November 13, 2024 • 69 mins
Remember the excitement around La Casa De Papel (also known as Money Heist) and its spin-off series Berlín? Netflix kept viewers on the edge of their seats with both shows, and Belgian actor Julien Paschal found himself in the spotlight after landing a role alongside Pedro Alonso, playing François Polignac.
Suddenly, Julien’s acting career gained massive attention. But how does an actor handle such a shift—both personally and professionally? While many actors dream of success, few are fully prepared for the intense realities that come with sudden fame. How do you manage the pressure, maintain boundaries, and leverage the exposure to propel your career forward?
In this episode, podcast host and action actress, Cindy Claes dives deep with Julien to explore these questions. Together, they unpack the challenges of stepping into the spotlight. So many actors miss the opportunity to use these opportunities as a springboard, and eventually only end up with some additional footage for their portfolio. How can an actor plan and strategise for success once you land a Netflix role?
Julien offers an honest look at the creative life's uncertainties and the rollercoaster hidden in the journey to success.
This episode also uncovers the role of media and PR in shaping an actor's career. Julien discusses the strategic importance of media engagement, the delicate handling of misinformation, and the impact of social media on public image.
With experience across both the film and music industry, Julien offers practical lessons for aspiring artists on staying authentic while seizing every opportunity.
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@cindy_claes
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome to the Loud Whisper Takeover podcast.
As you know by now, I'm anaction actress and a filmmaker
on my own journey of trying tomake it happen.
So today we're going to talk toa very special guest about what
happens when, all of a sudden,you're in the spotlight.
All of us actors, that's whatwe want, like landing that big
(00:23):
role.
But really and truly, how doyou handle that on a personal
level?
Then there are so many otherquestions.
Can you leverage theopportunity that you just had so
that more doors can open?
But how do you handle it on apersonal level, on a
professional level?
Because more success also comeswith more responsibilities,
more problems or differentproblems to solve.
So today we have a specialguest responsibilities, more
(00:45):
problems or different problemsto solve.
So today we have a specialguest who is Belgian, a Belgian
actor that made it big onNetflix.
You have probably heard about aNetflix series called Berlin,
and he played the role ofFrançois Polignac.
Please welcome, julien Pascal.
Hi, julien, how are you doing?
Speaker 2 (01:00):
Hi, cindy, I'm very good.
Thanks for the invitation.
I'm very happy to be here today.
Speaker 1 (01:06):
Well, I'm super excited to talk to you today
about the topic, but alsobecause you're also Belgian,
like me, and so you have aninternational career and you are
also, like, a multidisciplinaryartist.
So, on top of being an actor,please tell us more about you,
about your world, your universe.
What do you do as a creativebeing?
Speaker 2 (01:28):
Chronologically.
I fell in love with music whenI was a kid, especially with
drums.
I was just hypnotized.
Each time I would see a drummer, a drum kit, a show on TV.
I don't know how, because noone is really a musician or an
artist in my family.
My parents used to listen togood music, but no more than
(01:48):
that, and I don't know.
I started drumming when I was 13, after two years of hard work
with my mother, who one day saidokay, take your money that you
received for your birthday andbuy yourself a drum kit and
leave me the fuck alone.
So that day I found a drum kitin my little town in Belgium and
(02:14):
we went and I had half themoney.
The girl wanted and I wanted itso bad that I negotiated and I
think she was.
She felt a little bit bad forme and she said okay, you can
have it.
So I went with my drum kit andit changed my life, cause from
(02:39):
then I was just obsessed in my,in the cellar, in the, just
playing all day long on Nirvanarecords and whatever records,
and and from there I startedplaying in bands, in local bands
in my little village, and whenI was, I think, 18 or 19,.
(02:59):
I got invited to an auditionwith a band in Brussels, an
indie band that had a recorddeal with the label of Deus,
that Belgian band which was veryfamous back in the days.
Speaker 1 (03:12):
I must say I don't, but please tell us what did the
band, what kind of music didthey do or what sort of genre
were they in?
Speaker 2 (03:19):
Indie rock meets Tom Waits meets Captain Beefheart,
that kind of blend, but itreally.
It was huge in the end of the90s.
It was a band from Antwerp andsuddenly young musicians
believed that they could make acareer and that indie music
could make sense and havesuccess in Belgium.
(03:41):
So it opened a whole newperspective.
So I got hired by this band,played a few shows.
I met musicians from Brussels,especially a guitar player named
Turk Henri, and this guystarted to play with another
band called Schafko, and at somepoint Sch Sharko needed a
(04:05):
drummer.
So I started to play with themand little by little Sharko got
some singles on the radio.
We went from very small venueslike 20 people to a full house I
don't know 500, 700 audience inBrussels.
(04:26):
And I've been playing with themfor about 10 years, touring
whole Europe, us, recording manyalbums.
So that was my very first career.
I was just obsessed with musicand I just wanted to be a
drummer.
I didn't want to go touniversity, I just wanted to go
(04:47):
to London at the Music Instituteof yeah, mit Music Institute of
Technology, where it's one yearof intensive classes with the
best.
But when it was time to go myparents told me okay.
No, we won't let you go toLondon.
(05:08):
You're too young, drugs,whatever.
So, out of despair, I didn'tknow what to do with myself.
So I went to university tolearn economics and after six
months I was learningaccountings for the exams.
And I just said to myself whatthe fuck am I doing here, what?
(05:32):
And I stopped that day I saidto my parents I quit.
And then I learned.
I went to Louvain-en-Oeuvre tolearn sound engineering at EAD,
which is the only school inBelgium back in the days to have
that kind of programs.
And yeah, it was a compromisewhere I was still in the world
(05:57):
of music, but with a real jobsomehow for the parents, with a
real job somehow for the parents.
So since then I've been workingas a sound engineer, mixer,
music producer.
I had my own recording studio,I had my own label and
(06:18):
publishing, and meanwhile I wasstill playing with bands and
touring, and so it's been mylife for 20 years, I think.
Speaker 1 (06:25):
And how did acting cross your path?
Or when did that seed gotplanted?
Speaker 2 (06:30):
So, as I just told you before, I was very much into
the music world as a being, asa musician or producer, mixer,
engineer, whatever and since Iwas a kid, I really loved acting
comedy, imitation, movies,shows.
I was really fascinated by thatand I never took any classes.
(06:55):
I didn't dare.
I like to be behind my drums, alittle bit Hidden, but I didn't
really feel like being frontstage.
I don't know why, but I movedto Barcelona in 2016 or 17 and I
was a bit done with music.
I still love music, but I was abit fed up with the not with
(07:22):
the music itself, but withwhat's around Spending an hour
in a van to play one hour showand, yeah, I needed some change.
So I moved to Barcelona and Ididn't know anybody in the music
world in Barcelona, but Imissed a creative activity.
(07:46):
So one day I was meditating.
I used to go to a place inGracia and meditate and do yoga
every week with a great shaman,an American guy, lucas and one
day I was meditating and it justcame clear like okay, acting.
And it just came clear likeokay acting Because it had been
(08:08):
there for a while and you alwaysfind excuses not to do it.
No, it's not the right time, Ihave work to do, I'm too shy,
whatever.
So it had been in my mind for along time and that day it was
like, okay, I'm going to get outof this class, this meditation,
and I'm going to go to actingclasses Period.
(08:29):
So that's what I did.
I left there.
I found some great improvisationclasses in French in Barcelona,
which was a great step becauseit was open to one of the actors
or people working in businessbut who have problems speaking
(08:49):
in public and that kind of stuff.
So that was very nice as anintroduction and I really liked
it.
So I did it for a few monthsand then I was.
It was very nice, it opened mymind and made me figure out I
wasn't that shy.
And so from there I searchedfor other classes in Barcelona,
(09:13):
but a little bit more demanding.
So I just Googled actingclasses English Barcelona and I
found the Actors Workshop, whichwas luckily in Poblenou, really
close to where I lived by thetime.
So I just contacted Frank Face,which is Belgian too, was
Belgian as well.
Speaker 1 (09:34):
Yeah, frank, yeah, yeah, I know Frank.
Speaker 2 (09:36):
Yeah, okay.
So I just met Frank and we said, okay, can start next week.
So I started with Sam Meissnerfor a few months and then Chabot
technique with Frank, which wasvery interesting.
And what I missed in theimprovisation classes is that,
anything you do, they were like,oh, that was great, amazing,
(09:57):
cool, which is nice to startwith, but afterwards I needed
someone telling me what the fuckare you doing?
You should try this, try that,to be a little bit more
challenged.
And Frank offered that to me andgave me confidence to push it a
bit further, and also some ofmy classmates.
(10:17):
You get out of stage, you didyour little scene and they're
like, oh, that was really cool,I like this, that that's
interesting when you do that.
And you're like, oh, wow, cool,I like this, that that's
interesting.
When you do that, and you'relike, oh, wow, cool, thank you,
and it gave me some confidence.
So from there I went to a firstagency with, which was in
Barcelona, face of Music andthat's a music agency or that is
(10:37):
a talent agency or an actingagency.
Talent agency, mostly forcommercials, but initially based
on musicians.
So if you need a drummer in acommercial, a trumpet player or
a dancer or whatever it was inthat niche.
So I thought, okay, I'm amusician, so it makes sense.
So we had a very good starttogether.
(11:00):
I, my idea with going to acommercial agency was just
initially to dare to just do acasting without being frightened
like a rabbit.
So that was the idea.
So I signed with Face of Music.
I wasn't out of the office theytold me oh, you can go to a
(11:21):
casting there, a casting there,a casting there.
So it went really fast andchance of the beginner.
I I got options or booked in acommercial like very quickly.
I enjoyed it.
It's fun to be on set to getsome money.
So I was really into it.
(11:41):
And but I wanted to do fiction.
So I left face of music, send amail to our team management,
met Chris and Natalia and theygave me a chance.
And I'm very grateful for that,because when I went there I
just I don't even know if I hada video book.
Maybe I did a keynote and I hada video book, maybe I did a
(12:03):
keynote and I had a few sceneswhere you could see me, just so
I signed with them in 2019.
And then, little by little, Igot commercials with them and,
little by little, small fictioncastings.
I got small parts in niceproductions like Antidisturbios,
(12:25):
the Rodrigo Sorogoyen, which isone of my favorite directors in
the world.
And, yeah, step by step, christold me one day so the agent
that you know from our teammanagement, you don't build a
house without foundations.
Because I was like I was veryinnocent and said, okay, maybe,
(12:46):
maybe I sign with them andtomorrow I have a great part.
And she told me, ola, hold on,we need to build, go to classes,
do your work and we'll see inthe future.
Speaker 1 (12:58):
And so what is your world made of today?
Because I totally relate toyour journey, because I started
in the world of dance and then Ihad a bit of a same thing as
you.
It's not, I was not done withdance, but there was something
of me that wasn't beingexpressed in the world of dance.
And so the world of acting andthen film, and then camera, and
(13:19):
then obviously now fighting forthe camera, is part of my world.
But then I'm coming, comingback to dancing a bit, but in a
total different.
My relationship with dance haschanged.
So what is your world made ofnow?
Is it like, well, music was youknow where I started and that's
it chapter over.
Or are you still in the worldof music Like, where are you at
(13:42):
energetically and where do yousee yourself going,
energetically speaking, you know, with your creative endeavors
in general?
Speaker 2 (13:50):
music was my first love.
I'm still in love with musicand recently I a few months ago,
I was like, oh my god, I wouldlike to start playing in a band
again.
I miss it.
It Because the drums, it'sreally something physical, and I
figured out much later that whyI was so fascinated by it when
(14:14):
I was a teenager is when I wasdrumming.
It was the only moment I wasn'tthinking about anything else, I
was just in the moment.
If there is a snare hit, I'mthere.
I'm not thinking about the onebefore, the one after, I'm just
into the now.
I think it's what I'm lookingfor in all my experiences is
(14:40):
just to be in the moment.
So now today I'm working as asound engineer, still as a mixer
, but more for movie soundtracksor series or cartoons or
whatever, because the musicbusiness has been since 20 years
.
It's just been going down therecording industry because
(15:03):
people are not buying musicanymore.
So the budgets are smaller andsmaller to go in the studio and
at some point it was verydifficult to have a recording
studio and musicians.
They don't have money to payyou.
So while in the sound for imagethere is still an industry and
(15:25):
budget.
So I slowly moved to that partand it gives me a great
flexibility about schedulesbecause I'm a freelancer, so I
can be off if I need to forshooting, for whatever, and I
can work from anywhere.
I have a mobile mixing setup.
So as long as I have a goodinternet connection I can work
(15:46):
from anywhere.
I have a mobile mixing setup.
So as long as I have a goodinternet connection I can work.
