What does it truly mean to be from Tijuana, even when you're miles away? Dive into the heart of this complex question with a captivating conversation exploring identity, belonging, and the subtle yet profound ways our roots shape us.
Discover the unexpected origins of the film "Todavia," a story born from a serendipitous meeting at a film festival. Hear firsthand how a shared vision for authentic queer narratives brought filmmakers together, transcending generational differences and a love for cinematic risk-taking.
Explore the vibrant yet often overlooked queer experiences of the present day. This discussion delves beyond stereotypes, seeking to understand the political and intimate realities that define contemporary queer lives and identities.
#TijuanaTodavia #QueerCinema #FilmOrigins
Discover the unexpected origins of the film "Todavia," a story born from a serendipitous meeting at a film festival. Hear firsthand how a shared vision for authentic queer narratives brought filmmakers together, transcending generational differences and a love for cinematic risk-taking.
Explore the vibrant yet often overlooked queer experiences of the present day. This discussion delves beyond stereotypes, seeking to understand the political and intimate realities that define contemporary queer lives and identities.
#TijuanaTodavia #QueerCinema #FilmOrigins
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DivertentiTrascrizione
00:00e action!
00:02ok, è un plassio
00:03prima cosa è per te
00:07perché ti chiamo Todavia?
00:10cosa significa il mondo
00:12che significa Todavia?
00:13si suggerisce ancora o
00:16o più spesso
00:19Todavia
00:20per la prima volta
00:21in questo modo?
00:23c'è
00:25c'è molto
00:26penso che
00:28posso raccontare in diversi direttori
00:31in la più literal
00:33cosa succede
00:34è che quando stavamo
00:35la storia
00:37è il tipo di scritto che
00:41non è sempre produttivo
00:43ma io normalmente ho un titolo
00:44e poi ho cercato di scoprire
00:46la frase o la parola
00:48in l'inizio
00:50in la prima volta
00:51in l'inizio
00:52con una
00:55un titolo
00:57e un titolo
00:59paris detaini
01:00e buon amor
01:01e i credo
01:05il punto di iniziare
01:07e l'umberto
01:07è un punto di corno
01:08ma è un punto di
01:11guardare
01:11per me
01:13pensare
01:13in thinking, I would still like it to be, to have Tijuana in the title.
01:19So if you say that in Spanish, you would say,
01:21me gustaría que viera Tijuana todavía.
01:24And it's like, hold on, you know, like maybe that's somewhere we can go.
01:29But then there's also the idea of stillness,
01:33as it has to do with like how I understand my relationship with Tijuana,
01:38with the form of saying that despite living in the U.S.,
01:41I've been living in Seattle for seven years,
01:43despite that, yes, I acknowledge that I'm Mexican.
01:47I've never just acknowledged that.
01:49It's still part of my identity.
01:51But then I think I have a harder time with knowing what that means
01:55as someone from the north and from the border.
01:57It's just saying, you know, I'm still from Tijuana
02:00because the fact of going to the U.S.
02:03in this kind of bicultural way of living is very Tijuana.
02:08It's very of the region.
02:10So it's a stillness, but it's stillness that it's in motion
02:15because it's a border town.
02:17You know, it seems like things don't move,
02:19but really things come and go so fast.
02:22Maybe that's why they don't seem like they're evolving.
02:27The story of what this film came to be is also a story of Wincomptors.
02:31First, there was a Gabrielle and Merto,
02:34a day when I had to international film festival.
02:37You two met me there and having an idea of working together.
02:41And then Patrick came literally into the picture.
02:44Can you tell us how it all happened from your individual perspectives?
02:48Yeah, well, I was really interested in creating narratives,
02:54queer new narratives from Mexico.
02:57So I was always catching up who would be interesting
03:02and who would be special to share a process with.
03:06And that's when I discovered a short film
03:08that he was presenting at Guanajuato Film Festival
03:11that it's about a post-born community in Portland.
03:17And I thought that it was a very interesting topic
03:19and it was made with a very respectful
03:21and with a lot of dignity for the community
03:25that was represented there.
03:27And then at the end of the short film,
03:29I saw that it was a Mexican filmmaker.
