MEMO VILLEGAS: MULTIFACÉTICO, DIVERTIDO Y REAL | La entrevista con Yordi Rosado

My dear Memo Villegas, how are you doing with the police?

A federal officer called me and said, where are you going? Find Lieutenant Harina.

A little picture, Lieutenant. How old were you when you got divorced?

I remember the day they fought. I remember being shocked when he said, not now.

Those scenes must not be easy. The first naked scene was not respectful. I asked for a robe to cover one of the scenes and the director made fun of me. You didn't think or point to the TV. There was no room for anyone like me, man. Not even the mechanic, because the mechanic was made by a Cuban.

They talk to you for backdoor. Yes, there was a prejudice on my part that I'm not that. They send me the audition sketch and I say,

this is phenomenal.

Veronica Bravo. Did you have sex with Ramirez? Yes, we did. I'm going to confess that it was the love again, hard, knocking on my door. You were a minor?

I was 14. And there was a guy, like my age right now,

he leaned over and said,

Can I suck you? I ran, I ran, I remember looking back and I couldn't anymore.

Hey, how are you? New interview, new digital content. I really want to talk to him. We don't know each other very well, but I admire him a lot. He's possibly one of the actors who has been working the most

in recent years. And when I say recent, I'm talking about about six, seven years with a lot of work. A lot of people met him for the first time from Teniente Arena and thisdoor, and this sketch. But the truth is that there was a lot of work before,

but a lot more after. I mean, The Last Car, The Great Seduction, Nada Que Ver, Sobreviviendo Mis 15, Enloqueciendo Contigo, Laura, Los Valientes, now also with Luis Gerardo Mendez, Familia La Deriva, also very, very recent. My dear Memo Villegas, friend. Nice to be able to talk to you.

How are you? Good, excited.

I've been wanting to come for a while.

And I've been wanting you to come too. We saw each other on the radio show. I think we met there or something, right?

Twice.

Twice I went with La Gran Seducción and with, I don't know, the last time I saw you at EXA. I don't remember, but you were there with two films. We were talking, I got to know you a little bit. Well, I got to know you and feel you, right? I mean, in a good way, right? We haven't gotten that far yet, but it depends on how many glasses we fill. But it was a pleasure, my friend.

And right now, the last movies I've seen, I've been very happy to see that someone with so much talent has the opportunity to show it. Because there are people with a lot of talent. I know people who are very good, like you, but not everyone has the opportunity to see it. Yes, well, imagine that I come from Toluca.

I remember I used to take a lot of cabs when I was a kid. And the stories I heard of very talented people driving a cab. There are musicians, actors, writers, who don't have a job and are extremely talented. Yes, there are very talented people. Well, gentlemen, today we are going to talk with Nuno Villegas. It's going to be a great show.

We are having a little wine. I have a pink one by the last We're having a little wine. I'm having a pink one, because of my last name. And a red one. We're going to talk about a lot of things. I want to talk about everything, from the beginning. But I wanted to ask you, do you have tattoos?

Yes, man. Look, I have a whole wall. I've never seen you... I'm more striped than the wall in elementary school. I've never seen you get tattoos in movies. Do they make you up? Yeah, they hate me. You see?

This is a weird fox. A fox. With a mask of an actress. Some flowers.

Another fox back here. A horse. How old were you when you got your first tattoo? I was a big boy. It was during the pandemic. You had nothing to do. How can you think that? I got my tattoo here in 2019.

And since the pandemic was a fact, I thought,

if it's going to kill us all, I'm going to get a tattoo.

Let's go.

Yes, I started getting tattoos for that. I mean, actually, because I thought,

maybe...

I'm never going it. So I do it now. The problem is that I always liked the big pieces.

The big pieces.

Yeah.

I mean, always.

All of them?

All of them.

And did you want to get a tattoo when you were a kid? My big brother was tattooed.

Raúl.

Yeah, Raúl.

And he was always like the rebel. And there's a kind of admiration for his personality. And I think that's where I absorbed him. Ok, and the first one, did it have a special meaning or not? The first one I made a panda here, an astronaut.

A panda astronaut?

It's that my little brother has an astronaut here, but this is...

It's this one?

This was the first one. It's well done.

And...

I said...

It's for an astronaut?

For an astronaut. It's a horse that's hard to understand. But it's a horse that deforms. People say,

-"Oh, Simon, yes." -"Yes, he's f****** awesome." Have tattoos ever helped you not not be with a girl? I don't have tattoos, but it's seductive. When you have less clothes, you're like, look, this is this. Is tattoos seductive?

No, it was never a disappointment, why not?

It's like when they told me,

in Europe you're going to be the sex symbol. Europeans love brunettes. I don't know what.

Never, man.

They told me that.

You know that we went, Lalo Suarez, Adal Ramones and I, to Europe for the first time in big backpacks because we could never go before. And when we went, everyone said, no, brunettes love it in Europe. No, no one shaved our heads. Black people like Ricky Martin and Chayanne.

Yes, yes.

Because I went to a bar, the first time I went, I said, yes, yes, no one, no one. That story never happened. No one shaved your head. Yes, neither did we.

So tattoos weren't a sensual tool for me.

No, not at all. Well, who knows, maybe after this, people see us, they want to get to know you. Maybe.

The tattoo, right?

Hey, were you born in Metepec? I was born in Toluca. In Toluca, ok. But I lived on the border between Toluca and Metepec. Ok. Practically in a colony there, which is on May 5th and Pino Suarez for the people.

Ok, and are are they two brothers, only your older brother? From that marriage, we are two brothers. Okay, perfect. How were you as a kid? What did you do? What did you like to do?

Play?

Well, I always played soccer when I was a kid. Since I was very little.

And then I started to discover this scenic vibe.

Okay, were you into video games or not? I got to the Nintendo 64. Okay. But from there, PlayStation... Did you get to the 63?

No.

Well, no.

No, um... PlayStation, Xbox, all those things, all those consoles. You didn't get there? No, I just wasn't interested. I loved Mario Bros. in all of its presentations. Nintendo, Super Nintendo, 64, and that's how I got there.

Look, here we can see the age of both of you. You got to Nintendo 64, and I got to Atari and Intellivision, which is a huge difference. Yes, of course. I didn't even play Atari. Atari was like mine, and Intellivision was like, Nintendo, I didn't get there, I was already working.

You started working young, but you're younger than me. About 10 years older than me. I'm about 10 years older. What year are you?

I'm 87.

No, no, damn it. I'm 38. No, you're 54. No, 15 years. So I look like a f****** a**hole.

No, no.

I thought you were 4.

No, no.

Cheers.

Hey, Cheers! Listen...

So, football, a little bit of video games, but very football-oriented. Very football-oriented, and I started going to football school when I was 7. My dad started me when I was a kid. Out of pleasure, not because he wanted to. I always asked him. And... Well, yeah, man.

How did you get into football? Did you want to play just to make a career? I wanted to be a footballer, but I was thinking about that a while ago, and I was scared. I was scared to play with people my age. But since I was smaller, they could make me play from Cachirul at 88 or 89.

When I was younger. A year younger, which is when you you can feel the difference at that age. Of course. And I was a great scorer. I scored 3 or 4 goals. But with my generation, I was getting smaller. The field was something that always scared me,

at the same time that I loved it. But I remember the coach telling me, football is also about shouting, man. Shout, ask for the ball, talking, presence. And it was hard for me to talk on the field.

Okay.

And then I was an actor. Sure, yes, yes, yes. But maybe, I don't know, I'm also a kid, so maybe in a physical situation, maybe you see someone older and you go back, I don't know. No, physically I did get in.

Okay. I didn't get small in that, but the thing of...

Come down, come up, give it to me. No.

No? Okay. And who was going to see you? Did you like to be seen?

My dad.

My dad, I didn not going to lie. My dad used to travel from Mexico to Toluca. So your dad lived in Mexico? Did your parents get divorced?

Mexico City was then called Mexico City. Back then. He always came to Mexico for me on the weekends. He came to Toluca on Friday or Saturday. We came here.

If I had a game, I would go to Toluca or sometimes I'd play here in Mexico City.

Okay. And I'd always be there.

How did you feel when you saw him? Well, shit. I remember one time he was late and I had scored four.

Wow.

In the Toluca club. And what frustrated me the most was that he wasn't there. club to look at you look at my frustrated I can't get a Sam but I'm a little bit of a beast of the front of the school or the to the past and what's he doing but he said that you have a young

with you

you know what I'm saying

but I know what I'm saying because I'm a kid so I'm a good man so I'm a good man No, no. No. No. Yes, but it happens. When did you, I imagine that was, if your dad already lived in Mexico City, your parents got divorced beforehand. Yes. How old were you when they got divorced?

Six, seven. Oh, so little. They got separated, actually, because I don't know how legal divorce is in China. You don't know. I didn't know.

But when my dad left the house, I remember six years. And was it something that hit you hard? Yes. Yes, because I remember the day they fought. And that was 32 years ago. How was it? What happened?

I remember what I think I want to remember. I remember a fight, a fight. And all my parents left the house. And I remember that we had a break on the stairs. You know, stairs, break, stairs. On that break, I remember having caught him and telling him, I'm coming with you, take me with you.

Something like that, I remember it like that. And I remember it really impacted me that he said, not now, man. I can't right now. Where I'm going right now, I can't take you. Maybe it was a dynamic from always, you know? Take me, let's go.

But here, on this occasion, I couldn't. So for me it was like, oh.

And your mom spoke to you later? Because those moments where parents think that, unfortunately, most, well, many of us have had the father or the mother leaves, depending on the case,

and that afternoon or the next day, it's very complicated, did your mother or someone else talk to you? I don't remember that afternoon more than that, but I do remember the years that followed. My dad was spoken to in a rather ugly way by my dad at home.

My grandparents, my mom's parents, they'd get mad at me. And years later, my grandma said, I'm sorry, man. Your dad is a good person. I was very angry at my daughter and all that,

I'm sorry. But I was already 20. Which I also really appreciated. That's what I was saying, you're so grateful. Never being sorry for something that big.

It always works.

Sure. Because when parents... It's normal when there's a lot of anger. It's common, not normal, but common. When they talk like that, about alienating children from anger, you're hurting the self-esteem of the kids.

And it's very complicated. because sometimes the moms are angry because the dad doesn't give them money, or vice versa, or whatever, the problems that everyone has. You take out all the courage, but you're hurting the kid. Because I always say, when you say something to your son about his dad, you're telling him that the son is half of him.

It's half of his son is half of him. Half of his blood is you. So if someone says he's very like this or he's very roasted, you're telling them, half of you is roasted.

And it's good.

And it's also great that your grandmother told you that he's mature. Yes, well, she got the eggs, right? And to say, now how do I apologize for something I've repeated to him for years? Exactly. Does your dad live there? Yes, both of them. That's great. And how does your dad see your work now?

