00:15I don't want to be a mom, and as the challenge to be a mom in this story is to
00:22be the mom of Arely, and not only of Arely, but of Martín, Fernando, that has many children,
00:28and I think of all of them, it was a lot of challenge for me, because I said, I have
00:32to believe it, I have to believe it, to believe it, so I can be able to transmit it.
00:37I inspired my mom, my aunt, all mothers that are fighters, the madres colombian who are fighting for their children,
00:45which they have to play very hard.
00:47That was my great inspiration, and especially in history. I think that was the biggest challenge of all of them,
00:53and also because we didn't start recording in order,
00:57so sometimes you had chapter 60,
01:00that you are at one age,
01:01and then chapter 10, that you are at another age,
01:03and then that's the challenge of managing,
01:05because Maria Ruiz, my character,
01:07has lived many things that I haven't lived,
01:09so where do I inspire, where do I take it,
01:12all that to be able to transmit it in the scene,
01:16and to be able to live it,
01:17and well, I hope that you have done a good job,
01:20and that I can transmit everything I wanted
01:22through my personal life.
01:24So, a drastic change,
01:25because I was in Bogotá,
01:26I was also recording before,
01:28and I was Colombian,
01:30and I grew up in Medellín,
01:31so it was not like a drastic change,
01:33but more like the stress of that
01:35all is fast, and that I have to go
01:37and that I have to plan
01:38that I'm going to pack for the next eight months
01:40of my life in a bag,
01:42and I don't know,
01:43because, like when you travel,
01:46we recorded in Bogotá and in Onda,
01:47but I didn't know that we were recording in Onda in that moment,
01:50so I didn't know anything about the heat,
01:51so I got to tell my sister that is in Medellín,
01:54and I'm going to send me clothes,
01:55because I have no clothes here,
01:57I have no clothes here,
01:58and I'm going to asar in Onda,
01:59so I can't.
02:00So, like all that logistics
02:02of looking at the plane,
02:05looking at the plane,
02:05looking at the plane,
02:05looking at the plane,
02:06looking at the days,
02:09it's like stress,
02:10but I'm accustomed to Bogotá,
02:12and for me,
02:13Bogotá is like another house.
02:14From the actors,
02:15from the lights,
02:16from the directors,
02:18from the sound actors,
02:21from the maquillators,
02:22it was an incredible experience for me.
02:27I got to go,
02:27we started to go,
02:28we started to go,
02:29we started to go,
02:30virtual,
02:30for all the issues of COVID,
02:32the tests were very little,
02:34the truth.
02:34That was one,
02:35the road.
02:37So,
02:40I was very well with everything,
02:42I have friends for life,
02:45after this production.
02:47In the first episode,
02:48in the scene in which Patoko
02:50she had to call out
02:55and us,
02:56well,
02:57because he started to go,
02:58he started to go,
02:58he started to go,
02:58we were on the first stage,
03:00we were on the other side,
03:01and I was super-met up in the scene,
03:04running by that cafe,
03:05I ran and I had to go,
03:07and I was a super-historic,
03:08it was going to make her a lot.
03:09And my daughter,
03:11I was looking at it,
03:12and everyone was looking at it,
03:13I was like,
03:14what happened?
03:15Or what happened?
03:15I could not keep it going.
03:16I and I was like,
03:17I went like,
03:18I had a smile.
03:18And I was like,
03:19But what happened? I didn't realize that she opened the dress.
03:22No.
03:22And then I was like, I'm like, I'm going to repeat it.
03:27Because, well, no, I can't leave a Maria as sexy.
03:30No.
03:31When you think that you're surrounded by the worst problems,
03:36that always has a chance, that you can always keep going,
03:39you can always keep going.
03:41This story inspired me, I took my heart.
03:44And I hope that you all inspired me.
03:46I also took my heart.
03:49Ha, ha, ha, ha, ha, ha, ha, ha, ha.
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