03:31It was so strange for me that a Mexican filmmaker
03:34was talking about those topics
03:36that I was immediately catch up by.
03:39Who's that guy? Who's Gabrielle?
03:40And then I discovered him in a corner.
03:44Just in a corner, yeah.
03:45I know because he's kind of more introvert or timid people.
03:51And sometimes, you know, like I'm an actor
03:53and I'm always trying to do some relationships
03:55and some connections.
03:56And I was like, oh, Gabriel, I'm Roberto, blah, blah.
03:59Just, you know, you're like,
04:01I always joke that it's almost like
04:03when you are looking for a couple,
04:06that sometimes it's just matched
04:08and sometimes there's a lot of effort in this case,
04:11it was really clear that we had,
04:13even if we are from different generations,
04:16we have like the same interest
04:18in how can we talk about queer experiences today,
04:22that it's not about cliches,
04:24that it's not about this fantasy
04:25that has been created in queer cinema,
04:27about these erotic, joyful experiences,
04:32and stereotypes.
04:33Sometimes it feels like a jail,
04:36even for queer people like us.
04:40Because it's like, okay,
04:41we wanted the opportunity to create queer stories,
04:44and now most of those stories,
04:46they're not related to reality.
04:48and I mean,
04:50I love that there's a lot of fantasy queer cinema,
04:52but what happened with politics
04:54and with the things that are really getting
04:57into our intimacy
04:58in very subtle and specific ways.
05:02And then he told me
05:05that he loved to write a character for me,
05:12and I wanted to produce a movie,
05:14so that was a match.
05:15We decided to get into the Biennale College.
05:17We were selected.
05:18And I think that that was like the big sign
05:22that it has to be a reality,
05:25you know,
05:25because sometimes you get in touch
05:27with another creator
05:28and there's a lot of time
05:29in which you are, you know,
05:31developing ideas and things like that.
05:33But in this case,
05:34it was very, very clear
05:36that it was, okay,
05:37do you want to make this film?
05:39go into this space
05:41and do it now,
05:43you know,
05:43because it's a very specific program
05:46and it's very tough
05:48and it's very confrontative
05:50in a period of time
05:52that is very, very little.
05:53So I think that
05:55the most amazing experience
05:56of doing this film is that.
05:58It's like it was,
06:00since the beginning,
06:00it was a connection about narratives
06:02and about our worries
06:05and the things that we want to share
06:07with a brother Eldians
06:10about, yeah,
06:11what's happening right now.
06:13And Petr then came.
06:15There was one specific comment
06:17that you made
06:17during that first meeting.
06:19He told me that
06:21you really wanted to work
06:22with a director
06:23that was willing to take risks.
06:25And, you know,
06:26not because,
06:27like, yes,
06:27it was a porn,
06:28a short film
06:29about pornography
06:30and that's already
06:31kind of like a topic
06:33that a lot of people
06:33want to address.
06:34Like, even within
06:35the queer community,
06:36there's still,
06:36there's a lot of,
06:37like, anti-sex work ideas.
06:40So then,
06:41to me,
06:41that was kind of
06:42the opening of the door
06:43that said,
06:45you are willing
06:46to take a chance
06:47on someone
06:47who wants to do things
06:49differently, right?
06:50And differently
06:50doesn't necessarily mean,
06:52like,
06:52I want to do things
06:53in a scandalous way
06:55or just, like,
06:55go against the current
06:56because I think
06:57it's going to shock people
06:58or whatever,
06:59but I think more to do
07:01with the fact that
07:02if there was a time
07:03for me to,
07:04to explore the themes
07:06that I was interested in,
07:07which had to,
07:07was, like,
07:07the age gap relationship,
07:09but then how can I also
07:12do more than just
07:13the same story
07:13about, like,
07:14younger gay guy
07:15and older gay guy meet,
07:17but add the layer
07:18of something
07:18that's very close to me,
07:19which is, like,
07:20how,
07:20how do I live
07:21as an immigrant
07:22that's very different
07:23than what someone
07:24like the other
07:25has experienced,
07:26but it doesn't change
07:27the fact that,
07:28you know,
07:28I have had to,
07:31I guess,
07:32see myself
07:32through that perspective
07:33of being, like,
07:35the Mexican person
07:36in the U.S.