Because now he scores on the screen. No, well, both of them have always been proud parents. Because apart from my brother, he was the one who got, perhaps, more questioning because Raúl is also an actor. So, perhaps he had to deal a little more with convincing my parents to be an actor. And they started to be a lot more gentle with me.

I mean, the biggest comment they made to me was, why don't you do a career in something else? And then, if you don't like it, you're an actor. But you already have a mattress, you're a lawyer, a chef, whatever you want. And I told them, what scares me is that I do well in that career. And stop doing what you really want to do. Yes, what if I start making good money, or what if I do well as a lawyer?

And I say, no, why would I be an actor? I'm going to starve. You know, repeating the same thing you hear. Why would I take a risk if I'm already here in the office making good money, or with a job. So I said, no, not because I'm afraid of that. On the contrary, if I don't do well as an actor, I'll go to college at 23 or 24.

Sure. Something else. That's a good approach. I've done well so far, but I could have done really badly. There was a big, a big downfall after the sketch in Backdoor of Teniente Harina, right?

Yes, there was. I mean, I had been working for many years and I was already settled, let's say. And I don't mean financially, but emotionally. I mean, I was already very happy with my life as an actor, as a theater actor, which is what I came to do,

to Mexico, to Ciudad de México. I moved from Toluca to Mexico City looking to be an actor. I couldn't imagine anything else. Because when I decided that, there was only Televisa and TV Azteca, as you may remember. For someone of my profile,

it wasn't even the mechanic. Because the mechanic was done by a Cuban guy with a seat... a seat... William Lennon! With a little accent. With a weird accent. Like William Lennon. Yeah, with a beard.

With a weird accent. With a weird accent.

We were like,

we'll get you a car, man. And there was no room for for someone like me. And there was no room for someone like me. And there was no room for someone like me. I'm not saying this as a victim.

I always, I knew theater, the first thing I knew was theater, so that's what made me fall in love with acting. I didn't come to be an actor, I came to be a theater actor, and I went to a theater school. So at that moment, you didn't think

or aim for the TV? No. and you pointed to the TV stations. You didn't even think, oh, it's going to be on TV, no, no, no, no, no, no. No, no, I didn't even see it on the map. I'm not in that profile, damn it. No, that wasn't for me.

Okay.

Even the movies. I didn't see that as denied, but I said, how do you get into that? I come to my theater school to do what I already felt What was the first movie or play that you saw and said, I would love to be in it? How would I like to be that character?

The Lady in Black. When they took the Lady in Black to Toluca, where German Robles was, German Robles, the worst character in The Lady in Black, and the other one was played by Miguel Pizarro. And my dad was the one who did that kind of thing with me,

taking me to cultural events, taking me to concerts, taking me to the theater, talking to me in a deep way. And then he took me to see the Lady of Negroes because it was at the Teatro Morelos in Toluca. And I was fascinated. I mean, the work of Germán Robles, who already had Germán,

well, almost hitting 70, I think. And I was amazed, because, I don't know if you remember, or people who haven't seen it, he makes a lot of characters. The character that Germán Robles did, goes through a lot of characters. And that amazed me.

For me, that was the actor, right? The one that, Ah! Change!

Change!

Woo!

And it was something...

Wow!

And it also happened to me that, according to me, the actors smelled good.

They smelled good because...

Yes, because I sat on the chair, also when 11 and 12, when Chispirito took me to the Teatro Morelos 11 and 12, I was very drunk. I also said, what is this, man? I mean, I could watch it over and over again. And I'm giving you two references that someone will judge me for saying, they're both very commercial, what you're saying. But that's my approach to children's theater.

No, but also very successful. I mean, the Lady in Black still has 50 years on stage, I don't know how long, and Eleven and Twelve. I went to see her at the Lebanese Libanés here in Mexico City, and it was crazy. I mean, it was funny, it took you a month and a half to get tickets. I don't know how they got the tickets, my mom must have applied.

But, those were my two most badass approaches when I was young. And that, I said, that, the actor transforms.

And in the seats, it smelled really good. Ah, in both plays? Yes, but it was probably...

It was your mom?

Yes, man.

It was probably my mom, or the lady in the front, or the girl in the front, who took someone's shampoo.

But I was mesmerized by what I was seeing,

and I was like, that guy smells so good, I want to smell like him.

I mean, acting, I mean, the costume must be something super vulgar, and then you realize that, no way, no, I mean, you share six fucking functions, six cities, the same suit, and it already smells. The armpits are already all stained. Because I also started to think, I've never felt in the theater that the actor smells good. And I've even been to the micro theater, which is here.

But look at how great it is. Maybe you smelled, or you had that coincidence on two occasions, possibly with your mom or someone close, or the shampoo, as you say. But they say that the olfactory memory is impressive. It's even stronger than brain memory.

So, mentally, at some point, what I'm seeing, what I'm loving, and what I'm smelling, crack. Yes, all the sensations come together in what you're idealizing. This looks good, this sounds good, this smells good.

I want to be that.

That's awesome. Hey, now that you mention your mom, what was your relationship with your mom when you were young? What did you do in this time of football, in this time that you lived with your mom?

How was it?

Well, there was a time when we were just separated, when I was still a kid, 8, 9, 10, 11 years old, which was good, but I have very little memory of that. I have more memory of when I was a teenager,

a teenager, that we were terrible.

Oh yeah? So you were a complicated teenager? My mom was complicated too. Okay.

My mom was...

She was lonely.

Right?

Did she get married again or not?

No.

Okay.

And yes... Yes, she suddenly felt... She felt incapable of doing certain things

because she didn't have a man by her side.

Okay. I felt like I was incapable of doing certain things because I didn't have a man by my side.

And that made me a teenager. Zero tolerance. And she was also zero tolerant. That's the thing, we fought like two kids, both of us. Yeah, my mom would say, I want you here at nine,

not a minute more, not a minute less. And I would say, what do you mean not a minute less? I'm 8.59, don't you open? Well, no.

And then those things were, well, no, I'll stay outside.

Oh, well, stay outside.

Let's see, what do you think? No, well, you know, that kind of relationship was difficult. I didn't want to be at home. OK. and I was already 15, 14. Where did you go? What did you do? I was always one of those who went for you until the end, or one of those who moved in a truck

alone. So I would go back with a friend and we would take the long route

in Toluca.

How? To get there later? To get there later and spend all that time easily, 45 minutes.

And I'm talking about Toluca, where you travel faster.

Yes.

But I would avoid... Yes, 45 minutes in Toluca and you arrive in Queretaro.

Yes, exactly. I would avoid meeting my mom because maybe she was going to her second shift and I wouldn't see her anymore. I would be with my friend or Or I went straight to the food. Sometimes I took the school bus straight to Pumitas.

And I also avoided...

What did your mom work at?

My mom...

My parents are dentists. Okay.

Both?

Both.

Okay.

And did you always have good teeth?

I don't. To this day, I don't. Oh yeah? You didn't let yourself? No, the truth is that I've always... I mean, I haven't fixed it. I mean, I haven't fixed it because I don't have to. I don't lack anything.

But you know, it's very... very fashionable. Well, not fashionable, but there is an implicit demand. Hey, we'll fix your smile. You know, as a public figure, dentists look for you.

I'll fix your smile. No, but I have nothing to fix. You're doing an exchange for them, so you can announce them, and you look good, and that's their presentation card. Exactly. And my parents have always told me, dude, annoyance that doesn't bother, don't bother her. Why would you fix it?

Why would you do more things do if you're okay. Besides, as an actor, or the profile I'm looking for, the type of actor I want to continue building, it's not about having a perfect smile, but more a real smile. Something natural, right?

Natural, real.

The one God gave me. What, for example, did you learn from your mom, from all this time that you have today? Like Mr. Miyagi, who suddenly says, Oh, man, I learned this. And what do you have from your mom and what do you have from your dad? I think that from my mom, financial intelligence,

like saving, like having a conscience of not spending it all away. Investing. Investing, thinking about your old age, the future, something that gives you peace of mind. And my dad's, without a doubt, independence. I mean, my dad was... I tell you, at first he went to Toluca for me, but at 14 he told me, now I'm going to teach you the walker here in Pino Suarez and Cinco de Mayo and he'll drop you off at the Observatory.

I'll go get you.

And I was like, with the eggs of a Toluca kid,

I said, OK. Those are eggs with chorizo, right? Those are eggs with chorizo, and sometimes green, and sometimes yellow. So there was a variety. So, like, the first time, he was shy, holding the walkie-talkie. And then he started feeling cool, like,

I can do this, I can pay for my walkie-talkie. I'd get to the observatory, and he'd pick me up. A year went by, and he'd say, OK, cool. Now, at the observatory, walk over here, grab the rose, and I'll see you in Seville.

Ah, no, boss.

I mean, yeah.

Yeah. I mean, it's... It's... But it goes, it goes. And that's how I learned to use the subway, until one day, on the sidewalk, because I liked to take the truck to the back, I sit down to the window, because I liked the window, and there was a guy, like my age right now, I was 14, a guy 38, 40 years old, to the window over there.

I was like this, looking at the front over there. I was looking out the window, and suddenly I see a chair moving.

Wow.

And I feel his gaze, but not like this, Jordi,

like,

oh, man. But I didn't see it, I just felt it, and it stayed for seconds. And I even felt his eye movement,

that he was...

Like, he, checking everything. I thought, what's going to happen? I move, I move at once. And when I was ready to move,

he leaned over and said, Can I suck your dick? No way!

I swear.

Like this.

That's not true. And with that tone of voice. No, yes, what a fucking scare.

I remember I answered, it's not true. And with that tone of voice. No, yes, what a freaking scare. What did you do, man?

I remember I answered, I thought I was going to freeze. What's wrong, sir?

But right away, what's wrong, sir?

Ah, sorry. He returned to his position. And from there I started a revolution of, what do I do, what do I do? You were a minor, man. You were a minor. Imagine what that guy does every time he travels in that truck. The situation is ultra serious. How did you solve it?

I was paralyzed the whole way back. As soon as the truck stopped, I got off. I got off, I ran, I ran. I remember the observatory in Seville without looking back. You saw that he didn't stop or anything. I didn't look back, I was going like this.

The road that I already knew, pa, pa, pa, Seville, pum. I get there, I get out, my dad was already in the Escort waiting for me. I remember a lot about the Esc seat because my brother Raul was driving and my dad was driving. And he starts talking. And he says, how did it go? I said, good. And I couldn't do it anymore.

You started crying? Yes, I told him, no, a guy told me that if I could suck his d***. And I started crying. And my dad, after he could, he stopped. He got out of the car, he hugged me, and what I appreciate the most, and that's why I'm telling you this story, is that my dad told me,

What did you learn, man? Because this could happen again. And what I wanted was for my dad to tell me, Oh, what an idiot I was, man! How could I leave you alone coming to Seville? I'm going to Toluca for you again.

