November 13, 2025 • 26 mins
There is a mysticism that covers Latin America. Stories of monsters, spirits, and tales of dark family secrets. Sure, it sounds like a telenovela, but literature calls it Gothic: tales that frighten and force us to confront our fears.
Now, Mexican filmmaker Guillermo del Toro has reimagined the classic gothic story “Frankenstein.” But this time with a Latin American twist.
Del Toro’s adaptation features catholic imagery, long stares into the camera, and Guatemalan-born Hollywood superstar Oscar Isaac. Oscar gets into the film, the state of the country, and why he dropped Hernandez from his stage name.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
I'm Lisa and Akazawa join me on season two of
Stars and Stars with Lisa, where I sit down with
some of the most exciting stars of our time to
find out what their birth chart reveals about their life's purpose,
their relationships, and their challenges. Winner of the Signal Award
for Most Inspirational Podcast, Stars and Stars will help you
make sense of today's complicated times. Even if you're an
(00:28):
astrology skeptic. You can listen to Stars and Stars with
Lisa wherever you get your podcasts. Don't forget to follow
the show so you never miss an episode.
Speaker 2 (00:41):
We're about to unfold the story of Frankenstein. He is
one of the strangest tales ever told. I think it
will three you, It may shock you, It might even.
Speaker 3 (00:53):
Horrify From Fudromidia, It's Latino Usa. I'm Maria Josa today,
the heartthrobed actor of the moment, oscar Isaac who stars
as doctor Victor Frankenstein in the newest Netflix adaptation. From
(01:22):
the Andes Mountains, through the Caribbean Islands and up to
the Sonoran Desert. There is a mysticism that covers Latin America.
Think of you know, monsters like the Chupacabras, or spirits
like Laurona, or tales of dark family secrets. Sure it
(01:44):
sounds like a novella, but literature calls it gothic stories
that frighten and force us to confront our own fears. Now,
Mexican filmmaker Guillemo del Toro, who has long loved monsters
and says he even identifies with them, has reimagined a
classic Gothic monster story, but this time with a Latin
(02:09):
American twist.
Speaker 4 (02:10):
It's not an accident that my Victor is being played
by Oscar Isaac.
Speaker 3 (02:13):
Ernandez played by Hollywood actor Oscar Isaac Ernandez Estrada, who
you might know as Oscar Isaac. The new Doctor Victor
Frankenstein is seriously Latino, and according to Oscar, this Frankenstein
might be the most telenovela adaptation yet. The watermelon born
(02:36):
actor with a Cuban father is known for his roles
in Dune as Duke Ledo atreates.
Speaker 5 (02:42):
A great man, doesn't seek to laid, he's called to it.
Speaker 3 (02:46):
He played Nathan the crazed billionaire in ex Machina Dance
Check It Out, and Hoe in Star Wars.
Speaker 4 (02:55):
You're the best fighter we have We need you out there,
not here.
Speaker 3 (02:59):
And we so much experience acting in science fiction, it's
no wonder that Doro chose Isaac for his long awaited Frankenstein.
Inspired by the Toro's Mexican upbringing, Frankenstein is full of
Catholic imagery, long stares into the camera, and family secret's
gone awry. This adaptation also takes from Mary Shelley's eighteen
(03:23):
eighteen novel The Gothic genre allowed Shelley to speak on
our cultural fears of motherhood and life, as well as
her personal experiences with multiple miscarriages and the deaths of
her children.
Speaker 6 (03:38):
That Doro's film borrows from.
Speaker 3 (03:40):
All of that, plus, this new Frankenstein poses a pretty
political question, how do we remain human during such inhumane times?
Oh Scott, thank you so much for joining me on
Latino USA. It's it's really great to speak with you.
Speaker 5 (04:02):
Oh no, I'm very happy to very hip to speak you. See.
Speaker 3 (04:05):
So you are cast with the amazing Ye Moodel Toro
to play doctor Victor Frankenstein commolodition Franken.
Speaker 4 (04:14):
Steam But okay, Victorio, he would always say on set,
Victorio giving a Victorio giving Like when we made this movie,
there you know, there was a time We're sitting next
to each other and it's so big and we only
(04:34):
spoke in Spanish to each other.
Speaker 5 (04:35):
On set. It was just like I say, it was
like making a movie with my Tia.
Speaker 4 (04:39):
You know, it was just he was It was just
so close and fun and incredibly intimate. That's the first
time I've ever worked that way. And at one point,
you know, because it is it is not naturalism. You know,
he wanted speed, he wanted expression, he wanted a lot
of emotion, and you know, sometimes he would direct me
with like telenovela things. You'd say, give me that Maria Christina,
(05:04):
you know when you like stop and look back the camera,
and I'd be like, really, it's like, come on, mad Cristina, mucho,
come on. I was like, all right, okay, And then
he said, you know, it's not it's not an accident
that my Victor is being played by Oscar is like Anandez.
You know, He's like, this is a Latin American point
of view to a very European story. It is completely
(05:27):
through the prism of his experience and things that he'd loved,
things that created him, without judgment about you know, whether
they're a highbrow or a low brow.
Speaker 5 (05:37):
This is his experience.
Speaker 4 (05:38):
It's his biography, but not his literal biography, but it's
his dream biography. It's like the DNA that makes him up,
and he asks for us to bring the same thing.
So when we first met, it was, you know, I
was at his house and just you know, eating Cuban food,
take out Cuban food, and we're sitting there talking and
we just talked for an Now it was just a
(05:58):
general meeting for an hour about how we grew up
and about our fathers and about our religious trauma. Him
as a Catholic, the growing up Evangelical Christian in Miami,
and well that's a.
Speaker 6 (06:11):
Lot right there.
Speaker 3 (06:12):
Yeah, yeah, and that was your first meeting. Was like, hey,
we got this religious trauma.
Speaker 5 (06:17):
Yeah, we have this.
Speaker 4 (06:18):
We have fathers that loom very large, that have you know,
been sources of inspiration but also of great pain. And
we are also now fathers, and yet somehow we still
feel like we identify as sons. And at what point
do you start being a father and being president enough
to see.
Speaker 5 (06:35):
That you're not you're no longer trying to prove something
to your father.
Speaker 4 (06:41):
And so that's what we talked about and then at
the end of that conversation, he said, I think you
need to play Victor of Frankenstein.
Speaker 6 (06:49):
Oh my god, did you know that it was going
to go that way?