07:37and when I was dating
07:37men over there,
07:39it was always, like,
07:40there's a lot of
07:41fetishization
07:41of being Latino,
07:43there's a lot of,
07:45like,
07:45I would get a lot
07:46of deportation jokes
07:48without they were
07:49being funny,
07:49you know,
07:49but then it really
07:50changes the perception
07:52of how I see
07:53being Mexican
07:53as to, like,
07:54what the rest
07:55of the world does,
07:55so then it made me
07:56think about
07:57this Russian friend
07:58I have
07:59who I met online
08:00while I was living
08:01in Tijuana,
08:02and we met
08:03in 2018
08:04and we were just
08:05texting the whole time,
08:06and I've always been
08:08the kind of person
08:08that thrives
08:09in online spaces,
08:11so I just,
08:11I think it's very
08:12comfortable
08:12to just be
08:13in front of the screen,
08:15because it's,
08:16there's a performative
08:17aspect of just
08:18presenting yourself
08:19as someone
08:19that you wouldn't be,
08:20but I think
08:21it's also easier
08:22to be honest
08:23if you want
08:24to be honest,
08:25and it happened
08:26with this friend
08:27because after I moved
08:28to the US
08:29and then the war
08:30with Ukraine started
08:31and he would tell me
08:32that he and his,
08:34so he's gay
08:35and he had a boyfriend
08:36at the time
08:37and they were already
08:37considering leaving
08:39just because of
08:40the censorship
08:40that was happening
08:41at the time
08:42in Russia,
08:43despite the fact
08:44that they lived
08:45in St. Petersburg,
08:46which was one
08:46of like the more
08:47open cities
08:49in Russia,
08:49right,
08:50and then eventually
08:52the war happens
08:53and now the threat
08:54becomes more than,
08:56because he would say
08:57usually if you just
08:59decide to live
09:00in the closet,
09:01you'll be fine
09:01because they live
09:03together,
09:03but out in the public,
09:04they're just friends,
09:05they're roommates,
09:07and as long
09:07as that's not
09:09that labeled propaganda,
09:11then really
09:11there shouldn't
09:11be any problem,
09:13but then they start
09:14sending queer people
09:15to jail
09:15or to the front lines
09:16of the war
09:16so then now
09:17that's a real
09:19threat on your life
09:20and that's the reason
09:21that he left
09:22and over the course
09:23of two years
09:24he would just
09:25disappear on me
09:25where he would
09:27text me one day
09:28I'm currently in Morocco
09:29because we left
09:30on the train
09:31and, you know,
09:32it was such a terrible
09:34story to witness
09:35even though it was a far
09:37and still like,
09:38like I think
09:39it's so easy
09:39to detach yourself
09:40from the news
09:41because like
09:42you read it as a,
09:43as a,
09:44you were moved
09:44from the issue
09:45and you see like
09:46oh this is happening
09:46in Russia
09:47well that's really bad
09:48but when you have
09:49someone that you
09:50can actually feel
09:51the fact that you know
09:52tomorrow I might not
09:53hear from him again
09:54it just really changes
09:55how you process
09:57the situation
09:59and at the same time
10:01that this happens
10:01and I'm in Seattle
10:02I started hearing news
10:03and now there's
10:04a lot of waves
10:04of immigrants
10:05and refugees
10:06arriving in Tijuana
10:07because they're looking
10:08for political asylum
10:09in the U.S.
10:10and it's also
10:11not a novel scene
10:12because Tijuana
10:13is a border town
10:13so we've always had
10:14that kind of
10:15immigration movement
10:18but then
10:18at the core
10:19like the film
10:21really uses
10:22what happened
10:22in 2025
10:23which was with
10:24the CBP-1
10:25it's like one of
10:26the narrative
10:27plot points
10:27of the film
10:28and that's really
10:29when all of these
10:30populations
10:31were kind of
10:31stranded in Tijuana
10:32because there's really
10:33nowhere else to go
10:34you know
10:35you made this
10:36this long journey
10:37to get into
10:37the U.S.
