 1: culturally sensitive, and but they're just needs to be like

1719
01:42:45,520 --> 01:42:48,559
Speaker 1: a requirement that it's like, no, you cannot just steal

1720
01:42:48,720 --> 01:42:53,599
Speaker 1: someone's face, like it seems intuitive, but yes, I hope

1721
01:42:53,680 --> 01:42:57,920
Speaker 1: the artists that follow me are I've seen y'all. I

1722
01:42:57,920 --> 01:43:01,519
Speaker 1: sent it to Iffy and my friend Neil Radford. There

1723
01:43:01,560 --> 01:43:03,760
Speaker 1: are a couple of people that have copied because you know,

1724
01:43:03,760 --> 01:43:05,920
Speaker 1: I post like my photo shoots, like my very like

1725
01:43:06,040 --> 01:43:11,040
Speaker 1: muscular like art Like I've seen people use those and um,

1726
01:43:11,080 --> 01:43:13,080
Speaker 1: like this is I should send you some. I'm like,

1727
01:43:13,160 --> 01:43:17,639
Speaker 1: this is my face you're or like my I've had people,

1728
01:43:17,840 --> 01:43:19,759
Speaker 1: I've had artists that will be like, oh I saved

1729
01:43:19,800 --> 01:43:21,679
Speaker 1: this and like use this as like a life drawing

1730
01:43:21,800 --> 01:43:23,960
Speaker 1: or like I hope it's okay. I like planned to

1731
01:43:24,040 --> 01:43:26,320
Speaker 1: use this as like you know, because like the different

1732
01:43:26,360 --> 01:43:28,200
Speaker 1: poses I'm in like it shows off my different like

1733
01:43:28,280 --> 01:43:32,439
Speaker 1: muscle definition or whatever. But I definitely have seen a

1734
01:43:32,520 --> 01:43:38,439
Speaker 1: couple of Latino characters that look too similar, Like my

1735
01:43:38,520 --> 01:43:41,720
Speaker 1: face is very like my jaw and like, anyways, I

1736
01:43:41,760 --> 01:43:46,760
Speaker 1: made this about me. I successfully made this about me.

1737
01:43:47,200 --> 01:43:49,920
Speaker 1: What I'm saying is you can, but like please like

1738
01:43:50,040 --> 01:43:52,880
Speaker 1: either pay me or be like Danny has to voice

1739
01:43:52,880 --> 01:43:56,080
Speaker 1: this character because we base this off of her look.

1740
01:43:56,160 --> 01:43:59,760
Speaker 1: But I've definitely seen you appropriately and compensate you. Like

1741
01:44:00,120 --> 01:44:02,160
Speaker 1: not too much to ask, I can say because I

1742
01:44:03,040 --> 01:44:06,240
Speaker 1: just be in this industry. It happens more than people realize.

1743
01:44:06,560 --> 01:44:09,479
Speaker 1: It happens more than people realize. And is also when

1744
01:44:09,560 --> 01:44:11,320
Speaker 1: you all tweet. I just had a tweet about this.

1745
01:44:11,360 --> 01:44:15,639
Speaker 1: But also when you're like pitching stories and stuff on Twitter,

1746
01:44:15,720 --> 01:44:20,080
Speaker 1: people do steal those, so I just please protect yourself.

1747
01:44:20,360 --> 01:44:23,840
Speaker 1: Yeah again, that's why only tweet about Paddington because that

1748
01:44:23,960 --> 01:44:29,240
Speaker 1: story already exists. Yeah, or oh you know what, I

1749
01:44:29,240 --> 01:44:32,240
Speaker 1: should tweet a story about how me and Gail Garcia

1750
01:44:32,280 --> 01:44:36,760
Speaker 1: brnow fall in love Mary, and then that story can

1751
01:44:36,800 --> 01:44:39,439
Speaker 1: get stolen as long as it happens in real life.