Speaker 5 (06:52):
I didn't even know that he was making a movie.
Speaker 6 (06:55):
Is my yaes Day?
Speaker 5 (06:56):
Boy? No, Like my defense has come up, right. So
I'm like, oh, I'm sure. He says this to all
the girls, and it's like, I'm sure. It's like I'll
take this. I'll take this with a grain of salt.
We'll see.
Speaker 4 (07:08):
And then but then he gave me Mary Shelley's Franks
Sin and he gave me the Dowdy Ching and he said,
go read these, and I read them immediately.
Speaker 5 (07:15):
And we just started having conversations.
Speaker 4 (07:17):
And within a year, a little over a year, he
came to New York with the first thirty pages, in
the last thirty pages, and we sat in the hotel
room and I read all the characters and at the end,
and I read that last scene where he finally sees
himself for what he is, which is the father of
this creature that he's rejected, and the creature forgives him,
(07:38):
and I just broke down in the tears, and he
was crying as well, and that yeah, and that began the.
Speaker 3 (07:44):
Journey, so that, yeah, I'm gonna go to the film
and I'm gonna end up crying.
Speaker 5 (07:46):
If you have a heart.
Speaker 4 (07:50):
Funny, he was just saying, you know that when he
started out, they would tell him, you know that there's
elements of tenderness in your horror, but now it's there's
elements of horror in your tenderness. And the film is
and of course it has elements of gruesome things, of
the body parts of blood of dread, but it's not
(08:10):
interested in being.
Speaker 5 (08:11):
A genre piece in that way. It's an opera.
Speaker 3 (08:15):
Obviously. This book was written so long ago, Mary Shelley.
It was written during the time of the Industrial Revolution.
It's a tale we know about modernity. What do you
think are the parallels between what's happening right now in
our country? A lot of people feel like things are
out of control, that ethical boundaries are being crossed everywhere.
(08:36):
Is there that kind of sentiment in this film?
Speaker 4 (08:42):
Well, every movie that's made is a product of it's time,
and you know, every performer, as Shakespeare very beautifully put
is the chronicle of the time, right, So you can't
really escape that.
Speaker 5 (09:01):
So of course it is. It is about what's happening now.
Speaker 4 (09:06):
That being said, the way that Yermo approached it, he
felt that it you know, he's has completely submerged themselves
for such.
Speaker 5 (09:14):
A long time in the Romantics in what was.
Speaker 4 (09:16):
Happening at that time, and all of that is infused
into this frankt sign. But for him, it's really clear
that it is Mary Shirley's biography as well of her
dealing with the death, the miscarriages, that she had a
miscarriage and the baby never was named and so to
be put into the ground without a name, and yes,
(09:36):
and living in this incredibly patriarchal, repressive moment and the
industrial revolutions just starting to get going in this idea
of like, you know, anything for the future. And the
Romantics were iconoclasts. They were the punk rock they were
like the punk rock generation. They were fighting against this thing,
and they were also very expressive about emotion. And also
(10:00):
so you know, the novel ends on a really dark note.
There isn't a moment of forgiveness, and the creature self
emolates at the end, and so they were kind of
loving the idea that it was like a counter to
this futurism.
Speaker 5 (10:18):
It was.
Speaker 4 (10:18):
It was it was a counter of saying like, look
at the destruction and the death this can cause.
Speaker 5 (10:23):
So that is in the DNA of this thing. You know.
Speaker 4 (10:25):
Guillermo has moved it up a bit from where the
novel takes place, and so he surrounds it with the
crimean war which the Romantics were, you know, although it's
not spoken of directly in the book, you know it
was a response to what was happening, to the war
that was happening around them, and so he does. Guirmo
has Mia God's character Elizabeth speak directly about the war,
(10:47):
and directly she says, and it's a beautiful line about
what happens when great ideas in quotes, great ideas are
pursued by fools.
Speaker 6 (10:57):
Of that is.
Speaker 3 (10:59):
Very apropos for twenty twenty five. I would say, oh, Scott,
you actually Nacilo in Watemala, born in Whatatemala, and you
are oscar isaac Ernandez estradaciono te correct correct, being big, big, big, big, big,
(11:20):
Tell me the quick love affair between your mother, who's Waatemalan,
one of the most indigenous countries in Latin America, and
your father is Juano. I'm like, is there a ten
second love storyline that you can tell me about those two?
Speaker 5 (11:35):
Oh? I mean yeah, not ten seconds, no, ten seconds no.
Speaker 4 (11:40):
But the short of it is that my father went
to medical school at Tamala and it was at a
dance for the university where he's at that he met
my mother and they were married. My sister was born,
I was born, and then shortly after that they moved.
Speaker 5 (11:56):
They immigrated to first to Washington, d C.
Speaker 4 (11:59):
Baltimore in Louisiana, and then to Florida.
Speaker 6 (12:08):
Let's pause here.
Speaker 3 (12:09):
After the break, we pick up in Miami and Oscar
Isaac tells us why he dropped his last name when
he started pursuing a career as an actor.
Speaker 5 (12:17):
Oscar Hernanda's in Miami is like John Smith.
Speaker 3 (12:21):
Stay with us, Yes, hey, we're back. Before the break,
actor Oscar Isaac dove deep into his role as doctor
Victor Frankenstein in Guilllmo del Toro's Newest Frankenstein adaptation. But
(12:45):
before Oscar was the Hollywood heart throb that you know now,
Oscar Isaac anandez Istrada was just another Latino actor in
Miami trying to make it in a very crowded field.
What happened to the Ernandez Estrada And when did the
decision come to be like, I'm Oscar Isaac.
Speaker 5 (13:04):
Yeah, so my father's what's got this? My grandfather's what's
gone this?
Speaker 4 (13:11):
And when I began acting, I actually started working professionally
in South Florida, in Miami, and I would try to
get auditions. I wouldn't really be cast as you know,
be brought in for anything other than Baniero number three,
you know, the dead body.
Speaker 6 (13:30):
So you're a working actor at this time.
Speaker 4 (13:31):
Well, I'm trying I have like a featured extra part.
When I was fifteen and something, I'm still in high school.
Speaker 3 (13:37):
You already knew in high school, you were like, I'm
doing this.
Speaker 6 (13:39):
I'm an actor.
Speaker 5 (13:40):
I already knew.