10:38and then they stop you
10:39and you basically
10:40have,
10:41you've been
10:41disconnected from Russia
10:42because you have
10:43no access
10:43to your bank accounts
10:44and everything's
10:45in person
10:46your family
10:47can't contact you
10:48because they're
10:48at risk
10:49and it was
10:52it was all of that
10:52because
10:53you know
10:54the same
10:54the same things
10:56that have labeled
10:57LGBTQ people
10:58as an extremist
10:59group in Russia
11:00are the same ideas
11:02that you know
11:03the U.S.
11:03is kind of repeating
11:04against transgender people
11:06and then transgender people
11:08you start going
11:08up the ladder
11:09you're eventually
11:10going to get
11:11to gay people
11:12and you're eventually
11:13going to get
11:13it's happening
11:14to immigrants
11:15it's happening
11:15to so many
11:16like subsets
11:17of the community
11:18that I just think
11:20it's not absurd
11:20to think
11:21that that could happen
11:22in other parts
11:23of the world
11:24and that's kind
11:25of where we
11:26we saw the urgency
11:27to reflect on that
11:29and make it more
11:30than just like
11:31a political think piece
11:32like it's really tied
11:33to the regional
11:34history of Tequano
11:36yeah
11:37and we had
11:38the script
11:39you know
11:39written
11:40and we
11:41I mean
11:42we won the grant
11:43and we have
11:44all the crew
11:44and the most
11:47important issue
11:48for me
11:48as a producer
11:49was who's going
11:50to be Maxim
11:51you know
11:52and it was
11:52a terrible moment
11:54yeah because
11:56no
11:57because
11:57it was based on him
11:58but he was living there
12:00and we met
12:01I mean we started working
12:02with Casa de Luz
12:03that is a LGBTQ shelter
12:05in Tijuana
12:05but there was nobody
12:07like Maxim
12:08or his age
12:10and his characteristics
12:10and it's really strange
12:12because I mean
12:13I always think about
12:14these gods of cinema
12:16that you know
12:16protect you
12:17because I was really anguished
12:19that we couldn't
12:21move the schedule
12:22for the shooting
12:23you know
12:24because of the program
12:24and things like that
12:25so it was really important
12:26to get
12:27to know
12:28who's going to be Maxim
12:29and then
12:30Petr appeared
12:31and the amazing story
12:33behind that
12:34is that
12:35he was starting acting
12:36before the Ukraine war
12:38and then he stopped
12:41obviously acting
12:42he was against the war
12:45he got into jail
12:46and then the mother
12:48and his boyfriend
12:50decided to get to Mexico
12:52and to fled Russia
12:54in order to survive
12:55so when he read the script
12:58and when we met him
13:00and we started to act
13:02in some scenes
13:03and an interview
13:03he was really sure
13:07that he was Maxim
13:08he was like crying
13:09in front of our eyes
13:11with a lot of emotional
13:12you know
13:14energy
13:14that I'm Maxim
13:15I'm Maxim
13:16I travel around the world
13:17and I've been
13:18all of this
13:19and I'm an actor too
13:20so it's like
13:22reconnecting with my acting career
13:23but at the same time
13:24it's my life
13:25you know
13:25so it was
13:26it was a really special connection
13:27and then we
13:28you know
13:28we see each other
13:29and say
13:29okay no
13:30that's for real
13:31yeah
13:31of course
13:32he's Maxim
13:33and he
13:34he experienced
13:35a lot of transmutation process
13:37during the shooting
13:38I mean
13:39he is like
13:39a different guy
13:40before shooting
13:41and now
13:42and it's something
13:42that it's
13:43very powerful
13:44even if
13:45if the
13:45if the movie
13:46has a subtle
13:48style
13:48and it's not about
13:50you know
13:51even if they
13:52I mean
13:52if it's a lot of
13:53dramatic moments
13:54but it's
13:55it's not about
13:56it's not about
13:57that dramatization
13:59of migration
14:00that is generally
14:01shown on cinema
14:02no
14:02it's more about
14:03his own body
14:04and his own experiences