So this is my main incomeactivity.
Let's say I want to go back intomusic as a musician and as a
producer.
I miss it and I would like todo it again.
And, of course, acting.
I want to keep on acting.
(16:07):
But I realized, even though Ihad great opportunity with
Berlin four or five years aftermy first acting class, which is
amazing I realized that thisacting world requires a lot of
patience, that things come, butyou have to be very patient.
(16:31):
And it's not my first quality,I worked on it.
But for me it's very importantto have another regular activity
like mixing for me for themoment.
And if I have actingopportunities, great, amazing.
But I don't have to get a jobor a role or accept stuff I
(16:56):
don't really care doing as anactor because I need, I just
need the money.
You know, I came from musicbecause initially music was just
a passion for me.
But as my band got a little bitsuccessful it became more like
a job and when I started actingI just made a pact with myself,
(17:20):
a deal with myself saying okay,the only rule in acting is that
it has to be fun.
For me, the process has to befun.
Rehearsing a scene, doing thecasting, just this has to be fun
, it's all I care about.
Just to keep it like somethinga little bit special and not
(17:43):
make it like a job in my head.
You know, like oh shit.
You know I realized that withmusic when I had to play the
first time.
I played venues like AncienneBelgique in Brussels or
Botanique in Brussels or DourFestival, which when I was a
teenager it was my dream.
(18:04):
First time I did it I was justlike over the moon.
But the dance time I was not somuch excited.
I was like I'd rather stay homethan go play in a muddy
festival.
So I realized that and I said,okay, I don't want to do the
(18:26):
same with acting.
I want to really use thisexperience and really take care
of it as something special andand being professional, but not
taking it mentally okay, it's myjob, I have to do it.
No, I want to do it.
Speaker 1 (18:42):
I, I'm happy to do it , it's fun thank you so much for
sharing that because I just canrelate to it so much.
When I was a dancer andchoreographer, but more of a
dancer, yeah, I was living thedream as a dancer, but I said
yes to so many jobs because youneed the money and it was great
I was living.
You know, that was my income.
(19:03):
But actually, how many of thesedance jobs were really coming
from the heart and from a placeof, oh my God, this is what I
want to do creatively speaking,and this is now well, actually,
in these kind of dance jobs,well, they're just there because
they bring me in money, butartistically speaking, they
don't fulfill me.
And I feel, going through thissecond creative career adventure
(19:29):
chapter of life, whatever likeI feel I'm finding that fun in
action, acting, mixing movement,fighting and acting.
And what I find also veryinspirational about what you say
is you share it very honestly,authentically and with a lot of
transparency.
Is you still have anotherincome, but you are able to make
an income from a creativeactivity that you love, but you
(19:51):
still find a great balance of,hey, I'm still going to live my
life in a fulfilling and alignedway, but my universe as a whole
is going to be in the creativefield and you land this big role
as an actor.
You're playing this role in theseries of Netflix Berlin.
Then you're being thrown intothe spotlight, if I can say so,
(20:15):
because Berlin was, you know,everybody was waiting for this
series and you were invited on ahuge amount of media platforms.
So the first thing I want toask you is how did you handle
that emotionally?
Because from the outside wecould say, could say oh my God,
he made it and look at this guyhaving all these interviews.
But I'm sure that on a personallevel, there must be highs,
(20:37):
lows, fear, doubt.
Actually, let's talk first aboutbecause I'm in a movie that is
going to come out which iscalled Daniela Forever.
I'm having a secondary role,but at the end of the day, as
actors, we don't see the finaledit until it's coming out, so
(21:00):
we don't even know if the filmor the series are going to be
good.
If we did actually a good job,because we know what we've done
on set, then in post-productioneverything can change.
How did you handle the firstpart, which is I had a blast on
set and now I'm waiting for thefinal edit to come out?
How did you handle that part?
Speaker 2 (21:12):
Oh, with a lot of doubts, because start from the
casting call and do Go ahead.
It's just to make it morechronological.
So when I received the castingcall for that series, I was
really into okay, I need to makemoney because I was in a
difficult situation.
(21:33):
So in my mind I was okay acting.
I'm open to commercials becauseit's quick money, easy money.
But I don't have the time to dofiction because for a casting,
for a fiction, casting firstthing is required is okay.
Okay, first learn the lines, dothe job for the casting.
(21:55):
So take time to do it, investtime and maybe you will have a
job.
So I was not really into thatat the time.
But I received that callwithout knowing for which
project it was.
I just knew it was for a greatcasting director, two great
casting directors from Madridwho are Eva Leira and Yolanda
(22:20):
Serrano Leira and Serrano and Ihad heard about them.
I knew they were the castingdirectors of La Casa de Papel,
alejandro Menabar, of PedroAlmodovar, and very nice
projects.
So I said, okay, I'm going todo it.
La Casa de Papel, alejandroMenabar, of Pedro Almodovar, and
very nice projects.
So I said okay, I'm going to doit.
And if I do it.
I will just try to do it.
Well, that's my philosophy.
If I feel I don't have the timeto prepare it and present
(22:45):
something that I'm proud of, Iprefer not to do it.
So there, I took time and Isaid, okay, I'll try to do
something nice.
So at least they will call youback for another project,
because if the first audition isterrible, they will not
necessarily call you later.
So I just did it.
It was super nice.
(23:06):
I did it from here in Zoom withone of the assistants, and the
casting was so nice.
It was like us talking now.
There was no stress.
I was prepared.
I didn't say one word.
That wasn't my script.
I changed everything, took thatrisk because they just said
(23:27):
that my character had to speakin Spanish, altered Spanish.
So not a great accent, notgreat vocabulary, and my text,
the text I received, was verygood Spanish, and I felt I would
never use these words naturally, these words naturally.
(23:50):
So I kept the whole ideas butwrote them how I would say them
normally, with mistakes, and soI did it like that, so a few
times.
And then they didn't know ifthe character would speak French
, spanish, both, so I alsoimprovised the scene in French.
(24:12):
So they had both and it was anice moment.
And one month later I was inBrussels and Natalia, our agent,
called me and said oh, goodnews, you got the part.
But from there I had no idea ifit was.
I think by the time I knew itwas Berlin, but I had no idea of
(24:32):
the importance of the characterIf it was one day of shooting,
two days.
So Natalia called me and saidoh, that's quite a recurring
character and it would be atleast 20, 25 days of shooting
and you have to go to Madrid,like next week.
And I was like what, what thehell?
Great, it's amazing.
(24:53):
So I just had to organize myplanning for work, because I had
work schedule that I had tocancel in order to go to Madrid.
And so from there I flew toMadrid, met the whole production
team, met some of the actors.
It was great, it was super kind.
(25:14):
And the first day Pedro Alonsocame to my camerino and said
Hola, bienvenido en la familia,que tal?
It's going to be great, we'regoing to have a good time, we'll
have good scenes together.
And I was just like in a dreamthat day, you know, like whoa.
So when they're for a week wedid the process, what they call
(25:35):
so it's finding the look of mycharacter haircut, beard,
costumes, et cetera, et cetera.
I went back to Belgium orBarcelona, I don't remember and
then I received my convocationfor the first, for the first
days of shooting, which were inParis.
And yeah, at the beginning Ihad to be honest, I had the
(25:56):
imposter syndrome.
Will it be okay?
Am I going to screw up?
You know, and I was doubting,so I called a few colleagues,
acting colleagues who are moreexperienced than me and who said
you know, it's totally normal,what's your feeling?
I felt the same, that feelingthat on the shoot, on the set,
(26:18):
you have the feeling thatsomeone's going to come and say,
hey, sorry, it was a mistake,casting mistake, someone did a
mistake, but you can go home,you know what I'm talking about,
what I'm talking about.
But the whole team was so kindand nice on the human level that
it went away very quickly, thatfeeling, that imposter syndrome
(26:39):
.
But when we finished shooting,so the whole shooting was, I
think, nine months, the wholeshoot of the series.
So I had to go for four dayshere, three days there, maybe
one day here.
I did my last scene at the endof May.
(26:59):
So I was supposed to go back toBrussels and so I said goodbye
to everybody.
You know on set they do.
It was the last day of Julian.
Then you have the whole setclapping and the director coming
and I received a big gift fromthe producer.
So it was really wow moments Iwould never forget.
(27:20):
So I was ready to leave and oneof the producers came to me and
said oh, by the way, we're goingto do a vision of the first
episode at Netflix in three dayswith the main cast and we'd
love you to be there.
Okay, sure.
So they changed my flights andI went to see the first episode
(27:44):
next to the Pedro Alonso, themain cast, the technicians and
nobody had seen anything untilthen.
So it was fantastic.
But I still thought, or feared,that all my sequences would be
(28:06):
cut and would not be part of thefinal editing, or that it would
be terrible and that my careerwould be over as an actor,
because you don't see anything.
You just do a scene one, two,three times and you're just like
okay, I start to feel it nowand they're already okay, next
(28:27):
scene, it's done, okay, we haveit, and so you just have to
trust everybody.
So I learned a lot, a lot, andas my character was talking in
some scenes in spanish, but inother scenes in french, I asked
the production or or the agencyif I could dub myself in french
(28:49):
because I speak french.
I would find it ridiculous tohave someone else dubbing me in
French.
Speaker 1 (28:54):
Oh, what a great, what a great idea that you had
there, Because obviously onNetflix everything is being
translated in other languages.
Speaker 2 (29:02):
I mix a lot of dubbing, french dubbing.
So I know that world, I've beenin that world a lot.
I learned a lot also because Iwas.
I've been recording thousandsof hours of French dubbing.
So you just basically have anactor in front of a microphone
just acting with his voice.
(29:25):
So I think during these years Ijust learned also by just by
watching and listening actorsall day long practicing in front
of a microphone.
So long story short.
I went to Paris a few monthslater to dub my scenes that were
in Spanish, to dub them inFrench.
(29:45):
So, and then I said I, so I sawsome of my scenes and I was
okay, you can sleep, you can.
It's not perfect, of course,but you don't have to be ashamed
of what you did.
And then after that there wasthe big release party in Madrid,
(30:07):
which luckily I've been invitedto Because at the end of the
day, my character was numbereight in the call sheets.
You know, for those who don'tknow, I just discovered it too.
But, like for Berlin, actornumber one is Pedro Alonso.
Number two, three, four, five,six is his band.
(30:30):
Number seven was SamanthaCamilleille, my wife in the
series, and number eight was me.
So I got invited to everythingred carpet, uh, photo, protocols
with the, with the core team soit was like amazing.
But I took it with a distance,because this night of the
(30:52):
premiere they invited me to anamazing hotel in a palace in
Madrid, but the night before Iwas couch surfing at a friend's
place, you know, and the nightafter I was in a youth hostel or
whatever you know.
Speaker 1 (31:08):
So I I took everything like an experience,
but with some distance thank youso much for sharing the reality
check you know, and uh, and theauthentic, uh, transparent
realities behind the scenes.
So I have a question about thisbig launch party.
(31:31):
What is happening with a series?
Because obviously you sawepisode one a few months prior
to that, but when there is theofficial hey, everybody's coming
together because the series aregoing to launch.
Are you binge watching everysingle episode together?
Or like, how does that actually?
How does that work?
(31:51):
Did you binge watch all theepisodes by yourself in the
couch at home, or does thathappen at the party, like you're
going to watch every singleepisode together as a team?
Speaker 2 (32:01):
So the party was?
It was amazing.
It was.
They put a lot of efforts andmoney in it.
It was a Netflix party in abeautiful place in Madrid, I
think they set up.
There was one cinema in thatplace with the cast and there
was another room for anotheraudience with headphones.
(32:23):
And I think.
No, we only saw the firstepisode again, nothing more.
And then party, concert, food,photo shoots, whatever.
Speaker 1 (32:37):
So obviously the series had a huge amount of
success.
Like I'm a bit like I've had apapel fan, I'm a big fan of
Berlin as well.
It's just, yeah, I got hookedand addicted and a big part of
the world was hooked andaddicted.
So then you got invited to alot of platforms to speak about
your role, your acting career.
(32:58):
You've been put in thespotlight also on French
speaking platforms, so inBelgium and in France.
So how did you navigate that?
Because, obviously, being putin the spotlight all of a sudden
, I personally think that weshould all be equipped for that,
professionally speaking, butalso on a personal level to
manage fears and excitements,doubts.
(33:19):
How did all of that happen foryou?
Speaker 2 (33:22):
Once again.
When Natalia told me I had therole, I had the part I just
thought, oh my God, it's greatas an actor, I had the parts.
I just thought, oh my God, it'sgreat as an actor.
My God, I will have theopportunity to, to act in, to
act with Pedro Alonso.
Imagine.
