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April 25, 2024 53 mins
Sylvia Villagrán comenzó su carrera en los medios de comunicación "sin querer queriendo", su voz es la más escuchada en la radio y la televisión. Y aunque su voz podría ser su arma más importante, ella tiene otra opinión sobre cuál es el secreto de su exito.
No te pierdas estos relatos sobre su camino en el mundo del voiceover y qué pasó cuando le dieron la noticia de que sería la voz de los premios Oscar. 
Síguela en sus redes @sylviavillagran y mira la entrevista en video en mi cuenta de YouTube.
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Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:06):
Ladies and gentlemen, with my mostelegant you I want to introduce to the
great and incomparable the mother of thechicks of the VOI soccer not only in
Spanish, in English, that well, let' s talk about your awards,
let' s talk about your trajectory, your childhood, or not childhood,

(00:31):
not the childhood of quiet ciliate.Here I carry control look, in
the oscar, in the oscars.You can say whatever you want, but
not here you who are with agina. I understand please, Silvia Villagran
that I like to greet you andit is not Lie, that you are

(00:51):
the mother of the chicks for allthose who have an intention to be in
the world of the voissover of theperformance, of voice to do, this
is the woman that they have tofollow and pay close attention to their trajectory,
because it is really a great pridefor me to be talking to you

(01:14):
Silvia China. Thank you so much. Number one. Thank you for inviting
me first. The truth is apleasure, since you are a very important
woman on the radio, on theradio, especially on Ihar, you are
the mere one and there are notmany and there are not many women on
radio, so this one too.You are a leading example in your space.

(01:38):
So, thank you so much forinviting me. That' s nice,
so we' ll be getting onionshere. But in reality what I
want to know is more about youSilvia, Where are you born, where
am I not going to ask dateok so you relax, oh faith done.
You know women don' t askthemselves dates. Never where I am,

(02:01):
Silvia is born and created here inLos Angeles. In Los Angeles,
my parents are from Nogales, Sonora, Mexico. Both are born and raised
in Nogales, Sonora, Sonorense andI spent every summer, returning to visit
all my cousins, my uncles,everyone, and we were going to visit

(02:27):
my cousins, many cousins that Ihave in cool More Sonora, there,
in cool More Sonora. Yeah.So, greetings to the Honorians and all
the people of Guaymas, that Ilove them very much. And you know
that for many second- generation childrenthat in this case is not my case,

(02:51):
because I was born in Mexico City. However, I have daughters who
were born in the United States,but don' t chew Spanish well,
that is, they speak it,but they don' t speak it perfectly
like you to the extent that youdo the same thing in a Spanish commercial

(03:14):
that directs the Academy awards in English. When you realized you had a voice
to do this kind of work andyou said this is where I' m
from I want to live Mira.Honestly, it was an accident. It
wasn' t like something that wasmy dream that I always loved stories a

(03:38):
lot. I love stories. Thatwas always my weak side. It'
s not you telling me a story, and I' m a lifelong captivating
audience. I love it with allkinds of stories. So, from Chiquita

(03:58):
I really liked collecting children' sstories always, I mean, I still
have accounts of when I was achild and then and I had a lot
of different waitress jobs, as alegal secretary, of Lifeguards, well,
of all kinds of work that youcan imagine, because I work in an

(04:21):
office. I couldn' t,I couldn' t, I couldn'
t. I love talking to people, I love knowing about people, I
love adventures, meeting places, meetingpeople. So, in an office,
you' re basically doing the samething almost every day and I' m

(04:42):
dying. I' m dying,I can' t. Then I left
as a bum, I didn't go to school, like I don
' t have something called dyslexia.Then I couldn' t, I couldn
' t concentrate. Anyway, Iwent to live with a friend of mine
who lived in Oregon and when Iwas there I took a production class,

(05:06):
already living there at a school inCammunicy College. Then being there. I
think the teacher thought the same weekwe went in, he told us that
at the local radio station, thatin a tiny station, they were doing
a cable program, also television andif anyone wanted to go to, they

(05:35):
were going to pay them as anentern to work to handle the cameras,
the lights, the microphones. So, when I go to the interview,
the programmer tells me you know howto use lights. Sure tells me you

(06:00):
know how to use cameras. Ofcourse I do. In my life,
in my life, I got thejob. And that' s when I
got on the radio, already atabout three months old, someone went on
vacation, trained me and started workingon radio or being there, as you
well know, it gives you partof your job to make commercials clear,

(06:26):
and went to work a man whohad lived in Los Angeles and did boy
Sover, the famous Boysolver, andtold me that he was paid to be
commercials of voice and I tell himto stop me ok now an important thing.

