March 14, 2024 • 26 mins
Dos años de pausa llenos de muchas experiencias cinéfilas increíbles que queremos compartir con ustedes :)
En esta intima conversación nos ponemos al día sobre nuestras vivencias alrededor del cine, lo que aprendimos, las películas que vimos y lo nuevo que queremos traer a este espacio donde primero sentimos y después hablamos :)
Síguenos en Instagram:
La Boca Fílmica
Denisse Gómez
Lauren Fernández
Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/la-boca-filmica--4109820/support.
En esta intima conversación nos ponemos al día sobre nuestras vivencias alrededor del cine, lo que aprendimos, las películas que vimos y lo nuevo que queremos traer a este espacio donde primero sentimos y después hablamos :)
Síguenos en Instagram:
La Boca Fílmica
Denisse Gómez
Lauren Fernández
Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/la-boca-filmica--4109820/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:04):
Hey. I' m Denis Gomezand I' m Louren Fernández and this
is the film mouth. An originalpodcast by Fernández y Gómez, communications recorded
in the studies of the American Dominican. In each episode, the magic of
cinema comes to life through our conversations. You can listen to all our episodes
in Spotify and Apple Podcast. Mouthsare back. In this episode we talked
(00:30):
about our adventures in these years ofpause and everything new that comes. We
welcome you to a new episode offilm mouth and this time I' m
a little in intimacy with Denis herehello. How are you friends All right,
(00:50):
this is an episode really to talka little more relaxed. After all
the chaos that generated the awards seasonand everything we talked about, especially the
movie. I think we deserved todo an episode to meet again, to
be able to connect and continue withthe other episodes that come in this new
(01:14):
season. So to speak, weare absent from this space for two years.
Obviously, we were a little activeon social networks, on social networks
in the film mouth. And basically, what happened to us at that time,
what happened that we saw we exploredand didn' t happen to you.
(01:36):
And of all that, what arewe going to be able to bring
into this new film mouth season.I don' t know where you were
from. Well, it made melaugh because last year you made another podcast.
I think they were called you didn' t get to him or something
like that it was an episode.Yes, yes, a podcast was filled.
You were invited and very cool andI loved it in a part that
(01:59):
you were told. Hey, butand his mouth, I mean, like
what' s wrong with him.And you' re good. I'
m waiting for him to be inMadrid. Yes, gentlemen, I lasted
from two thousand twenty- two toDecember last year in Madrid. It was
a rather interesting and very beautiful experiencethat I had the opportunity to live.
I was studying, I was doinga master' s degree in cultural management
(02:22):
and it sounds like like wow.But yes, yes, I mean,
it was a great experience, Imean. I don' t know if
I' ve talked a lot,as well as on a personal level.
I think that' s what we' re looking to do with this chapter,
let' s get to know eachother a little bit more. I
' m a grade attorney, whichyes, it' s a little strange,
but I' m an artistic bohemianlawyer. I' ve always had
yes, yes, yes, totally, that is, I studied law,
(02:44):
but always my passion, since I' m very small, has been cinema.
And when it touched me, aswell as that life plan, because
outside of this passion for cinema,of them star hours to watch film.
Life goes on and you have totake adult sessions. Then, of course,
I had to nothing. I waspresented with the opportunity to study and
apply a scholarship to study outside andI said wait there I mean, I
(03:04):
have to stop studying and do thingsI don' t like. So I
have to study something that fills meand that' s why I decided to
study cultural management and I studied itwith a concentration in creative industries, which
are all industries, say, culturaland artistic, among them cinema, obviously,
and also with a concentration in cinemathat, as you know, obviously,
(03:25):
is the part that I love mostabout culture and that' s also
something that I share with you,maybe not so for example, you who
are a lawyer and then you likefilm, which is something very artistic to
me. Anyway, it happens tome that I studied advertising and went and
went into it a little bit more, although the advertising is a little bit
(03:47):
more presiding to the cinema. Iwent away like chinga ching, like going
into that world of watching film,commenting, reviewing, etcetera. And I
feel like that' s what makesour mouth film. Yes, that diversity
of backgrounds of how that is said, of what you are, of the
(04:09):
different areas that we come from andthat in the end what unites us precisely
is the cinema. Exactly. Ithink that' s the x factor of
this podcast and that we have adifferent perspective that maybe we are not people
who have studied in film school assuch, but we have been dedicated to
(04:30):
understanding cinema, to appreciating cinema andenjoying it as well, because that'
s part of it, not onlyto get into that loop of analysis project
yes, or that, but alsoto be able to enjoy it and be
able to share it with other peopleas well totally. So, while I
was in Madrid studying, I obviouslystayed active, I showed up as obvious
(04:55):
as I could, because, gentlemenback here, difficult student when you'
re already about two years old,three years old that you came out of
school, that is, muscles thatif you don' t work it,
you die. So I the newTomor yes, yes, I mean,
I was trying to keep myself active, creating content in downtown cinema, that
the page I use pseudonym was nolonger greeting, but to create content and
(05:15):
stay active, but obviously always chattingcolors from the mouth. One is,
we even thought if we could bea distance, but obviously because of a
quality theme and that the experience isnot the same as recording distance, we
didn' t say let' spause it, let' s live every
one of our experiences, because youwere doing a lot of things also what
(05:40):
you did as well as transcendental.Well, I wouldn' t say that
transcendent. I don' t thinkthere was much to take advantage of.