Speaker 4 (13:41):
And before that, in elementary school, I was already like,
it's just what I loved. I didn't think this is
what I'm going to do. It is what I am doing.
It's just what I love to do. And my parents
were incredibly supportive of that. I think they saw it.
There was you know, resistance was fudial at that point.
And so when I started, you know, I got a
headshot and I thought I was able to find an
agent and would go out and Oscar Hernandez in Miami
(14:05):
is like John Smith.
Speaker 5 (14:06):
You know. It's like it's at that point when there
was phone books. You could look it up, but there
was just hundreds and hundreds and hundreds. I would go
to auditions, there'd be other Oscar. I remember I went there.
There was two other Oscar hernandez Is at the audition.
So I was like, all right, maybe I.
Speaker 4 (14:19):
Could differentiate myself and then they won't know. Maybe they'll
bring me in for different roles you know that are
not just these other parts.
Speaker 5 (14:25):
And so they I started to be brought in.
Speaker 4 (14:27):
When I was like, I just say that that Oscar
Isaac okay, I started every brought it. And I remember
there was a story where Barry Sonenfeld was making a movie
and I couldn't get in to be seen for this
Cuban part. And it's like, well, it's because he just
wants to see Cuban actors.
Speaker 5 (14:41):
I'm like, but my actually internande. Yeah.
Speaker 4 (14:54):
So then I went to I moved to New York
and I went to drama school in New York.
Speaker 3 (14:58):
Well wait wait wait wait wait wait, yeah, I love
the way you're just like And I went to drama
school in New York. You went to Juilliard, right, I
mean that's that's like pretty heavy duty stuff. Obviously your
family could see your talent. What was it when you're
Likewoy the Miami Melwoy Buhn York and your family was like, yeah, definitely.
Speaker 4 (15:16):
Well, actually, the way that I really started professionally was
with a place called Aria Stage, which is John Rhodas
and Maria Rood as incredible artists and theater directors.
Speaker 5 (15:26):
And they had this little theater on Lincoln Road in
South Beach.
Speaker 6 (15:30):
Oh my god, I love this.
Speaker 3 (15:31):
Yeah, Like that's like seriously like on Lincoln Road in
South Beach, a little theater.
Speaker 4 (15:36):
Yeah, I mean this was a different time, right, This
was like ninety Yeah, this is like ninety seven, ninety
eight and early early two thousands. And I say, you know,
I first saw my first mam At play there and
I was you know, and I started doing plays there
and through that I did a play with a guy
named Michael John Garsas, and then he was doing a
play in New York and he said you can come
(15:58):
audition for it. So I flew up to New Work
and I auditioned for it, and it was to play
a young fist.
Speaker 6 (16:04):
And now I must see another man.
Speaker 5 (16:05):
I got the and I got the park.
Speaker 4 (16:07):
I got it and it was a off off Broadway
at the Cherry Lane Theater and I came up to
do the the play. And while I was up doing
the play, I passed by Juilliard and I thought, oh shit, Juilliard,
let me.
Speaker 5 (16:18):
Let me go in and see and maybe they'll give
me an application.
Speaker 6 (16:21):
And you like knock on the door.
Speaker 5 (16:23):
Yeah yeah, yeah yeah. And they gave me an application
a lady and she's like, well, it was due. It
was due on Friday. It was Monday.
Speaker 4 (16:31):
And I said, okay, if I fill it out tonight
and I bring it back, can you help me.
Speaker 5 (16:34):
I was like, okay, honey, but if you bring it
back tomorrow.
Speaker 6 (16:37):
Because of course it was by hand.
Speaker 5 (16:39):
Yeah yeah yeah. So I filled it up a hand.
I came back the next day. I gave it. Yeah,
it's analog days.
Speaker 4 (16:43):
And then I gave it to her and uh and
she postated it and and then and I got an
audition and I got it.
Speaker 3 (16:49):
Then yes, I'm you. You actually had like a little
theater angel watching over you.
Speaker 4 (16:55):
Yeah yeah, and just grim determination and you know, just
just a very strong belief. But also I didn't audition
for other places, so it wasn't so much the goal
to I must go to a school. But at a
certain point I thought, anyway, maybe I'd go to film school.
Speaker 5 (17:13):
But when the call came that I got into Juilliard,
I said, well, this is right's in front of me,
and so I went by the way.
Speaker 3 (17:20):
I also wanted to be an actor. That's how I
ended up in New York nor But I wonder when
the fact that you were so young and you knew, like,
was there an actor that you saw or a TV
show or a movie where you like that, that's the
reason why I want to do this.
Speaker 5 (17:38):
Yeah.
Speaker 4 (17:38):
Yeah, it was Tim Curry. Because I was watching legend,
Ridley Scott's Legend, and at a certain point, the Lord
of Darkness, the Devo himself, his lip just curls up
in this smile, and I suddenly thought, oh.
Speaker 5 (17:53):
My god, that's the guy from Klue.
Speaker 2 (17:55):
I trying to find out who killed him and where
and with what st need to shout.
Speaker 4 (18:00):
I'm shopping for an I'm shopping, I'm shopping.
Speaker 5 (18:05):
And I couldn't believe that there was the same person.
Because I love the Clue.
Speaker 4 (18:09):
I thought it was such a funny movie, even though
I was so young when I saw it, and it
just blew my mind that this could be the same
person and that he could be this creature and still
also come through as himself.
Speaker 5 (18:21):
And I think that's really what really got me excited.
Speaker 3 (18:27):
Okay, but it's not lost on the both of us
that Tim Curry's big moment, of course is.
Speaker 5 (18:33):
Rocky Horror Pictures Show, which is.
Speaker 3 (18:35):
A little bit like Frankensteinia.
Speaker 5 (18:40):
You know, exactly, no, exactly, Yeah.
Speaker 6 (18:45):
We'll be right back. Hey, welcome back.
Speaker 3 (19:03):
Let's get back to my conversation with actor Oscar Isaac.
And so when you saw Tim Curry then kind of
in drag, I mean, he was really breaking all gender
barriers absolutely, and you thought, also, this guy, I love
the fact that he's doing this.
Speaker 5 (19:17):
Well, that's what I'm saying. Then I saw him in that,
and then it's just the fluidity and that he was
all things.
Speaker 4 (19:23):
And you know, I also felt very much like I
don't fit anywhere. You know, I don't have a lot
of male friends, you know I have there's a lot
of femininity in things, you know as well, and the
mask and how those two things kind of morphed together,
and so to see somebody that was just not contained
by those things and also kind of ethnically ambiguous as well.