(06:47):
All this began in English or Spanish. That was all in English.
Now coming back how it was thatmy Spanish is about when my mom and
dad came here to Los Angeles,where I live now that I' ve
always lived my whole life, mydad is a Mexican male. Then my

(07:14):
dad couldn' t tell him absolutelyanything that was wrong, that, on
the one hand, it' svery bad, of course, but on
the other hand, imagine it wasfor him that he spoke only Spanish,
or just what he does. Well, my dad back then is already retired

(07:35):
my dad, but back then hewas the manager gerno, manager general of
a Mexican film distributor named Azteca Films. So, all the movies that good
back then from the gold cinema thecinema after it changed from the gold cinema

(08:03):
to the cinema and it sticks thefichera was everything to the narcocorridos. All
that, my dad was there duringthat time and I and I grew up
during that time, so in Mexicancinema I knew a lot of actresses,
directors, producers, etcetera. Butthat' s why I tell you then

(08:26):
I had a childhood here in LosAngeles, very different in that in my
house no more Spanish was spoken,demanded, demanded I could not come to
the house and tell him already.No. I can' t believe an
oquito. No, my dad doesn' t talk. My dad doesn'

(08:48):
t speak English. Not to date. It' s an imaginary city It
' s a citizen of the UnitedStates. Vote, he' s political
or political, he knows everything,but he doesn' t speak English to
you. So, in order forme to communicate with my dad, my
mom is bilingual. My dad didn' t then, I mean, I

(09:11):
didn' t have another then,on the one hand, in the house
to watch this giant Saturday, onthe giant Saturday at that time it was,
because yes giant Sunday Saturday, Ididn' t start Sunday, the
boy of the eight, all thatmeans, all the programs, because they

(09:31):
existed at that time he asks nowthat you mentioned the boy of the eight,
nothing your last name. It hasnothing to do with Carlos Villagrán.
No and I tell you Carlos Villagrán, he has a daughter named Silvia Villagrán.
So a lot of people get confusedand think my dad is Carlos Villagrande,
but not exactly what son. Notat all, but I love it,

(09:56):
I love the eight- year-old boy and I love Kiko ok
Then you heard all these shows,you watched all these shows and thanks to
that you are perfectly bilingual. Youstart your career by going overs in English.
No, and that' s whereyou start to win. No.

(10:16):
No. When I arrived, whenI returned to Los Angeles, after living
in Oregon, when I returned toLos Angeles, I met a man who
had an agent in English, inSpanish, who had an agent who made
him represent him and told me I' m going to introduce you to my
agent. So, agent gringo,he tells me I can represent you in

(10:39):
Spanish, because back then remember wewere talking 30 years ago. When I
started doing that. No. No. Don' t you? Don'
t you? Don' t you? Don' t you? Don'
t you? Not themed. No. Don' t you? Don'
t you? Don' t you? No cross crus It' s the
I don' t know, Idon' t know, it' s
not like today. Then they wouldn' t let me audition in English.

(11:05):
No, it' s not beingnot then just in Spanish. They sent
me to the editions in Spanish orif there was an audition suddenly in English
with accent or they wanted a Latintype Maria, Conchita, Alonso, type
charro. So, no, yes, yes, yes, very very.

