1 00:00:00,280 --> 00:00:01,920 Speaker 1: Oh yeah, me hint it. I just want to give 2 00:00:01,960 --> 00:00:04,120 Speaker 1: you a heads up. The program you are about to 3 00:00:04,200 --> 00:00:07,960 Speaker 1: hear may have some explicit language, it may not. It 4 00:00:08,000 --> 00:00:10,760 Speaker 1: also depends on where the vibes and the spirit leads us. 5 00:00:11,119 --> 00:00:20,079 Speaker 1: Hope you enjoy Welcome to Morenita, a deep dive into 6 00:00:20,120 --> 00:00:23,400 Speaker 1: the Latin X experience. With Morenita, we want to create 7 00:00:23,440 --> 00:00:26,400 Speaker 1: a community and a shared space with you while sharing 8 00:00:26,440 --> 00:00:30,520 Speaker 1: knowledge and inspiration. This show is about celebrating our culture 9 00:00:30,600 --> 00:00:34,199 Speaker 1: with guests who exemplify the best of us. I'm Darylene 10 00:00:34,200 --> 00:00:41,880 Speaker 1: Castillo be thaying vehicle. Oh yeah, me hint it. Today 11 00:00:41,960 --> 00:00:46,800 Speaker 1: we got a heavy hitter Elaine vil Vayer casting director, 12 00:00:47,080 --> 00:00:52,960 Speaker 1: award winning director, actor, writer, producer, and a fellow native 13 00:00:53,040 --> 00:00:56,360 Speaker 1: New Yorker. If you've ever been curious of the ins 14 00:00:56,440 --> 00:00:59,560 Speaker 1: and outs of the industry, if you've ever wondered what 15 00:00:59,680 --> 00:01:02,240 Speaker 1: it's eeks to stand out in the room in front 16 00:01:02,280 --> 00:01:05,240 Speaker 1: of a cast and director, or if you wondered how 17 00:01:05,240 --> 00:01:08,679 Speaker 1: to handle multiple things at once, Elaine de la Valla 18 00:01:09,040 --> 00:01:12,760 Speaker 1: is your woman. She gives us so much of all 19 00:01:12,840 --> 00:01:15,480 Speaker 1: of that in this episode. She is a force in 20 00:01:15,480 --> 00:01:18,320 Speaker 1: this industry, and she is one of the leaders whom 21 00:01:18,319 --> 00:01:22,200 Speaker 1: are changing the game for the Latino community. Honestly, the 22 00:01:22,280 --> 00:01:26,280 Speaker 1: number of things that she's involved in is inspiring, encouraging, 23 00:01:26,400 --> 00:01:31,039 Speaker 1: and making waves all over not only in Hollywood. Now 24 00:01:31,160 --> 00:01:33,800 Speaker 1: hear me out, Elaine wears a lot of hats, so 25 00:01:33,880 --> 00:01:36,399 Speaker 1: hang in there on this episode. The one thing that 26 00:01:36,480 --> 00:01:38,880 Speaker 1: you will hear her describe is how she loves all 27 00:01:38,880 --> 00:01:41,800 Speaker 1: of her duties equally and how they each help her 28 00:01:41,840 --> 00:01:45,240 Speaker 1: be better in the other category. Her directing skills help 29 00:01:45,280 --> 00:01:47,880 Speaker 1: her with her acting skills, and how those help her 30 00:01:47,920 --> 00:01:51,280 Speaker 1: with her writing skills. She also has her hands in producing, 31 00:01:51,520 --> 00:01:55,360 Speaker 1: which helps her handle those conversations and rooms because she 32 00:01:55,440 --> 00:01:59,680 Speaker 1: has a full understanding on all other angles. The most 33 00:02:00,000 --> 00:02:03,080 Speaker 1: pressive thing about all of this is that she does 34 00:02:03,160 --> 00:02:08,120 Speaker 1: them all extremely well. I mean, sure, we've all heard 35 00:02:08,120 --> 00:02:11,640 Speaker 1: the saying pick one thing and master it, but the 36 00:02:11,720 --> 00:02:14,520 Speaker 1: fact that she's becoming a master of all of these 37 00:02:14,560 --> 00:02:18,720 Speaker 1: skills shows her enthusiasm and her passion for it, and 38 00:02:18,760 --> 00:02:22,359 Speaker 1: also that she's pretty badass. I'm still feeling like I'm 39 00:02:22,400 --> 00:02:25,880 Speaker 1: in my young grasshopper phase compared to Elaine's extensive resume, 40 00:02:26,200 --> 00:02:29,480 Speaker 1: so this interview was truly filled with so many lessons. 41 00:02:29,760 --> 00:02:32,200 Speaker 1: There are a lot of wisdom nuggets in this one, 42 00:02:32,520 --> 00:02:35,160 Speaker 1: especially for those of you who are hoping or currently 43 00:02:35,160 --> 00:02:38,240 Speaker 1: working in this industry. It's also not just for the 44 00:02:38,240 --> 00:02:42,079 Speaker 1: young grasshopper phase, folks. It's for anyone who was a leader, 45 00:02:42,440 --> 00:02:45,120 Speaker 1: preparing to be a leader, or hoping to be a 46 00:02:45,200 --> 00:02:49,160 Speaker 1: leader in whichever field you are in. Elaine Delvaiez shows 47 00:02:49,280 --> 00:02:57,760 Speaker 1: us how she leads her ship. They invite them. Elaine, 48 00:02:57,919 --> 00:03:01,600 Speaker 1: Welcome to Monanita. I am so excited to have you here. 49 00:03:01,840 --> 00:03:05,280 Speaker 1: It's been a long time conversation that I've been having 50 00:03:05,280 --> 00:03:08,400 Speaker 1: with my manager, Melissa Young, trying to get you on here. 51 00:03:08,480 --> 00:03:13,240 Speaker 1: So I'm so happy and being veto welcome. Thank you 52 00:03:13,280 --> 00:03:14,960 Speaker 1: so much for having me. I love the name of 53 00:03:15,040 --> 00:03:20,519 Speaker 1: your of your podcasting, whatever this is, I love your name. 54 00:03:22,760 --> 00:03:27,960 Speaker 1: It has to be yeah real, I mentioned in your 55 00:03:27,960 --> 00:03:32,240 Speaker 1: introduction a little earlier. Um, all the hats you wear, 56 00:03:32,760 --> 00:03:38,480 Speaker 1: I mean, do you sleep? I sleep very well, Yes, 57 00:03:39,280 --> 00:03:42,240 Speaker 1: I have no choice. Like my head hits the pillow 58 00:03:42,280 --> 00:03:46,520 Speaker 1: and I went out. I mean, you're you're an actor, 59 00:03:47,120 --> 00:03:50,560 Speaker 1: you're a casting director. Is there one that you lean 60 00:03:50,720 --> 00:03:53,240 Speaker 1: towards more than the other or do you love all 61 00:03:53,240 --> 00:03:57,200 Speaker 1: your children equally? Um? Well, if I had my brothers, 62 00:03:57,240 --> 00:04:00,400 Speaker 1: I would be writing and directing and are ring in 63 00:04:00,440 --> 00:04:04,160 Speaker 1: it right, because I really love all of that. I 64 00:04:04,200 --> 00:04:06,800 Speaker 1: love them all for their own reasons, and then each 65 00:04:06,840 --> 00:04:10,240 Speaker 1: one of them actually helps me be better at the other. 66 00:04:10,960 --> 00:04:14,120 Speaker 1: So as a director, I'm actually a better actor. As 67 00:04:14,160 --> 00:04:17,200 Speaker 1: an actor, I'm a better director. As a writer, I'm 68 00:04:17,240 --> 00:04:21,280 Speaker 1: a better storyteller, which makes me a better director. So, um, 69 00:04:21,320 --> 00:04:24,240 Speaker 1: I produce as well, right, which helps me to be 70 00:04:24,320 --> 00:04:27,920 Speaker 1: able to communicate with those departments and understand the realities 71 00:04:28,680 --> 00:04:33,520 Speaker 1: of filmmaking in a way that makes it something that 72 00:04:33,640 --> 00:04:36,479 Speaker 1: I can actually do, you know, something that gets finished. 73 00:04:37,680 --> 00:04:41,919 Speaker 1: So all of these things really helped me be better 74 00:04:41,960 --> 00:04:45,120 Speaker 1: at the other. But I love directing. If I had 75 00:04:45,480 --> 00:04:51,600 Speaker 1: to do one, it would really be directing. Directing for anything, television, film, 76 00:04:51,760 --> 00:04:55,039 Speaker 1: short films. I just love working with actors and then 77 00:04:55,040 --> 00:04:58,279 Speaker 1: telling a visual story. Um what draws you about the 78 00:04:58,279 --> 00:05:02,640 Speaker 1: process of directing so much? I think it's everything that 79 00:05:02,680 --> 00:05:05,320 Speaker 1: comes together all at once, right. So like an actor 80 00:05:05,440 --> 00:05:08,440 Speaker 1: can be the best actor and get everything, but if 81 00:05:08,480 --> 00:05:11,479 Speaker 1: the director hasn't chosen the right camera angle that's going 82 00:05:11,520 --> 00:05:16,680 Speaker 1: to capture that, or even the right selection of just 83 00:05:16,760 --> 00:05:20,760 Speaker 1: what we're seeing, everything that that is on camera needs 84 00:05:20,800 --> 00:05:23,200 Speaker 1: to be so well thought out, you know, from the 85 00:05:23,240 --> 00:05:26,279 Speaker 1: foreground to the background, to