14:05and his own injuries
14:06that are in front of the camera
14:08and it's like
14:09something that he offered
14:11in a very lovely
14:13and daring way
14:15and we really appreciate it
14:16in talking about
14:21who we are
14:22it's interesting
14:24how
14:24Tijuana
14:25Tudavia
14:25is just about
14:26the building
14:27of an identity
14:28but also about
14:29the many different
14:31identities
14:32we had
14:33in it
14:33political
14:34sexual
14:34gender
14:35and even
14:36the virtual one
14:37digital one
14:41I think
14:44I have this
14:45conversation a lot
14:46in the US
14:47because
14:47I think the culture
14:49well
14:49and specifically
14:50in Seattle
14:51the culture
14:51kind of goes
14:53too hard
14:54on the
14:55on the left
14:56that it starts
14:57going back
14:57to the right again
14:58if that makes sense
15:00so there's this
15:01this thing
15:01with labels
15:02I think there's
15:03a really big
15:04conversation
15:05regarding labels
15:06where
15:07and I think
15:08younger people
15:09are kind of
15:09against labels
15:10now
15:11where it's a
15:12growing sentiment
15:13because they're
15:14saying you know
15:14I want to be
15:15more than just
15:15this or that
15:17and I understand
15:18that but at the
15:18same time
15:19it's like how do
15:20we how do we
15:21start those
15:22conversations
15:22to relate to
15:23each other
15:23if we don't
15:24have things
15:25to label
15:25them as
15:26right
15:26because then
15:27if you think
15:27about it
15:28it really only
15:29is a topic
15:31of conversation
15:31when you think
15:32about labels
15:32that are meant
15:33to separate
15:35you
15:35because otherwise
15:36I don't think
15:37the average person
15:38would tell someone
15:39like oh hi
15:41I'm straight
15:41I'm a man
15:42I'm you know
15:43whatever label
15:44it is
15:44but we just
15:45kind of assume
15:45them because
15:46if we look at
15:47someone physically
15:47we know that
15:48she's a woman
15:49he's a man
15:50we don't ask
15:50I think it's
15:52because there's
15:52so many different
15:53ways to express
15:54yourself now
15:54that it is
15:55important
15:55and it doesn't
15:56one of the things
15:57that was really
15:57important for the
15:58film is that
15:58it doesn't always
15:59just amount
16:00to like oh
16:01it's about
16:02a queer character
16:03even though
16:04in the film
16:05like Matsim
16:06has the
16:07it's two times
16:09where he says
16:10I'm not gay
16:11I'm queer
16:12he's very intentional
16:13about that label
16:14because that's kind
16:15of part of the
16:16conversation
16:17regarding like
16:17generational differences
16:18between Chava and Matsim
16:20because then they
16:21don't acknowledge
16:22and it doesn't
16:23carry the same weight
16:24that in one scene
16:26we might see him
16:26as the refugee
16:27like when the scene
16:28in the office
16:29he's a refugee
16:30but then he is
16:32the young guy
16:33when he's next to Chava
16:34but then he is
16:35this like
16:36alter ego
16:38when he's in the
16:38application
16:40and they're always
16:41shifting
16:41and those identities
16:42need each other
16:43in order for the
16:44person to
16:44to exist
16:46I think I'm just
16:47really fascinated
16:48because I
16:50acknowledge
16:51the ways that I
16:52perform
16:52who I am
16:53with different people
16:54and it's always like
16:56I can choose
16:57right
16:57sometimes you're
16:58going to choose
16:58two of those
16:59and sometimes you're
17:00going to choose
17:00the other
17:01and it's
17:02it's all for our
17:02benefit
17:02it's how we connect
17:03like we wouldn't
17:04have connected
17:04if we hadn't
17:05each claimed
17:06our own labels
17:07of saying
17:08you know
17:08I'm a
17:09I'm a queer person
17:10I'm a filmmaker
17:11I'm an actor
17:12whatever the label is
17:13I think it's necessary
17:14to start that
17:14first conversation
17:18Alberto
17:19how does an actor
17:20approach
17:21these characters
17:22who in a bit
17:23was in transition
