- hace 53 minutos
El actor colombiano Elkin Díaz, quien junto a la actriz escocesa Tilda Swinton ganó el Premio del Jurado en la 74.ª edición del Festival de Cannes, hace parte del elenco de Pacífico, película colombiana que sigue a un grupo de buzos que queda atrapa do en la isla de Malpelo. En esta conversación con Claro Oscuro, Díaz habla de una etapa difícil de su vida, del deporte como una herramienta para enfrentar el alcoholismo y de cómo el teatro terminó transformando para siempre su manera de vivir.
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00:00I was an alcoholic until 26 years ago, almost 30 years ago, 26, 27 years ago, 26 years ago.
00:12I drank a lot, perhaps too much.
00:17And my son, Hernán Camilo, was already 6 years old.
00:22When Maria Camila comes on the way, I ask myself, my God,
00:26What kind of example am I going to set for my children?
00:30Otherwise, if he is a drunkard, he can't be, regardless of,
00:38At that time I boasted that I, the drunk girl,
00:41I could have 4 or 5 days of partying, of getting drunk,
00:47And being fat, completely wasted, and it wasn't noticeable on me.
01:06Back then, no, it wasn't noticeable on me, that's all.
01:10My struggle was to remain as dignified as possible.
01:14I managed to attend several recordings here at Caracol,
01:18Yes, here at Caracol, not here at this headquarters, but back when it was already earlier,
01:23I managed to arrive in serious condition, in serious condition.
01:28Jincho de la perra, pero jincho.
01:30And nobody noticed.
01:32I was doing my duty.
01:34I'm not saying this with pride, I'm telling you this because it happened.
01:38It's not that I'm proud of it.
01:41And I'm starting to see, since I have a 6-year-old son, that a girl is on the way.
01:47And I start to think, what example am I going to set?
01:50And from there, on a night of rumba, with Robinson Díaz, with Ana María Sánchez,
01:58John Alex Toro was there too, Juan Carlos Giraldo,
02:01because we worked together in theater, we had a theater group,
02:05in which we worked together for over 20 years,
02:08under the direction of a Polish director, Pavel Nowitzki,
02:12who worked at Caracol.
02:15I made the decision at 4 in the morning and told them,
02:18Guys, this is the last drink I'm having.
02:21And this is the last cigarette I smoked.
02:25Bye, see you later.
02:27Please, tomorrow, because we were in the middle of a theater season.
02:31When we arrive, don't offer me a drink.
02:34I begged them, and I don't know what else, and so it was, I went home.
02:39The day passed, I arrived at the show,
02:41Obviously, they weren't going to comply.
02:44What? A little drink? Come on, before the show.
02:46so that they don't go.
02:47No, no, no, no, no, no, no, it was hard for me that night,
02:49It was very difficult for me, I didn't even try a drink.
02:52And from then on I stopped drinking.
02:54Now I am a man, I am Quindías and I am an alcoholic.
03:05As I told you, I was a swimmer.
03:08I started swimming, I went to the pools for recovery.
03:14And I started to swim, and swim, and swim.
03:17Then, together with Enrique Carriazo, we started jogging.
03:22Then we would jog and swim.
03:24I taught Enrique how to swim,
03:27And Enrique introduced me to the world of athletics.
03:34We ran one of the first half marathons with him,
03:38We ran 10 kilometers back then,
03:40They were 21 and 10, and we both ran 10 kilometers.
03:44And when we finished those 10 kilometers, happy, you know,
03:48He says to me, Toche, why don't you join a triathlon?
03:52And I, well, I'm going to try.
03:55And that's when I started doing triathlons.
03:57And the triathlon really helped me as therapy to get away from drinking.
04:05I began to enter a completely different world, the opposite of what perversity and rumba are.
04:12and all that stuff that comes with the rumba.
04:26My dad was a political man, wasn't he?
04:28My father was a senator of the republic and was a representative in the House
04:33He was a deputy and councilman for the north of Santander.
