WEBVTT - How I Made It: Making Movies

0:00:04.360 --> 0:00:08.160
<v Speaker 1>From Futro Media and pr X. It's Latino USA. I'm

0:00:08.160 --> 0:00:23.680
<v Speaker 1>Marieojosa Today. The band Making Movies, Making Movies is a

0:00:23.680 --> 0:00:27.040
<v Speaker 1>band based out of Kansas City, Missouri that mixes rock

0:00:27.360 --> 0:00:40.760
<v Speaker 1>with tropical Latin music. Like SISA the US, The group

0:00:40.840 --> 0:00:43.600
<v Speaker 1>is based in Kansas City, but its members have roots

0:00:43.600 --> 0:00:48.000
<v Speaker 1>in Panama and Mexico. Their sophomore album, I Am Another

0:00:48.080 --> 0:00:52.120
<v Speaker 1>Youth features a fusion of electric guitar, mambo rhythms, and

0:00:52.200 --> 0:00:56.640
<v Speaker 1>operatic vocals, and the album reached the ears of iconic

0:00:56.760 --> 0:01:01.200
<v Speaker 1>Panamanian musician Ruben Blade, which is by the way the

0:01:01.200 --> 0:01:04.320
<v Speaker 1>way he pronounces his name, and this led to Ruben

0:01:04.360 --> 0:01:07.319
<v Speaker 1>Blades giving them a shout out at the twenty seventeen

0:01:07.440 --> 0:01:11.640
<v Speaker 1>Latin Grammys.

0:01:11.720 --> 0:01:13.000
<v Speaker 2>I'm Making Movies.

0:01:14.760 --> 0:01:18.720
<v Speaker 1>Spinning out and they recently collaborated with Ruben Blades to

0:01:18.720 --> 0:01:25.959
<v Speaker 1>put out a song called Noe Kays. We spoke with

0:01:26.040 --> 0:01:29.399
<v Speaker 1>the band in twenty nineteen and we're happy to bring

0:01:29.440 --> 0:01:34.240
<v Speaker 1>them back to you today. Listen as members Enrique Chi

0:01:34.640 --> 0:01:37.240
<v Speaker 1>and Juan Carlos Chao Dan talk about one of the

0:01:37.280 --> 0:01:40.760
<v Speaker 1>band's most ambitious tracks on their album I'm Another You.

0:01:41.280 --> 0:01:49.880
<v Speaker 1>The song is called Lo Gura Collectiva.

0:01:47.120 --> 0:01:49.280
<v Speaker 3>My name is Wan Carlos Chao Dan and I played

0:01:49.280 --> 0:01:51.400
<v Speaker 3>percussion and keyboards for Making Movies.

0:01:52.560 --> 0:01:55.440
<v Speaker 4>My name is Enrique Chi and I am the guitar

0:01:55.480 --> 0:01:57.840
<v Speaker 4>player and singer of the band and also the songwriter.

0:02:03.200 --> 0:02:06.160
<v Speaker 4>I was born in Santiagopanama, and I fell in love

0:02:06.200 --> 0:02:09.520
<v Speaker 4>with rock and roll music first. And I really rejected

0:02:09.560 --> 0:02:11.400
<v Speaker 4>Latin music as a little kid because I wanted to

0:02:11.440 --> 0:02:17.800
<v Speaker 4>play the guitar like my dad. After like becoming an

0:02:17.800 --> 0:02:20.480
<v Speaker 4>adult and realizing I'm an immigrant in the United States,

0:02:20.560 --> 0:02:23.200
<v Speaker 4>the longing to reconnect to the Latina roots became.

0:02:23.040 --> 0:02:24.200
<v Speaker 2>Bigger and bigger every year.

0:02:26.240 --> 0:02:29.520
<v Speaker 4>So he collected a bunch of vinyls and that was

0:02:29.600 --> 0:02:30.760
<v Speaker 4>my introduction to music.

0:02:32.680 --> 0:02:36.000
<v Speaker 2>He had all these dire straits albums and one of

0:02:36.040 --> 0:02:37.320
<v Speaker 2>them is called Making.

0:02:37.080 --> 0:02:40.600
<v Speaker 4>Movies, and I thought, well, that would actually be kind

0:02:40.600 --> 0:02:41.600
<v Speaker 4>of a cool band name.