Speaker 5 (19:46):
You know, I couldn't really put compelling.
Speaker 4 (19:49):
He's got this beautiful English voice, but I couldn't really
the curly brown hair and those dark eyes, and I'm like.
Speaker 5 (19:54):
Where is he? I kind of looks a little. It
looks like I'd be related to him.
Speaker 3 (19:57):
Which actually the whole question about being ethnically ambiguous. I mean,
you have played Timothy Charlomai's father.
Speaker 5 (20:05):
Will you protect our son.
Speaker 3 (20:08):
With my life?
Speaker 5 (20:10):
I'm asking his mother, I'm asking the bene jesturet.
Speaker 6 (20:13):
You've also played a pharaoh from.
Speaker 5 (20:16):
The past you left behind and the future the lies hand.
Speaker 3 (20:20):
So what do you think is gained or what do
you think is lost? When you're clearly deeply tied to
your watermelon cuban roots. But also you are gorgeous and
ethnically ambiguous, So what's gained?
Speaker 6 (20:36):
What's lost? Sorry about the gorgeous, just have to throw
it in.
Speaker 5 (20:39):
Oh, thank you, India. You know it's just play.
Speaker 4 (20:44):
You know, underneath all those things, which are all beautiful
things that I love, that are inherited, you know, in
a way, this is what Frankenstein is. You know, a
thing that is that it comes into being, that is
that inherits, you know, parts and all from all sorts
of different places and is kind of perfect when they
(21:08):
come out and then are told by the world what
they are. And I think that that that's the magic
trick that is exciting. That's what I saw when I
saw Tim Curry as the Devil and as this beautiful
transvesta from Transylvania and as the crazy butler include you know,
(21:31):
there was someone that was traversing all these boundaries and
boundless and that's still very innately exciting.
Speaker 3 (21:39):
Well, it's interesting that you would bring up the word
boundaries and boundless because that's where I was going to
go next. We are living through a time as Latinos
and Latinas as immigrants, where in fact, boundaries, walls, all
of these things defining the Supreme Court basically saying if
you look like you were me reason enough, Yeah, that's
(22:00):
just what's going on for you as an American, as
an immigrant processing.
Speaker 5 (22:06):
Truthfully, it's a deep, deep sadness.
Speaker 4 (22:11):
It's what's there and I know it needs to turn
into active things and that that there's that there too.
But I'm profoundly sad about what's happening, about the cruelty
that's being shown to Latinos, to us, being made to
feel that the lie that you know, the blindness to
that we contributed to every facet of this country, from
(22:33):
the top to the bottom, in every field.
Speaker 5 (22:37):
We're the backbone of this country.
Speaker 4 (22:39):
And to be used right now in such a way,
with such cruelty and such fear and terror. And there's
moments of hope when I see, you know, communities standing
up to this intense militarization that you're seeing in so
many of our neighborhoods as well. It's just it's it's
(23:00):
terrifying and it's astounding, and it's infuriating, and it's I
grieve for.
Speaker 5 (23:05):
What the country. What's happening right now in this country?
Speaker 6 (23:10):
How are you finding joy?
Speaker 3 (23:11):
What is I mean, obviously you're an actor and an artist,
but get that Tria, like, where do you find yourself
kind of going when the sadness hits? What is it
that you turn to for the other side, for the uplifting,
for the happy?
Speaker 4 (23:25):
I mean, the truth is just my kids, My children,
they are so funny and so crazy, and.
Speaker 5 (23:34):
You know, incredibly musical. We play a lot of music
together and that's just a yeah.
Speaker 4 (23:40):
It's just a source of incredible, explosive love.
Speaker 3 (23:47):
Well, can't wait for the album because we also know
that you're a musician, So Oscott, Isaac and.
Speaker 5 (23:53):
Kids, Yeah, yeah, it's coming.
Speaker 6 (23:56):
It's coming.
Speaker 3 (23:57):
Thank you so much, Oscott for making time to speak
with me here on the USA. In the meanwhile, Felicidasorto
Familia Mascinada.
Speaker 6 (24:05):
Thank you for for your incredible artistry.
Speaker 3 (24:08):
You have many, many, many, many many fans and yes,
you know it.
Speaker 6 (24:12):
All the women were like, what are you?
Speaker 5 (24:14):
Some of the men too, hopefully come on now, okay, okay.
Speaker 6 (24:25):
That was actor Oscar.
Speaker 3 (24:26):
Isaac Frankenstein is now out on Netflix. This episode was
produced by Monica Morales Garcia, who was edited by Andrea
Lopes Crusado and Revecca Abara. It was mixed by Lea
Shaw Dameron. Fernando Echari is our managing editor. The Latino
(24:51):
USA team also includes Proxana Guire, Julia Caruso, Jessica Ellis,
Renaldo Leanos Junior, Stephanie lebou Luis, Luna Joniman Marquez, Julieta Martinelli,
jj Karubin, Adriana Rodriguez and Nancy Truchuillo Penni, le Ramirez
and I are executive producers and I'm your host, Maria Jojosa.
Speaker 6 (25:09):
Remember, dear listener.
Speaker 3 (25:10):
Latino USA is part of Iheart's Michael Tura podcast Network.
Executive producers at iHeart are Leo Gomes and Arlen Santana.
Speaker 6 (25:17):
Join us again on our next episode.
Speaker 3 (25:18):
In the meantime, I'll see you on all of our
social media and remember, dear listener.
Speaker 6 (25:23):
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Speaker 1 (25:33):
Latino USA is made possible in part by the Ford Foundation,
working with visionaries on the front lines of social change worldwide,
the Heising Simons Foundation unlocking knowledge, opportunity and possibilities. More
at hsfoundation dot org and Skyline Foundation.
I'm Lisa and Akazawa join me on season two of
Stars and Stars with Lisa, where I sit down with
some of the most exciting stars of our time to
find out what their birth chart reveals about their life's purpose,
their relationships, and their challenges. Winner of the Signal Award
for Most Inspirational Podcast, Stars and Stars will help you
make sense of today's complicated times. Even if you're an
(00:28):
astrology skeptic. You can listen to Stars and Stars with
Lisa wherever you get your podcasts. Don't forget to follow
the show so you never miss an episode.