I think so. I, forexample, really liked my first experience by
running a film admiring workshop. Thatwas very special to me because obviously I
could share with people who may notbe so signéfilas or so sagendas of the
(06:04):
cinema, so to speak, andtake them as a better understanding of where
everything starts up from the simple factof why the Chamber is focusing a pencil
and the actors. So that wasreally nice to share with these people who
(06:25):
like movies and who wanted to kindof understand it a little bit as more,
have a little more tools. Thatwas exactly something I loved. Also
at the beginning of this year Iwas able to participate in an international festival,
in a training program, in theNeutery of Latin America, in the
(06:48):
framework of the International Festival of JoséIgnacio in Uruguay, and that was literally
a surprise to me, because Idid not have it. This was like
my little gifts of life, likemy little Christmas hope, they called me,
they told me come on. Wewant you to participate in this workshop,
which is basically a workshop with theaim of thinking about future audiences on
(07:11):
how these new audiences are being attractedto the cinema. What they want to
see are the narratives, what arethe roles also of the producers and directors
that they must take into account foreven from the idea and from the script
what we are doing, how weare adapting to the times that live,
(07:33):
that is, we live in constantchanges. So I also understand that that
part of the exhibition audience is veryimportant within the ecosystem of what it is
to make a film and take afilm, for example, already to that
final audience. Then I think thatwas an extremely wonderful experience. I loved
(07:57):
José Ignacio in Uruguay, all theexperience, industry science. I met spectacular
people who are also more than yes, making film, directing film, so
in writing film. But I alsoloved meeting this person who is working that
part of bringing the films to theirultimate purpose, so to speak to the
(08:20):
public, that is, you're going from a movie and what you
want, that is, what youwant people to see, so I loved
to be able to share experience withinwhat this ecosystem is in Dominican Republic,
but also know the ecosystem of othercountries, Uruguay, Chile, Honduras,
(08:41):
and I started as planning things regardingthose issues that we were covering that week.
And it was also a festival thatI loved vibrating because it was a
lot of tea. We present afilm and then a feature film and a
(09:03):
feature film not any feature film.We' re talking about anatomy, a
fall madi Ceberg pur Things and itwas amazing the experience. I really loved
that clear and above all I thinkthat the part that is always very important
in that aspect of distribution and publicanalysis, of programming at the level of
(09:26):
festivals, of exhibition room, isvery important the aspect of networking and of
your meeting people of the industry andyou contrast opinions to see that it has
worked in a country, in aspecific audience. So I think that kind
of festival gives like that trampoling orthat platform to young people, because in
(09:46):
the end your program seems to methat it was for people under thirty years,
that is to say, it wasexactly under trails that they are working
and forming in that range of distribution. And you also how to create that
group and basically and I saw youin the photos, that' s how
cool one of the cultural aspect ofhow everyone was from a different country in
(10:09):
a sense, you were ambassador toyour country, that is, you'
ve represented yourself or speaking about yourcountry' s context and also that part
of how everyone is young, likeliving the experience, that is, going
too much too rich and always inmy mind it was ok how I can
take that information of that that whichis happening in that other country, how
in what way it can be integratedhere clear to the system here, how
(10:33):
I could bring it and I thinkthat in that too you are very much
in tune with that part that,as each one experienced international experiences, that
is, seeing other contexts, I, in the end, always as behind
in my little head, I justthought ok how it could work in the
Dominican Republic, that is, whatshould be made clear about all of you
(10:54):
who was in a country that thecinema is constantly very good in all kinds
of screen, because it' sthe kings, literally, it' s
the kings of Netflix. Yeah,yeah, it' s just the Spaniards
are the kings of Netflix. ButI also don' t know how your
experience was, like going to thecinema, yeah, how just cinema,
I mean, it' s different. I remember that I, ever since
(11:16):
I got here, tried like amovie theater that was left in a cinema
room was close to my house,in a mall. Me and naive.
I finally didn' t investigate.I didn' t know how important the
world of dubbing in Spain is thathere it didn' t mean, here
it had a cinema and generally everythingis voices, that is, you mean
voice in original language, that isagainst and subtitled in Spanish, that is,
(11:39):
original voice subtitled in Spanish. Hemeans voices. I didn' t
know what that word was and whenI came to the room and I was
going to buy the movie I wasgoing to see, they told me like
ah, yes, because it's in Spanish, and I ah yeah,
but there' s not one that' s in the original and subtitled
language. No. No, no, this movie doesn' t work that
way and I like there and theytold me to look for the movies that
(12:00):
works for you on the Internet andthere I discovered that. And I okay,
so I had that it' sa little research looking more or less
for the area I live in,because obviously it' s a pretty big
city cinemas that would meet that.Because I' m extremely used to it
and I like to listen to moviesin original language. I don' t
like dubbing. I know that thisis an interesting subject, because, gentlemen,
(12:20):
there is a culture of dubbing inSpain that I was surprised by.
I mean, I went out,I saw people taking pictures with x being
human, and I was saying,oh, who' s that person?