the little nuances that people 86 00:05:26,279 --> 00:05:29,440 Speaker 1: don't even realize that are happening, to the lens that 87 00:05:29,520 --> 00:05:33,960 Speaker 1: you um land on in order to um tell that 88 00:05:34,040 --> 00:05:36,960 Speaker 1: story in the best way. Whether it be handheld or 89 00:05:37,160 --> 00:05:40,520 Speaker 1: steady cam or on sticks. You know, you make those 90 00:05:40,600 --> 00:05:43,799 Speaker 1: choices as a director as much as you do direct 91 00:05:43,800 --> 00:05:46,839 Speaker 1: the actors, you're actually directing the camera. And I like 92 00:05:46,960 --> 00:05:50,200 Speaker 1: to direct an emotional camera. So if it's a moment 93 00:05:50,320 --> 00:05:56,080 Speaker 1: of like, you know, high intense stress and you know confusion, 94 00:05:56,680 --> 00:05:59,119 Speaker 1: you know that's gonna be handheld for me all the time. 95 00:05:59,600 --> 00:06:03,160 Speaker 1: We want to feel that in the camera as much 96 00:06:03,200 --> 00:06:05,680 Speaker 1: as we do. Because the camera choices helped the actor, 97 00:06:07,240 --> 00:06:11,200 Speaker 1: help for the perform right. Because the audience doesn't necessarily 98 00:06:11,240 --> 00:06:13,839 Speaker 1: know what they're watching that's making them feel that way, 99 00:06:14,120 --> 00:06:16,880 Speaker 1: it's as a director, it's your job to make all 100 00:06:16,880 --> 00:06:20,039 Speaker 1: those decisions to make them feel that way. And that's 101 00:06:20,040 --> 00:06:23,880 Speaker 1: really it's so powerful to be directing from me And 102 00:06:23,920 --> 00:06:27,040 Speaker 1: I just love like watching films. So if I'm watching 103 00:06:27,080 --> 00:06:30,400 Speaker 1: it as a matter of like, that's my director's monitor 104 00:06:30,480 --> 00:06:32,120 Speaker 1: that I'm watching it on, and I know what I've 105 00:06:32,160 --> 00:06:34,800 Speaker 1: captured and I know what I got. That really is 106 00:06:35,040 --> 00:06:38,440 Speaker 1: very empowering and super fun for me. I just love 107 00:06:38,440 --> 00:06:40,640 Speaker 1: it so much. It's very evident. I mean, you're the 108 00:06:40,680 --> 00:06:45,560 Speaker 1: one making the audience feel that emotion. Yeah, with the 109 00:06:45,560 --> 00:06:47,720 Speaker 1: help of so many others, but it's really you have 110 00:06:47,800 --> 00:06:50,920 Speaker 1: to lead them and and be led by their strength 111 00:06:50,960 --> 00:06:54,600 Speaker 1: of craft. You know, take the advice of the cinematographer 112 00:06:54,600 --> 00:06:57,400 Speaker 1: as to what's gonna make that happen even better. You know, 113 00:06:57,520 --> 00:07:01,000 Speaker 1: be ready to listen to your team that know what 114 00:07:01,040 --> 00:07:03,880 Speaker 1: they're doing as well. So yeah, it's definitely the director's 115 00:07:03,960 --> 00:07:07,520 Speaker 1: vision being on screen if you're lucky. Um, But it 116 00:07:07,600 --> 00:07:10,600 Speaker 1: doesn't come with just like it's not just the one person, right, 117 00:07:10,640 --> 00:07:14,320 Speaker 1: it's everybody collaborating to make sure that that happens. I 118 00:07:14,360 --> 00:07:16,120 Speaker 1: think about it so much as like painting, because I 119 00:07:16,160 --> 00:07:18,080 Speaker 1: think about like all the different paint pressures that you're 120 00:07:18,080 --> 00:07:20,920 Speaker 1: going to need in the different ways to use them, 121 00:07:20,960 --> 00:07:24,960 Speaker 1: and the canvas and yeah, absolutely, it's all those department 122 00:07:25,000 --> 00:07:28,560 Speaker 1: heads and the actors and and everybody that is just 123 00:07:29,040 --> 00:07:31,400 Speaker 1: even the people taking stuff from the truck, right, because 124 00:07:31,440 --> 00:07:34,400 Speaker 1: if you have everything set and your truck driver is 125 00:07:34,400 --> 00:07:36,880 Speaker 1: not available that day, all of a sudden, nothing's going 126 00:07:36,960 --> 00:07:39,160 Speaker 1: to get done. So if you think about it like that, 127 00:07:39,600 --> 00:07:44,440 Speaker 1: you come to appreciate every person below the line and 128 00:07:44,480 --> 00:07:48,320 Speaker 1: above the line, you have a great reputation of not 129 00:07:48,520 --> 00:07:51,440 Speaker 1: only your work, but of who you are as a person, 130 00:07:51,600 --> 00:07:54,320 Speaker 1: and that's something that's very rare defined in this industry. 131 00:07:54,760 --> 00:07:57,800 Speaker 1: How do you choose to operate in all the positions 132 00:07:57,800 --> 00:08:00,560 Speaker 1: that you're in and how do you maintain the energy 133 00:08:00,560 --> 00:08:03,640 Speaker 1: that you bring? I think that's important right now. Well, 134 00:08:03,680 --> 00:08:06,520 Speaker 1: I'm just a really enthusiastic person. I have to say, like, 135 00:08:06,680 --> 00:08:10,320 Speaker 1: right now, I feel like I'm like settled in the 136 00:08:10,360 --> 00:08:13,720 Speaker 1: way that I'm speaking with you, but I can you know, 137 00:08:13,840 --> 00:08:16,240 Speaker 1: you you get me rolling on something that I really love, 138 00:08:16,280 --> 00:08:19,760 Speaker 1: and I want to say, like, I'm really enthusiastic about it. 139 00:08:20,160 --> 00:08:23,760 Speaker 1: I believe in things deeply. I feel things deeply, So 140 00:08:24,120 --> 00:08:26,920 Speaker 1: I always wear my heart on my sleeve and I'm 141 00:08:26,960 --> 00:08:30,000 Speaker 1: really honest and I always try to um cover my 142 00:08:30,080 --> 00:08:33,200 Speaker 1: downside and know what's the worst thing that can happen 143 00:08:33,679 --> 00:08:37,280 Speaker 1: and really be prepared for that. And also if somebody's 144 00:08:37,320 --> 00:08:39,000 Speaker 1: asking me, I want to be able to relay it 145 00:08:39,040 --> 00:08:43,680 Speaker 1: honestly because it may not happen, but it could happen, right, 146 00:08:43,760 --> 00:08:47,920 Speaker 1: So we move forward in positivity and prepare for what 147 00:08:48,040 --> 00:08:50,800 Speaker 1: could happen in order to protect our downside and to 148 00:08:50,880 --> 00:08:56,160 Speaker 1: keep everything moving positively, because that really means everything on 149 00:08:56,200 --> 00:08:59,240 Speaker 1: a set, because filmmaking is just so hard, you know, 150 00:08:59,480 --> 00:09:02,360 Speaker 1: It's really takes a lot of things that come together. 151 00:09:02,840 --> 00:09:06,400 Speaker 1: It can be expensive, and we need all of these 152 00:09:06,440 --> 00:09:14,000 Speaker 1: things working um simultaneously and really synergistically, right, so you know, 153 00:09:14,320 --> 00:09:18,000 Speaker 1: one plus one with the right one and one can 154 00:09:18,040 --> 00:09:20,600 Speaker 1: equal three, four or five, and six doesn't have to 155 00:09:20,640 --> 00:09:23,920 Speaker 1: equal two. So that's always what I'm looking for when 156 00:09:23,920 --> 00:09:26,439 Speaker 1: I create a team because we're usually working in really 157 00:09:26,760 --> 00:09:31,000 Speaker 1: small teams, but these small teams make films with big 158 00:09:31,040 --> 00:09:35,360 Speaker 1: impact and that look incredibly as beautiful as as any 159 00:09:35,440 --> 00:09:40,400 Speaker 1: like really high budget production. Elaine, How did this artistic 160 00:09:40,720 --> 00:09:44,840 Speaker 1: journey begin for you? Where did it start? I think 161 00:09:44,880 --> 00:09:47,760 Speaker 1: I've always been an artist, right, I think artists are born. 162 00:09:48,240 --> 00:09:51,559 Speaker 1: I mean, at least in my case. Um, my father 163 00:09:51,679 --> 00:09:54,080 Speaker 1: was an artist, and I think I really get it 164 00:09:54,120 --> 00:09:57,160 Speaker 1: from him. And when I was a kid, my dad 165 00:09:57,240 --> 00:09:59,360 Speaker 1: used to put us all in like a group and 166 00:09:59,400 --> 00:10:01,600 Speaker 1: a side group, and I used to be the lead singer. 