Speaker 2 (00:41):
We're about to unfold the story of Frankenstein. He is
one of the strangest tales ever told. I think it
will three you, It may shock you, It might even.
Speaker 3 (00:53):
Horrify From Fudromidia, It's Latino Usa. I'm Maria Josa today,
the heartthrobed actor of the moment, oscar Isaac who stars
as doctor Victor Frankenstein in the newest Netflix adaptation. From
(01:22):
the Andes Mountains, through the Caribbean Islands and up to
the Sonoran Desert. There is a mysticism that covers Latin America.
Think of you know, monsters like the Chupacabras, or spirits
like Laurona, or tales of dark family secrets. Sure it
(01:44):
sounds like a novella, but literature calls it gothic stories
that frighten and force us to confront our own fears. Now,
Mexican filmmaker Guillemo del Toro, who has long loved monsters
and says he even identifies with them, has reimagined a
classic Gothic monster story, but this time with a Latin
(02:09):
American twist.
Speaker 4 (02:10):
It's not an accident that my Victor is being played
by Oscar Isaac.
Speaker 3 (02:13):
Ernandez played by Hollywood actor Oscar Isaac Ernandez Estrada, who
you might know as Oscar Isaac. The new Doctor Victor
Frankenstein is seriously Latino, and according to Oscar, this Frankenstein
might be the most telenovela adaptation yet. The watermelon born
(02:36):
actor with a Cuban father is known for his roles
in Dune as Duke Ledo atreates.
Speaker 5 (02:42):
A great man, doesn't seek to laid, he's called to it.
Speaker 3 (02:46):
He played Nathan the crazed billionaire in ex Machina Dance
Check It Out, and Hoe in Star Wars.
Speaker 4 (02:55):
You're the best fighter we have We need you out there,
not here.
Speaker 3 (02:59):
And we so much experience acting in science fiction, it's
no wonder that Doro chose Isaac for his long awaited Frankenstein.
Inspired by the Toro's Mexican upbringing, Frankenstein is full of
Catholic imagery, long stares into the camera, and family secret's
gone awry. This adaptation also takes from Mary Shelley's eighteen
(03:23):
eighteen novel The Gothic genre allowed Shelley to speak on
our cultural fears of motherhood and life, as well as
her personal experiences with multiple miscarriages and the deaths of
her children.
Speaker 6 (03:38):
That Doro's film borrows from.
Speaker 3 (03:40):
All of that, plus, this new Frankenstein poses a pretty
political question, how do we remain human during such inhumane times?
Oh Scott, thank you so much for joining me on
Latino USA. It's it's really great to speak with you.
Speaker 5 (04:02):
Oh no, I'm very happy to very hip to speak you. See.
Speaker 3 (04:05):
So you are cast with the amazing Ye Moodel Toro
to play doctor Victor Frankenstein commolodition Franken.
Speaker 4 (04:14):
Steam But okay, Victorio, he would always say on set,
Victorio giving a Victorio giving Like when we made this movie,
there you know, there was a time We're sitting next
to each other and it's so big and we only
(04:34):
spoke in Spanish to each other.
Speaker 5 (04:35):
On set. It was just like I say, it was
like making a movie with my Tia.
Speaker 4 (04:39):
You know, it was just he was It was just
so close and fun and incredibly intimate. That's the first
time I've ever worked that way. And at one point,
you know, because it is it is not naturalism. You know,
he wanted speed, he wanted expression, he wanted a lot
of emotion, and you know, sometimes he would direct me
with like telenovela things. You'd say, give me that Maria Christina,
(05:04):
you know when you like stop and look back the camera,
and I'd be like, really, it's like, come on, mad Cristina, mucho,
come on. I was like, all right, okay, And then
he said, you know, it's not it's not an accident
that my Victor is being played by Oscar is like Anandez.
You know, He's like, this is a Latin American point
of view to a very European story. It is completely
(05:27):
through the prism of his experience and things that he'd loved,
things that created him, without judgment about you know, whether
they're a highbrow or a low brow.
Speaker 5 (05:37):
This is his experience.
Speaker 4 (05:38):
It's his biography, but not his literal biography, but it's
his dream biography. It's like the DNA that makes him up,
and he asks for us to bring the same thing.
So when we first met, it was, you know, I
was at his house and just you know, eating Cuban food,
take out Cuban food, and we're sitting there talking and
we just talked for an Now it was just a
(05:58):
general meeting for an hour about how we grew up
and about our fathers and about our religious trauma. Him
as a Catholic, the growing up Evangelical Christian in Miami,
and well that's a.
Speaker 6 (06:11):
Lot right there.
Speaker 3 (06:12):
Yeah, yeah, and that was your first meeting. Was like, hey,
we got this religious trauma.
Speaker 5 (06:17):
Yeah, we have this.
Speaker 4 (06:18):
We have fathers that loom very large, that have you know,
been sources of inspiration but also of great pain. And
we are also now fathers, and yet somehow we still
feel like we identify as sons. And at what point
do you start being a father and being president enough
to see.
Speaker 5 (06:35):
That you're not you're no longer trying to prove something
to your father.
Speaker 4 (06:41):
And so that's what we talked about and then at
the end of that conversation, he said, I think you
need to play Victor of Frankenstein.
Speaker 6 (06:49):
Oh my god, did you know that it was going
to go that way?
Speaker 5 (06:52):
I didn't even know that he was making a movie.
Speaker 6 (06:55):
Is my yaes Day?
Speaker 5 (06:56):
Boy? No, Like my defense has come up, right. So
I'm like, oh, I'm sure. He says this to all
the girls, and it's like, I'm sure. It's like I'll
take this. I'll take this with a grain of salt.
We'll see.
Speaker 4 (07:08):
And then but then he gave me Mary Shelley's Franks
Sin and he gave me the Dowdy Ching and he said,
go read these, and I read them immediately.
Speaker 5 (07:15):
And we just started having conversations.
Speaker 4 (07:17):
And within a year, a little over a year, he
came to New York with the first thirty pages, in
the last thirty pages, and we sat in the hotel
room and I read all the characters and at the end,
and I read that last scene where he finally sees
himself for what he is, which is the father of
this creature that he's rejected, and the creature forgives him,
(07:38):
and I just broke down in the tears, and he
was crying as well, and that yeah, and that began the.
Speaker 3 (07:44):
Journey, so that, yeah, I'm gonna go to the film
and I'm gonna end up crying.