That's what my head was telling thought my dad was going to do. And my dad said, what are we going to do, man? Go ahead, man. Look for the ladies. Look for the whole families. Why are you going back?

Not as a scolding.

No, first it was super.

No, no, no, it's just that we solve something that is real and that happens every day. You just said it. to minors is tremendous. How can you protect yourself? And look how it matches perfectly with your answer you gave me. It made me independent. Yes, and I'm also alive.

This guy wants to mess with me, this guy wants to attack me. I've been saved from two attacks by that antenna. It was following me on the subway. I use the subway a lot, practically every day.

It was following me. Now I use it with more confidence because people love me. It's very nice. People see you and say, this guy has found me, he's going to take care of me.

I hope.

If he asks for a picture, he's going to take care of me. But that time on the subway, I remember, I said, this guy is going to attack me.

So what I did was...

I imagine that the robbers come the robbers and you're like, I have four people who asked me for a picture and I will not hesitate to use them. That day I turned around and I faced him like this.

And he was gone.

But...

I mean, I swear I was going to... They have never robbed you again? No, that's another one. I also felt bad. I mean, well, I'll finish with my dad. That was the most beautiful thing, that he told me. And from there I learned.

And I liked that advice. I would even say it if I were a father. Look for families, man. If you see the lady who brings her basket, who is a merchant, He's a salesman and he has his food basket that he's going to sell at the bus terminal. Hit on her, man. She's hardworking, she's cool. But go ahead, talk to the driver,

ask her anything, man. Even if you already know it, ask her,

Hey, what's the first stop, boss?

Yeah.

No, well, look at her.

She protects them. Yeah, man, she saw that I'm here alone.

The driver. So, you know, I asked the lady about her tacos.

Yeah.

Yes, yes, yes. She taught you to take care of yourself. How interesting what you just said. Because yes, everyone has to be very careful about that. So many women who are alone. It's good that fortunately in some places like in the center of Mexico City there are special wagons for women.

But all of them, women and men, we can all be bi-oriented in a way that helps us. Let's go quickly to a refill, so that people can refill their bottles, and we can refill ours. I also want to ask you this, for example, having also played several police characters, including Lieutenant Harina,

how do other police officers receive you? How do they see you? Have you ever been saved from a situation? Have they helped you, and how many police officers have you helped. And well, we will continue to talk a lot. We are back, the chat with Memo Villegas is great.

If you are liking it, please give it a like, subscribe to the channel. It's free, you know that we don't fail you. Every Sunday we put interviews for you, always free. The subscription is free. All we need to keep doing it is for you to subscribe. It doesn't take you 15 seconds. Just click on subscribe and it helps us a lot. Hey, I'll tell you. One of the trips we've enjoyed the most with friends was to Acapulco.

We had an incredible time. We booked a house in Airbnb and since we arrived, we knew it was going to be a memorable trip. I mean, memorable for the space we had to be together. The garden became, well, you know, the meeting point from early on. That's when the morning coffees, the talks, started.

And then, without realizing it, we'd been there for hours, but really, hours, laughing, telling stories, getting up early, because it's been a while since I saw my friends like this. Later, the barbecue became the perfect excuse to extend the afternoons. And something that fascinated me was that it was pet-friendly. So I took Cayetano, my puppy, he came with us, everyone loved him, they were delighted.

And everything happened there. The talks, the laughs, those moments that are not planned, which in the end are the ones you remember the most, do you agree? The space itself, as if it invited us to live together and truly connect. Those kinds of things are not just an extra, they are what makes real coexistence possible. The one that almost never fits between pending agendas, so many things we have to do, those different schedules.

So if you are thinking of traveling with your friends and your pet, and you want a place where the plan is to just be together, it's worth looking for an Airbnb. There are options for different budgets. And when you find the right one, look, the trip is made up of just you. So, well, I already told you.

Cheers, my friend.

Cheers.

Hey, I was asking you, how many characters have you played as a cop? Have you played a lot as a cop or not? 12, Lieutenant Flour and... And as a narco, right?

Ah, three, sorry. Yes, Sammy as a narco, Lieutenant Flour,

and now, The Hour of the Brave. Ah, of course, of course, three. And how are you doing with the cops? Because, I mean, we'll get to the moment of Lieutenant Flour and the next movies, but just quickly, a spoiler alert. How are you doing with the cops?

Cool. What do they tell you?

Once, a federal police officer on the road, I got in... I had a bad time on the road to Guadalajara. Or, well, I don't remember if it was in Guanajuato, I don't know. But I had a bad time, and then I got a federal. And you know this idea that, fuck, the federales are... They're tough.

This guy is going to be a pain in the ass. And my hope is that he finds me.

That he finds me and that he likes me.

Yes, yes, yes, but you can't find me.

No, no, no, We're not the police. No, I stopped and my hope is when the police asks you, generally asks you where you're from or where you're going, and what you're doing. The one that asks you what you're doing, I know it doesn't fail. They always ask you what you're doing.

And that's when I say, actor.

And he says, look at me.

Look at me, actor. And he says, look at me.

Look at me, actor.

And I'm like, hey, you fucking ate my alcohol.

And then I say, actor. And he says, ah, the same as always. Where does it come from? And I say, ah, you made it easy for me.

He points to Lieutenant Flour. Ah, no, partner. Partner. He calls his partner. No, man. No, man. I can't ask you for the picture because I'm working, man.

But that's great.

That's great. Look, I'll explain. You can't do it here because I don't know what. I know, I know. So it doesn't happen again. Nice to meet pleasure, man! Damn, I can't take a picture, man! But... Now you know. Be careful!

Super good fart, man. And so, a patrol car just... threw me the...

I was walking...

I was walking and... What's up?

A little picture, my lieutenant! And they call you lieutenant? Yes, yes, yes, yes. Of course, with pleasure, we took the picture. The other day, washing the car, I mean, leaving it in the car wash, they were washing a patrol car. He gave me his card and everything,

anything that would get stuck, anything, I have it there, fortunately I haven't had to use it,

but, well, it's really cool.

Of course, Of course. It feels great that for the first time you feel like the police are taking care of you. No, I mean, yes, yes. I mean, there's never been a cop that told me,

ah, Chile is not like that.

How did you start doing this? When was the first time you said, well, I understand that as a kid you said, the play, The Lady in Negro, you went to... Huelen Rico, Los Actores. Huelen Rico, Los Actores, and such.

When did you go on stage for the first time and you said, yes, this is my thing? When I was very clear, it was in sixth grade when we did La Bella y la Bestia, that I was Gastón. I went backstage and felt... Wow. I mean, the magic. And as soon as I finished my scene, I went backstage.

Yes, behind the scenes.

Backstage? As they say, behind the scenes. And I told my friends who hadn't seen it yet, No, no, it feels great. And the beast that had already entered,

No, it feels great. And I said, ah. the same thing we lived,

one lived it for bad,

oh, no, it's horrible.

And I lived it as I want more. And that was the feeling, I wanted more. What I felt was power, right? I mean, what a mess. And the theater was absolutely full of moms and dads who come to see their babies, right?

But full, after all, I mean, and a full theater, you know, it breathes, it feels, even if you don't hear,

I mean, you hear the most micro of people.

Hey, I, for example, I've had the opportunity to talk to many actors, this, of theater, because I know that theater and applause and being there, the immediate response, is like that great moment of the theater.

What is the great moment of a movie? When you sit down to watch the premiere, or when? When is it when you say, when you're filming it? For example, right now we're talking about Laura de los Valientes. When is the great moment of the movie? When you see yourself? I do believe that there is a very big difference between theater and cinema in terms of what the actor does.

And this, which you specifically ask, is more difficult to find in the cinema. Because, as you say, theater is right away, I mean, before you enter you're already shitting yourself, literally. I mean, you really wonder, why am I doing this, man? I'm crazy, man. Why did I decide to do this? I'm really shitting my pants. And I think that in the movies, I think it's the final result.

That moment you ask, I think it happens, or in my case, yes, when you see the final result of everything that, I remember that it rained that day, that we fought that day, or that we hadn't slept that day, we fought that day, or we hadn't slept that day, that call was long,

and now that I see the scene, it works. The scene is very beautiful, it's awesome. And also, the day-to-day of the cinema. I mean, the call after call of getting to know the band, of chatting with colleagues

that maybe you don't see again until the next project in which you find them. That, to value the... Because then we lose a lot in seeing what was not good in the production.

Like, oh, we had to film this, and then it's hot, and then the shoes don't fit me well, and then the catering is a dick. There's a phrase that I don't share with the truth of cinema, that says, get us out of here. You've heard it, in the set of a film, what you want is to leave.

So there's a joke, normalized, let's get out of here. They fit. Yes, so then the actors, we have to have someone from the crew say, get us out of here, They're already done. Yeah, so then the actors have to... Someone from the crew has to tell them, Get us out of here, man.

Do it right, man. I mean, I understand that maybe the phrase has a story and maybe it comes from an actor who took 80 times to get it right and it doesn't work, and the dialogue doesn't work out, and then it's all too late. But I once did think about it once. I don't like the idea of getting out of here.

I don't want to leave.

I'm doing this for a living.

I came to do this.

I know it's a joke.

Of course. Yes, yes, yes. But in the end, I'm enjoying it. If I get there at 8am and I'm already saying, get us out of here, I'm going to be there.

Yes.

Of course. I'm kidding. I'm kidding. I'm kidding. I'm kidding. I'm kidding. I'm kidding. I'm kidding.

I'm kidding.

I'm kidding. watching the movie, someone who was moved or laughed, does it feel like that? Yes, it does feel like that. Like you said, you used the movie as a... You were detailed in the sensations, right? He lies down there, he shakes his hand to his friend, he lies down, he hugs him, and then... I mean, it speaks of how it made you feel.

And that, I mean, I feel good.

Something generated my work. And that, I feel good.

Something generated my work. And also the editing work, the direction work, the lighting work.

Because cinema is all of that.

What is your favorite movie of the ones you've made? Of the ones I've made, it's called I Don't Know How To Be.

And it's not available yet.

So it hasn't been released yet?

No.

Ok. Oh, so it hasn't been released yet? No. Okay, wow. And it's a series, or you do comedy and drama?

It's a comedy, but I would describe it as a more real comedy. More human, like life. Like, I don't know if you've seen Carnage.

No.

Which is two couples, two marriages, fighting in an apartment. I mean, they don't start fighting,'ve seen Carnage. No. It's two couples, two marriages, fighting in an apartment. I mean, they don't start fighting, but everything happens in the apartment. Okay.

We talk about the two kids who had a fight between the two kids, and the problem escalates. Oh, yeah, the play?

Christoph Waltz, yeah, it's a play.

Oh, yeah, I saw it. Yeah, I saw it. It's a great movie. It's a great movie. It's a great movie. It's a great movie. It's a great movie. It's a great movie. It's a great movie.