(11:28):
Let' s just say that stereotypedprocedure. Of ah no you speak as
Sofia Vergara to ok pasale is hereexactly. Then they wouldn' t let
me audition in English at all.So there was a time when I decided,
well, if you' re notgonna let me audition in English,

(11:52):
then I changed agent. I leftthe people I was with because and he
was a pretty important agent back then. But look, I think also because
I don' t know what happenedto me, in my mind, in
my heart, in my spirit,that I kind of offended, rather than

(12:16):
being slapped, I offended that thisguy didn' t think enough about me,
he didn' t believe enough inme that he was going to want
to represent me in English. ThenI went out and went to another agency
I' ve been with for manyyears, which is Spebe and the owner
of Spibe, which is called Reavan Nory, which is a serious love

(12:41):
They did believe in me and startedsending me to audition, but they didn
' t give me the jobs becausethey knew I was Latin. Then I
changed my name. I said good, or I changed my name to gringa.
She was gringa, so I started. Yeah, I started every now

(13:03):
and then he keeps getting a job, but something nice happened Look at the
2, 000, I don't know if they remember. In the
nine hundred and ninety- nine,two thousand was when Ricky Martin showed up
at the An Dale Grammys and that' s where the whole world opened up
for all Latinos. Now, allof a sudden being Latino, Latino was

(13:28):
sexy, now it was really Ewizen. So I' ve already started.
I went back to my original nameand started working in both languages. They
already started giving me opportunities, butanyway, that is, the opportunity in
English for Latinos, for Blacks andLatinos very, very small opportunities. Suddenly,

(13:52):
if they wanted someone specifically Latino,someone specifically black, then they gave
you the job. But for sucha general job, which was for a
white man, a white woman,you didn' t get opportunities. So
yes, how much was your firstsalary that you said about this I can

(14:16):
live or not. You figured thatmight be no lifelong profession. Not ever.
I love it. I love doingthis because all the jobs are different.
Look you know well because you're in business that there' s
something very nice about this one.That' s why I loved my radio

(14:41):
to be able to talk to someonefor that matter and not visual, it
' s not visual, it's not like television or cinema where the
person can see, but to talkagain. Returning to me, my original
love, which is the story andtelling a story is something very, it

(15:09):
' s something delicious, it's something you can do with anyone at
any time. You can do itin I don' t know something that
made them go away and centuries yesexactly and that you know. I also
think what I perceive from what you' re saying is that when you talk

(15:33):
or tell a story, you canstand in front of five hundred people and
each person is going to imagine somethingdifferent. The Princess is going to be
different, the Princess' dress asmuch as you describe it exactly, she
' s going to have waves,it' s going to be red,
it' s going to be akind of blue. The Prince arrived on
a horse and everyone will have adifferent image and your imagination flies lime.

(15:54):
If it' s not the prettiestthing, tell me if it' s
not the prettiest thing, I'm telling you it' s something that
I, like, right now talkingabout like I' m getting my leather,
I mean, I love it.I love that thing that' s
so individual. You can tell astory to someone and for everyone it is
very individual and very different. So, that' s why I' m

(16:18):
telling you this job for me isso beautiful. When someone gives you,
it gives you more or less theidea of what the client wants, what
to be able to work with theengineer, be able to work with the
music, be able to work withhim, with the director or director and

(16:40):
collaborate is also something very nice thanto me, the truth, I love
you is collaboration, because it's another thing that people don' t
often know that in this business it' s not like it' s already
coming. I' m, I' m the best. I' m
the star, not at all,not at all, I mean, this
teamwork is working, as I tellyou, the engineer to the music,

(17:03):
the director the Erence often has thekind of commercial you' re doing.
The Agency wants this, the music, the salesman can do it again.
Oh, you didn' t saywell in the end, I don'
t know what we are. Weare a team of so many people wanting
to reach a goal. Yes,yes, I mean, I don'

(17:25):
t. It' s a lonelyjob, no, no, and it
' s one of the things Ilove. I love to collaborate again,
coming back since I was a littlegirl. I love talking to people,
meeting new people and every job isdifferent. Every job is like a puzzle
not something very different and you're going to create something very different.

(17:48):
Then you like to make accents,for example. Well, you didn'
t answer me how much you wonyour first commercial. Oh, boy.
That' s a very good question. I don' t remember. That
' s it That' s it. So I think a commercial was I
think that three hundred, three hundred, three hundred, thirty, something like

(18:10):
that plus ten percent for your agent. So yes, then, for me
that was like wow. And whetherit' s ten minutes or three hours,
it doesn' t matter. Soit is now to make other voices,
to make other accents, for example, which is the part that could

(18:30):
make this more difficult for you.I think the hardest thing for me is
and it' s not that hard, but it' s what' s
probably being like one' s job. It' s not being able to
translate what the client or director wantsinto what you' re going to give