0:02:42.440 --> 0:02:46.680
<v Speaker 5>I love Struggle Romeo seeing the streets of Sereni.

0:02:46.960 --> 0:02:49.040
<v Speaker 4>It harkens back to the time period of loving rock

0:02:49.080 --> 0:02:50.840
<v Speaker 4>and roll before I spoke English.

0:02:50.960 --> 0:02:55.040
<v Speaker 5>Love so that he made.

0:02:53.960 --> 0:03:00.639
<v Speaker 4>Music can communicate even through a language barrier. Album is

0:03:00.680 --> 0:03:01.959
<v Speaker 4>called I Am Another You.

0:03:03.919 --> 0:03:05.040
<v Speaker 3>The name of this track is.

0:03:20.160 --> 0:03:22.600
<v Speaker 4>My grandma and I were watching the news and she's

0:03:22.639 --> 0:03:26.520
<v Speaker 4>this kind of like very protesting poetic woman, and my

0:03:26.560 --> 0:03:32.119
<v Speaker 4>grandma goes, which means collective insanity.

0:03:33.160 --> 0:03:34.720
<v Speaker 2>I thought, oh my god, there's a song and that.

0:03:42.880 --> 0:03:46.040
<v Speaker 3>I think it always brings into the ideas and the blueprint,

0:03:46.040 --> 0:03:48.280
<v Speaker 3>I guess you could say. And we just start to

0:03:48.320 --> 0:03:50.200
<v Speaker 3>structure it little by little.

0:03:51.440 --> 0:03:54.040
<v Speaker 4>And I actually had this riff lying around that I

0:03:54.040 --> 0:03:56.320
<v Speaker 4>thought could marry to that, and the riff I don't

0:03:56.320 --> 0:03:58.280
<v Speaker 4>know if you know this, but I.

0:03:58.200 --> 0:03:59.640
<v Speaker 2>Stole the riff from you.

0:03:59.600 --> 0:04:08.360
<v Speaker 4>You've been playing on a piano. Montuno is like it's

0:04:08.440 --> 0:04:10.600
<v Speaker 4>the part of the piano break in a SASA song.

0:04:13.560 --> 0:04:17.480
<v Speaker 4>It gets everybody to get up and dance. And then

0:04:17.480 --> 0:04:19.880
<v Speaker 4>I changed the key and I moved it to more

0:04:19.920 --> 0:04:22.720
<v Speaker 4>guitar friendly places, and I simplified it down to like

0:04:23.160 --> 0:04:28.280
<v Speaker 4>damn day damp damn to make it like if if

0:04:28.320 --> 0:04:30.360
<v Speaker 4>led zep One had played your piano part.

0:04:30.279 --> 0:04:34.880
<v Speaker 3>Or something, and so hearing a little bit of the

0:04:34.960 --> 0:04:37.880
<v Speaker 3>mon it kind of already took me to more of

0:04:38.160 --> 0:04:41.359
<v Speaker 3>like a mumbo rhythm and we ran with it.

0:04:45.080 --> 0:04:47.920
<v Speaker 4>Our band doesn't have a horn section, and a lot

0:04:47.960 --> 0:04:51.520
<v Speaker 4>of Latin music, the high energy moments come from a

0:04:51.600 --> 0:04:57.359
<v Speaker 4>horn riff. I think of Willie Colan's like many of

0:04:57.360 --> 0:05:00.479
<v Speaker 4>his signature horn riffs that intro songs.

0:05:03.480 --> 0:05:04.920
<v Speaker 2>So to do that on the guitar, you.

0:05:04.920 --> 0:05:06.240
<v Speaker 4>Kind of need to run it through a bunch of

0:05:06.279 --> 0:05:12.320
<v Speaker 4>crazy effects, like the fuzz that Keith Rich's on Satisfaction.