It's a great movie.

It's a great movie. You studied something, you got into theater, you came to Mexico City. Yes, I kept doing theater on Saturdays. I took a theater class on Saturdays in Toluca, in the center of Toluca. It was my favorite time of the week, obviously. Do you do comedy as a kid or not? Generally, in those workshops,

since they are for pure kids, generally the materials that the teachers take are comedians. So we did a play called Grandma from Batman by Alejandro Licona. They were sketches, very expensive. And we presented them on the street, in public squares, in Cinacantepec.

We sometimes had two... I don't know if they were two little trucks or a truck in reverse, that when they got off the truck, it was like a template. Ah, that's cool. Or on the street, or wherever.

And that was awesome. It was happiness. I was 16 years old, I was falling in love for the first time with my theater group partner. In the theater group, doing theater,

it was the same as the effect of huele rico, everything is so fascinating in this world. That's how I saw it. So the performance, the emotions, and discovering love simultaneously. Hey, and when you performed in public places,

did you ask for money or was it just, it was like, we're going to perform, and so on. Yes, because it was part of the workshop that I took at the Casa de Cultura in Toluca.

And, well, I didn't do it for money.

Yes, yes, yes. It was part of the school. No, not the school. Well, yes, the theater school. And so, well, that's where you start. And when did you go to Mexico? Well, just in the middle. Were you very much in a relationship? Were you very much of a couple? Were you very flirtatious? Very boyfriend-like? I always, I always,

I mean, since high school I tried to have a girlfriend. And from high school to high school,

no one fucked me up.

How do you mean? No one. But I also brought the school of, of, well, what I learned from men before. I'd say, you give her a stuffed animal, you win her over with a petal. And so on. I'd ask my friend to get the locker key from Lilia,

and I'd open the locker and it was full of petals and a stuffed animal. I look at it and I say, when? Who would like that ridiculous idea of opening their locker in high school and saying, this asshole filled the locker with roses. It didn't fit. It didn't fit, but I did that sucker for that. I was a sucker for Rosa Zeloker. So, it didn't hit you? It didn't hit me, but I did that kind of show. For me, it was like, wow! And did you ever feel sad?

Because you're very vulnerable at that age, and then your self-esteem goes down when you're not being seen. I think I was a melancholic kid. Because I listened to José José Facundo Cabral, and Manuel Serrat, Alberto Cortés when I was 13. Suddenly someone told me, I don't think it's very normal that you're listening to that guy.

You don't have a girlfriend, right? Change of music. It was like nostalgic, romantic. Okay. I always thought and longed for love. And when it didn't work, and when the analidia didn't work,

what did you feel? Did it make you feel down? Or did you say, well, oh well, and another one? Yes, it did make me feel down, because I gave everything, my passion for that,

for that locker thing, or that I gave you some flowers, to another girl. Maestra, may I Alejandra López? Alejandra López, pero así enfrente de todos. Y Alejandra ya sale con la pena arriba. Y se para y le doy unas flores.

¿Enfrente de todos? Sí, sí, sí.

¡No!

Y la otra entra así, regresa al salón con sus flores. Pero para mí era de, soy un galán. El famoso romántico suicida.

Soy unigador.

Your first kiss? It was before high school, right?

Or not?

No, until I was 14. Well, I was in high school at 14.

Yes. How was your first kiss? How did you get it? A girl older than me approached me and gave me a kiss that I never understood until now. I still don't understand. Because it was like...

I had never kissed anything. Not even a little bit? Nothing. And suddenly I had a tongue navigating my mouth. I didn't understand anything.

But I was excited all night. I mean, wow.

And did you see her again?

No.

I mean, she was a friend of my cousins in Morelia. Wow. Okay. How did it end up working? Look, there was no strategy. I understood that you have to be yourself. I mean, I got to the theater workshop, I saw her from day one, and I said, wow, but she's never going to listen to me. Obviously, she was two years older than me, she was 18, I was 16, and I said, at that age, she was already in high school, and I was a fucking high school toad.

She's never going to listen to me. I don't know if you know, but I've never been in a relationship. But the theater itself, too. There was something, something I saw of passion, of vocation, I don't know, that we became lovers quickly. And I remember we were sitting there and I said, Hey, I have something to say. I like you. Well, we have a problem, he said. Why? Because you like me too.

I remember the dialogue and everything. And that's when our... A successful romance, a beautiful relationship. Until I came to Mexico City to live. That's when it had to end. But I remember it with a lot of joy.

Didn't you see her again sometime? Yes, I saw her again years later. A while after I came to Mexico. I was going to see her when I came to Mexico. You know, like stretching the thread so that love wouldn't die. But you move around the city.

But now, for example, with your career and all that, I've always wondered, when someone is as successful as you are, finding an ex-girlfriend or someone who didn't

hit on you at some point. How have they reacted? Well, Annalilia, Annalaura and Alejandra. Alejandra is the one I got from the locker room. Annalilia is the one from the locker room. And Annalaura, I gave her some really ugly earrings or something like that.

I still see her at 3pm. They are my lifelong friends. I just went to the baptism of the son of Ana Laura. I couldn't go to any wedding because of work, but I saw Alejandra in Vancouver.

I mean, yes, we are.

So you became friends?

Yes, yes, since I was a kid.

I mean, they beat me up and it was like,

ah, okay, friends.

I mean.

I know that, unfortunately. I know that. They say that many of the women who are our lifelong friends were women who didn't leave us. Well, yes. In my case it applies. Also in mine.

So, how did you decide to come to Mexico City? Why? And what were you studying at that time? Because of the theatrical drive. I told my mom, there's nothing else to do here. I have to go to Mexico City to study Arts, or to the CUT, or to Casa Azul,

because I'm not going to hit it here.

You had tried, you know your mom would say, study a career, such and such. No, because I was still in high school. I was still in high school. And I said, yes, I want to do this. I want to study the last year of high school

already in Mexico City and at the same time, in the afternoon, study a technical degree in fine arts and theater. Let's see if I can. And yes, I studied my last year of high school and at the same time, I went to the theater school in the afternoon.

Wow, at La Nacional.

There was no... there were no more CEDARTs. No, it's not CEDART.

It was the School of Artistic Initiation in Bellas Artes. Was it hard? I mean, was the learning hard?

No, it was amazing.

I mean,

I fell in love again. I mean, I'm telling you, the body and the spirit are there, they want everything in their life to revolve around that environment. So you fall in love there, you make the best friends there. You want more of that. Sure. And so I said, I'll keep going, and I'm going to get into the formal career

of Bellas Artes.

Hey, Veronica Bravo, Ramirez, in the sketch of, but well, it comes out, in fact, in several films, ah, well, it just came out too, in Laura de los Valientes.

Was it your partner? Did you hang out with Ramirez? Yes, we were. But a long time ago.

How is that?

Let's see if Avero doesn't get mad that I tell you.

No, but it's...

It happened. And it was a very beautiful time in my life. I met Avero at a theater show in 2012. And we were a couple. So, it just stayed there in the... In the taste. But I will confess that it was love again,

hard, knocking on my door, after that first love of 16. Okay. I remember that I gave a play called Litoral, a play directed by Ua Rebillaga, and she went to see it, and she was very attentive.

Because I could have contact with the audience. I could see the eyes of the audience. And I saw her. And she saw. She was... She was in love with the play. That also amazed me. And then she told me,

Hey, congratulations for your job. Very cool. And I said, wow.

And then a year later, she wrote to me, I don't have a boyfriend anymore.

Come on, what are you doing on Tuesday?

And that's it.

From day one, Vero and I got along great.

That's great. How long did you date?

Five years.

Oh, no, that's a long time.

Yes, yes, yes.

I mean, day one, we saw each other three times that same week. Tuesday, Thursday and Saturday. And by Saturday we were in love. That's great. So five years is a very serious relationship. Yes, yes.

You never lived together?

Yes, three years.

Oh, ok.

Three years we lived together.

When you started working at Backdoor, did you still live together?

No, not anymore. She and I broke up in October 2018. And Backdoor fell ¿seguían juntos o no? No, ya no. Justo ella y yo nos separamos en 2018 de octubre,

y Backdoor cayó marzo 2019.

OK.

Era reciente. ¿Y cómo es trabajar con una ex que quisiste tanto? Yo sí andaba cuidadoson. Yo creo que ella también, supongo. Pero Verónica es fenomenal, güey. O sea, la mejor compañera que yo he tenido en escena también. Verónica is phenomenal, man. I mean, the best partner I've had on stage, too.

I mean, fast and so many... For some reason, we did so many sketches together. I mean, there are many couple sketches. We even made a joke to a director in a couple sketch. Hey, if we fight, like...

Hey, you made that voice to me when we were a couple. No, and I start telling you, and you'd... We didn't get along, but we wanted that. Because they put a lot of sketches of us, besides bed, couple, and fag. And we knew how to get along, her and me. I mean, honestly, maybe someone else doesn't get along.

And from there, well, Harina... I mean, there has been something magical that has put us in a cool place together. And you became good friends?

Super good family.

I love her and I dare to say that she would say the same. That's great. I've seen her, but I don't know her, and I think she's a very intelligent woman. I think she's with the people you can get along with at the same time as you.

A relationship, knowing how to divide things, and being able to keep working together as well as you do. And now you're not even friends, right? Slash family, right? Yes, although I don't see her often anymore,

but she's there, she's family.

Hey, so thank you for the talk. And you get to this part, you get to Mexico, you start working, you take your classes, and you make the first two films, right? Two films at the beginning, which I imagine made you feel that all this was just beginning, right?

Well, it's that inside the theater school, at the first attempt at Bellas Artes,

I graduated, before you had to graduate to get a physical certificate, it wasn't online, I graduated outside of Churbus graduate to get a physical certificate, it wasn't online. I graduated out of Churbusco, I got a certificate. And the year I was in school, there was a casting. And that's where my good luck begins. What I describe as having had very good luck, honestly.

I can't complain in that sense. There was a casting in the courtyard of the school of fine arts. We were looking for a brown guy, not more than 70, athletic body, other characteristics that were very similar to what I was. And a friend tells me, hey, go to the casting, you're it. I've seen Julián Hernández's movies and it's you.

He said, I have no idea, I don't know him. Go, man. And I went because Fernando Figueroa told me to go. I went up to the third room where the casting was and as soon as I entered, the eyes of the producer Roberto Fiesco, and I think Ulises Mancilla was his assistant, it was like,

yeah, we found it. But like that, fast. The film doesn't even have dialogues. They didn't even have to hear me speak. I went in, I saw that exchange and I said,

hey, I felt this, there's something here.

And hey, let's something here.

And I said, let's film now. You know how Julián's cinema is, right? It's gay cinema. He's won awards in... I mean, the production of A Thousand Clouds of Peace has won...