1752
01:44:39,680 --> 01:44:46,439
Speaker 1: You hear that, Gail? Anyway? Um, yeah, that was all

1753
01:44:46,479 --> 01:44:49,920
Speaker 1: I had. We've been talking for a long time, and

1754
01:44:51,080 --> 01:44:52,760
Speaker 1: longer than the run half of the movie, so the

1755
01:44:52,760 --> 01:44:58,519
Speaker 1: tradition continues. Wow, hilarious. H Does anyone have anything else?

1756
01:44:58,680 --> 01:45:03,559
Speaker 1: That's all I got Now. I'm just glad this movie exists. Yes, yes,

1757
01:45:03,800 --> 01:45:07,759
Speaker 1: and I already I know I'll cry next time too.

1758
01:45:08,000 --> 01:45:11,800
Speaker 1: There's no way around it. I honestly don't know the

1759
01:45:11,840 --> 01:45:15,120
Speaker 1: answer to this question because I was so enthralled by

1760
01:45:15,120 --> 01:45:18,160
Speaker 1: the story. I was hoping you would know. I forgot

1761
01:45:18,200 --> 01:45:20,880
Speaker 1: to pay attention. If it passes the Bechtel test or not.

1762
01:45:21,840 --> 01:45:23,240
Speaker 1: I feel like it does. I think it does at

1763
01:45:23,320 --> 01:45:27,640
Speaker 1: some point between like Miguel's grandmother Ammam a Coco, and

1764
01:45:27,680 --> 01:45:31,840
Speaker 1: then there are other family members of his that exchange words,

1765
01:45:31,840 --> 01:45:34,000
Speaker 1: but I don't know, like to what extent or I

1766
01:45:34,040 --> 01:45:37,360
Speaker 1: don't remember exactly what they talk about. Yeah, it could

1767
01:45:37,360 --> 01:45:40,160
Speaker 1: be Miguel, Like there's a I could see it going

1768
01:45:40,240 --> 01:45:46,360
Speaker 1: either wait, let me let yeah, go to Bechtel test

1769
01:45:46,400 --> 01:45:49,240
Speaker 1: dot com or whatever. If you google any movie and

1770
01:45:49,280 --> 01:45:52,960
Speaker 1: backtel yeah, yeah, Becktel test dot com. Here we are, Okay,

1771
01:45:53,280 --> 01:45:57,720
Speaker 1: it does. It does pass. But then there's a lot

1772
01:45:57,720 --> 01:46:00,839
Speaker 1: of this is like a lot of comments for this website,

1773
01:46:00,960 --> 01:46:02,640
Speaker 1: I would say, we forgot to do our job. But

1774
01:46:02,720 --> 01:46:06,120
Speaker 1: also the Bechtel test is again not that important to

1775
01:46:06,520 --> 01:46:10,559
Speaker 1: our show. Okay, so the consensus is it does it

1776
01:46:10,600 --> 01:46:13,880
Speaker 1: does pass the Bectel test. It doesn't pass a lot.

1777
01:46:14,280 --> 01:46:20,200
Speaker 1: But I would argue for this movie here matriarch well,

1778
01:46:20,200 --> 01:46:23,759
Speaker 1: it's like you're in a matriarchal family, in a matriarchal structure,

1779
01:46:23,800 --> 01:46:27,840
Speaker 1: women have a strong influence on the plot. Could women

1780
01:46:27,880 --> 01:46:30,080
Speaker 1: and could people have a marginalized genders be speaking to

1781
01:46:30,120 --> 01:46:33,960
Speaker 1: each other more? Yes, always, and that's always fair game.

1782
01:46:34,000 --> 01:46:37,360
Speaker 1: But in the context of this movie, I don't know.

1783
01:46:37,479 --> 01:46:39,960
Speaker 1: This is just I feel like, not the best metric

1784
01:46:40,040 --> 01:46:43,120
Speaker 1: to apply to this movie because of how I don't know.

1785
01:46:43,240 --> 01:46:45,800
Speaker 1: But it does technically pass not not not a not

1786
01:46:45,920 --> 01:46:49,160
Speaker 1: a million times, but it does pass well. How about that.

