August 15, 2025 • 39 mins
Fernando Hernandez-Guerrero-Fernandez-Guerrero is BACK! Don’t miss the Fuller House reunion that our Fanneritos are bound to love. From his incredible life story to his new film “Before We Forget” that brought the entire theater to tears. It’s all right here on How Rude, Tanneritos!
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Episode Transcript
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Speaker 1 (00:18):
Hey there, Fanaritos, and welcome to part two of our
interview with Juan Pablo de Pache who played my on
screen husband in Fuller House, Fernando. If you fell in
love with Fernando on Fuller House like Kimmy did, you're
sure to be head over heels after this interview because
JP is truly the best.
Speaker 2 (00:38):
So let's get into it.
Speaker 1 (00:39):
I didn't realize how personal it was, Like I just
thought this was you know, you were enthusiastic about making
your own film, But then we get there.
Speaker 3 (00:47):
It was your own film, it was your story.
Speaker 1 (00:50):
Yeah, and I didn't I didn't make that connection until until,
you know, a few scenes into the film. But what
an emotional experience. When did you start creating this writing it?
I mean, I think I know what inspired it, your
own life. But tell tell me how this all came about.
How long had you been working on it?
Speaker 4 (01:11):
Well? Thank you first of all for all the beautiful
wave of love that I just received. You're so amazing
and sweet, and for me, it was really important to
have you there because, like you say, you know we
are family, and and I know that I've been banging
on this. Ah, this movie, this movie, this movie, for years.
I mean we're talking twenty twenty. Really we had we
had it finished shooting in November nineteen, then the.
Speaker 5 (01:35):
World you know, and then and then twenty twenty game right,
and all our very big plans went.
Speaker 4 (01:41):
To exactly and we can so well can's we finished
the show and so and so then it was one
of that year of it. But yeah, it was around
that time that I mean, I'd always, like I said,
I'd always always always wanted to be to direct, and
since those days as a five year old watching the Oscars,
(02:03):
you know, with my grandma. But but it's kind of
became a need. It became like I have to do this.
I don't know, sometimes in life you have those moments
of us if I don't do this now, like like
it's now or never kind of thing. And so yeah, yeah,
(02:24):
it was it was out of a couple of things,
like but mostly I wanted to make my first film
so that I continue to do doing my second and
third and fourth. Uh And And it wasn't that I like,
I didn't want to take my own life. I didn't
want to kind of say, oh I want to do
a movie about me, But it was really I wanted
(02:46):
to have every detail of what I was going to tell.
I wanted to know, right, I want to know every character,
every situation, the places, the feelings, the the moment mins them.
So so yeah, I think it was a mixture of
talking to a friend and her asking me about what
(03:08):
my first love was, how that happened, and also going
to my parents' home while we were all quarantining, and
just as you do, watching albums and going through and
finding this tape the VHS tape in their VCR and anyway,
(03:31):
without spoiling anything, this tape was very well. It was
very important because it was a time when I was
in that school that I told you about the United
World College, and something had just happened that broke a
lot of this heart. One of the kids had to
(03:52):
leave the school and you could see it in this tape.
It was very You could see the pain of these teenagers,
but also are all we are all trying to make
him feel better. And I just thought there's something here,
and so this idea of teenage longing and and also
(04:12):
how you feel everything so much more when you were
that age.
Speaker 5 (04:18):
Because it's all the first time, like I've never had
a broken heart before. This is I think it's going
to kill me. Yeah, like all those feelings are.
Speaker 4 (04:26):
Oh yeah, it's all amplified, and you don't like you say,
you know, you haven't been there and you're not a
child anymore, but you're not an adult yet. So it's
the transitional moment, which which is why we have so
many coming of age stories because it's an incredibly interesting time. Yeah,
and in my case, I thought, okay, how can I
(04:49):
make it so that it's actually the adult looking back?
Add that memory of falling in love, and so the
idea of a film director making a movie about his
first love and being obsessed and frustrated with this movie
that can't quite he can't quite finish. So then yeah,
(05:10):
I created this meta meta movie which is a man
making a movie about a memory and is sort of
like a Russian doll. Straight.
Speaker 1 (05:19):
Oh yeah, that's a great description, a Russian doll. Yeah,
it's it's just stunning. So explain for our listeners, just
a very brief synopsis. You play the older version of Matthias,
but most of the film is it revolves around young Matthias,
who is you as a young boy going to this
(05:41):
international college in Italy.
Speaker 4 (05:45):
Yeah. Yeah, so it's basically this film director who's struggling
to finish a movie about his memory of his first love,
of this kid, best friend he met when he was
at a boarding school twenty five years earlier. And of
course we go back into the past and we actually
(06:07):
understand or at least get the crumbs of what happened.
And what happened is that it was a very tumultuous, unsaid,
unrequited thing, but at the same time very enigmatic because
this boy, Alexander was incredibly loving and interesting and crazy
(06:30):
and talented and so young. Matias was probably the opposite,
you know, super shy, and so Alexander, this ball of energy,
was obviously the you know, the one person that he
felt seen by. And so so yeah, something happens in
(06:53):
the school and Alexander has to leave and that kind
of jump start really these feelings getting amplified, and and yeah,
so so so really it's an exploration of the relationship
(07:13):
between the adult and the teenager and and how sometimes
when you can't quite give an ending to something love
and and that relationship which just can't happen or or
it doesn't or hasn't happened fully, now you can actually
(07:36):
mess you up in the present. So it's it's like
it's like dealing with the trauma you could see where
this one thing can actually inform the rest of your life.
So yeah, very psychological, very psychological, but it's true.
Speaker 5 (07:55):
It's you know, we sort of get hung up on
like one thing and that becomes somehow it influences all
of the rest of our choices about ourselves and the
world that we create.
Speaker 4 (08:07):
You know.
Speaker 1 (08:08):
But it's such a visceral film, like you really feel
all of these emotions that the characters are going through.
It's just very powerful, like you just the audience was
you could feel it, you know. And there's one particular
scene I would love to talk about, the scene in
the car with the parents, which I think is just
(08:28):
the heart of the film.
Speaker 3 (08:30):
And it was your actual mom.
Speaker 5 (08:34):
No, not that she's playing well the older mom, you
I know, playing the old Yeah, he's the older but
like she does play a part in it, and like
that was so incredible. She's not in this scene, but
I just yeah, anyway.
Speaker 2 (08:47):
Sorry, no, no, that's okay, Yeah, yeah, you're you're actual.
We'll get to those easterings, we.
Speaker 3 (08:50):
Get to those just so incredible because she's like in
her art studio, creating in your health.
Speaker 2 (08:55):
It was just very cool, so cool.
Speaker 1 (08:56):
But the car scene, I don't want to I don't
want to give it away, but it is such a
power powerful scene.
Speaker 2 (09:01):
Rheumatias breaks down in tears and the.
Speaker 1 (09:05):
The mom essentially says we love you exactly the way
you are. What was it like for you to film
that scene and to watch the actors perform that scene?
Speaker 4 (09:19):
It was It was hard. It's kind of painful because
I got there's some scenes in the movie that I
would say are almost exactly as they happened in my
memory anyway, and that one is one of them. Like,
and it didn't work. I don't think the movie would work.
So so it to be like, I put so much
(09:41):
weight on this scene because yeah, you're right, it's in
the middle of the film and it's the heart of film, pivotal, pivotal,
and the world changes after this scene. Yeah so, and
we don't see it coming either, no, like out of nowhere. Really,
So I love playing with these shifts of direction when
(10:02):
it comes to storytelling, that you think something's going this
way and then oh no, you know, And I think
the movie does that like three four times but this
particular one, it was it was a scene that explains
a lot of things that you've been sensing, don't know,
(10:22):
and then this kind of just opens everything up. So yeah,
I mean shooting it was uncomfortable. I was in the
back of the car. It was a it was a
so the dop director of photography, Devin Douleval, my co
director andres Pepiestrada. Obviously the actors were all bunched up
in this tiny rental nineteen ninety one Volvo, and because
(10:48):
it's a it's a period piece, and it's it's cold outside,
it's hot inside, and so we were just kind of
it wasn't really working. And I don't know what I
said to the actors or whatever happened that it was
one word, I think. And all of a sudden, you know, Alasseli,
(11:11):
who plays the mom, this this one beautiful take, beautiful take,
and I broke down watching her, and I'm like putting
my hand in because I'm like sobbing and I don't
want to mess up the audio. And I'm like shaking
from watching, you know. And and then of course when
(11:35):
I when when and this boy Santio mar Lusn, who
is amazing. This is a very wonderful job. His first job,
no way, first audition, Yes.