I mean, he's a director with a certain cinematic language. The one of Ravioso Sol, Ravioso Cielo. Would you be willing to have a sexual scene with a man and a woman? Not real, but... Well, yes, man.

I'm an actor, yes. According to my mind, from that time, 20 years ago, saying, no problem, kick me in the ass. Uh-huh. Difficult? Dude. But wait, he says, OK, are you willing to be naked in the movie? Well, same, dude, so what?

There it says athletic body, right? I'm going to ask you a favor, man. I'm dying to know what happens when you pee.

But I'm not peeing, dude.

Don't go, wait.

And what do you do? What do you do in the meantime?

I'm waiting for you.

I'm going to pass by.

I'm going to study.

I'm going to study.

Make some noise. I made him uncomfortable with the conversation. I just said naked and he ran away. I made him uncomfortable or excited away. I bothered him or I got him excited. Or I got him excited.

He went to scroll like this. What?

Done. It's not going to be a pipi, right? What? Ready. With everything and hands washed. And then? I've always wondered, I'm not an actor, but those scenes, everyone says, I'm an actor, but it shouldn't be easy.

No, I thought it was going to be easy. I didn't have a good time. I stayed, it's going to be a completely naked scene. You're going to have naked scenes, but you're going to have a lot of scenes. I'm going to have but it shouldn't be easy. No, I thought it would be easy. No, no, no, no, I didn't have a good time. I stayed in...

It's going to be a completely naked scene. Yes, completely.

You're going to have totally naked.

Yes, no problem. And we started already. I mean, you'd have to decide. It was Friday. You had to decide on Monday. Okay. I was going to go to school. I was going to go to school. Many of them made me stop, but not one teacher.

Many of them made me stop, but not one teacher. That's why I had to repeat the second semester. That's why I had to repeat the second semester.

But I said, well, I'm going. You decided to make the film. I decided to make the film. Fernando told me to go. Fernando told me to go. I interpreted everything as it was going. But I felt really stupid, really lost. Who is going to advise me? What am I going to do?

And Julián's film is a very special language. There are no dialogues, a young actor, a completely young actor, without experience. I let myself be guided like a baby. Whatever you say, what I do.

And then, a strange thing started. I mean, the first scene naked, I said, it's not that easy, I'm not comfortable. And on top of that, they weren't respectful, they weren't careful, I would say. Nowadays, you realize that actors are very careful,

especially actresses, like, hey, no one can be here on set, we're going to do our naked scene, only the cinematographer has to be there, but nothing else, and maybe the boom, if it's used. But in Ravio Suso I didn't have that.

In Ravio Suso I asked for a robe to cover me in between scenes, and the director was laughing at me. And I say that because I had already said it several times, and then I said, I'm going to stop talking about that, because it doesn't sound like... I'm telling you again, I suffered a lot, but that's how it was. I would have liked to have the experience of today to say,

I don't film if you don't give me a fucking bat in between scenes. I don't want to be naked in what you give me notes of the scene. There is a photo on the internet where I am completely naked, receiving notes from the director. And in an open location in Queretaro, in a forest, in a mountain range, I don't know where else.

What can I say?

Yeah, there's no need. Yeah. So there were some carelessness of that kind. And I think they're not carelessness. As I get older, I think, you knew it. I don't know, this is like a modus operandi.

You go to school, you get very young actors, and you tell them, you're going to make movies. That's the big picture.

So, what's the problem?

Like a big innovation. No, more than an innovation, abuse. This guy is not going to tell me anything. If in Cuero, Memo Villegas, the one from today, with Fernanda Castillo in a scene, they're going to ask me to break the protocol.

And they're going to be demanding with what they need in the scene. But if I take a kid from the theater school, who is hungry to make movies, he's going to say yes to everything. Hey, and physically it's complicated when you're doing a scene between two men? Well, that too, man. I mean, between two men, and between a man and a woman, and between two women, I mean. And that too, I do want to say it because I think it's important so that no one gets hurt.

There are protections, I mean, protections are used for sex scenes, so that there is no minimum friction between your partner and you. In Real Vezo Sol, those things didn't exist. And if they did, they didn't give them to you.

And if I raised my hand, they'd say,

you're not an actor. You're afraid they'll kick you out, you don't know, you don't have that experience. I was almost rubbing my genitals with my colleagues'. Jorge and the actress. I say Jorge because he didn't want to act anymore. After the movie, he didn't act again.

He marked it in such a way that he didn't want to know again.

That's bad. But I also like to think, for a reason. If my first experience hadn't been so hard, maybe I would have been disenchanted. I don't know. I like to think that I'm here talking to you

thanks to Ravioso Solwey. Sure, at every step. Hey, this is complicated. I was going to ask you, I've never asked you this and I've always thought about it.

When suddenly an actor is told you're going to do a nude, you're going to do a nude, I don't know, I'd think about the size of the penis. How are you going to see the size of the penis? With the cold?

When do I take off my clothes? Do I go and relax a little in the dressing room to go out and be as good as possible? How is that? The self-judgment of the body, man. Penis, buttocks, hair. You don't know where you're vulnerable.

I don't know where Jordi is vulnerable. That's the thing, now they're careful. I can say, everything's fine, but Jordi shouldn't grab me here, man. Because I suffered an abuse where I don't want to be touched here or the camera to see this area of my body. And it's not the penis, it's not the vagina, it's not the nipple, it's not the anus, I don't know. But I don't want to be seen in this area. And it has to be respected, even if it seems absurd to you.

I got comments from my chaparreras. I was 20 years old. I look up the pictures on Google and say, I saw a 20-year-old boy with a 20-year-old boy's body.

What kind of friends?

The ones that you make for you, like an auntie. A chubby auntie. But someone comes and says, come to the monitor, look at these friends. And I'm like, oh, yeah, right, no way. Okay. And what the fuck can you do? Dude, but that's the problem with labor abuse,

that kind of abuse, where do I put that information you just told me in front of the camera, the makeup guy, and Jordi? What do I do with that, dude? Do I apologize? Do I...

What do I do, dude? Do I close my legs. Now, if you're going to give me a hard time, you're not going to give me a single bat. I mean, you're making fun of me because I'm asking for a bat, and you're making fun of me because I'm exhibiting. You're directing this shit. Why are you telling me?

I mean, it's really annoying, man. Sure. It's like, and you know actors complain a lot about that. That I destroy their lives or something like that.

I didn't answer anymore, but I said, what a pain in the ass. Yes, yes, don't play with it. Because that's not done. You can direct whatever you want, the language you want,

because there are filmmakers to throw up, and if your cinema is a specific confrontation of a content that is not digestible or achievable for everyone. But let's talk about that at the table. But when you come and tell me, do I look fat in front of them?

Hey, man.

And how do I solve it? If you did the casting, you took off my shirt at the casting. You saw 20 bodies, 20 actors or 20 actresses, and this was the one you chose? This was what you chose.

So, thank you for the trust and for the conversation. This movie comes, then there's another one. I'm telling you, I was lucky with this poster. That's what I like to think about, with this ad. Because in Ravioso Sol, I made very good friends, all the crew.

I remember everyone with a lot of love because it was my family. It was a rough budget film, rough of everything. And that's where the quality people emerge. Because later I found out that I wasn't the only one

who suffered weird things from direction. There were people in the crew who said,

I can't stand that guy.

You know?

And then later on, they fought too. I don't know. But then I met Javier Oliván, an actor, and then we did a very successful play. And he said, hey, I'm doing a casting for a Maras movie, and they're looking for the lead.

And it's you.

But the same speech that Fernando had given me, I went to do casting for a Maras movie, and they're looking for the protagonist.

And it's you, man.

But the same speech that Fernando had given me, it's you, man.

They're looking for a guy in his 20s, Honduran. Well, it wasn't known yet that he was Honduran, according to me.

Well, I don't remember, man.

But it was like that, and from Central America, Mexican. And I talk to him.

It was Carla Hull, the cashier at the time. And I talk to him and he answers me, Genaro or one of them. He's super cold, right? A 20-year-old guy. And I go, hello, I was told you were looking for me. Can I send you pictures?

Yes, who are you? I'll ask my friend to send me pictures. Hello, please. Hello, I'm Bayo. And I send my pictures. The ones of Ravioso Sol.

Pictures of film styles. I send pictures. Then, then, we already saw your pictures, my brother.

He totally changed his attitude. This guy. For the pictures of this project, which had cost so much work.

Yes. We saw your photos, man. When can you? Come to the casting, please. When can you? When I'm booking you?

Well, now you can come whenever you want. And I was so scared. I found out it was Universal. I found out Gael and Diego were there when they had the other producer that they don't have anymore, who now changed her name. Canana. Canana. Pablo Cruz and what was it, co-production?

And I just heard that. And that Cari Fukunaga was the director. He's the one who directs that now and a lot more. True Detective. But I just heard Cari Fukunaga, right?

Like a Japanese gringo, Universal, Gael, Diego, you know? A bunch of stimuli that you're like,

ah!

What is this?

And that's another one, the pressure, the emotion. In reality, you're not just excited, you're scared shitless. And I go, and the director wasn't there yet, and I said, I remember what scene, it was cool, I said, I don't remember what scene. I think it was cool.

And they said, you have a really good face for the movies. Cool, thanks. You have a good face, thanks for coming. And I grabbed the comment, for some reason he said, he could only have said cool, thanks. But he said, you have a good face. I said, okay, go.

And this guy talks to me again. Hey, that's it, they want to see you again. Not for the main character, because we are going to get a Honduran guy, I don't know what, but they want to see you for another one,

which is a first part, it's good. Where I did Gerardo Taracena's brother,

may he rest in peace.

And...

I remember, man. That's awesome. I'm going and there was Cari Fukunaga in the casting room.

I was scared shitless. The director is a faggot. He's a gringo. He's Hollywood.

And I remember the same thing I tell you about Julian and his assistant. I mean, Roberto Fiesco and his assistant. He's with the headphones here. He finishes the casting. He was with the headphones here. He finished the casting. He was super impersonal with me that day. He saw the casting, because he was envying him

and he already had it on the monitor. He took it off and turned around. Like Simon did. And I was like, what?

What? If they already have the scene, I'll do it again. It's me, what the fuck? And they're done. I'm not doing it again, it's me, what the fuck! Tell me! I'm going to celebrate or not!

So I leave

and a few days passed and I bought a lot of movies of blockbusters and Tower Records and Mix-Up a lot of DVD, I collected a lot of DVD and I was buying

my movies, I said 100 bucks 200 bucks, fuck I've already got like 1200 pesos here of movies. And they call me again, hey man, congratulations brother, you got Orlando, man, for his name.

No, give me another 10.

I remember that was my celebration. Wow.

