August 23, 2024 • 41 mins
Los actores mexicanos Paulo Quevedo y Alfredo Adame llegaron al podcast Con Los Editores y se unen en una entretenida conversación con Aiola Virella, editora en jefe de Metro Puerto Rico. En este episodio, el trío se adentra en el mundo del teatro y habla sobre la nueva obra “La Casa de Maripily: Se Vale To’”. Desde los desafíos de la improvisación hasta la energía vibrante del público puertorriqueño, en este episodio obtendrás una mirada privilegiada a las experiencias y la dinámica del elenco.
Además Paulo y Alfredo comparten su trayectoria, los giros inesperados de las presentaciones en vivo y la importancia de una fuerte cultura teatral. Descubra cómo sus antecedentes en televisión y teatro dan forma a su enfoque de la actuación y sus perspectivas sobre el cambiante panorama del entretenimiento.
¡No se pierda esta animada discusión, perfecta para cualquier persona interesada en las artes, la cultura y la magia detrás de escena del escenario!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Bienvenidos al podcast con los editores, conversaciones sobre el quehacer noticioso,
cultural y o deportivo con periodistas de Metro Puerto Rico y sus invitados.
Una producción del periódico Metro Puerto Rico.
Saludos amigos de Metro Puerto Rico y bienvenidos a otro episodio del podcast con los editores.
(00:21):
Les acompaña Ayola Vireya, editora en jefe del periódico Metro,
y en este episodio nos vamos a alejar de la política, del gobierno,
de los problemas, y vamos a reírnos y a entretenernos.
Vamos a hablar de teatro y de la nueva puesta en escena de la obra de la Casa de Maripili, Cebaleto.
Nos acompañan hoy dos de los nuevos integrantes, bueno, uno repite,
(00:44):
de los integrantes del elenco con nosotros, Paulo Quevedo y Alfredo Adame.
Bienvenidos a Metro Puerto Rico. Thank you, thank you very much.
Oh, hello. Hello. How are you?
Very well, very well. Well, what a pleasure, what a pleasure to be here, this, back.
I'm back, we've been here a month ago, and now, well, with the good news that
Pablo Quevedo is part of the cast,
(01:06):
Clovis Niello came out of the, came out of the work, because of personal issues,
and, and this, and Pablo, well, he had his first role in Orlando,
in Orlando, Orlando was crazy,
sold out, full, half of Puerto Rico is in Orlando.
I didn't know there were so many people. I know that in New York there are a
(01:28):
lot of people, but not in Orlando.
And so, well, right now Pablo is going to tell you his experiences.
I want to tell you, where does this come from?
Well, it comes from the house of the famous. First, Maripili won it,
because of Randy, and then someone,
theater producers, decided to make a play, and they invited me,
(01:52):
and the only one who really has a script written is Maripili.
A mí me mandan el guión a México y me lo mandan en, dice Maripili, oye, esto, esto y esto.
Y luego Adami, en blanco, en blanco, sí.
Entonces, todo es improvisación de lo que, como lo vivimos y estuvimos ahí,
(02:13):
pues es muy fácil contestar. O sea, te dicen, bueno, ¿y a quién fue el que posicionaste
más fuerte? Pues a Tango y todo.
Entonces, bueno, y Paulo es un actor hermoso.
With a lot of experience, Paulo has been in this industry for more than 25 years.
He has been a singer for a group, very successful.
Then he became an actor. And after that, I am 37 years old in this.
(02:35):
So, we have the job, right?
It didn't cost us any work to improvise.
And I wanted to comment that here in Puerto Rico, it is said that the municipality
number 79 is Orlando, of so many Puerto Ricans that are there.
So, tell us a little bit, Paulo, how was that experience of integrating the
work, already a work that has been happening in Puerto Rico,
(02:58):
but that you started in La Garretera, in Orlando, but it's almost as if you
were here in Puerto Rico.
Well, what can I tell you? I have repeated it and I repeat it,
I say, as if I am used to entering half of the shows, and that is always adaptation,
and I'm happy to be able to contribute,
to be able to inject more into this work, that truly, as Alfredo told you,
(03:24):
it also took me the book as it was.
My answers didn't go beyond two words.
And I think that in Alfredo's case and in my case, we were able to enrich that
script more, through the tables that we have and what the work represented.
I think that the experiences that he had in there, he had a lot to enrich the
(03:49):
script, I also, so the jokes, everything was fabulous with everything that was
already armed with this model.
And obviously, what can I tell you about the effusiveness of the Boricua public.
They were rabid, the Puerto Ricans were rabid. With everything,
screams, and while there was a bar, there was one that shouted and put more juice into the thing.
(04:10):
And listening to the Puerto Rican public, do you understand a little better
where the way of being of Maripili came from? Yes, of course,
yes, of course, yes, of course.
Look, what happens, what happens with this? This became a phenomenon, phenomenon.
From a little thing, an impressive phenomenon was made. First.
Obviously for the Goricua public, second for the type of work,
(04:34):
for those who are interested.
But I'm going to tell you one thing, it has factors that are very important.
One, we have a winner of the House of the Famous, who here in Puerto Rico is
a celebrity, is an iconic woman, is an entrepreneur, is a representative of the Puerto Rican woman.
Luego tenemos un maestro que es Miguel Morales, el director y escritor de la
(04:57):
obra, que es otro monstruo.
Luego tenemos dos escuincles, Norwill y Jay-Z, que son, de verdad,
son unos animales de escenario.
O sea, entre los actores, en la jerga de los actores, o en el argot de los actores,
cuando uno es un verdadero actor, pues decimos, es una bestia,
no es un animal del escenario.
(05:17):
Estos dos muchachitos tienen, siendo tan jóvenes, tienen un oficio increíble
y son maravillosos actores.
Ellos ya andan haciendo otra obra ahorita, te quiero decir que para estas alturas
ya es su obra. pero todo te lo sirven para que la respuesta sea verdaderamente graciosa.
O sea, en realidad te la ponen tan fácil, y es tan fácil para el público digerirla,
(05:43):
que pues obviamente fue una gran fusión de todo.
Y bueno, nosotros que aportamos, pues lo que sabemos de la casa,
y que aportamos también, bueno, pues el oficio que tenemos de tantos años en la actuación.
And then, well, Maripili, who is an actress, is a singer, is a todologist,
because she does everything, well, she is a woman with a very special charisma.
(06:05):
I tell her that she is like a crazy, crazy, that whatever she sees, she will do it well.
I wanted to ask you how different it is, for example, the experience of the
coexistence of what was in the house, now working outside in a play with the figure of Maripili.
Well, look, we have to understand that what happened inside the house,
yes, that happened inside the house. We don't drag anything outside.
(06:28):
Everything that was represented inside stayed inside.
Obviously, everything is based on what happened inside the house,
but you do it with a more comical, lighter air. And really all the acts and
all the decisions and everything that was involved are transformed into humor.
And that's what makes it very gratifying for the public. Mira,
hay una, hay una, hay que traducirlo, hay que traducirlo todo esto.
(06:52):
¿Qué es la Casa de los Famosos? A diferencia de otros realities,
yo he estado en varios realities de competencia física, de estrategias y todo.
La Casa de los Famosos es un dispositivo psicológico para hacerte perder la
cordura, para hacerte perder la paciencia, la tolerancia,
para que si tú no te gusta insultar o prenderte en los TAR, lo vas a hacer.
(07:15):
Y si no te gusta atacar a la... ¿Por qué? Because we all had $200,000 in our
heads and for $200,000, you are more than true.
So, at the end of the day, this is a very different reality where you are going
to survive and they are going to attack you and they are going to make you into
(07:36):
pieces and they are going to denounce you, humiliate you and everything,
although it is not true, but it is part of the strategy.
So, living with Maripili inside and outside, for me the funny thing about all
this is that it was the same.
I mean, it was the same. She, suddenly, the first time we gave each other a
hug, and I did it, we played.
She said to me, Falacrán. I said to her, víbora. Then, this one,
nos de chau. But we kept being friends.
(07:56):
And then the Puerto Ricans hated me at first because they said I had thrown bad vibes at her.
But then you became the defender of the women. It's that I decided to defend
her because she's an authentic woman, she's a representative of truly the women
entrepreneurs that generate empathy and all this stuff.
And well, don't think I did it like a three-band caramela to win the Puerto
(08:18):
Rican public. Well, they picked me up because I defended her,
but I did it with all my heart because they were betraying her,
they were doing things to her. Why?
Because she was very strong. And Pablo, it also coincides that the same Maris
Billy, although a psychological game of strategy that you lived in the house,
now you find it in the work, but you already know it, so how do you handle it?
(08:42):
What is your relationship like?
Look, the truth is that there was truly a love for each other.