Maybe there' s a Netflix actor. I don' t know, because
there' s a lot of series, a lot of film constantly coming out
Spanish productions. They tell me no, he' s the one who makes
(12:41):
Brad Pitt' s voice in Spain. So- and- so and I
oh and the people who took picturesand all that and I appes notice that
it' s interesting. And theyalready know how to identify and know the
actors of the voice that give lifeto many actors already from Hollywood and international
in Spain. It happens in Mexicoanyway. For example, that Mexico doubles
(13:01):
more for our region, for LatinAmerica, but Spain, that' s
a world, the dubbing and Iobviously had to get used to that,
namely, that they were going togo to know if the movie was bent
or not. And the experience ingeneral, I believe that every audience,
that is the cultural context, isdifferent. So I had a movie room
where they' re going to beamazed and different things or they' re
(13:24):
going to be a little commentator duringthe movie in the middle of the movie
room. I mean, it's different. And also the factor that
there is a country where the patrimonialpart of buildings, they keep it a
lot and have cinemas in historic buildings. I was, for example, the
Spanish film library, which would bethe cinemateca here. They have a preserved
room called dore cinema, that is, as a gold cinema in Spanish,
(13:46):
and it is a historic building thathas a cinema room entirely, that is,
within a historical structure. That's where I saw Ussard Underson'
s The Darkgel Ling Limited. Ithink it' s pronounced like that,
I don' t know, andit was a very nice experience, I
(14:07):
mean, you' re in themiddle of the theater that has even the
piano and everything like the orchestra ofthe times of the year, the times
of the past, those classic moviesthat the sound was made live, of
course, the silent movies. It' s got all that and they keep
it part of it. In otherwords, it was a totally impressive experience
and it was like being able tolive that, obviously, that is,
(14:30):
I feel happy and grateful to havethat experience of having that approach to other
cinemas countries where culture is most valuedfrom public policies and that is why they
also have, obviously, more dedicatedto the conservation of their ancient cinemas and,
in general, to the motorization ofthe film project. So, that
was phenomenal, but no doubt,the dubbing was something I had to adapt.
(14:52):
No, I didn' t adaptI looked for goals that didn'
t solve. Yes total and talkinga little bit about the world of dubbing.
Another one of the projects that Istarted last year too, in the
twenty- three thousand was a podcastthat is called running right now. Currently
it' s called we' rewatching film factor and us. One of
(15:16):
the episodes was The world of dubbingwith Carlos Díaz Carlos Díaz is a so
- called dubbing actor, voice actor, voice actor. I don' t
think it' s too late.P Carlos Díaz is the voice that Naruto
makes in bad my malcoln in thelook also Ron Westley, in Harry Potter
(15:41):
pita in the eyes of hunger andchase in you are one hundred and one
and I recommend that if that ishow you care about the world of dubbing,
go and listen to that episode.Let' s see. The world
of dubbing is with Carlos Diaz.Yeah, I mean, that' s
a world just in the end mebecause an entire experience, I went to
(16:03):
the movies to watch my movies folded. Of course I did, I needed
to see what it was and itwas interesting good, that is, it
was as if, yes, especiallyinteresting because I went with Spanish people where
I went to see Napoleon in fold. Gentlemen, then I saw it in
the original language because I had tobut they were saying wow, look who
(16:29):
' s the guy who doubles JoaquinPhoenix and I interesting and it' s
like look at such a thing,such a thing and I ok. It
was an experience and then part ofthe dubbing of the cinemas, which are
a little older, that is becausenot neither in the malls are like not
that the theaters are super old fromwhen the center was made and they have
(16:53):
not changed it exactly the whole turalscene of Madrid. Amazing, I mean,
I was walking, I think Iwas going to the bank and I
had to go downtown and that daythat I was closed because they were going
to record a scene from The Lastof Vos, I had to say,
(17:14):
with Chalet. What luck your talicat this exact moment that I didn'
t know, obviously and I golike the crowd and when I approach the
scenery and the thing and I inCock, so that' s like this
out of nowhere, you find yourselfor you find yourself with big movie premier
who are closing x cinema or xplace because it goes such and such a
person, i mean, I,my friends told me to look I was
(17:37):
walking to such a thing and theytold me that happened when it premiered.
It seems to me that my GodI don' t know if the collateral
that' s called Will Smiths'film is the point that they made the
premiere in Madrid and he was goingto walk back what' s going on.
Well, ah, wow, WillSmith and it' s all clear.
So it' s like you havethe joy of maybe hanging out with
(18:00):
people in the middle and also atthe level of surrounding you, of people
working, that is, of networking, it' s in a big city.
In that aspect and the whole culturalsphere, that is not only cinema,
that is to say at the levelof plastic arts, they have of
the main museums, that is tosay the use of the meadow of queen
(18:21):
sophia, everything is and goes andI love it, that is, I
love to see people who see thepart the asset that is the culture and
how important it is that from theState it is encouraged and that people give
yes, that is to the childrenin schools, as well as Tia,
they gave it to me artistic andthey gave us the movements well give it
the cinema, they give it abit of contextualization and they familiarize it.