(18:55):
him, because remember that this jobisn' t what I want and how
fabulous I am now I' mhere, I' ve solved the problem.
Not that it' s my job. My job is to do the
director' s job, to dothe creative job, to do the client

(19:17):
' s job, to solve theproblem. Whatever the problem is. Writing
how to read a script Let's say that it' s full,
full, full of information, thatit' s not easy to hear,
for example, discounts and offers,which is that, because people who want

(19:40):
to listen. Yeah, yeah,it' s a few seconds or a
minute of offers, like it's an exact machine gun. So how
do I give her that I don' t know is touch that touch no.
And also if the client, forexample, has something in mind and

(20:00):
tells me I don' t likethat tone, I want you to change
it here and there, and alot of people take it very well they
offend and I don' t,that is from the beginning. I always
ask customers what it is you havein mind I don' t offend,
tell me what you need and Igive it to you And if I give

(20:23):
them three or four shots and everythingand they don' t like it,
well to see how it is tofind what the client wants and give him
what the client wants. With theyears of experience that you have Silvia,
you already think that at some pointshe has given you like ay. I

(20:47):
need another experience, I need somethingelse. I' m gonna do,
I' m gonna do my ownradio show. I' m gonna do
my podcast. You didn' twant to diversify, for example, into
the video. You' re gonnastay the voice of God. The people
look. I never say no toanything like this, but look I did

(21:12):
in the Chamber for a long time. I worked in the Chamber for a
while. I worked for doing things, for entertainment in Los Angeles, for
Telemundo. I worked for it likethat and I did several things like that.

(21:36):
I did that kind of thing andI also worked a little bit in
English in the Chamber. But thisone requires, requires at that time it
required a lot of time from methat I could not give them. But
nowadays, now I think because Ialready have my study at home, I

(21:57):
do already have my Christ, myprivates. Yeah, why not if I
was going to get something always Idon' t always say no to anything.
I' m always open who makesyour family, Silvia. Well,
I have my mom and my dadI have my brothers, my son I

(22:22):
have a son who makes me too. My son doesn' t chew Spanish
super well, but he speaks itvery well, he understands it and he
is bilingual. And then I havemy two hairy daughters, oh four-
legged, of course, your prettylittle bitches or pussies, my little girl.

(22:45):
Yeah, yeah. I want youto tell me how was the time
or how is the process of auditioningfor Academy awards, for example, I
and how long was the negotiation untilyour agent, because I know that in
Los Angeles it is handled alone thatway. Your agent told you silvia get

(23:11):
ready because you go to the oscars, because look at this one normally.
I' ll tell you how itworks. It' s production that sends
the audition to people. The agentthen sends it to his clients and then
we audition and then he picks youno, yes, yes or no.

(23:34):
Many times that' s how itworks. Now with me, specifically I
already have about twelve years working witha production, in particular with a producer
who have already hired me to makethe Democratic Convention, that for Obama,

(23:56):
for Hellery and for Joe By inN in Tonces. Then I already had
a lot of time working with them, I had already been hired for several
things. Then this my agent contactedthem and told them from time to time
so they don' t eat hello. This Silvia is available and they need
anything. You know, and that' s what people do a lot of

(24:19):
times. No, because I can' t. I can' t call
them and say hi, I'm available. So this one called me
my agent one morning and says hello, this Silvia look we' re here.
It was Mary Allen. It wasI already know that my agent Mary
Allen and then the owner to reator n Ary and we' re online

(24:44):
with you. You got a minuteto talk. I say yes, he
tells me we just got a callfrom the Academy that they want to invite
you to be the voice of theOscars this year and I started to cry.
I started crying. I couldn't even speak silently for like 15

(25:08):
seconds and she tells me and myagent Silvia tells me, so you'
re there, you' re crying. Yeah, no, no, no,
no, I could believe it.Imagine if you can' t audition
for a campaign, for commercials,for jobs in English, to become the

(25:30):
voice of the Oscars, as awoman, as a Latina, representing our
community. After I tell you notto be a part of this industry for
so many years the struggle and youwell know what it' s like to

(25:52):
be a woman in this business.Imagine being a woman in the middle this
clear. Yeah, yeah, yeah, so it was like how many years
ago it was that was recent,it was last year, in the thousand
in the two thousand twenty- three. Yes yes, it was amazing and