I have to say, I think I used the wrong word at the time they asked me,
I didn't know her, I mean, I knew about her existence, you know,
I just didn't have a moment where I shared,
but when the opportunity was given inside the house, there was a lot of affection,
(09:05):
and really knowing that of her existence and mine,
it was as if we had really met in all our lives.
And what was encouraged inside, in a moment that, precisely because of the game
of each one, well, it got a little twisted and we had the rashes,
which was normal, but it was not a big deal.
It was not like for real, we have fought all our lives. We left and obviously
(09:30):
we knew that what had happened, the experience that we had lived there,
was going to last for life.
So that's why I'm here, you know? because she saw that it was a game that I
was implementing and I recognized that it was a game that she was also implementing.
Nothing was personal and obviously I am happy with life contributing to it.
And something that is important to tell people, because there are still people
(09:52):
who think that this is actual. None of this is actual.
Everything is insane and bad intentioned and everything is perversity and evil
and to see who you hit and all that because three or two hundred thousand dollars
in the car. Pero hubo gente que no pasó la página, porque, por ejemplo, ¿verdad?
Y lo voy a poner aquí en una situación un poquito incómoda. Si contestas, si quieres, si no, no.
(10:14):
Patricia no está invitada y no va a estar invitada en esa obra.
Aleja vino y salió y después se fue, ¿verdad? Su novio, ¿cómo?
Yo creo que muchas personas lo llegaron a aislar a un nivel más personal.
It was no longer possible to repose, the wounds remained as they were and they
(10:37):
took it so hard that there was no reconciliation.
And there was no awareness of knowing that it was a game, do you understand me?
I think so, people crossed the line in that respect and could not forget.
Look, in my case, I want to be very honest with you, Patricia with me from the
first day was always very respectful, She was always very polite, very polite.
(11:00):
For me, it was a great surprise when I left to realize that the Puerto Ricans were not with her.
If there were samples like that, I said, oh, my God, well, then some things.
But at the end of the day, with me, Patricia was very polite and everything.
And one talks about how it goes at the fair.
And I went up there with her, I talked to her, I offered her coffee,
(11:22):
I did it very well. just like I did with Maripí, although I didn't have the confidence with her.
In the case of Aleska, well, it was an imprudence, first on the part of Clovis,
I want to say it openly, someone asked me off the stage, my son,
hey, what do you think of Aleska?
I said, it's an imprudence, my son, don't mix love with work,
(11:45):
because it's going to hurt you, sooner or later it's going to hurt you.
Said and done, with the buchero and everything, and they criticized her a lot.
And well, I think she came to put herself in the wolf's cave,
in the wolf's mouth and in the land of the lioness.
And I told her, Clovis, Maripili and Aleska ended up in the middle of Madrid, offending each other.
(12:06):
If they didn't hit each other, it was because God is great, but the matter was very rude.
And then it was an imprudence that she came to Puerto Rico on the day of the
premiere and that she presented herself. I'm going to tell you a personal anecdote.
I was in a little table like this, behind the stage, that puts the cross on
us to give it the last touches.
And suddenly we were already ten minutes late and I start to hear, Boo!
(12:29):
Out! I don't know what they want. And I said, and I go to the cross.
Hey, the public is already angry. Let's go, let's go. The work is already in the air.
And he grabs me and says, no, that's not why. He says, it's because I just entered the Escalasal.
So I think it was imprudent. Aleska was imprudent. Chlovis shouldn't have mixed
it up and I think Chlovis was affected and he will be affected.
(12:52):
He was so affected that, well, not having a trajectory,
not having a story in this medium, in the theater, in all this,
and he wants to be an actor and he wants to be everything, he will be affected
because, well, at the end of the day, he becomes a person who,
well, everything he had won, that he had won a lot of sympathy,
he is handsome, to the women they like and all, but all the sympathy that he
(13:15):
had won, I think it went, it went to the trash. Look, there is an ingredient there.
It's called ego. And inside the house there are many egos. You have to know how to handle it.
You have to know how far you can go in that aspect. Because just as there was
a Leska, just as there was a Patricia by Maripillá and to them and everything,
and it was a Nupillo too and everything.
(13:36):
You have to know how far you can go and how far you can go.
And unfortunately, there are people who did not have conscience in that aspect
and remained the star of resentment.
And even out here there has been no reconciliation. Yes, that's a strong feeling of resentment.
I wanted to ask you, here in Puerto Rico, well, you see,
this weekend you go to another series of functions of this play,
(14:00):
which has been very successful, but from the House of the Famous other attempts
also came up, also from presentations that were canceled, for example, in Miami.
What do you think, what is the ingredient that has worked for Maripili in this
production, that maybe in other attempts no ha funcionado en otra producción.
Bueno, lo que ha funcionado es que la televisión es muy poderosa y Maripili
(14:25):
ganó un reality show que lo vieron millones de personas diariamente que seguían 24-7.
Entonces, ¿qué pasa? Si ha habido otros intentos de otras cosas,
pues no ha funcionado, no le ha funcionado, a lo mejor le faltaban los factores
importantes that were to take part of the cast,
(14:46):
to take these great Puerto Rican actors, that a formal production was made and everything.
I don't know if you mean, because in the case of Casa de Maripili,
they are asking for it everywhere.
They want it in Texas, they want it in Chicago, they want it in Boston,
they want it in many places.
Miami is already asking for it, because they already saw that it worked.
(15:06):
And you know that one thing that works, well, everyone wants to make money.
And what do you mean by that? That's what I wanted to ask you.
In Miami, at some point, there will be an activity in a theater with 10 rooms.
I have a vision. They didn't have us.
Well, we're not going to separate our necks. I think we have to accept that
(15:28):
reality. I think the product that enters a reality.
I don't want to be a bad interpreter, but there are people who don't really
have a career after that, they simply enter or they are YouTubers or they are
influencers and they enter and obviously what gives Ifshow,
which is a very high expectation for having seen them for four months,
(15:50):
it raises them and draws their attention with the public.
So I don't know if a lot of people think that this is going to be a product
that can be sold everywhere and that it can be,
but let's be very clear, we were talking to Alfredo and I, I think it's very
important to support it with, if you don't have an office behind it,
start creating it, prepare yourself to do a play,
(16:11):
prepare yourself to do a stand-up comedy, prepare yourself for something,
take advantage of the stela of what reality gave you so that it encourages you
to do something that you can offer to the public.
I can think about it and say, well, what were they going to offer us in Miami?
What were we going to see? We were going to see four personalities,
one is an actor, you know?
(16:32):
What were they going to offer us? So I, as an audience, I can tell you,
really, what am I going to do there?
The actor's proposal. Look, although in recent years the mystique has been lost,
and now any influencer puts it in a play and they believed, for example,
But I'm going to put you in a case that was a disaster, which is the House of the Famous Mexico.
It was won by a transsexual woman, Wendy Guevara, and then it was like a program.
(16:58):
It was a commercial failure because the announcers, well, at three weeks they
started to leave because they said, well, this is a quarter of a land and very strange the matter.
Well, then this ends and the voracious businessmen, those who are really not
businessmen of theater, No son serios.
Le ofrecen 40 fechas y le dicen que tienen 40 fechas vendidas y todo a esta mujer, a Wendy Gabal.
(17:25):
Y de repente sale, llega la primera presentación de 40 a un teatro de 4,000
personas y se venden 450.
La segunda, un teatro de 1,500 y se venden 80. La tercera, un teatro de 1,200 y se venden 30 boletos.
Y entonces, pues, revienta la gira, fracaso comercial, se acaba el asunto y
(17:45):
todo el rollo, ¿no?, como sucedió.
¿Qué pasó? Que, pues, obviamente, no le ofrecieron, no le dieron una obra de
teatro, o de DJ, o un stand-off, o nada.
It was simply this woman whose characteristic is to be very bad-spoken, very rude,
(18:06):
very vulgar and ordinary, with a little gala of the House of the Famous Mexicans,
and to stand on a stage, but to do what? What does that offer you?
What is the proposal of the product?
Speaking of theater, how good that they bring this, see that they have all this trajectory.
I spoke with Mari Pili and in an interview we had here in Punto por Punto about
(18:29):
whether in Puerto Rico you can live from theater. Here it is very difficult.
The theaters, the theater workers grind in glass.
And she told me, well, it has worked for me, but this is something like on the
side, it's a complement. I have other companies.
Mexico has a tradition of many, many theaters.
I am honest to you. If you have a good product, you live from theater.
(18:51):
I have 27 works, we have 37 years on television.
Emisión, cada vez una fórmula exitosa era que cada vez que yo terminaba una
novela, que protagonizaba una novela, me salía con la protagonista y con parte
del elenco a una obra de teatro y durábamos hasta dos años de tiempo. Temporada.