(18:41):
And that part of having tools,and that' s what you see then
I would say that in one aspectof people that she is very sensitive to
everything that is cultural and artistic,and that I love. I mean,
I felt first I noticed the privilegethat they have of having that access and,
as opposed to how happy I comefrom where I come from, that
(19:04):
I always have been passionate, butalso thanks I come with a family that
have allowed me to explore my passionsand have access to a good education and
be able to come with this personwho studied in a public school what a
taxi driver does I can tell youabout a play that is happening at the
moment. Like anything, I mean, it' s part of the conversation
(19:25):
and I loved that part good.In that sense, I believe that the
film mouth has to continue to givethose workshops of the presentation, of course,
because it is never really late,it is not at all that workshop
of appreciation. I didn' thave so many young people, there were
very grown- up people, ofcourse, and that was also something that
(19:47):
I really liked, like it's never too late, so I could
learn something new, to interest youin some passion. No, and for
example, that comes from one whomanages to get out and see how in
other countries it is important that perhapsat the level he educates, for example,
in schools and private school, withinthe artistic class, the subject of
cinema becomes a little familiar. I, for example, had the joy of
being a teacher, just like you, film appreciation, also in a school
(20:11):
here that hated the name and weresixteen- year- olds, seventeen-
year- olds who, surely,cinema was entertainment, that is, little
important, took the class. Theysaw everything that makes up the look that
you have to analyze and see whenyou' re watching a movie and they
kept a sketch open from the wholenetwork, because cinema is a collective art,
(20:32):
that is, it needs the workof many technicians and professionals to make
it work and when they understand howthis gear, as we say, to
supply chain, indutrinal engineering, thischain that has to work or it'
s good for the product to begood, you say wow. And also
this aspect that we' re notgoing to get a stick and do stick
(20:55):
And that' s right and that' s why it' s like it
doesn' t matter if maybe yourgrade didn' t, no, it
wasn' t your movie day,because, sir, the cinema, the
first film career comes in the twothousand twenty- one in the country that
got to the bachelor' s level. There are many film sectors that need
many types of professionals. I mean, I' m a lawyer and very
well I could work on the wholelegal aspect and the whole distribution issue,
which is purely legal and strategic,as well as if you love it,
(21:19):
I don' t know how tobuild. You can be part of the
Department of Art, that is,and it is even the simplicity of that
process of creating film content. Sure, I mean, that' s something
you and I kind of do naturally. I believe that instinctive part of creating
content, but that what we havefound as our safe space and that the
(21:41):
film mouth is one of them andalready each on a personal level in their
accounts, and not to create filmcontent in the sense of creating content that
competes with movies or with short orwith no. It is creating film content
that amplifies the message of what ishappening both the local scene and the international
scene. Of course what' sgoing to come out. Who are the
(22:04):
new directors, who are the directorswe always have to have in retrospect to
have as that background where we camefrom and where it goes exactly. It
' s like that kind of creationof content to be able to spread different
(22:26):
subject related to the film world.Of course I think that we both do,
that is, the broadcast part isalways very important, that is,
in every process and in this case, each one does it from its platform
and specifically, especially from that cinema, perhaps a little older, where people
say I don' t even knowwhat in such a person I obo a
(22:47):
contemporary film and doesn' t knowthat it has a great reference to classic
films. I mean, that wholepart of you always tries to give it
like that plus in each of yourbeads with your mouth. So I think
that sensitivity that one builds through anintentional content creation, that is, as
planned, I think that many informativepeople that informati and especially that educational part,
(23:08):
that is, if education is nevertoo much. Never in other words,
you can always educate more and createdialogue and create conversation that is always
important and nothing. I think that' s what everyone does and I feel
that the creation of content is sometimeslike people do it all, they understand
that that' s something that's done fast and nothing to see.
(23:30):
You have to think about what you' re going to do, what you
' re going to say and makeit a good job, and that'
s what we always do, that' s our goal with our mouths,
that' s, they' retotally different personal ways of training, but
that unites this part of spreading thefilm world. That' s right,
(23:51):
and it' s good that you' re back so you can go to
the movies together. The cinema couldtalk together, have these conversations, talk
here for the likes as we alwaysdo. Many of the things that happened
in these years have been the Dominicanfilm festivals that were amazing. They have
released very good Dominican film with newperspectives, new poses that. That'
(24:15):
s also something of my experience.What we weren' t on the air
was going to those film festivals togive him support with that broadcast through the
film mouth. I also believe thatthe experience of such a fifteen twenty minutes
on Christon Radio comes too. Iwas going to tell you about that you
(24:38):
on the radio as well as otherworlds. That has also generated a lot
more confidence for me to be ableto carry out this new season and I
think there are many new projects comingfor the film mouth. We want to
be a little more connected with theaudience, we want to generate r neorum
(25:02):
then, that is, we wantto get exactly close and be able to
take out the films that we talkabout here, to be able to share
it in real life with our listenersand our community. Of course, the
broadcasting activity is not only through themicrophone, which is very important, but
also to make events with you.Well, I think we' re at
(25:26):
the end. Actually, it wasa really nice episode. I think we
' ve never talked so much ona personal level, but I think it
was necessary this season. Believe me, they promise a lot, so stay
tuned, because we' re goingto talk about a variety of topics,
we' re going to have differentguests, who know a lot of the
(25:49):
topics we' re going to talkabout throughout the season and they' re
always going to have us here accompanyingthem in this process, which is also
a process for us of growth andlearning. Of course and thank our home,
our new home, which is takingus to the studios of the American
Dominican, for the support of allowingus to record here in this pimp shop.