Buy me, I bought 22 DVDs that day, saying, well, the money will come, right? I already stayed in a movie that, according to me, was my way to Hollywood. That's the most awesome thing. I had already told myself,

how easy this shit is, man. I got from Toluca, I went to theater school,

I got a casting, and now I'm in college. And what happened after?

Without him.

Nothing, man.

So after those movies? After him? Nothing, man. After those movies? After Sin Nombre I was left without a job. Without theater, without school, and without cinema. No way. Because I said, I don't know anyone in any of the fields.

Because it's not like I've made friends in the cinema, or anything like that. I had been the face of a kid who had worked for this and that. But who am I talking to? Who's my friend?

What director do I have to say, hey, invite me another one.

Let's write something.

Let's get together for my schoolmates. Well, I left her. I fought with a teacher or something. To make the movie.

Yeah.

Fucking hell.

And now? What comes after? How long does it take without having so much work?

Or yes?

It happened that I used to go to the theater a lot because I sold theater magazines in the theaters. I sold Paso de Gato. It's a theater magazine. And you used to sell them

in each of the theaters? Yes, I was like a theater magazine. Okay. And you sold them in each theater? Yes, I was a spokesman for the magazine. And they gave me a certain number of magazines to sell. But they told me, you can't sell them with the hook that says, there are discounts for the theater.

Which I never respected. Because otherwise I wouldn't sell them. So I would get in line at the box office. Hey, is Berta coming in now? Well, if she buys me a 45-dollar magazine, and I bring her a 45-dollar discount, then if she adds up, it's four,

look, she gets less.

Oh, give me 12.

Sure.

So I would sell them.

Okay.

But that was a permission of, you can't do that, if they catch you doing that, How were you at the time? At the time I only had Ravio Susol, again, it was a salary abuse. So there was a mess. They paid me 33,000 pesos for being the protagonist of a movie. Wow. 33,000 pesos.

No way.

It was a shoot of eight weeks.

Wow. Two months as a protagonist. Because they also made me sign to give up my extra hours.

No.

Holy shit.

I only charged for Anda

and the sum was around there. Wow.

Don't play.

So you only had that salary and after the salary of the second year? I had that money, nothing.

Where did you live?

I lived with my mom still.

Ok.

And in her name, I would have charged four times more. But I said, ah, okay. And for me it was a fortune. And it was enough for the DVDs, because you were so close to the camera. Yes, yes. You know, Mix-Up that day.

But it was a fortune for me. I said, well, if I make a movie, a movie like this every three months, and I'm with that, I'd do more. Your mom always supported you? Not as a support, because I already paid for my meals, but at her house.

She supported me, she gave me a roof. How important is the house? The house, your mom. It's like, on the one hand, the house generated that security, your mom, as you said, disciplined,

or at some point of her adolescence, tough, but teaching you all this. And on the other hand, your dad, also in the trust in you, the independence, the whole situation you told me about, the economic part of your mom.

It's like the house was an important point.

And they were always together. My dad was very talkative with me, my mom always supported me financially. And I lived with her, I mean, she supported me.

Of course.

So, how long were you without being able to... I mean, selling... Oh, you were telling me that you were selling cat food. The waitresses would make me stop to go to see the works for free, which was also a wonderful moment in my life.

And I saw the same play four times, because I loved it. It was awesome. With Gavino Rodríguez, who is no longer called Gavino. Adrián Ladrón de Guevara, Diana Fidelia, Leonardo Zamudio, Arturo Reyes, well, from Madrid. And I directed it directed Martina Costa.

I loved it, man, I loved it. And I saw her four times. Finishing the fourth time, I looked for the director out there in the theater and I said, hey, I'm an actor,

I come from this and this, whatever. I loved it. I want to do theater with you, whatever. Really, whatever, I'll deliver the letter.

You know? What's the letter? The classic phrase, I'll only go on stage and say,

the letter. Okay. That your scene is the letter.

Okay.

And he said, I know who you are, because you went to make a movie with Julián, right? Because he was a teacher at school, too. Okay. with Julián, I mean, I also recognized, oh, man, you went to do something hard. And I said, yeah, yeah, yeah, yeah, yeah, yeah, yeah. He talks to me a little bit. Do you remember you told me

that you were going to deliver the letter?

Well, I have a messenger who comes in to deliver the letter.

No way!

No way!

What the fuck?

In Eduardo II, a new show I'm doing with 20 actors, Nylea Norvind,

Martin, whatever you say.

And it was awesome. It was awesome, but it was my entry into the theater. That's when I officially joined the theater in 2007.

Okay.

And I delivered the letter. An hour and four hours. I did a lot of things with other people. We were soldiers, we played the drum, we were a lot of things with other people. We were soldiers, we played the drum, we were... A lot of things, around the main characters. And my scene, because I had one scene, was to deliver the letter.

And it was very shitty. It was very shitty. The director gave notes at the end, and he said, if I don't tell you anything, it's because it's good. Check the audience, check how they react when you come in. It's very good.

Oh, my God, I'd say, man. And I'd work my ass off for the four hours and the $300 that I got for a show. I'd make $1,200 a week from four shows. $1,200 for 12 hours of work in the theater. Well, that's the work of the show, plus everything we rehearse for months that's not paid.

But I was fulfilled. And I started to see, especially, the theater, how the theater is made, how the actors live in the back, the chaos of the theater. 18 men. We were in a jungle, man.

18 men, and we had scenes of showers, we had to see the other actor naked. A very different kind of nudity, a lot of very different nudity from the ones I had experienced, or the feeling I had experienced before. So, I said, this is... I want more, right? And Martin brought me back to another play, with more protagonism.

And from there he saw me as another theater director, and I started doing a lot of theater for many years. 10 years, 11 years uninterrupted, from 2007 to 2020. I did theater uninterruptedly. In school theater, street theater, institutional theater, theater at UNAM, theater at Bellas Artes, theater at the Circulo Teatral,

theater in any city in Mexico. Theater. Awesome. The most outstanding, I would say, was Incendios, which Diego Luna produced at one point. That's very beautiful because once we went to Bogotá with the play, I remember the audience,

the applause of the audience, everyone got up, to applaud after the end of the play, because Karina Gidi did a phenomenal job. I saw a spectator looking at me in the eyes, applauding me, saying, Thank you, thank mean, thank you for giving us this. And I thought, treasure this, man,

because it may not happen to you again in life. Wow! And it hasn't happened to me in life again. That was in 2012.

So, finishing a play,

someone would give up, like the audience would give up on fires. Yes, you can see it. When you're thanking at the end of the play, do you see the faces and do you stay with someone specific?

Definitely. You see everything. You see the scene. In the dressing room, you say, hey, the Don in the third row is wearing a jacket from before it starts. And what about the one who snores in Amarillo

and the one on the cell phone in the sharpener. You're so sensitive that anything can be a problem.

I'm giving a shit, these two are sleeping, they're talking, I'm giving a shit. Or this lady should leave, why is she coming to the theater if she's not going to listen to me? While you're saying your text. Enough, shut it down.

Stop thinking about them. But incendios became a phenomenon beyond that moment. It happened after the war, because I was talking about the war in Lebanon. It happened that people got into the dressing room and said, I was there. We were putting on our clothes, taking off our underwears,

the vest, and saying, good night. No, I was in the war in Lebanon. I was taken refuge, I was tortured, and I thank you for this work. And I was like, oh, no way! Another girl said, I found out I was the product of a rape thanks to your work. Because I came with my mom, and until now that we saw the work, my mom had the courage to tell me.

No way!

And a girl of 25, 26 years old, no, no, no, a girl of 25, 26 years old, not a girl. Things like that. And thanks to that play, I got to know Romania, a Sibiu town. When was I going to go to Sibiu? Thanks to the theater.

Wow.

And that's it, 13 years came uninterrupted of a lot of theater, but a lot. In the morning, in the afternoon, on Wednesdays, on Sundays, on Thursdays, in the square, in the theater. Very nice. Always enjoying it a lot? Always, and always also with that fear of the stage.

That's true. A lot of nerves.

But always enjoying it 100%.

And when does this part of the career so popular and with so much fame begin? At the same time, I still don't give up what I love about cinema. Hey, they're looking for you for a casting. Let's do it. I did a lot of small parts.

Las horas muertas, Carmen tropical, several movies where I did a scene with the brother of the prostitute, the friend of the truck driver, the taxi driver. I never gave up. I always kept looking for the guy.

I played, I was the protagonist of a movie years ago, and then I went to Hollywood, I think. And now I want more. How did that go out? I think it's good, it's very valuable, the first two movies, I already did it,

and suddenly it's like, OK, I have to sell the magazine, I have to sell it, and I'm going to go out with the people who are formed outside the box office. I sold cakes too, I sold cakes outside of my theater roles. And I had already made a movie with Carrie Fukunaga, and I was already...

But I think that's what it is to flow in life. It's like, whatever comes, I love this so much that I'm going to flow and I'm going to flow and leave it in place of I don't care anymore, I'm leaving everything or it wasn't for me, it's like let life flow and that's what the career is, the artistic career

is to hold on

and surely a lot of people are watching us right now a lot of people like to watch the interviews because we learn a lot from you from the interviewees and surely a lot of people are watching us right now and it's like, I'm not an actor, I'm not an actress,

but that's happening to me. Suddenly it stops and it's like, I've at least realized that when you let things flow, they start to happen. And don't despair when you think nothing is happening, because it is happening, it's flowing.

Because when you start nothing is happening, because it is happening. It's flowing. Because when you start taking definitive actions, because you don't feel... I mean, if you love something, it will happen. You just have to let it go. And well, that's what happened to you. So what happens next? Now, you say it from a maturity and from a wonderful consciousness, but at that moment...

Sure, sure. You're scared to death. You're young, and you're scared to death, and it's the first time... Because you live a lot of first times. Now it's going to be my first time in a series. Or my first time acting with Joaquin Cosío.

Or my first time... There's always a lot of new challenges that you say, fuck, this casting is putting your life at risk. This Mara Salvatrucha of no name is putting your life at risk. And then, what did I stay on? You started at 13 years old in theater,

you were making the movies that were coming out with small roles. Until I started to take a little more time on screen. And I was doing a series with Gustavo Loza in Sonora, in Arco, in Arco, in Arco, Sonora. And they call me to Backdoor. I had already done Narcos, for example.

I had already had some experience.

You had already done the scene with Cossío.

I had already done the scene with Cocio. I had done a scene with Cocio, and you don't know what I was like. I was in the camper, rehearsing in the mirror, because I hit him.

So I was like, no, not like that.

Besides, Cocio is like that. I mean, one of those that you say, this should be enjoying it, not suffering it. And Cocio is a bomb. Didn't we interview him? I saw it, but when you did it, we just finished a movie we did in Spain. Oh, that's great. I love it.

Me too, we're buddies. That guy has taught me a lot without knowing it. I think he also knew it, but without knowing it, he has taught me a lot. Gerardo Taracena also taught me a lot. That's great.