167 00:10:02,200 --> 00:10:04,400 Speaker 1: You know. We used to go to parties and the 168 00:10:04,520 --> 00:10:06,679 Speaker 1: whole entire dance floor was empty and I was up 169 00:10:06,679 --> 00:10:09,959 Speaker 1: there dancing. I was a horrible not not horrible, but 170 00:10:10,440 --> 00:10:12,480 Speaker 1: I wasn't a great dancer. It wasn't like I was 171 00:10:12,520 --> 00:10:15,679 Speaker 1: like a valerina or anything. But I just used to 172 00:10:15,720 --> 00:10:17,439 Speaker 1: get up and dance and I would be the only 173 00:10:17,440 --> 00:10:19,199 Speaker 1: one dancing on the floor and it didn't matter, and 174 00:10:19,240 --> 00:10:21,600 Speaker 1: I would dance all night because because that's just who 175 00:10:21,679 --> 00:10:24,600 Speaker 1: I am. So I feel like that's just a part 176 00:10:24,640 --> 00:10:28,360 Speaker 1: of me innately. Um. Then as I grew as an artist, 177 00:10:29,559 --> 00:10:32,720 Speaker 1: I started to really be able to rely on the 178 00:10:32,840 --> 00:10:36,240 Speaker 1: energy to keep me going, that's for sure. Um. But 179 00:10:36,440 --> 00:10:39,000 Speaker 1: little things were happening in my life that really led 180 00:10:39,000 --> 00:10:42,760 Speaker 1: me to understand and really got got like I was 181 00:10:42,800 --> 00:10:45,640 Speaker 1: bitten by the bug, and not just from my father. 182 00:10:46,040 --> 00:10:47,800 Speaker 1: When I was in the sixth grade, there was a 183 00:10:47,840 --> 00:10:51,840 Speaker 1: school play. I was the lead, and the teacher would 184 00:10:51,880 --> 00:10:55,040 Speaker 1: not let us move past a certain scene until everybody 185 00:10:55,040 --> 00:10:57,640 Speaker 1: got all day lines right. And those first two scenes 186 00:10:57,679 --> 00:11:00,400 Speaker 1: to the months, it was really like none of us 187 00:11:00,440 --> 00:11:03,120 Speaker 1: thought it was gonna end up well, we all thought 188 00:11:03,160 --> 00:11:06,240 Speaker 1: it was gonna just crash and burn. And then the 189 00:11:06,320 --> 00:11:09,280 Speaker 1: third scene was basically all mine, and I came in 190 00:11:09,480 --> 00:11:12,600 Speaker 1: really well prepared and I just gave it my all. 191 00:11:12,640 --> 00:11:14,760 Speaker 1: And it was the first time that I really made 192 00:11:14,760 --> 00:11:17,600 Speaker 1: a difference in anybody's life, and really anything that I 193 00:11:17,640 --> 00:11:20,160 Speaker 1: did seem to matter. So I feel like I carried 194 00:11:20,160 --> 00:11:22,160 Speaker 1: that with me as well as an artist, that like 195 00:11:22,559 --> 00:11:24,400 Speaker 1: that was the first time that I did something that 196 00:11:24,480 --> 00:11:28,000 Speaker 1: mattered as and I was a child, you know, so, 197 00:11:28,559 --> 00:11:31,560 Speaker 1: and then as I deepened as an artist when I 198 00:11:31,559 --> 00:11:33,920 Speaker 1: grew up, I started going to acting school. I studied 199 00:11:33,960 --> 00:11:40,240 Speaker 1: acting multiple places you see be the Pit, Michael Howard studios, 200 00:11:40,280 --> 00:11:43,360 Speaker 1: but mostly at and where I learned the most was 201 00:11:43,400 --> 00:11:46,800 Speaker 1: actually through Win Hammon Studios at Carnegie Hall, and that 202 00:11:46,920 --> 00:11:52,320 Speaker 1: experience really deepened my need as an actor to um, 203 00:11:52,960 --> 00:11:55,800 Speaker 1: I want to be a part of telling authentic stories 204 00:11:57,040 --> 00:12:02,960 Speaker 1: for Latin X people, and so um I started writing 205 00:12:03,840 --> 00:12:08,559 Speaker 1: as a matter of I felt not represented in an 206 00:12:08,679 --> 00:12:11,480 Speaker 1: entertainment industry that I was struggling to be a part of, 207 00:12:12,600 --> 00:12:15,320 Speaker 1: and so I wrote what ended up becoming an awarded 208 00:12:15,440 --> 00:12:20,040 Speaker 1: one woman off Broadway Stage Plane, and it changed my 209 00:12:20,120 --> 00:12:24,240 Speaker 1: life to understand the power that I had two tell 210 00:12:24,280 --> 00:12:26,400 Speaker 1: the stories that I wanted to hear, and I tell 211 00:12:26,480 --> 00:12:29,040 Speaker 1: the stories that I thought were missing in the fabric 212 00:12:29,200 --> 00:12:33,640 Speaker 1: of entertainment, and my audiences really let me know that 213 00:12:34,440 --> 00:12:36,840 Speaker 1: this wasn't about Elaine telling her story, but it was 214 00:12:36,880 --> 00:12:40,760 Speaker 1: about telling the stories that other people wanted to hear 215 00:12:40,880 --> 00:12:45,480 Speaker 1: and needed to feel represented by. And so, you know, 216 00:12:45,640 --> 00:12:50,360 Speaker 1: as I continued to make content, I really wanted to 217 00:12:50,920 --> 00:12:54,960 Speaker 1: I really move forward in that direction, knowing how important 218 00:12:55,240 --> 00:12:58,440 Speaker 1: it was to other people that the content was being 219 00:12:58,440 --> 00:13:01,560 Speaker 1: put out there. And that's sort of what kept me 220 00:13:01,880 --> 00:13:04,240 Speaker 1: moving in the direction that I was as a filmmaker. 221 00:13:04,760 --> 00:13:06,800 Speaker 1: And then the more that I directed, the more I 222 00:13:06,840 --> 00:13:10,520 Speaker 1: loved it. And then, um, I used to direct myself 223 00:13:10,600 --> 00:13:13,240 Speaker 1: quite a bit in the things that I wrote, UM, 224 00:13:13,360 --> 00:13:17,480 Speaker 1: and I realized that doing so at times was putting 225 00:13:17,520 --> 00:13:20,600 Speaker 1: my directing in jeopardy or like not letting it be 226 00:13:20,679 --> 00:13:24,720 Speaker 1: the best that it can be, because um, because I 227 00:13:24,720 --> 00:13:27,480 Speaker 1: didn't want to give myself playback. Ever, you know, I 228 00:13:27,559 --> 00:13:31,560 Speaker 1: always wanted to, um be the same as the other 229 00:13:31,640 --> 00:13:33,320 Speaker 1: actors if I was going to be on the set, 230 00:13:33,360 --> 00:13:37,120 Speaker 1: and not take the extra time to watch so even 231 00:13:37,120 --> 00:13:40,480 Speaker 1: though I was delivering performances. And I feel strongly that 232 00:13:41,040 --> 00:13:44,000 Speaker 1: being an actor and a director at the same time 233 00:13:44,720 --> 00:13:47,240 Speaker 1: is it is really using the same parts of your brain. 234 00:13:48,040 --> 00:13:51,280 Speaker 1: It really is. And it's no struggle for me to 235 00:13:51,360 --> 00:13:53,520 Speaker 1: jump behind the camera to in front of the camera. 236 00:13:53,880 --> 00:13:56,880 Speaker 1: I really no struggle, same part of my brain. Now, 237 00:13:57,040 --> 00:13:59,960 Speaker 1: if I'm directing and you ask me what time is 238 00:14:00,040 --> 00:14:02,839 Speaker 1: the truck coming to pick up the lamp that it, 239 00:14:03,679 --> 00:14:05,880 Speaker 1: don't ask me that because that's another side of my 240 00:14:05,920 --> 00:14:08,920 Speaker 1: brain that has to work. So I don't mind acting 241 00:14:08,920 --> 00:14:11,280 Speaker 1: and directing at the same time. I do mind directing 242 00:14:11,280 --> 00:14:14,720 Speaker 1: and producing at the same time. That I think messes 243 00:14:14,800 --> 00:14:19,120 Speaker 1: with my fluility to get the most done. Yes, yes, 244 00:14:19,160 --> 00:14:22,400 Speaker 1: it messes with my flow. That's a good word for it. Um. 245 00:14:22,440 --> 00:14:26,360 Speaker 1: But you know, when you're directing on a little budget, 246 00:14:26,640 --> 00:14:29,960 Speaker 1: you don't have the time for playback. You know, I 247 00:14:30,000 --> 00:14:33,160 Speaker 1: did actually do a cameo in my latest film, but 248 00:14:33,360 --> 00:14:37,200 Speaker 1: no other actors were needed for the shot, and literally 249 00:14:37,240 --> 00:14:39,880 Speaker 1: the character was looking down, no words, and I was 250 00:14:39,880 --> 00:14:41,960 Speaker 1: watching the monitor the whole time to see what I 251 00:14:42,360 --> 00:14:46,080 Speaker 1: what I had, because I understand how everything is going 252 00:14:46,120 --> 00:14:49,400 Speaker 1: to affect the screen. And just so, just so the listeners, 253 00:14:49,440 --> 00:14:52,520 Speaker 1: no playback literally means playback, Just so you guys are aware. 