(26:12):
Yes, sir, I' ma student, that' s me
I feel like me. I don' t think I' ve ever felt
as comfortable as I am now.And the truth is that we are extremely
grateful for the studies of the AmericanDominican. So nothing to see you next
time. The film mouth is apodcast recorded in American Dominican studios and produced
by Dennis Gómez and Loren Fernández.Listen to all our episodes in Spotify and Apple Podcast
Hey. I' m Denis Gomezand I' m Louren Fernández and this
is the film mouth. An originalpodcast by Fernández y Gómez, communications recorded
in the studies of the American Dominican. In each episode, the magic of
cinema comes to life through our conversations. You can listen to all our episodes
in Spotify and Apple Podcast. Mouthsare back. In this episode we talked
(00:30):
about our adventures in these years ofpause and everything new that comes. We
welcome you to a new episode offilm mouth and this time I' m
a little in intimacy with Denis herehello. How are you friends All right,
(00:50):
this is an episode really to talka little more relaxed. After all
the chaos that generated the awards seasonand everything we talked about, especially the
movie. I think we deserved todo an episode to meet again, to
be able to connect and continue withthe other episodes that come in this new
(01:14):
season. So to speak, weare absent from this space for two years.
Obviously, we were a little activeon social networks, on social networks
in the film mouth. And basically, what happened to us at that time,
what happened that we saw we exploredand didn' t happen to you.
(01:36):
And of all that, what arewe going to be able to bring
into this new film mouth season.I don' t know where you were
from. Well, it made melaugh because last year you made another podcast.
I think they were called you didn' t get to him or something
like that it was an episode.Yes, yes, a podcast was filled.
You were invited and very cool andI loved it in a part that
(01:59):
you were told. Hey, butand his mouth, I mean, like
what' s wrong with him.And you' re good. I'
m waiting for him to be inMadrid. Yes, gentlemen, I lasted
from two thousand twenty- two toDecember last year in Madrid. It was
a rather interesting and very beautiful experiencethat I had the opportunity to live.
I was studying, I was doinga master' s degree in cultural management
(02:22):
and it sounds like like wow.But yes, yes, I mean,
it was a great experience, Imean. I don' t know if
I' ve talked a lot,as well as on a personal level.
I think that' s what we' re looking to do with this chapter,
let' s get to know eachother a little bit more. I
' m a grade attorney, whichyes, it' s a little strange,
but I' m an artistic bohemianlawyer. I' ve always had
yes, yes, yes, totally, that is, I studied law,
(02:44):
but always my passion, since I' m very small, has been cinema.
And when it touched me, aswell as that life plan, because
outside of this passion for cinema,of them star hours to watch film.
Life goes on and you have totake adult sessions. Then, of course,
I had to nothing. I waspresented with the opportunity to study and
apply a scholarship to study outside andI said wait there I mean, I
(03:04):
have to stop studying and do thingsI don' t like. So I
have to study something that fills meand that' s why I decided to
study cultural management and I studied itwith a concentration in creative industries, which
are all industries, say, culturaland artistic, among them cinema, obviously,
and also with a concentration in cinemathat, as you know, obviously,
(03:25):
is the part that I love mostabout culture and that' s also
something that I share with you,maybe not so for example, you who
are a lawyer and then you likefilm, which is something very artistic to
me. Anyway, it happens tome that I studied advertising and went and
went into it a little bit more, although the advertising is a little bit
(03:47):
more presiding to the cinema. Iwent away like chinga ching, like going
into that world of watching film,commenting, reviewing, etcetera. And I
feel like that' s what makesour mouth film. Yes, that diversity
of backgrounds of how that is said, of what you are, of the
(04:09):
different areas that we come from andthat in the end what unites us precisely
is the cinema. Exactly. Ithink that' s the x factor of
this podcast and that we have adifferent perspective that maybe we are not people
who have studied in film school assuch, but we have been dedicated to
(04:30):
understanding cinema, to appreciating cinema andenjoying it as well, because that'
s part of it, not onlyto get into that loop of analysis project
yes, or that, but alsoto be able to enjoy it and be
able to share it with other peopleas well totally. So, while I
was in Madrid studying, I obviouslystayed active, I showed up as obvious
(04:55):
as I could, because, gentlemenback here, difficult student when you'
re already about two years old,three years old that you came out of
school, that is, muscles thatif you don' t work it,
you die. So I the newTomor yes, yes, I mean,
I was trying to keep myself active, creating content in downtown cinema, that
the page I use pseudonym was nolonger greeting, but to create content and
(05:15):
stay active, but obviously always chattingcolors from the mouth. One is,
we even thought if we could bea distance, but obviously because of a
quality theme and that the experience isnot the same as recording distance, we
didn' t say let' spause it, let' s live every
one of our experiences, because youwere doing a lot of things also what
(05:40):
you did as well as transcendental.Well, I wouldn' t say that
transcendent. I don' t thinkthere was much to take advantage of.