He's been doing that for 35years.
He's an amazing actor.
He's done a lot of differentthings.
(33:43):
It's a great opportunity and Ijust thought about it and it's
more.
I just told it to a few friends,close friends, family, because
there are confidentiality, blah,blah, blah.
So you, you cannot, you don'twant to talk too much about it,
but it's mainly my friends.
(34:05):
Some friends would tell me ohmy God, it's related to La Casa
de Papel, so you're going tohave a zillion of Instagram
followers.
I thought, oh, oh yeah, Ididn't think about that.
Maybe, I don't know, I'm nottoo much into social networks.
I'm from an older generation.
I knew the world withoutinternet.
(34:25):
It's not very natural for me.
But I thought, oh yeah, maybethat's right, very natural for
me.
But I thought, oh yeah, maybethat's right because, yeah, when
you look at the profiles ofactors from La Casa de Papel,
they have a lot of followers andso I understood it was very
important today.
But for some people it wasalmost more important to get you
(34:49):
know, I was just happy to havethat job as an actor and for
some people it was the other wayaround.
It was like, oh, it's great tohave that job because you will
have many Instagram followers,as if Instagram was the goal,
the purpose.
Because if Instagram was thethe, the goal, the purpose.
Speaker 1 (35:06):
Because if Instagram was the, was the new award sort
of thing or number of followers?
Speaker 2 (35:11):
But before the release I thought, okay, let's
be honest, it's a very, it's aninternational project, you know,
on on December 29th, it's it'svery funny, on December 29th,
it's very funny.
It's really weird to say, okay,it's released now in the whole
world.
It's not just my country, spain, no, it's the world, it's
(35:36):
Netflix.
So I thought that kind ofopportunities of exposition are
not that frequent.
What do you say Frequent,frequent, yeah.
So I said maybe it would be themoment to have some PR help from
public relation, press relationpeople who do that as their job
(35:59):
, because maybe it's now ornever, you know, on an exposure
level.
So I contacted a press agencyin in in Madrid, a few months
actually, and one of them, whichwas Gran Via Comunicacion,
which is also, which also takescare of, uh, el Profesor and La
(36:25):
Casa de Papay, were the first toanswer saying oh, yeah, sure,
we'd be happy to work with you.
So we had a few phone calls andjust discussed how we could do
it, how many months, how much itwould cost, because at that
point I'm paying that.
I'm paying for that personally,because I don't think I say
(36:52):
anything.
I cannot say now secrets.
But now Netflix promoted theseries.
Of course berlin and his band,so just the six actors, that's
it.
So I thought it would makesense to try to invest a little
(37:16):
bit of money and see where itgoes, because I thought if I
don't do it I might, mightregret it.
So at least I did it andlearned on that whole part,
which is more promotion, tryingto have an image, trying to get
(37:39):
your name in nice magazines, innice interviews, and try to
build a career with the mediastoo, because nowadays you have
to play with the media.
Speaker 1 (37:51):
And so it's this company in Madrid that you
worked with throughout the wholePR campaign, or did you have
different, because obviously youhad a lot of interviews in
Belgium and in France as well?
Were they in charge of makingthat happen, or did you also
work with Belgian or French PRagency?
Speaker 2 (38:10):
This agency from Madrid took care of all the
Spanish medias and also in LatinAmerica Because they had
connections as they worked forAlvaro Morte, a professor.
They already had goodconnections with the medias that
liked the universe of La Casade Papel, you know.
(38:31):
So I got a few interviews inArgentina, mexico, in the US
through them and for Belgium.
I met through a friend, pr inBrussels, rodrigue, who used to
be an agent in Paris and who hadbeen doing like PR work for
(38:52):
artists in Belgium and also hewas also doing the promotion of
movies, when there were somemovies for Sony or I don't know
when they got released inBelgium.
And now he's also doing thepromotion of HBO Max that's just
been released in Belgium.
So, ahmed Rodrig, we talked andhe said, ok, I'm going to help
(39:15):
you and we had a deal.
I was super surprised of theamount of interviews I got in
Belgium.
It was crazy.
I didn't expect that at all.
I expected a few interviewshere and there, but at some
point it got.
Yeah, many people wanted tointerview me because I was a bit
(39:38):
known in Belgium as an indiedrummer Back in the days.
I had some press and interviewsand stuff as an indie drummer
back in the days.
I had some press and interviewsand stuff with my bands back in
the days.
So the people, the journalists,were like how the fuck is a
(40:01):
Belgian Brussels indie drummerin La Casa de Papel?
We missed something.
So they wanted to know that.
So I got invited to many thingsand it was great.
I learned a lot also about howto behave and how to deal with
the media.
Some people you can trust, somepeople you have to be careful
what you say, that kind of stuff.
(40:23):
So it's always I love to learn.
So it's.
I learned a lot about that.
I just realized also that Ialso have friends who are
journalists.
I had one of my girlfriends wasjournalist back in the day.
So it's a world.
I know a little bit, but Irealized that when you meet a
journalist, he's doing his job,he has to go back with something
to give to his chief to write.
(40:45):
So you have to be generous togive them something because they
need it.
But you have to find theboundaries in what you want to
talk about, what you don't wantto talk about.
And most of the experience weregreat and some of the
journalists, the reportersbecame friends in Belgium or in
(41:07):
Spain too, but some of them notso much like, for example.
It's a stupid example, but so Igot quite.
I think it was January.
February of this year was fullin Belgium.
(41:29):
I had stuff all the time likenational newspapers, national TV
news, like you know, les Infosdu Trésor, which is like the
most watched program in thecountry, that kind of things.
But at some point it became itgot a little bit crazy.
(41:49):
Not crazy, but I saw a side ofjournalism that I don't like and
that I want to avoid in thefuture, which is more the gossip
, gossip press and that kind ofshit.
Speaker 1 (42:02):
Please allow me to bounce back on several things
you've said.
The first thing I want tobounce back on, which I find
fantastic, is that you tookcharge of your career.
You were like, hey, I need tomake, I need to leverage this
opportunity, which I feel iswhere I'm at right now.
This movie is coming out with abig director's name attached
(42:22):
with the lead actor, is alsoquite famous and all my scenes
are with him.
Where I'm at right now, thismovie is coming out with a big
director's name attached withthe lead actor, is also quite
famous and all my scenes arewith him.
Obviously, I don't know what thefinal edit is going to be about
.
Like I don't know yet, and youknow same things.
My heart is beating because I'mlike, okay, once I'm going to
see the film, we'll see.
But I want to leverage theopportunity when this film comes
out, because I'm thinkingotherwise, it's going to become
(42:44):
just a couple of images that I'mgoing to add to my video book,
my video reel.
And then I'm going to ask myagent you know, hey, let's try
and open more doors.
And I'm like, no, I need, theremust be something that I can do
as an actress to open more doors, but also doors that obviously
are in alignment with where Iwant to go.
So I'm asking you, as anactress that is a couple of
(43:06):
years behind of where you're atright now with your career this
film is coming out what would beyour top tip in regards to
finding a PR agency?
What should I keep in mind whenlooking for one?
So I understand that there is abudget that will need to be
allocated, but how would you, ifyou were in my position, when
should I take those actions?
(43:27):
Should I wait until the filmcomes out and then take those
actions?
Should I start looking for a PRagency now, and how should I
make my decision with which PRagency to work with?
Speaker 2 (43:41):
Yeah, so it's a Spanish production.
It was filmed in Spain.
Speaker 1 (43:44):
it's a Spanish production, or it was filmed in
Spain.
It's a Spanish director, butit's a co-production between the
United States, spain andBelgium, and so the lead actor
was American.
Speaker 2 (43:56):
Okay, and where is it ?
Is it going to be released inall those territories, or more?
Speaker 1 (44:03):
Yeah, apparently, yes , yes, like I'm still waiting
for certain confirmations, asyou know, sometimes we're not
being, you know, communicatedthe full picture when you're not
the lead actor, so I'm stillwaiting for your second things
and where do you see you workingmost in the future?
Speaker 2 (44:22):
more belgium, US.
Speaker 1 (44:26):
I've always lived in different countries and I'm
happy to pack my bag whenever Ispeak four languages English,
french, dutch and my Spanish isokay, but not perfect.
I'm a Spanish actress with areally thick accent and if I'm
asked to improvise I will make alot of grammatical mistakes,
but if I have a script I canlearn it, so I think I could
eventually work in variousmarkets.
(44:47):
I would love to leverage theopportunity both for me as an
actress and have more roles thatI would be interested in and
also as a filmmaker, because I'mthinking, if I want to ask for
investors, for money, for grantsor anything to make my own
films, having a credit somewherecan also maybe help me in that
direction.
Speaker 2 (45:08):
I'm asking because I thought a lot about it after
investing some money in PR,because I was really broke.
But I told myself, okay, fuckit, you will find the money, do
it, Otherwise you will regret it.
And I didn't really have anyone.
I knew that I could ask oh,have you done it?
(45:29):
What did you think?
So I was.
I just had to believe my, myintuitions about that and it was
a great experience on a humanlevel.
The people in Madrid from GranVia Irene is Carino.
He's great.
She was super nice to me.
She told me how to do how itworks when you have a I don't
(45:51):
know an online interview, thatyou have to try not to look like
shit, have some nice lights, beprepared a little bit.
So I learned that with her.
She came to me with.
She came with me to thepremiere in Madrid because
Napalier couldn't come.
So she also introduced me topeople.
She connected me with nice suitbrands for the premiere, got me
(46:17):
interviews.
It was very interesting.
So it's nice.
Now I have a lovely article inEsquire Spain.
I have a few nice stuff, but ifI had to redo it today, I think
I would invest money in acommunity manager for the social
medias because it's much moreimpactful nowadays than articles
(46:44):
physical articles, I think andI'm terrible at social medias.
I played the game of being verypresent on social medias when
Berlin came out, but it's Idon't't like doing that, to be
(47:06):
honest.
So if I had to do it, I wouldinvest that.
Speaker 1 (47:09):
If I had to do it again, I would invest that money
in a social media master onceyou've come into the public eye
or in the spotlight, there areother things you have to handle.
It's not just your friends thatare started like your post and
comment on it, but, for example,I would really would like to
try and reach the media, as inhaving articles or being
(47:30):
interviewed on certain platforms, just to have a wider reach.
So I guess, in that terms, youdon't regret to have invested in
it.
Speaker 2 (47:54):
So how did you select the press agencies you worked
with?
Because I had heard about it,about them as the best ones, the
first ones to do PR for actorsand cinema in Madrid, because
it's, I think, in othercountries it's been there for a
(48:17):
while, but here in Spain it'squite new, and Gran Via was one
of the first ones to do it.
They had worked with El Profes,a professor, so I was confident
and they were the only ones toanswer, like the same day or the
day after maybe.
I got some answers a few weekslater from the other ones, but I
said, okay, it's the only oneinterested or answering, so
(48:40):
let's check with them.
And we called, we had a good,the human side was was nice,
because you have to feelconfident too, and so we worked
a few months together and it waslike a fee for the whole stuff,
and so they know the strategyto, to which strategy to use.
(49:00):
So we started working a fewmonths before Berlin was
released, just in order to,because no one heard about me
before, especially in Spain.
So you have to prepare a littlebit, send a first press note.
Second one do some follow-up toslowly get interviews and have
(49:27):
these interviews publishedaround the release of the series
.
So there are some work.
There was some work to dobefore the release in order to
have results after the release,if you want.
Speaker 1 (49:41):
And because the whole campaign was also linked to
berlin, the series on netflix.
Are there any agreements thatneed to be put in place with
netflix or where you're totallyindependent, in terms of, once
the series are released, you cango and have interviews like you
wanted?
Or did you need permissions?
Speaker 2 (50:03):
yes, yeah, I know what you mean, but luckily so.
Irene, who did, uh, the pressfor me in spain from granville,
knows the head of promo in forfrom netflix spain.
It's a small world, so I thinkshe told her okay, okay, I'm
going to take care of Julien forhis promotion, do you agree?
(50:27):
Do you want?
Are you going to do somethingwith him?
Blah, blah, blah.
So do you have material that wecan use, like pictures from the
set and stuff?
So they had they communicated.
I know I was not doing anythingthat would make Netflix angry,
because you don't want to have afight with Netflix, do you?
Speaker 1 (50:49):
So obviously your press agency was well connected,
and so there are agreementsthat are being put in place,
like on that sort of level.
You also asked me, hey, cindy,where, in which country, in
which market you want to work.
You worked with somebody inBelgium, rodrigue, and then you
worked with Gran Via in Spainthat was promoting you on the
(51:11):
Spanish media and in LatinAmerica.