17:24and formation
17:25with so few
17:26fixed points
17:27how does an actor
17:29relate to
17:30you know
17:31everything flows
17:31everything is
17:32we are building
17:34the character
17:35is building
17:36something
17:37so how
17:37an actor
17:38relates
17:39to this
17:40the thing that I
17:41like most
17:43about acting
17:43it's the play
17:45with the masks
17:46the social masks
17:47that we all have
17:48so for example
17:49in the case of Chava
17:50we always trying
17:52to figure it out
17:53how could we represent
17:54a gay man
17:57in his 40s
17:58that is
17:59not in the closet
18:00because I mean
18:01he is actually
18:02a gay man
18:03in the outside world
18:04but at the same time
18:05is in this
18:08very macho
18:10place
18:10like you know
18:11the car wash
18:12and his family
18:13and you know
18:14and we were talking
18:15a lot
18:15there's a lot of movies
18:16about being in the closet
18:18or out the closet
18:19but what happened
18:20in the middle
18:20I mean
18:22there's this kind
18:23of connectivity
18:24that you have
18:25with reality
18:25in which you
18:26start to play
18:27with masks
18:29depending on the space
18:30that you are
18:31going
18:32and I think
18:33that the most
18:35important thing
18:35for me as an actor
18:36is how can we
18:37how can I
18:39play with that
18:40in order to
18:42survive
18:43and to connect
18:43with other person
18:44so in this case
18:46the digital space
18:46was a very
18:47interesting space
18:49for Chava to be
18:50because he's not
18:51he's not showing
18:52his face
18:53and he can be
18:54more free
18:55than in reality
18:56but at the same time
18:58when they come together
19:00they have an opportunity
19:01to really
19:02know each other
19:03in a different sense
19:05maybe in a different
19:06kind of
19:07relationship
19:08that they didn't
19:09have before
19:09and
19:10I think that
19:12the most important
19:13thing is
19:14how can a character
19:16can relate
19:16to the other character
19:17because acting
19:18is not about
19:19what I do
19:20acting is reaction
19:22of what the
19:22other person
19:24do
19:25so
19:26staying
19:27with
19:28with Peter
19:28Maxim
19:29there at the same time
19:31and seeing
19:33all those
19:34you know
19:35intimacies
19:36and all those
19:37honesty
19:38and sincerity
19:39for him
19:40all the time
19:41through his eyes
19:42that's my main material
19:44for me
19:44to transform
19:45and to then
19:47get back to him
19:48in a different way
19:49you know
19:50and that's
19:50that's what is so important
19:51to have a great actor
19:52or actress with you
19:54at the same time
19:55because it's
19:55it's not something
19:57that you may
19:57just by imagination
19:59that yeah
19:59I'm gonna be this character
20:00and I need Chava
20:01no no
20:01it's always something
20:03more fluid
20:03because it depends
20:04on how the other person
20:06react
20:06and even in the same space
20:08for example
20:09in the house
20:09or with
20:10with our own bodies
20:12you know
20:13and it's something
20:13that you can prepare
20:14it's something that happens
20:15I mean you prepare
20:17a lot of
20:17you know
20:18a lot of stuff
20:18but in that moment
20:20when you're in front
20:21of the camera
20:22you have to be
20:23very sincere
20:24about
20:24you know
20:25what's
20:25what's the feeling
20:26between each
20:28person
20:29the real
20:29the real person
20:30that are acting
20:31those characters
20:32I think that
20:33that's
20:33that's really important
20:34to create a character
20:35that Chava
20:36because yeah
20:36it depends on the
20:38on the way
20:39that other people
20:39think about him
20:41and the way
20:42that he discovered
20:44maybe this is time
20:45for me to yeah
20:46to start to
20:47to look at myself
20:48for the first time
20:49even if it hurts
20:51no
20:52so I really enjoy
20:53to do that
20:54kind of layer
20:55acting
20:56that it's very subtle
20:57but it can be like
20:58transformed
20:59during the