Speaker 6 (11:47):
What's incredible.
Speaker 3 (11:48):
He was amazing.
Speaker 4 (11:50):
Wow again, you know he was just how he responded
to the scene in the moment, it was heartbreaking and
beyond the dad as well, who didn't do anything and
yet you feel everything that you know. I was very
lucky to find these people. And I'm a firm believer
(12:12):
in like finding finding the actors first, because I think
we are in a moment where there's a little bit
of criticism to the moment we're in right now, but
we're in a moment where when the name sometimes is
more important than the part towards the.
Speaker 5 (12:31):
Story, yeah, or how many followers you have is more
important than them.
Speaker 1 (12:35):
Yeah.
Speaker 4 (12:35):
And in this one, mostly because I didn't have the
money to pay the big names, we actually went to
the actors that felt the most right. And some of
the people this is their first movie or whatever, and
I would never have known that it was anyone's first
movie at all, like it did.
Speaker 5 (12:55):
They're not at all blown away that like yeah.
Speaker 4 (13:00):
Yeah, I mean, I can't really say anything other than
when I when I when I when I open the
files and started editing When you edit, you spend a
lot of time with scenes. Sometimes this one scene has
like twenty different versions. Okay, so it's not you know,
it's very time consuming and you're spending time in this world, right,
(13:22):
And I'm not exaggerating. Every time I used to open
this scene up to work on it, I was just
like right, bloodgates and so I remember the moment that
I cried the most. I think it's ready.
Speaker 3 (13:38):
Yeah, it's done.
Speaker 6 (13:39):
Got Yeah, don.
Speaker 4 (13:40):
Test yourself how you It's a weird process. You sort
of use your own emotionality to be the audience member
watching something that you are working, right, see how it's
hitting you. So it's this conversation that youse a maker
have with the material. It's a weird phenomenon. It's very strange. Yeah,
(14:03):
it's like a part of you is an audience member
and a part of you is the editor, and after
you go between the two. Yeah, yeah, yeah, I'm so
happy about that that's on screen because sometimes for people
who don't are not on set and they don't understand
perhaps about filming, is that filming in itself, just like
we didn't fall our house. In everything, there's a moment
(14:26):
of electricity and there's a moment when almost the air
gets thick, you know, when they shot the action, like
everything kind of just you know, slows down and then
you're like anchored into this weird parallel universe. And the
moment they say cut you tell it's just you know,
(14:47):
it's like this energy just kind of open like this.
And so there's moments on film. We've all had them
when something something will inspire something for you to do
something in a certain way, for for what the response
to be X, and it's caught on film, and those
are the moments of magic. Now you can't really explain it.
(15:10):
I mean, you could write something till the Cows Come Home,
but until the moment happens in the filming process, right,
this actor has this I don't know, magical reaction. It's
not really there out of this whole experience. I think
that's what I've absolutely loved the most making a film
is that you get to witness before the world something
(15:33):
magical that you know the rest of the world will
see at some point and it's like it's it gives
you goosebumps.
Speaker 1 (15:48):
What was your mom's reaction? Were you with her when
she watched the film? For the first time in the
scene in particular, and what was her reaction.
Speaker 4 (15:56):
She wasn't there when we shot it because my mom
was actually doing in art direction and costume design of
the film, so she was very involved. So she was
probably like, so was shooting Uh No, she she she's
always been just so proud. And I know it's but
(16:19):
it's true. And and we are My mom and I
almost have a work relationship where we are kind of
equals because she's the artist and and and I'm also
an artist in a different way, and we exchange ideas
and and there's one scene where my actual mother and
I are talking about her work.
Speaker 6 (16:40):
And my work, and that's how we.
Speaker 4 (16:42):
Are with each other. And so so, yeah, this whole
process was was about, okay, making something that comes from us,
m H. Now that it's it's it's its own thing,
it's its own story outside of us. And yeah, you
have to learn to see it critically. And she is
amazing at seeing things, like she's so critical.
Speaker 3 (17:05):
But my mother, she's so critical. It's great.
Speaker 5 (17:08):
Yeah, yeah, most people all, but you're like, no, it's
actually really she is.
Speaker 4 (17:14):
And I think some of us, some of my siblings
have have said this before it's like you're too critical
with you and and she's like, yeah, I can't help it.
She's in aries.
Speaker 5 (17:25):
Ah, yes, yes, I have one of those. Yeah, Zoa's
an aries. Yeah I yeah, yeah, just cherry fiery. It's
going to be their way, it's going to happen and
no way. And they're not shy about telling you what
they think about your not at all.
Speaker 3 (17:41):
Yeah, yeah, not at all, not at all.
Speaker 5 (17:44):
In fact, they're doing you a favor really actually, Yeah,
you're like you should be thinking me.
Speaker 3 (17:48):
You're like, I don't know if I should.
Speaker 2 (17:50):
Oh, I love your mom so much, it's so amazing.
Speaker 6 (17:53):
Yeah, it's o cute.
Speaker 5 (17:55):
Did she But did she give like notes and stuff
as you guys were going along?
Speaker 3 (17:58):
Did she ever watch any of the dailies with you
or anything?
Speaker 4 (18:00):
Or was it more like, you know what I really
love about my mom, as stubborn as she can be
about stuff and critical, maybe because she was a teacher,
a school teacher for a long time art teacher, there's
this respect that I always got where she would literally
just stand back see what I was doing, and literally
(18:25):
bite the head of anyone who would come close to
me to criticize anything. So I now see it with
distance and I go, wow, that was so. I mean, yeah,
it's like Mama Bear, like, yeah, I had an idea.
For example, I say, I think this should be lit
in this way and I want the camera to start
(18:47):
here and I want this to happen. And someone you
know from art will go, well, we can't do that
because you know the thing is not ready or this
or that or the light it's near. And my mom,
which would would basically just make them do what I wanted.
So it wasn't that she was critical about what I
was doing. She was actually respecting to the letter. Yeah,
(19:11):
one of the things that.
Speaker 6 (19:12):
Your artistic were choices.
Speaker 4 (19:14):
Yeah, And and no, she's never really she's never really
said oh, you should cut it this way or you
should change this. She always trusted in whatever I wanted
to do.
Speaker 5 (19:24):
Which it sounds like you guys have like an artist
to artist relationship, like you were talking about, sort of
that working relationship.
Speaker 3 (19:30):
There's times you can talk about it.
Speaker 4 (19:31):
And there's a thing about artists. We are so vulnerable
and so it hangs by a thread, like our purity
hangs by like this. Right. So, so when you know,
when you're convinced of something, you want to do and
you want to do it this way and whatever. You
also have to arm yourself with the strength to defend
(19:53):
it constant and it can be exhausting. And so when
you have a parent and who is kind of like
your colleague who's gone, well, he wants this right, everybody
don't change it right, It's it's kind of amazing. I
love her for it. I love her because sometimes you
(20:14):
don't get that at all in this industry, Like you
get people pushing, pushing of.
Speaker 3 (20:18):
Course, yeah, everyone's trying to elbow each other out of
the way.
Speaker 5 (20:21):
Yeah. I actually I love working on like small films,
independent films, because you are you're all in there, all
doing everyone's doing it all, you know what I mean.
Speaker 3 (20:29):
Like you're all just.
Speaker 5 (20:30):
Kind of in the muck together, creating and doing and
like it's it's you know again, as an artist, you're
just like, this is what I love. Is like the
you know, the playing in the mud and the dirt
and making something out of you know, whatever, if people
knew what was going on outside of the shot of
the camera, you know what I mean, it's like the
magic that we get to create is really fun. Amongst
(20:52):
the chaos.
Speaker 4 (20:53):
What's what's been your favorite kind of indie moment.
Speaker 5 (20:57):
Aren't something I mean, you know, honestly, most of the
like small independent stuff I work on has been for
Hallmark or for Lifetime. But still like you have, you know,
twenty days to shoot a ninety seven page movie like there,
you know, even if you're like, okay, I'm not, it's
you know, there's not there's no scenes like there are
(21:18):
in Before We Forget, But it's still like you're having
to kind of be in the grind and do whatever,
and you know, and everyone's making it work and no
one's getting over time and you know, here at hour twelve,
and but yeah, I'm actually there's a couple scripts that
I'm working on right now, like producing stuff that are
(21:39):
again very different, very like things that we're kind of
having to like really fight for creative choices. So we'll see,
we'll see the goes anywhere. I mean, we're just still
in the kind of the writing and creating process.