Which one, looking back at itnow, was the most worth for you,
not in regards of the work ofthe agencies, but more in terms
of where you want to go, inwhich countries you want to open
doors?
Would you have done exactly thesame if you were to do it again
, or would you spend more moneyor more time or energy in the
(51:33):
belgian side of things or thefrench market?
Or, yeah, would you have madedifferent choices there?
Speaker 2 (51:40):
well, I think I would do about the same, because
Spain is where I started actingand where I worked the most as
an actor until today.
And, funny enough, I neverreally worked for France,
(52:00):
although French is my mothertongue and I don't have an agent
in Paris.
But the French people fromParis, they have a very good
image from Belgians.
Professionally, we have a goodreputation.
I could sense that with music.
When I was playing drums inindie bands, we would go to
Paris and they were like oh, welove Belgian bands, you're so
(52:22):
special, you're so kind, you'reso special, you're so kind,
you're so nice.
So it's like a French speakingBelgium is like a more relaxed,
more chilled French.
So I could use that in order totry to find an agency in France
.
So that was useful, althoughagencies don't really look well,
(52:45):
they look more to a video bookthan your press releases.
But well, it gives an idea ofwhere you are.
And I had to invest.
It was an investment, strongmoney.
I didn't have to make it and,yeah, it's an investment on your
(53:06):
career.
And at that moment I thought Icould invest money in more
acting classes or in a new photoshoot or whatever.
But I think now it would bewise to invest it in some
promotion and that I learnedthis from the music, because
it's the same.
When you're in a band you canrelease a great album.
(53:29):
If no one hears about itnothing will happen, or unless
sometimes it happens.
But I've seen I recorded somegreat albums and then, with a
lot of efforts of all themusicians, and then you see the
(53:50):
release, they do a littleconcert and no one talks about
it anymore because there was nopromotion, there was no
marketing plan and it's very sad.
I was aware of the marketing orpromotion side of what we do,
of artistic activities.
Speaker 1 (54:06):
And then I would love to bounce back on what you said
about your experiences with theinterviews that they were
mostly positive, but a few werea bit I don't know maybe didn't
feel aligned or that sort ofthings.
What sort of top tips would yougive to any actor that is being
interviewed by the media inorder to be prepared?
Because obviously, we cannot gointo these interviews with a
(54:35):
very innocent mind saying, hey,I'm just going to talk about
really positive things here.
Obviously, journalists arelooking for maybe the spicy
things or something that theycan spin into some sort of story
or headline that could bepositive or not, some sort of
story or a headline that couldbe positive or not.
So what would be a top tip inorder to be prepared for these
interviews?
Feel grounded and have yourboundaries yeah being very clear
in your head prior to theinterview.
Speaker 2 (54:58):
If possible, know a little bit who you're going to
meet.
Usually in Spain, irene wouldtell me okay, you have an
interview with that person,don't worry it.
An interview with that person,don't worry, it's a very kind
person, it's going to be aninterview about acting, blah,
blah blah.
So you get like a briefingbefore.
And in Belgium also, rodriguewould tell me okay, this
journalist is really about art,culture, blah, blah, blah.
(55:19):
Go there very relaxed.
And some others was like okay,the newspapers they're writing
for they might try to get someprivate life infos, or so be
careful with that.
So you think about it beforeyou go and you have some mental
(55:44):
boundaries.
For example, me, I didn't wantto talk about my private life
because I'm very, I'm not secret, but yeah, it's my private life
and I'm not an exhibitionist.
So I was very, very clear aboutthat mentally.
So I think the first interviewI did was for L'Officiel Homme
(56:06):
and she says in the interviewthat very funnily.
But she says that she tried tohave some information but that I
was like it was impossible toget it Because I was like no, I
have confidentiality stuff Isigned with Berlin and I don't
want to talk about my privatelife.
So these, I was like, sorry, Idon't talk about this, so that
(56:34):
was fun.
But yeah, I just had one or twobad experiences.
So, yeah, my advice would be Itry to apply it now.
I don't say a fucking wordabout a project, even if it's
been shot, I've been paid,whatever, until it's released,
(56:59):
or until I'm sure I'm in thefinal edit that's a lesson I
learned least or until I'm sureI'm in the final edit.
That's a lesson I learned.
Nothing very dramatic, but Ithink.
After, after I shot Berlin, Igot a casting call from RT
management for Zorro.
There was a French series shotin Spain with Jean Jardin as
Zorro.
So I was working a lot as amixer, so I did quick self tape.
(57:23):
It was for a small part, so soI did a quick self-tape.
It was for a small part, so Idid it really quickly, sent it
poof and I don't know, 10 dayslater the agency told me oh yeah
, you've been selected, so we'rewaiting for the shooting dates.
Oh, cool, but I knew it wasgoing to be one day, two days
maybe, and I think I told it toa journalist that became friend,
(57:44):
just maybe I told it to ajournalist that became friend,
just maybe I'm going to shoot inZorro, but I'm not sure.
It's the day after someoneunknown phone number calls me on
my phone, I was like oh yeah,my name is blah blah blah.
I'm a journalist at thisnewspaper, a newspaper from my
hometown, and we've heard thatyou were going to shoot in Zorro
(58:09):
.
I said, look man, I yeah, I didthe casting.
I might do it, but it's notsure.
I don't have any information, Idon't know.
So let's make a deal, If youwant, I call you back when I
have information, Because now Idon't know that very day that
the next day he published,julien pascal of berlin is gonna
(58:31):
feature in zorro with jean dujardin, for that newspapers on
their website.
And then there anothernewspaper, which is the same
kind of shitty newspaper, gossipnewspaper, also put that
information on their website.
Then Paris Match put it ontheir website.
(58:53):
Then I don't know anothermagazine put it, because they're
concurrent.
So if you publish an info Ihave to publish it too, because
we're concurrent.
Competitors, competitors, yeahto publish it too, because we're
competitors, competitors, yeah.
So I was like, okay, be verycareful with what you say,
because it doesn't really matter, because and the end of the
(59:14):
story is that I didn't have newsfor zoro and I met one of the
belgian co-producers at a partyin Brussels.
I got introduced to him and Isaid, oh, you're working on
Zorro, I'm going to shoot ascene in Zorro, I guess.
I said, yeah, for what part?
He said you know it's for thispart.
(59:36):
And he told me, no, it's done,we shot it.
I said, oh, okay, that kind ofthings happen, especially for
small parts.
I don't know what happened.
I think there were strikes withFrench technicians, so they had
changed the plans, so they justshot it with someone else, no
(59:57):
biggie.
But I think yesterday mybrother asked me again when is
Zorro released?
And I told him for the 10thtime I'm not in that fucking
theory.
It's a lie, it's fake news, soit's not very important.
But I'm quite honest and I liketruth.
So I don't really like thatkind of gossips, false
(01:00:22):
information.
And yeah, at the time I had agirlfriend.
My girlfriend was in Brussels.
She's a journalist on TV andradio, she's like Miss Cinema
for RTBF, the French-Belgianpublic radio and TV, and I don't
(01:00:44):
know.
At some point some of thesejournalists heard about it.
So we were like in that kind ofpress, oh, ee Mullen is with
Berlin's actor Julien Pascal,blah, blah, blah, like in the
gossip pages, which is it's notmy world.
So I'm pretty sure not to beinto that kind of things.
(01:01:06):
It's funny.
It's funny when it happens,like what the fuck?
I mean on the gossip bait.
But yeah, you have to becautious with that.
Speaker 1 (01:01:17):
Thank you for the warning.
Thank you for the warningbecause I think obviously they
were not like major things, butthese things can quickly get out
of hand and maybe have animpact on people's personal
lives or their professionallives, and so I think it's quite
important that we are beingwarned, as actors, to pay
(01:01:39):
attention to it.
At the end of all thisinvestment and stuff, was it
worth it to have invested thatmoney into a PR campaign?
Do you feel like doors haveopened, even though I know I've
been doing a little bit ofresearch, obviously, on how to
measure the impact of a PRcampaign and sometimes it's only
(01:02:01):
years later that you can seethe impact of it.
It's not like, hey, here we'vegot statistics, we've had that
many articles and that manydoors opened, or whatever.
But do you feel, generallyspeaking, that it has opened
doors and that it was worth it,or do you think actually it was
more about the learningexperience rather than opening
(01:02:21):
doors?
Speaker 2 (01:02:22):
Both experience rather than opening doors both.
I cannot really measure theimpact of the the pr stuff, but
I learned a lot.
So for the learning curve itwas very interesting and I think
it's yeah, it's more somethingabout the long term and building
(01:02:48):
a career, building an image,building something.
It takes time but yeah, I thinkit can open doors.
I'm not very into thecommercial partnerships, but
there is a cloth brand I reallylike since I'm a kid.
It's St James.
It's very classical navyjerseys, like the sailors from
(01:03:13):
Brittany.
It's been there for 100 yearsand I met someone who was
working with them.
They gave me some cloth becauseI could send, like a press how
do you call that Press release,a dossier press.
It helps.
I'm talking to an agent, niceagency in Paris for the moment I
(01:03:33):
think I send them some links tomy interviews, but I also send
my video book and my CV.
It's part of the whole thing.
But I cannot say, okay, thisinterview brought me that job.
It doesn't work like this.
Speaker 1 (01:03:52):
Perhaps it has opened doors in regards to commercial
endorsement possibilities forsponsorship.
If you wanted to pursue thatconversations, perhaps with
other agents.
Do you feel it eventually gotyou into certain castings?
Do you feel you have morefiction castings or more
interesting roles after the PRcampaign?
(01:04:12):
Do you feel it had an impact onthat?
Speaker 2 (01:04:16):
I, yeah, in Belgium, yes, because, as in Belgium,
there is no agents, so it gaveme some spotlight towards the
Belgian casting directors whodidn't invite me.
They didn't know about mebefore and now they invite me to
castings, so it's a good thing,but it could be very small
(01:04:41):
parts.
Yeah, no, it doesn't reallychange anything on that level
for now, with big productions,it doesn't change anything, but
it helped for more, maybe moreindie projects or things that
(01:05:01):
are in development, projects orthings that are in development,
but yeah, where I get very niceproposals, but it's in
development.
So will it happen or not?
Speaker 1 (01:05:12):
I don't know thank you so much, julian, for this
really authentic and transparentinterview.
Like I feel, I learned so muchand I also feel way more
prepared as an actress, you knowfor what might coming,
hopefully come my way in thenext few months as well.
Can you just share with us amantra that you have at the
(01:05:34):
moment, because obviously you'vegathered a lot of experience in
the arts and you have, I'm sure, as a human being, you've
transformed a lot over the lastfew experiences.
What is your current mantrathat you keep in mind?
Speaker 2 (01:05:46):
to stay grounded and to move forward I have a few
ones one day at a time is one ofmy mantras out of my life
experience.
I'm not very good at makingplans and seeing months or years
ahead.
I try to be in the moment asmuch as possible, whatever I do,
(01:06:09):
to be conscious.
So it's also life discipline,because in order to be conscious
, you have to take care ofyourself, of your mind, of your
health, feelings, drugs, alcohol, whatever Part of the journey.
And yeah, I'm very much, yeah,it's related to that.
(01:06:32):
But I really try to be asconscious as possible and as
connected to my guts as possibleand trust my guts, because many
times in the past I didn'treally listen to my guts and
afterwards I said why the Ididn't really listen to my guts?
And afterwards I said why thefuck didn't I listen to myself?
I knew it, I knew, I knew thatsomewhere in myself I knew.
(01:06:56):
But you say no, you mentalizeit a lot and you say no, it's
going to be all right, noproblem.
And then after, after, yeah,you realize you, your intuition
was right.
So I really try to connect withthat amazing, amazing.
Speaker 1 (01:07:11):
Thank you so much for your grounded spirit and for
your openness during thisinterview.
Thank you so much, julian well,pleasure.
Speaker 2 (01:07:19):
Thank you so much for yeah, it's.
I think it's the first time Italk about all this and it's
interesting because it's been ajourney and it's nice to share
it.
And actually one of my we'revery good friends now with
Rachel Lascar, who plays she hasthe role of Commissaire Lavelle
in Berlin, the French policewoman, berlin, the French police
(01:07:44):
woman.
We were friends before and weare very close now and she's way
.
She's much more experiencedthan I am.
She's been acting for years.
She has an amazing curriculum,but she never did the promo work
and she saw me doing it, wetalked about it and she worked
with the same agency too.
(01:08:05):
At the end of the day, ohamazing yeah, yeah, because she,
yeah.
We were just talking and I saidI think with your, with the
career you have, you people needto know, at the end of the day,
if my journey can be aninspiration for one person.
It all makes sense to me.
(01:08:27):
When I was drumming a lot, akid once came to me.