(26:17):
it was also the only prize thatwas missing to do what is known in
English as Gat is the i Gat, which is all the Grammy, Oscar
and El Toney awards. So imaginenot what great pride Silvia and surely for

(26:37):
all the people who are listening tous, who make podcasts, who want
to improve their diction, their pronunciationmany times all that you are going to
tell us today is ground gold betweenthe joints and that I also know I
keep learning and I am sure thatyou too, even if you are in

(27:00):
tima always today not to all lifeto sell, of course, and I
will tell you something else. Chinalooks what happens is that it' s
also not like I' ve alreadyarrived, not that it was for me
no more pride for my family,but for my community. You understand being

(27:22):
in this business and not having someoneto say that person is here. I
can do it too. I didn' t have anyone. No more,
I had suddenly heard of a gentlemandoing promos. He did promos in English
and was Afro- Latino called prcyRodriguez. I knew about him. I

(27:48):
never met him and I said,because if this guy can be Latino,
I can, too. Why not. So, now I' m sitting
down. I feel super proud toknow that if someone is wanting to enter
this business, to know that theycan see me like I couldn' t

(28:10):
see anyone and say she did.I can do it too. And that
' s super important to me.Yeah, no, that inspires, inspires,
and speaks, and it' samazing that in a community like Los
Angeles, like California, where wehave so many Latinos and they' re
moving. We are supposed to bein fashion and such stereotypes still exist.

(28:34):
What quality has an artist or apoissor speaker to have. Oh, and
a very good question, Gina.I' ll tell you, a lot
of people think it' s thevoice. I have, I' ve
been told I have a very nicevoice. Then I' m going to

(28:55):
be you over not at all,it' s not the voice. There
I' m going to tell youfrom the beginning and I think a lot
of people get confused that having apretty voice or having a deep voice like
that many times I have one andsometimes I say I think it' s

(29:15):
out of style. That offer ofthe exact thirty- four ninety. It
' s got nothing to do withit. That' s what it has
to do with it. You haveto be blimpable. You have to be
dirigible, moldable, of course,yeah, leave the ego out. You
can' t have ego at all. Remember that you are here to make

(29:37):
the project, the director, theclient what is needed at the time.
And many times I' ll tellyou something else. Many times the way
you auditioned is not what the finalproduct is going to be. Then you
have to be willing to do this, willing to go on that as in

(30:03):
that adventure of what' s goingto be the final product, because many
times it' s not what thecustomer originally saw or gave or created.
And you come in and they sayyou don' t know what you'
re doing to me or do thator give it to me or hit it
over there. That' s onething, and the other thing, which

(30:26):
is the most important thing, andI' m going to badly tell you
that I know. I have manycolleagues who have not done it and do
not do it because they do notunderstand that this business is very but very
small, very small, very small. And if you fall ill, you

(30:47):
' re late You' re arrogant. You think you know more than the
client and you don' t knowwhen they don' t call you back
and you don' t know whyyou say that. So you wow,
what happened. He had this joband suddenly someone else gave it to him
or he didn' t come back. That' s why I' m

(31:10):
going to tell you that I thinkit' s one of the things.
I won' t be the best, I won' t be the most
talented, but I know I likeit because I' m always in customer
service. I' m always atthe service of how I' m going
to solve your problem. What doyou have with this project, if it

(31:32):
' s too long, if it' s too short, if this client
' s name is like a job. I go or sales. He wants
an egg phrase. If he's here, he hits them, yeah,
and he doesn' t go withthe rest of the script. I

(31:53):
' m gonna solve that problem foryou the way I' m gonna read
it. This is my problem tosolve. Not yours to solve the problem
for me and I think a lot, a lot of actors and a lot
of boys overs think who wrote this. This script is very badly written.
You don' t shut up,you don' t know if copy rite

(32:17):
is the cousin, the bride,it' s the daughter or the son
or the lover of someone better.Shut up do the job and let them
say you know what we' regonna have to change. Copy that doesn
' t come from you can't come from you. That' s
not my job, that' sanother level. It' s someone else