Speaker 4 (21:49):
I look forward to seeing that because I do remember,
I mean, you you were always both actually Andrea writing
the one of the episodes and you're directing. I'm pretty
curious to see also that vein that you actually you
both have Andrew I'm still waiting on that show that
(22:10):
we're going to do together.
Speaker 1 (22:12):
I am.
Speaker 3 (22:13):
Well, look, if you need a director, I'm just saying, I.
Speaker 2 (22:15):
Mean, let's make it happen. Yea on somebody, Warner Brothers, anybody,
I mean, and.
Speaker 3 (22:20):
I will say it on the podcast, anybody that's looking
for it.
Speaker 5 (22:23):
Not.
Speaker 2 (22:24):
We have a great script. We're ready to go.
Speaker 5 (22:26):
It actually is ready to go. Yeah, yeah, ready to go.
Just hand us some money, that's it. Hand us the money.
We're gonna go do the thing. It's gonna be great.
We'll take care of all of it. Don't eve worry
about it. JP's got it. JP and his mom are
going to handle everything.
Speaker 4 (22:39):
Yeah, JP mom costumes are done.
Speaker 3 (22:43):
Done, they're already sown.
Speaker 2 (22:44):
Yeah.
Speaker 6 (22:44):
Yeah.
Speaker 2 (22:45):
Yeah.
Speaker 3 (22:45):
And don't don't tell her that you don't like him,
because she is going to.
Speaker 2 (22:49):
Be she'll have opinions.
Speaker 3 (22:52):
Yeah, that's it. That's what you're getting now.
Speaker 1 (22:55):
So your mom was in the film. Your dad made
a cameo. He played was he the grandfather? He played Grandpa?
Speaker 5 (23:04):
I have.
Speaker 4 (23:05):
My grandpa was in a wheelchair. I don't even know
if you see the wheelchair in the movie, but we
had a wheelchair for him. He's in this sweet scene
in Winnesida, is with the family. I needed. I wanted him,
wanted him there, and he's so sweet, my dad. But
actually that wasn't really his day job and the shoot.
(23:26):
He was actually the transport manager, a transport that's it captain,
So he would take the actress from me to be
and every single day, well pick them up at the
airport and come back. Yeah, and that way, I'm very lucky.
I mean, we are, the three of us are very
lucky that our parents are very supportive. Yeah, we've done.
Speaker 3 (23:48):
We got to meet your parents, which was so lovely.
Speaker 6 (23:50):
They came. I love they came.
Speaker 5 (23:53):
They came over, and we got to have some of
your mom's amazing paea, which was a Yeah, your birthday.
Speaker 1 (24:01):
Was the biggest bowl of paa I have ever seen
in my life.
Speaker 6 (24:06):
It was.
Speaker 5 (24:06):
It was, I mean, it was a giant piet Like
that's what you you know, You're like, we're cooking for everybody.
Speaker 2 (24:11):
Yeah, it was sounds of a dining room dangle.
Speaker 6 (24:14):
It was so good.
Speaker 5 (24:15):
It was so good, and we were all like just
kind of standing over there and smelling it and like yeah.
Speaker 6 (24:20):
Go go, go go go, Yes, it's true.
Speaker 1 (24:30):
One thing I want to ask, Okay, so I didn't
know this until I talked to you after the screening,
but the real life Alexander, your real life teenage crush,
also made a cameo in the film at the end.
Speaker 2 (24:47):
What tell me, Okay, tell me what was that?
Speaker 1 (24:50):
Like? What was what was his reaction when you told
him you were making this film about this experience between
you two.
Speaker 2 (24:59):
And have you guys kept in touch? Was this awkward?
Was it fulfilling? Was it cathartic?
Speaker 6 (25:05):
Like what all of the things that.
Speaker 4 (25:07):
All of that there wasn't like one feeling. I mean,
when you are doing something that's so close to an
event and so close to people, you want to ask
can I do this? And so yeah, we had a
big conversation beforehand where I said, hey, I'm I'm I'm
thinking about doing this movie and really, you know, I
(25:31):
can need your blessing. And so he was amazing, amazing me.
Just he just said to me, just promise me that
you will that you won't leave any stones unturned, Like
it wasn't don't do this right And it was so lovely.
(25:54):
So so yeah, he was present in the shoot. He
was present in four or five festivals that went two together.
There's an easter egg in the film. I'm going to
say where where you actually see him He's he isn't there, right,
And it's not what you said, it's something else. Yeah,
(26:16):
but no, he's he's he's been incredibly present and it's
so him and his sister.
Speaker 1 (26:24):
Oh are they and are they really Swedish because in
the oh he's not Swedish.
Speaker 4 (26:30):
Mm hmm.
Speaker 2 (26:31):
Are you willing to say what nationality or not?
Speaker 4 (26:33):
Yeah, they're they're Danish Danish.
Speaker 2 (26:36):
I love the Danes, Jason jac that sweet adjacent close
yeah yeah, the dance yeah.
Speaker 5 (26:42):
Yeah, yeah right right, the Upper Nordic.
Speaker 6 (26:45):
Yeah.
Speaker 4 (26:46):
Yeah, they're the most amazing people, like that whole family
and the two of them, their parents, I mean, always
been inspired by them as people and and the love
they gave me without knowing, without knowing me at at
seventy years old, and they embraced me, and and yeah,
I was worried. I was worried to to talk about
(27:09):
real people because you want to pay homage to them,
you don't. You want to be very careful and so yeah,
there was there was a lot of talking and discussing things.
But yeah, yeah, we're we're best of friends. We talk
all the time. He's always very involved in like what's
(27:29):
happening is okay? So which in festival, which cinema is going?
And if he can, he he comes.
Speaker 2 (27:36):
I love that. It's very full circle. That makes a
movie even better, more beautiful.
Speaker 1 (27:46):
And I know you shot the film at these actual
locations too, at the actual college and actually at the
actual home.
Speaker 2 (27:54):
Right there, their holiday home.
Speaker 4 (27:57):
No, that that was we we we rented that one.
This is a villa beautiful Venetian. Yeah that's weel thirty
minutes from the college. But yeah, the college itself. That
was the whole reason why this movie was made, really
is because when I wrote it and then called the
school and then said I would like to not go inside,
(28:18):
not just would you let me do some establishing shots
of the place, and but I won't bother you, And
so the director studies like, no, no, no, no, no, you
can't do that. You you but you can come to
the school and shoot it here, shoot the whole film here.
So the fact that they they led me, they opened
(28:40):
the doors to a camera crew, I mean fair enough.
It was like spring break kind of moments. So weep
that the kids weren't in school. But basically they said,
you can do this if you use the students. So
we'll give you the chance if you involve them behind
(29:01):
the camera, whatever you want. So we had sixty students,
real students, be you know, the extras, the production managers,
the costume assistants, and the best friends, which were like
a group of which I had to kind of teach her. Yeah.
Speaker 6 (29:19):
Yeah, I mean.
Speaker 4 (29:21):
They didn't really didn't have to do anything because they
all have such charism. I loved working with with with
them because I don't know, it's like I got my
faith back in in in as an older person, you
can get a little bit like how my time he
(29:42):
used to.
Speaker 5 (29:42):
Be m never.
Speaker 6 (29:52):
Old lady.
Speaker 4 (29:52):
Yeah yeah, yeah, these amazing, remarkable humans that just kind
of made me go, oh, we're good, We're good, the
the world good.
Speaker 3 (30:01):
Yeah, right right there, So there's some hope out there.
Speaker 4 (30:06):
Yeah, I mean all thanks to the school really, because
because once once you have the approval the stamp place
like that, you have the locations, then I'm not going
to say it's easy to raise the cash. Yeah, but
it's kind of like, okay, it's good, No, the train
is moving. So this hopelly was made that way where great,
(30:29):
we got there, let's keep going, look and and things
would just happen. It just happened organically or magically or
or but but yeah, yeah, the locations were all real
where thing happened.
Speaker 6 (30:45):
Yeah, they were gorgeous.
Speaker 5 (30:48):
Do you think I could go finish two years of
high school even though I finished and have a college
degree in Italy? Would would they take me? I really
just want to go have that experience? It sounds amazing.
Speaker 4 (30:59):
No, you could do?
Speaker 6 (31:00):
What can I do? What I'm up to?
Speaker 4 (31:01):
Tell me? You could offer a like you know, seminar,
like a class. Yeah, but like for a week or
three days or two day or whatever.
Speaker 6 (31:13):
I mean, don't say JP.
Speaker 3 (31:16):
Look at you coming up with ideas.