Sí, temporadas de un año, dos años y hasta tres veces a una ciudad,
(19:12):
llegábamos en año, año y medio, ocho meses, bueno, lo que fuera.
Pero si tienes un producto, como dice.
Si tienes un buen producto y una buena good play and you come out with a television
cast. Remember, there is a basic principle for the one who is a good actor has
to understand it. The one who is an actor has to understand it.
Cinema gives you permanence. I mean, Liz Taylor did Cleopatra and that gave
(19:35):
her infinite permanence.
The theater makes you an actor because at the end of the day you are in front
of an audience and the answer is immediate.
And television makes you famous. If you know how to combine at least two of
these, which is television and theater. I mean, television makes you famous.
I entered television and in a short time I debuted in a play.
(19:58):
We filled the theater, Leticia Calderón and I. We were filling it for eight months.
We went on tour and everything. Because she was an actress, a first actress.
Leticia was very young at that time.
And I was like the one in fashion. But what I did was respond.
So I started to work hard and do things well and everything.
(20:18):
If you want to go out with any little guy that you catch on television and you
think you're going to fill a theater, no matter how much the mystic has broken, it will not happen.
If you don't have a good product, it will not happen. And especially in the
theater, because people with everything and everything, the theater audience
is still very respectful that they do not lack any respect.
(20:41):
How do you see it? The same way.
You understand? I mean, the works, for example, on Broadway, are worth it.
I mean, they stay for a long time, but because a lot of investment is put,
is injected into the project, right?
They are works that, years ago, we know they exist and even so, they are still there.
(21:02):
They just broke the cast, you know? Because the product is very good.
Well, in those cases, I think that yes, you can live, not fully and happily,
but if you have a product, yes.
Now, in America, in Mexico, as Alfredo said, a product in specific, yes.
(21:22):
But from there on, the theater is for that love of art, for the actor,
it is the best school for the actor.
There has to be a theatrical culture where you are living in such a way that you have your variety.
The ecosystem. You can be consistent and be working on one, on the other, on the other.
But well, we are savages of acting and that's what we love because that gives
us all the tools always possible.
(21:43):
And television, you mentioned it, you mentioned the soap operas.
Mexico is still a mecca for the Puerto Rico soap operas. How many were they in the 70s and 80s?
I'm going to tell you one thing. Mexico is no longer the predominant.
I want to tell you that I am the actor at a global level that has the most protagonists of soap operas.
I have 15 individual protagonists. individual protagonists. The one who gets
(22:03):
the most close to me has five.
I have seven adult protagonists because then, as the young people did not give
the width, we had to invent the adult protagonists and I am the one who has
the most telenovelas worldwide.
And well, I entered, I learned in the school of Don Emilio Azcárraga Milmo,
the owner of Televisa, the father of which is right now, and well,
(22:26):
it was the preponderant, my
telenovelas, Well, Veronica Castro and Lucia Mendes got to 189 countries.
I'm in second place. I got to 182 countries. So,
When I started making soap operas, which was in 1988, Mexico was the predominant
in the production of soap operas.
And then, well, the Brazilian soap operas came in, which entered with a tube.
(22:52):
Sonia Braga, Sonia Braga made series and soap operas. Then, Mr.
Emilio Azcárraga dies, his son takes charge of the company, and then he calls
his friends. There is a big difference between being on television and doing television.
I always tell them, I don't go out on television, I do television.
I've been a producer, actor, producer, voice actor, cable director, I've done everything.
(23:14):
So he calls a lot of friends of his to direct the most powerful Spanish-speaking
company worldwide, which was Televisa.
And then suddenly they start making a series of tremendous mistakes to call
their friends to star in bad telenovelas, and then the Colombian telenovelas come.
(23:38):
Puerto Rico also, as you say, it was a long time ago, as Venezuela was also,
and then a series of Colombian telenovelas comes, Capitulado,
Madre Mujer, and all this, and then the Colombian soap operas go first.
And today, the Turks.
(23:59):
In Mexico, a television company is buying Turkish soap operas that are kicking
the Mexican soap operas in the back. That's going to be my next question.
The Turkish, Korean, too. Here you are seeing a lot of how you see this ecosystem
now and how Mexico can subsist or insert itself in this scenario.
(24:19):
It became globalized and if Mexico doesn't put the batteries in terms of telenovelas,
no matter how much infrastructure it has and no matter what it has,
they will continue to eat the command.
Right now, Mexican telenovelas are in fourth or fifth place in preponderance
in the production of telenovelas.
It has always existed this, of being a monopoly or being a product of quality.
(24:44):
And that's where Mexico has really fallen behind, because other TV stations
have been in charge of injecting a lot of quality and excellent stories.
Authentic stories, where the TV station is really drawing attention to the way
they produce them and the stories.
So, at one point Mexico was there, but I think we have been left more in the
(25:08):
question of selling Juan Caliente continuously, a monopoly as such,
and we have forgotten a bit of the candidacy.
And the streaming services, because here, for example, Netflix and Amazon Prime look very similar.
(25:52):
Sí, sí, sí. por sus preferencias con sus amigos personales y todo este asunto
y con los que ya tenían alguna trayectoria.
Y entonces se jalaron con Netflix y ahí hay La Casa del Papel o La Casa de las
Flores y series que le están dando la vuelta al mundo que son series mexicanas
producidas por productores independientes que al final de cuentas están teniendo
(26:14):
tremendo éxito y que le hicieron a Televisa darse cuenta que ya no lo necesita.
Ya nadie necesita de Televisa. In 2017, they called me to sign a new contract
and I said, no, I don't want anything with you anymore. And they bet on me everywhere.
They bet on me with all the TV stations, as they bet on the preponderants.
They bet on me and years of that. I kept doing theater, I kept rating them.
(26:37):
And what I most congratulate about everything is that I took my rating from
them to give it to others.
Do you see yourself in this type of independent production for platforms like Netflix?
Of course, of course. Claro, claro.
(27:19):
Perdón, una bioserie con Netflix, un documental de mi vida con los que hicieron
esto de dónde está mi avión.
El caso aquel de Pepsi del avión de combate, que son productores,
uno es mexicano de Los Ángeles.
Y tengo otra propuesta de otros productores poderosos de Los Ángeles para hacer
un docu-follow. Yo practico las artes marciales.
Entonces quieren hacer un docu-follow de 24-7 durante tres meses,
(27:42):
entrenamientos, alimentación y todo. y todo termina en una pelea,
en una pelea real, con una bolsa de dinero y todo el rollo, como los que han
hecho, Paul, ¿quién me decías ayer?
Paul Logan, o Paul, bueno, los que han hecho Payflower. Ah, sí,
sí, sí. Logan, que es aquí.
Entonces, este, bueno, pues, afortunadamente ya se abrió esto,
(28:03):
ya está abierto, este, ya no hay una exclusión, yo ya desde el 17 no tengo un contrato de exclusión.
I am a free soul and I have the choice to follow Pau. Paulo already has time too.
I think that right now we are in a position where it is different.
Before we did not have the options that we have today.
(28:24):
And today as an actor, for example, I decide not to continue doing,
in my case, if a proposal comes, then obviously I will consider it and everything.
But the typical, the artistic novela rosa, where we already did it,
We already did it, we already participated there, personally I want a challenge beyond that.
I think that series sometimes represent that opportunity in more demanding characters
(28:48):
and all, and that is precisely what I want to focus on, what making series is, making cinema.
Mexico obviously left the typical rose, which is an ingredient that has always
worked for them and that has always been sold very well and they continue to
do it and I don't see a moment when that changes.
In exchange, it's okay because, as I mentioned, it's a monopoly that continues
(29:10):
to produce that kind of production, but today, with the existing platforms, we have more options.
And personally, I do decide to go with Tor.
Querían volver a la casa de los famosos. Ahorita mencionaban que era un juego psicológico.
¿Cómo les cambió la vida a cada uno de ustedes? ¿Cómo tocó su vida,
verdad, la persona, no el personal?
(29:32):
Bueno, tengo 66 años de edad, 37 en este medio.
No aprendí nada, porque no tengo nada que aprender. La verdad es que el 80%
de la gente que entra a ese tipo de realities son ignorantes,
son mediocres, son, o sea, no tienen.
They go for $200,000, they don't go for other things.
(29:53):
I went inside the house, I gave many lectures, I let them see,
I let them see a lot of culture, they were not interested in a club.
So the only thing I learned is that I entered being, well, the only thing I
confirmed is that I entered being Alfredo Adame, inside I continued being Alfredo
Adame, and I left being Alfredo Adame.
(30:14):
That's the only thing that I really admire, I'm proud that I'm still the same.
I never wanted to use evil or perversity or hurt someone in order to earn $200,000.
And then there came a moment when I realized that I was getting bored.
I was already levitating there because I wasn't really doing anything.
(30:36):
I got some incredible boredom.