I knew him since he was a kidand now he was 22.
He became an amazing drummer,way better than I was.
He studied jazz and classicalpercussions and stuff.
But one day he told me Idecided to become a drummer
(01:08:47):
because when I was 10 or 12, Isaw you playing.
To me that's the most valuablereward.
Speaker 1 (01:08:54):
I definitely think that during this interview, we
brought light to a topic that isnever really talked about,
which is that transition fromjust being an artist to the
spotlight is here.
I learned so much, and so thankyou so much for empowering
myself and also all the peoplethat will be listening to this
podcast.
Speaker 2 (01:09:13):
My pleasure and thank you.
Thank you very much.
Welcome to the Loud Whisper Takeover podcast.
As you know by now, I'm anaction actress and a filmmaker
on my own journey of trying tomake it happen.
So today we're going to talk toa very special guest about what
happens when, all of a sudden,you're in the spotlight.
All of us actors, that's whatwe want, like landing that big
(00:23):
role.
But really and truly, how doyou handle that on a personal
level?
Then there are so many otherquestions.
Can you leverage theopportunity that you just had so
that more doors can open?
But how do you handle it on apersonal level, on a
professional level?
Because more success also comeswith more responsibilities,
more problems or differentproblems to solve.
So today we have a specialguest responsibilities, more
(00:45):
problems or different problemsto solve.
So today we have a specialguest who is Belgian, a Belgian
actor that made it big onNetflix.
You have probably heard about aNetflix series called Berlin,
and he played the role ofFrançois Polignac.
Please welcome, julien Pascal.
Hi, julien, how are you doing?
Speaker 2 (01:00):
Hi, cindy, I'm very good.
Thanks for the invitation.
I'm very happy to be here today.
Speaker 1 (01:06):
Well, I'm super excited to talk to you today
about the topic, but alsobecause you're also Belgian,
like me, and so you have aninternational career and you are
also, like, a multidisciplinaryartist.
So, on top of being an actor,please tell us more about you,
about your world, your universe.
What do you do as a creativebeing?
Speaker 2 (01:28):
Chronologically.
I fell in love with music whenI was a kid, especially with
drums.
I was just hypnotized.
Each time I would see a drummer, a drum kit, a show on TV.
I don't know how, because noone is really a musician or an
artist in my family.
My parents used to listen togood music, but no more than
(01:48):
that, and I don't know.
I started drumming when I was 13, after two years of hard work
with my mother, who one day saidokay, take your money that you
received for your birthday andbuy yourself a drum kit and
leave me the fuck alone.
So that day I found a drum kitin my little town in Belgium and
(02:14):
we went and I had half themoney.
The girl wanted and I wanted itso bad that I negotiated and I
think she was.
She felt a little bit bad forme and she said okay, you can
have it.
So I went with my drum kit andit changed my life, cause from
(02:39):
then I was just obsessed in my,in the cellar, in the, just
playing all day long on Nirvanarecords and whatever records,
and and from there I startedplaying in bands, in local bands
in my little village, and whenI was, I think, 18 or 19,.
(02:59):
I got invited to an auditionwith a band in Brussels, an
indie band that had a recorddeal with the label of Deus,
that Belgian band which was veryfamous back in the days.
Speaker 1 (03:12):
I must say I don't, but please tell us what did the
band, what kind of music didthey do or what sort of genre
were they in?
Speaker 2 (03:19):
Indie rock meets Tom Waits meets Captain Beefheart,
that kind of blend, but itreally.
It was huge in the end of the90s.
It was a band from Antwerp andsuddenly young musicians
believed that they could make acareer and that indie music
could make sense and havesuccess in Belgium.
(03:41):
So it opened a whole newperspective.
So I got hired by this band,played a few shows.
I met musicians from Brussels,especially a guitar player named
Turk Henri, and this guystarted to play with another
band called Schafko, and at somepoint Sch Sharko needed a
(04:05):
drummer.
So I started to play with themand little by little Sharko got
some singles on the radio.
We went from very small venueslike 20 people to a full house I
don't know 500, 700 audience inBrussels.
(04:26):
And I've been playing with themfor about 10 years, touring
whole Europe, us, recording manyalbums.
So that was my very first career.
I was just obsessed with musicand I just wanted to be a
drummer.
I didn't want to go touniversity, I just wanted to go
(04:47):
to London at the Music Instituteof yeah, mit Music Institute of
Technology, where it's one yearof intensive classes with the
best.
But when it was time to go myparents told me okay.
No, we won't let you go toLondon.
(05:08):
You're too young, drugs,whatever.
So, out of despair, I didn'tknow what to do with myself.
So I went to university tolearn economics and after six
months I was learningaccountings for the exams.
And I just said to myself whatthe fuck am I doing here, what?
(05:32):
And I stopped that day I saidto my parents I quit.
And then I learned.
I went to Louvain-en-Oeuvre tolearn sound engineering at EAD,
which is the only school inBelgium back in the days to have
that kind of programs.
And yeah, it was a compromisewhere I was still in the world
(05:57):
of music, but with a real jobsomehow for the parents, with a
real job somehow for the parents.
So since then I've been workingas a sound engineer, mixer,
music producer.
I had my own recording studio,I had my own label and
(06:18):
publishing, and meanwhile I wasstill playing with bands and
touring, and so it's been mylife for 20 years, I think.
Speaker 1 (06:25):
And how did acting cross your path?
Or when did that seed gotplanted?
Speaker 2 (06:30):
So, as I just told you before, I was very much into
the music world as a being, asa musician or producer, mixer,
engineer, whatever and since Iwas a kid, I really loved acting
comedy, imitation, movies,shows.
I was really fascinated by thatand I never took any classes.
(06:55):
I didn't dare.
I like to be behind my drums, alittle bit Hidden, but I didn't
really feel like being frontstage.
I don't know why, but I movedto Barcelona in 2016 or 17 and I
was a bit done with music.
I still love music, but I was abit fed up with the not with
(07:22):
the music itself, but withwhat's around Spending an hour
in a van to play one hour showand, yeah, I needed some change.
So I moved to Barcelona and Ididn't know anybody in the music
world in Barcelona, but Imissed a creative activity.
(07:46):
So one day I was meditating.
I used to go to a place inGracia and meditate and do yoga
every week with a great shaman,an American guy, lucas and one
day I was meditating and it justcame clear like okay, acting.
And it just came clear likeokay acting Because it had been
(08:08):
there for a while and you alwaysfind excuses not to do it.
No, it's not the right time, Ihave work to do, I'm too shy,
whatever.
So it had been in my mind for along time and that day it was
like, okay, I'm going to get outof this class, this meditation,
and I'm going to go to actingclasses Period.
(08:29):
So that's what I did.
I left there.
I found some great improvisationclasses in French in Barcelona,
which was a great step becauseit was open to one of the actors
or people working in businessbut who have problems speaking
(08:49):
in public and that kind of stuff.
So that was very nice as anintroduction and I really liked
it.
So I did it for a few monthsand then I was.
It was very nice, it opened mymind and made me figure out I
wasn't that shy.
And so from there I searchedfor other classes in Barcelona,
(09:13):
but a little bit more demanding.
So I just Googled actingclasses English Barcelona and I
found the Actors Workshop, whichwas luckily in Poblenou, really
close to where I lived by thetime.
So I just contacted Frank Face,which is Belgian too, was
Belgian as well.
Speaker 1 (09:34):
Yeah, frank, yeah, yeah, I know Frank.
Speaker 2 (09:36):
Yeah, okay.
So I just met Frank and we said, okay, can start next week.
So I started with Sam Meissnerfor a few months and then Chabot
technique with Frank, which wasvery interesting.
And what I missed in theimprovisation classes is that,
anything you do, they were like,oh, that was great, amazing,
(09:57):
cool, which is nice to startwith, but afterwards I needed
someone telling me what the fuckare you doing?
You should try this, try that,to be a little bit more
challenged.
And Frank offered that to me andgave me confidence to push it a
bit further, and also some ofmy classmates.
(10:17):
You get out of stage, you didyour little scene and they're
like, oh, that was really cool,I like this, that that's
interesting when you do that.
And you're like, oh, wow, cool,I like this, that that's
interesting.
When you do that, and you'relike, oh, wow, cool, thank you,
and it gave me some confidence.
So from there I went to a firstagency with, which was in
Barcelona, face of Music andthat's a music agency or that is
(10:37):
a talent agency or an actingagency.
Talent agency, mostly forcommercials, but initially based
on musicians.
So if you need a drummer in acommercial, a trumpet player or
a dancer or whatever it was inthat niche.
So I thought, okay, I'm amusician, so it makes sense.
So we had a very good starttogether.
(11:00):
I, my idea with going to acommercial agency was just
initially to dare to just do acasting without being frightened
like a rabbit.
So that was the idea.
So I signed with Face of Music.
I wasn't out of the office theytold me oh, you can go to a
(11:21):
casting there, a casting there,a casting there.
So it went really fast andchance of the beginner.
I I got options or booked in acommercial like very quickly.
I enjoyed it.
It's fun to be on set to getsome money.
So I was really into it.
(11:41):
And but I wanted to do fiction.
So I left face of music, send amail to our team management,
met Chris and Natalia and theygave me a chance.
And I'm very grateful for that,because when I went there I
just I don't even know if I hada video book.
Maybe I did a keynote and I hada video book, maybe I did a
(12:03):
keynote and I had a few sceneswhere you could see me, just so
I signed with them in 2019.
And then, little by little, Igot commercials with them and,
little by little, small fictioncastings.
I got small parts in niceproductions like Antidisturbios,
(12:25):
the Rodrigo Sorogoyen, which isone of my favorite directors in
the world.
And, yeah, step by step, christold me one day so the agent
that you know from our teammanagement, you don't build a
house without foundations.
Because I was like I was veryinnocent and said, okay, maybe,
(12:46):
maybe I sign with them andtomorrow I have a great part.
And she told me, ola, hold on,we need to build, go to classes,
do your work and we'll see inthe future.
Speaker 1 (12:58):
And so what is your world made of today?
Because I totally relate toyour journey, because I started
in the world of dance and then Ihad a bit of a same thing as
you.
It's not, I was not done withdance, but there was something
of me that wasn't beingexpressed in the world of dance.
And so the world of acting andthen film, and then camera, and
(13:19):
then obviously now fighting forthe camera, is part of my world.
But then I'm coming, comingback to dancing a bit, but in a
total different.
My relationship with dance haschanged.
So what is your world made ofnow?
Is it like, well, music was youknow where I started and that's
it chapter over.
Or are you still in the worldof music Like, where are you at
(13:42):
energetically and where do yousee yourself going,
energetically speaking, you know, with your creative endeavors
in general?
Speaker 2 (13:50):
music was my first love.
I'm still in love with musicand recently I a few months ago,
I was like, oh my god, I wouldlike to start playing in a band
again.
I miss it.
It Because the drums, it'sreally something physical, and I
figured out much later that whyI was so fascinated by it when
(14:14):
I was a teenager is when I wasdrumming.
It was the only moment I wasn'tthinking about anything else, I
was just in the moment.
If there is a snare hit, I'mthere.
I'm not thinking about the onebefore, the one after, I'm just
into the now.
I think it's what I'm lookingfor in all my experiences is
(14:40):
just to be in the moment.
So now today I'm working as asound engineer, still as a mixer
, but more for movie soundtracksor series or cartoons or
whatever, because the musicbusiness has been since 20 years
.
It's just been going down therecording industry because
(15:03):
people are not buying musicanymore.
So the budgets are smaller andsmaller to go in the studio and
at some point it was verydifficult to have a recording
studio and musicians.
They don't have money to payyou.
So while in the sound for imagethere is still an industry and
(15:25):
budget.
So I slowly moved to that partand it gives me a great
flexibility about schedulesbecause I'm a freelancer, so I
can be off if I need to forshooting, for whatever, and I
can work from anywhere.
I have a mobile mixing setup.
So as long as I have a goodinternet connection I can work
(15:46):
from anywhere.
I have a mobile mixing setup.
So as long as I have a goodinternet connection I can work.
So this is my main incomeactivity.
Let's say I want to go back intomusic as a musician and as a
producer.
I miss it and I would like todo it again.
And, of course, acting.
I want to keep on acting.
(16:07):
But I realized, even though Ihad great opportunity with
Berlin four or five years aftermy first acting class, which is
amazing I realized that thisacting world requires a lot of
patience, that things come, butyou have to be very patient.
(16:31):
And it's not my first quality,I worked on it.
But for me it's very importantto have another regular activity
like mixing for me for themoment.
And if I have actingopportunities, great, amazing.
But I don't have to get a jobor a role or accept stuff I
(16:56):
don't really care doing as anactor because I need, I just
need the money.