04:37So he was a politically important man.
04:45I was born into a, let's say, good family.
04:49My dad was a very tough and very hard man.
04:51And he wanted me to somehow follow in his political footsteps.
04:55But he, as a father, and as a father, didn't know how to instill that political gene in me.
05:06He too had his childhood and a very hard life.
05:10My dad was the oldest of five siblings, and he was orphaned at the age of 13.
05:16And he had to get ahead on his own and take care of his family.
05:21So he grew and developed.
05:24He became a lawyer, he became a politician, he became a businessman.
05:28My dad was a skilled businessman.
05:30By the age of 25, my dad was already a man who had good money.
05:39So, of course, I'm from the last batch because he had many children.
05:47So, there are nine of us in total.
05:49I am the oldest of the last batch.
05:52And my mother was the only woman who lived with me.
05:58So, when I was born my dad was almost 50 years old.
06:03So, imagine, a man who was also conservative, a die-hard Goth.
06:11Well, I wanted everything to be really bad.
06:16And me, me, a Pisces, imagine, a dreamer, a joker, because I was always a big joker.
06:25And I did badly in school, didn't I?
06:31And obviously I had a lot of problems with my dad because of that.
06:35And always, even though I had a driver to take me to school,
06:43There were two girls in the house who helped with household chores and such,
06:49I never noticed or paid attention to appearances.
06:55I liked walking barefoot.
06:58In fact, nowadays I live barefoot.
07:00Here because, well, what are they called?
07:02The label and the, and society somehow demands it.
07:07But if it were up to me, I'd be here barefoot.
07:10And well.
07:11So, of course, that's my dad, being the great Hernando José Díaz Parada,
07:16important man in Cúcuta,
07:17to see that his son spent all his time at TED conferences.
07:20Because in my neighborhood, our house was a corner house.
07:26And all the houses around the block had a flat roof,
07:30They had no roof tiles.
07:33Then I could climb onto the platform
07:35and walk around the block across the rooftops.
07:39So, obviously, they already knew it was me.
07:43and all the families.
07:45Oh, who are you doing now!
07:46They put that roof up!
07:47What a joke he made on his dad!
07:49And sometimes my dad would get complaints.
07:51And then my dad would get furious.
07:54And I, well, many street children passed by the house
08:01like asking for things.
08:04So, my dad was a man who had a lot of white t-shirts.
08:07because he wore a t-shirt under his shirt.
08:11So, I would take out the t-shirts.
08:13and he would give them to the street children who passed by.
08:17Then he compared me to them, saying I was like them.
08:21I was a street urchin.
08:22He said he was a brutish street urchin.
08:24What you do is act like a useless, ignorant street urchin.
08:33Well, I've tried to be the complete opposite with my two children.
08:38I have two children.
08:39Herman Camilo, who is 30 years old and an actor,
08:41and Maria Camila, who is 25, who is a director.
08:46I tried to be the complete opposite of my dad.
09:00There never was one...
09:01They used to give me a machete plan.
09:03I mean, my dad used to beat me with a machete.
09:07Just in case, or just in case, or just in case.
09:10I never laid a finger on my children.
09:13But I always spoke to them firmly and clearly.
09:15And the only important thing I instilled in them,
09:20The most important thing in life is the decisions you make.
09:23You are responsible for the decisions they make.
09:26I offer you study, I offer you the best I can offer you.
09:32And most of all, besides my love and support,
09:40Obviously, while they are studying economics,
09:44This is the advice.
09:46The most important thing is the decisions you make.
09:50You are responsible for your decisions.
09:52And well, I think that from my point of view
09:58I've been a good dad.
10:00I haven't been very affectionate either,
10:02But I haven't been a cold man either.
10:07and away from them.
10:11I've always been there.
10:19Pacifico is a film directed and written by Ricardo Gabrieli,
10:25Based on a true story that happened
10:32of some divers who got lost on Malpelo Island
10:36About 15 or 20 years ago, if I'm not mistaken.
