- hace 1 día
Es la segunda vez que el actor Juan Pablo Raba pasa por Claro Oscuro. En esa oportunidad, el intérprete habla de las críticas que ha recibido por algunos capítulos de “Los hombres sí lloran”, el pódcast que lidera desde hace casi tres años. Además, habla de los retos para rodar “Pacífico”, la película colombiana que se estrenó esta semana y en la que Raba hace el papel de uno de los buzos que se pierde en la Isla de Malpelo.
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00:00Controversy. There isn't really any controversy, because if you look up the meaning of controversy, for there to be a controversy there has to be
00:07Two people debating an opinion. And there's no controversy because I'm not going to challenge that opinion.
00:16These are just opinions. And that's fine. The more opinions there are on the subject, the more we normalize the conversation. It wouldn't be helpful.
00:27If everyone thought it was okay. If everyone considered, "Hey, what they're doing is great."
00:34There is no conversation there. Conversation only happens when someone disagrees.
00:39And the podcast's main goal has always been to normalize the conversation about mental health. It's great that there are people like this.
00:46who disagrees with what's happening there. It's very necessary.
01:06That conversation enriches the program and the conversation itself, which is what interests us most.
01:11us.
01:12So, there's no controversy. There are opinions. And I respect opinions. Because, as the famous saying goes, they say that...
01:23Opinions are like buttholes. Everyone has one. And they all stink.
01:31Honestly, I think it's fine. I have nothing against those opinions. Also, something very important that we say in
01:40all episodes.
01:41We are a program that talks about mental health. But we are not a mental health program. Neither am I.
01:49I am a therapist; we don't give advice, nor are we there to criticize, judge, or sacrifice anyone.
01:56It's a listening program. I'm not qualified to conduct an interview, nor to provide therapy at all.
02:05nobody.
02:06The only thing we are and have always been is a program that aims to open up the conversation about mental health.
02:13So, that's all.
02:20There are people who feel that because a man, in this case, although we also have women, comes, speaks and says
02:26his case, his story or his confession, whatever we want to call it.
02:32It's not like I'm a priest. I mean, it's not like the place is a confessional. I mean, because a person
02:38She goes and talks about something that happened to her and cries, if that's the case.
02:44That means that people will either ignore it or pretend it doesn't exist.
02:50In other words, I think they're giving the program qualities it doesn't have.
02:57I mean, I didn't have the program and I'm telling you, well, your sins have been forgiven, three Hail Marys and two
03:03Our Fathers.
03:05People go and talk, but there are people who go and talk knowing they're going to get beaten up.
03:09It was lovely.
03:12And anyway, they go and start the conversation.
03:17I'm not one to judge what a person is like. Of course, yes.
03:21In other words, a guest once said that he believed men and women have the same opportunities.
03:26I told him, I don't agree.
03:29And that's it, but we're not going to get into that controversy at that time because it's not our place to do so.
03:36Nor do I think that's the purpose of the space.
03:43The podcast is still a surprise to me because I started with the idea of doing 10 episodes
03:48and we had already recorded about 130, and about 120 were already on the air.
03:53The Keeping the Air podcast has been complex because I started doing a series with Paramount in Texas.
04:01So I spent eight months, last year I spent eight months going back and forth
04:06And every time I came, besides taking care of my family, I would do things with my family,
04:09Well, I had to make time to do the podcast, to invite people.
04:13In other words, as always in audiovisual media, you never see what goes on behind the scenes and how complex it is to produce something.
04:23In this case, to YouTube.
04:25The challenge is to keep going and release a new podcast episode every Wednesday.
04:31This requires a large team.
04:34There are many people involved.
04:35We are three producers: Daniel Posada, Monica, my wife, and me.
04:39We have a cinematographer, who is the one filming there, who lights, who brings the equipment.
04:45We have someone who does live sound and who is also the editor, Rumberto Camilo Villegas.
04:51We have a marketing director, Camila Ayala, who is the heart of the project.
04:54We have a social media person who helps Maria Camila make the pieces.
04:56We have sound mastering with Sonica.
05:00In other words, it's a job.
05:03It's really a big job.
05:04So, it's been a challenge to keep recording.
05:12Because between the tiredness, you know?
05:15From my perspective, what it meant to come here, and how expensive it is to do so,
05:21every time we sit down, every day of recording, to make it productive,
05:24I have to record between three and four episodes.
05:27So, like I said, nobody needs to know this, nobody needs to see it.
05:31The important thing is that we have been able to maintain this for more than two years now,
05:34Every Wednesday, a new episode airs.
05:43When someone says we are profiting,
05:46It's because he clearly doesn't understand the cost of an audiovisual product of this quality.
05:52Each episode costs approximately between three and four million pesos on average.
05:56And we've had episodes that have cost over ten million pesos to produce.
06:01Why does this cost so much?
06:02Because we don't record with a cell phone,
06:04which would be, let's say, an economical way to do it.
06:08We always did it thinking that one day, maybe,
06:11It can be part of a platform.