Speaker 4 (31:19):
No, that's actually really fun and you're there for like
this beautiful.
Speaker 3 (31:23):
I fell in love with Italy when we went. It
was just absolutely stunning and gorgeous.
Speaker 4 (31:27):
So yeah, I do that sometimes I go. I go
there and I and I like, last year I choreographed
their gala and this year I'm doing it again in October,
so I'm involved. I just love that. It's like having
a holiday from the world because you go to the season.
They don't feel like they're belonging to any country. It's
(31:49):
this very international thing. And and and also kids are
so bright, yeah, so pure, so flexible in their minds,
how they think, are exposed to all these cultures.
Speaker 5 (32:04):
Well, and I think too, like send, like you said,
sending kids kind of off on the red like here
you go, Like it changes them and it makes it.
It creates this sense of self assuredness, I think, and
capability and courage to try something new or do something different,
you know, And I think so important.
Speaker 4 (32:23):
So I mean the world's already that way anyway. Kids
because of social media, they're they're sharing things or they're
looking at things that they would have never read were
in our old baby Yeah, but so now the world
is more connected for sure. But I do say that
it's important to any any teenager really to at least
(32:44):
have a holiday abroad or a summer.
Speaker 5 (32:47):
Yeah, now excited kind of travel, even if it's not abroad,
Like just go go travel somewhere away from your parents
in high school for like a week where you're with
other people and you have to kind of figure out
it changes you. Yeah, having to struggle, as you know,
like struggle is what makes you kind of come out
(33:08):
the other side and.
Speaker 6 (33:08):
Go, ah, all right, I survive that.
Speaker 5 (33:11):
Well, well, you're your movie was such a beautiful example
of like you just working so hard and creating something
so beautiful and just such a wonderful group of such
talented actors and just everybody in it. I hope that
everybody gets a chance to go see where can where
(33:33):
can people see it? Actually, well, we're.
Speaker 4 (33:36):
Ending now our our theatrical run, which went to I
think ten cities. Okay, wow, and so we're now we're
entering the next the next moment, so you can check
on before we forget movie Instagram or forgetmovie dot com,
where the movie will be streaming soon. Oh good, great,
(33:59):
we're in that process now. So well, I'm gonna watch it.
Speaker 5 (34:02):
We'll keep shouting it from the rooftops before we forget
movie dot com.
Speaker 1 (34:07):
Everybody go check it out, because you it's a movie
that stays with you, Like it's been two or three
weeks and it's still I still yell it.
Speaker 2 (34:17):
Yes really, And we are so proud of you JP.
Speaker 5 (34:21):
You are just we're so glad you're in the fam.
Yeah you really, Yeah, You've been a great addition to.
Speaker 3 (34:26):
Our little fuller, full house.
Speaker 6 (34:28):
Uh weird group of people.
Speaker 2 (34:31):
And I can't wait to see what you do next too.
Speaker 1 (34:33):
I mean, this is just the beginning a very long
and illustrious filmmaking career and I just can't wait.
Speaker 5 (34:41):
Up.
Speaker 4 (34:42):
Well, we're making shows together.
Speaker 3 (34:44):
Yeah that's yeah, you guys, A yeah, we're maybe it show. Yeah,
I'll put some dates in the calendar.
Speaker 5 (34:50):
Trans I'll work on getting a sound stage to Kim Moffett.
She probably has some ideas of things. Yeah, yeah, No,
we're gonna be fine.
Speaker 6 (34:57):
Guys.
Speaker 5 (34:57):
It's gonna two weeks from now we are going to
be on a roll. We might be shooting Jody's garage.
But yeah, it's fine, that's fine, it's big. I can
clear some stuff out. Uh No, JP, we love you.
Thank you so much for being on the show today.
It was such a wonderful conversation. And you're just such
a talented human. Where can people find you on Instagram
(35:18):
or other socials.
Speaker 4 (35:20):
It's my very long names, just Juan Bablo, the bad Chick.
Speaker 6 (35:25):
Until we go.
Speaker 5 (35:27):
At one, Pablo Depache and that's d I p a
Ce for those of you Yeah who might yeah not
it looks like right yeah yeah, yeah. The American, it's
not yeah, Americans, Yeah, it's not. It's not Juwan Pablo
die Pace.
Speaker 3 (35:44):
Yeah it's not. No, no, no.
Speaker 5 (35:46):
Maybe somewhere they pronounced it that way, but not here.
Uh No. We love you, JP, thank you so much
for joining us, and it was fabulous.
Speaker 6 (35:54):
We'll talk soon.
Speaker 4 (35:55):
Love you so so, so so much. Sending the kisses
from from this house to those houses.
Speaker 6 (36:02):
Oh yeah, this was.
Speaker 4 (36:04):
I love you, I love your show. I love everything
that you're doing, or like just bringing joy, which is
which is the most important thing right now, making people happy.
Speaker 5 (36:15):
Yeah, yeah, yeah, bring a little bit of joy to
the world, all right, Jan you so much.
Speaker 4 (36:22):
We love you.
Speaker 2 (36:23):
So many kisses, so many bassos, and yes, yes, I
call it for the listeners, I call.
Speaker 1 (36:30):
Him Mea More like we legitimately text each other that
Hello Mia More, Hello Mea Moore.
Speaker 3 (36:36):
Yeah, all right, definitely, it's that funny.
Speaker 5 (36:44):
Oh remember I found I took that picture of Stephanie's
flowers and I said it. I was somewhere like around
my house and there was a Stephanie flowers and I
was like, I said picture.
Speaker 6 (36:56):
I was like, it's real.
Speaker 2 (36:57):
Yeah, you know, I know we're trying to wrap up,
but you know.
Speaker 5 (36:59):
I know the Irish goodbye of podcasts, right, we're like,
I mean, so and so I still have.
Speaker 1 (37:06):
The voice note that you made for me, where you
say yay.
Speaker 4 (37:14):
Why did I make a voice note.
Speaker 1 (37:17):
So much I wanted to wanted to play anytime I'm
sad or whatever, I just play it, yay.
Speaker 4 (37:22):
It could be like like a like a text message, right.
Speaker 3 (37:25):
Like a little yeah. Yeah, it's just a voice note
that you can send.
Speaker 2 (37:27):
Yeah, yes, I love it. Okay, Well goodbye for real.
Actually we'll let you go.
Speaker 6 (37:34):
No, thank you.
Speaker 3 (37:35):
I love you on the show.
Speaker 1 (37:38):
Bye.
Speaker 6 (37:38):
I love him.
Speaker 5 (37:39):
I think I fell in love with JP even more. Yes,
and I didn't think I could. He's a pretty amazing human.
Speaker 1 (37:44):
He is just he's the best and so talented and
I'm so happy that he gets to share this talent
with the world and his film and his life story
and it's just everything.
Speaker 6 (37:55):
What a cheat?
Speaker 5 (37:56):
Yeah, seriously, what what an incredible like I'm just really.
Speaker 2 (38:01):
You know, it's really happy for me too, me too.
Speaker 5 (38:04):
You see. Well, folks, thank you for joining us for
uh this incredible.
Speaker 3 (38:10):
Interview with JP.
Speaker 5 (38:11):
We're so proud of him and hope you guys go
check out the movie before we forget movie dot com.
Uh it's a really special movie. So yeah, So anyway,
we will see you.
Speaker 6 (38:21):
Guys next time.
Speaker 5 (38:22):
If you want to find us on Instagram, you can
follow us at how Rude podcast, or you can send
us an email at how Rude Tanner Ritos at gmail
dot com.
Speaker 3 (38:30):
Uh, make sure you're liking and subscribing to the podcast.
Speaker 5 (38:33):
You know, we always love to hear what you guys
are thinking, So rate us review, send us emails, whatevs,
and let's see what else?
Speaker 6 (38:41):
What else?
Speaker 3 (38:42):
Oh our merch store how rudemerch dot com. Make sure
you check that out. And uh, I think that's it.
Speaker 2 (38:48):
I think you covered.
Speaker 3 (38:49):
I think we're good. Yep, all right, you guys. Well,
remember the world is small, but the house is full.
Speaker 5 (38:58):
Hernandez get it, Hernandez get it, hern Nandez, Gereto, Gernando
get it.
Speaker 2 (39:02):
It took me five years to master that.
Speaker 6 (39:04):
Yeah, I apologize.
Speaker 3 (39:06):
To anyone who speaks Spanish.
Speaker 6 (39:07):
I actually could.