1787
01:46:50,240 --> 01:46:55,600
Speaker 1: As far as our nipple skill goes zero to five nipples,

1788
01:46:55,600 --> 01:47:01,120
Speaker 1: examining it through an intersectional feminist lens, I would say,

1789
01:47:01,160 --> 01:47:04,519
Speaker 1: if I had to take any nipples off, it would

1790
01:47:04,520 --> 01:47:08,280
Speaker 1: be because of some of the like production and development

1791
01:47:08,400 --> 01:47:16,920
Speaker 1: stuff and the people behind the camera being still largely

1792
01:47:17,520 --> 01:47:20,800
Speaker 1: white men who were making a lot of the major

1793
01:47:20,840 --> 01:47:23,920
Speaker 1: creative decisions here, and even though they brought on consultants

1794
01:47:23,960 --> 01:47:29,160
Speaker 1: and Adrian Molina as a screenwriter and co director. It's

1795
01:47:29,240 --> 01:47:32,479
Speaker 1: still is just like, Okay, well, who are you guys

1796
01:47:32,560 --> 01:47:36,880
Speaker 1: to make this movie and and tell this story. But

1797
01:47:37,120 --> 01:47:39,920
Speaker 1: even so, the product that came out of it was

1798
01:47:41,000 --> 01:47:46,599
Speaker 1: so good and so well handled. And aside from yeah,

1799
01:47:46,680 --> 01:47:50,800
Speaker 1: like the kind of border control customs thing that was

1800
01:47:51,240 --> 01:47:56,240
Speaker 1: traumatizing and triggering for some viewers to watch, and a

1801
01:47:56,320 --> 01:48:00,240
Speaker 1: couple of little things like that, this this movie is

1802
01:48:00,320 --> 01:48:03,639
Speaker 1: really well done. And because it had such a positive

1803
01:48:03,680 --> 01:48:11,360
Speaker 1: response from the Latin community, especially because so much of

1804
01:48:11,600 --> 01:48:14,280
Speaker 1: the culture and community the way it's been represented in

1805
01:48:14,320 --> 01:48:20,280
Speaker 1: American cinema prior to that has been absolutely abysmal. So

1806
01:48:20,720 --> 01:48:24,200
Speaker 1: I would give this like four and a half nipples,

1807
01:48:24,240 --> 01:48:28,519
Speaker 1: I want to say, and I'll give one to Mama Emldo,

1808
01:48:28,600 --> 01:48:33,120
Speaker 1: one to Mama Coco, one to basically just all the mama's,

1809
01:48:33,360 --> 01:48:40,840
Speaker 1: another Miguel's and Miguel's mama, and the little baby that

1810
01:48:41,040 --> 01:48:44,880
Speaker 1: was in the house, nipple to little Sis at the

1811
01:48:44,960 --> 01:48:51,560
Speaker 1: very ends. Yeah, I'll meet you at uh four and

1812
01:48:51,600 --> 01:48:54,080
Speaker 1: a half. I think that you know that the criticism

1813
01:48:54,160 --> 01:48:58,000
Speaker 1: surrounding this movie in the production, I think it's very

1814
01:48:58,080 --> 01:49:02,160
Speaker 1: much worth discussing I and the I mean, it's stuff

1815
01:49:02,200 --> 01:49:04,240
Speaker 1: we've been talking about for three hours, So I don't

1816
01:49:04,240 --> 01:49:07,639
Speaker 1: I don't want to, you know, retread everything. I think

1817
01:49:07,640 --> 01:49:11,120
Speaker 1: that there is valid criticism around certain creative decisions in

1818
01:49:11,160 --> 01:49:15,280
Speaker 1: this movie. There was certainly a lot of like white

1819
01:49:15,360 --> 01:49:19,000
Speaker 1: CEO creative nonsense that took place at the beginning of

1820
01:49:19,040 --> 01:49:22,599
Speaker 1: this movie in terms of production. And I also think