10:40And as a result, two of the survivors,
10:44one of them wrote it like a novel.
10:46And about this novel, Ricardo C.
10:51She used it as a starting point to write this story
10:54which is called the Pacific.
11:02The character's name is Paco, Paco Rojas.
11:05He is the instructor, one of the instructors in charge.
11:09of this journey and of carrying
11:11to a wonderful experience
11:15to a group of divers who are going to spend it
11:21well on Malpelo Island.
11:29Sure, I have a business in Santa...
11:31I currently live in Santa Marta
11:34And I have a business which is a diving school
11:38and obviously when Ricardo Gabrieli, the director,
11:42He will call me on November 24, 2024.
11:46to propose this character to me,
11:51Well, for me it was a wonderful joy
11:54and it has been one of the best Christmas gifts
11:57that I have received in life.
11:59Having the opportunity to go to Malpelo,
12:05to that diving mecca,
12:07which is the top diving destination in the Pacific,
12:12and be able to participate as an actor
12:15and as a diver in this movie.
12:24Look, the most important thing,
12:28This comes from observation,
12:30and the sport of diving is not
12:34arrive and put on a tank
12:36and learn to breathe through your mouth
12:38and jump in and go deeper and deeper.
12:41No, no, no, no.
12:43The art of diving,
12:44the enjoyment of the passion of diving
12:47It is observation.
12:49You can stay in a coral reef
12:5245 minutes
12:53And a lot of things are happening.
12:55and you can leave
12:56and re-enter the same coral
12:59and completely different things happen
13:01whom you saw an hour ago.
13:06And what it has taught me
13:08That's what's there.
13:11everything that moves,
13:13all living species that move,
13:15They move with respect,
13:17with respect for the environment,
13:19with respect to...
13:24to put it,
13:25I don't know if that's the wrong way to say it,
13:26but I can't find the word,
13:28to their fellow human beings
13:29and in a natural way,
13:32you understand me?
13:33something that human beings
13:35We don't have any on the surface.
13:37We have the bare minimum of respect here.
13:39I was telling him, I don't know,
13:40to someone in an interview,
13:42I was telling him,
13:42look,
13:46we were on the first dive
13:48when we arrived at Malpelo.
13:51We went in
13:53and the first thing we saw
13:55It was a school for hammerhead sharks,
13:57That's 70 or 80 hammerhead sharks,
14:00which is being there,
14:02somewhat in relation to the surface,
14:04It's as if you were
14:06in...
14:10I don't know,
14:11in Cartridge,
14:12in the area further,
14:14let's say,
14:15dark and dangerous
14:16that Bogotá might have,
14:18full of ampoules
14:19and full of thugs,
14:21It's the same
14:21having been there,
14:23where 50 hammerhead sharks pass by
14:26and they don't even look at you,
14:28because you don't even,
14:29I mean,
14:30because you are here,
14:30one,
14:31excited,
14:31No?
14:32Scared,
14:33in the same way
14:34that you are in the cartridge,
14:36somehow excited
14:38and scared,
14:39except these sharks
14:41They don't touch you,
14:42On the other hand, those up here
14:43Yes, they touch you.
14:45You understand me?
14:47No,
14:48No,
14:48There is no respect.
14:49So,
14:50the greatest lesson
14:52that the sea has given me,
14:53that has given me depth,
14:55apart from the tranquility,
14:56apart from the poetic aspect
14:58which it may be,
14:59apart from the romantic aspect
15:00which it may be,
15:02It is respect
15:04to what surrounds it.
15:12Where did he get his Mercedes?
15:15Clear,
15:20I was 23 years old
15:21at that time,
15:24He did nothing.
15:28I'm not doing anything now.
15:30but back then
15:31Yes, he wasn't doing anything.
15:33because I spent all my time lying around
15:34on the corner of my house,
15:35on the floor,
15:36looking up at the ceiling,
15:37looking up at the sky,
15:38I wasn't really doing anything.