Speaker 5 (39:07):
It would sound better than that, but I tripped that anyway. Yeah, yeah,
it's just full. Guerrero Finane Fernandez is everywhere. Just keep
repeating the same things over and just steps repeating yep, yep,
it's just coming out everywhere.
Hey there, Fanaritos, and welcome to part two of our
interview with Juan Pablo de Pache who played my on
screen husband in Fuller House, Fernando. If you fell in
love with Fernando on Fuller House like Kimmy did, you're
sure to be head over heels after this interview because
JP is truly the best.
Speaker 2 (00:38):
So let's get into it.
Speaker 1 (00:39):
I didn't realize how personal it was, Like I just
thought this was you know, you were enthusiastic about making
your own film, But then we get there.
Speaker 3 (00:47):
It was your own film, it was your story.
Speaker 1 (00:50):
Yeah, and I didn't I didn't make that connection until until,
you know, a few scenes into the film. But what
an emotional experience. When did you start creating this writing it?
I mean, I think I know what inspired it, your
own life. But tell tell me how this all came about.
How long had you been working on it?
Speaker 4 (01:11):
Well? Thank you first of all for all the beautiful
wave of love that I just received. You're so amazing
and sweet, and for me, it was really important to
have you there because, like you say, you know we
are family, and and I know that I've been banging
on this. Ah, this movie, this movie, this movie, for years.
I mean we're talking twenty twenty. Really we had we
had it finished shooting in November nineteen, then the.
Speaker 5 (01:35):
World you know, and then and then twenty twenty game right,
and all our very big plans went.
Speaker 4 (01:41):
To exactly and we can so well can's we finished
the show and so and so then it was one
of that year of it. But yeah, it was around
that time that I mean, I'd always, like I said,
I'd always always always wanted to be to direct, and
since those days as a five year old watching the Oscars,
(02:03):
you know, with my grandma. But but it's kind of
became a need. It became like I have to do this.
I don't know, sometimes in life you have those moments
of us if I don't do this now, like like
it's now or never kind of thing. And so yeah, yeah,
(02:24):
it was it was out of a couple of things,
like but mostly I wanted to make my first film
so that I continue to do doing my second and
third and fourth. Uh And And it wasn't that I like,
I didn't want to take my own life. I didn't
want to kind of say, oh I want to do
a movie about me, But it was really I wanted
(02:46):
to have every detail of what I was going to tell.
I wanted to know, right, I want to know every character,
every situation, the places, the feelings, the the moment mins them.
So so yeah, I think it was a mixture of
talking to a friend and her asking me about what
(03:08):
my first love was, how that happened, and also going
to my parents' home while we were all quarantining, and
just as you do, watching albums and going through and
finding this tape the VHS tape in their VCR and anyway,
(03:31):
without spoiling anything, this tape was very well. It was
very important because it was a time when I was
in that school that I told you about the United
World College, and something had just happened that broke a
lot of this heart. One of the kids had to
(03:52):
leave the school and you could see it in this tape.
It was very You could see the pain of these teenagers,
but also are all we are all trying to make
him feel better. And I just thought there's something here,
and so this idea of teenage longing and and also
(04:12):
how you feel everything so much more when you were
that age.
Speaker 5 (04:18):
Because it's all the first time, like I've never had
a broken heart before. This is I think it's going
to kill me. Yeah, like all those feelings are.
Speaker 4 (04:26):
Oh yeah, it's all amplified, and you don't like you say,
you know, you haven't been there and you're not a
child anymore, but you're not an adult yet. So it's
the transitional moment, which which is why we have so
many coming of age stories because it's an incredibly interesting time. Yeah,
and in my case, I thought, okay, how can I
(04:49):
make it so that it's actually the adult looking back?
Add that memory of falling in love, and so the
idea of a film director making a movie about his
first love and being obsessed and frustrated with this movie
that can't quite he can't quite finish. So then yeah,
(05:10):
I created this meta meta movie which is a man
making a movie about a memory and is sort of
like a Russian doll. Straight.
Speaker 1 (05:19):
Oh yeah, that's a great description, a Russian doll. Yeah,
it's it's just stunning. So explain for our listeners, just
a very brief synopsis. You play the older version of Matthias,
but most of the film is it revolves around young Matthias,
who is you as a young boy going to this
(05:41):
international college in Italy.
Speaker 4 (05:45):
Yeah. Yeah, so it's basically this film director who's struggling
to finish a movie about his memory of his first love,
of this kid, best friend he met when he was
at a boarding school twenty five years earlier. And of
course we go back into the past and we actually
(06:07):
understand or at least get the crumbs of what happened.
And what happened is that it was a very tumultuous, unsaid,
unrequited thing, but at the same time very enigmatic because
this boy, Alexander was incredibly loving and interesting and crazy
(06:30):
and talented and so young. Matias was probably the opposite,
you know, super shy, and so Alexander, this ball of energy,
was obviously the you know, the one person that he
felt seen by. And so so yeah, something happens in
(06:53):
the school and Alexander has to leave and that kind
of jump start really these feelings getting amplified, and and yeah,
so so so really it's an exploration of the relationship
(07:13):
between the adult and the teenager and and how sometimes
when you can't quite give an ending to something love
and and that relationship which just can't happen or or
it doesn't or hasn't happened fully, now you can actually
(07:36):
mess you up in the present. So it's it's like
it's like dealing with the trauma you could see where
this one thing can actually inform the rest of your life.
So yeah, very psychological, very psychological, but it's true.
Speaker 5 (07:55):
It's you know, we sort of get hung up on
like one thing and that becomes somehow it influences all
of the rest of our choices about ourselves and the
world that we create.
Speaker 4 (08:07):
You know.
Speaker 1 (08:08):
But it's such a visceral film, like you really feel
all of these emotions that the characters are going through.
It's just very powerful, like you just the audience was
you could feel it, you know. And there's one particular
scene I would love to talk about, the scene in
the car with the parents, which I think is just
(08:28):
the heart of the film.
Speaker 3 (08:30):
And it was your actual mom.
Speaker 5 (08:34):
No, not that she's playing well the older mom, you
I know, playing the old Yeah, he's the older but
like she does play a part in it, and like
that was so incredible. She's not in this scene, but
I just yeah, anyway.
Speaker 2 (08:47):
Sorry, no, no, that's okay, Yeah, yeah, you're you're actual.
We'll get to those easterings, we.
Speaker 3 (08:50):
Get to those just so incredible because she's like in
her art studio, creating in your health.
Speaker 2 (08:55):
It was just very cool, so cool.
Speaker 1 (08:56):
But the car scene, I don't want to I don't
want to give it away, but it is such a
power powerful scene.
Speaker 2 (09:01):
Rheumatias breaks down in tears and the.
Speaker 1 (09:05):
The mom essentially says we love you exactly the way
you are. What was it like for you to film
that scene and to watch the actors perform that scene?
Speaker 4 (09:19):
It was It was hard. It's kind of painful because
I got there's some scenes in the movie that I
would say are almost exactly as they happened in my
memory anyway, and that one is one of them. Like,
and it didn't work. I don't think the movie would work.
So so it to be like, I put so much
(09:41):
weight on this scene because yeah, you're right, it's in
the middle of the film and it's the heart of film, pivotal, pivotal,
and the world changes after this scene. Yeah so, and
we don't see it coming either, no, like out of nowhere. Really,
So I love playing with these shifts of direction when
(10:02):
it comes to storytelling, that you think something's going this
way and then oh no, you know, And I think
the movie does that like three four times but this
particular one, it was it was a scene that explains
a lot of things that you've been sensing, don't know,
(10:22):
and then this kind of just opens everything up. So yeah,
I mean shooting it was uncomfortable. I was in the
back of the car. It was a it was a
so the dop director of photography, Devin Douleval, my co
director andres Pepiestrada. Obviously the actors were all bunched up
in this tiny rental nineteen ninety one Volvo, and because
(10:48):
it's a it's a period piece, and it's it's cold outside,
it's hot inside, and so we were just kind of
it wasn't really working. And I don't know what I
said to the actors or whatever happened that it was
one word, I think. And all of a sudden, you know, Alasseli,
(11:11):
who plays the mom, this this one beautiful take, beautiful take,
and I broke down watching her, and I'm like putting
my hand in because I'm like sobbing and I don't
want to mess up the audio. And I'm like shaking
from watching, you know. And and then of course when
(11:35):
I when when and this boy Santio mar Lusn, who
is amazing. This is a very wonderful job. His first job,
no way, first audition, Yes.
Speaker 6 (11:47):
What's incredible.
Speaker 3 (11:48):
He was amazing.