And when they tell me, hey, really, I said, I want to go out.
And they take me out to the gala.
I was happy because in the gala I fought with the panelists.
I defended Maripili, I insulted Lupillo Rivera, I told him everything and I had fun as a child.
So, what I need in my life is not a TV with which to age, but what I need is
(30:59):
a TV with which to continue being a child.
Pablo, in your case, after the show, after your separation, did the show affect you in a family way?
Look, entering a house of this kind represents certain things.
Obviously you enter as you, as Adam says, and you leave as you.
The only thing is that you submit to many, many tests, many circumstances of
(31:25):
knowing how to take things into account.
You submit to insults, to temptations, to try to control your emotions.
That is a test, that is a test of fire for any enemy that is out there.
Now, if you, at a given moment, enter, let's not say, in optimal conditions
(31:45):
mentally, at an emotional level and everything, at any moment that can result in making bad,
abrupt decisions, anxiety leads you to come to conclusions that perhaps you may not even realize.
So it is a psychological game that all the time apart from all the content that
you have to give, part of the game that you have to play, part of the personality
(32:07):
that you have to carry out inside the house. You deal with all that.
And unfortunately you can't leave it out because you know that everything that
is at stake has to do with what you drag, with what you have outside.
And I entered with a relationship that I was already stumbling a little and
(32:27):
many of the things inside me confounded me to make certain decisions.
So for many it will be difficult, for others it will be easy,
for others it will be a game.
In my case, I always had to fight with my demons,
I have a very strong temperament and it is something that I did not want to
do 20 years ago without protagonists of the VIP fame, I did not do well,
(32:52):
I left with a very bad reputation assuming that I was the protagonist of that
reality when I was quite the opposite,
it was something that I did not want to do again because it really hurt my reputation
and I enter, in this case, with another version, trying to carry out everything
(33:12):
I have learned and all the tools, implementing them to my person.
And fortunately I got out of all that, I got out with other objectives,
with other ideas, making decisions that I may not have been able to make outside.
So, what can I tell you? If you don't have a well-tempered character,
If you don't have a well-wrapped personality, if you don't have certain characteristics,
(33:36):
you become very vulnerable and all that can play against you.
So you have to be very sure of what you are going to enter.
You have to be very sure of who you are, how you are and how far you can go
and how you are going to control yourself. And in my case there was no problem.
Rather, what was abomination and I wanted to leave, but here many factors play against you.
(33:59):
And I'm going to tell you one thing, in this house of the famous,
for incredible that it seems, everything is misinterpreted, because as Pablo
says, I said one thing and everyone, they turn you into the villain of a story
misheard in three seconds.
Do you understand me? In three seconds. I, to Maripili, the only thing I said
to him, well, why instead of telling us that you are the owner of the house,
(34:20):
why you handle the girls,
that you manipulate them, that you are the owner of the room,
Why don't you tell us what you have donated money for, prizes and all that.
It was the only thing I told him.
And then he said to me, you are a scorpion. I told him, you are a viper.
And I never insulted him or denounced him or offended him. But then I was the villain of Puerto Rico.
Yes, yes, yes. Those reality shows, people always look for you,
(34:42):
right? Always who is the villain, who is the hero.
Yes, yes, yes. I also wanted to ask you, before we conclude.
One of your colleagues, La Divaza, recently did a live with María Polina.
In a very complicated situation in Venezuela.
Here in Puerto Rico, in the Maritimes, they asked him if he was going to have
some kind of endosomal oitis as soon as he left.
What do you think of the artists and politics? Should they have a voice in politics,
(35:07):
in very complicated issues in their countries, or should they be kept separate?
If you are a man with skills, with intelligence, with culture,
with preparation and with history, you have every right.
I was elected mayor of Tlalpan, of the Tlalpan mayorate in 2018,
and I won it and they stole it from me. O sea, pues ya sabes, el sistema, ¿no?
(35:27):
O sea, la fuerza del sistema me la ganó una del sistema que está ahorita impuesto.
Luego en el 2022, en el 21 me lancé para candidato a diputado,
bueno, diputado federal por el Distrito 14, también en Tlalpan, y lo volví a ganar.
En las encuestas iba 50 puntos arriba y todo, pero pues bueno,
(35:48):
ya saben los partidos, sus arreglos y todo.
But I think that, look, Article 2 of the Mexican Constitution says that every
Mexican citizen, that is, every
person born in Mexico has the right to contend for a public position.
So, well, I don't know. It depends on you. My grandfather was a constituent
(36:10):
deputy, he signed the Constitution of Mexico,
he was the president of the municipality of Zacatecas, he was the interim governor
of Zacatecas, he was the elected governor of Zacatecas, he was the minister
of hydraulic resources, embajador de México en Japón, canciller de México en
Washington, amigo de presidentes y todo.
Entonces un día un periodista dijo, ¿cómo ven a darme a la política?
Pues sí, pues sí, quieres que te diga quién fue mi abuelo y se lo demostré, ¿no?
(36:32):
Y este, y todo el rey, pues le caí el pico. Yo creo que todos tenemos derecho, todos tenemos derecho.
Si tú tienes ideas, si quieres emprender y todo. ¿Por qué lo hice?
Lo hice porque la forma en que a los ciudadanos de la alcaldía Tlalpan, donde yo vivo,
estaban robándolos, es un juego político muy sucio,
(36:52):
donde se veía que a la delegación no le metían nada y se robaban el dinero y
salían presidentes municipales o delegados con casas de 300 millones de pesos,
cuando antes vendían pollos.
So, I mean, anyone has a right.
If you have that concern, and you have with what, I don't see any problem.
(37:17):
I think everyone has the right to choose their battles, that's what I think.
If you live in a socialist country, where you know how the country has been
harmed in a certain way, and others how they have benefited.
And the country is very divided because of socialism and everything,
and I take a party there, being an artist, well, pay attention to the consequences,
(37:42):
Because, let's see, apart from that, being an artist, we're not a little gold
coin to be good for everyone.
And even more so if you leave a reality show, you know that you are not going
to please people either. And on top of that, you take a political party,
you support it, you encourage a political party.
Pay attention to the consequences now.
If you are a faithful voter believer about democracy, about socialism and everything,
(38:03):
and your flag is well placed where you are, well, go with everything.
But I think that everyone chooses. In this politics, my grandfather taught me
when I was 11 years old. un día me dijo, el éxito envenena.
La frustración, la amargura, los complejos y la envidia tienen el sueño muy ligero.
Y en lo que hagas, si eres exitoso y eres triunfador, en lo que hagas siempre
(38:29):
va a haber una persona negativa.
Entonces, como actor tuve éxito, me fue muy bien, estoy en el cuadro,
y de repente me lanzo a la política, pues no faltan los envidiosos,
los poco exitosos, the failures, the mediocres, who attack without knowing.
Well, people with other opinions. Yes, and they say, well, they don't have other opinions.
(38:51):
If you go down that route, you will always have oppressors. Of course.
Now, I have always said that I don't have enemies, I have admirers.
Admirers with anger. Yes, I don't have haters.
It's people who have always wanted to be like me, but they will never achieve it.
Well, going back to the work, this weekend the work goes to Caguas.
Caguas is not San Juan, it is the capital city.
(39:13):
What is your expectation? Well, the expectation before all this is that we are
going to give you a tremendous show.
The expectation before this, I know that there will be a very effusive audience,
very angry as they call it.
For us, I think it has been an audience that gives us a dose of adrenaline on
the stage that gives us the ability to give 200% or more.
(39:36):
And I think we are going to throw that house, but for the sale.
I think that it is truly merited that we give the public a show that they will not forget.
And something more important, we already have the handicap of what happened
in Bellas Artes here, sold out, 6 functions, 2,200 people, and well,
(39:57):
the people of Caguas, it is already sold out, it seems to me.
So if it is going to go, it is because they have already heard everything that
happened, they have already seen videos, You know that the networks are very
powerful and the networks in three seconds, everyone already knows what they did.
So the success, well, you can't cover it, you can't throw it under the carpet and hide it.
(40:17):
The success, once you have it, well, it's going to serve you like a battle horse for a long time.
And I think that the people of Caguas, well, they don't want to criticize or
want to see, no. They already know what's going to happen.
And one last question. We'll see you at the house of the famous All-Stars.
Well, I'm already confirmed for All-Star.
(40:40):
You, Paúl? No, no, I'm not. I'm already confirmed. You wouldn't repeat?
No, no, yes, yes. I'm not afraid. I'm not afraid of even Ultralia with more
weapons and more knowledge.
But right now I'm not at the table. I thank you both for visiting us here in
Puerto Rico for this podcast.
We are the grateful ones. somos nosotros.
(41:01):
Como no mucho, esto es la obra que sé que, bueno, ya la ruta está tratada.