Speaker 5 (07:46):
If you have a heart.
Speaker 4 (07:50):
Funny, he was just saying, you know that when he
started out, they would tell him, you know that there's
elements of tenderness in your horror, but now it's there's
elements of horror in your tenderness. And the film is
and of course it has elements of gruesome things, of
the body parts of blood of dread, but it's not
(08:10):
interested in being.
Speaker 5 (08:11):
A genre piece in that way. It's an opera.
Speaker 3 (08:15):
Obviously. This book was written so long ago, Mary Shelley.
It was written during the time of the Industrial Revolution.
It's a tale we know about modernity. What do you
think are the parallels between what's happening right now in
our country? A lot of people feel like things are
out of control, that ethical boundaries are being crossed everywhere.
(08:36):
Is there that kind of sentiment in this film?
Speaker 4 (08:42):
Well, every movie that's made is a product of it's time,
and you know, every performer, as Shakespeare very beautifully put
is the chronicle of the time, right, So you can't
really escape that.
Speaker 5 (09:01):
So of course it is. It is about what's happening now.
Speaker 4 (09:06):
That being said, the way that Yermo approached it, he
felt that it you know, he's has completely submerged themselves
for such.
Speaker 5 (09:14):
A long time in the Romantics in what was.
Speaker 4 (09:16):
Happening at that time, and all of that is infused
into this frankt sign. But for him, it's really clear
that it is Mary Shirley's biography as well of her
dealing with the death, the miscarriages, that she had a
miscarriage and the baby never was named and so to
be put into the ground without a name, and yes,
(09:36):
and living in this incredibly patriarchal, repressive moment and the
industrial revolutions just starting to get going in this idea
of like, you know, anything for the future. And the
Romantics were iconoclasts. They were the punk rock they were
like the punk rock generation. They were fighting against this thing,
and they were also very expressive about emotion. And also
(10:00):
so you know, the novel ends on a really dark note.
There isn't a moment of forgiveness, and the creature self
emolates at the end, and so they were kind of
loving the idea that it was like a counter to
this futurism.
Speaker 5 (10:18):
It was.
Speaker 4 (10:18):
It was it was a counter of saying like, look
at the destruction and the death this can cause.
Speaker 5 (10:23):
So that is in the DNA of this thing. You know.
Speaker 4 (10:25):
Guillermo has moved it up a bit from where the
novel takes place, and so he surrounds it with the
crimean war which the Romantics were, you know, although it's
not spoken of directly in the book, you know it
was a response to what was happening, to the war
that was happening around them, and so he does. Guirmo
has Mia God's character Elizabeth speak directly about the war,
(10:47):
and directly she says, and it's a beautiful line about
what happens when great ideas in quotes, great ideas are
pursued by fools.
Speaker 6 (10:57):
Of that is.
Speaker 3 (10:59):
Very apropos for twenty twenty five. I would say, oh, Scott,
you actually Nacilo in Watemala, born in Whatatemala, and you
are oscar isaac Ernandez estradaciono te correct correct, being big, big, big, big, big,
(11:20):
Tell me the quick love affair between your mother, who's Waatemalan,
one of the most indigenous countries in Latin America, and
your father is Juano. I'm like, is there a ten
second love storyline that you can tell me about those two?
Speaker 5 (11:35):
Oh? I mean yeah, not ten seconds, no, ten seconds no.
Speaker 4 (11:40):
But the short of it is that my father went
to medical school at Tamala and it was at a
dance for the university where he's at that he met
my mother and they were married. My sister was born,
I was born, and then shortly after that they moved.
Speaker 5 (11:56):
They immigrated to first to Washington, d C.
Speaker 4 (11:59):
Baltimore in Louisiana, and then to Florida.
Speaker 6 (12:08):
Let's pause here.
Speaker 3 (12:09):
After the break, we pick up in Miami and Oscar
Isaac tells us why he dropped his last name when
he started pursuing a career as an actor.
Speaker 5 (12:17):
Oscar Hernanda's in Miami is like John Smith.
Speaker 3 (12:21):
Stay with us, Yes, hey, we're back. Before the break,
actor Oscar Isaac dove deep into his role as doctor
Victor Frankenstein in Guilllmo del Toro's Newest Frankenstein adaptation. But
(12:45):
before Oscar was the Hollywood heart throb that you know now,
Oscar Isaac anandez Istrada was just another Latino actor in
Miami trying to make it in a very crowded field.
What happened to the Ernandez Estrada And when did the
decision come to be like, I'm Oscar Isaac.
Speaker 5 (13:04):
Yeah, so my father's what's got this? My grandfather's what's
gone this?
Speaker 4 (13:11):
And when I began acting, I actually started working professionally
in South Florida, in Miami, and I would try to
get auditions. I wouldn't really be cast as you know,
be brought in for anything other than Baniero number three,
you know, the dead body.
Speaker 6 (13:30):
So you're a working actor at this time.
Speaker 4 (13:31):
Well, I'm trying I have like a featured extra part.
When I was fifteen and something, I'm still in high school.
Speaker 3 (13:37):
You already knew in high school, you were like, I'm
doing this.
Speaker 6 (13:39):
I'm an actor.
Speaker 5 (13:40):
I already knew.
Speaker 4 (13:41):
And before that, in elementary school, I was already like,
it's just what I loved. I didn't think this is
what I'm going to do. It is what I am doing.
It's just what I love to do. And my parents
were incredibly supportive of that. I think they saw it.
There was you know, resistance was fudial at that point.
And so when I started, you know, I got a
headshot and I thought I was able to find an
agent and would go out and Oscar Hernandez in Miami
(14:05):
is like John Smith.
Speaker 5 (14:06):
You know. It's like it's at that point when there
was phone books. You could look it up, but there
was just hundreds and hundreds and hundreds. I would go
to auditions, there'd be other Oscar. I remember I went there.
There was two other Oscar hernandez Is at the audition.
So I was like, all right, maybe I.
Speaker 4 (14:19):
Could differentiate myself and then they won't know. Maybe they'll
bring me in for different roles you know that are
not just these other parts.
Speaker 5 (14:25):
And so they I started to be brought in.
Speaker 4 (14:27):
When I was like, I just say that that Oscar
Isaac okay, I started every brought it. And I remember
there was a story where Barry Sonenfeld was making a movie
and I couldn't get in to be seen for this
Cuban part. And it's like, well, it's because he just
wants to see Cuban actors.