15:40I had just graduated from high school
15:41at night
15:44and a friend arrived
15:46which is called
15:46Juan Carlos Carvajal,
15:48vacation,
15:49and he saw me lying there
15:52which is,
15:53I don't know if we're leaving
15:54to a plane,
15:56For example,
15:56from a movie
15:57or from my film,
15:58to put it mildly,
15:59that we are all children
16:01on that corner,
16:02always,
16:03and we're growing
16:04these children
16:04And we're on that corner.
16:06and we keep developing
16:08and we are
16:10teenagers
16:10and in adolescence
16:12And we're on that same corner,
16:14we meet our first girlfriends
16:15And we're on that same corner,
16:17talking little bird
16:18of our dreams,
16:19of our illusions
16:22and so on,
16:22and then
16:23each one of them
16:25well, it's coming in
16:26to the universities,
16:27He's graduating from high school
16:27and that corner
16:29He's leaving
16:29He's leaving
16:30returning empty,
16:32empty,
16:32empty,
16:32empty,
16:33And I'm the only one left.
16:35And so it was,
16:36So I was the only one left,
16:38but on vacation
16:39My friend arrived
16:39Juan Carlos
16:40and he saw me there
16:41and he tells me
16:41and Toche,
16:42And what are you doing there?
16:43I told him,
16:43No,
16:44Well, here I am waiting.
16:44Let's see what I can do.
16:46in life
16:46because I don't have,
16:47I just graduated from high school,
16:48I had signed up
16:49to study Law
16:51and I managed to stay,
16:52I think it was 45 minutes
16:55in the first class
16:56which was Roman Law,
16:57I don't know what,
16:58something like that,
16:59And I said,
16:59No,
17:00This is not mine
17:00and I ran away.
17:02And he tells me,
17:03Well,
17:03And why not try it?
17:04with the theater?
17:06Me too,
17:07With the theater?
17:07In that way?
17:09I,
17:11Juan,
17:11you know,
17:12You know me
17:13because he's a neighbor,
17:13He's known me since I was a child.
17:15I need to pee
17:16in the pants
17:17when,
17:17or I would urinate
17:18in the pants
17:19when at school,
17:21Well,
17:22Elkin Díaz
17:22to the board,
17:25I stopped
17:26and I stopped
17:27to the board
17:27And so I was urinating,
17:30No?
17:30And obviously
17:31well it is
17:32bullying,
17:33the mockery
17:34of all the little classmates
17:35and,
17:35Oh,
17:35Elkin peed himself
17:36again,
17:37Oh,
17:38and on top of that
17:39the professor
17:39I was falling on top of him
17:41and he sent me
17:42for the house
17:42and in the house
17:43because of pee
17:44They beat me,
17:46No?
17:46Then I tell him,
17:47I tell him,
17:48Juan,
17:48I mean,
17:48I stand up
17:49in a scenario
17:50And I'm not just going to pee,
17:52I'm going to do something else.
17:54So,
17:55well,
17:57What's wrong with him?
17:57Don't be crazy.
17:58And he tells me,
17:59Yeah,
18:00You serve
18:01and you have strion
18:02because you are
18:02a sensitive man,
18:04told me,
18:05No?
18:05A sensitive bald man,
18:06because we were bald,
18:08You are a sensitive bald man,
18:10Where do you see that from?
18:12Cool.
18:13We're going tomorrow
18:15to the
18:16Cotelamus Room,
18:18It is the Cotelamus Room
18:18which is a theater
18:20there in Cúcuta
18:22where there was
18:23a theater group
18:24which was called
18:24back then
18:25the Caretas Theatre
18:27directed by the master
18:28Ciro Villamizar Mora.
18:32Unique theater group
18:33then,
18:34only theater group
18:36that its five actors
18:37the government,
18:39the State,
18:40I paid them
18:41a monthly salary,
18:42a minimum monthly wage
18:43throughout the country.
18:45There was no other group
18:46theatrical
18:46that the government
18:47pay them.
