October 19, 2022 • 32 mins
Eva Longoria, Dania Ramirez, and the powerful voices at the heart of this podcast, discuss how the show was made and why it matters.
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The Letters of Minerva Mirabal and Manolo Tavárez: Love and Resistance in the Time of Trujillo
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Episode Transcript
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Speaker 1 (00:02):
From executive producers Daniel Ramidez and myself Eva Longoria. Sisters
of the Underground tells the powerful story of the middle
of our sisters, real life Latina's who sacrificed everything for
the fight for freedom, thinking about your children nearby and
(00:30):
thinking about him and every generation after them. This is
a love story between two and between a country and
between the future because they knew they were fighting for us.
So I hope that people see this and see what's
(00:50):
happening in our country now and go wait, I could
participate in a bigger way, Yes, because these women did.
The young women of these were old need to see
stories like this, creating an army of history around our children.
The inspiring part was definitely learning the history about the
Metabows and how amazing it was and what they've been
(01:13):
through and how much they suffered. But they were so
strong during this whole time. A most restan talk on me,
(01:38):
monsieur b m Beneathos and welcome to the final bonus
episode of Sisters of the Underground. I'm Daniel Ramides one
of the executive producers of the podcast, and I also
play me new the narrator. Today you will hear from
some of the powerful voices behind this show. I feel
(01:59):
very great to have partner up with Eva Longoria. You know,
Eva and I share a passion for stories that will
empower the Latin voice in America and in the world. Really,
I know that this needs no introduction at this point,
but here's me and Eva talking about it. It was
really serendipitous because I had just met whole Maria in
(02:21):
a random Somebody goes, you should meet this writer, and
I meet him and I said where even he goes
on Dominican And I said, oh my gosh, that's so.
That's I don't need very many Dominican writers. This is amazing.
And literally two days later, Dona sits with me and goes,
I want to do this story and I loved like
it to be all Dominican, Dominican sounding, Dominican writer, Dominican voices.
And I was like, I just met a Dominican writer,
(02:43):
and then I introduced you to Maria. And that's the thing.
That's the thing too, that's my life's mission is not
to speak for the Latino commune. I'm not. I don't
speak for anybody. I don't speak for women, I don't
speak for Latinos. I encourage people to speak up for themselves,
and the way we do it as creators is finding
those stories from our communities and giving giving it that voice.
(03:06):
And I think that's what you've done so beautifully with
this particular series, is you've got so specific with the story.
Is not not even just with being Dominican and it
being a Dominican story, it being about these three women.
The more specific you tell a story from a point
of view, the broader the reach. And that's the irony
of storytelling, because it is you can't even make up
(03:30):
this ship, right, you can't make up the ship that
these women went through whips, chains, electric rocks, but don't
give no, can calm down, get a lot worse. They're
taking up still are family in a way, you know
(03:54):
way it's like we are keeping them alive. You know
that he wasn't in vain. Like a lot of people
can look at this, you know, look at the story
and it's like, oh, look they spoke up and they're dead,
and I'm like, but they're not. Look at the way
that we're getting to tell this story. Look at the
opportunities that we have so that our youth gets to
grow up having that inspiration, understanding that that's what it's like,
(04:16):
and being proud, being really proud of what it was
then and what it is now. You know, the movement
soon became a political force to be reckoned with them
now because of her, women like us don't have to
be afraid anymore right now. And this is Dominicano. I
(04:37):
am very proud to introduce minutes, the daughter of two
of our heroes, Minerva. Yes, yes, you heard that right,
that is me New She's still alive and well and
working as a politician and an activist in the Dominican Republic.
(05:00):
Not surprising, She and a show runner writer directors Maria
cal had a conversation about the journey towards bringing this
story to life in this medium. I trust how's mydea?
He's good, thank you? Meaning so, um, let's talk a
little bit about the process. I remember I called you
(05:22):
and and it was my birthday and you didn't know
it was my birthday, see, and you told me come
to my office and I arrived at your office and
you gave me a book. Uh and that book is
Mariana Dede Sick. And that was a birthday gift, but
(05:44):
it was it was also a great gift for me
to learn more about about Meno and Manolo, and you
really wanted to point out that love story that me
Nero Minolo had. I miss you more than anything. I've
(06:07):
read your last letter so many times. I know it
by heart, and I think you can really you can
really see that in the book. You can really understand
these characters. It was very good for us writers, for
me and Mary cast Jans too, to really get to
know in a in a different level, not only the
(06:33):
the movements, what they thought their ideas, but how they think,
how they felt uh and and that intimacy that they had,
and how the struggles they had as a relationship, and
and like in a way that human side that you
can really see it in in in everything they did.
(06:57):
They're telling people to watch out for us doctor Manuelo Tabares,
whoso has recently married La rou the Red commun And
it is also said that there is a baby. What
the hell is this? That bastard wants to isolate us
from everyone, but he won't. I won't let it happen, Mina.
(07:19):
They were really human to I think that was really
important for us, and that's why I called you back
and I told you, I think we need to include
the book. I think the book is important, and I
think we need to include you. You need to be
a character in in in this in this story quite
(07:39):
a gift because that's a really true lost story. And
it's not a love traditionally come on love love story.
It's a love story between two and between a country
(08:00):
read and between the future. And it's about fighting for
a better work and being um able to give everything,
even even the UH their own lives, in order to
(08:22):
UH to build a work, a different work, a onee
where people do not have to to suffer what they suffered.