254 00:14:52,560 --> 00:14:54,480 Speaker 1: If you don't know what playback means, it just means 255 00:14:54,480 --> 00:14:59,040 Speaker 1: playing it on back rewind and why where if you're 256 00:14:59,080 --> 00:15:01,800 Speaker 1: on camera, if you to rewind and watch every single 257 00:15:01,880 --> 00:15:05,560 Speaker 1: take that you did. Um, And it's not as an 258 00:15:05,560 --> 00:15:07,800 Speaker 1: actor that I don't know that I got it, That's 259 00:15:07,800 --> 00:15:12,000 Speaker 1: not It is as a director, did the focus shift 260 00:15:12,040 --> 00:15:14,160 Speaker 1: in the way that you wanted it to, with the 261 00:15:14,240 --> 00:15:17,880 Speaker 1: timing that you wanted it right? Because those things are 262 00:15:17,920 --> 00:15:22,280 Speaker 1: super important and influence the way that a a an 263 00:15:22,360 --> 00:15:26,920 Speaker 1: audience is receiving the film. And so that's the kind 264 00:15:26,920 --> 00:15:28,960 Speaker 1: of stuff not not you know, did I get it 265 00:15:29,000 --> 00:15:32,760 Speaker 1: as an actor? I feel real confident that I got 266 00:15:32,800 --> 00:15:36,280 Speaker 1: it as an actor. It's did this happened properly in 267 00:15:36,320 --> 00:15:39,960 Speaker 1: the way that my directing head wanted audiences to get right? 268 00:15:40,240 --> 00:15:43,840 Speaker 1: There's so many that I don't have to I think 269 00:15:43,840 --> 00:15:46,240 Speaker 1: that's the one thing that if you gather anything from 270 00:15:46,280 --> 00:15:48,600 Speaker 1: listening to you speak about all of the hats you wear, 271 00:15:48,680 --> 00:15:52,400 Speaker 1: There's so many layers that go into creating a piece. 272 00:16:04,880 --> 00:16:07,440 Speaker 1: I'm going to dive into your other hats of casting 273 00:16:07,440 --> 00:16:10,600 Speaker 1: and producing. I'm curious to hear this from you, but 274 00:16:10,760 --> 00:16:13,240 Speaker 1: you've you've been in the industry now for quite some time, 275 00:16:13,320 --> 00:16:16,320 Speaker 1: and I want to know the transition that you're seeing 276 00:16:16,400 --> 00:16:19,640 Speaker 1: for Latino people in the industry. I mean you're coming 277 00:16:19,640 --> 00:16:22,280 Speaker 1: at this now from different areas, right and now you're 278 00:16:22,440 --> 00:16:27,200 Speaker 1: casting and producing, so you're behind the table. Are we growing? 279 00:16:27,600 --> 00:16:32,720 Speaker 1: And then I'm very curious, um, in that in that growth, 280 00:16:33,440 --> 00:16:35,760 Speaker 1: how are we as a Latino community. Are are we 281 00:16:35,800 --> 00:16:39,200 Speaker 1: stepping up to make sure that we are showing all 282 00:16:39,240 --> 00:16:42,320 Speaker 1: shades and colors and Afro Latinos on screen? And what 283 00:16:42,560 --> 00:16:45,960 Speaker 1: that is like? Because as an Afro Latina and actress myself, 284 00:16:46,160 --> 00:16:49,400 Speaker 1: that's been a struggle and that's been something that's hard 285 00:16:49,440 --> 00:16:51,720 Speaker 1: on this end to understand. And when you're you're on 286 00:16:51,800 --> 00:16:53,840 Speaker 1: a different end of the table. So I'm very curious 287 00:16:53,880 --> 00:16:56,640 Speaker 1: for the evolution that you have seen within casting and 288 00:16:56,680 --> 00:17:00,400 Speaker 1: producing and being in these rooms where these conversations are happening. 289 00:17:00,840 --> 00:17:03,680 Speaker 1: What has that been like from let's say years ago 290 00:17:03,800 --> 00:17:08,800 Speaker 1: to now? Wow? What a question. Yeah, So first let 291 00:17:08,800 --> 00:17:10,320 Speaker 1: me just say it's not like I said I want 292 00:17:10,320 --> 00:17:13,280 Speaker 1: to be a casting year. It's actually someone offered me 293 00:17:13,320 --> 00:17:17,440 Speaker 1: the job after this all my um, I had been 294 00:17:17,440 --> 00:17:20,560 Speaker 1: an on camera commercial talent for and they were like 295 00:17:20,640 --> 00:17:22,720 Speaker 1: I saw my play and they were blown away and said, 296 00:17:22,760 --> 00:17:24,159 Speaker 1: I want to work with you. Every day. But I 297 00:17:24,200 --> 00:17:26,560 Speaker 1: can't hire can actor every day, so what else do 298 00:17:26,640 --> 00:17:28,560 Speaker 1: you do? And I was like, what do you need? 299 00:17:29,200 --> 00:17:31,640 Speaker 1: I didn't care. I just wanted to be a part 300 00:17:31,640 --> 00:17:36,680 Speaker 1: of production in any way before I really started producing. UM, 301 00:17:36,880 --> 00:17:40,119 Speaker 1: And they were like, do you cast? And I was like, 302 00:17:40,840 --> 00:17:43,520 Speaker 1: I could try. UM, I know a good experience for 303 00:17:43,520 --> 00:17:46,119 Speaker 1: a bad experience. I know. I know that I can 304 00:17:46,200 --> 00:17:48,520 Speaker 1: improve on the experience of the actor, that's for sure. 305 00:17:48,880 --> 00:17:50,480 Speaker 1: And I know a lot of talented people that I 306 00:17:50,520 --> 00:17:54,119 Speaker 1: could bring into a room, that's another for sure. So UM, 307 00:17:54,160 --> 00:17:56,520 Speaker 1: so I started casting like that. It's now been over 308 00:17:56,560 --> 00:17:59,639 Speaker 1: eleven years that I'm casting eleven years. More than that, 309 00:17:59,720 --> 00:18:05,359 Speaker 1: even I think, UM like twelve years and and I 310 00:18:05,400 --> 00:18:10,600 Speaker 1: love it. UM. I love it because even when I've 311 00:18:10,640 --> 00:18:14,760 Speaker 1: always been about diversity, equity and inclusion. So even when 312 00:18:14,800 --> 00:18:18,600 Speaker 1: there was a character that was necessary, you know that 313 00:18:18,640 --> 00:18:22,199 Speaker 1: they described as being Caucasian, I would give my client 314 00:18:22,359 --> 00:18:24,840 Speaker 1: like the full eight hour day of casting in the room, 315 00:18:25,160 --> 00:18:27,119 Speaker 1: and I would like not take lunch or go an 316 00:18:27,160 --> 00:18:30,240 Speaker 1: extra hour in order to see people of d I 317 00:18:30,440 --> 00:18:33,840 Speaker 1: you know, in order to include other people that are unexpected, 318 00:18:34,040 --> 00:18:35,840 Speaker 1: and a lot of the times those people would end 319 00:18:35,880 --> 00:18:38,560 Speaker 1: up getting hired because they were so unexpected that it 320 00:18:38,600 --> 00:18:44,560 Speaker 1: was actually a refreshing moment for the people consuming the auditions, 321 00:18:45,200 --> 00:18:48,880 Speaker 1: and so I'm really proud of that. Um. Luckily now 322 00:18:49,400 --> 00:18:51,600 Speaker 1: I don't even have to focus on that as much 323 00:18:51,960 --> 00:18:56,399 Speaker 1: because it does say like all all colors, and not 324 00:18:56,520 --> 00:19:00,560 Speaker 1: just colors, um, not just ethnicities, but actually the old 325 00:19:00,600 --> 00:19:05,639 Speaker 1: genders and um sometimes they'll say like all body types, 326 00:19:05,720 --> 00:19:09,119 Speaker 1: which is really important too, right, because you have to 327 00:19:09,119 --> 00:19:12,760 Speaker 1: be inclusive in anyway, in every way. And um, I 328 00:19:12,840 --> 00:19:15,239 Speaker 1: recently was at the Benson Dull Film Festival and they 329 00:19:15,280 --> 00:19:17,280 Speaker 1: were they had a panel called Fat in front of 330 00:19:17,280 --> 00:19:21,720 Speaker 1: the Camera and how important it was to represent fat 331 00:19:21,760 --> 00:19:25,080 Speaker 1: people and black people in Puerto Rican people and all 332 00:19:25,160 --> 00:19:28,399 Speaker 1: kinds of Latine people and white people and young people 333 00:19:28,440 --> 00:19:31,000 Speaker 1: and marginalized voices, right because this is what makes the 334 00:19:31,000 --> 00:19:35,640 Speaker 1: world go around. So um. So yeah, things are definitely changing. 335 00:19:36,040 --> 00:19:38,359 Speaker 1: It makes it actually harder for me as a casting 336 00:19:38,400 --> 00:19:40,720 Speaker 1: director when I have a client that says to me, 337 00:19:41,200 --> 00:19:44,200 Speaker 1: you know a lot, a big age range, and then 338 00:19:44,240 --> 00:19:48,800 Speaker 1: all ethnicities. Like basically you've told me that I could 339 00:19:48,800 --> 00:19:53,560 Speaker 1: see twenty people and you want to consider all of them, 340 00:19:53,600 --> 00:19:56,600 Speaker 1: like narrow it down a little bit more because that, 341 00:19:56,760 --> 00:19:59,520 Speaker 1: of course takes even more time. So now I want 342 00:19:59,520 --> 00:20:01,879 Speaker 1: to make sure that I have that I'm representing like 343 00:20:02,000 --> 00:20:07,199 Speaker 1: Asian and South Asian. Um uh, Latin Latine on this 344 00:20:07,280 --> 00:20:10,680 Speaker 1: color spectrum, Latin A on that color spectrum, males and females. 