18:49Excellent,
18:50That's like
18:50a peculiarity
18:51that existed at that time
18:52with that Caretas group.
18:54At six in the morning
18:56my friend Juan Carlos
18:57He arrived and took me out
18:58out of bed
18:59and he took me
19:00there
19:01and he told me
19:03if you want
19:03to be someone
19:05in life
19:06wait for the teacher
19:07Ciro Villamizar.
19:10Well, I
19:11wait,
19:11I waited for a couple of hours
19:13because they were
19:14in rehearsal,
19:14the group,
19:15who were five actors
19:16and Master Ciro.
19:18I don't know why,
19:19I don't like it
19:20expect a long time,
19:21But I waited.
19:22Well,
19:23I know why,
19:23because I am here
19:24nowadays,
19:25life had me
19:27like that path
19:29and suddenly
19:30The actors came out,
19:32left
19:34Cecilia de García Herreros,
19:36priest's sister
19:37García Herreros,
19:38who was the great diva
19:40then
19:40from that group,
19:42She was the diva,
19:43left
19:44and three more actors came out
19:46and Master Ciro.
19:47And he sees me there
19:48and he tells me
19:49hello,
19:49What are you doing here?
19:50Then the secretary
19:51he tells her
19:52He is waiting for you
19:52there two hours ago
19:53and he tells me
19:53And what's that for?
19:55I told him no,
19:55because a friend
19:56brought me here
19:58and he told me
19:58that I could be an actor
20:01and if I wanted to be
20:02someone in life
20:03Well, let him try it.
20:04Then he stared
20:06and he told me
20:07That's what he told her.
20:08He says yes.
20:09Oh ok,
20:10then if he wants
20:11Let's continue to the stage
20:12and well,
20:14and I interview him,
20:15Does that seem okay to you?
20:16Well,
20:16Well,
20:17yes sir,
20:17Alright.
20:18And we entered the stage,
20:20He turned on a light
20:22zenithal
20:22on stage
20:23and coincidentally
20:24There was a chair
20:25throughout the center
20:26of the stage
20:26and he tells me
20:27get on
20:28and sits down
20:29And we already talked.
20:31I got on,
20:33I went,
20:34I sat down
20:37and I tried
20:39looking towards the audience
20:40and nothing could be seen,
20:41That was black,
20:42black, black.
20:44And the teacher,
20:46Cyrus,
20:46He left me there
20:47about three minutes
20:48silently
20:50and I was sitting
20:51in this position
20:53that I don't know
20:54Why did I sit like that?
20:54but I arrived
20:55And I sat down like this.
20:57Was
20:58unconscious,
20:59No?
21:01And I'm the only one
21:02that I thought
21:03He is worthy,
21:04No?
21:05Worthy,
21:06the quindigno,
21:07I mean,
21:08dignity in presence,
21:09dignified and present.
21:13And the teacher
21:14nothing that spoke,
21:14I was saying
21:15this old faggot
21:16What could he be thinking?
21:18Why don't you ask me?
21:20And I didn't see it,
21:21No?
21:22Until when does he finally tell me?
21:23Well,
21:24so
21:25Tell me about your life
21:26who is it?
21:27I told him
21:27what it says
21:28Sabeltín Díaz,
21:29that my dad was such,
21:30Ah,
21:30You are the son of Dr. Díaz,
21:31Ah,
21:32I don't know what,
21:32Yes, I know when
21:33and blah, blah, blah
21:34and the mother
21:34and so on.
21:35And then he asks me
21:36and well,
21:37and you know
21:40Where was theater born?
21:42and to my shame
21:43I didn't know.
21:45Then
21:46at 23 years old,
21:47something one knows
21:48in the first year of high school.
21:51By Spanish
21:52That happens,
21:53No?
21:53And I didn't have
21:54no idea
21:54nor who he was
21:55Sophocles,
21:56nor who Euripides was,
21:58nor who Aeschylus was,
21:59nor Greek tragedy,
22:00not a single thing.