People that do not that are not going to be
per sicking. I am thinking of them and every new
(08:43):
generation after them. They need to be protected from this
terrible regime that killed their grandfather. Remember they did that
to puppy, to all of us. So you tell me, mommy,
what's best to think about myself or to think about
the future for my children and their country. I want
to talk to you guys a little bit about Maria
Caral showrunner, writer, director. He's one of the most important
(09:08):
Dominican filmmakers working today. He has directed over seven feature
films and his movie would Peckers was the first film
out of Santo Domingo to screen at the Sundance Film
Festival in two thousand and seventeen. Meno so gracefully let
Jose and co writer Mary Castelliano fictionalize her life and
(09:30):
create a character who is passing this story on to
the next generation. You speak for them, Okay. If I
closed my eyes, I can't imagine the cries, the anguish,
that despair. What I need is that you are able
(09:54):
to capture the spirit, uh, and that you are respectful
with it. It. Yes, we we had that into account
when me and Mary were writing, and that's why we
we did a lot of meetings with you, and and
also we we used many of the testimonies. The Day's
(10:16):
book also very inspirational, uh. And we we really wanted
to be really faithful to the history and to what
actually happened, so we took very few creative licenses. There's
another thing that it's very uh that talks about the
(10:36):
character of my mother. She was in prison, and and
she was in the letters she said all the time,
like bring me, please, bring me, bring me constantly said yes,
So Clay Clay, did did you bring those cigarettes? On
(10:57):
the modeling clay see, because I need to do something
while I am. I'm here, you know, these days are
endless days, and and she had no one single picture
of me, So she started sculpting my face from her memory.
(11:18):
Mommy was spent the next few months inside herself sculpting
the memory she had of me, of my face. It's
surprising how very much alike to a picture of me
at that age is this sculpt that she did. So
(11:41):
what that story tells me is first how much she
loved me, how present she had me. It's just like
you know, not as you would tend to think that. Well,
(12:02):
she preferred to fight, and she forgot about no, no,
no me, no, I want me thank Okay, yes that's
a key g She had me in her mind and
(12:24):
solely my father. Uh when when she did what she
did because it was her responsibility, it was her commitment.
She had no option but two fight for a better work.
(12:45):
Look at what he's doing to us, Look at what
he's doing to us. I don't want me to to
grow up in fear. I want them to have a
full life. Better. Their own hardships had one good result.
It made them focus again on the revolutionary ideals, and
so they began to plan. I was honored to bring
(13:06):
her to life in this way. Actually, in the show,
Adela is played by my actual niece, Gabriel Stein. Just
a little fun fact for you guys. They meant so
much to me to pass along this story to the
younger generation in my family. You know what you are
(13:26):
Mariposa too, and so are you. Mavie. There, Hey, podcast listeners,
We'll be right back with more interviews in just a sec.
Stick around it. We got it. We got it is
(13:50):
about reconnecting the dots for people now, and not from
a victimized perspective, because I think that's the thing everybody.
You know, we're all played in this big play of life, right,
and so we get to have a chance to be
vessels for a message, a bigger message for me obviously,
and you can you know, I have my messages of love,
(14:12):
of uniting or like I've always been like, how can
I tell stories that make people really resonate with not
just what happened, but what can come a bit? You know,
you know, I get really deep sometimes I get it,
but that it's important to me because I do. I
feel like you've really provided me with a an opportunity
(14:34):
to really retell the story in the most authentic way.
You allowed me to have freedom to really, you know,
collaborate with you on something that to me meant the world,
and it means the world to a lot of the
Dominican community. And along with Mikulta and and and I
Heart and Julia from School of Humans came into this
(14:56):
project and I cannot tell you eva like just changed everything.
We were able to just really attack it from a
place of sound like, what do Dominican people sound like?
What is our country sound like? What do our fight
sound like? What does our laughter sound like? How do
we relate to each other? And we did it all
in a very specific way to talk about our people
(15:18):
because you know, and I think that's a huge thing.
I'm so excited to and partner with Joannie on this
because just like just like the media and sisters who
weren't afraid to challenge decades of oppression, uh and and
lead a revolution, you know, Danny and I aren't afraid
to you know, tackle our industry with representation. And we're like,
(15:42):
here we go, get ready for the revolution. Kill me
and I will lift my arms ever stronger even from
the grave. What an honor it was to work with you.
The Ray is an incredible actress. Wow, Um, I have
(16:04):
worked with duty before. It's very rare that you have
Dominicans in Los Angeles, and she's been my powerhouse here
in l A, someone that I turned to. No one
better than Julie Ray is as our So I mean,
a room full of Dominicans is like nothing you've ever seen,
you know. So it's it's not a joke, it's a
show off. Somebody's teasing somebody else, making you laugh, and
(16:27):
you feel at home immediately. You know. Once somebody threw
in a a hole O go and yoka. Okay. It
was a legacy and the Spanish it was on. So
we figured out how to throw it in there, and
whenever we had to pull it out, who somebody did
an incredible joke, was like, let's do another one. But
you know, I think one of the more powerful scenes
was um when we got we had to sing the
(16:51):
national anthems Ye, she's being arrested, um, and it was
I was like, oh my god, I don't know the
whole thing. I don't know. You can't silence us our
country's anthem. Says we have a right to be three
(17:12):
come on me by one of us, So damn. But
it's almost a yeah it is, and it isn't re
education of US Dominicans and American Dominicans. And you know,
I'm I'm American born, American educated, I mean dominicanized by
(17:35):
my family because my first generation, I mean for me.