And then you do the scene and you say, well, and they just finished that. And they call you for Backdoor. They call me for Backdoor, finishing the Gustavo Loza thing I told you about in Naco Sonora, and I told my manager, no, man, no, how can you believe it? A series for sketches, for the internet, for YouTube, three-minute comedy. You're killing me. We're looking to go back to being nam to make movies again. Rabioso Sol won the TEDx in Germany.

I mean, like I said, I'm looking for Raúl Briones' career right now, from Tenocht Huerta. I mean, don't make me do comedy sketches on YouTube. And apart from the prejudice of... It's like the influencerism was not at its peak yet. I don't know, honestly.

Yes, there were very few. But there was a prejudice of mine, that I'm not that. I came to study fine arts, Teatro. I'm not going to be the stupid Cuban mechanic. I mean, I'm here for something else. Well, if you don't want to, there's nothing else.

I say we do it because it gives you two months of work.

Well, tell them yes.

What convinced you?

The manager. His speech, there's no other way. I don't know if he said it well-armed, right? He lowered his voice, that's it. I don't know if he said it well-armed or not. So, lower your voice tone. Then, grab it. I mean, yes, it was that call. I remember going in the filming truck.

Because Backdoor is a franchise, well, it was made here, but it's Brazilian. And they had already done it and it was very successful. And when I saw them, I loved them because they were very different sketches. We did sketches in a different way, 12 years of sketches. And when I saw the backstage, I said, nobody has done sketches like this in Mexico.

With these current themes, different, like here the sketch was very commonplace. And here it was the opposite, current, and very stupid and very smart.

Yes.

So you arrive and start doing the sketches.

Exactly. I told them, well, tell them we're going to do the audition. I'm not telling you they were inviting me to go live. Well, no. Nobody knew me. And I said, well, yes, we're going to do the audition.

They send me the audition sketch and I said, yeah, let's do the audition. They send me the audition sketch and I say, wow, this is phenomenal. I mean, the script was three minutes long, incredible. For three minutes, just what you just said, which was the Scottish guy, there in Braveheart style, like that, painted with his skirts, right?

And, and the others, man, like, very Mexicanized, but well produced in their... No, Joaquin said he was coming, but he didn't have any makeup.

I said, he's really screwed.

And he said, how many are we? Four, five? I said, how many? 70,000.

No, like 60,000.

And I said, who came up with this?

I didn't know anything about Brazilians.

I said, This is amazing. So I told Yelly, of course, let's do it. I got to do the casting with Vero Bravo.

Which, obviously,

the chemistry was great. We had the chemistry. We were going to make a good scene. We did the casting for another one, of Jesus Christ, very fucked up. And, Backdoor took a while.

Backdoor took a while. I mean, there was a pilot, they froze him for a while,

he spent a year, he got lost, I forgot him.

Oh yeah?

A lot. I was doing Alejandra Guzman and the bandit for Telecet.

La Guzmana, ah.

When they called me back, We did it a long time ago. Do you want to? It's going to be revived and only you and I don't know who else from that first cast survive. Right? Yes.

So everything that was recorded in the first one didn't come out? We only did one pilot, I think. We did only one pilot to see if it was approved, I guess. And a lot of that cast was killed. And we survived. Poncho Borbolla, I think Burra, survived. And that's it.

Vera? Vera was no longer in that last...

Ah, okay.

In the end, Chava rescued her again. Chava Espinoza, the director.

And then, when does Lieutenant Harina arrive?

Right, I mean, let's go back door. I couldn't take the workshop with the Brazilians because they came to give us a workshop to feel us.

Because they are the owners. And I couldn't be in the workshop. So they didn't want me. If you're not in the workshop, no.

And Chava, the director, said, I worked with him, trust that guy. I mean, again, I'm telling you the good luck. Chava bet on me, and that's why they said, well, because you say it, we're going to have him in the final team. And that's how I ended up in backdoor.

That was in March 2019, and in August we did the Lieutenant's sketch. March, April, May, June, we did backdoor. A lot, we did more than a thousand backdoor sketches. Wow! March, April, May, June, we did Backdoor. A lot, we did more than a thousand Backdoor sketches.

Wow!

And in... Sorry, in May we did Trent and Irina, and it comes out in August.

Do you remember when you read it for the first time?

Yes, and the same thing.

The same thing I describe about the Scottish. And I already read it, knowing that this one was for me, because weekly they sent me the roll. I said, I'm going to do this role. Jordi does this sketch, this and that, Memo does this, and I got that. And when you read it, you said, what the fuck is this?

Fuck, man, I read the whole potential of the sketch and I said, this is wonderful,

so that I can take advantage of it. And I can... And I can get on it, and it's in me, read it and fuck it up The words, the phrases, they all came from... I understand that it was Mexicanized, obviously, because the sketches were Brazilian,

originally in Portuguese, and here they were tropicalized, made in the Mexican way. But, for example, the phrases like pinche común bien loco, papaya de Celaya, did they come in the lyrics? Yes, everything came in the lyrics of Bus Proal.

Bus Proal was the one that tropicalized. Ok.

And everything came. That's why it seemed so natural to me. I mean, it came and I listened to it.

And what did you do that afternoon? Did you study it? How do you study a skit like that? Like, here I do it like this, and here I jump.

How do you do it?

I studied it like that. Like I said, get your asses together. Otagüey. There are so many ways, right? But it comes from here, it ends in two lines.

Once you have the mouth's anxiety, and she did this. So I had to put on some lipstick. And I tried to do some karate. I started doing boxing. And then I did some maroma. But I thought I was going to get in trouble with the camera.

And I did it.

I gave it hours. Did you rehearse it in your room?

In my room, yes.

It's like an actor. In Uber, you're talking to yourself, and in Uber, you're like, what the hell? It's because you're going through lines. You're going through the texts,

you're memorizing the play or the film.

And you learn it completely from memory?

Yes, yes, yes.

No, I brought it as a play the next day. So when we got to record it, we recorded it, well, we rehearsed it, and the whole band laughed. Chava said, man, what can I tell you? It's just that, we're going to adjust this on camera. When you get to do what you propose, just lean back, and then when you come to do this, when you do the pull,

I'm going to see Avero, because I don't want to film. The pull. And you're not going to breathe either, so it's going to look fake.

What was it?

Flour.

Are you sure? Don't you prefer that we send him to the lab? And yes, right? I'm a traitor! Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha I had never experienced that on set, in the theater, yes, but on set, the crew is tired of putting together, fucking all day.

Then sometimes they're in their shit. They're not necessarily enjoying the scene. They're at work. Sometimes there is this communication. But they laughed, as if they were in the theater. I said, fuck.

And Chava said, well, that's it, come on, let's do this. And he asked for a rehearsal for camera that I didn't hear was a rehearsal. So I threw the flour, everything, and I'm going to go to rehearsal.

No!

No way! And it's the cut of eating, I mean, and to get rid of all the mess. And I asked the crew, like, stop recording it, and we'd eat later. Because if they clean me and we're going to eat, I'm going to lose the rush I have from the two takes we did. Everyone was like, yeah, man.

So they cleaned you up? They cleaned me up with a hair dryer, they put my hair back on, because they laced it, that mustache wasn't mine. And with the hair dryer, with a gun, fast. In 15 minutes I was armed again.

And what they saw, that's what they saw. And the moment they upload it, when does it start to go crazy?

The next day.

No way. Or rather at the time. But they come to me like, Are you really a cop? Very weird comments. Very weird comments. And I started to experience the virality

without knowing what it was or even looking for it. I tell you, I repeat, I was an actor, I wasn't looking to be a YouTuber, influencer, or an Internet figure. And then I start to say, oh, man, this is what they say is viral.

When did you realize that it had come out of control? I mean, did it come out of control for good? That you said, no way, this is awesome.

Well, people started writing to me, centuries, right? From my elementary school.

Oh, good, good. Hey, always, yeah. I don't know, it was like when the wise men arrive. That illusion of what's happening, what was that magic, what happened? And it was out of my hands. And suddenly someone on TV called me and said,

or that told me, dude, please come to the office on Monday, we want to talk to you. Not only the people who saw the video, but also looking for work. Fortunately, I already had a career,

and I didn't follow the first thing that came to me.

Well, practically with about 15, 16 years of career. No, I also took it easy, because they were almost offering me

a soap commercial where you say,

great soap, good soap, that is, as the sketch says. I also took it easy because they were offering me a soap commercial

where you say, great soap, good soap, like the sketch says. And things like that, that I said, if I had been 10 years younger, I would have won.

I might have said, come on.

Fucking crazy soap.

Yeah, dude.

I mean, something like that.

I brought the phrase for like three months, right? All fucking day on the radio I said, fucking crazy script. I mean, and was a crazy script. I mean... Yeah, it was...

And I'd move my hands. And I'd move my hands.

How nice that you say,

and also, little hands. My beautiful little hands.

My beautiful little hands.

Hey, and then you start with all this, and then what was the first thing, what was the first thing you did after all this with Backdoor, I mean, this specific sketch, what was the first thing that made you think, this is a bigger sketch. Was it thanks?

Well, starring in comedies in the movies. They were looking for me for Alebrije, I did it with Surya Vega, marrying my ex. And so they started to fall

quickly, one after the other, It became a dream. It became what I thought would happen 12 years ago. With Rabioso and without a name. And now a protagonist. And I started for the first time to enjoy it 100 ways. To be comfortable on set. To propose more things, to trust that I'm a shit, that I'm an actor, that I bring what I have,

and that's... that's unparalleled. So, it's what you already enjoyed, but now you trust yourself. To be at 100%. That's why when they tell me, now Hollywood and the US are coming, I tell them,

if I look for it, no, I'll have to suffer and look for doors and again the same tension of, there's a test and see if I'm talented or not. Let me live the honey of being comfortable. It's just that they've also been, for example, I told you at the beginning,

the last car, the great seduction, I really liked the Great Seduction. I thought it was a very nice idea. Very nice. The Last Carriage.

Very nice.

Very nice, exactly. Nothing to do with surviving my 15, marrying my ex, Divine Sign, going crazy with you, Laura de los Valientes, now, well, the most recent. Well, the most recent one, when we're recording this, is Familia La Deriva, which I haven't seen with Mauricio Ocman,

and you both starring. Has the work overwhelmed you?

No, fortunately not, because I'm not a father, I'm not married. No, I live it. In fact, I demand it. Suddenly, I say, in my free time, I need a set. Oh, really?

Yes.

How do you do that? Wow!

Yes, it took me a lot of work to understand that I would have a lot of free time. Many years of saying, ah, there will be two or three months of nothing.

What do you do when there's nothing? Especially at this time, when you're already so, so, so famous.

In this time, fortunately, I can travel. But before, no. Now, I went to study English for five weeks in Canada, now in December.

Oh, that's great.