22:01I didn't have
22:02knowledge,
22:03I was ignorant
22:04completely.
22:05I graduated from high school
22:06And that's because he played.
22:07I lost many years,
22:09many years,
22:11He was 23 years old
22:14And I left ignorant.
22:16Then I said to him,
22:17no, well,
22:17To be honest,
22:18Sir,
22:19I don't know.
22:21Okay,
22:22Well,
22:22then he told me
22:23which is
22:23It's because the Sophocles
22:24in Greece,
22:25the god of Dionysus,
22:27ta, ta, ta, ta, ta, ta,
22:28and it hit me there
22:29as a brief introduction
22:30about the theater
22:34and it,
22:35and the,
22:37Well,
22:37about the theater.
22:40Other questions
22:41of my family,
22:42of my friends,
22:43from me,
22:43if he had a girlfriend,
22:44if he didn't have a girlfriend,
22:45from one moment to two
22:47he tells me,
22:47Well,
22:47And if I told him
22:49that she undress,
22:52you,
22:53How would I do it?
22:58I was left thinking,
22:59this old bastard
23:01that he wants to see me
23:02naked
23:02or that toche.
23:04What I do,
23:05My God?
23:05What I do?
23:07I have to take
23:08a decision.
23:11Well,
23:12well,
23:12if you want
23:12that I get naked for him,
23:13well,
23:13I undressed him.
23:14No,
23:14No,
23:15No,
23:15No,
23:15No,
23:15No,
23:17don't worry,
23:17don't worry,
23:17don't worry.
23:19No,
23:19No,
23:19No,
23:19I just wanted to know
23:20her reaction
23:21in response to the question
23:23because of what we do
23:24the actors
23:24and what we do
23:26the artists
23:26is to undress
23:27the soul.
23:29Not to undress
23:30physically,
23:31but the soul
23:32we undressed her
23:33And that's why
23:33we do catharsis
23:34And that's why
23:35we do
23:36And that's why
23:37we transmit
23:38baring the soul,
23:40we transpose
23:40our emotions
23:41on another level.
23:44Good,
23:45thank you so much.
23:47I have a workshop
23:48here,
23:48if you want to come
23:49And you like this,
23:50well,
23:51see you tomorrow
23:52at 10 in the morning.
23:54And there I was
23:54at 10 in the morning.
24:02The casting really
24:03It was like this,
24:05Tell me,
24:06And that's it.
24:07what I'm doing
24:08at this time,
24:09in an honest way,
24:11without further ado
24:13nor less
24:13count
24:14who
24:16Kim Diaz.
24:19and well,
24:21I think that
24:21because in the theater
24:23and in the performance
24:23as such,
24:24what is needed,
24:25so to speak,
24:26lie,
24:26in quotation marks,
24:28thus creating a fiction,
24:30we must be
24:31the most honest
24:31possible
24:32and the important thing
24:33in this profession
24:34It is honesty.
24:35I think that
24:36That's what has led me
24:37to achieve
24:40many things
24:40in the performance.
24:48Oh, wonderful!
24:49Tilda Swinton
24:50She is an actress
24:51Wow!
24:53generous.
24:54In fact,
24:55I have an anecdote
24:59Because, well,
25:00It's Tilda Swinton,
25:01No?
25:01Wow!
25:02Yeah,
25:02Wow!
25:03So,
25:03we had
25:04the first reading
25:06from the script
25:06with Tilda Swinton
25:07which was
25:08a reading
25:09from the script
25:09like everyone else
25:10the jobs
25:11what did I do
25:11in theater.
25:13I mean,
25:13I have
25:13in theater
25:14more than 30
25:16shows
25:17theatrical
25:18on
25:18and more
25:20of these
25:2030
25:22jobs
25:22theatrical
25:23They were always addressed
25:24the first time
25:25with a reading
25:26script
25:27and always
25:28this reading
25:28script
25:29King Diaz
25:30she approached her
25:31in a way
25:31neutral
25:32and calm,
25:34No?