Speaker 5 (14:41):
I'm like, but my actually internande. Yeah.
Speaker 4 (14:54):
So then I went to I moved to New York
and I went to drama school in New York.
Speaker 3 (14:58):
Well wait wait wait wait wait wait, yeah, I love
the way you're just like And I went to drama
school in New York. You went to Juilliard, right, I
mean that's that's like pretty heavy duty stuff. Obviously your
family could see your talent. What was it when you're
Likewoy the Miami Melwoy Buhn York and your family was like, yeah, definitely.
Speaker 4 (15:16):
Well, actually, the way that I really started professionally was
with a place called Aria Stage, which is John Rhodas
and Maria Rood as incredible artists and theater directors.
Speaker 5 (15:26):
And they had this little theater on Lincoln Road in
South Beach.
Speaker 6 (15:30):
Oh my god, I love this.
Speaker 3 (15:31):
Yeah, Like that's like seriously like on Lincoln Road in
South Beach, a little theater.
Speaker 4 (15:36):
Yeah, I mean this was a different time, right, This
was like ninety Yeah, this is like ninety seven, ninety
eight and early early two thousands. And I say, you know,
I first saw my first mam At play there and
I was you know, and I started doing plays there
and through that I did a play with a guy
named Michael John Garsas, and then he was doing a
play in New York and he said you can come
(15:58):
audition for it. So I flew up to New Work
and I auditioned for it, and it was to play
a young fist.
Speaker 6 (16:04):
And now I must see another man.
Speaker 5 (16:05):
I got the and I got the park.
Speaker 4 (16:07):
I got it and it was a off off Broadway
at the Cherry Lane Theater and I came up to
do the the play. And while I was up doing
the play, I passed by Juilliard and I thought, oh shit, Juilliard,
let me.
Speaker 5 (16:18):
Let me go in and see and maybe they'll give
me an application.
Speaker 6 (16:21):
And you like knock on the door.
Speaker 5 (16:23):
Yeah yeah, yeah yeah. And they gave me an application
a lady and she's like, well, it was due. It
was due on Friday. It was Monday.
Speaker 4 (16:31):
And I said, okay, if I fill it out tonight
and I bring it back, can you help me.
Speaker 5 (16:34):
I was like, okay, honey, but if you bring it
back tomorrow.
Speaker 6 (16:37):
Because of course it was by hand.
Speaker 5 (16:39):
Yeah yeah yeah. So I filled it up a hand.
I came back the next day. I gave it. Yeah,
it's analog days.
Speaker 4 (16:43):
And then I gave it to her and uh and
she postated it and and then and I got an
audition and I got it.
Speaker 3 (16:49):
Then yes, I'm you. You actually had like a little
theater angel watching over you.
Speaker 4 (16:55):
Yeah yeah, and just grim determination and you know, just
just a very strong belief. But also I didn't audition
for other places, so it wasn't so much the goal
to I must go to a school. But at a
certain point I thought, anyway, maybe I'd go to film school.
Speaker 5 (17:13):
But when the call came that I got into Juilliard,
I said, well, this is right's in front of me,
and so I went by the way.
Speaker 3 (17:20):
I also wanted to be an actor. That's how I
ended up in New York nor But I wonder when
the fact that you were so young and you knew, like,
was there an actor that you saw or a TV
show or a movie where you like that, that's the
reason why I want to do this.
Speaker 5 (17:38):
Yeah.
Speaker 4 (17:38):
Yeah, it was Tim Curry. Because I was watching legend,
Ridley Scott's Legend, and at a certain point, the Lord
of Darkness, the Devo himself, his lip just curls up
in this smile, and I suddenly thought, oh.
Speaker 5 (17:53):
My god, that's the guy from Klue.
Speaker 2 (17:55):
I trying to find out who killed him and where
and with what st need to shout.
Speaker 4 (18:00):
I'm shopping for an I'm shopping, I'm shopping.
Speaker 5 (18:05):
And I couldn't believe that there was the same person.
Because I love the Clue.
Speaker 4 (18:09):
I thought it was such a funny movie, even though
I was so young when I saw it, and it
just blew my mind that this could be the same
person and that he could be this creature and still
also come through as himself.
Speaker 5 (18:21):
And I think that's really what really got me excited.
Speaker 3 (18:27):
Okay, but it's not lost on the both of us
that Tim Curry's big moment, of course is.
Speaker 5 (18:33):
Rocky Horror Pictures Show, which is.
Speaker 3 (18:35):
A little bit like Frankensteinia.
Speaker 5 (18:40):
You know, exactly, no, exactly, Yeah.
Speaker 6 (18:45):
We'll be right back. Hey, welcome back.
Speaker 3 (19:03):
Let's get back to my conversation with actor Oscar Isaac.
And so when you saw Tim Curry then kind of
in drag, I mean, he was really breaking all gender
barriers absolutely, and you thought, also, this guy, I love
the fact that he's doing this.
Speaker 5 (19:17):
Well, that's what I'm saying. Then I saw him in that,
and then it's just the fluidity and that he was
all things.
Speaker 4 (19:23):
And you know, I also felt very much like I
don't fit anywhere. You know, I don't have a lot
of male friends, you know I have there's a lot
of femininity in things, you know as well, and the
mask and how those two things kind of morphed together,
and so to see somebody that was just not contained
by those things and also kind of ethnically ambiguous as well.
Speaker 5 (19:46):
You know, I couldn't really put compelling.
Speaker 4 (19:49):
He's got this beautiful English voice, but I couldn't really
the curly brown hair and those dark eyes, and I'm like.
Speaker 5 (19:54):
Where is he? I kind of looks a little. It
looks like I'd be related to him.
Speaker 3 (19:57):
Which actually the whole question about being ethnically ambiguous. I mean,
you have played Timothy Charlomai's father.
Speaker 5 (20:05):
Will you protect our son.
Speaker 3 (20:08):
With my life?
Speaker 5 (20:10):
I'm asking his mother, I'm asking the bene jesturet.
Speaker 6 (20:13):
You've also played a pharaoh from.
Speaker 5 (20:16):
The past you left behind and the future the lies hand.
Speaker 3 (20:20):
So what do you think is gained or what do
you think is lost? When you're clearly deeply tied to
your watermelon cuban roots. But also you are gorgeous and
ethnically ambiguous, So what's gained?