0:05:16.320 --> 0:05:18.560
<v Speaker 4>That fuzz sound was advertised in the sixties is like,

0:05:18.720 --> 0:05:22.440
<v Speaker 4>make your guitar sound like a horn. It kind of

0:05:22.440 --> 0:05:24.359
<v Speaker 4>pictured the story in my head once I knew what

0:05:24.400 --> 0:05:26.599
<v Speaker 4>I wanted to say. The lyrics did all come together

0:05:26.800 --> 0:05:30.320
<v Speaker 4>in one sitting. Something has happened and the world has

0:05:30.360 --> 0:05:32.719
<v Speaker 4>come to an end, and so what would you feel like?

0:05:33.080 --> 0:05:35.680
<v Speaker 4>And then you run into an old man, You say,

0:05:36.760 --> 0:05:38.239
<v Speaker 4>what do you think now we have a few moments

0:05:38.320 --> 0:05:43.200
<v Speaker 4>left to live? The old man despised. I just kept

0:05:43.200 --> 0:05:51.560
<v Speaker 4>praying that nothing would ever change. And to me, that's

0:05:51.600 --> 0:05:54.760
<v Speaker 4>like the human fear of change is inevitable, but yet

0:05:54.800 --> 0:05:55.400
<v Speaker 4>people feared.

0:06:03.839 --> 0:06:05.600
<v Speaker 2>The song goes into outer space.

0:06:07.000 --> 0:06:10.719
<v Speaker 4>The same and that's when the story says, well, God,

0:06:10.960 --> 0:06:12.400
<v Speaker 4>what do you think of that? What do you think

0:06:12.480 --> 0:06:15.240
<v Speaker 4>seeing us like this, you know, at war with each other,

0:06:15.279 --> 0:06:17.679
<v Speaker 4>at the end of our road as human beings.

0:06:17.960 --> 0:06:20.200
<v Speaker 2>That does sound kind of like the end of the world.

0:06:20.279 --> 0:06:22.080
<v Speaker 2>By the time you get to the outrail.

0:06:26.920 --> 0:06:29.359
<v Speaker 3>So that rhythm that we go towards the end that

0:06:29.360 --> 0:06:32.680
<v Speaker 3>we break into, I just heard it automatically. It was

0:06:32.720 --> 0:06:34.760
<v Speaker 3>just like, I think we should add some about that rhythms.

0:06:34.760 --> 0:06:36.600
<v Speaker 3>I don't think my kungas are just enough for it.

0:06:37.200 --> 0:06:40.160
<v Speaker 4>About that, you can't one person can't properly play it.

0:06:40.680 --> 0:06:41.839
<v Speaker 2>It has to be a group.

0:06:41.800 --> 0:06:45.160
<v Speaker 3>With three different people. And it's a very Yoduba centric

0:06:45.200 --> 0:06:49.600
<v Speaker 3>which is the santaria rhythms in Kuba.

0:06:48.960 --> 0:06:51.520
<v Speaker 4>And those rhythms technically you're not really supposed to mess

0:06:51.560 --> 0:06:54.279
<v Speaker 4>with them unless you are initiated in the religion.

0:06:56.160 --> 0:06:58.920
<v Speaker 3>So for us it was a learning curve for me especially,

0:06:59.360 --> 0:07:02.200
<v Speaker 3>and it was one of those inspiring and it was

0:07:02.320 --> 0:07:03.919
<v Speaker 3>a moving moment in the song.

0:07:05.400 --> 0:07:08.799
<v Speaker 4>So we're going back towards the root of all Latino

0:07:08.880 --> 0:07:10.840
<v Speaker 4>music and all even American music.

0:07:11.720 --> 0:07:15.840
<v Speaker 2>But this record had a.

0:07:15.880 --> 0:07:17.720
<v Speaker 4>Bunch of challenges before we were able to put it

0:07:17.720 --> 0:07:20.680
<v Speaker 4>into the world. We made it four years ago. We

0:07:20.720 --> 0:07:23.120
<v Speaker 4>would hire and fire people and then like files kept

0:07:23.120 --> 0:07:26.760
<v Speaker 4>getting lost. Then we finish it and we're waiting sitting

0:07:26.800 --> 0:07:28.680
<v Speaker 4>on it to be mastered in our record label that

0:07:28.720 --> 0:07:33.160
<v Speaker 4>we'd signed to seem to have lost interest. There was

0:07:33.240 --> 0:07:37.240
<v Speaker 4>a considerable time where I thought we had messed with

0:07:37.280 --> 0:07:38.160
<v Speaker 4>the wrong juju.