You know, I came from musicbecause initially music was just
a passion for me.
But as my band got a little bitsuccessful it became more like
a job and when I started actingI just made a pact with myself,
(17:20):
a deal with myself saying okay,the only rule in acting is that
it has to be fun.
For me, the process has to befun.
Rehearsing a scene, doing thecasting, just this has to be fun
, it's all I care about.
Just to keep it like somethinga little bit special and not
(17:43):
make it like a job in my head.
You know, like oh shit.
You know I realized that withmusic when I had to play the
first time.
I played venues like AncienneBelgique in Brussels or
Botanique in Brussels or DourFestival, which when I was a
teenager it was my dream.
(18:04):
First time I did it I was justlike over the moon.
But the dance time I was not somuch excited.
I was like I'd rather stay homethan go play in a muddy
festival.
So I realized that and I said,okay, I don't want to do the
(18:26):
same with acting.
I want to really use thisexperience and really take care
of it as something special andand being professional, but not
taking it mentally okay, it's myjob, I have to do it.
No, I want to do it.
Speaker 1 (18:42):
I, I'm happy to do it , it's fun thank you so much for
sharing that because I just canrelate to it so much.
When I was a dancer andchoreographer, but more of a
dancer, yeah, I was living thedream as a dancer, but I said
yes to so many jobs because youneed the money and it was great
I was living.
You know, that was my income.
(19:03):
But actually, how many of thesedance jobs were really coming
from the heart and from a placeof, oh my God, this is what I
want to do creatively speaking,and this is now well, actually,
in these kind of dance jobs,well, they're just there because
they bring me in money, butartistically speaking, they
don't fulfill me.
And I feel, going through thissecond creative career adventure
(19:29):
chapter of life, whatever likeI feel I'm finding that fun in
action, acting, mixing movement,fighting and acting.
And what I find also veryinspirational about what you say
is you share it very honestly,authentically and with a lot of
transparency.
Is you still have anotherincome, but you are able to make
an income from a creativeactivity that you love, but you
(19:51):
still find a great balance of,hey, I'm still going to live my
life in a fulfilling and alignedway, but my universe as a whole
is going to be in the creativefield and you land this big role
as an actor.
You're playing this role in theseries of Netflix Berlin.
Then you're being thrown intothe spotlight, if I can say so,
(20:15):
because Berlin was, you know,everybody was waiting for this
series and you were invited on ahuge amount of media platforms.
So the first thing I want toask you is how did you handle
that emotionally?
Because from the outside wecould say, could say oh my God,
he made it and look at this guyhaving all these interviews.
But I'm sure that on a personallevel, there must be highs,
(20:37):
lows, fear, doubt.
Actually, let's talk first aboutbecause I'm in a movie that is
going to come out which iscalled Daniela Forever.
I'm having a secondary role,but at the end of the day, as
actors, we don't see the finaledit until it's coming out, so
(21:00):
we don't even know if the filmor the series are going to be
good.
If we did actually a good job,because we know what we've done
on set, then in post-productioneverything can change.
How did you handle the firstpart, which is I had a blast on
set and now I'm waiting for thefinal edit to come out?
How did you handle that part?
Speaker 2 (21:12):
Oh, with a lot of doubts, because start from the
casting call and do Go ahead.
It's just to make it morechronological.
So when I received the castingcall for that series, I was
really into okay, I need to makemoney because I was in a
difficult situation.
(21:33):
So in my mind I was okay acting.
I'm open to commercials becauseit's quick money, easy money.
But I don't have the time to dofiction because for a casting,
for a fiction, casting firstthing is required is okay.
Okay, first learn the lines, dothe job for the casting.
(21:55):
So take time to do it, investtime and maybe you will have a
job.
So I was not really into thatat the time.
But I received that callwithout knowing for which
project it was.
I just knew it was for a greatcasting director, two great
casting directors from Madridwho are Eva Leira and Yolanda
(22:20):
Serrano Leira and Serrano and Ihad heard about them.
I knew they were the castingdirectors of La Casa de Papel,
alejandro Menabar, of PedroAlmodovar, and very nice
projects.
So I said, okay, I'm going todo it.
La Casa de Papel, alejandroMenabar, of Pedro Almodovar, and
very nice projects.
So I said okay, I'm going to doit.
And if I do it.
I will just try to do it.
Well, that's my philosophy.
If I feel I don't have the timeto prepare it and present
(22:45):
something that I'm proud of, Iprefer not to do it.
So there, I took time and Isaid, okay, I'll try to do
something nice.
So at least they will call youback for another project,
because if the first audition isterrible, they will not
necessarily call you later.
So I just did it.
It was super nice.
(23:06):
I did it from here in Zoom withone of the assistants, and the
casting was so nice.
It was like us talking now.
There was no stress.
I was prepared.
I didn't say one word.
That wasn't my script.
I changed everything, took thatrisk because they just said
(23:27):
that my character had to speakin Spanish, altered Spanish.
So not a great accent, notgreat vocabulary, and my text,
the text I received, was verygood Spanish, and I felt I would
never use these words naturally, these words naturally.
(23:50):
So I kept the whole ideas butwrote them how I would say them
normally, with mistakes, and soI did it like that, so a few
times.
And then they didn't know ifthe character would speak French
, spanish, both, so I alsoimprovised the scene in French.
(24:12):
So they had both and it was anice moment.
And one month later I was inBrussels and Natalia, our agent,
called me and said oh, goodnews, you got the part.
But from there I had no idea ifit was.
I think by the time I knew itwas Berlin, but I had no idea of
(24:32):
the importance of the characterIf it was one day of shooting,
two days.
So Natalia called me and saidoh, that's quite a recurring
character and it would be atleast 20, 25 days of shooting
and you have to go to Madrid,like next week.
And I was like what, what thehell?
Great, it's amazing.
(24:53):
So I just had to organize myplanning for work, because I had
work schedule that I had tocancel in order to go to Madrid.
And so from there I flew toMadrid, met the whole production
team, met some of the actors.
It was great, it was super kind.
(25:14):
And the first day Pedro Alonsocame to my camerino and said
Hola, bienvenido en la familia,que tal?
It's going to be great, we'regoing to have a good time, we'll
have good scenes together.
And I was just like in a dreamthat day, you know, like whoa.
So when they're for a week wedid the process, what they call
(25:35):
so it's finding the look of mycharacter haircut, beard,
costumes, et cetera, et cetera.
I went back to Belgium orBarcelona, I don't remember and
then I received my convocationfor the first, for the first
days of shooting, which were inParis.
And yeah, at the beginning Ihad to be honest, I had the
(25:56):
imposter syndrome.
Will it be okay?
Am I going to screw up?
You know, and I was doubting,so I called a few colleagues,
acting colleagues who are moreexperienced than me and who said
you know, it's totally normal,what's your feeling?
I felt the same, that feelingthat on the shoot, on the set,
(26:18):
you have the feeling thatsomeone's going to come and say,
hey, sorry, it was a mistake,casting mistake, someone did a
mistake, but you can go home,you know what I'm talking about,
what I'm talking about.
But the whole team was so kindand nice on the human level that
it went away very quickly, thatfeeling, that imposter syndrome
(26:39):
.
But when we finished shooting,so the whole shooting was, I
think, nine months, the wholeshoot of the series.
So I had to go for four dayshere, three days there, maybe
one day here.
I did my last scene at the endof May.
(26:59):
So I was supposed to go back toBrussels and so I said goodbye
to everybody.
You know on set they do.
It was the last day of Julian.
Then you have the whole setclapping and the director coming
and I received a big gift fromthe producer.
So it was really wow moments Iwould never forget.
(27:20):
So I was ready to leave and oneof the producers came to me and
said oh, by the way, we're goingto do a vision of the first
episode at Netflix in three dayswith the main cast and we'd
love you to be there.
Okay, sure.
So they changed my flights andI went to see the first episode
(27:44):
next to the Pedro Alonso, themain cast, the technicians and
nobody had seen anything untilthen.
So it was fantastic.
But I still thought, or feared,that all my sequences would be
(28:06):
cut and would not be part of thefinal editing, or that it would
be terrible and that my careerwould be over as an actor,
because you don't see anything.
You just do a scene one, two,three times and you're just like
okay, I start to feel it nowand they're already okay, next
(28:27):
scene, it's done, okay, we haveit, and so you just have to
trust everybody.
So I learned a lot, a lot, andas my character was talking in
some scenes in spanish, but inother scenes in french, I asked
the production or or the agencyif I could dub myself in french
(28:49):
because I speak french.
I would find it ridiculous tohave someone else dubbing me in
French.
Speaker 1 (28:54):
Oh, what a great, what a great idea that you had
there, Because obviously onNetflix everything is being
translated in other languages.
Speaker 2 (29:02):
I mix a lot of dubbing, french dubbing.
So I know that world, I've beenin that world a lot.
I learned a lot also because Iwas.
I've been recording thousandsof hours of French dubbing.
So you just basically have anactor in front of a microphone
just acting with his voice.
(29:25):
So I think during these years Ijust learned also by just by
watching and listening actorsall day long practicing in front
of a microphone.
So long story short.
I went to Paris a few monthslater to dub my scenes that were
in Spanish, to dub them inFrench.
(29:45):
So, and then I said I, so I sawsome of my scenes and I was
okay, you can sleep, you can.
It's not perfect, of course,but you don't have to be ashamed
of what you did.
And then after that there wasthe big release party in Madrid,
(30:07):
which luckily I've been invitedto Because at the end of the
day, my character was numbereight in the call sheets.
You know, for those who don'tknow, I just discovered it too.
But, like for Berlin, actornumber one is Pedro Alonso.
Number two, three, four, five,six is his band.
(30:30):
Number seven was SamanthaCamilleille, my wife in the
series, and number eight was me.
So I got invited to everythingred carpet, uh, photo, protocols
with the, with the core team soit was like amazing.
But I took it with a distance,because this night of the
(30:52):
premiere they invited me to anamazing hotel in a palace in
Madrid, but the night before Iwas couch surfing at a friend's
place, you know, and the nightafter I was in a youth hostel or
whatever you know.
Speaker 1 (31:08):
So I I took everything like an experience,
but with some distance thank youso much for sharing the reality
check you know, and uh, and theauthentic, uh, transparent
realities behind the scenes.
So I have a question about thisbig launch party.
(31:31):
What is happening with a series?
Because obviously you sawepisode one a few months prior
to that, but when there is theofficial hey, everybody's coming
together because the series aregoing to launch.
Are you binge watching everysingle episode together?
Or like, how does that actually?
How does that work?
(31:51):
Did you binge watch all theepisodes by yourself in the
couch at home, or does thathappen at the party, like you're
going to watch every singleepisode together as a team?
Speaker 2 (32:01):
So the party was?
It was amazing.
It was.
They put a lot of efforts andmoney in it.
It was a Netflix party in abeautiful place in Madrid, I
think they set up.
There was one cinema in thatplace with the cast and there
was another room for anotheraudience with headphones.
(32:23):
And I think.
No, we only saw the firstepisode again, nothing more.
And then party, concert, food,photo shoots, whatever.
Speaker 1 (32:37):
So obviously the series had a huge amount of
success.
Like I'm a bit like I've had apapel fan, I'm a big fan of
Berlin as well.
It's just, yeah, I got hookedand addicted and a big part of
the world was hooked andaddicted.
So then you got invited to alot of platforms to speak about
your role, your acting career.
(32:58):
You've been put in thespotlight also on French
speaking platforms, so inBelgium and in France.
So how did you navigate that?
Because, obviously, being putin the spotlight all of a sudden
, I personally think that weshould all be equipped for that,
professionally speaking, butalso on a personal level to
manage fears and excitements,doubts.
(33:19):
How did all of that happen foryou?
Speaker 2 (33:22):
Once again.
When Natalia told me I had therole, I had the part I just
thought, oh my God, it's greatas an actor, I had the parts.
I just thought, oh my God, it'sgreat as an actor.
My God, I will have theopportunity to, to act in, to
act with Pedro Alonso.
Imagine.
He's been doing that for 35years.
He's an amazing actor.
He's done a lot of differentthings.
(33:43):
It's a great opportunity and Ijust thought about it and it's
more.
I just told it to a few friends,close friends, family, because
there are confidentiality, blah,blah, blah.
So you, you cannot, you don'twant to talk too much about it,
but it's mainly my friends.
(34:05):
Some friends would tell me ohmy God, it's related to La Casa
de Papel, so you're going tohave a zillion of Instagram
followers.
I thought, oh, oh yeah, Ididn't think about that.
Maybe, I don't know, I'm nottoo much into social networks.
I'm from an older generation.
I knew the world withoutinternet.