21:00the story
21:01yeah
21:02last one
21:03is a lot of you
21:04as a director
21:05and as a producer
21:06the movie
21:07is one of the winners
21:08of the college
21:09and how was the journey
21:13we're still alive
21:16we are alive
21:25I think if we were
21:27if we were finished
21:28I would have
21:29I would have a better answer
21:31I don't know
21:32it's
21:33it's
21:34I was thinking
21:35about this this morning
21:36because
21:37I think because
21:38of the scale
21:39of the program
21:39and the amount
21:40of money they give you
21:43like for someone
21:44that has
21:44worked on a feature
21:46before
21:46you might think
21:47like well
21:48this is impossible
21:49right
21:49but I have never
21:50done a feature
21:51and everything
21:52I've done
21:52in a short format
21:53was always for schools
21:55schools
21:55it was just me
21:56and my camera
21:56and there was no budget
21:58so it was both
21:59it was
22:00it both felt
22:01like I had no restraint
22:03because it's like
22:04a kid in a candy store
22:05like I can do anything
22:06I want
22:06you know
22:07200,000 euros
22:08I didn't have like
22:09an explosion in the film
22:10but you realize
22:13I mean you quickly realize
22:14that that's not how it works
22:15right
22:15and
22:16but I think
22:17because when you apply
22:18to the program
22:19like the first thing
22:20is that they
22:20in the program
22:21they are very honest
22:23about
22:25how fast
22:26paced it is
22:27and how quickly
22:27you're going to be moving
22:28and things
22:28but then we also
22:29were able to have
22:30a conversation
22:31with one of the teams
22:32that was in the college
22:33a few years ago
22:35another Mexican film
22:36and just from
22:37their experience
22:38we kind of measured
22:39our expectations
22:40a little bit
22:41and we were okay
22:41we're going to acknowledge
22:42that if we get in
22:43this is basically
22:44going to take over
22:45a year of our lives
22:46and it has
22:47you know
22:48because you've been
22:48you've taken some
22:49acting projects
22:50but then it's always like
22:51the amount of things
22:52that are happening
22:53is always
22:5410 more times
22:56than you think
22:56you have to do
22:58so I
22:59it was
22:59I think it's both been
23:01I don't know
23:01I don't think
23:02we'll recover from that
23:03but I don't
23:04ever
23:05ever
23:05but I also think
23:07it's accelerated
23:08the amount of
23:09experience we could
23:10have gotten
23:10if we had done
23:11a more traditional
23:12production for a film
23:13maybe it would have
23:14taken 3-5 years
23:15to get there
23:16or more
23:16or more
23:17for sure
23:19I don't know
23:19if there's another
23:20team in which
23:21I didn't ask that
23:23in which there could be
23:24like a producer
23:25is the same actor
23:26of the movie
23:27I don't know
23:27but it's
23:28I mean
23:29it's insane
23:30you know
23:31because
23:32when I talk
23:34with other producers
23:34even if they are not
23:35acting in the movies
23:36just imagine
23:37to develop
23:38to write
23:39shoot
23:40and have a premiere
23:41and a festival
23:42everything
23:43you know
23:43all together
23:44in 10 months
23:45I mean
23:46it's really
23:47you know
23:47and the fact that
23:49I'm acting
23:49on the movie
23:50it's a more
23:51schizophrenic process
23:52too
23:53so I have to be
23:54really aware
23:55in which moment
23:56I needed
23:58to be vulnerable
23:58you know
24:00and very emotional
24:02yeah
24:02with an emotional
24:03approach
24:04during the process
24:05and then the shooting
24:06and on the process
24:07of creating the characters
24:08but at the same time
24:09I was always thinking
24:11about
24:11how could this be possible
24:12because
24:13I mean
24:13you're going to be
24:14in the Biennale
24:15so it's not
24:15just a rally
24:16and okay
24:17just have anything
24:18done
24:18and that's it
24:19no
24:19you have to
24:20always think
24:21about the
24:22how those constraints