25:34Not like many actors
25:35suddenly they arrive
25:36now to interpret
25:37for the first time
25:39what they deserve
25:40or the role
25:40that they have to
25:41when it is simply
25:43a reading
25:43of script.
25:44It is no more
25:45which can be read
25:47evil,
25:47good,
25:48but only read it
25:49It's for
25:50to obtain
25:52a first impression
25:53No?
25:54Group
25:54because you've already had
25:55a first impression
25:56only
25:57which is when they send you
25:59the script
25:59And you read
26:00and you say
26:00Wow,
26:01I like
26:02No?
26:02or not
26:03and then
26:04Here comes the first impression
26:05group
26:06and all you have to do is read
26:08and more
26:08for Tilda Swinton
26:10which was
26:12for the first time
26:14read this script
26:15in Spanish
26:15without her knowing
26:17read Spanish
26:18It was as if she
26:19will become familiar
26:21with the words
26:22in Spanish
26:23And I don't know.
26:24because
26:25Toches
26:25I don't know
26:26because
26:27Toches
26:29something that never
26:30I did in my
26:31thirty
26:35in my thirties
26:37plays
26:38of experience
26:41I don't know
26:41because
26:42half
26:42me
26:42for putting me
26:43to interpret
26:44that
26:45son of a bitch
26:45script
26:47and also
26:48evil
26:48you understand me?
26:50clear,
26:50I was very nervous
26:52I remember
26:53who opened the door
26:53and inside
26:54Tilda
26:54I was standing there
26:55and she
26:57Elkin!
26:58me too
26:58Damn!
26:59Do you know my name?
26:59Me, girl!
27:00and we greeted each other
27:02and we sat down
27:02and we begin
27:04to read the script
27:04and everyone
27:06reading the script
27:06neutral, normal
27:07and I to interpret
27:08The script was bad.
27:09And I'll start
27:11with the first word
27:12with the first sentence
27:14What am I saying?
27:17space
27:18it gets heavy
27:20No?
27:21it begins to
27:22a heat
27:22more horny
27:23of which he is being
27:23right now
27:24because also
27:25we were
27:25not locked up
27:26we were in a
27:27in the room
27:28of the house
27:29by Manolo Orjuela
27:29where there were
27:30some large windows
27:31where it circulated
27:33air
27:33but it felt
27:35a heat
27:35and then
27:36Everything was awkward
27:37and I every word
27:38which said
27:39She messed up
27:40she messed up
27:41and she messed up
27:42and so on
27:43until suddenly
27:44says apichampón
27:45in
27:46well
27:47in English
27:48I was the only one
27:48who didn't speak English
27:49stop
27:53something says
27:54to Manolo Orjuela
27:56who was like the director
27:57and the person in charge
27:58of me
28:00for the translation
28:01and so?
28:02so
28:03that we cut
28:0415 minutes
28:04I knew
28:06that they were
28:06shitting
28:07because it was for me
28:08you understand me?
28:09I knew
28:11And I stop
28:12And I'm leaving.
28:13for the bathroom
28:14and I begin
28:15to give it our all
28:16because I am
28:16of those actors
28:17that sometimes
28:18I'm very hard on myself
28:19And what an idiot.
28:20What am I doing?
28:21if it's a reading
28:22script
28:23Why am I
28:24Doing that?
28:25clear
28:27That's when I understood
28:28to people
28:29that act
28:31with me
28:31which are like
28:32as first-time mothers
28:34that are put
28:35super nervous
28:36and they want to do
28:37more than the rest
28:38Do you understand?
28:39And it happened to me
28:40I thought
28:40that it wasn't going to happen to me
28:41because I
28:42I mean
28:42I wasn't
28:42I wasn't a first-year student
28:43Imagine
28:44I had
28:44well, the whole experience
28:46of the world
28:46And it happened to me
28:48with Tilda Suíctor
28:49and with the whole group
28:51No?