(34:25):
It's not very natural for me.
But I thought, oh yeah, maybethat's right, very natural for
me.
But I thought, oh yeah, maybethat's right because, yeah, when
you look at the profiles ofactors from La Casa de Papel,
they have a lot of followers andso I understood it was very
important today.
But for some people it wasalmost more important to get you
(34:49):
know, I was just happy to havethat job as an actor and for
some people it was the other wayaround.
It was like, oh, it's great tohave that job because you will
have many Instagram followers,as if Instagram was the goal,
the purpose.
Because if Instagram was thethe, the goal, the purpose.
Speaker 1 (35:06):
Because if Instagram was the, was the new award sort
of thing or number of followers?
Speaker 2 (35:11):
But before the release I thought, okay, let's
be honest, it's a very, it's aninternational project, you know,
on on December 29th, it's it'svery funny, on December 29th,
it's very funny.
It's really weird to say, okay,it's released now in the whole
world.
It's not just my country, spain, no, it's the world, it's
(35:36):
Netflix.
So I thought that kind ofopportunities of exposition are
not that frequent.
What do you say Frequent,frequent, yeah.
So I said maybe it would be themoment to have some PR help from
public relation, press relationpeople who do that as their job
(35:59):
, because maybe it's now ornever, you know, on an exposure
level.
So I contacted a press agencyin in in Madrid, a few months
actually, and one of them, whichwas Gran Via Comunicacion,
which is also, which also takescare of, uh, el Profesor and La
(36:25):
Casa de Papay, were the first toanswer saying oh, yeah, sure,
we'd be happy to work with you.
So we had a few phone calls andjust discussed how we could do
it, how many months, how much itwould cost, because at that
point I'm paying that.
I'm paying for that personally,because I don't think I say
(36:52):
anything.
I cannot say now secrets.
But now Netflix promoted theseries.
Of course berlin and his band,so just the six actors, that's
it.
So I thought it would makesense to try to invest a little
(37:16):
bit of money and see where itgoes, because I thought if I
don't do it I might, mightregret it.
So at least I did it andlearned on that whole part,
which is more promotion, tryingto have an image, trying to get
(37:39):
your name in nice magazines, innice interviews, and try to
build a career with the mediastoo, because nowadays you have
to play with the media.
Speaker 1 (37:51):
And so it's this company in Madrid that you
worked with throughout the wholePR campaign, or did you have
different, because obviously youhad a lot of interviews in
Belgium and in France as well?
Were they in charge of makingthat happen, or did you also
work with Belgian or French PRagency?
Speaker 2 (38:10):
This agency from Madrid took care of all the
Spanish medias and also in LatinAmerica Because they had
connections as they worked forAlvaro Morte, a professor.
They already had goodconnections with the medias that
liked the universe of La Casade Papel, you know.
(38:31):
So I got a few interviews inArgentina, mexico, in the US
through them and for Belgium.
I met through a friend, pr inBrussels, rodrigue, who used to
be an agent in Paris and who hadbeen doing like PR work for
(38:52):
artists in Belgium and also hewas also doing the promotion of
movies, when there were somemovies for Sony or I don't know
when they got released inBelgium.
And now he's also doing thepromotion of HBO Max that's just
been released in Belgium.
So, ahmed Rodrig, we talked andhe said, ok, I'm going to help
(39:15):
you and we had a deal.
I was super surprised of theamount of interviews I got in
Belgium.
It was crazy.
I didn't expect that at all.
I expected a few interviewshere and there, but at some
point it got.
Yeah, many people wanted tointerview me because I was a bit
(39:38):
known in Belgium as an indiedrummer Back in the days.
I had some press and interviewsand stuff as an indie drummer
back in the days.
I had some press and interviewsand stuff with my bands back in
the days.
So the people, the journalists,were like how the fuck is a
(40:01):
Belgian Brussels indie drummerin La Casa de Papel?
We missed something.
So they wanted to know that.
So I got invited to many thingsand it was great.
I learned a lot also about howto behave and how to deal with
the media.
Some people you can trust, somepeople you have to be careful
what you say, that kind of stuff.
(40:23):
So it's always I love to learn.
So it's.
I learned a lot about that.
I just realized also that Ialso have friends who are
journalists.
I had one of my girlfriends wasjournalist back in the day.
So it's a world.
I know a little bit, but Irealized that when you meet a
journalist, he's doing his job,he has to go back with something
to give to his chief to write.
(40:45):
So you have to be generous togive them something because they
need it.
But you have to find theboundaries in what you want to
talk about, what you don't wantto talk about.
And most of the experience weregreat and some of the
journalists, the reportersbecame friends in Belgium or in
(41:07):
Spain too, but some of them notso much like, for example.
It's a stupid example, but so Igot quite.
I think it was January.
February of this year was fullin Belgium.
(41:29):
I had stuff all the time likenational newspapers, national TV
news, like you know, les Infosdu Trésor, which is like the
most watched program in thecountry, that kind of things.
But at some point it became itgot a little bit crazy.
(41:49):
Not crazy, but I saw a side ofjournalism that I don't like and
that I want to avoid in thefuture, which is more the gossip
, gossip press and that kind ofshit.
Speaker 1 (42:02):
Please allow me to bounce back on several things
you've said.
The first thing I want tobounce back on, which I find
fantastic, is that you tookcharge of your career.
You were like, hey, I need tomake, I need to leverage this
opportunity, which I feel iswhere I'm at right now.
This movie is coming out with abig director's name attached
(42:22):
with the lead actor, is alsoquite famous and all my scenes
are with him.
Where I'm at right now, thismovie is coming out with a big
director's name attached withthe lead actor, is also quite
famous and all my scenes arewith him.
Obviously, I don't know what thefinal edit is going to be about
.
Like I don't know yet, and youknow same things.
My heart is beating because I'mlike, okay, once I'm going to
see the film, we'll see.
But I want to leverage theopportunity when this film comes
out, because I'm thinkingotherwise, it's going to become
(42:44):
just a couple of images that I'mgoing to add to my video book,
my video reel.
And then I'm going to ask myagent you know, hey, let's try
and open more doors.
And I'm like, no, I need, theremust be something that I can do
as an actress to open more doors, but also doors that obviously
are in alignment with where Iwant to go.
So I'm asking you, as anactress that is a couple of
(43:06):
years behind of where you're atright now with your career this
film is coming out what would beyour top tip in regards to
finding a PR agency?
What should I keep in mind whenlooking for one?
So I understand that there is abudget that will need to be
allocated, but how would you, ifyou were in my position, when
should I take those actions?
(43:27):
Should I wait until the filmcomes out and then take those
actions?
Should I start looking for a PRagency now, and how should I
make my decision with which PRagency to work with?
Speaker 2 (43:41):
Yeah, so it's a Spanish production.
It was filmed in Spain.
Speaker 1 (43:44):
it's a Spanish production, or it was filmed in
Spain.
It's a Spanish director, butit's a co-production between the
United States, spain andBelgium, and so the lead actor
was American.
Speaker 2 (43:56):
Okay, and where is it ?
Is it going to be released inall those territories, or more?
Speaker 1 (44:03):
Yeah, apparently, yes , yes, like I'm still waiting
for certain confirmations, asyou know, sometimes we're not
being, you know, communicatedthe full picture when you're not
the lead actor, so I'm stillwaiting for your second things
and where do you see you workingmost in the future?
Speaker 2 (44:22):
more belgium, US.
Speaker 1 (44:26):
I've always lived in different countries and I'm
happy to pack my bag whenever Ispeak four languages English,
french, dutch and my Spanish isokay, but not perfect.
I'm a Spanish actress with areally thick accent and if I'm
asked to improvise I will make alot of grammatical mistakes,
but if I have a script I canlearn it, so I think I could
eventually work in variousmarkets.
(44:47):
I would love to leverage theopportunity both for me as an
actress and have more roles thatI would be interested in and
also as a filmmaker, because I'mthinking, if I want to ask for
investors, for money, for grantsor anything to make my own
films, having a credit somewherecan also maybe help me in that
direction.
Speaker 2 (45:08):
I'm asking because I thought a lot about it after
investing some money in PR,because I was really broke.
But I told myself, okay, fuckit, you will find the money, do
it, Otherwise you will regret it.
And I didn't really have anyone.
I knew that I could ask oh,have you done it?
(45:29):
What did you think?
So I was.
I just had to believe my, myintuitions about that and it was
a great experience on a humanlevel.
The people in Madrid from GranVia Irene is Carino.
He's great.
She was super nice to me.
She told me how to do how itworks when you have a I don't
(45:51):
know an online interview, thatyou have to try not to look like
shit, have some nice lights, beprepared a little bit.
So I learned that with her.
She came to me with.
She came with me to thepremiere in Madrid because
Napalier couldn't come.
So she also introduced me topeople.
She connected me with nice suitbrands for the premiere, got me
(46:17):
interviews.
It was very interesting.
So it's nice.
Now I have a lovely article inEsquire Spain.
I have a few nice stuff, but ifI had to redo it today, I think
I would invest money in acommunity manager for the social
medias because it's much moreimpactful nowadays than articles
(46:44):
physical articles, I think andI'm terrible at social medias.
I played the game of being verypresent on social medias when
Berlin came out, but it's Idon't't like doing that, to be
(47:06):
honest.
So if I had to do it, I wouldinvest that.
Speaker 1 (47:09):
If I had to do it again, I would invest that money
in a social media master onceyou've come into the public eye
or in the spotlight, there areother things you have to handle.
It's not just your friends thatare started like your post and
comment on it, but, for example,I would really would like to
try and reach the media, as inhaving articles or being
(47:30):
interviewed on certain platforms, just to have a wider reach.
So I guess, in that terms, youdon't regret to have invested in
it.
Speaker 2 (47:54):
So how did you select the press agencies you worked
with?
Because I had heard about it,about them as the best ones, the
first ones to do PR for actorsand cinema in Madrid, because
it's, I think, in othercountries it's been there for a
(48:17):
while, but here in Spain it'squite new, and Gran Via was one
of the first ones to do it.
They had worked with El Profes,a professor, so I was confident
and they were the only ones toanswer, like the same day or the
day after maybe.
I got some answers a few weekslater from the other ones, but I
said, okay, it's the only oneinterested or answering, so
(48:40):
let's check with them.
And we called, we had a good,the human side was was nice,
because you have to feelconfident too, and so we worked
a few months together and it waslike a fee for the whole stuff,
and so they know the strategyto, to which strategy to use.
(49:00):
So we started working a fewmonths before Berlin was
released, just in order to,because no one heard about me
before, especially in Spain.
So you have to prepare a littlebit, send a first press note.
Second one do some follow-up toslowly get interviews and have
(49:27):
these interviews publishedaround the release of the series
.
So there are some work.
There was some work to dobefore the release in order to
have results after the release,if you want.
Speaker 1 (49:41):
And because the whole campaign was also linked to
berlin, the series on netflix.
Are there any agreements thatneed to be put in place with
netflix or where you're totallyindependent, in terms of, once
the series are released, you cango and have interviews like you
wanted?
Or did you need permissions?
Speaker 2 (50:03):
yes, yeah, I know what you mean, but luckily so.
Irene, who did, uh, the pressfor me in spain from granville,
knows the head of promo in forfrom netflix spain.
It's a small world, so I thinkshe told her okay, okay, I'm
going to take care of Julien forhis promotion, do you agree?
(50:27):
Do you want?
Are you going to do somethingwith him?
Blah, blah, blah.
So do you have material that wecan use, like pictures from the
set and stuff?
So they had they communicated.
I know I was not doing anythingthat would make Netflix angry,
because you don't want to have afight with Netflix, do you?
Speaker 1 (50:49):
So obviously your press agency was well connected,
and so there are agreementsthat are being put in place,
like on that sort of level.
You also asked me, hey, cindy,where, in which country, in
which market you want to work.
You worked with somebody inBelgium, rodrigue, and then you
worked with Gran Via in Spainthat was promoting you on the
(51:11):
Spanish media and in LatinAmerica.
Which one, looking back at itnow, was the most worth for you,
not in regards of the work ofthe agencies, but more in terms
of where you want to go, inwhich countries you want to open
doors?
Would you have done exactly thesame if you were to do it again
, or would you spend more moneyor more time or energy in the
(51:33):
belgian side of things or thefrench market?
Or, yeah, would you have madedifferent choices there?
Speaker 2 (51:40):
well, I think I would do about the same, because
Spain is where I started actingand where I worked the most as
an actor until today.
And, funny enough, I neverreally worked for France,
(52:00):
although French is my mothertongue and I don't have an agent
in Paris.
But the French people fromParis, they have a very good
image from Belgians.
Professionally, we have a goodreputation.