And one of the reasons why I really wanted to
tell this story, it's not just because, Okay, the meat
of our sisters was something that I grew up with,
but really I knew firsthand the effect that he had
on our people. And I was born in them, and
I am born in Dominican Republic, and I stayed there
(17:55):
till I was ten years old. And I would come
from a family full of women, like I'm one of
three girls, my mom is one of ten. My grandmother
had ten girls, two boys, and so the meat about
story was something that was very prevalent and alive in
my home. And so this is something that going to
school in Dominican Republic is the first thing that you
really start learning about UM. But I also saw there
(18:19):
their impact within the women in my family because Dominican Republic,
if you know, the country is um in a lot
of ways, very male dominant and still till this day,
very male dominant, and so coming from a family full
of strong women, this was something that I grew up
(18:40):
being inspired by my father. I remember him telling us
stories about, you know, being outside and not being able
like if thru he was making his rounds, you wouldn't
even you weren't able to even be outside and chew
gum because he found it disrespectful. So if he was
out there speaking and you were chewing gum, they would
like shoot you right then there. So imagine growing up
(19:01):
in a time that that was a reality. Um. He
made me have to grow into having a little more
understanding from my father, and he's much books. I'm one
of four girls, so I I I identify and I
appreciate what you're saying. And you know, very anti Trugistas.
(19:23):
My parents they experienced him in their youth and uh.
And then of course it's part of the lord. Every
time you brought up civil rights in the States, you know,
my mom had to, you know, give me a little
schooling of what she knew about. Oh no, but in
Santo Domingo, there was the meta our sisters, you know, no,
you don't know. It's like what happened. And and to
echo what you were saying, the misogyny. So many women
(19:45):
in the households so few men, and they have virtually
no power because of the patriarchy, the times, all of
that stuff. And like a middle class young women, like
the metra our sisters going ahead and exercising their right
to educate themselves, um creates a problem in a nation
that's mostly women or has mostly daughters. I know where
(20:06):
this is going. Yes, I still think it's not a
good idea for you to leave home to study law.
Thanks for your advice, and thank you for the car.
I really appreciate it. But I'm a meta. But I'll
remember I set my mind on going to college, Poppy,
and I'm going right, all right, I'll be safe, Poppy.
Don't worry so much. You know, I have a son
(20:29):
and a daughter, and I think of my daughter when
i'm when I'm doing this work, and I'm thinking of
what she you know, how we would resonate with her.
But I also think of my son, and I think of,
you know, what his future with women would be like.
(20:50):
Whatever it is, you know, it's just as a friend,
as a partner, and you know, instilling that like love, admiration,
respect for women in these young men is something that
our nation needs. And I think creating an army of
history around our children that that reminds them that they
(21:12):
exist and being the example to our children that, uh,
they can realize themselves as a result of people before us,
and being scared is not new. It's okay to be angry,
and it's okay to take action, do you know what
I mean? However, that looks for you, um um, that
they're not alone, that they're you know, what we've been
looking for. What brought us all into the business, you, Julia,
(21:34):
you Dania, is that we're looking for someone who looks
like us, who sounds like us, who is like us,
but you know, through a different journey and experience, representation
and representation of these universal themes comes in every shape, color, size, gender,
and I think that's an important message to get across.
But we have a lot of like intellectual, really smart
(21:57):
educated business women who are actors in this room, you know,
so that take in terms of the the class and
the weight of these women really really uh, it's not
something you can't you have to edit down or change
because that's where we're all from, which is to your point,
what the real talent is essential and talented people who
(22:21):
often don't get the opportunity to shine in this way,
let alone tell their story. We'll be right back with
more interviews in Justice Sect. Stick around. Did we record that? Okay? Next?
(22:49):
I am very excited for you guys to hear from
these beautiful Dominican strong women. Gravio, Charlene Let. They had
a conversation with our producer and Julia Chris Gaunt know
what bout. Yeah, it's beautiful. It's even makes me my
eyes here, Yeah, yeah, yeah, I mean it's a Dominican
(23:13):
story led by females. You know, it's being represented and
it feels good. You know, I saw Judy, I saw
Heivy Keith. They Judy started way before us and trying
to break through. Yes, and the fact that she represents me,
that my character. It's amazing because what what it entitles.
(23:35):
It's like her history and you know they were met
about rags. She's nearly ready and the fact that she
did it was so so much soul because she wasn't.
She wasn't just their scenery and made a good actor.
It was personal for me. It's very important. I told
her this. She was the first Dominican actress I ever
(23:59):
saw on screen and in a TV show when she
was doing scrips and I would watch her every day
and I didn't know she was Dominican. She just felt
like family. I felt represented through her, and so many
years after, you know, it just feels very full circle
because she inspired me to be an actress. Whether she
knew it or not, each of us individually had never
(24:21):
given up in the industry. We have never given up
on our country. We have never given up on the
pride of saying Dominican in Hollywood and Dominican in Miami
and Dominican in Latin America during the world. So I
think he has to do a lot with that, with
with carrying our heritage and culture towards a story and
(24:42):
linked to our own journey as creative people, and it's
our story told by us and US Dominican talents in Hollywood.