I had the time and I said, I'm going to take an intensive course.

But it's still filling the gaps. Sure. Because if I were a sculptor and a painter, I would start working on that. Yes, but you can't work alone at home. But I don't know how to do anything else. What do people on the street say to you?

Because you're truly one of the most... Based on your talent, because when you say popular, it seems like it's just because you're famous, but no. Based on your talent, because you're very talented, you're very popular, and I also think that few people love you as much as they love you.

I mean, because I see it, because I talk about it, because I listen to it, I mean, we go everywhere, and they say, oh, man, you saw this, you saw that. I'm telling you, with these last two movies, you've been in the mouths of a lot of people. What do people on the street say to you? Well, just very nice things.

I mean, yesterday I went to the Art Week. He tells me, I thank my friend for this, because I went with a friend, and he says, man, you see what they're saying, right? Because maybe for you, with the years you've been getting these comments, it's already happening to you.

But it's not people who just come up to you for the picture, dude. They say, Hey, thanks for making my dad laugh, who spent his last days watching Backdoor. That happened to me. On the bus, a girl said, I want to tell you that my dad died watching Teniente Harina

and I had time to not see him laugh.

I mean, that's cool.

And very nice comments. Thank you for your work. You're a great actor. We love you a lot at home. That's it, we love you a lot at home. How nice. My husband is a super fan. Please send him a greeting.

My wife loves you. I'm jealous. Yes, I mean, very nice things. Wow, how incredible. And now tell me, what has your mom or your dad told you about these last 5 or 6 years? They go to the premieres, they watch the movie, you talk to them and you tell them,

Hey, your mom, Netflix is out, they already uploaded this, watch it or come to the movies with me. How is that and what have they told you?

The one who has gone to the premieres more physically is my dad. Because my mom lives in Cuernavaca. It's a little bit more difficult. But my mom is always like, What are you doing? A movie with Jordi. What's his name and when is it coming out?

I tell her, hold on, hold on. You know that's the only question I can't answer. I don't know when it's coming out. But yes, both. And my dad's wife, we haven't talked about her, but my dad's wife is also a person in my life, she's the mother of my second brother, 30 years ago. So she's also...

The family is... They're always there for us, for everything we do, Lalo, Raul and me.

That's great, you're the three brothers.

Yes.

Raul is also an actor... And Lalo too. Oh, Lalo too. Lalo is a composer and a musical producer. Ok. We send you a big greeting.

I'll have the pleasure of meeting you. When you saw this film, do they talk to you at the end of the film? Your dad tells you... Because they celebrated before the goals. Before it was like, Dad, four goals.

And now when you come out of a premiere of a movie, or a work, or something, what does it tell you? For example, what has it told you in these last projects? Always, they are always present, both of them. I mean,

my mom is very, this classic mom, aunt mode. My son, we left the movies, Jelly, myuyis y yo, increíble siempre, mi amor. Ay, pero de veras, tú te la llevas, eh? O sea, Mauricio Ocman es el protagonista,

pero tú te la llevas.

Si? Si? Si?

Este otro actor, Luis Gerardo, también muy bueno, pero tú te la llevas, mi jito. And my dad is always present, like, we saw the movie, when does it premiere? Is it available? They're always attentive and always, well, you know, good comments. Wow, that's amazing. And in your personal life, you were telling me that you're not married, you have a partner,

you want to start a family, have kids, or right now it's not something you have in your head. How are you?

I don't want, have kids, or is it not something you have in mind right now? How are you? I don't want to have kids. And, um, I want to have a partner. But I'm lost, because then I have open relationship speeches, and then I say,

do I believe in that or not? But then I'm in an exclusive relationship and I don't feel comfortable, and then I separate.

I've always been, in the last few years, without understanding what the fuck. What do you want exactly? Yes, and I say to myself, dude, define it, dude. My therapist tells me, but what do you want? Do you want to have just what you're asking me? And I say, well, I do, but...

When it happens...

But then I want to run away. Or then, I tell you, I've been caught defending speeches that I don't even believe in. That's a state of maturity, it's really bad. When you catch yourself doing something that you know, what you just said, I don't believe in this, I'm defending it, but to see you from the outside and say, that's a super advance.

But it's that, hey, in time, we do a lot of that. I was reading an article about traveling. If you travel because you want to go and learn the history and culture of that place, or because you scrolled and you want your photo there, and because it was so-and-so and it's fashionable to go to Tokyo right now, you know?

Or to Tepos, or wherever. So also in other topics that, how permeated are our decisions? Do you really want that? Do you really want to get married? Or is it what you've heard? What you've scrawled?

Do you really want an open relationship? Or is it what you scrawl? And so on.

And a partner? What would I get from you? Once you have that part clear, what do you offer to a partner? Well, I think I'm reliable, fun, committed in the sense of acts of service. I'm bad at service, but I'm also bad at... at...

sometimes, at physical affection. And then, who knows where that comes from? You ask, who made me like this? Why am I so hard? Why am I so cold? Why don't I cuddle more? But you understand. Of course, you learn and understand why,

and you do the most you can without letting it be you. So maybe sometimes it's not, I don't know, I'm just thinking, maybe it's not that you don't want an exclusive partner, but today, apart from your partner, there's a whole world that wants to take advantage,

enjoy and keep living, you know? Yes, yes. And sometimes an exclusive relationship isn't just about being with someone else, it's about giving time to another passion. And sometimes passion is everything you're living. And it would make sense to me if I heard your story from Toluca. Yes, I'm going to Colombia on Sunday for six weeks.

What for? No, no, no. I mean, what for? What for would we get into this? I'm going to have a couple and I'm going to Bogotá. No, but talking about, well, I'm going to film, and if you have a partner, it can be more complicated to go to Bogotá and then you go to Spain and then you go to...

Sure.

What a good moment. I think the reality is that, I mean, that's something like you said, very personal, but I think you're What a great moment. I think that the reality is that... I mean, that's something very personal. But I think you're in a great moment that you have to enjoy, that you've earned, that you deserve. That you deserve because you've accepted how things are going,

because you've lived the things you have to live for what you have today. Both that first casting, the moments, the freegats, the work, the waiting, being here, then here, and then here again, and then here again. And I, who have the opportunity to meet several people in this field, that's never going to stop, right? It's never always up, but fortunately it's never always down either.

If you really like this. I really appreciate the talk, I really wanted to meet you more. You completely exceeded my expectations of you. I also want to thank you for all the great moments I've had with your work, your talent, and all your teams. And all the teams that have worked with you. I send you a big hug and thanks, because yes,

every play, every sketch, every movie, whatever it is, short, medium, or long work, I know there's a lot of work behind a lot of people. And to you and all the people who have made it possible, I thank you, seriously, for making us spend so much time together. I'm sure I'm talking to a lot of people,

millions of people who are watching us and who would like or feel the same gratitude that I'm feeling. And I want to give you a gift that has to do a little with what I knew about your career previously and what I'm confirming today. Many times we want something,

but we don't know what the path is. And funnily enough, we're already having the path with the foundations we have. Each of us has different parents with different situations. Some are very normal and very common, like yours, and some are very extreme and very complicated in other situations.

However, even in the most complicated, I feel that each house and each family teaches you what is necessary to become the person you are today. And in your case, I think you have an incredible house, fantastic parents, that's why I wanted to start with the question of what each one them had left for you.

But there is something beautiful, which is that you have let things flow with what comes. If today is believing that you are going to be in Hollywood in the first movie, today is having to sell cakes in the lobby, you have flowed. And I want to give you this, which is a symbol of exactly that, has fluido. Y te quiero regalar esto que es un símbolo exactamente de eso, que son precisamente las casas y el fluir. Es esa casa que me gustaría que cuando la veas en tu buró, en tu casa, en donde lo

pongas, recuerdes lo que tienes, el talento personal que tienes y el que te dieron ahora tu padre, your mother, your father's wife, as you mentioned. And that time, and that flow, when you suddenly feel that things are not happening as you want, remember that you have always let it happen,

let it flow. And we look for the production to be white sand, trying to symbolize that great moment, that there is a before and after, and that has nothing to do with talent or preparation, but with being in the right moment.

We did it white, precisely because of the flour tendon, because you were already prepared for that moment. in the moment correcto. Y lo hicimos blanco precisamente por el Teniente Harina, porque verdaderamente tú ya estabas preparado para ese momento. Era solamente tener la oportunidad. Y afortunadamente esa tarde no te quedaste viendo la tele. Te pusiste a preparar tu personaje.

Y ese personaje funcionó para que te pudiéramos conseguir conocer muchos personajes más. Desde un drama como El Último Vagón, so that we can get to know you and many more characters, from a drama like The Last Train, to a comedy or an action movie with machine guns and explosions, as we are seeing now in The Brave.

Congratulations. I know that this is only, I don't want to say the beginning, but the beginning of a career that will continue to be very successful and I think that it will flow in life for all people, for you, for me, for everyone, I'm seeing it, it's like how many times I've stopped this river of water that suddenly you want to stop. And the reality is that if you do your part, and if you do your part,

as long as you let life flow, life will accommodate you.

I thank you very much. You're welcome. It's very beautiful. And yes, it symbolizes what you just described, because everything has its time. It will take time. Exactly.

But let it flow. And I just give you back the admiration, because I've seen you since you were a kid. Thank you. I mean, I grew up with a different vibe every Tuesday.

That's awesome. Every Tuesday at 9. Yes, totally. Well, my dear Memo, thank you, man. Thank you. Keep up the good work. Don't stop watching all your latest projects, which are awesome. Thank you. And I want to thank you all, as always, for being here for another week.

I want to thank this awesome team, even though we are few, but we are always very happy, very happy, very committed. I don't want to mention anyone, so as not to stop mentioning the people who are not here at this moment, but thank you always to this entire team, because we've been working together for over 20 years. I'm going to mention them because I have them here in front of me. Jerry, my dear Alex, Endis, Manolo Fernandez, my partner, my dear Christopher Heredia,

my dear Christian Alvarez, Arturo Osorio, to the whole team, to all the people, to my dear Santi Carlos Niño, to my dear Claudia Obregón, to the whole Media and Production team. Thank you very much for making this interview possible. We've been doing this for almost six years, I can't believe it. This started as a bit of an experiment

and today it has become something very important in our lives, of course, and fortunately in yours as well. So we're going to continue with a lot of enthusiasm and commitment and always doing our best so make you learn as much as we do. Thank you very much.

Thank you.

Thank you very much. See you in the next interview, which is literally a click away. There are almost 300 interviews. If you don't see them there, look for Lupita D'Alessio and Jordi, or look for Julio Cesar Chavez and Jordi Rosado, or Adela Micha, or... I don't know, there are a lot of people.

Sometimes you can't see them because there are a lot of them, but there are a lot of interesting people that we can meet, learn, laugh with, that we can meet, learn, laugh with, and even shed tears.