I could sense that with music.
When I was playing drums inindie bands, we would go to
Paris and they were like oh, welove Belgian bands, you're so
(52:22):
special, you're so kind, you'reso special, you're so kind,
you're so nice.
So it's like a French speakingBelgium is like a more relaxed,
more chilled French.
So I could use that in order totry to find an agency in France
.
So that was useful, althoughagencies don't really look well,
(52:45):
they look more to a video bookthan your press releases.
But well, it gives an idea ofwhere you are.
And I had to invest.
It was an investment, strongmoney.
I didn't have to make it and,yeah, it's an investment on your
(53:06):
career.
And at that moment I thought Icould invest money in more
acting classes or in a new photoshoot or whatever.
But I think now it would bewise to invest it in some
promotion and that I learnedthis from the music, because
it's the same.
When you're in a band you canrelease a great album.
(53:29):
If no one hears about itnothing will happen, or unless
sometimes it happens.
But I've seen I recorded somegreat albums and then, with a
lot of efforts of all themusicians, and then you see the
(53:50):
release, they do a littleconcert and no one talks about
it anymore because there was nopromotion, there was no
marketing plan and it's very sad.
I was aware of the marketing orpromotion side of what we do,
of artistic activities.
Speaker 1 (54:06):
And then I would love to bounce back on what you said
about your experiences with theinterviews that they were
mostly positive, but a few werea bit I don't know maybe didn't
feel aligned or that sort ofthings.
What sort of top tips would yougive to any actor that is being
interviewed by the media inorder to be prepared?
Because obviously, we cannot gointo these interviews with a
(54:35):
very innocent mind saying, hey,I'm just going to talk about
really positive things here.
Obviously, journalists arelooking for maybe the spicy
things or something that theycan spin into some sort of story
or headline that could bepositive or not, some sort of
story or a headline that couldbe positive or not.
So what would be a top tip inorder to be prepared for these
interviews?
Feel grounded and have yourboundaries yeah being very clear
in your head prior to theinterview.
Speaker 2 (54:58):
If possible, know a little bit who you're going to
meet.
Usually in Spain, irene wouldtell me okay, you have an
interview with that person,don't worry it.
An interview with that person,don't worry, it's a very kind
person, it's going to be aninterview about acting, blah,
blah blah.
So you get like a briefingbefore.
And in Belgium also, rodriguewould tell me okay, this
journalist is really about art,culture, blah, blah, blah.
(55:19):
Go there very relaxed.
And some others was like okay,the newspapers they're writing
for they might try to get someprivate life infos, or so be
careful with that.
So you think about it beforeyou go and you have some mental
(55:44):
boundaries.
For example, me, I didn't wantto talk about my private life
because I'm very, I'm not secret, but yeah, it's my private life
and I'm not an exhibitionist.
So I was very, very clear aboutthat mentally.
So I think the first interviewI did was for L'Officiel Homme
(56:06):
and she says in the interviewthat very funnily.
But she says that she tried tohave some information but that I
was like it was impossible toget it Because I was like no, I
have confidentiality stuff Isigned with Berlin and I don't
want to talk about my privatelife.
So these, I was like, sorry, Idon't talk about this, so that
(56:34):
was fun.
But yeah, I just had one or twobad experiences.
So, yeah, my advice would be Itry to apply it now.
I don't say a fucking wordabout a project, even if it's
been shot, I've been paid,whatever, until it's released,
(56:59):
or until I'm sure I'm in thefinal edit that's a lesson I
learned least or until I'm sureI'm in the final edit.
That's a lesson I learned.
Nothing very dramatic, but Ithink.
After, after I shot Berlin, Igot a casting call from RT
management for Zorro.
There was a French series shotin Spain with Jean Jardin as
Zorro.
So I was working a lot as amixer, so I did quick self tape.
(57:23):
It was for a small part, so soI did a quick self-tape.
It was for a small part, so Idid it really quickly, sent it
poof and I don't know, 10 dayslater the agency told me oh yeah
, you've been selected, so we'rewaiting for the shooting dates.
Oh, cool, but I knew it wasgoing to be one day, two days
maybe, and I think I told it toa journalist that became friend,
(57:44):
just maybe I told it to ajournalist that became friend,
just maybe I'm going to shoot inZorro, but I'm not sure.
It's the day after someoneunknown phone number calls me on
my phone, I was like oh yeah,my name is blah blah blah.
I'm a journalist at thisnewspaper, a newspaper from my
hometown, and we've heard thatyou were going to shoot in Zorro
(58:09):
.
I said, look man, I yeah, I didthe casting.
I might do it, but it's notsure.
I don't have any information, Idon't know.
So let's make a deal, If youwant, I call you back when I
have information, Because now Idon't know that very day that
the next day he published,julien pascal of berlin is gonna
(58:31):
feature in zorro with jean dujardin, for that newspapers on
their website.
And then there anothernewspaper, which is the same
kind of shitty newspaper, gossipnewspaper, also put that
information on their website.
Then Paris Match put it ontheir website.
(58:53):
Then I don't know anothermagazine put it, because they're
concurrent.
So if you publish an info Ihave to publish it too, because
we're concurrent.
Competitors, competitors, yeahto publish it too, because we're
competitors, competitors, yeah.
So I was like, okay, be verycareful with what you say,
because it doesn't really matter, because and the end of the
(59:14):
story is that I didn't have newsfor zoro and I met one of the
belgian co-producers at a partyin Brussels.
I got introduced to him and Isaid, oh, you're working on
Zorro, I'm going to shoot ascene in Zorro, I guess.
I said, yeah, for what part?
He said you know it's for thispart.
(59:36):
And he told me, no, it's done,we shot it.
I said, oh, okay, that kind ofthings happen, especially for
small parts.
I don't know what happened.
I think there were strikes withFrench technicians, so they had
changed the plans, so they justshot it with someone else, no
(59:57):
biggie.
But I think yesterday mybrother asked me again when is
Zorro released?
And I told him for the 10thtime I'm not in that fucking
theory.
It's a lie, it's fake news, soit's not very important.
But I'm quite honest and I liketruth.
So I don't really like thatkind of gossips, false
(01:00:22):
information.
And yeah, at the time I had agirlfriend.
My girlfriend was in Brussels.
She's a journalist on TV andradio, she's like Miss Cinema
for RTBF, the French-Belgianpublic radio and TV, and I don't
(01:00:44):
know.
At some point some of thesejournalists heard about it.
So we were like in that kind ofpress, oh, ee Mullen is with
Berlin's actor Julien Pascal,blah, blah, blah, like in the
gossip pages, which is it's notmy world.
So I'm pretty sure not to beinto that kind of things.
(01:01:06):
It's funny.
It's funny when it happens,like what the fuck?
I mean on the gossip bait.
But yeah, you have to becautious with that.
Speaker 1 (01:01:17):
Thank you for the warning.
Thank you for the warningbecause I think obviously they
were not like major things, butthese things can quickly get out
of hand and maybe have animpact on people's personal
lives or their professionallives, and so I think it's quite
important that we are beingwarned, as actors, to pay
(01:01:39):
attention to it.
At the end of all thisinvestment and stuff, was it
worth it to have invested thatmoney into a PR campaign?
Do you feel like doors haveopened, even though I know I've
been doing a little bit ofresearch, obviously, on how to
measure the impact of a PRcampaign and sometimes it's only
(01:02:01):
years later that you can seethe impact of it.
It's not like, hey, here we'vegot statistics, we've had that
many articles and that manydoors opened, or whatever.
But do you feel, generallyspeaking, that it has opened
doors and that it was worth it,or do you think actually it was
more about the learningexperience rather than opening
(01:02:21):
doors?
Speaker 2 (01:02:22):
Both experience rather than opening doors both.
I cannot really measure theimpact of the the pr stuff, but
I learned a lot.
So for the learning curve itwas very interesting and I think
it's yeah, it's more somethingabout the long term and building
(01:02:48):
a career, building an image,building something.
It takes time but yeah, I thinkit can open doors.
I'm not very into thecommercial partnerships, but
there is a cloth brand I reallylike since I'm a kid.
It's St James.
It's very classical navyjerseys, like the sailors from
(01:03:13):
Brittany.
It's been there for 100 yearsand I met someone who was
working with them.
They gave me some cloth becauseI could send, like a press how
do you call that Press release,a dossier press.
It helps.
I'm talking to an agent, niceagency in Paris for the moment I
(01:03:33):
think I send them some links tomy interviews, but I also send
my video book and my CV.
It's part of the whole thing.
But I cannot say, okay, thisinterview brought me that job.
It doesn't work like this.
Speaker 1 (01:03:52):
Perhaps it has opened doors in regards to commercial
endorsement possibilities forsponsorship.
If you wanted to pursue thatconversations, perhaps with
other agents.
Do you feel it eventually gotyou into certain castings?
Do you feel you have morefiction castings or more
interesting roles after the PRcampaign?
(01:04:12):
Do you feel it had an impact onthat?
Speaker 2 (01:04:16):
I, yeah, in Belgium, yes, because, as in Belgium,
there is no agents, so it gaveme some spotlight towards the
Belgian casting directors whodidn't invite me.
They didn't know about mebefore and now they invite me to
castings, so it's a good thing,but it could be very small
(01:04:41):
parts.
Yeah, no, it doesn't reallychange anything on that level
for now, with big productions,it doesn't change anything, but
it helped for more, maybe moreindie projects or things that
(01:05:01):
are in development, projects orthings that are in development,
but yeah, where I get very niceproposals, but it's in
development.
So will it happen or not?
Speaker 1 (01:05:12):
I don't know thank you so much, julian, for this
really authentic and transparentinterview.
Like I feel, I learned so muchand I also feel way more
prepared as an actress, you knowfor what might coming,
hopefully come my way in thenext few months as well.
Can you just share with us amantra that you have at the
(01:05:34):
moment, because obviously you'vegathered a lot of experience in
the arts and you have, I'm sure, as a human being, you've
transformed a lot over the lastfew experiences.
What is your current mantrathat you keep in mind?
Speaker 2 (01:05:46):
to stay grounded and to move forward I have a few
ones one day at a time is one ofmy mantras out of my life
experience.
I'm not very good at makingplans and seeing months or years
ahead.
I try to be in the moment asmuch as possible, whatever I do,
(01:06:09):
to be conscious.
So it's also life discipline,because in order to be conscious
, you have to take care ofyourself, of your mind, of your
health, feelings, drugs, alcohol, whatever Part of the journey.
And yeah, I'm very much, yeah,it's related to that.
(01:06:32):
But I really try to be asconscious as possible and as
connected to my guts as possibleand trust my guts, because many
times in the past I didn'treally listen to my guts and
afterwards I said why the Ididn't really listen to my guts?
And afterwards I said why thefuck didn't I listen to myself?
I knew it, I knew, I knew thatsomewhere in myself I knew.
(01:06:56):
But you say no, you mentalizeit a lot and you say no, it's
going to be all right, noproblem.
And then after, after, yeah,you realize you, your intuition
was right.
So I really try to connect withthat amazing, amazing.
Speaker 1 (01:07:11):
Thank you so much for your grounded spirit and for
your openness during thisinterview.
Thank you so much, julian well,pleasure.
Speaker 2 (01:07:19):
Thank you so much for yeah, it's.
I think it's the first time Italk about all this and it's
interesting because it's been ajourney and it's nice to share
it.
And actually one of my we'revery good friends now with
Rachel Lascar, who plays she hasthe role of Commissaire Lavelle
in Berlin, the French policewoman, berlin, the French police
(01:07:44):
woman.
We were friends before and weare very close now and she's way
.
She's much more experiencedthan I am.
She's been acting for years.
She has an amazing curriculum,but she never did the promo work
and she saw me doing it, wetalked about it and she worked
with the same agency too.
(01:08:05):
At the end of the day, ohamazing yeah, yeah, because she,
yeah.
We were just talking and I saidI think with your, with the
career you have, you people needto know, at the end of the day,
if my journey can be aninspiration for one person.
It all makes sense to me.
(01:08:27):
When I was drumming a lot, akid once came to me.
I knew him since he was a kidand now he was 22.
He became an amazing drummer,way better than I was.
He studied jazz and classicalpercussions and stuff.
But one day he told me Idecided to become a drummer
(01:08:47):
because when I was 10 or 12, Isaw you playing.
To me that's the most valuablereward.
Speaker 1 (01:08:54):
I definitely think that during this interview, we
brought light to a topic that isnever really talked about,
which is that transition fromjust being an artist to the
spotlight is here.
I learned so much, and so thankyou so much for empowering
myself and also all the peoplethat will be listening to this
podcast.
Speaker 2 (01:09:13):
My pleasure and thank you.
Thank you very much.
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