We have suffered so much and because for Hollywood, for
the United States, we are who speak ste Spanish or
one flag, but we have different cultures. Of course, it's amazing,
(25:03):
which is the beauty of the Latino. But as America.
I tell you, I felt very proud in that room
when all of us speaking Spanish and you and Virginia
were the producers in the table. They had to just
listen to what we're saying and take our our advice
because we know better about our culture. To me, and
I was like, yeah, all this is another level something
(25:27):
never happened when gona help its going. It is so hard,
I mean, wow, but kudos. It is very important to
know that bad as women like Dania Ramiers, Eva Longoria
and Eugenia and you that represent a bigger platform that
bad as women are telling the story as bad as women,
(25:49):
and Hi are bad as women, you know. Like that
to me is like okay, about time. Thank congratulations, thank
you for trusting relieving in us. Yes, so it was
you made it easy. Look at it. Where are we
in a in a room right now? Right It's called
(26:09):
Sisters of the Underground. So they were underground paving their way.
It's exactly what we're doing now. Look at the building
next to us in Netflix offices. It's like the underground,
you know. So we were like here doing a raw,
doing a real because like yeah, really is rare nowadays.
(26:34):
So this is a very real, rare project, and nothing
goes the way we plan, but we plan our way,
we still make it. Yes, that's quite the thing that
best makes me about these women, these sisters, was the
bravery and the these ordinary women. I mean they were
(27:00):
they were obviously extraordinary, but really if you look at
their lives, they were three women, They had a husband,
they had a job, they worked in the house. My
hope is that it inspires people to see, wow, these
three women became an inspiration for many. I mean, they
were affectionately called Las Mariposa, the butterflies. Um. You know,
they earned this um martyr status, and they were normal
(27:24):
everyday people who wanted to see a difference in their country.
That's all they want. They wanted to make a difference
in their country. So I hope that people see this
and see what's happening in our country now and go, wait,
I could participate in a bigger way. Yes, But these
women did. They started the downfall of trukil Uh. You know,
over time they became the real threat to his regime,
(27:45):
and they garnered national international attention and they put pressure
on the government and go, if you look at if
those three women can do it, in a in a
in a place that has had true fascist dictatorship, I
mean true fascist dictatorship. I think sometimes in the United
States we sit back and we're like, we're such a
great democracy and it's fine, and it's like, no, you
(28:07):
have to pay attention. You have to pay attention. And
I think, you know, political and social movements are fueled
by everyday people in our country, and so I hope
people look at this and pay attention to what's happening
in our country to make sure that we never become
that right, and that not only that you have the
power to make sure we never become that. I truly
(28:32):
do believe that change is inspired, not demanded. Bringing this
show into fruition is my attempt to inspire the kind
of change that I believe is needed in order to
form a world that I want my children to grow
up in. I am committed to shedding light on the
(28:53):
pieces of history that have had a positive impact on
the state of our current civilization. I want to thank
you all so much for listening. It really does mean
the world. Thank you. Oh My mom's from Dominican Republic,
who's don to you. She's my aunt and I love
(29:16):
her very much. I love you very much, thank you,
thank you for sharing your love, your talent, and you
are Amiraba. You are if I ever o one AK.
(29:45):
Sisters of the Underground is a production of School of
Humans in conjunction with I Heeart Medias, Michael Tura Network
and Unbelievable Entertainment, with co executive producers Eva Longoria and
Dania Ramirez, showrunner and director j Maria Abra. The series
was written by Jose Maria Carrel and Mary Castellanos. Story
(30:05):
by Dania Ramirez and Jose Maria Cabral. Lead producer and
story editor Julia Chrisco Associate producer and first a d
Andrew Harmon, Production manager Daisy Church, Script supervisor Sarah Montague,
Recording engineer Clay Hillenburg, Post production supervisor Jeremy Gilbertson at
(30:29):
Tune Welders in Atlanta. Sound design, mixing and mastering by
Harper W. Harris, Assembly editing by Liam Marie Puffenberger. Jason
Shannon composed our score, music editor Spenser Willis. Music licensing
by Serio Marte, Lolaurenz A Louts at Big Sync Music
(30:49):
and Natalie Brady at Texture Music. Marketing and design by
Jasmine Miheia and Claudia Marti Corena. Our Incredible cast includes
Dania Ramirez as Minotavares Miraval, our narrator, Julie Regues as
Minerva Miraval, Jane Santos as Dona Chia Miraval, Celinez t
(31:11):
Ribio as Deve Miraval, Charlene Chaule as Maria Presa Miraval,
Acarriendo es Patria Miraval, Serio Carlo Es, Manolo Tavaris, and
the radio announcer Pemki Malera Es Trujillo, Ector anibal As,
Johnny Abs, Cabrila Stein as Adela. Additional cast includes juan
(31:35):
Ja Alex Lynn Word, Jacqueline Calderon, Vido Mico Urrivez, Silvio Martinez,
Ryan Parija, Darius de la Cruz, Marco Parra, and Daniel Lujan.
Additional executive producers include Jossan, Maria Cabra, Mary Castellanos, Gessel Bances,
(31:57):
Virginia Prasca, L. C. Crowley, Brandon bar Special thanks to
Doug Boum and abou so far at I Heart Media
Special thanks to Minoavaris Miravan, daughter of Minerva and Manolo,
who is a politician and activist in the Dominican Republic.
She also published the book of letters that we quote
throughout the series. It's called Maniana Escribo Travis. Check out
(32:21):
our show notes for more details. If you enjoy the podcast,
help us get the word out by leaving a review
on iTunes or wherever you listen to podcasts. It really helps. Thanks.