I think so. I, forexample, really liked my first experience by
running a film admiring workshop. Thatwas very special to me because obviously I
could share with people who may notbe so signéfilas or so sagendas of the
(06:04):
cinema, so to speak, andtake them as a better understanding of where
everything starts up from the simple factof why the Chamber is focusing a pencil
and the actors. So that wasreally nice to share with these people who
(06:25):
like movies and who wanted to kindof understand it a little bit as more,
have a little more tools. Thatwas exactly something I loved. Also
at the beginning of this year Iwas able to participate in an international festival,
in a training program, in theNeutery of Latin America, in the
(06:48):
framework of the International Festival of JoséIgnacio in Uruguay, and that was literally
a surprise to me, because Idid not have it. This was like
my little gifts of life, likemy little Christmas hope, they called me,
they told me come on. Wewant you to participate in this workshop,
which is basically a workshop with theaim of thinking about future audiences on
(07:11):
how these new audiences are being attractedto the cinema. What they want to
see are the narratives, what arethe roles also of the producers and directors
that they must take into account foreven from the idea and from the script
what we are doing, how weare adapting to the times that live,
(07:33):
that is, we live in constantchanges. So I also understand that that
part of the exhibition audience is veryimportant within the ecosystem of what it is
to make a film and take afilm, for example, already to that
final audience. Then I think thatwas an extremely wonderful experience. I loved
(07:57):
José Ignacio in Uruguay, all theexperience, industry science. I met spectacular
people who are also more than yes, making film, directing film, so
in writing film. But I alsoloved meeting this person who is working that
part of bringing the films to theirultimate purpose, so to speak to the
(08:20):
public, that is, you're going from a movie and what you
want, that is, what youwant people to see, so I loved
to be able to share experience withinwhat this ecosystem is in Dominican Republic,
but also know the ecosystem of othercountries, Uruguay, Chile, Honduras,
(08:41):
and I started as planning things regardingthose issues that we were covering that week.
And it was also a festival thatI loved vibrating because it was a
lot of tea. We present afilm and then a feature film and a
(09:03):
feature film not any feature film.We' re talking about anatomy, a
fall madi Ceberg pur Things and itwas amazing the experience. I really loved
that clear and above all I thinkthat the part that is always very important
in that aspect of distribution and publicanalysis, of programming at the level of
(09:26):
festivals, of exhibition room, isvery important the aspect of networking and of
your meeting people of the industry andyou contrast opinions to see that it has
worked in a country, in aspecific audience. So I think that kind
of festival gives like that trampoling orthat platform to young people, because in
(09:46):
the end your program seems to methat it was for people under thirty years,
that is to say, it wasexactly under trails that they are working
and forming in that range of distribution. And you also how to create that
group and basically and I saw youin the photos, that' s how
cool one of the cultural aspect ofhow everyone was from a different country in
(10:09):
a sense, you were ambassador toyour country, that is, you'
ve represented yourself or speaking about yourcountry' s context and also that part
of how everyone is young, likeliving the experience, that is, going
too much too rich and always inmy mind it was ok how I can
take that information of that that whichis happening in that other country, how
in what way it can be integratedhere clear to the system here, how
(10:33):
I could bring it and I thinkthat in that too you are very much
in tune with that part that,as each one experienced international experiences, that
is, seeing other contexts, I, in the end, always as behind
in my little head, I justthought ok how it could work in the
Dominican Republic, that is, whatshould be made clear about all of you
(10:54):
who was in a country that thecinema is constantly very good in all kinds
of screen, because it' sthe kings, literally, it' s
the kings of Netflix. Yeah,yeah, it' s just the Spaniards
are the kings of Netflix. ButI also don' t know how your
experience was, like going to thecinema, yeah, how just cinema,
I mean, it' s different. I remember that I, ever since
(11:16):
I got here, tried like amovie theater that was left in a cinema
room was close to my house,in a mall. Me and naive.
I finally didn' t investigate.I didn' t know how important the
world of dubbing in Spain is thathere it didn' t mean, here
it had a cinema and generally everythingis voices, that is, you mean
voice in original language, that isagainst and subtitled in Spanish, that is,
(11:39):
original voice subtitled in Spanish. Hemeans voices. I didn' t
know what that word was and whenI came to the room and I was
going to buy the movie I wasgoing to see, they told me like
ah, yes, because it's in Spanish, and I ah yeah,
but there' s not one that' s in the original and subtitled
language. No. No, no, this movie doesn' t work that
way and I like there and theytold me to look for the movies that
(12:00):
works for you on the Internet andthere I discovered that. And I okay,
so I had that it' sa little research looking more or less
for the area I live in,because obviously it' s a pretty big
city cinemas that would meet that.Because I' m extremely used to it
and I like to listen to moviesin original language. I don' t
like dubbing. I know that thisis an interesting subject, because, gentlemen,
(12:20):
there is a culture of dubbing inSpain that I was surprised by.
I mean, I went out,I saw people taking pictures with x being
human, and I was saying,oh, who' s that person?