Los esperamos, Caguas, el 24, 23 y 24, no, sábado y domingo.
El 24 y 25 en Caguas, que también es centro de las bellas artes de Caguas.
Sí, este, y estamos seguros que, y si no, pues llévense sus tomates,
y si no les gusta, pues nos avientan de tomatas.
(41:23):
Bueno, ustedes, amigos de Metro Puerto Rico, si les gustó este podcast,
usted compártalo, y manténgase se ha conectado a todas nuestras plataformas.
Bienvenidos al podcast con los editores, conversaciones sobre el quehacer noticioso,
cultural y o deportivo con periodistas de Metro Puerto Rico y sus invitados.
Una producción del periódico Metro Puerto Rico.
Saludos amigos de Metro Puerto Rico y bienvenidos a otro episodio del podcast con los editores.
(00:21):
Les acompaña Ayola Vireya, editora en jefe del periódico Metro,
y en este episodio nos vamos a alejar de la política, del gobierno,
de los problemas, y vamos a reírnos y a entretenernos.
Vamos a hablar de teatro y de la nueva puesta en escena de la obra de la Casa de Maripili, Cebaleto.
Nos acompañan hoy dos de los nuevos integrantes, bueno, uno repite,
(00:44):
de los integrantes del elenco con nosotros, Paulo Quevedo y Alfredo Adame.
Bienvenidos a Metro Puerto Rico. Thank you, thank you very much.
Oh, hello. Hello. How are you?
Very well, very well. Well, what a pleasure, what a pleasure to be here, this, back.
I'm back, we've been here a month ago, and now, well, with the good news that
Pablo Quevedo is part of the cast,
(01:06):
Clovis Niello came out of the, came out of the work, because of personal issues,
and, and this, and Pablo, well, he had his first role in Orlando,
in Orlando, Orlando was crazy,
sold out, full, half of Puerto Rico is in Orlando.
I didn't know there were so many people. I know that in New York there are a
(01:28):
lot of people, but not in Orlando.
And so, well, right now Pablo is going to tell you his experiences.
I want to tell you, where does this come from?
Well, it comes from the house of the famous. First, Maripili won it,
because of Randy, and then someone,
theater producers, decided to make a play, and they invited me,
(01:52):
and the only one who really has a script written is Maripili.
A mí me mandan el guión a México y me lo mandan en, dice Maripili, oye, esto, esto y esto.
Y luego Adami, en blanco, en blanco, sí.
Entonces, todo es improvisación de lo que, como lo vivimos y estuvimos ahí,
(02:13):
pues es muy fácil contestar. O sea, te dicen, bueno, ¿y a quién fue el que posicionaste
más fuerte? Pues a Tango y todo.
Entonces, bueno, y Paulo es un actor hermoso.
With a lot of experience, Paulo has been in this industry for more than 25 years.
He has been a singer for a group, very successful.
Then he became an actor. And after that, I am 37 years old in this.
(02:35):
So, we have the job, right?
It didn't cost us any work to improvise.
And I wanted to comment that here in Puerto Rico, it is said that the municipality
number 79 is Orlando, of so many Puerto Ricans that are there.
So, tell us a little bit, Paulo, how was that experience of integrating the
work, already a work that has been happening in Puerto Rico,
(02:58):
but that you started in La Garretera, in Orlando, but it's almost as if you
were here in Puerto Rico.
Well, what can I tell you? I have repeated it and I repeat it,
I say, as if I am used to entering half of the shows, and that is always adaptation,
and I'm happy to be able to contribute,
to be able to inject more into this work, that truly, as Alfredo told you,
(03:24):
it also took me the book as it was.
My answers didn't go beyond two words.
And I think that in Alfredo's case and in my case, we were able to enrich that
script more, through the tables that we have and what the work represented.
I think that the experiences that he had in there, he had a lot to enrich the
(03:49):
script, I also, so the jokes, everything was fabulous with everything that was
already armed with this model.
And obviously, what can I tell you about the effusiveness of the Boricua public.
They were rabid, the Puerto Ricans were rabid. With everything,
screams, and while there was a bar, there was one that shouted and put more juice into the thing.
(04:10):
And listening to the Puerto Rican public, do you understand a little better
where the way of being of Maripili came from? Yes, of course,
yes, of course, yes, of course.
Look, what happens, what happens with this? This became a phenomenon, phenomenon.
From a little thing, an impressive phenomenon was made. First.
Obviously for the Goricua public, second for the type of work,
(04:34):
for those who are interested.
But I'm going to tell you one thing, it has factors that are very important.
One, we have a winner of the House of the Famous, who here in Puerto Rico is
a celebrity, is an iconic woman, is an entrepreneur, is a representative of the Puerto Rican woman.
Luego tenemos un maestro que es Miguel Morales, el director y escritor de la
(04:57):
obra, que es otro monstruo.
Luego tenemos dos escuincles, Norwill y Jay-Z, que son, de verdad,
son unos animales de escenario.
O sea, entre los actores, en la jerga de los actores, o en el argot de los actores,
cuando uno es un verdadero actor, pues decimos, es una bestia,
no es un animal del escenario.
(05:17):
Estos dos muchachitos tienen, siendo tan jóvenes, tienen un oficio increíble
y son maravillosos actores.
Ellos ya andan haciendo otra obra ahorita, te quiero decir que para estas alturas
ya es su obra. pero todo te lo sirven para que la respuesta sea verdaderamente graciosa.
O sea, en realidad te la ponen tan fácil, y es tan fácil para el público digerirla,
(05:43):
que pues obviamente fue una gran fusión de todo.
Y bueno, nosotros que aportamos, pues lo que sabemos de la casa,
y que aportamos también, bueno, pues el oficio que tenemos de tantos años en la actuación.
And then, well, Maripili, who is an actress, is a singer, is a todologist,
because she does everything, well, she is a woman with a very special charisma.
(06:05):
I tell her that she is like a crazy, crazy, that whatever she sees, she will do it well.
I wanted to ask you how different it is, for example, the experience of the
coexistence of what was in the house, now working outside in a play with the figure of Maripili.
Well, look, we have to understand that what happened inside the house,
yes, that happened inside the house. We don't drag anything outside.
(06:28):
Everything that was represented inside stayed inside.
Obviously, everything is based on what happened inside the house,
but you do it with a more comical, lighter air. And really all the acts and
all the decisions and everything that was involved are transformed into humor.
And that's what makes it very gratifying for the public. Mira,
hay una, hay una, hay que traducirlo, hay que traducirlo todo esto.
(06:52):
¿Qué es la Casa de los Famosos? A diferencia de otros realities,
yo he estado en varios realities de competencia física, de estrategias y todo.
La Casa de los Famosos es un dispositivo psicológico para hacerte perder la
cordura, para hacerte perder la paciencia, la tolerancia,
para que si tú no te gusta insultar o prenderte en los TAR, lo vas a hacer.
(07:15):
Y si no te gusta atacar a la... ¿Por qué? Because we all had $200,000 in our
heads and for $200,000, you are more than true.
So, at the end of the day, this is a very different reality where you are going
to survive and they are going to attack you and they are going to make you into
(07:36):
pieces and they are going to denounce you, humiliate you and everything,
although it is not true, but it is part of the strategy.
So, living with Maripili inside and outside, for me the funny thing about all
this is that it was the same.
I mean, it was the same. She, suddenly, the first time we gave each other a
hug, and I did it, we played.
She said to me, Falacrán. I said to her, víbora. Then, this one,
nos de chau. But we kept being friends.
(07:56):
And then the Puerto Ricans hated me at first because they said I had thrown bad vibes at her.
But then you became the defender of the women. It's that I decided to defend
her because she's an authentic woman, she's a representative of truly the women
entrepreneurs that generate empathy and all this stuff.
And well, don't think I did it like a three-band caramela to win the Puerto
(08:18):
Rican public. Well, they picked me up because I defended her,
but I did it with all my heart because they were betraying her,
they were doing things to her. Why?
Because she was very strong. And Pablo, it also coincides that the same Maris
Billy, although a psychological game of strategy that you lived in the house,
now you find it in the work, but you already know it, so how do you handle it?
(08:42):
What is your relationship like?
Look, the truth is that there was truly a love for each other.
I have to say, I think I used the wrong word at the time they asked me,
I didn't know her, I mean, I knew about her existence, you know,
I just didn't have a moment where I shared,
but when the opportunity was given inside the house, there was a lot of affection,
(09:05):
and really knowing that of her existence and mine,
it was as if we had really met in all our lives.
And what was encouraged inside, in a moment that, precisely because of the game
of each one, well, it got a little twisted and we had the rashes,
which was normal, but it was not a big deal.
It was not like for real, we have fought all our lives. We left and obviously
(09:30):
we knew that what had happened, the experience that we had lived there,
was going to last for life.