28:51with Apichampong
28:52and with all
28:53the group
28:55filming
28:56from the movie
28:57oh well
28:59I hit it hard
29:00I left
29:01I opened the door
29:01and Manolo Orjuela was there
29:03What's up, Toche?
29:05When did you
29:06it occurred to him
29:06Do that?
29:07and if you never
29:08does that
29:08Do it as usual
29:09He does it
29:09calm down now
29:10Relax
29:11And I am, sir.
29:13yes sir
29:13And I sat down.
29:15and we started
29:16and that's it
29:18as it should be
29:25No
29:25That's it.
29:27another level
29:28truly another level
29:30how
29:31people live
29:32cinema
29:33and art
29:35film
29:40Well, look
29:41just to tell you
29:42that the
29:43the only ones
29:44that we were there
29:45with less experience
29:47we were
29:47John Paul
29:49Urrego
29:49me too
29:49No?
29:51with less experience
29:51in the movies
29:52really
29:53having done
29:54several films
29:55No?
29:57but Tilda
29:57For example
29:58then
29:59I was debuting
30:01three films
30:02I mean
30:02she passed
30:03through that rug
30:04thrice
30:04with three films
30:06different
30:07and at that time
30:09was
30:11Adam Drive
30:13that people
30:14he told me
30:14Look
30:15how it looks
30:15you to him
30:16or he looks like you
30:17in fact
30:18I took a picture of him
30:19and I took a picture
30:19and we are
30:20the great actors
30:22here in Canesita
30:23but all that paraphernalia
30:25and all that world
30:25Well, we had to enjoy it.
30:28I enjoyed it
30:29to the maximum
30:29I lived it to the fullest.
30:31and I became aware
30:33of what needs to be done
30:36really
30:36it's work
30:37in a way
30:38honest
30:39and aware
30:40in the wonderful world
30:42from the cinema
30:43and of cinematic art
30:44without pretension
30:45the claim
30:47It's done there
30:48if it arrives
30:49if we manage to get there
30:50That's the pretension
30:51here
30:52We have to work
30:53like a little ant
31:02thank you
31:02this
31:03It's been a while
31:04really nice
31:06I have managed
31:07as
31:08as
31:09strip me
31:09of many things
31:10and tell
31:11many things
31:12of my life
31:13I would like to add something
31:14I
31:18I'm going to debut
31:19as director
31:20producer
31:21director
31:21with a movie
31:23that's coming
31:24that it is already
31:24coming out very soon
31:27or at least
31:28It's almost ready
31:29because it is finished
31:30which is called
31:31The man who wants to be a fish
31:33a movie
31:34that I achieved
31:35carry out
31:36thanks to the law
31:37814 film
31:40and I managed to do it
31:41is called
31:42The man who wants to be a fish
31:43It's the story
31:45of a man
31:45who lives
31:46hermit
31:46on the coast
31:47of the Sierra Nevada
31:49one day
31:50it's on its way
31:51to his shack
31:52and is found
31:52a man
31:53wounded
31:54lying on the floor
31:55decides to pick it up
31:57I mean
31:58I miss it
31:58decides to pick it up
31:59take it to his shack
32:00to cure it
32:01and in the process
32:02healing
32:03finds out
32:03that man
32:04He is the top paramilitary leader
32:06that swept away
32:07with all his people
32:08and eliminated
32:10to his people
32:11woman, son
32:12and all
32:13that's like
32:14the synopsis
32:18from the movie
32:19It's not a movie
32:21of war
32:22It's not a movie
32:23revenge
32:24It's not a movie
32:26of rage
32:27not even from gunshots
32:29nor of these things
32:30It's a movie
32:32of understanding
32:33and resilience
32:34where
32:34where the
32:36violence
32:38that we live
32:38in this country
32:39tried
32:40transpose it
32:42in a way
32:42poetics
32:43with the
32:44deal
33:00Thanks for watching the video.