Speaker 4 (11:50):
Wow again, you know he was just how he responded
to the scene in the moment, it was heartbreaking and
beyond the dad as well, who didn't do anything and
yet you feel everything that you know. I was very
lucky to find these people. And I'm a firm believer
(12:12):
in like finding finding the actors first, because I think
we are in a moment where there's a little bit
of criticism to the moment we're in right now, but
we're in a moment where when the name sometimes is
more important than the part towards the.
Speaker 5 (12:31):
Story, yeah, or how many followers you have is more
important than them.
Speaker 1 (12:35):
Yeah.
Speaker 4 (12:35):
And in this one, mostly because I didn't have the
money to pay the big names, we actually went to
the actors that felt the most right. And some of
the people this is their first movie or whatever, and
I would never have known that it was anyone's first
movie at all, like it did.
Speaker 5 (12:55):
They're not at all blown away that like yeah.
Speaker 4 (13:00):
Yeah, I mean, I can't really say anything other than
when I when I when I when I open the
files and started editing When you edit, you spend a
lot of time with scenes. Sometimes this one scene has
like twenty different versions. Okay, so it's not you know,
it's very time consuming and you're spending time in this world, right,
(13:22):
And I'm not exaggerating. Every time I used to open
this scene up to work on it, I was just
like right, bloodgates and so I remember the moment that
I cried the most. I think it's ready.
Speaker 3 (13:38):
Yeah, it's done.
Speaker 6 (13:39):
Got Yeah, don.
Speaker 4 (13:40):
Test yourself how you It's a weird process. You sort
of use your own emotionality to be the audience member
watching something that you are working, right, see how it's
hitting you. So it's this conversation that youse a maker
have with the material. It's a weird phenomenon. It's very strange. Yeah,
(14:03):
it's like a part of you is an audience member
and a part of you is the editor, and after
you go between the two. Yeah, yeah, yeah, I'm so
happy about that that's on screen because sometimes for people
who don't are not on set and they don't understand
perhaps about filming, is that filming in itself, just like
we didn't fall our house. In everything, there's a moment
(14:26):
of electricity and there's a moment when almost the air
gets thick, you know, when they shot the action, like
everything kind of just you know, slows down and then
you're like anchored into this weird parallel universe. And the
moment they say cut you tell it's just you know,
(14:47):
it's like this energy just kind of open like this.
And so there's moments on film. We've all had them
when something something will inspire something for you to do
something in a certain way, for for what the response
to be X, and it's caught on film, and those
are the moments of magic. Now you can't really explain it.
(15:10):
I mean, you could write something till the Cows Come Home,
but until the moment happens in the filming process, right,
this actor has this I don't know, magical reaction. It's
not really there out of this whole experience. I think
that's what I've absolutely loved the most making a film
is that you get to witness before the world something
(15:33):
magical that you know the rest of the world will
see at some point and it's like it's it gives
you goosebumps.
Speaker 1 (15:48):
What was your mom's reaction? Were you with her when
she watched the film? For the first time in the
scene in particular, and what was her reaction.
Speaker 4 (15:56):
She wasn't there when we shot it because my mom
was actually doing in art direction and costume design of
the film, so she was very involved. So she was
probably like, so was shooting Uh No, she she she's
always been just so proud. And I know it's but
(16:19):
it's true. And and we are My mom and I
almost have a work relationship where we are kind of
equals because she's the artist and and and I'm also
an artist in a different way, and we exchange ideas
and and there's one scene where my actual mother and
I are talking about her work.
Speaker 6 (16:40):
And my work, and that's how we.
Speaker 4 (16:42):
Are with each other. And so so, yeah, this whole
process was was about, okay, making something that comes from us,
m H. Now that it's it's it's its own thing,
it's its own story outside of us. And yeah, you
have to learn to see it critically. And she is
amazing at seeing things, like she's so critical.
Speaker 3 (17:05):
But my mother, she's so critical. It's great.
Speaker 5 (17:08):
Yeah, yeah, most people all, but you're like, no, it's
actually really she is.
Speaker 4 (17:14):
And I think some of us, some of my siblings
have have said this before it's like you're too critical
with you and and she's like, yeah, I can't help it.
She's in aries.
Speaker 5 (17:25):
Ah, yes, yes, I have one of those. Yeah, Zoa's
an aries. Yeah I yeah, yeah, just cherry fiery. It's
going to be their way, it's going to happen and
no way. And they're not shy about telling you what
they think about your not at all.
Speaker 3 (17:41):
Yeah, yeah, not at all, not at all.
Speaker 5 (17:44):
In fact, they're doing you a favor really actually, Yeah,
you're like you should be thinking me.
Speaker 3 (17:48):
You're like, I don't know if I should.
Speaker 2 (17:50):
Oh, I love your mom so much, it's so amazing.
Speaker 6 (17:53):
Yeah, it's o cute.
Speaker 5 (17:55):
Did she But did she give like notes and stuff
as you guys were going along?
Speaker 3 (17:58):
Did she ever watch any of the dailies with you
or anything?
Speaker 4 (18:00):
Or was it more like, you know what I really
love about my mom, as stubborn as she can be
about stuff and critical, maybe because she was a teacher,
a school teacher for a long time art teacher, there's
this respect that I always got where she would literally
just stand back see what I was doing, and literally
(18:25):
bite the head of anyone who would come close to
me to criticize anything. So I now see it with
distance and I go, wow, that was so. I mean, yeah,
it's like Mama Bear, like, yeah, I had an idea.
For example, I say, I think this should be lit
in this way and I want the camera to start
(18:47):
here and I want this to happen. And someone you
know from art will go, well, we can't do that
because you know the thing is not ready or this
or that or the light it's near. And my mom,
which would would basically just make them do what I wanted.
So it wasn't that she was critical about what I
was doing. She was actually respecting to the letter. Yeah,
(19:11):
one of the things that.
Speaker 6 (19:12):
Your artistic were choices.
Speaker 4 (19:14):
Yeah, And and no, she's never really she's never really
said oh, you should cut it this way or you
should change this. She always trusted in whatever I wanted
to do.
Speaker 5 (19:24):
Which it sounds like you guys have like an artist
to artist relationship, like you were talking about, sort of
that working relationship.
Speaker 3 (19:30):
There's times you can talk about it.
Speaker 4 (19:31):
And there's a thing about artists. We are so vulnerable
and so it hangs by a thread, like our purity
hangs by like this. Right. So, so when you know,
when you're convinced of something, you want to do and
you want to do it this way and whatever. You
also have to arm yourself with the strength to defend
(19:53):
it constant and it can be exhausting. And so when
you have a parent and who is kind of like
your colleague who's gone, well, he wants this right, everybody
don't change it right, It's it's kind of amazing. I
love her for it. I love her because sometimes you
(20:14):
don't get that at all in this industry, Like you
get people pushing, pushing of.
Speaker 3 (20:18):
Course, yeah, everyone's trying to elbow each other out of
the way.
Speaker 5 (20:21):
Yeah. I actually I love working on like small films,
independent films, because you are you're all in there, all
doing everyone's doing it all, you know what I mean.
Speaker 3 (20:29):
Like you're all just.
Speaker 5 (20:30):
Kind of in the muck together, creating and doing and
like it's it's you know again, as an artist, you're
just like, this is what I love. Is like the
you know, the playing in the mud and the dirt
and making something out of you know, whatever, if people
knew what was going on outside of the shot of
the camera, you know what I mean, it's like the
magic that we get to create is really fun. Amongst
(20:52):
the chaos.
Speaker 4 (20:53):
What's what's been your favorite kind of indie moment.
Speaker 5 (20:57):
Aren't something I mean, you know, honestly, most of the
like small independent stuff I work on has been for
Hallmark or for Lifetime. But still like you have, you know,
twenty days to shoot a ninety seven page movie like there,
you know, even if you're like, okay, I'm not, it's
you know, there's not there's no scenes like there are
(21:18):
in Before We Forget, But it's still like you're having
to kind of be in the grind and do whatever,
and you know, and everyone's making it work and no
one's getting over time and you know, here at hour twelve,
and but yeah, I'm actually there's a couple scripts that
I'm working on right now, like producing stuff that are
(21:39):
again very different, very like things that we're kind of
having to like really fight for creative choices. So we'll see,
we'll see the goes anywhere. I mean, we're just still
in the kind of the writing and creating process.
Speaker 4 (21:49):
I look forward to seeing that because I do remember,
I mean, you you were always both actually Andrea writing
the one of the episodes and you're directing. I'm pretty
curious to see also that vein that you actually you
both have Andrew I'm still waiting on that show that
(22:10):
we're going to do together.