0:07:38.240 --> 0:07:40.320
<v Speaker 2>We cursed ourselves, Yeah.

0:07:40.040 --> 0:07:42.120
<v Speaker 4>By you playing the bata and not being initiated to

0:07:42.160 --> 0:07:45.320
<v Speaker 4>Santa Rie, or maybe by me cursing God for the

0:07:45.360 --> 0:07:49.800
<v Speaker 4>state of mankind. Maybe I was accidentally whipped up a

0:07:49.840 --> 0:07:51.960
<v Speaker 4>curse or you whipped up a curse upon our record.

0:07:53.000 --> 0:07:55.120
<v Speaker 4>For a while I was worried, and this song was

0:07:55.120 --> 0:08:00.240
<v Speaker 4>probably the cool print. We've made it through now and

0:08:00.360 --> 0:08:03.720
<v Speaker 4>we seem to be all right.

0:08:05.720 --> 0:08:10.040
<v Speaker 1>That was Enrique Chi and Juan Carlos Chagan from Making Movies.

0:08:10.560 --> 0:08:13.680
<v Speaker 1>And just before we go, dear listener, a special treat

0:08:13.720 --> 0:08:17.280
<v Speaker 1>for you. The members of Making Movies stop by the

0:08:17.360 --> 0:08:20.840
<v Speaker 1>Latino USA offices and played a live session of one

0:08:20.920 --> 0:08:24.240
<v Speaker 1>of their songs, Spinning Out. So we leave you with

0:08:24.400 --> 0:08:38.559
<v Speaker 1>the band Making Movies playing live in our offices. This

0:08:38.679 --> 0:08:43.319
<v Speaker 1>episode was produced by Gini Montalgo and edited by Miguel Marcias.

0:08:43.679 --> 0:08:47.120
<v Speaker 1>It was mixed by Stephanie Lebau. That's it for today.

0:08:47.160 --> 0:08:52.520
<v Speaker 1>The Latino USA team includes Julia Caruso, Jessica Ellis, Victori Estrada,

0:08:52.920 --> 0:08:58.040
<v Speaker 1>Rinaldo Leanos Junior, Andrea Lopez Gruzsado, Luis Luna Gldimar Marquez,

0:08:58.080 --> 0:09:02.560
<v Speaker 1>Marta Martinez, Mike Sergeant, Nor South, and Nancy Trujillo. Benilei

0:09:02.600 --> 0:09:06.040
<v Speaker 1>Ramirez is our co executive producer, along with myself your

0:09:06.040 --> 0:09:09.840
<v Speaker 1>host Mariano Rosa. Remember you can find Latino USA on

0:09:09.920 --> 0:09:13.840
<v Speaker 1>your podcast feed and on our website, which is Latinousa

0:09:14.000 --> 0:09:16.920
<v Speaker 1>dot org. We'll see you with extended versions of our

0:09:16.960 --> 0:09:21.000
<v Speaker 1>stories every Friday and Sunday, So subscribe to Latino USA

0:09:21.480 --> 0:09:24.480
<v Speaker 1>wherever you get your podcasts, Join us again on our

0:09:24.520 --> 0:09:27.920
<v Speaker 1>next episode, and remember note and I'll see you on

0:09:28.080 --> 0:09:29.439
<v Speaker 1>insta ram My.

0:09:33.520 --> 0:09:37.960
<v Speaker 5>Latino USA is made possible in part by the Heisin

0:09:38.040 --> 0:09:45.200
<v Speaker 5>Simons Foundation, unlocking knowledge, opportunity, and possibilities more at hsfoundation

0:09:45.440 --> 0:09:49.280
<v Speaker 5>dot org. Latino USA is made possible in part by

0:09:49.320 --> 0:09:54.360
<v Speaker 5>the John D. And Catherine T. MacArthur Foundation and the

0:09:54.360 --> 0:09:58.560
<v Speaker 5>Ford Foundation, working with visionaries on the frontlines of social

0:09:58.640 --> 0:09:59.880
<v Speaker 5>change worldwide.

0:10:03.440 --> 0:10:07.760
<v Speaker 1>The Latino USA team includes Mighel Massiels Really Again