Maybe there' s a Netflix actor. I don' t know, because
there' s a lot of series, a lot of film constantly coming out
Spanish productions. They tell me no, he' s the one who makes
(12:41):
Brad Pitt' s voice in Spain. So- and- so and I
oh and the people who took picturesand all that and I appes notice that
it' s interesting. And theyalready know how to identify and know the
actors of the voice that give lifeto many actors already from Hollywood and international
in Spain. It happens in Mexicoanyway. For example, that Mexico doubles
(13:01):
more for our region, for LatinAmerica, but Spain, that' s
a world, the dubbing and Iobviously had to get used to that,
namely, that they were going togo to know if the movie was bent
or not. And the experience ingeneral, I believe that every audience,
that is the cultural context, isdifferent. So I had a movie room
where they' re going to beamazed and different things or they' re
(13:24):
going to be a little commentator duringthe movie in the middle of the movie
room. I mean, it's different. And also the factor that
there is a country where the patrimonialpart of buildings, they keep it a
lot and have cinemas in historic buildings. I was, for example, the
Spanish film library, which would bethe cinemateca here. They have a preserved
room called dore cinema, that is, as a gold cinema in Spanish,
(13:46):
and it is a historic building thathas a cinema room entirely, that is,
within a historical structure. That's where I saw Ussard Underson'
s The Darkgel Ling Limited. Ithink it' s pronounced like that,
I don' t know, andit was a very nice experience, I
(14:07):
mean, you' re in themiddle of the theater that has even the
piano and everything like the orchestra ofthe times of the year, the times
of the past, those classic moviesthat the sound was made live, of
course, the silent movies. It' s got all that and they keep
it part of it. In otherwords, it was a totally impressive experience
and it was like being able tolive that, obviously, that is,
(14:30):
I feel happy and grateful to havethat experience of having that approach to other
cinemas countries where culture is most valuedfrom public policies and that is why they
also have, obviously, more dedicatedto the conservation of their ancient cinemas and,
in general, to the motorization ofthe film project. So, that
was phenomenal, but no doubt,the dubbing was something I had to adapt.
(14:52):
No, I didn' t adaptI looked for goals that didn'
t solve. Yes total and talkinga little bit about the world of dubbing.
Another one of the projects that Istarted last year too, in the
twenty- three thousand was a podcastthat is called running right now. Currently
it' s called we' rewatching film factor and us. One of
(15:16):
the episodes was The world of dubbingwith Carlos Díaz Carlos Díaz is a so
- called dubbing actor, voice actor, voice actor. I don' t
think it' s too late.P Carlos Díaz is the voice that Naruto
makes in bad my malcoln in thelook also Ron Westley, in Harry Potter
(15:41):
pita in the eyes of hunger andchase in you are one hundred and one
and I recommend that if that ishow you care about the world of dubbing,
go and listen to that episode.Let' s see. The world
of dubbing is with Carlos Diaz.Yeah, I mean, that' s
a world just in the end mebecause an entire experience, I went to
(16:03):
the movies to watch my movies folded. Of course I did, I needed
to see what it was and itwas interesting good, that is, it
was as if, yes, especiallyinteresting because I went with Spanish people where
I went to see Napoleon in fold. Gentlemen, then I saw it in
the original language because I had tobut they were saying wow, look who
(16:29):
' s the guy who doubles JoaquinPhoenix and I interesting and it' s
like look at such a thing,such a thing and I ok. It
was an experience and then part ofthe dubbing of the cinemas, which are
a little older, that is becausenot neither in the malls are like not
that the theaters are super old fromwhen the center was made and they have
(16:53):
not changed it exactly the whole turalscene of Madrid. Amazing, I mean,
I was walking, I think Iwas going to the bank and I
had to go downtown and that daythat I was closed because they were going
to record a scene from The Lastof Vos, I had to say,
(17:14):
with Chalet. What luck your talicat this exact moment that I didn'
t know, obviously and I golike the crowd and when I approach the
scenery and the thing and I inCock, so that' s like this
out of nowhere, you find yourselfor you find yourself with big movie premier
who are closing x cinema or xplace because it goes such and such a
person, i mean, I,my friends told me to look I was
(17:37):
walking to such a thing and theytold me that happened when it premiered.
It seems to me that my GodI don' t know if the collateral
that' s called Will Smiths'film is the point that they made the
premiere in Madrid and he was goingto walk back what' s going on.
Well, ah, wow, WillSmith and it' s all clear.
So it' s like you havethe joy of maybe hanging out with
(18:00):
people in the middle and also atthe level of surrounding you, of people
working, that is, of networking, it' s in a big city.
In that aspect and the whole culturalsphere, that is not only cinema,
that is to say at the levelof plastic arts, they have of
the main museums, that is tosay the use of the meadow of queen
(18:21):
sophia, everything is and goes andI love it, that is, I
love to see people who see thepart the asset that is the culture and
how important it is that from theState it is encouraged and that people give
yes, that is to the childrenin schools, as well as Tia,
they gave it to me artistic andthey gave us the movements well give it
the cinema, they give it abit of contextualization and they familiarize it.