Speaker 1 (22:12):
I am.
Speaker 3 (22:13):
Well, look, if you need a director, I'm just saying, I.
Speaker 2 (22:15):
Mean, let's make it happen. Yea on somebody, Warner Brothers, anybody,
I mean, and.
Speaker 3 (22:20):
I will say it on the podcast, anybody that's looking
for it.
Speaker 5 (22:23):
Not.
Speaker 2 (22:24):
We have a great script. We're ready to go.
Speaker 5 (22:26):
It actually is ready to go. Yeah, yeah, ready to go.
Just hand us some money, that's it. Hand us the money.
We're gonna go do the thing. It's gonna be great.
We'll take care of all of it. Don't eve worry
about it. JP's got it. JP and his mom are
going to handle everything.
Speaker 4 (22:39):
Yeah, JP mom costumes are done.
Speaker 3 (22:43):
Done, they're already sown.
Speaker 2 (22:44):
Yeah.
Speaker 6 (22:44):
Yeah.
Speaker 2 (22:45):
Yeah.
Speaker 3 (22:45):
And don't don't tell her that you don't like him,
because she is going to.
Speaker 2 (22:49):
Be she'll have opinions.
Speaker 3 (22:52):
Yeah, that's it. That's what you're getting now.
Speaker 1 (22:55):
So your mom was in the film. Your dad made
a cameo. He played was he the grandfather? He played Grandpa?
Speaker 5 (23:04):
I have.
Speaker 4 (23:05):
My grandpa was in a wheelchair. I don't even know
if you see the wheelchair in the movie, but we
had a wheelchair for him. He's in this sweet scene
in Winnesida, is with the family. I needed. I wanted him,
wanted him there, and he's so sweet, my dad. But
actually that wasn't really his day job and the shoot.
(23:26):
He was actually the transport manager, a transport that's it captain,
So he would take the actress from me to be
and every single day, well pick them up at the
airport and come back. Yeah, and that way, I'm very lucky.
I mean, we are, the three of us are very
lucky that our parents are very supportive. Yeah, we've done.
Speaker 3 (23:48):
We got to meet your parents, which was so lovely.
Speaker 6 (23:50):
They came. I love they came.
Speaker 5 (23:53):
They came over, and we got to have some of
your mom's amazing paea, which was a Yeah, your birthday.
Speaker 1 (24:01):
Was the biggest bowl of paa I have ever seen
in my life.
Speaker 6 (24:06):
It was.
Speaker 5 (24:06):
It was, I mean, it was a giant piet Like
that's what you you know, You're like, we're cooking for everybody.
Speaker 2 (24:11):
Yeah, it was sounds of a dining room dangle.
Speaker 6 (24:14):
It was so good.
Speaker 5 (24:15):
It was so good, and we were all like just
kind of standing over there and smelling it and like yeah.
Speaker 6 (24:20):
Go go, go go go, Yes, it's true.
Speaker 1 (24:30):
One thing I want to ask, Okay, so I didn't
know this until I talked to you after the screening,
but the real life Alexander, your real life teenage crush,
also made a cameo in the film at the end.
Speaker 2 (24:47):
What tell me, Okay, tell me what was that?
Speaker 1 (24:50):
Like? What was what was his reaction when you told
him you were making this film about this experience between
you two.
Speaker 2 (24:59):
And have you guys kept in touch? Was this awkward?
Was it fulfilling? Was it cathartic?
Speaker 6 (25:05):
Like what all of the things that.
Speaker 4 (25:07):
All of that there wasn't like one feeling. I mean,
when you are doing something that's so close to an
event and so close to people, you want to ask
can I do this? And so yeah, we had a
big conversation beforehand where I said, hey, I'm I'm I'm
thinking about doing this movie and really, you know, I
(25:31):
can need your blessing. And so he was amazing, amazing me.
Just he just said to me, just promise me that
you will that you won't leave any stones unturned, Like
it wasn't don't do this right And it was so lovely.
(25:54):
So so yeah, he was present in the shoot. He
was present in four or five festivals that went two together.
There's an easter egg in the film. I'm going to
say where where you actually see him He's he isn't there, right,
And it's not what you said, it's something else. Yeah,
(26:16):
but no, he's he's he's been incredibly present and it's
so him and his sister.
Speaker 1 (26:24):
Oh are they and are they really Swedish because in
the oh he's not Swedish.
Speaker 4 (26:30):
Mm hmm.
Speaker 2 (26:31):
Are you willing to say what nationality or not?
Speaker 4 (26:33):
Yeah, they're they're Danish Danish.
Speaker 2 (26:36):
I love the Danes, Jason jac that sweet adjacent close
yeah yeah, the dance yeah.
Speaker 5 (26:42):
Yeah, yeah right right, the Upper Nordic.
Speaker 6 (26:45):
Yeah.
Speaker 4 (26:46):
Yeah, they're the most amazing people, like that whole family
and the two of them, their parents, I mean, always
been inspired by them as people and and the love
they gave me without knowing, without knowing me at at
seventy years old, and they embraced me, and and yeah,
I was worried. I was worried to to talk about
(27:09):
real people because you want to pay homage to them,
you don't. You want to be very careful and so yeah,
there was there was a lot of talking and discussing things.
But yeah, yeah, we're we're best of friends. We talk
all the time. He's always very involved in like what's
(27:29):
happening is okay? So which in festival, which cinema is going?
And if he can, he he comes.
Speaker 2 (27:36):
I love that. It's very full circle. That makes a
movie even better, more beautiful.
Speaker 1 (27:46):
And I know you shot the film at these actual
locations too, at the actual college and actually at the
actual home.
Speaker 2 (27:54):
Right there, their holiday home.
Speaker 4 (27:57):
No, that that was we we we rented that one.
This is a villa beautiful Venetian. Yeah that's weel thirty
minutes from the college. But yeah, the college itself. That
was the whole reason why this movie was made, really
is because when I wrote it and then called the
school and then said I would like to not go inside,
(28:18):
not just would you let me do some establishing shots
of the place, and but I won't bother you, And
so the director studies like, no, no, no, no, no, you
can't do that. You you but you can come to
the school and shoot it here, shoot the whole film here.
So the fact that they they led me, they opened
(28:40):
the doors to a camera crew, I mean fair enough.
It was like spring break kind of moments. So weep
that the kids weren't in school. But basically they said,
you can do this if you use the students. So
we'll give you the chance if you involve them behind
(29:01):
the camera, whatever you want. So we had sixty students,
real students, be you know, the extras, the production managers,
the costume assistants, and the best friends, which were like
a group of which I had to kind of teach her. Yeah.
Speaker 6 (29:19):
Yeah, I mean.
Speaker 4 (29:21):
They didn't really didn't have to do anything because they
all have such charism. I loved working with with with
them because I don't know, it's like I got my
faith back in in in as an older person, you
can get a little bit like how my time he
(29:42):
used to.
Speaker 5 (29:42):
Be m never.
Speaker 6 (29:52):
Old lady.
Speaker 4 (29:52):
Yeah yeah, yeah, these amazing, remarkable humans that just kind
of made me go, oh, we're good, We're good, the
the world good.
Speaker 3 (30:01):
Yeah, right right there, So there's some hope out there.
Speaker 4 (30:06):
Yeah, I mean all thanks to the school really, because
because once once you have the approval the stamp place
like that, you have the locations, then I'm not going
to say it's easy to raise the cash. Yeah, but
it's kind of like, okay, it's good, No, the train
is moving. So this hopelly was made that way where great,
(30:29):
we got there, let's keep going, look and and things
would just happen. It just happened organically or magically or
or but but yeah, yeah, the locations were all real
where thing happened.
Speaker 6 (30:45):
Yeah, they were gorgeous.
Speaker 5 (30:48):
Do you think I could go finish two years of
high school even though I finished and have a college
degree in Italy? Would would they take me? I really
just want to go have that experience? It sounds amazing.
Speaker 4 (30:59):
No, you could do?
Speaker 6 (31:00):
What can I do? What I'm up to?
Speaker 4 (31:01):
Tell me? You could offer a like you know, seminar,
like a class. Yeah, but like for a week or
three days or two day or whatever.
Speaker 6 (31:13):
I mean, don't say JP.
Speaker 3 (31:16):
Look at you coming up with ideas.
Speaker 4 (31:19):
No, that's actually really fun and you're there for like
this beautiful.
Speaker 3 (31:23):
I fell in love with Italy when we went. It
was just absolutely stunning and gorgeous.