345 00:20:10,920 --> 00:20:13,760 Speaker 1: Like that's just like get a better grip of what 346 00:20:13,840 --> 00:20:16,600 Speaker 1: you want to see. I'll choose some other people that 347 00:20:16,600 --> 00:20:19,600 Speaker 1: that can make it happen as well. But it really 348 00:20:19,640 --> 00:20:23,440 Speaker 1: does increase my workload. So it's overwhelming a little bit. Yeah, 349 00:20:23,520 --> 00:20:25,800 Speaker 1: it gets overwhelming, and I'm like I need to up 350 00:20:25,800 --> 00:20:28,919 Speaker 1: my price, like you have to give me like four 351 00:20:29,560 --> 00:20:31,800 Speaker 1: you know what. Don't care about how do cast and 352 00:20:31,840 --> 00:20:36,280 Speaker 1: directors get paid? Interesting, So it's it's different. It's different 353 00:20:36,280 --> 00:20:40,080 Speaker 1: for every job. Um, like independent and like feature films 354 00:20:40,080 --> 00:20:43,639 Speaker 1: go from like two to four per cent of the budget. Um, 355 00:20:43,680 --> 00:20:46,919 Speaker 1: so that's like a normal scale. But like commercials, I 356 00:20:46,920 --> 00:20:50,400 Speaker 1: mean it depends on how many characters are needed. Voiceover 357 00:20:50,440 --> 00:20:54,280 Speaker 1: is the same thing. But um, you know, sometimes I 358 00:20:54,320 --> 00:20:57,480 Speaker 1: have a contract like with um like with Alma's Way, 359 00:20:57,800 --> 00:21:01,960 Speaker 1: the animated series for PBS IM there their lead casting director, 360 00:21:02,080 --> 00:21:07,760 Speaker 1: only casting director. We just entered the second seasons. Thank you, 361 00:21:07,840 --> 00:21:10,200 Speaker 1: thank you, So we just you know, I just give 362 00:21:10,240 --> 00:21:12,199 Speaker 1: them a set price for this amount of characters, and 363 00:21:12,240 --> 00:21:14,840 Speaker 1: then if there's more characters, and then it's per episode, 364 00:21:15,320 --> 00:21:17,360 Speaker 1: you know. But that's something that I took into account. 365 00:21:17,359 --> 00:21:20,320 Speaker 1: And then I actually asked some of my casting counterparts 366 00:21:20,359 --> 00:21:22,400 Speaker 1: to make sure that I was coming in um par 367 00:21:22,960 --> 00:21:25,720 Speaker 1: with what they thought was reasonable, you know, because I 368 00:21:25,760 --> 00:21:27,520 Speaker 1: knew that I was the best person for the job. 369 00:21:27,800 --> 00:21:31,160 Speaker 1: I also knew that it's um it's on a SAGU 370 00:21:31,800 --> 00:21:37,520 Speaker 1: educational contract, so I knew that their budgets, especially PBS kids, 371 00:21:37,760 --> 00:21:40,280 Speaker 1: that was gonna be a little um less than normal. 372 00:21:40,560 --> 00:21:42,640 Speaker 1: So I wanted to make sure that it just made 373 00:21:42,680 --> 00:21:45,720 Speaker 1: sense for them to choose me, and it already made 374 00:21:45,720 --> 00:21:48,520 Speaker 1: sense for me to choose them, so um but every 375 00:21:48,600 --> 00:21:51,080 Speaker 1: job is different, it really depends. I've always been fascinated 376 00:21:51,119 --> 00:21:52,919 Speaker 1: by that because I have a lot of friends in casting, 377 00:21:52,920 --> 00:21:54,640 Speaker 1: and I realized, I'm like, wait, how did you get paid? 378 00:21:54,720 --> 00:21:58,000 Speaker 1: I'm just I was always you know, and it's sometimes 379 00:21:58,040 --> 00:22:01,080 Speaker 1: it's like different, working so many our rooms, and sometimes 380 00:22:01,119 --> 00:22:04,800 Speaker 1: I don't get paid. Sometimes I'll take a job because 381 00:22:04,840 --> 00:22:07,680 Speaker 1: I believe in the filmmaker, and I have to say 382 00:22:07,960 --> 00:22:10,320 Speaker 1: no to that a lot more often than I used 383 00:22:10,320 --> 00:22:14,080 Speaker 1: to because I just don't have enough time, because I 384 00:22:14,119 --> 00:22:16,160 Speaker 1: still have to say yes to me and the projects 385 00:22:16,200 --> 00:22:18,840 Speaker 1: that I want to move forward as well. But sometimes 386 00:22:18,840 --> 00:22:21,960 Speaker 1: I believe in a filmmaker so much that I'm like, Okay, 387 00:22:22,080 --> 00:22:24,680 Speaker 1: I don't need to make money on this. I can 388 00:22:24,800 --> 00:22:27,080 Speaker 1: you know, if the film does well, then I'll then 389 00:22:27,080 --> 00:22:31,119 Speaker 1: I'll make my fee, honest or but like you know, 390 00:22:31,240 --> 00:22:34,159 Speaker 1: that's just a part of uplifting a community that you 391 00:22:34,240 --> 00:22:37,200 Speaker 1: believe in that's not getting the same amount of attention 392 00:22:37,240 --> 00:22:41,840 Speaker 1: as others. So you know, I take it job by job, 393 00:22:42,520 --> 00:22:45,120 Speaker 1: and you know, right now I'm casting a feature film 394 00:22:45,160 --> 00:22:47,400 Speaker 1: for a really great director that I believe in. And 395 00:22:47,840 --> 00:22:52,480 Speaker 1: yesterday we had in the room callbacks for a lot 396 00:22:52,560 --> 00:22:59,680 Speaker 1: of roles, a virtual even in the room. I was like, wait, 397 00:22:59,680 --> 00:23:02,400 Speaker 1: you do well, Actually we had scheduled them in the room. 398 00:23:03,160 --> 00:23:04,840 Speaker 1: We scheduled them in the room, and then a lot 399 00:23:04,880 --> 00:23:07,800 Speaker 1: of the actors said, you know, I'm away. I didn't 400 00:23:07,800 --> 00:23:09,959 Speaker 1: know that it was gonna be live, and I was like, 401 00:23:09,960 --> 00:23:13,520 Speaker 1: you know what, I really believe that we can get 402 00:23:13,560 --> 00:23:16,639 Speaker 1: this done virtually, which is which is how the industry 403 00:23:16,760 --> 00:23:19,879 Speaker 1: acts and reacts right now, Like even as an actor 404 00:23:19,960 --> 00:23:22,280 Speaker 1: still like you know, I just boot the recurring role 405 00:23:22,440 --> 00:23:28,680 Speaker 1: on ABC Queen, a guest star on that was a 406 00:23:29,000 --> 00:23:30,719 Speaker 1: It was a guest star recurring on Queens, and then 407 00:23:30,760 --> 00:23:32,679 Speaker 1: it was a guest star on The Resident. That was 408 00:23:32,720 --> 00:23:35,440 Speaker 1: all virtual that I didn't even have a call back. 409 00:23:35,920 --> 00:23:38,000 Speaker 1: My callback was like put yourself on tape with this 410 00:23:38,040 --> 00:23:41,960 Speaker 1: new scene and then they decided, so um, that sort 411 00:23:41,960 --> 00:23:45,080 Speaker 1: of thing was. It's really as an actor to know 412 00:23:45,600 --> 00:23:49,000 Speaker 1: that the big productions do it this way, and now 413 00:23:49,000 --> 00:23:51,560 Speaker 1: as a casting director to say, why can't I do 414 00:23:51,600 --> 00:23:54,440 Speaker 1: it this way too? It's actually when COVID first hit, 415 00:23:55,760 --> 00:24:01,080 Speaker 1: I had already been mostly virtual before COVID. Really, yes, yes, 416 00:24:01,200 --> 00:24:04,960 Speaker 1: because as an actor and my whole career, a lot 417 00:24:05,080 --> 00:24:08,159 Speaker 1: of the things were happening in California and then and 418 00:24:08,160 --> 00:24:10,199 Speaker 1: then casting directors would call me and put me on 419 00:24:10,240 --> 00:24:12,800 Speaker 1: tape and then just shipped back. Then it was VHS 420 00:24:12,840 --> 00:24:16,080 Speaker 1: and I just shifted to b HSTA California so they 421 00:24:16,080 --> 00:24:18,280 Speaker 1: can watch it. And then I've been you know, I've 422 00:24:18,320 --> 00:24:23,399 Speaker 1: been brought out to California for for screen tests based 423 00:24:23,440 --> 00:24:26,760 Speaker 1: on that. So, so why wouldn't I use those tools 424 00:24:26,800 --> 00:24:29,719 Speaker 1: today that are even easier to use them, more accessible? 