So that's why I'm here, you know? because she saw that it was a game that I
was implementing and I recognized that it was a game that she was also implementing.
Nothing was personal and obviously I am happy with life contributing to it.
And something that is important to tell people, because there are still people
(09:52):
who think that this is actual. None of this is actual.
Everything is insane and bad intentioned and everything is perversity and evil
and to see who you hit and all that because three or two hundred thousand dollars
in the car. Pero hubo gente que no pasó la página, porque, por ejemplo, ¿verdad?
Y lo voy a poner aquí en una situación un poquito incómoda. Si contestas, si quieres, si no, no.
(10:14):
Patricia no está invitada y no va a estar invitada en esa obra.
Aleja vino y salió y después se fue, ¿verdad? Su novio, ¿cómo?
Yo creo que muchas personas lo llegaron a aislar a un nivel más personal.
It was no longer possible to repose, the wounds remained as they were and they
(10:37):
took it so hard that there was no reconciliation.
And there was no awareness of knowing that it was a game, do you understand me?
I think so, people crossed the line in that respect and could not forget.
Look, in my case, I want to be very honest with you, Patricia with me from the
first day was always very respectful, She was always very polite, very polite.
(11:00):
For me, it was a great surprise when I left to realize that the Puerto Ricans were not with her.
If there were samples like that, I said, oh, my God, well, then some things.
But at the end of the day, with me, Patricia was very polite and everything.
And one talks about how it goes at the fair.
And I went up there with her, I talked to her, I offered her coffee,
(11:22):
I did it very well. just like I did with Maripí, although I didn't have the confidence with her.
In the case of Aleska, well, it was an imprudence, first on the part of Clovis,
I want to say it openly, someone asked me off the stage, my son,
hey, what do you think of Aleska?
I said, it's an imprudence, my son, don't mix love with work,
(11:45):
because it's going to hurt you, sooner or later it's going to hurt you.
Said and done, with the buchero and everything, and they criticized her a lot.
And well, I think she came to put herself in the wolf's cave,
in the wolf's mouth and in the land of the lioness.
And I told her, Clovis, Maripili and Aleska ended up in the middle of Madrid, offending each other.
(12:06):
If they didn't hit each other, it was because God is great, but the matter was very rude.
And then it was an imprudence that she came to Puerto Rico on the day of the
premiere and that she presented herself. I'm going to tell you a personal anecdote.
I was in a little table like this, behind the stage, that puts the cross on
us to give it the last touches.
And suddenly we were already ten minutes late and I start to hear, Boo!
(12:29):
Out! I don't know what they want. And I said, and I go to the cross.
Hey, the public is already angry. Let's go, let's go. The work is already in the air.
And he grabs me and says, no, that's not why. He says, it's because I just entered the Escalasal.
So I think it was imprudent. Aleska was imprudent. Chlovis shouldn't have mixed
it up and I think Chlovis was affected and he will be affected.
(12:52):
He was so affected that, well, not having a trajectory,
not having a story in this medium, in the theater, in all this,
and he wants to be an actor and he wants to be everything, he will be affected
because, well, at the end of the day, he becomes a person who,
well, everything he had won, that he had won a lot of sympathy,
he is handsome, to the women they like and all, but all the sympathy that he
(13:15):
had won, I think it went, it went to the trash. Look, there is an ingredient there.
It's called ego. And inside the house there are many egos. You have to know how to handle it.
You have to know how far you can go in that aspect. Because just as there was
a Leska, just as there was a Patricia by Maripillá and to them and everything,
and it was a Nupillo too and everything.
(13:36):
You have to know how far you can go and how far you can go.
And unfortunately, there are people who did not have conscience in that aspect
and remained the star of resentment.
And even out here there has been no reconciliation. Yes, that's a strong feeling of resentment.
I wanted to ask you, here in Puerto Rico, well, you see,
this weekend you go to another series of functions of this play,
(14:00):
which has been very successful, but from the House of the Famous other attempts
also came up, also from presentations that were canceled, for example, in Miami.
What do you think, what is the ingredient that has worked for Maripili in this
production, that maybe in other attempts no ha funcionado en otra producción.
Bueno, lo que ha funcionado es que la televisión es muy poderosa y Maripili
(14:25):
ganó un reality show que lo vieron millones de personas diariamente que seguían 24-7.
Entonces, ¿qué pasa? Si ha habido otros intentos de otras cosas,
pues no ha funcionado, no le ha funcionado, a lo mejor le faltaban los factores
importantes that were to take part of the cast,
(14:46):
to take these great Puerto Rican actors, that a formal production was made and everything.
I don't know if you mean, because in the case of Casa de Maripili,
they are asking for it everywhere.
They want it in Texas, they want it in Chicago, they want it in Boston,
they want it in many places.
Miami is already asking for it, because they already saw that it worked.
(15:06):
And you know that one thing that works, well, everyone wants to make money.
And what do you mean by that? That's what I wanted to ask you.
In Miami, at some point, there will be an activity in a theater with 10 rooms.
I have a vision. They didn't have us.
Well, we're not going to separate our necks. I think we have to accept that
(15:28):
reality. I think the product that enters a reality.
I don't want to be a bad interpreter, but there are people who don't really
have a career after that, they simply enter or they are YouTubers or they are
influencers and they enter and obviously what gives Ifshow,
which is a very high expectation for having seen them for four months,
(15:50):
it raises them and draws their attention with the public.
So I don't know if a lot of people think that this is going to be a product
that can be sold everywhere and that it can be,
but let's be very clear, we were talking to Alfredo and I, I think it's very
important to support it with, if you don't have an office behind it,
start creating it, prepare yourself to do a play,
(16:11):
prepare yourself to do a stand-up comedy, prepare yourself for something,
take advantage of the stela of what reality gave you so that it encourages you
to do something that you can offer to the public.
I can think about it and say, well, what were they going to offer us in Miami?
What were we going to see? We were going to see four personalities,
one is an actor, you know?
(16:32):
What were they going to offer us? So I, as an audience, I can tell you,
really, what am I going to do there?
The actor's proposal. Look, although in recent years the mystique has been lost,
and now any influencer puts it in a play and they believed, for example,
But I'm going to put you in a case that was a disaster, which is the House of the Famous Mexico.
It was won by a transsexual woman, Wendy Guevara, and then it was like a program.
(16:58):
It was a commercial failure because the announcers, well, at three weeks they
started to leave because they said, well, this is a quarter of a land and very strange the matter.
Well, then this ends and the voracious businessmen, those who are really not
businessmen of theater, No son serios.
Le ofrecen 40 fechas y le dicen que tienen 40 fechas vendidas y todo a esta mujer, a Wendy Gabal.
(17:25):
Y de repente sale, llega la primera presentación de 40 a un teatro de 4,000
personas y se venden 450.
La segunda, un teatro de 1,500 y se venden 80. La tercera, un teatro de 1,200 y se venden 30 boletos.
Y entonces, pues, revienta la gira, fracaso comercial, se acaba el asunto y
(17:45):
todo el rollo, ¿no?, como sucedió.
¿Qué pasó? Que, pues, obviamente, no le ofrecieron, no le dieron una obra de
teatro, o de DJ, o un stand-off, o nada.
It was simply this woman whose characteristic is to be very bad-spoken, very rude,
(18:06):
very vulgar and ordinary, with a little gala of the House of the Famous Mexicans,
and to stand on a stage, but to do what? What does that offer you?
What is the proposal of the product?
Speaking of theater, how good that they bring this, see that they have all this trajectory.
I spoke with Mari Pili and in an interview we had here in Punto por Punto about
(18:29):
whether in Puerto Rico you can live from theater. Here it is very difficult.
The theaters, the theater workers grind in glass.
And she told me, well, it has worked for me, but this is something like on the
side, it's a complement. I have other companies.
Mexico has a tradition of many, many theaters.
I am honest to you. If you have a good product, you live from theater.
(18:51):
I have 27 works, we have 37 years on television.
Emisión, cada vez una fórmula exitosa era que cada vez que yo terminaba una
novela, que protagonizaba una novela, me salía con la protagonista y con parte
del elenco a una obra de teatro y durábamos hasta dos años de tiempo. Temporada.
Sí, temporadas de un año, dos años y hasta tres veces a una ciudad,
(19:12):
llegábamos en año, año y medio, ocho meses, bueno, lo que fuera.
Pero si tienes un producto, como dice.
Si tienes un buen producto y una buena good play and you come out with a television
cast. Remember, there is a basic principle for the one who is a good actor has
to understand it. The one who is an actor has to understand it.
Cinema gives you permanence. I mean, Liz Taylor did Cleopatra and that gave
(19:35):
her infinite permanence.
The theater makes you an actor because at the end of the day you are in front
of an audience and the answer is immediate.