Speaker 4 (31:27):
So yeah, I do that sometimes I go. I go
there and I and I like, last year I choreographed
their gala and this year I'm doing it again in October,
so I'm involved. I just love that. It's like having
a holiday from the world because you go to the season.
They don't feel like they're belonging to any country. It's
(31:49):
this very international thing. And and and also kids are
so bright, yeah, so pure, so flexible in their minds,
how they think, are exposed to all these cultures.
Speaker 5 (32:04):
Well, and I think too, like send, like you said,
sending kids kind of off on the red like here
you go, Like it changes them and it makes it.
It creates this sense of self assuredness, I think, and
capability and courage to try something new or do something different,
you know, And I think so important.
Speaker 4 (32:23):
So I mean the world's already that way anyway. Kids
because of social media, they're they're sharing things or they're
looking at things that they would have never read were
in our old baby Yeah, but so now the world
is more connected for sure. But I do say that
it's important to any any teenager really to at least
(32:44):
have a holiday abroad or a summer.
Speaker 5 (32:47):
Yeah, now excited kind of travel, even if it's not abroad,
Like just go go travel somewhere away from your parents
in high school for like a week where you're with
other people and you have to kind of figure out
it changes you. Yeah, having to struggle, as you know,
like struggle is what makes you kind of come out
(33:08):
the other side and.
Speaker 6 (33:08):
Go, ah, all right, I survive that.
Speaker 5 (33:11):
Well, well, you're your movie was such a beautiful example
of like you just working so hard and creating something
so beautiful and just such a wonderful group of such
talented actors and just everybody in it. I hope that
everybody gets a chance to go see where can where
(33:33):
can people see it? Actually, well, we're.
Speaker 4 (33:36):
Ending now our our theatrical run, which went to I
think ten cities. Okay, wow, and so we're now we're
entering the next the next moment, so you can check
on before we forget movie Instagram or forgetmovie dot com,
where the movie will be streaming soon. Oh good, great,
(33:59):
we're in that process now. So well, I'm gonna watch it.
Speaker 5 (34:02):
We'll keep shouting it from the rooftops before we forget
movie dot com.
Speaker 1 (34:07):
Everybody go check it out, because you it's a movie
that stays with you, Like it's been two or three
weeks and it's still I still yell it.
Speaker 2 (34:17):
Yes really, And we are so proud of you JP.
Speaker 5 (34:21):
You are just we're so glad you're in the fam.
Yeah you really, Yeah, You've been a great addition to.
Speaker 3 (34:26):
Our little fuller, full house.
Speaker 6 (34:28):
Uh weird group of people.
Speaker 2 (34:31):
And I can't wait to see what you do next too.
Speaker 1 (34:33):
I mean, this is just the beginning a very long
and illustrious filmmaking career and I just can't wait.
Speaker 5 (34:41):
Up.
Speaker 4 (34:42):
Well, we're making shows together.
Speaker 3 (34:44):
Yeah that's yeah, you guys, A yeah, we're maybe it show. Yeah,
I'll put some dates in the calendar.
Speaker 5 (34:50):
Trans I'll work on getting a sound stage to Kim Moffett.
She probably has some ideas of things. Yeah, yeah, No,
we're gonna be fine.
Speaker 6 (34:57):
Guys.
Speaker 5 (34:57):
It's gonna two weeks from now we are going to
be on a roll. We might be shooting Jody's garage.
But yeah, it's fine, that's fine, it's big. I can
clear some stuff out. Uh No, JP, we love you.
Thank you so much for being on the show today.
It was such a wonderful conversation. And you're just such
a talented human. Where can people find you on Instagram
(35:18):
or other socials.
Speaker 4 (35:20):
It's my very long names, just Juan Bablo, the bad Chick.
Speaker 6 (35:25):
Until we go.
Speaker 5 (35:27):
At one, Pablo Depache and that's d I p a
Ce for those of you Yeah who might yeah not
it looks like right yeah yeah, yeah. The American, it's
not yeah, Americans, Yeah, it's not. It's not Juwan Pablo
die Pace.
Speaker 3 (35:44):
Yeah it's not. No, no, no.
Speaker 5 (35:46):
Maybe somewhere they pronounced it that way, but not here.
Uh No. We love you, JP, thank you so much
for joining us, and it was fabulous.
Speaker 6 (35:54):
We'll talk soon.
Speaker 4 (35:55):
Love you so so, so so much. Sending the kisses
from from this house to those houses.
Speaker 6 (36:02):
Oh yeah, this was.
Speaker 4 (36:04):
I love you, I love your show. I love everything
that you're doing, or like just bringing joy, which is
which is the most important thing right now, making people happy.
Speaker 5 (36:15):
Yeah, yeah, yeah, bring a little bit of joy to
the world, all right, Jan you so much.
Speaker 4 (36:22):
We love you.
Speaker 2 (36:23):
So many kisses, so many bassos, and yes, yes, I
call it for the listeners, I call.
Speaker 1 (36:30):
Him Mea More like we legitimately text each other that
Hello Mia More, Hello Mea Moore.
Speaker 3 (36:36):
Yeah, all right, definitely, it's that funny.
Speaker 5 (36:44):
Oh remember I found I took that picture of Stephanie's
flowers and I said it. I was somewhere like around
my house and there was a Stephanie flowers and I
was like, I said picture.
Speaker 6 (36:56):
I was like, it's real.
Speaker 2 (36:57):
Yeah, you know, I know we're trying to wrap up,
but you know.
Speaker 5 (36:59):
I know the Irish goodbye of podcasts, right, we're like,
I mean, so and so I still have.
Speaker 1 (37:06):
The voice note that you made for me, where you
say yay.
Speaker 4 (37:14):
Why did I make a voice note.
Speaker 1 (37:17):
So much I wanted to wanted to play anytime I'm
sad or whatever, I just play it, yay.
Speaker 4 (37:22):
It could be like like a like a text message, right.
Speaker 3 (37:25):
Like a little yeah. Yeah, it's just a voice note
that you can send.
Speaker 2 (37:27):
Yeah, yes, I love it. Okay, Well goodbye for real.
Actually we'll let you go.
Speaker 6 (37:34):
No, thank you.
Speaker 3 (37:35):
I love you on the show.
Speaker 1 (37:38):
Bye.
Speaker 6 (37:38):
I love him.
Speaker 5 (37:39):
I think I fell in love with JP even more. Yes,
and I didn't think I could. He's a pretty amazing human.
Speaker 1 (37:44):
He is just he's the best and so talented and
I'm so happy that he gets to share this talent
with the world and his film and his life story
and it's just everything.
Speaker 6 (37:55):
What a cheat?
Speaker 5 (37:56):
Yeah, seriously, what what an incredible like I'm just really.
Speaker 2 (38:01):
You know, it's really happy for me too, me too.
Speaker 5 (38:04):
You see. Well, folks, thank you for joining us for
uh this incredible.
Speaker 3 (38:10):
Interview with JP.
Speaker 5 (38:11):
We're so proud of him and hope you guys go
check out the movie before we forget movie dot com.
Uh it's a really special movie. So yeah, So anyway,
we will see you.
Speaker 6 (38:21):
Guys next time.
Speaker 5 (38:22):
If you want to find us on Instagram, you can
follow us at how Rude podcast, or you can send
us an email at how Rude Tanner Ritos at gmail
dot com.
Speaker 3 (38:30):
Uh, make sure you're liking and subscribing to the podcast.
Speaker 5 (38:33):
You know, we always love to hear what you guys
are thinking, So rate us review, send us emails, whatevs,
and let's see what else?
Speaker 6 (38:41):
What else?
Speaker 3 (38:42):
Oh our merch store how rudemerch dot com. Make sure
you check that out. And uh, I think that's it.
Speaker 2 (38:48):
I think you covered.
Speaker 3 (38:49):
I think we're good. Yep, all right, you guys. Well,
remember the world is small, but the house is full.
Speaker 5 (38:58):
Hernandez get it, Hernandez get it, hern Nandez, Gereto, Gernando
get it.
Speaker 2 (39:02):
It took me five years to master that.
Speaker 6 (39:04):
Yeah, I apologize.
Speaker 3 (39:06):
To anyone who speaks Spanish.
Speaker 6 (39:07):
I actually could.
Speaker 5 (39:07):
It would sound better than that, but I tripped that anyway. Yeah, yeah,
it's just full. Guerrero Finane Fernandez is everywhere. Just keep
repeating the same things over and just steps repeating yep, yep,
it's just coming out everywhere.
Hosts And Creators
Andrea Barber
Jodie Sweetin
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