425 00:24:30,000 --> 00:24:35,480 Speaker 1: So when pre COVID. I was already doing that post COVID. UM. 426 00:24:35,520 --> 00:24:37,600 Speaker 1: It was during that time that I had first gotten 427 00:24:37,640 --> 00:24:40,040 Speaker 1: the job for Alma's Way, and the idea was that 428 00:24:40,080 --> 00:24:42,240 Speaker 1: we're going to have everybody in the room, and that's 429 00:24:42,240 --> 00:24:46,359 Speaker 1: how I priced it. UM. But then when it came 430 00:24:46,440 --> 00:24:51,679 Speaker 1: time to UM do the virtual stuff, like when COVID 431 00:24:51,760 --> 00:24:54,160 Speaker 1: was happening, they were like, you know, we're gonna wait 432 00:24:54,200 --> 00:24:57,040 Speaker 1: this out, we'll start later. I was like, we don't 433 00:24:57,040 --> 00:25:00,119 Speaker 1: have to start later, we can go right now, and 434 00:25:00,160 --> 00:25:02,679 Speaker 1: they were like, no, no, we'll start later. I was like, 435 00:25:02,720 --> 00:25:05,159 Speaker 1: all right, we'll start later. But then when it was 436 00:25:05,160 --> 00:25:07,600 Speaker 1: clear that COVID was not going away, there was no 437 00:25:07,680 --> 00:25:10,320 Speaker 1: starting later. We had to act and I was totally 438 00:25:10,320 --> 00:25:13,200 Speaker 1: prepared for that. You were ready for it. Every casting 439 00:25:13,240 --> 00:25:16,040 Speaker 1: director that I knew was scrambling on how am I 440 00:25:16,080 --> 00:25:18,680 Speaker 1: going to continue to work where I was like, I'll 441 00:25:18,720 --> 00:25:22,320 Speaker 1: show you and now like it's it's just the norm, 442 00:25:22,400 --> 00:25:24,119 Speaker 1: and I was sort of ahead of my time on 443 00:25:24,640 --> 00:25:28,840 Speaker 1: that one. UM. Yeah, I had to say when I said, 444 00:25:28,840 --> 00:25:31,840 Speaker 1: when I heard you say in the room, um, which listeners, 445 00:25:31,920 --> 00:25:36,520 Speaker 1: it literally means to end the room for reasons for 446 00:25:36,680 --> 00:25:39,080 Speaker 1: virtual room as well, which is like I have to 447 00:25:39,119 --> 00:25:43,680 Speaker 1: say I enjoyed the callback so much. Yesterday I got 448 00:25:43,680 --> 00:25:46,920 Speaker 1: a chance to direct actors and a lot of really 449 00:25:46,960 --> 00:25:50,560 Speaker 1: talented actors, and I was practicing my craft as a 450 00:25:50,600 --> 00:25:54,800 Speaker 1: director so um and as a casting director clearly, but 451 00:25:54,840 --> 00:25:58,679 Speaker 1: as a director. It really boosted my confidence to know 452 00:25:58,880 --> 00:26:01,200 Speaker 1: that I could just work with the people on material 453 00:26:01,280 --> 00:26:04,280 Speaker 1: that I mean, I didn't write it, I was, I 454 00:26:04,359 --> 00:26:07,240 Speaker 1: knew it, but I didn't like I didn't do the 455 00:26:07,240 --> 00:26:09,040 Speaker 1: case studies on the work like I do on the 456 00:26:09,080 --> 00:26:11,560 Speaker 1: work that I direct and right, but it really made 457 00:26:11,560 --> 00:26:14,119 Speaker 1: me feel confident on my ability to direct people on 458 00:26:14,200 --> 00:26:19,439 Speaker 1: the fly and take what the artists individual artist is 459 00:26:19,440 --> 00:26:22,800 Speaker 1: giving me to give them back something that they might 460 00:26:22,800 --> 00:26:25,199 Speaker 1: be able to work with, as opposed to like I'm 461 00:26:25,240 --> 00:26:30,160 Speaker 1: gonna give everybody the same direction. No, everybody's unique, everybody 462 00:26:30,200 --> 00:26:33,640 Speaker 1: needs something different. Um. So it was it was really 463 00:26:33,760 --> 00:26:48,080 Speaker 1: nice to be doing that. What I love about hearing 464 00:26:48,119 --> 00:26:51,880 Speaker 1: you talk is like how you bring everything together. To me, 465 00:26:52,000 --> 00:26:55,399 Speaker 1: it sounds like a delicious suncle showman. So I'm like, 466 00:26:55,600 --> 00:26:58,600 Speaker 1: I don't know, because it's like you're bringing all I know. 467 00:26:58,720 --> 00:27:00,960 Speaker 1: I know you know it's but it's like it's like 468 00:27:01,000 --> 00:27:04,560 Speaker 1: it's bringing in all of these like beautiful like flavors 469 00:27:04,560 --> 00:27:08,600 Speaker 1: of who you are as a person, and the incredible 470 00:27:08,680 --> 00:27:11,639 Speaker 1: meal that you create from that. I just that's literally 471 00:27:11,680 --> 00:27:14,360 Speaker 1: I'm such a visual person and I love food. That's 472 00:27:14,440 --> 00:27:16,840 Speaker 1: literally what I think about when I'm hearing you speak 473 00:27:16,880 --> 00:27:19,600 Speaker 1: and how you bring everything in the room with you. 474 00:27:19,680 --> 00:27:23,640 Speaker 1: And it's so refreshing as an actor to hear someone 475 00:27:24,200 --> 00:27:27,920 Speaker 1: in your position bringing that in the room to breath 476 00:27:27,920 --> 00:27:32,800 Speaker 1: of freshman, it gives me hope. It gives me hope. Well, 477 00:27:32,840 --> 00:27:34,600 Speaker 1: you know what, if you don't feel that you're getting 478 00:27:34,640 --> 00:27:36,280 Speaker 1: what you need from a director, you just need to 479 00:27:36,320 --> 00:27:39,160 Speaker 1: make all those decisions ahead of time, because not every 480 00:27:39,160 --> 00:27:42,440 Speaker 1: director is going to give you stuff. Definitely, you're lucky 481 00:27:42,480 --> 00:27:45,200 Speaker 1: if you get ones that say that was good, absolutely good, 482 00:27:45,280 --> 00:27:47,800 Speaker 1: because at least that makes you feel supported and now 483 00:27:47,880 --> 00:27:50,600 Speaker 1: you can play like that's The best directors that I've 484 00:27:50,600 --> 00:27:53,800 Speaker 1: been directed by are actually female and they're very supportive, 485 00:27:54,359 --> 00:27:57,439 Speaker 1: and then they gave you like little things and but 486 00:27:58,119 --> 00:28:01,879 Speaker 1: delicious nos um. But I like to give that a 487 00:28:01,880 --> 00:28:04,640 Speaker 1: lot to my people. I believe an actor so much 488 00:28:04,680 --> 00:28:07,080 Speaker 1: and at the end of the day, you know, that's 489 00:28:07,119 --> 00:28:09,960 Speaker 1: what that's what's affecting the audience is right, it's their 490 00:28:10,080 --> 00:28:13,399 Speaker 1: journeys that are making them feel So I have a 491 00:28:13,400 --> 00:28:16,320 Speaker 1: lot of respect for actors and what they bring and 492 00:28:16,400 --> 00:28:19,720 Speaker 1: everybody on set. Elaine, what do you And maybe I'm 493 00:28:19,800 --> 00:28:22,600 Speaker 1: just bias asking this question, but for our listeners who 494 00:28:22,640 --> 00:28:26,720 Speaker 1: are dreaming of being in the in the industry or 495 00:28:26,840 --> 00:28:30,280 Speaker 1: being an actor or and just because you aren't casting 496 00:28:30,560 --> 00:28:33,679 Speaker 1: now and all of that, what do you look for? 497 00:28:34,160 --> 00:28:36,240 Speaker 1: What is the thing for you? And I know everything 498 00:28:36,320 --> 00:28:40,240 Speaker 1: is different obviously, you know different roles in different projects 499 00:28:40,240 --> 00:28:43,480 Speaker 1: that you work for. What is the one consistent thing 500 00:28:43,720 --> 00:28:46,720 Speaker 1: that you look for in the actor, in the artist? 501 00:28:47,440 --> 00:28:50,320 Speaker 1: So I'm looking for a lot of different things at once. Right, 502 00:28:50,440 --> 00:28:53,840 Speaker 1: So all your mouth as you're listening, because keeping your 503 00:28:53,880 --> 00:28:57,080 Speaker 1: mouth open while you're listening it makes you feel like 504 00:28:57,080 --> 00:29:01,200 Speaker 1: you're ready to talk instead of listening. So for some actors, 505 00:29:01,240 --> 00:29:04,680 Speaker 1: sometimes they just need a physical direction to help them 506 00:29:05,160 --> 00:29:08,760 Speaker 1: make a better performance on screen. To deliver a better 507 00:29:08,840 --> 00:29:11,360 Speaker 1: on screen performance. So for some actors, it's just like 508 00:29:11,400 --> 00:29:14,239 Speaker 1: a little technical note, like don't move so much. You know, 509 00:29:14,320 --> 00:29:18,160 Speaker 1: you're like you're you know. I just say, sometimes somebody's 510 00:29:18,160 --> 00:29:22,040 Speaker 1: like doing all of this, you know, So I'll say 511 00:29:22,040 --> 00:29:25,280 Speaker 1: to the actors. Actor, you know, like, practice stillness right 512 00:29:25,320 --> 00:29:27,880 Speaker 1: now and give me everything that you were giving to me, 513 00:29:28,200 --> 00:29:31,560 Speaker 1: but in stillness. And because you know that's what the 514 00:29:31,600 --> 00:29:35,960 Speaker 1: camera needs, is this stillness in order to capture everything, 515 00:29:36,760 --> 00:29:39,800 Speaker 1: all the nuances that are happening in here, all the feelings. 