24:24and restraints
24:25can help you
24:26in order to imagine
24:27no new possibilities
24:29even behind
24:30and in front
24:31of the camera
24:31so
24:32for us
24:33I think that we
24:34I mean
24:35it's something
24:36that is like a marriage
24:38you know
24:39and this is our baby
24:41and it has been
24:42very intense
24:42you have to have
24:44a lot of
24:47communicative
24:47tools
24:48because it's always
24:50we are always
24:51on the edge
24:52of getting crazy
24:53or getting so stressed
24:54because there's another
24:55new deadline
24:56and there's always
24:57a deadline
24:58for everything
24:58no
24:59so
24:59if you are not
25:01enough sensitive
25:03to hear
25:05what the other
25:06in this case
25:07which other
25:07were
25:09yeah
25:10experiencing
25:10in that moment
25:11it could be
25:13really a mess
25:14it could be
25:15very explosive
25:16so I
25:17learned a lot
25:18about
25:19communication
25:20I learned
25:21about
25:23listening
25:23other people
25:25sometimes
25:26I made mistakes
25:27because there's
25:28a lot of
25:28information
25:29in that
25:30period of time
25:31but I learned
25:32a lot
25:32I learned a lot
25:33how to create
25:34a common
25:36energy
25:36because
25:38I mean
25:38the reality
25:39is that
25:39okay
25:40that's
25:40200,000 years
25:42but there's
25:42a lot
25:43of work
25:44that a lot
25:45of people
25:46are sharing
25:46with us
25:47in this project
25:48in order
25:49to get it real
25:49and it's not
25:51about money
25:51it's about
25:51his own
25:52work
25:53time
25:53space
25:54and emotion
25:55and we really
25:57appreciate that
25:57because this
25:58film
25:58was not going
25:59to be possible
26:00if there was
26:01not all
26:02this amazing
26:03crew
26:03and the people
26:04that really
26:05wanted to
26:06make this film
26:08and I think
26:09that that's
26:09something
26:10that as a
26:10producer
26:10you have to
26:12to be really
26:12aware
26:13who's going
26:13to be there
26:14who's going
26:14to be the exact
26:15kind of people
26:17that could be
26:17very sensitive
26:18to the material
26:19and at the same
26:19time to work
26:20very hard
26:21in order to
26:21get into
26:22the
26:24yeah
26:24to get it
26:25done
26:25so
26:25I mean
26:26it has been
26:26really amazing
26:27I have 25
26:28years of experience
26:29by acting
26:30and directing
26:31and things like
26:32that
26:32but I think
26:32that it's
26:32the most
26:33intense
26:35of all my
26:36of all my
26:37life
26:37yeah
26:38I can do
26:40whatever
26:40I know
26:40and I can do
26:41whatever I want
26:41I mean
26:42it's something
26:43that is so
26:43powerful
26:43because if we
26:44make this
26:45in this
26:46circumstance
26:46it gets you
26:47like yeah
26:48it makes you
26:49feel that
26:49everything is
26:50possible too
26:51if you really
26:52want
26:52because yeah
26:53that was a
26:54really
26:54I mean
26:55I was really
26:56worried that
26:57a script
26:58like this
26:59would be very
27:00difficult to fund
27:01for example
27:01in national
27:02Mexican funds
27:03because you
27:04can have the
27:04opportunity
27:05as in the
27:05program
27:06to have a
27:07dialogue
27:07to be listened
27:08to share
27:09what's exactly
27:11the way
27:11in which
27:11queer people
27:12connect
27:13you know
27:14so for example
27:15you just gave
27:15the script
27:16and you're
27:16you know
27:17you're
27:17and not just
27:18feed the paper
27:19yeah
27:19just feed the paper
27:19so you don't have
27:21the opportunity
27:21yet to defend
27:22yourself
27:22I mean
27:22to say
27:23okay
27:23maybe you are
27:24not understanding
27:25as it is
27:27so maybe
27:28it could take
27:29us a long
27:30time
27:31to have this
27:32movie done
27:32and now
27:33it's a reality
27:33and we are
27:34really grateful
27:35for La Vie en Ale
27:36yeah
27:36that's for sure
27:37cool
27:38we're done
27:39thank you guys
27:40thank you
27:41thank you
27:41thank you
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