06:12In order to be part of a platform,
06:15It has to be very well recorded.
06:17It has to be recorded in 4K, with remastered sound.
06:20In other words, there is a large production.
06:22To keep the air in, to keep the parts in place,
06:24We need to have a marketing director
06:26and the people who put it together.
06:28If it weren't for the sponsors,
06:30We wouldn't be able to release the program.
06:32Because we couldn't, if you multiply, then,
06:34130 episodes for three, four million and sometimes more,
06:37Well, you can imagine the figure so far.
06:40So when they say we're profiting,
06:42Well, it really is a mistake.
06:44Yes, we have managed to make the podcast stable.
06:48In other words, we have reached the point of equilibrium.
06:50Because, in addition, the first six months
06:52We financed it ourselves.
06:54That is, Monica, Daniel and me.
06:56But it's okay.
06:57Like I said, nobody has to,
06:58Nobody needs to know that.
07:06Like I said, we're not an opinion program,
07:08Nor are we a journalistic program,
07:10Nor are we mental health specialists.
07:12We're simply having a conversation.
07:16Regarding the guests,
07:18I would like to think that we all have something important to say.
07:21in whatever way.
07:23That doesn't mean everyone will agree.
07:26Now, for example, during election time,
07:30Almost all the candidates called us to appear.
07:32And we prefer to do it that way.
07:35Because we believe it is not the right space.
07:37as if it were to become a political platform
07:40from nobody or propaganda, right?
07:43We try to be careful,
07:45We reviewed the conversation
07:47And we understand that some things may be controversial.
07:49And sometimes there are some things we prefer to avoid.
07:52for the sake of space
07:54and for the good of the guest as well.
07:56We've been told things that
07:57we then shared with the person
08:00and we have told him
08:00We believe it's better that this doesn't come out.
08:03I understand, I understand, I understand what you're saying,
08:06But the conversation about mental health...
08:07It is as delicate and as complicated as it needs to be.
08:11So,
08:13If controversies are going to arise, I suppose so.
08:16If there are people who disagree with things that are said,
08:20I suppose so too.
08:21We try to be as careful as possible.
08:23We try not to offend anyone,
08:24We try not to hurt anyone
08:26as far as possible,
08:27but we also try to give space
08:30so that people can talk
08:33without, as I say, being judged,
08:35simply talking.
08:43Ten years ago, for those who don't know,
08:45a group of divers,
08:47an expedition,
08:48on the last day,
08:49It was lost.
08:51They went diving,
08:52The underwater currents swept them away,
08:54They went much further from the meeting point.
08:56and due to human error
08:58They didn't carry any kind of mechanism
09:00to let them know they were there.
09:03They got lost.
09:04Middle of the Pacific,
09:06at night in bad hair.
09:08So, I'll leave it at that.
09:10Three days.
09:11They were there for three days.
09:13To those they found,
09:14They stayed for three days.
09:16Impeccable work,
09:17the National Navy,
09:18thanks to one of the survivors
09:21which was a,
09:22I think he's Australian.
09:23In the film he is an American actor,
09:25who swam nonstop
09:26until you can get bad hair
09:28And he told them
09:32more or less where it had happened
09:34and a captain realized
09:35that they were looking for the wrong place.
09:37Well, the current must have caused them
09:38drag to the other side.
09:40And in that search elsewhere,
09:42when they were almost there,
09:43Besides, we've stopped looking for them,
09:44They met.
09:45In other words, the encounter is miraculous.
09:47It's miraculous and, as I said,
09:49an impeccable job in the Navy.
09:56All this as always
09:57that they ask the actors
09:58or they ask us
09:59How did the recording go?
10:01How was it?
10:02And everyone says
10:02It was great,
10:03the best experience of my life,
10:04That's so cool, you know?
10:06No, that's a lie.
10:08It was horrible.
10:09Really, really.
10:12For me, personally,
10:14It was a very difficult experience
10:15because it doesn't interest me
10:18diving.
10:19Neither the ships,
10:20nor the boats.
10:21I mean, I love water,
10:25protector, defender of the ocean,
10:27in any way I can.
10:29But the topic of diving
10:30He's never given me the attention I need.
10:32especially because I get dizzy
10:33easily.
10:35So,
10:36when they tell you
10:37that you're going to get on a boat
10:37and that to get to the first set
10:40It's a 40-hour journey.
10:43Well, that's where we started off a bit badly.
10:45When the captain tells you
10:46I'll let you know.
10:47when we are at the point
10:47no return
10:48because if something is happening to someone
10:49He has to tell me.
10:50because at that moment
10:51the helicopters
10:52They can't come and rescue us.
10:54I mean,
10:55It's not a situation
10:57in which I voluntarily
10:58I would put it on.
11:00Clear,
11:00You arrive at Malpelo
11:00And it's impressive.
11:02energy,
11:03the place,
11:03how well preserved it is,
11:05the work they have done
11:06to keep it that way.
11:07From what little I could see
11:09It's very impressive.