516 00:29:40,160 --> 00:29:43,000 Speaker 1: So UM, I think that's a matter of craft and 517 00:29:43,000 --> 00:29:46,400 Speaker 1: then knowing, studying what you look like on film and 518 00:29:46,440 --> 00:29:50,800 Speaker 1: studying for on camera acting right and then um, for 519 00:29:50,920 --> 00:29:55,880 Speaker 1: other actors, I like to be ready with um action 520 00:29:56,000 --> 00:29:58,800 Speaker 1: driven stuff to tell them like like I don't want 521 00:29:58,800 --> 00:30:02,520 Speaker 1: to say to them loud, are faster, meaner, Like that's 522 00:30:02,640 --> 00:30:05,920 Speaker 1: not good direction, you know, but it's it's kind of 523 00:30:05,920 --> 00:30:08,600 Speaker 1: the direction that you want them to give that you 524 00:30:08,640 --> 00:30:11,880 Speaker 1: want them to put on. You want their focus to 525 00:30:12,000 --> 00:30:15,680 Speaker 1: be on the other character. So it could be like, um, 526 00:30:15,720 --> 00:30:20,000 Speaker 1: you know, order him around, convince him. You know that's 527 00:30:20,040 --> 00:30:24,840 Speaker 1: better than saying like be persuasive, no, convince him. Now 528 00:30:24,960 --> 00:30:29,600 Speaker 1: you've given somebody an actionable direction that you're like, I'm 529 00:30:29,600 --> 00:30:32,440 Speaker 1: going to convince you right now, and and so now 530 00:30:32,600 --> 00:30:34,720 Speaker 1: all of their attention is put out and what they 531 00:30:34,760 --> 00:30:37,800 Speaker 1: have to do to the other character and those that's 532 00:30:37,800 --> 00:30:40,720 Speaker 1: what makes for better performances. So that's what I want 533 00:30:40,720 --> 00:30:44,400 Speaker 1: to do for actors. Also, sometimes I just want to 534 00:30:44,480 --> 00:30:47,640 Speaker 1: raise the stakes and what it is that they're trying 535 00:30:47,640 --> 00:30:50,520 Speaker 1: to accomplish. So I'll say I'll give them an as if, 536 00:30:50,560 --> 00:30:54,000 Speaker 1: you know, it's as if if they don't get this done, 537 00:30:54,560 --> 00:30:57,280 Speaker 1: you know that person is going to jail. Those are 538 00:30:57,320 --> 00:31:00,840 Speaker 1: things that can really help an actor get there. I 539 00:31:00,840 --> 00:31:03,800 Speaker 1: remember as an actor when I was working on the 540 00:31:03,840 --> 00:31:08,520 Speaker 1: plate Um that takes place during war in Italy, and 541 00:31:08,800 --> 00:31:10,760 Speaker 1: you know, I had to really put myself in a 542 00:31:10,800 --> 00:31:14,040 Speaker 1: place where what if the world around me just crumble, 543 00:31:14,960 --> 00:31:18,320 Speaker 1: like my house, my buildings, my people around me, and 544 00:31:18,360 --> 00:31:21,400 Speaker 1: people were dead, and like just bringing yourself into this 545 00:31:21,640 --> 00:31:26,160 Speaker 1: space of utter destruction is what helped me really tap 546 00:31:26,200 --> 00:31:31,120 Speaker 1: into the desperation of the character. Because that play is 547 00:31:31,160 --> 00:31:35,160 Speaker 1: about like women who sell themselves to soldiers in order 548 00:31:35,200 --> 00:31:39,719 Speaker 1: to get food, Like the basic needs of life are gone. 549 00:31:40,160 --> 00:31:42,640 Speaker 1: And these are the places that actors, if they're working 550 00:31:42,680 --> 00:31:45,880 Speaker 1: hard on their role, hopefully they bring themselves to those 551 00:31:45,880 --> 00:31:49,840 Speaker 1: places so that they can lean into the treasures that 552 00:31:49,920 --> 00:31:53,400 Speaker 1: they create for themselves when it comes time to um 553 00:31:53,400 --> 00:31:55,680 Speaker 1: to do the work. Because a lot of the times 554 00:31:55,720 --> 00:31:59,440 Speaker 1: this work is happening at the most inopportune times. Sometimes 555 00:31:59,440 --> 00:32:01,200 Speaker 1: it's one of talk in the morning, two o'clock in 556 00:32:01,200 --> 00:32:04,080 Speaker 1: the morning. You're entirely you spent the whole day, You're 557 00:32:04,080 --> 00:32:07,440 Speaker 1: only like golden time. And now they're saying, Okay, it's 558 00:32:07,440 --> 00:32:10,640 Speaker 1: not for your monologue. And your eyes are dry because 559 00:32:10,640 --> 00:32:14,320 Speaker 1: you're working in a dry environment and you can't get 560 00:32:14,360 --> 00:32:17,360 Speaker 1: to the place where you can be. But your craft 561 00:32:17,480 --> 00:32:19,480 Speaker 1: is always going to pick up the pieces for you. 562 00:32:19,720 --> 00:32:21,520 Speaker 1: So it may not be the best performance that you 563 00:32:21,560 --> 00:32:24,479 Speaker 1: could have delivered in the most ideal circumstances, but at 564 00:32:24,560 --> 00:32:27,360 Speaker 1: least you can deliver it. And that's really important for 565 00:32:27,400 --> 00:32:32,400 Speaker 1: any actor. Studying acting and studying improv is also super 566 00:32:32,440 --> 00:32:35,440 Speaker 1: important to not just actors, with just human beings who 567 00:32:35,480 --> 00:32:38,520 Speaker 1: have to pivot in their jobs. And I think we 568 00:32:38,560 --> 00:32:40,600 Speaker 1: all have to pivot every day and what it is 569 00:32:40,640 --> 00:32:44,000 Speaker 1: that we do. Yes, Elaine, I have some questions for you. 570 00:32:44,440 --> 00:32:48,160 Speaker 1: This is the this is the question segment, this moment 571 00:32:48,200 --> 00:32:52,560 Speaker 1: we've all been waiting. Go for it. I'm ready, Okay, 572 00:32:52,960 --> 00:32:58,920 Speaker 1: mid angry chat, then oh Lord, have mercy. Well, I'm 573 00:32:58,960 --> 00:33:01,320 Speaker 1: a good bunch out there, said, but I always choose 574 00:33:01,320 --> 00:33:06,200 Speaker 1: salsa because no, I grew up on my father was 575 00:33:06,240 --> 00:33:08,920 Speaker 1: a musician, so I grew up with all the South 576 00:33:08,960 --> 00:33:11,920 Speaker 1: Sub records that I actually could not stand because I 577 00:33:11,960 --> 00:33:14,000 Speaker 1: grew up from Brownsville and I just wanted to hear 578 00:33:14,160 --> 00:33:18,520 Speaker 1: rap and disco and house music. But um, and I 579 00:33:18,560 --> 00:33:21,440 Speaker 1: didn't like to hear the endless South Sub music that 580 00:33:21,520 --> 00:33:24,720 Speaker 1: happened in my house. But as I grew up, as 581 00:33:24,760 --> 00:33:27,640 Speaker 1: I became an adult, I came to understand and appreciate 582 00:33:27,720 --> 00:33:30,200 Speaker 1: it and embraced my culture in ways that I had 583 00:33:30,240 --> 00:33:32,240 Speaker 1: not as a child. And I feel like that's a 584 00:33:32,280 --> 00:33:35,360 Speaker 1: personal journey that I like to express on film as well. 585 00:33:35,720 --> 00:33:41,960 Speaker 1: So next favorite movie of all time? Oh my god, 586 00:33:42,160 --> 00:33:46,200 Speaker 1: favorite movie of all time? So many? That's so hard, 587 00:33:47,680 --> 00:33:50,760 Speaker 1: all right, Oh lord, I don't choose the wrong one, 588 00:33:50,760 --> 00:33:52,760 Speaker 1: because tomorrow I'll wake up and say, what didn't I 589 00:33:52,800 --> 00:33:58,360 Speaker 1: say that? I do choose a silly one that everybody knows. Um, 590 00:33:58,360 --> 00:34:05,600 Speaker 1: Aaron Brockovitch, I'm the real person, struggling mother shot beautifully. 