(32:39):
' s job. My job isto read what they gave me and shut
my mouth and how good you sayit, because that really has to apply
to everyone, to all jobs,because sometimes and above all I believe and
it' s been my turn towork with guys of this generation. I
was a girl of that generation.You and I became inexperienced. You and

(33:02):
I came to us from with doorsand walls believing us very very very,
that because I do know that becausethis and now I, as an adult
with a career of almost thirty years, also in the middle, I receive
young people who either through social networksor because I don' t know x

(33:27):
the times have changed. Not sure, they want to impose themselves with their
way of doing things. Not becauseTiktok doesn' t do that. No,
and then, you don' tknow why you' re already an
old woman. So, there,today, there, as you say,
you know I don' t wantto be working with people who give me
more problems than solutions. And that' s for the new generations. Please,

(33:50):
guys, listen to those who alreadyhave a little walk done, some
bigger than others, some higher orwhatever you want to say, but we
' ve come to some place becauseof mistakes we' ve made and corrected.
Obviously, another thing to notice isthat I' ve had the opportunity

(34:15):
many times I' m invited totalk to young people from universities. Here
I am invited every little bit totalk with New York' s anuai Ou
actors, and one of the things, most young people ask me questions and
recently one asked me well, whatdo you do when you get to a

(34:40):
job and it' s like againstyour principles or something offends you or they
say, something that offends you,I told him to see if that'
s the problem you' re goingto have where suddenly they' re going
to say or do something that's going to offend you. This isn
' t the job for you.This is not the race for YOU,

(35:05):
because if they knew, if theyknew and you well know, gynegize what
one hears, what one hears andsees and and yes and what has happened,
colleagues, bosses, and many timesone has to measure. It'

(35:27):
s worth it, it' sworth saying or doing something or you have
to know how to handle yourself inthose very complicated and very difficult environments.
Another thing is that this job isn' t about auditioning and getting a job
based on hearing. That' swhen you start clear at first, but

(35:52):
the truth of this business is what' s called in English repe busness.
It' s the repeated work,someone who recommends you to someone who remembers
you. Me. My first jobwas on the part of a programmer who
called him every month and left messagesfor a year. He never answered my

(36:16):
phone, never left messages. HelloAdrian. I' m doing such a
thing. I hope you' reall right Hi, Adrian Happy summer.
I hope you' re super good. Look, I' m doing such
a thing. I am available anyHello Adrian this Merry Christmas Happy New Year,

(36:37):
Happy Easter. A year before hespoke to me, I have a
client or a colleague who spoke tome. Twenty years later, twenty years
later. Then you have to knowthat this job is long- term.
It' s not gonna make money, right now, I' m gonna

(37:00):
get rich, right now, I' m gonna be famous. And that
' s, that' s yourintention. You' re in the wrong
business. This is step by step, in the long run, little by
little my clients is that I believewhat you are sowing. Not that of
course, you already planted that seedand people say in the face you remember

(37:24):
that what commercial that does not silveswhere bird or is really something that you
planted, that you did well,that you did with all your desire and
professionalism and the time, the universe, the energies, as you want to
call it, is going to makethat bloom clear, of course and another

(37:47):
thing also many times it is nothow well you did the job, I
will not believe many times it ishow to give it impression that you left,
because there is a very famous poetwriter in the gringo market that is

(38:13):
called Mia Angelly, who said somethingvery but very true. People don'
t remember what you told him.He remembers how you did it. Feeling
then, if you get out ofa bad job something left you like a
bad taste. In that experience,you may have done excellent work, but

(38:38):
they won' t remember the job, that' s how you said it
did well, they' re goingto say that it wasn' t that
girl that came late or criticized youremember or offended someone or did it if
you didn' t and you knowsomething else that I know I' ve

(39:00):
met people so much that they complain, for example, that now for a
job they ask them how many followersyou have in your networks? Isn'
t that right? Yes, itis. And, for example, a
Adriana Barraza, the Mexican actress,the interview a few months ago for this
last project she had on Amazon PrimeAnd she tells me imagine that I'

(39:25):
m competing against girls, against womenwho already have their agents, in their
summaries or, in their bogs,I don' t know how to say
the work they deliver, they alreadysay how many followers you have on your
networks? As if that really definedyou as a human being, as a