(32:46):
School of Humans.
From executive producers Daniel Ramidez and myself Eva Longoria. Sisters
of the Underground tells the powerful story of the middle
of our sisters, real life Latina's who sacrificed everything for
the fight for freedom, thinking about your children nearby and
(00:30):
thinking about him and every generation after them. This is
a love story between two and between a country and
between the future because they knew they were fighting for us.
So I hope that people see this and see what's
(00:50):
happening in our country now and go wait, I could
participate in a bigger way, Yes, because these women did.
The young women of these were old need to see
stories like this, creating an army of history around our children.
The inspiring part was definitely learning the history about the
Metabows and how amazing it was and what they've been
(01:13):
through and how much they suffered. But they were so
strong during this whole time. A most restan talk on me,
(01:38):
monsieur b m Beneathos and welcome to the final bonus
episode of Sisters of the Underground. I'm Daniel Ramides one
of the executive producers of the podcast, and I also
play me new the narrator. Today you will hear from
some of the powerful voices behind this show. I feel
(01:59):
very great to have partner up with Eva Longoria. You know,
Eva and I share a passion for stories that will
empower the Latin voice in America and in the world. Really,
I know that this needs no introduction at this point,
but here's me and Eva talking about it. It was
really serendipitous because I had just met whole Maria in
(02:21):
a random Somebody goes, you should meet this writer, and
I meet him and I said where even he goes
on Dominican And I said, oh my gosh, that's so.
That's I don't need very many Dominican writers. This is amazing.
And literally two days later, Dona sits with me and goes,
I want to do this story and I loved like
it to be all Dominican, Dominican sounding, Dominican writer, Dominican voices.
And I was like, I just met a Dominican writer,
(02:43):
and then I introduced you to Maria. And that's the thing.
That's the thing too, that's my life's mission is not
to speak for the Latino commune. I'm not. I don't
speak for anybody. I don't speak for women, I don't
speak for Latinos. I encourage people to speak up for themselves,
and the way we do it as creators is finding
those stories from our communities and giving giving it that voice.
(03:06):
And I think that's what you've done so beautifully with
this particular series, is you've got so specific with the story.
Is not not even just with being Dominican and it
being a Dominican story, it being about these three women.
The more specific you tell a story from a point
of view, the broader the reach. And that's the irony
of storytelling, because it is you can't even make up
(03:30):
this ship, right, you can't make up the ship that
these women went through whips, chains, electric rocks, but don't
give no, can calm down, get a lot worse. They're
taking up still are family in a way, you know
(03:54):
way it's like we are keeping them alive. You know
that he wasn't in vain. Like a lot of people
can look at this, you know, look at the story
and it's like, oh, look they spoke up and they're dead,
and I'm like, but they're not. Look at the way
that we're getting to tell this story. Look at the
opportunities that we have so that our youth gets to
grow up having that inspiration, understanding that that's what it's like,
(04:16):
and being proud, being really proud of what it was
then and what it is now. You know, the movement
soon became a political force to be reckoned with them
now because of her, women like us don't have to
be afraid anymore right now. And this is Dominicano. I
(04:37):
am very proud to introduce minutes, the daughter of two
of our heroes, Minerva. Yes, yes, you heard that right,
that is me New She's still alive and well and
working as a politician and an activist in the Dominican Republic.
(05:00):
Not surprising, She and a show runner writer directors Maria
cal had a conversation about the journey towards bringing this
story to life in this medium. I trust how's mydea?
He's good, thank you? Meaning so, um, let's talk a
little bit about the process. I remember I called you
(05:22):
and and it was my birthday and you didn't know
it was my birthday, see, and you told me come
to my office and I arrived at your office and
you gave me a book. Uh and that book is
Mariana Dede Sick. And that was a birthday gift, but
(05:44):
it was it was also a great gift for me
to learn more about about Meno and Manolo, and you
really wanted to point out that love story that me
Nero Minolo had. I miss you more than anything. I've
(06:07):
read your last letter so many times. I know it
by heart, and I think you can really you can
really see that in the book. You can really understand
these characters. It was very good for us writers, for
me and Mary cast Jans too, to really get to
know in a in a different level, not only the
(06:33):
the movements, what they thought their ideas, but how they think,
how they felt uh and and that intimacy that they had,
and how the struggles they had as a relationship, and
and like in a way that human side that you
can really see it in in in everything they did.
(06:57):
They're telling people to watch out for us doctor Manuelo Tabares,
whoso has recently married La rou the Red commun And
it is also said that there is a baby. What
the hell is this? That bastard wants to isolate us
from everyone, but he won't. I won't let it happen, Mina.
(07:19):
They were really human to I think that was really
important for us, and that's why I called you back
and I told you, I think we need to include
the book. I think the book is important, and I
think we need to include you. You need to be
a character in in in this in this story quite
(07:39):
a gift because that's a really true lost story. And
it's not a love traditionally come on love love story.
It's a love story between two and between a country
(08:00):
read and between the future. And it's about fighting for
a better work and being um able to give everything,
even even the UH their own lives, in order to
(08:22):
UH to build a work, a different work, a onee
where people do not have to to suffer what they suffered.