(18:41):
And that part of having tools,and that' s what you see then
I would say that in one aspectof people that she is very sensitive to
everything that is cultural and artistic,and that I love. I mean,
I felt first I noticed the privilegethat they have of having that access and,
as opposed to how happy I comefrom where I come from, that
(19:04):
I always have been passionate, butalso thanks I come with a family that
have allowed me to explore my passionsand have access to a good education and
be able to come with this personwho studied in a public school what a
taxi driver does I can tell youabout a play that is happening at the
moment. Like anything, I mean, it' s part of the conversation
(19:25):
and I loved that part good.In that sense, I believe that the
film mouth has to continue to givethose workshops of the presentation, of course,
because it is never really late,it is not at all that workshop
of appreciation. I didn' thave so many young people, there were
very grown- up people, ofcourse, and that was also something that
(19:47):
I really liked, like it's never too late, so I could
learn something new, to interest youin some passion. No, and for
example, that comes from one whomanages to get out and see how in
other countries it is important that perhapsat the level he educates, for example,
in schools and private school, withinthe artistic class, the subject of
cinema becomes a little familiar. I, for example, had the joy of
being a teacher, just like you, film appreciation, also in a school
(20:11):
here that hated the name and weresixteen- year- olds, seventeen-
year- olds who, surely,cinema was entertainment, that is, little
important, took the class. Theysaw everything that makes up the look that
you have to analyze and see whenyou' re watching a movie and they
kept a sketch open from the wholenetwork, because cinema is a collective art,
(20:32):
that is, it needs the workof many technicians and professionals to make
it work and when they understand howthis gear, as we say, to
supply chain, indutrinal engineering, thischain that has to work or it'
s good for the product to begood, you say wow. And also
this aspect that we' re notgoing to get a stick and do stick
(20:55):
And that' s right and that' s why it' s like it
doesn' t matter if maybe yourgrade didn' t, no, it
wasn' t your movie day,because, sir, the cinema, the
first film career comes in the twothousand twenty- one in the country that
got to the bachelor' s level. There are many film sectors that need
many types of professionals. I mean, I' m a lawyer and very
well I could work on the wholelegal aspect and the whole distribution issue,
which is purely legal and strategic,as well as if you love it,
(21:19):
I don' t know how tobuild. You can be part of the
Department of Art, that is,and it is even the simplicity of that
process of creating film content. Sure, I mean, that' s something
you and I kind of do naturally. I believe that instinctive part of creating
content, but that what we havefound as our safe space and that the
(21:41):
film mouth is one of them andalready each on a personal level in their
accounts, and not to create filmcontent in the sense of creating content that
competes with movies or with short orwith no. It is creating film content
that amplifies the message of what ishappening both the local scene and the international
scene. Of course what' sgoing to come out. Who are the
(22:04):
new directors, who are the directorswe always have to have in retrospect to
have as that background where we camefrom and where it goes exactly. It
' s like that kind of creationof content to be able to spread different
(22:26):
subject related to the film world.Of course I think that we both do,
that is, the broadcast part isalways very important, that is,
in every process and in this case, each one does it from its platform
and specifically, especially from that cinema, perhaps a little older, where people
say I don' t even knowwhat in such a person I obo a
(22:47):
contemporary film and doesn' t knowthat it has a great reference to classic
films. I mean, that wholepart of you always tries to give it
like that plus in each of yourbeads with your mouth. So I think
that sensitivity that one builds through anintentional content creation, that is, as
planned, I think that many informativepeople that informati and especially that educational part,
(23:08):
that is, if education is nevertoo much. Never in other words,
you can always educate more and createdialogue and create conversation that is always
important and nothing. I think that' s what everyone does and I feel
that the creation of content is sometimeslike people do it all, they understand
that that' s something that's done fast and nothing to see.
(23:30):
You have to think about what you' re going to do, what you
' re going to say and makeit a good job, and that'
s what we always do, that' s our goal with our mouths,
that' s, they' retotally different personal ways of training, but
that unites this part of spreading thefilm world. That' s right,
(23:51):
and it' s good that you' re back so you can go to
the movies together. The cinema couldtalk together, have these conversations, talk
here for the likes as we alwaysdo. Many of the things that happened
in these years have been the Dominicanfilm festivals that were amazing. They have
released very good Dominican film with newperspectives, new poses that. That'
(24:15):
s also something of my experience.What we weren' t on the air
was going to those film festivals togive him support with that broadcast through the
film mouth. I also believe thatthe experience of such a fifteen twenty minutes
on Christon Radio comes too. Iwas going to tell you about that you
(24:38):
on the radio as well as otherworlds. That has also generated a lot
more confidence for me to be ableto carry out this new season and I
think there are many new projects comingfor the film mouth. We want to
be a little more connected with theaudience, we want to generate r neorum
(25:02):
then, that is, we wantto get exactly close and be able to
take out the films that we talkabout here, to be able to share
it in real life with our listenersand our community. Of course, the
broadcasting activity is not only through themicrophone, which is very important, but
also to make events with you.Well, I think we' re at
(25:26):
the end. Actually, it wasa really nice episode. I think we
' ve never talked so much ona personal level, but I think it
was necessary this season. Believe me, they promise a lot, so stay
tuned, because we' re goingto talk about a variety of topics,
we' re going to have differentguests, who know a lot of the
(25:49):
topics we' re going to talkabout throughout the season and they' re
always going to have us here accompanyingthem in this process, which is also
a process for us of growth andlearning. Of course and thank our home,
our new home, which is takingus to the studios of the American
Dominican, for the support of allowingus to record here in this pimp shop.
(26:12):
Yes, sir, I' ma student, that' s me
I feel like me. I don' t think I' ve ever felt
as comfortable as I am now.And the truth is that we are extremely
grateful for the studies of the AmericanDominican. So nothing to see you next
time. The film mouth is apodcast recorded in American Dominican studios and produced
by Dennis Gómez and Loren Fernández.Listen to all our episodes in Spotify and Apple Podcast
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