(39:45):
professional, of course, and that' s true. But you have to
always remember that the business is changingand right now. Many of the streaming
services, many of the productions,are having a big problem with getting funding
for movies and TV programs and manytimes, even if you have a name,

(40:07):
you have to have some kind oftraction for attraction, for your audiences.
So, yeah, let' stell an actor, an actress maybe
very good actor. Let' ssay I know a lot of actors,
for example, who have a lotof experience, but they don' t

(40:36):
have the power. Yes, andpower we will say of an international audience,
an audience in China or an Indianaudience or an audience in Latin America.
So, if the producer is inneed of certain countries, yes their

(40:57):
financing and the one who is fundingit is giving him money. It says
good who you have, no,because I' ve got so- and
- so, yeah, but no. Then one has to learn also have
to think as the person who asboss, as the person of money.
Now, for me I know Idon' t have that much follower.
I don' t, I mean, I don' t move my job.

(41:21):
It' s more like it's said, more anonymous, it
' s more anonymous. No,so it' s not like hello here
I' m looking. I'm so important and so talented for nothing,
I mean, but I know Ihave a kind of skillset. Yes,

(41:44):
your qualities, I have very specificqualities that I know I can solve
problems for my clients. So,many times, even though someone else has
more followers or more, and I' m always going to lose my jobs,
of course, to people who areinfluencers or who have more audience and

(42:07):
that kind of thing, or whoare sexier or younger and so on,
or have more prizes. But Iknow I have to tell you that skulls
of those qualities, that the customerswho know me are going to come back
with me, because they know they' re going to be able to get

(42:30):
right to what they need, muchfaster. I' m going to give
them what they need and they're going to spend less money with me,
because, from the other way,many times with people, yes,
it' s true, many people, with people who are just beginning,
don' t understand very well andspend one hour, two hours, three
hours, half a day and don' t really get what they' re

(42:52):
looking for, because remember that actingwith the microphone is something very different to
act with or be clear, notwith the face, with the hands.
You can do it, you cansee that I' m sad, I
' m angry, I' mupset, I' m excited, but

(43:12):
with the voice how you do itand if you don' t have experience
with all the followers of the world, they won' t be able to
give you that. What' sthe hardest part about your job, Silvia,
what you' ve done, thehardest part is Wow I had Mira.

(43:34):
They' re all a little more. They' re complicated for different
reasons. Let' s say JamcurreckNationalklvention that I did in the two thousand
sixteen, which was with the helleryLer thing. This was a little tricky
because suddenly, I didn' tget the scripts until, like, 30

(43:58):
minutes earlier. Oh, and inone of those, I' m gonna
tell you one. This was thetruth uff was me. I think one
of the most terrifying moments of mycareer. I arrived on a Sunday night

(44:21):
to make the rehearsell all week long, because it was from eight in the
morning to twelve at midnight every day. Then Thursday I arrived and no longer
had a leaf. A sheet iseverything to be the r and it was

(44:42):
for the Congress photo. Then itwas like half a page and it was
just my voice explaining to Congress,to the entire Congress that they were going
to have to get on stage,turn to the left, look for the

(45:07):
House. The cameraman. He wasthe funanite cameraman of such four generations.
Blah, blah, blah, half- page. No. Then we did
the rehearsal and another we were goingto do the rehearsal and we didn'
t do it, but I hadalready read it. The next day,

(45:28):
day number one, we' rein I got the script that was,
like, a hundred pages. Idon' t have time to read them
all. When we got right tothat part, the director was like two
minutes to read it. There wasn' t the page. Oh, Dad,

(45:49):
oh. No. Tell me itwasn' t the page and tell
me the director tell me I don' t have the page and yes it
' s page thirty- six.I don' t have it. Like
you don' t have it thenthe producer. The production was, I
think on the first floor I wason the second floor and to go up

(46:10):
was one. It was a giganticplace. She tells me I' m
going to email it to you andremember that in those places the email is
like internal and doesn' t arrivelater then I told her not to send
it to me by email. Itold him, I mean, he sent
it to me and it didn't reach me. Now it' s
over, it' s a minuteaway. I' m telling you,

(46:31):
you know I didn' t getit. You didn' t get it.
Look again, Refreshing, refreshing,I don' t get forty seconds,
I say send it to me bytext, send it to me by
text or mode, I mean whatever, and I refresh nothing. Twenty seconds
comes to me. You know oneand it was half a page. It
takes me by text ten seconds,nine, eight that is, and go