People that do not that are not going to be
per sicking. I am thinking of them and every new
(08:43):
generation after them. They need to be protected from this
terrible regime that killed their grandfather. Remember they did that
to puppy, to all of us. So you tell me, mommy,
what's best to think about myself or to think about
the future for my children and their country. I want
to talk to you guys a little bit about Maria
Caral showrunner, writer, director. He's one of the most important
(09:08):
Dominican filmmakers working today. He has directed over seven feature
films and his movie would Peckers was the first film
out of Santo Domingo to screen at the Sundance Film
Festival in two thousand and seventeen. Meno so gracefully let
Jose and co writer Mary Castelliano fictionalize her life and
(09:30):
create a character who is passing this story on to
the next generation. You speak for them, Okay. If I
closed my eyes, I can't imagine the cries, the anguish,
that despair. What I need is that you are able
(09:54):
to capture the spirit, uh, and that you are respectful
with it. It. Yes, we we had that into account
when me and Mary were writing, and that's why we
we did a lot of meetings with you, and and
also we we used many of the testimonies. The Day's
(10:16):
book also very inspirational, uh. And we we really wanted
to be really faithful to the history and to what
actually happened, so we took very few creative licenses. There's
another thing that it's very uh that talks about the
(10:36):
character of my mother. She was in prison, and and
she was in the letters she said all the time,
like bring me, please, bring me, bring me constantly said yes,
So Clay Clay, did did you bring those cigarettes? On
(10:57):
the modeling clay see, because I need to do something
while I am. I'm here, you know, these days are
endless days, and and she had no one single picture
of me, So she started sculpting my face from her memory.
(11:18):
Mommy was spent the next few months inside herself sculpting
the memory she had of me, of my face. It's
surprising how very much alike to a picture of me
at that age is this sculpt that she did. So
(11:41):
what that story tells me is first how much she
loved me, how present she had me. It's just like
you know, not as you would tend to think that. Well,
(12:02):
she preferred to fight, and she forgot about no, no,
no me, no, I want me thank Okay, yes that's
a key g She had me in her mind and
(12:24):
solely my father. Uh when when she did what she
did because it was her responsibility, it was her commitment.
She had no option but two fight for a better work.
(12:45):
Look at what he's doing to us, Look at what
he's doing to us. I don't want me to to
grow up in fear. I want them to have a
full life. Better. Their own hardships had one good result.
It made them focus again on the revolutionary ideals, and
so they began to plan. I was honored to bring
(13:06):
her to life in this way. Actually, in the show,
Adela is played by my actual niece, Gabriel Stein. Just
a little fun fact for you guys. They meant so
much to me to pass along this story to the
younger generation in my family. You know what you are
(13:26):
Mariposa too, and so are you. Mavie. There, Hey, podcast listeners,
We'll be right back with more interviews in just a sec.
Stick around it. We got it. We got it is
(13:50):
about reconnecting the dots for people now, and not from
a victimized perspective, because I think that's the thing everybody.
You know, we're all played in this big play of life, right,
and so we get to have a chance to be
vessels for a message, a bigger message for me obviously,
and you can you know, I have my messages of love,
(14:12):
of uniting or like I've always been like, how can
I tell stories that make people really resonate with not
just what happened, but what can come a bit? You know,
you know, I get really deep sometimes I get it,
but that it's important to me because I do. I
feel like you've really provided me with a an opportunity
(14:34):
to really retell the story in the most authentic way.
You allowed me to have freedom to really, you know,
collaborate with you on something that to me meant the world,
and it means the world to a lot of the
Dominican community. And along with Mikulta and and and I
Heart and Julia from School of Humans came into this
(14:56):
project and I cannot tell you eva like just changed everything.
We were able to just really attack it from a
place of sound like, what do Dominican people sound like?
What is our country sound like? What do our fight
sound like? What does our laughter sound like? How do
we relate to each other? And we did it all
in a very specific way to talk about our people
(15:18):
because you know, and I think that's a huge thing.
I'm so excited to and partner with Joannie on this
because just like just like the media and sisters who
weren't afraid to challenge decades of oppression, uh and and
lead a revolution, you know, Danny and I aren't afraid
to you know, tackle our industry with representation. And we're like,
(15:42):
here we go, get ready for the revolution. Kill me
and I will lift my arms ever stronger even from
the grave. What an honor it was to work with you.
The Ray is an incredible actress. Wow, Um, I have
(16:04):
worked with duty before. It's very rare that you have
Dominicans in Los Angeles, and she's been my powerhouse here
in l A, someone that I turned to. No one
better than Julie Ray is as our So I mean,
a room full of Dominicans is like nothing you've ever seen,
you know. So it's it's not a joke, it's a
show off. Somebody's teasing somebody else, making you laugh, and
(16:27):
you feel at home immediately. You know. Once somebody threw
in a a hole O go and yoka. Okay. It
was a legacy and the Spanish it was on. So
we figured out how to throw it in there, and
whenever we had to pull it out, who somebody did
an incredible joke, was like, let's do another one. But
you know, I think one of the more powerful scenes
was um when we got we had to sing the
(16:51):
national anthems Ye, she's being arrested, um, and it was
I was like, oh my god, I don't know the
whole thing. I don't know. You can't silence us our
country's anthem. Says we have a right to be three
(17:12):
come on me by one of us, So damn. But
it's almost a yeah it is, and it isn't re
education of US Dominicans and American Dominicans. And you know,
I'm I'm American born, American educated, I mean dominicanized by
(17:35):
my family because my first generation, I mean for me.