1821
01:49:22,640 --> 01:49:26,400
Speaker 1: that the conversation around colorism is a very valid one

1822
01:49:26,479 --> 01:49:31,000
Speaker 1: that warrant continuing on this show and in the industry

1823
01:49:31,160 --> 01:49:34,320
Speaker 1: at large. And the movie that we got is so

1824
01:49:34,360 --> 01:49:40,440
Speaker 1: beautiful and like so human while also being very culturally specific,

1825
01:49:41,080 --> 01:49:44,479
Speaker 1: and it's it's such a beautiful movie. I can't wait

1826
01:49:44,479 --> 01:49:47,680
Speaker 1: to watch it again. It makes me wish that it

1827
01:49:47,760 --> 01:49:50,840
Speaker 1: existed when we were kids, but very happy that, you know,

1828
01:49:50,960 --> 01:49:54,040
Speaker 1: like our nieces and nephews are are going to be

1829
01:49:54,080 --> 01:49:57,160
Speaker 1: able to grow up with it. Um, So four and

1830
01:49:57,200 --> 01:50:01,600
Speaker 1: a half nipples from me? I who am I going

1831
01:50:01,680 --> 01:50:03,720
Speaker 1: to give my nipples to? Wow, I'm going to give

1832
01:50:03,760 --> 01:50:09,720
Speaker 1: them all to Dante the Dog. Who I did think

1833
01:50:09,760 --> 01:50:15,640
Speaker 1: about doing that, because Dante is incredible. I want I

1834
01:50:15,680 --> 01:50:18,759
Speaker 1: am going to start actively seeking out a stuffed Dante

1835
01:50:18,880 --> 01:50:21,599
Speaker 1: to have in my home, and he has an arc too.

1836
01:50:21,800 --> 01:50:26,799
Speaker 1: He becomes another brick hid does. Yeah, he's when Dante

1837
01:50:27,040 --> 01:50:29,200
Speaker 1: came in the last scene. I mean it's like the

1838
01:50:29,200 --> 01:50:34,440
Speaker 1: whole the whole last scene is just absolutely um, emotionally destroying.

1839
01:50:34,720 --> 01:50:39,519
Speaker 1: It's like it's beautiful, um. But yeah, Dante has even

1840
01:50:39,600 --> 01:50:42,280
Speaker 1: Dante as a full arc. It's simply that good. Four

1841
01:50:42,280 --> 01:50:46,360
Speaker 1: and a half nipples, Yes, um, I feel like I

1842
01:50:46,400 --> 01:50:49,599
Speaker 1: have to give this five nip? Is that how many

1843
01:50:49,680 --> 01:50:54,360
Speaker 1: nipples are? Five nipples? Because of how important this movie

1844
01:50:54,439 --> 01:50:57,519
Speaker 1: is to me and my family, And I'm going to

1845
01:50:57,640 --> 01:51:02,160
Speaker 1: give all of the nipples to Frieda, my queer icon.

1846
01:51:02,920 --> 01:51:06,559
Speaker 1: And I just imagined her there in heaven with all

1847
01:51:06,640 --> 01:51:12,160
Speaker 1: of her lovers, and Diego might be like far away

1848
01:51:12,160 --> 01:51:15,840
Speaker 1: from her, I don't know, or there with her. I

1849
01:51:15,840 --> 01:51:19,680
Speaker 1: don't know. It depends on what she wants, yeah, to

1850
01:51:19,760 --> 01:51:23,360
Speaker 1: have what she wants. Yeah, Well, if it's Diego from

1851
01:51:23,840 --> 01:51:32,519
Speaker 1: the biopic about Frieda, it's Alfred Molina case Jamie. True

1852
01:51:33,080 --> 01:51:38,560
Speaker 1: and problematic on its space, absolutely, I mean extremely problematic.