Speaker 6 (20:36):
What's lost? Sorry about the gorgeous, just have to throw
it in.
Speaker 5 (20:39):
Oh, thank you, India. You know it's just play.
Speaker 4 (20:44):
You know, underneath all those things, which are all beautiful
things that I love, that are inherited, you know, in
a way, this is what Frankenstein is. You know, a
thing that is that it comes into being, that is
that inherits, you know, parts and all from all sorts
of different places and is kind of perfect when they
(21:08):
come out and then are told by the world what
they are. And I think that that that's the magic
trick that is exciting. That's what I saw when I
saw Tim Curry as the Devil and as this beautiful
transvesta from Transylvania and as the crazy butler include you know,
(21:31):
there was someone that was traversing all these boundaries and
boundless and that's still very innately exciting.
Speaker 3 (21:39):
Well, it's interesting that you would bring up the word
boundaries and boundless because that's where I was going to
go next. We are living through a time as Latinos
and Latinas as immigrants, where in fact, boundaries, walls, all
of these things defining the Supreme Court basically saying if
you look like you were me reason enough, Yeah, that's
(22:00):
just what's going on for you as an American, as
an immigrant processing.
Speaker 5 (22:06):
Truthfully, it's a deep, deep sadness.
Speaker 4 (22:11):
It's what's there and I know it needs to turn
into active things and that that there's that there too.
But I'm profoundly sad about what's happening, about the cruelty
that's being shown to Latinos, to us, being made to
feel that the lie that you know, the blindness to
that we contributed to every facet of this country, from
(22:33):
the top to the bottom, in every field.
Speaker 5 (22:37):
We're the backbone of this country.
Speaker 4 (22:39):
And to be used right now in such a way,
with such cruelty and such fear and terror. And there's
moments of hope when I see, you know, communities standing
up to this intense militarization that you're seeing in so
many of our neighborhoods as well. It's just it's it's
(23:00):
terrifying and it's astounding, and it's infuriating, and it's I
grieve for.
Speaker 5 (23:05):
What the country. What's happening right now in this country?
Speaker 6 (23:10):
How are you finding joy?
Speaker 3 (23:11):
What is I mean, obviously you're an actor and an artist,
but get that Tria, like, where do you find yourself
kind of going when the sadness hits? What is it
that you turn to for the other side, for the uplifting,
for the happy?
Speaker 4 (23:25):
I mean, the truth is just my kids, My children,
they are so funny and so crazy, and.
Speaker 5 (23:34):
You know, incredibly musical. We play a lot of music
together and that's just a yeah.
Speaker 4 (23:40):
It's just a source of incredible, explosive love.
Speaker 3 (23:47):
Well, can't wait for the album because we also know
that you're a musician, So Oscott, Isaac and.
Speaker 5 (23:53):
Kids, Yeah, yeah, it's coming.
Speaker 6 (23:56):
It's coming.
Speaker 3 (23:57):
Thank you so much, Oscott for making time to speak
with me here on the USA. In the meanwhile, Felicidasorto
Familia Mascinada.
Speaker 6 (24:05):
Thank you for for your incredible artistry.
Speaker 3 (24:08):
You have many, many, many, many many fans and yes,
you know it.
Speaker 6 (24:12):
All the women were like, what are you?
Speaker 5 (24:14):
Some of the men too, hopefully come on now, okay, okay.
Speaker 6 (24:25):
That was actor Oscar.
Speaker 3 (24:26):
Isaac Frankenstein is now out on Netflix. This episode was
produced by Monica Morales Garcia, who was edited by Andrea
Lopes Crusado and Revecca Abara. It was mixed by Lea
Shaw Dameron. Fernando Echari is our managing editor. The Latino
(24:51):
USA team also includes Proxana Guire, Julia Caruso, Jessica Ellis,
Renaldo Leanos Junior, Stephanie lebou Luis, Luna Joniman Marquez, Julieta Martinelli,
jj Karubin, Adriana Rodriguez and Nancy Truchuillo Penni, le Ramirez
and I are executive producers and I'm your host, Maria Jojosa.
Speaker 6 (25:09):
Remember, dear listener.
Speaker 3 (25:10):
Latino USA is part of Iheart's Michael Tura podcast Network.
Executive producers at iHeart are Leo Gomes and Arlen Santana.
Speaker 6 (25:17):
Join us again on our next episode.
Speaker 3 (25:18):
In the meantime, I'll see you on all of our
social media and remember, dear listener.
Speaker 6 (25:23):
Do it now. Join Futuro Plus.
Speaker 3 (25:25):
You'll skip all the ads and you'll get juicy bonus content.
Thanks for supporting us, Yes, Joe.
Speaker 1 (25:33):
Latino USA is made possible in part by the Ford Foundation,
working with visionaries on the front lines of social change worldwide,
the Heising Simons Foundation unlocking knowledge, opportunity and possibilities. More
at hsfoundation dot org and Skyline Foundation.
Hosts And Creators
Lilliana Vazquez
Joseph Carrillo
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I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Ruthie's Table 4
For more than 30 years The River Cafe in London, has been the home-from-home of artists, architects, designers, actors, collectors, writers, activists, and politicians. Michael Caine, Glenn Close, JJ Abrams, Steve McQueen, Victoria and David Beckham, and Lily Allen, are just some of the people who love to call The River Cafe home. On River Cafe Table 4, Rogers sits down with her customers—who have become friends—to talk about food memories. Table 4 explores how food impacts every aspect of our lives. “Foods is politics, food is cultural, food is how you express love, food is about your heritage, it defines who you and who you want to be,” says Rogers. Each week, Rogers invites her guest to reminisce about family suppers and first dates, what they cook, how they eat when performing, the restaurants they choose, and what food they seek when they need comfort. And to punctuate each episode of Table 4, guests such as Ralph Fiennes, Emily Blunt, and Alfonso Cuarón, read their favourite recipe from one of the best-selling River Cafe cookbooks. Table 4 itself, is situated near The River Cafe’s open kitchen, close to the bright pink wood-fired oven and next to the glossy yellow pass, where Ruthie oversees the restaurant. You are invited to take a seat at this intimate table and join the conversation. For more information, recipes, and ingredients, go to https://shoptherivercafe.co.uk/ Web: https://rivercafe.co.uk/ Instagram: www.instagram.com/therivercafelondon/ Facebook: https://en-gb.facebook.com/therivercafelondon/ For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favorite shows. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.