And television makes you famous. If you know how to combine at least two of
these, which is television and theater. I mean, television makes you famous.
I entered television and in a short time I debuted in a play.
(19:58):
We filled the theater, Leticia Calderón and I. We were filling it for eight months.
We went on tour and everything. Because she was an actress, a first actress.
Leticia was very young at that time.
And I was like the one in fashion. But what I did was respond.
So I started to work hard and do things well and everything.
(20:18):
If you want to go out with any little guy that you catch on television and you
think you're going to fill a theater, no matter how much the mystic has broken, it will not happen.
If you don't have a good product, it will not happen. And especially in the
theater, because people with everything and everything, the theater audience
is still very respectful that they do not lack any respect.
(20:41):
How do you see it? The same way.
You understand? I mean, the works, for example, on Broadway, are worth it.
I mean, they stay for a long time, but because a lot of investment is put,
is injected into the project, right?
They are works that, years ago, we know they exist and even so, they are still there.
(21:02):
They just broke the cast, you know? Because the product is very good.
Well, in those cases, I think that yes, you can live, not fully and happily,
but if you have a product, yes.
Now, in America, in Mexico, as Alfredo said, a product in specific, yes.
(21:22):
But from there on, the theater is for that love of art, for the actor,
it is the best school for the actor.
There has to be a theatrical culture where you are living in such a way that you have your variety.
The ecosystem. You can be consistent and be working on one, on the other, on the other.
But well, we are savages of acting and that's what we love because that gives
us all the tools always possible.
(21:43):
And television, you mentioned it, you mentioned the soap operas.
Mexico is still a mecca for the Puerto Rico soap operas. How many were they in the 70s and 80s?
I'm going to tell you one thing. Mexico is no longer the predominant.
I want to tell you that I am the actor at a global level that has the most protagonists of soap operas.
I have 15 individual protagonists. individual protagonists. The one who gets
(22:03):
the most close to me has five.
I have seven adult protagonists because then, as the young people did not give
the width, we had to invent the adult protagonists and I am the one who has
the most telenovelas worldwide.
And well, I entered, I learned in the school of Don Emilio Azcárraga Milmo,
the owner of Televisa, the father of which is right now, and well,
(22:26):
it was the preponderant, my
telenovelas, Well, Veronica Castro and Lucia Mendes got to 189 countries.
I'm in second place. I got to 182 countries. So,
When I started making soap operas, which was in 1988, Mexico was the predominant
in the production of soap operas.
And then, well, the Brazilian soap operas came in, which entered with a tube.
(22:52):
Sonia Braga, Sonia Braga made series and soap operas. Then, Mr.
Emilio Azcárraga dies, his son takes charge of the company, and then he calls
his friends. There is a big difference between being on television and doing television.
I always tell them, I don't go out on television, I do television.
I've been a producer, actor, producer, voice actor, cable director, I've done everything.
(23:14):
So he calls a lot of friends of his to direct the most powerful Spanish-speaking
company worldwide, which was Televisa.
And then suddenly they start making a series of tremendous mistakes to call
their friends to star in bad telenovelas, and then the Colombian telenovelas come.
(23:38):
Puerto Rico also, as you say, it was a long time ago, as Venezuela was also,
and then a series of Colombian telenovelas comes, Capitulado,
Madre Mujer, and all this, and then the Colombian soap operas go first.
And today, the Turks.
(23:59):
In Mexico, a television company is buying Turkish soap operas that are kicking
the Mexican soap operas in the back. That's going to be my next question.
The Turkish, Korean, too. Here you are seeing a lot of how you see this ecosystem
now and how Mexico can subsist or insert itself in this scenario.
(24:19):
It became globalized and if Mexico doesn't put the batteries in terms of telenovelas,
no matter how much infrastructure it has and no matter what it has,
they will continue to eat the command.
Right now, Mexican telenovelas are in fourth or fifth place in preponderance
in the production of telenovelas.
It has always existed this, of being a monopoly or being a product of quality.
(24:44):
And that's where Mexico has really fallen behind, because other TV stations
have been in charge of injecting a lot of quality and excellent stories.
Authentic stories, where the TV station is really drawing attention to the way
they produce them and the stories.
So, at one point Mexico was there, but I think we have been left more in the
(25:08):
question of selling Juan Caliente continuously, a monopoly as such,
and we have forgotten a bit of the candidacy.
And the streaming services, because here, for example, Netflix and Amazon Prime look very similar.
(25:52):
Sí, sí, sí. por sus preferencias con sus amigos personales y todo este asunto
y con los que ya tenían alguna trayectoria.
Y entonces se jalaron con Netflix y ahí hay La Casa del Papel o La Casa de las
Flores y series que le están dando la vuelta al mundo que son series mexicanas
producidas por productores independientes que al final de cuentas están teniendo
(26:14):
tremendo éxito y que le hicieron a Televisa darse cuenta que ya no lo necesita.
Ya nadie necesita de Televisa. In 2017, they called me to sign a new contract
and I said, no, I don't want anything with you anymore. And they bet on me everywhere.
They bet on me with all the TV stations, as they bet on the preponderants.
They bet on me and years of that. I kept doing theater, I kept rating them.
(26:37):
And what I most congratulate about everything is that I took my rating from
them to give it to others.
Do you see yourself in this type of independent production for platforms like Netflix?
Of course, of course. Claro, claro.
(27:19):
Perdón, una bioserie con Netflix, un documental de mi vida con los que hicieron
esto de dónde está mi avión.
El caso aquel de Pepsi del avión de combate, que son productores,
uno es mexicano de Los Ángeles.
Y tengo otra propuesta de otros productores poderosos de Los Ángeles para hacer
un docu-follow. Yo practico las artes marciales.
Entonces quieren hacer un docu-follow de 24-7 durante tres meses,
(27:42):
entrenamientos, alimentación y todo. y todo termina en una pelea,
en una pelea real, con una bolsa de dinero y todo el rollo, como los que han
hecho, Paul, ¿quién me decías ayer?
Paul Logan, o Paul, bueno, los que han hecho Payflower. Ah, sí,
sí, sí. Logan, que es aquí.
Entonces, este, bueno, pues, afortunadamente ya se abrió esto,
(28:03):
ya está abierto, este, ya no hay una exclusión, yo ya desde el 17 no tengo un contrato de exclusión.
I am a free soul and I have the choice to follow Pau. Paulo already has time too.
I think that right now we are in a position where it is different.
Before we did not have the options that we have today.
(28:24):
And today as an actor, for example, I decide not to continue doing,
in my case, if a proposal comes, then obviously I will consider it and everything.
But the typical, the artistic novela rosa, where we already did it,
We already did it, we already participated there, personally I want a challenge beyond that.
I think that series sometimes represent that opportunity in more demanding characters
(28:48):
and all, and that is precisely what I want to focus on, what making series is, making cinema.
Mexico obviously left the typical rose, which is an ingredient that has always
worked for them and that has always been sold very well and they continue to
do it and I don't see a moment when that changes.
In exchange, it's okay because, as I mentioned, it's a monopoly that continues
(29:10):
to produce that kind of production, but today, with the existing platforms, we have more options.
And personally, I do decide to go with Tor.
Querían volver a la casa de los famosos. Ahorita mencionaban que era un juego psicológico.
¿Cómo les cambió la vida a cada uno de ustedes? ¿Cómo tocó su vida,
verdad, la persona, no el personal?
(29:32):
Bueno, tengo 66 años de edad, 37 en este medio.
No aprendí nada, porque no tengo nada que aprender. La verdad es que el 80%
de la gente que entra a ese tipo de realities son ignorantes,
son mediocres, son, o sea, no tienen.
They go for $200,000, they don't go for other things.
(29:53):
I went inside the house, I gave many lectures, I let them see,
I let them see a lot of culture, they were not interested in a club.
So the only thing I learned is that I entered being, well, the only thing I
confirmed is that I entered being Alfredo Adame, inside I continued being Alfredo
Adame, and I left being Alfredo Adame.
(30:14):
That's the only thing that I really admire, I'm proud that I'm still the same.
I never wanted to use evil or perversity or hurt someone in order to earn $200,000.
And then there came a moment when I realized that I was getting bored.
I was already levitating there because I wasn't really doing anything.
(30:36):
I got some incredible boredom.
And when they tell me, hey, really, I said, I want to go out.
And they take me out to the gala.
I was happy because in the gala I fought with the panelists.
I defended Maripili, I insulted Lupillo Rivera, I told him everything and I had fun as a child.
So, what I need in my life is not a TV with which to age, but what I need is
(30:59):
a TV with which to continue being a child.
Pablo, in your case, after the show, after your separation, did the show affect you in a family way?
Look, entering a house of this kind represents certain things.
Obviously you enter as you, as Adam says, and you leave as you.