11:10So, you in Malpelo
11:11You put on a mask,
11:13You look at the water like that.
11:15and you see everything.
11:16There,
11:17from the ship,
11:17from the boat.
11:19I couldn't dive in Malpelo either
11:20because I didn't have
11:22the necessary certification
11:23to do it.
11:26It's full of sharks.
11:27That doesn't mean
11:28that they come to attack you
11:29neither to bite nor anything else,
11:30But it does make quite an impression.
11:31especially if you don't know.
11:37fortunately
11:37It's a movie full
11:39more than friends, brothers,
11:41You know?
11:41I mean,
11:41I can say that Marlon
11:42He's my brother,
11:43Ricardo Gabriel and Directo
11:44He's my brother,
11:44Caro Guerra is my sister.
11:46With Tatariza
11:47we have a relationship
11:48fabulous,
11:49labor,
11:50We also work together
11:51in Unsecuestro News.
11:53With Nicolás Montero
11:54we are assembling
11:54a play,
11:55then also
11:55That helped me
11:56like going through the play
11:58then
11:59with Nico.
12:01Sebas Eslava,
12:02Elkin
12:03and the whole team around
12:04besides,
12:05because that ship
12:06became
12:07in our house,
12:08our set,
12:09our dining room,
12:10our bedroom.
12:11We lived together there
12:12And that's where we had to take out
12:12the movie ahead
12:13and we filmed every time
12:15that we could,
12:15But it's difficult,
12:17These are some characteristics
12:20very particular.
12:22How difficult it is to get there,
12:24how difficult it is to do
12:25anything,
12:26I mean,
12:27I don't know,
12:27when we left
12:29night
12:29from Buenaventura,
12:31We woke up
12:32And I felt
12:33more or less okay
12:33when I woke up
12:34and suddenly
12:35at some point
12:36It turned on me
12:38the world
12:38and I didn't stop
12:40to vomit
12:41until I arrived
12:42to the wrong hair.
12:43I didn't stop,
12:44but we have
12:44to keep filming,
12:45then literally
12:47five,
12:48action,
12:48me too,
12:50also my character
12:50He was the lad,
12:51then I had to
12:52act there, yes,
12:54which was great.
12:55Court,
12:56overboard,
13:00So it's complex.
13:02But I think it's worth it
13:04Because really,
13:06even though
13:07I haven't seen the whole movie,
13:09from what little I've seen
13:09I've been very impressed,
13:12then I always talk
13:12really
13:13of the verraquera
13:15of a friend I have
13:16that Ricardo Gabriel
13:16and how he lay down
13:17the film to the man
13:18and she pulled it off
13:19against all odds.
13:28It's clear you know.
13:29from this
13:30And you understand,
13:31so
13:33Imagine
13:34never be able to
13:35really
13:36have a stable camera
13:38because always
13:39It's moving,
13:40then almost everything
13:41It's a handheld camera,
13:43the cameramen
13:43They're real tough guys,
13:45those of
13:46Dievito Frade
13:47and Ricardo Gabrieli
13:48They operated the cameras
13:50on the ship,
13:52the photograph
13:52axe by Ricardo Gabrieli,
13:54in the water
13:54It was them
13:55but also
13:56professional ambushes
13:57that they were trying
13:58simply to grab
13:59everything they could,
14:00But that needs to be included
14:01also interpretation
14:02because it's not a documentary,
14:04So there's a script,
14:05Try to follow the script
14:06in circumstances
14:07very adverse
14:09because
14:10water,
14:11the ocean
14:13is the one who says
14:14What is the day like?
14:15For example
14:16once we had
14:16that
14:18were
14:18And this was
14:19in Gorgon,
14:20not even
14:20It was bad hair,
14:22Ricardo was there
14:23with the camera
14:24on the ship
14:24and he had to hold us.
14:25like at sunset,
14:27well at night
14:28Filming is not allowed.
14:29then we have
14:29very little time
14:29also to do it
14:31and he had to film us
14:32simply there,
14:33the stillest
14:34It is possible,
14:36There was so much current
14:37that we had to set up
14:38a boat
14:39and go up half a kilometer
14:41against the current,
14:42to throw us out
14:43to try to grab hold
14:44two seconds
14:45that the plan was delayed
14:46and we passed so quickly
14:47we had to repeat it
14:48until the sun set
14:50and we had to leave,
14:52then it is to fight
14:54against the elements
14:55permanently,
14:56Now nobody has said
14:57than filming movies
14:58make it easy
14:59and much less
14:59adventure movies
15:00and survival
15:01and much less
15:03if they decide
15:03that we're going to do it
15:04on the spot
15:05where the events took place
15:06that was bad hair,
15:17that seelinara
15:17and the one that went bad
15:18and not
15:24is that it is offered
15:25if one had
15:25something
15:25and about
15:32that went badly
15:32in his tragedy
15:32who treated him
15:32The Velvet Podcast
15:32Ale
15:32that we are
15:32all
15:32Thank you.