And one of the reasons why I really wanted to
tell this story, it's not just because, Okay, the meat
of our sisters was something that I grew up with,
but really I knew firsthand the effect that he had
on our people. And I was born in them, and
I am born in Dominican Republic, and I stayed there
(17:55):
till I was ten years old. And I would come
from a family full of women, like I'm one of
three girls, my mom is one of ten. My grandmother
had ten girls, two boys, and so the meat about
story was something that was very prevalent and alive in
my home. And so this is something that going to
school in Dominican Republic is the first thing that you
really start learning about UM. But I also saw there
(18:19):
their impact within the women in my family because Dominican Republic,
if you know, the country is um in a lot
of ways, very male dominant and still till this day,
very male dominant, and so coming from a family full
of strong women, this was something that I grew up
(18:40):
being inspired by my father. I remember him telling us
stories about, you know, being outside and not being able
like if thru he was making his rounds, you wouldn't
even you weren't able to even be outside and chew
gum because he found it disrespectful. So if he was
out there speaking and you were chewing gum, they would
like shoot you right then there. So imagine growing up
(19:01):
in a time that that was a reality. Um. He
made me have to grow into having a little more
understanding from my father, and he's much books. I'm one
of four girls, so I I I identify and I
appreciate what you're saying. And you know, very anti Trugistas.
(19:23):
My parents they experienced him in their youth and uh.
And then of course it's part of the lord. Every
time you brought up civil rights in the States, you know,
my mom had to, you know, give me a little
schooling of what she knew about. Oh no, but in
Santo Domingo, there was the meta our sisters, you know, no,
you don't know. It's like what happened. And and to
echo what you were saying, the misogyny. So many women
(19:45):
in the households so few men, and they have virtually
no power because of the patriarchy, the times, all of
that stuff. And like a middle class young women, like
the metra our sisters going ahead and exercising their right
to educate themselves, um creates a problem in a nation
that's mostly women or has mostly daughters. I know where
(20:06):
this is going. Yes, I still think it's not a
good idea for you to leave home to study law.
Thanks for your advice, and thank you for the car.
I really appreciate it. But I'm a meta. But I'll
remember I set my mind on going to college, Poppy,
and I'm going right, all right, I'll be safe, Poppy.
Don't worry so much. You know, I have a son
(20:29):
and a daughter, and I think of my daughter when
i'm when I'm doing this work, and I'm thinking of
what she you know, how we would resonate with her.
But I also think of my son, and I think of,
you know, what his future with women would be like.
(20:50):
Whatever it is, you know, it's just as a friend,
as a partner, and you know, instilling that like love, admiration,
respect for women in these young men is something that
our nation needs. And I think creating an army of
history around our children that that reminds them that they
(21:12):
exist and being the example to our children that, uh,
they can realize themselves as a result of people before us,
and being scared is not new. It's okay to be angry,
and it's okay to take action, do you know what
I mean? However, that looks for you, um um, that
they're not alone, that they're you know, what we've been
looking for. What brought us all into the business, you, Julia,
(21:34):
you Dania, is that we're looking for someone who looks
like us, who sounds like us, who is like us,
but you know, through a different journey and experience, representation
and representation of these universal themes comes in every shape, color, size, gender,
and I think that's an important message to get across.
But we have a lot of like intellectual, really smart
(21:57):
educated business women who are actors in this room, you know,
so that take in terms of the the class and
the weight of these women really really uh, it's not
something you can't you have to edit down or change
because that's where we're all from, which is to your point,
what the real talent is essential and talented people who
(22:21):
often don't get the opportunity to shine in this way,
let alone tell their story. We'll be right back with
more interviews in Justice Sect. Stick around. Did we record that? Okay? Next?
(22:49):
I am very excited for you guys to hear from
these beautiful Dominican strong women. Gravio, Charlene Let. They had
a conversation with our producer and Julia Chris Gaunt know
what bout. Yeah, it's beautiful. It's even makes me my
eyes here, Yeah, yeah, yeah, I mean it's a Dominican
(23:13):
story led by females. You know, it's being represented and
it feels good. You know, I saw Judy, I saw
Heivy Keith. They Judy started way before us and trying
to break through. Yes, and the fact that she represents me,
that my character. It's amazing because what what it entitles.
(23:35):
It's like her history and you know they were met
about rags. She's nearly ready and the fact that she
did it was so so much soul because she wasn't.
She wasn't just their scenery and made a good actor.
It was personal for me. It's very important. I told
her this. She was the first Dominican actress I ever
(23:59):
saw on screen and in a TV show when she
was doing scrips and I would watch her every day
and I didn't know she was Dominican. She just felt
like family. I felt represented through her, and so many
years after, you know, it just feels very full circle
because she inspired me to be an actress. Whether she
knew it or not, each of us individually had never
(24:21):
given up in the industry. We have never given up
on our country. We have never given up on the
pride of saying Dominican in Hollywood and Dominican in Miami
and Dominican in Latin America during the world. So I
think he has to do a lot with that, with
with carrying our heritage and culture towards a story and
(24:42):
linked to our own journey as creative people, and it's
our story told by us and US Dominican talents in Hollywood.
We have suffered so much and because for Hollywood, for
the United States, we are who speak ste Spanish or
one flag, but we have different cultures. Of course, it's amazing,
(25:03):
which is the beauty of the Latino. But as America.