The only thing is that you submit to many, many tests, many circumstances of
(31:25):
knowing how to take things into account.
You submit to insults, to temptations, to try to control your emotions.
That is a test, that is a test of fire for any enemy that is out there.
Now, if you, at a given moment, enter, let's not say, in optimal conditions
(31:45):
mentally, at an emotional level and everything, at any moment that can result in making bad,
abrupt decisions, anxiety leads you to come to conclusions that perhaps you may not even realize.
So it is a psychological game that all the time apart from all the content that
you have to give, part of the game that you have to play, part of the personality
(32:07):
that you have to carry out inside the house. You deal with all that.
And unfortunately you can't leave it out because you know that everything that
is at stake has to do with what you drag, with what you have outside.
And I entered with a relationship that I was already stumbling a little and
(32:27):
many of the things inside me confounded me to make certain decisions.
So for many it will be difficult, for others it will be easy,
for others it will be a game.
In my case, I always had to fight with my demons,
I have a very strong temperament and it is something that I did not want to
do 20 years ago without protagonists of the VIP fame, I did not do well,
(32:52):
I left with a very bad reputation assuming that I was the protagonist of that
reality when I was quite the opposite,
it was something that I did not want to do again because it really hurt my reputation
and I enter, in this case, with another version, trying to carry out everything
(33:12):
I have learned and all the tools, implementing them to my person.
And fortunately I got out of all that, I got out with other objectives,
with other ideas, making decisions that I may not have been able to make outside.
So, what can I tell you? If you don't have a well-tempered character,
If you don't have a well-wrapped personality, if you don't have certain characteristics,
(33:36):
you become very vulnerable and all that can play against you.
So you have to be very sure of what you are going to enter.
You have to be very sure of who you are, how you are and how far you can go
and how you are going to control yourself. And in my case there was no problem.
Rather, what was abomination and I wanted to leave, but here many factors play against you.
(33:59):
And I'm going to tell you one thing, in this house of the famous,
for incredible that it seems, everything is misinterpreted, because as Pablo
says, I said one thing and everyone, they turn you into the villain of a story
misheard in three seconds.
Do you understand me? In three seconds. I, to Maripili, the only thing I said
to him, well, why instead of telling us that you are the owner of the house,
(34:20):
why you handle the girls,
that you manipulate them, that you are the owner of the room,
Why don't you tell us what you have donated money for, prizes and all that.
It was the only thing I told him.
And then he said to me, you are a scorpion. I told him, you are a viper.
And I never insulted him or denounced him or offended him. But then I was the villain of Puerto Rico.
Yes, yes, yes. Those reality shows, people always look for you,
(34:42):
right? Always who is the villain, who is the hero.
Yes, yes, yes. I also wanted to ask you, before we conclude.
One of your colleagues, La Divaza, recently did a live with María Polina.
In a very complicated situation in Venezuela.
Here in Puerto Rico, in the Maritimes, they asked him if he was going to have
some kind of endosomal oitis as soon as he left.
What do you think of the artists and politics? Should they have a voice in politics,
(35:07):
in very complicated issues in their countries, or should they be kept separate?
If you are a man with skills, with intelligence, with culture,
with preparation and with history, you have every right.
I was elected mayor of Tlalpan, of the Tlalpan mayorate in 2018,
and I won it and they stole it from me. O sea, pues ya sabes, el sistema, ¿no?
(35:27):
O sea, la fuerza del sistema me la ganó una del sistema que está ahorita impuesto.
Luego en el 2022, en el 21 me lancé para candidato a diputado,
bueno, diputado federal por el Distrito 14, también en Tlalpan, y lo volví a ganar.
En las encuestas iba 50 puntos arriba y todo, pero pues bueno,
(35:48):
ya saben los partidos, sus arreglos y todo.
But I think that, look, Article 2 of the Mexican Constitution says that every
Mexican citizen, that is, every
person born in Mexico has the right to contend for a public position.
So, well, I don't know. It depends on you. My grandfather was a constituent
(36:10):
deputy, he signed the Constitution of Mexico,
he was the president of the municipality of Zacatecas, he was the interim governor
of Zacatecas, he was the elected governor of Zacatecas, he was the minister
of hydraulic resources, embajador de México en Japón, canciller de México en
Washington, amigo de presidentes y todo.
Entonces un día un periodista dijo, ¿cómo ven a darme a la política?
Pues sí, pues sí, quieres que te diga quién fue mi abuelo y se lo demostré, ¿no?
(36:32):
Y este, y todo el rey, pues le caí el pico. Yo creo que todos tenemos derecho, todos tenemos derecho.
Si tú tienes ideas, si quieres emprender y todo. ¿Por qué lo hice?
Lo hice porque la forma en que a los ciudadanos de la alcaldía Tlalpan, donde yo vivo,
estaban robándolos, es un juego político muy sucio,
(36:52):
donde se veía que a la delegación no le metían nada y se robaban el dinero y
salían presidentes municipales o delegados con casas de 300 millones de pesos,
cuando antes vendían pollos.
So, I mean, anyone has a right.
If you have that concern, and you have with what, I don't see any problem.
(37:17):
I think everyone has the right to choose their battles, that's what I think.
If you live in a socialist country, where you know how the country has been
harmed in a certain way, and others how they have benefited.
And the country is very divided because of socialism and everything,
and I take a party there, being an artist, well, pay attention to the consequences,
(37:42):
Because, let's see, apart from that, being an artist, we're not a little gold
coin to be good for everyone.
And even more so if you leave a reality show, you know that you are not going
to please people either. And on top of that, you take a political party,
you support it, you encourage a political party.
Pay attention to the consequences now.
If you are a faithful voter believer about democracy, about socialism and everything,
(38:03):
and your flag is well placed where you are, well, go with everything.
But I think that everyone chooses. In this politics, my grandfather taught me
when I was 11 years old. un día me dijo, el éxito envenena.
La frustración, la amargura, los complejos y la envidia tienen el sueño muy ligero.
Y en lo que hagas, si eres exitoso y eres triunfador, en lo que hagas siempre
(38:29):
va a haber una persona negativa.
Entonces, como actor tuve éxito, me fue muy bien, estoy en el cuadro,
y de repente me lanzo a la política, pues no faltan los envidiosos,
los poco exitosos, the failures, the mediocres, who attack without knowing.
Well, people with other opinions. Yes, and they say, well, they don't have other opinions.
(38:51):
If you go down that route, you will always have oppressors. Of course.
Now, I have always said that I don't have enemies, I have admirers.
Admirers with anger. Yes, I don't have haters.
It's people who have always wanted to be like me, but they will never achieve it.
Well, going back to the work, this weekend the work goes to Caguas.
Caguas is not San Juan, it is the capital city.
(39:13):
What is your expectation? Well, the expectation before all this is that we are
going to give you a tremendous show.
The expectation before this, I know that there will be a very effusive audience,
very angry as they call it.
For us, I think it has been an audience that gives us a dose of adrenaline on
the stage that gives us the ability to give 200% or more.
(39:36):
And I think we are going to throw that house, but for the sale.
I think that it is truly merited that we give the public a show that they will not forget.
And something more important, we already have the handicap of what happened
in Bellas Artes here, sold out, 6 functions, 2,200 people, and well,
(39:57):
the people of Caguas, it is already sold out, it seems to me.
So if it is going to go, it is because they have already heard everything that
happened, they have already seen videos, You know that the networks are very
powerful and the networks in three seconds, everyone already knows what they did.
So the success, well, you can't cover it, you can't throw it under the carpet and hide it.
(40:17):
The success, once you have it, well, it's going to serve you like a battle horse for a long time.
And I think that the people of Caguas, well, they don't want to criticize or
want to see, no. They already know what's going to happen.
And one last question. We'll see you at the house of the famous All-Stars.
Well, I'm already confirmed for All-Star.
(40:40):
You, Paúl? No, no, I'm not. I'm already confirmed. You wouldn't repeat?
No, no, yes, yes. I'm not afraid. I'm not afraid of even Ultralia with more
weapons and more knowledge.
But right now I'm not at the table. I thank you both for visiting us here in
Puerto Rico for this podcast.
We are the grateful ones. somos nosotros.
(41:01):
Como no mucho, esto es la obra que sé que, bueno, ya la ruta está tratada.
Los esperamos, Caguas, el 24, 23 y 24, no, sábado y domingo.
El 24 y 25 en Caguas, que también es centro de las bellas artes de Caguas.
Sí, este, y estamos seguros que, y si no, pues llévense sus tomates,
y si no les gusta, pues nos avientan de tomatas.
(41:23):
Bueno, ustedes, amigos de Metro Puerto Rico, si les gustó este podcast,
usted compártalo, y manténgase se ha conectado a todas nuestras plataformas.
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