1853
01:51:39,800 --> 01:51:47,000
Speaker 1: They seemed like star crossed toxic lovers. I just wish

1854
01:51:47,040 --> 01:51:49,519
Speaker 1: that she's surrounded by whoever she wants to be surrounded

1855
01:51:49,520 --> 01:51:53,679
Speaker 1: by absolutely the end. Well, Danny, thank you so much

1856
01:51:53,720 --> 01:51:57,200
Speaker 1: for joining us. This has been an amazing discussion. Truly,

1857
01:51:57,400 --> 01:51:59,280
Speaker 1: thank you so much. We have to send you your

1858
01:51:59,360 --> 01:52:03,759
Speaker 1: three backed all cast appearance letterman jacket that we pretend

1859
01:52:03,800 --> 01:52:07,160
Speaker 1: to have that we don't actually have. What we should make, Okay,

1860
01:52:07,200 --> 01:52:09,639
Speaker 1: I'll like put it on and wear it in front

1861
01:52:09,640 --> 01:52:13,240
Speaker 1: of my mirror, which it will just be me naked

1862
01:52:13,680 --> 01:52:17,840
Speaker 1: looking at myself naked. Perfect. Tell us what you'd like

1863
01:52:18,040 --> 01:52:22,040
Speaker 1: to plug where people can check you out on social media, etcetera.

1864
01:52:22,720 --> 01:52:26,799
Speaker 1: Just follow me on social media because everything I'm working

1865
01:52:26,840 --> 01:52:32,479
Speaker 1: on doesn't exist yet on screen and so there's nothing

1866
01:52:32,520 --> 01:52:36,120
Speaker 1: to point you to. Um, like a lot of other

1867
01:52:36,160 --> 01:52:38,640
Speaker 1: people during this time, like the last two years of

1868
01:52:38,680 --> 01:52:41,160
Speaker 1: my life, I'm like, I swear to God I'm doing something,

1869
01:52:41,280 --> 01:52:44,840
Speaker 1: but um, maybe you'll see it in No, I hope

1870
01:52:44,840 --> 01:52:47,320
Speaker 1: you say it before then. I am at MS Danny

1871
01:52:47,360 --> 01:52:50,080
Speaker 1: fernand Is. It's M. S. D A N I F

1872
01:52:50,200 --> 01:52:53,120
Speaker 1: E R N A and D easy on Twitter and Instagram,

1873
01:52:53,160 --> 01:52:56,679
Speaker 1: and that's where I post my things and my thoughts

1874
01:52:56,920 --> 01:53:00,519
Speaker 1: and my projects. Amazing. Hell yeah, thank you and thank you.

1875
01:53:01,160 --> 01:53:05,640
Speaker 1: Come back anytime. You can follow us on Twitter and

1876
01:53:05,680 --> 01:53:10,560
Speaker 1: Instagram at Bechtel Cast. You can subscribe to our Matreon,

1877
01:53:10,800 --> 01:53:14,960
Speaker 1: which is at patreon dot com slash Bechtel Cast. It's

1878
01:53:15,120 --> 01:53:16,960
Speaker 1: five dollars a month. It gets you access to two

1879
01:53:16,960 --> 01:53:20,519
Speaker 1: bonus episodes every month, plus the entire back catalog, which

1880
01:53:20,600 --> 01:53:25,120
Speaker 1: is over one hundred episodes. We did it. We can't

1881
01:53:25,120 --> 01:53:30,760
Speaker 1: stop creating content. You can also find our merch at

1882
01:53:30,800 --> 01:53:34,400
Speaker 1: t public dot com slash the Bechtel Cast for all

1883
01:53:35,040 --> 01:53:41,559
Speaker 1: of your merchandizing needs. With that, shall we cross the

1884
01:53:41,600 --> 01:53:48,519
Speaker 1: bridge and finally embraced this the sweet embrace of death. Yeah,

1885
01:53:48,640 --> 01:53:51,519
Speaker 1: let's do it. Let's seize our moment. Bye everybody, Bye

1886
01:53:51,520 --> 01:53:52,920
Speaker 1: bye