I tell you, I felt very proud in that room
when all of us speaking Spanish and you and Virginia
were the producers in the table. They had to just
listen to what we're saying and take our our advice
because we know better about our culture. To me, and
I was like, yeah, all this is another level something
(25:27):
never happened when gona help its going. It is so hard,
I mean, wow, but kudos. It is very important to
know that bad as women like Dania Ramiers, Eva Longoria
and Eugenia and you that represent a bigger platform that
bad as women are telling the story as bad as women,
(25:49):
and Hi are bad as women, you know. Like that
to me is like okay, about time. Thank congratulations, thank
you for trusting relieving in us. Yes, so it was
you made it easy. Look at it. Where are we
in a in a room right now? Right It's called
(26:09):
Sisters of the Underground. So they were underground paving their way.
It's exactly what we're doing now. Look at the building
next to us in Netflix offices. It's like the underground,
you know. So we were like here doing a raw,
doing a real because like yeah, really is rare nowadays.
(26:34):
So this is a very real, rare project, and nothing
goes the way we plan, but we plan our way,
we still make it. Yes, that's quite the thing that
best makes me about these women, these sisters, was the
bravery and the these ordinary women. I mean they were
(27:00):
they were obviously extraordinary, but really if you look at
their lives, they were three women, They had a husband,
they had a job, they worked in the house. My
hope is that it inspires people to see, wow, these
three women became an inspiration for many. I mean, they
were affectionately called Las Mariposa, the butterflies. Um. You know,
they earned this um martyr status, and they were normal
(27:24):
everyday people who wanted to see a difference in their country.
That's all they want. They wanted to make a difference
in their country. So I hope that people see this
and see what's happening in our country now and go, wait,
I could participate in a bigger way. Yes, But these
women did. They started the downfall of trukil Uh. You know,
over time they became the real threat to his regime,
(27:45):
and they garnered national international attention and they put pressure
on the government and go, if you look at if
those three women can do it, in a in a
in a place that has had true fascist dictatorship, I
mean true fascist dictatorship. I think sometimes in the United
States we sit back and we're like, we're such a
great democracy and it's fine, and it's like, no, you
(28:07):
have to pay attention. You have to pay attention. And
I think, you know, political and social movements are fueled
by everyday people in our country, and so I hope
people look at this and pay attention to what's happening
in our country to make sure that we never become
that right, and that not only that you have the
power to make sure we never become that. I truly
(28:32):
do believe that change is inspired, not demanded. Bringing this
show into fruition is my attempt to inspire the kind
of change that I believe is needed in order to
form a world that I want my children to grow
up in. I am committed to shedding light on the
(28:53):
pieces of history that have had a positive impact on
the state of our current civilization. I want to thank
you all so much for listening. It really does mean
the world. Thank you. Oh My mom's from Dominican Republic,
who's don to you. She's my aunt and I love
(29:16):
her very much. I love you very much, thank you,
thank you for sharing your love, your talent, and you
are Amiraba. You are if I ever o one AK.
(29:45):
Sisters of the Underground is a production of School of
Humans in conjunction with I Heeart Medias, Michael Tura Network
and Unbelievable Entertainment, with co executive producers Eva Longoria and
Dania Ramirez, showrunner and director j Maria Abra. The series
was written by Jose Maria Carrel and Mary Castellanos. Story
(30:05):
by Dania Ramirez and Jose Maria Cabral. Lead producer and
story editor Julia Chrisco Associate producer and first a d
Andrew Harmon, Production manager Daisy Church, Script supervisor Sarah Montague,
Recording engineer Clay Hillenburg, Post production supervisor Jeremy Gilbertson at
(30:29):
Tune Welders in Atlanta. Sound design, mixing and mastering by
Harper W. Harris, Assembly editing by Liam Marie Puffenberger. Jason
Shannon composed our score, music editor Spenser Willis. Music licensing
by Serio Marte, Lolaurenz A Louts at Big Sync Music
(30:49):
and Natalie Brady at Texture Music. Marketing and design by
Jasmine Miheia and Claudia Marti Corena. Our Incredible cast includes
Dania Ramirez as Minotavares Miraval, our narrator, Julie Regues as
Minerva Miraval, Jane Santos as Dona Chia Miraval, Celinez t
(31:11):
Ribio as Deve Miraval, Charlene Chaule as Maria Presa Miraval,
Acarriendo es Patria Miraval, Serio Carlo Es, Manolo Tavaris, and
the radio announcer Pemki Malera Es Trujillo, Ector anibal As,
Johnny Abs, Cabrila Stein as Adela. Additional cast includes juan
(31:35):
Ja Alex Lynn Word, Jacqueline Calderon, Vido Mico Urrivez, Silvio Martinez,
Ryan Parija, Darius de la Cruz, Marco Parra, and Daniel Lujan.
Additional executive producers include Jossan, Maria Cabra, Mary Castellanos, Gessel Bances,
(31:57):
Virginia Prasca, L. C. Crowley, Brandon bar Special thanks to
Doug Boum and abou so far at I Heart Media
Special thanks to Minoavaris Miravan, daughter of Minerva and Manolo,
who is a politician and activist in the Dominican Republic.
She also published the book of letters that we quote
throughout the series. It's called Maniana Escribo Travis. Check out
(32:21):
our show notes for more details. If you enjoy the podcast,
help us get the word out by leaving a review
on iTunes or wherever you listen to podcasts. It really helps. Thanks.
(32:46):
School of Humans.
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