(47:00):
rin Geanomans and not so by textlaws then I think that for me it
was the most terrifying moment of myentire career, because it was just my
voice and I giving instructions to Congress. Imagine no, no, it wasn
' t now and already, forgood we could talk a lot, but

(47:24):
the screw- up you' vegiven live touched or a name change,
because that never needs to change itor pronounce the bad name of someone important.
Well, this was two thousand two. It was my first live show,
which was the Latin American mtbbimas withDiego Luna and Mario pergolinieran and it

(47:52):
was Miami, it was Miami andnot me. I' ve never worked
with It was a button where normallyshows are pressed when you' re talking
and then you remove your finger andstop talking, well, this one,

(48:16):
no, this one you press andthe microphone stays open. So in the
end, thank God, it wasat the end of the show where it
sounds like a feedback, because Iput the hearing aids where the microphone was
and the whole live on the show. So I think that' s where

(48:37):
I' m supposed to be,I guess it should be. I never
said anything, then I turned offthe microphone, but that was him.
I think the bigger screw- upthan and of course, there' s
been a lot of times where atrip like that doesn' t, but

(49:00):
one goes on and no way Imean, don' t talk, don
' t say ups or, don' t go on like nothing and look
at me many times I say becauseit happened to me. Don' t
get in the wrong way. You' ve already muddled her, now,
you' ve muddled her, okay, I' ll correct her, but

(49:21):
don' t bet it' sgonna happen to me like the other one
is that I already did. No, no, no, no, don
' t look I' ve neversung. I sing I loved how many
No, so what don' tyou, woman, do in Camera rabio
sings notice that I was invited tosing the national anthem of Mexico in a

(49:45):
stadium, in the stadium of theMarlins, because the national team of Mexico,
well, the winning team of Mexico, was going to compete here,
in the city of Miami. Sowho sings the hymn? Who sings the
hymn? Someone knows and I saidI' m going to take my face
out for my cute and beloved Mexicoand I' m going to sing the

(50:06):
national anthem. And I didn't know I was getting into it.
I didn' t know what siliahad gotten me into until I saw myself
in that stadium and looked up andwent my carota there on this 30-
kilometer screen and I' m serious, China, it' s serious that
you' re going to sing inthis stadium. Lle wow and how did

(50:29):
she look at you. Let's just say I didn' t forget
the lyrics. I think I gotto almost all the tones. There'
s a part there that I half- defined. But with everything and that
I have been invited four other timesto sing or lack of singer, but
you have to dare yes, itis always as you look. I tell

(50:52):
you my first job where you askedme this camera beam. Yeah, you
know how to handle lights, yousure do. No one' s gonna
die, no one' s not, no, there' s gonna be
no accident. And if I screwup, then no matter what. You
' re doing an exact brain surgery, and look and I' m gonna

(51:15):
have to look for that or yousend me the video of you singing in
the morlan game. I want tohear yes, hey, Silvia, I
loved meeting you, I' msure we' ll do it if you
' re not here in Miami.I love it, please, you know
that every little while I was goingand since the pandemic, because I haven

(51:36):
' t been going for a longtime, but I would love the next
time I went to Miami. Wehad a little coffee to gossip about.
Oh, I' d love to. You have my contact, please follow
her on her instagram. In everythingshe does you' re a great professional
in s real Latino pride, whichyou didn' t know. The voice

(51:57):
of the Academy of the Oscar AwardsEs is this American Mexico. You call
yourself American Mexico, or how youprefer presence. I' m Mexican,
american Mexico, Chicana, latina,chingona, mana hits. It' s
Silvia Villagran and it' s agreat pride that you' re with me

(52:21):
in my Podcastginalogy. You already knowthat subscribe to the podcast listen to us
on the ihard Radio platform look forGynalogy and, of course, follow the
work of this great professional. Thankyou, Silvia, thank you, China.
A pleasure and equally a pride tobe interviewed for another pride, great

(52:42):
Latin pride, Mexican pride and especiallyon Radio Imagine that you have done so
many important things. I congratulate you, and I' m also proud to
meet you. Thank you Thank you.
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