591 00:34:06,280 --> 00:34:11,680 Speaker 1: Um uh rose to the occasion to help others, in 592 00:34:11,840 --> 00:34:16,280 Speaker 1: service of others. I mean, this is a terrific story. Um. 593 00:34:16,320 --> 00:34:20,640 Speaker 1: That always makes me cry and always makes me feel 594 00:34:20,680 --> 00:34:24,439 Speaker 1: like I could do more in society, and more than 595 00:34:24,480 --> 00:34:27,560 Speaker 1: what was ever expected of me. So I choose Aaron 596 00:34:27,600 --> 00:34:30,640 Speaker 1: BROCKA thing. That's a great answer. It's a really really 597 00:34:30,640 --> 00:34:33,280 Speaker 1: good one if you haven't seen it, ladies and gentlemen, 598 00:34:33,520 --> 00:34:37,319 Speaker 1: and then in days go see it. Yes, last and 599 00:34:37,320 --> 00:34:40,920 Speaker 1: final question, what is the one thing that reminds you 600 00:34:41,080 --> 00:34:45,640 Speaker 1: of home or defines what home is for you? So 601 00:34:45,760 --> 00:34:49,400 Speaker 1: home is wherever my husband and my dog are. Um, 602 00:34:49,480 --> 00:34:52,960 Speaker 1: that's for me. Now, home is definitely that, So it 603 00:34:53,000 --> 00:34:56,880 Speaker 1: could be anywhere I actually am. I live in two 604 00:34:56,960 --> 00:34:59,880 Speaker 1: places now. I live in New York still, but A 605 00:35:00,000 --> 00:35:02,400 Speaker 1: also spend a lot of time in Miami and most 606 00:35:02,400 --> 00:35:07,000 Speaker 1: of my time since even pre covid um in the 607 00:35:07,000 --> 00:35:10,280 Speaker 1: winter time, I spend in Miami, US. But it's always 608 00:35:10,280 --> 00:35:15,239 Speaker 1: where my husband is, right because that's my heart. And 609 00:35:15,239 --> 00:35:18,080 Speaker 1: and yeah, I set up a desk wherever I live. 610 00:35:18,560 --> 00:35:20,680 Speaker 1: So like here, I have a really great office. You're 611 00:35:20,719 --> 00:35:23,360 Speaker 1: in my office right now. In Miami. I have a 612 00:35:23,440 --> 00:35:26,080 Speaker 1: room dedicated to my work as well, with all my 613 00:35:26,120 --> 00:35:29,239 Speaker 1: posters up and everything that inspires me and reminds me 614 00:35:29,719 --> 00:35:32,400 Speaker 1: of the work that I've accomplished and inspires me towards 615 00:35:32,400 --> 00:35:35,520 Speaker 1: the work that I need to accomplish. So um, yeah, 616 00:35:35,600 --> 00:35:37,160 Speaker 1: home is where the heart is, and the heart is 617 00:35:37,200 --> 00:35:39,120 Speaker 1: where my husband and my dog are. Shout out to 618 00:35:39,160 --> 00:35:41,719 Speaker 1: all the husbands and the dogs. And I feel that 619 00:35:41,840 --> 00:35:43,600 Speaker 1: very hard. I just got I just got engaged. So 620 00:35:43,640 --> 00:35:47,840 Speaker 1: I'm like going through the process of congratulating. Thank you, Elaine. 621 00:35:48,080 --> 00:35:49,800 Speaker 1: Thank you so much for coming. I want, I need that, 622 00:35:49,960 --> 00:35:51,319 Speaker 1: I want you to come back because I'm like, there's 623 00:35:51,360 --> 00:35:52,920 Speaker 1: so much more I want to ask you and like 624 00:35:53,040 --> 00:35:58,560 Speaker 1: talk to we cannot happy. I'm happy to answer your questions. Um, 625 00:35:58,600 --> 00:36:02,160 Speaker 1: thank you so much for having me on and I'm 626 00:36:02,200 --> 00:36:05,319 Speaker 1: happy to join you again. And I salute you for 627 00:36:05,360 --> 00:36:08,360 Speaker 1: the work that you're doing in the Motivate that podcast 628 00:36:08,520 --> 00:36:12,560 Speaker 1: and you know, just enlightening people as to other people's 629 00:36:12,560 --> 00:36:15,439 Speaker 1: works and highlighting people as well. So thank you, Yes, 630 00:36:15,560 --> 00:36:17,440 Speaker 1: thank you so much, Elaine. I hope you have an 631 00:36:17,520 --> 00:36:20,320 Speaker 1: amazing I can't just see all the things you continue doing. 632 00:36:20,680 --> 00:36:22,959 Speaker 1: I can't. I love going in for you. I love 633 00:36:23,239 --> 00:36:25,919 Speaker 1: all the work that you do. I know your work 634 00:36:26,080 --> 00:36:30,839 Speaker 1: very well. Yes, yes, no, it's always a pleasure. It's 635 00:36:30,840 --> 00:36:33,080 Speaker 1: always a joy everything that you're working on. I love 636 00:36:33,120 --> 00:36:35,920 Speaker 1: seeing your name and I'm always like, yes, I know 637 00:36:35,960 --> 00:36:38,680 Speaker 1: this is gonna be something fun, something that I can 638 00:36:38,719 --> 00:36:41,960 Speaker 1: connect with. Thank you. It's a lot of pressure to 639 00:36:42,160 --> 00:36:45,399 Speaker 1: keep up with UM what people expect of me. Now 640 00:36:45,560 --> 00:36:48,560 Speaker 1: I let that UM also be a guide like trying 641 00:36:48,600 --> 00:36:51,320 Speaker 1: to always help my game, I mean for myself as well. 642 00:36:51,719 --> 00:36:54,160 Speaker 1: But it is a lot of pressure. And you know, 643 00:36:54,280 --> 00:36:58,480 Speaker 1: I I realize that as a Latin, a content creator, 644 00:36:59,080 --> 00:37:02,759 Speaker 1: or an any of my job functions, I represent so 645 00:37:02,800 --> 00:37:05,879 Speaker 1: many people and the hopes of so many people. That's 646 00:37:05,920 --> 00:37:09,000 Speaker 1: It's not what I'm trying to do, but I understand it, 647 00:37:09,080 --> 00:37:13,279 Speaker 1: and I want all of UM. Anybody who feels that 648 00:37:13,360 --> 00:37:17,719 Speaker 1: they are also representing uh, someone of a marginalized community, 649 00:37:18,040 --> 00:37:21,080 Speaker 1: I want them to understand the responsibility of that so 650 00:37:21,120 --> 00:37:24,480 Speaker 1: that they take it even more seriously and not as personal, 651 00:37:24,920 --> 00:37:29,080 Speaker 1: but make decisions that actually elevate the communities that they represent. 652 00:37:29,200 --> 00:37:32,919 Speaker 1: Because people will judge us and put us into one 653 00:37:32,960 --> 00:37:36,480 Speaker 1: big pool. And so I always say, I'm responsible for you, 654 00:37:36,719 --> 00:37:41,040 Speaker 1: irresponsible for me, so UM, so do your best, always 655 00:37:41,080 --> 00:37:45,400 Speaker 1: and always. Yeah, I'll tell you a quick story before 656 00:37:45,400 --> 00:37:48,160 Speaker 1: we end on that. That's just a case in point. 657 00:37:48,160 --> 00:37:50,360 Speaker 1: One time I went up to I had seen this 658 00:37:50,400 --> 00:37:54,440 Speaker 1: big producer that had actually given a really huge financial 659 00:37:54,440 --> 00:37:58,799 Speaker 1: support to a to A to a Latino director UM 660 00:37:58,840 --> 00:38:01,160 Speaker 1: that I was a huge fan of, and I went 661 00:38:01,239 --> 00:38:04,280 Speaker 1: up to them and I said, Yo, you help this person, 662 00:38:04,360 --> 00:38:07,160 Speaker 1: thank you so much like this, you know, and the 663 00:38:07,200 --> 00:38:12,320 Speaker 1: guy was like, no, I'm sorry that I helped that person. 664 00:38:13,000 --> 00:38:16,000 Speaker 1: So so there you go. You know, somebody could be 665 00:38:16,080 --> 00:38:19,279 Speaker 1: and now now I could have had a great conversation 666 00:38:19,360 --> 00:38:22,959 Speaker 1: and talked about my filmmaking and maybe that person would 667 00:38:22,960 --> 00:38:25,960 Speaker 1: have wanted to support my filmmaking journey. But because of 668 00:38:26,000 --> 00:38:29,040 Speaker 1: the experience that they had with another person that was 669 00:38:29,320 --> 00:38:33,759 Speaker 1: Um Latino, they just shut that door down. So when 670 00:38:33,800 --> 00:38:36,640 Speaker 1: I say that you're responsible for others, you know, I 671 00:38:36,680 --> 00:38:40,480 Speaker 1: want us to really, you know, think about that and 672 00:38:40,480 --> 00:38:44,759 Speaker 1: and let that also, UM help you to operate in 673 00:38:44,800 --> 00:38:50,360 Speaker 1: ways that you feel will elevate the community like we 674 00:38:50,480 --> 00:38:57,520 Speaker 1: have to together that note, you are responsible for others, y'all. Elaine, 675 00:38:57,560 --> 00:39:00,800 Speaker 1: thank you so much again on being here and spending 676 00:39:00,800 --> 00:39:03,920 Speaker 1: your very busy, busy schedule giving us a little portion 677 00:39:04,000 --> 00:39:06,160 Speaker 1: of that and UM, I look forward to talking with 678 00:39:06,200 --> 00:39:13,600 Speaker 1: you again. Thank you so much. I appreciate Mona Nita 679 00:39:13,680 --> 00:39:16,359 Speaker 1: is a production of Sonato and partnership with I Heart 680 00:39:16,400 --> 00:39:20,080 Speaker 1: Radio's Michael Luda podcast Network. For more podcasts, from I 681 00:39:20,160 --> 00:39:23,719 Speaker 1: heart Radio, visit the I heart Radio app, Apple podcasts, 682 00:39:23,880 --> 00:39:25,840 Speaker 1: or wherever you listen to your favorite shows.