DEBATE FDF- KARLA SOFÍA GASCÓN CRUZÓ LA LÍNEA...

Dina Min

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Transcript

00:00:00¿Qué cagascón con Karla Sofía?

00:00:06Cinéfilos, cinéfilas, bienvenidos a este bello debate de fuera de foco,

00:00:11en donde básicamente nos planteamos la siguiente pregunta.

00:00:15¿Qué piiii con los premios Oscar? ¿Qué está pasando?

00:00:19¿Por qué esta se ha convertido en una de las carreras hacia el Oscar más sucias, más puercas, más enlodadas,

00:00:26en donde parece que cada día se busca desprestigiar a una película que sí porque usó inteligencia artificial,

00:00:33a una actriz que sí porque hizo blackface, a otra actriz que sí porque hizo mil tweets horrorosos?

00:00:40Constantemente estamos viendo día con día revelarse una cantidad de información de los competidores

00:00:47que es un fenómeno digno de analizarse.

00:00:51Y por eso hoy generamos este bello debate, como siempre me acompaña mi bello equipo de fuera de foco, Ferra Mírez y Bacasala.

00:00:57¡Salud!

00:01:01Oigan, debo darle el crédito del ¿Qué cagascón con Karla Sofía? a mi querido Bully,

00:01:06él inventó esto porque el origen de mezclar apellidos con cosas es ¿Qué niongo con Lupita?

00:01:12que es como ¿Qué niongo con Lupita? porque es como ¿Por qué? o sea, wow, ¿no? siempre está en todo ¿Qué niongo con Lupita?

00:01:18en el mejor de los sentidos y fue como bueno, si ya fue ¿Qué niongo con Lupita?

00:01:22ahora puede ser ¿Qué cagascón con Karla Sofía? debido a todo el cagadero que se está generando.

00:01:27Contexto súper rápido, como les digo, el debate va a involucrar todo esto que se está generando de polémica con las diferentes películas,

00:01:33información que se ha salido a flote un poquito estos días que parecerían intentar derrocar ciertas nominaciones,

00:01:40eliminar ciertas nominaciones, Demi Moore también está por ahí involucrada, Zoe Saldana está involucrada.

00:01:46Estos Oscars se sienten muy con clave, la verdad.

00:01:49Son los Oscars con clave.

00:01:51Nadie merece ganar.

00:01:52Wow, gran definición.

00:01:53Nadie merece ganar, es tal cual la definición correcta.

00:01:56A ver, un poquito de contexto, ¿no?

00:01:58Vámonos brevemente hacia esta semana un poco atrás,

00:02:01el tema con Karla Sofía comienza a tomar fuerza una vez que ella de una entrevista en la que dice

00:02:08que el equipo de producción de la película I'm Still Here,

00:02:13protagonizada por Fernanda Torres, que está nominada compitiendo con Karla Sofía en la categoría de Mejor Actriz,

00:02:19ella dice que la producción comienza una campaña de desprestigio contra Karla Sofía,

00:02:26que mandó a su gente a desprestigiarla, etc.

00:02:29Eso empieza a generar un poco de ruido porque, y lo vamos a ver más adelante,

00:02:32los lineamientos de la academia incluyen que no puedes hablar mal del trabajo de alguien más

00:02:37o no puedes insinuar ese tipo de cosas.

00:02:40Algo similar sucedió hace como dos años cuando Michelle Yehú publicó una historia de Instagram

00:02:45una noche anterior a la ceremonia, en donde da a entender que ella debería ganar el Oscar

00:02:51porque Cate Blanchett ya lo ha ganado.

00:02:53Eso también puso un poco en duda si la academia le iba a retirar la nominación.

00:02:56Finalmente la academia no lo hace.

00:02:58Y vamos un poco más adelante a que el día de ayer surgen, son revelados, son encontrados y expuestos,

00:03:05un montón, no 1, 2, 3, 4, 5, un montón de tweets, xenófobos, racistas,

00:03:15islamofóbicos, racistas, homofóbicos, casi casi transfóbicos, sí.

00:03:22Casi casi transfóbicos de Karla Sofía Gascón.

00:03:25Tal cual como Donald Trump opinando de lo que sea y de forma horrible en todo.

00:03:30Como cuando Donald Trump opinó de que Kristen Stewart había cortado con Robert Pattinson.

00:03:35¿Qué tiene que ver? O sea, sí Karla Sofía opinando de todo.

00:03:38O sea, neta señora, neta no, es de a huevo.

00:03:45Tweets, se disculpa y obviamente emerge con ello la pregunta de si o no la academia hará algo al respecto.

00:03:54Y ese es el debate que queremos nosotros tocar.

00:03:57Pero antes que nada, y con esta bella imagen que hizo Ferra Mines que me encantó,

00:04:02que es en vivo desde la academia, zionismo, blackface, inteligencia artificial, Emilia Pérez.

00:04:09Es de verdad una ceremonia de lo que ha surgido.

00:04:15Y bueno, también vamos a hablar de esto porque finalmente no es que hoy, ahora la gente tiene opiniones polémicas.

00:04:20No, la gente siempre ha tenido opiniones polémicas.

00:04:22Lo que la gente no tenía antes era redes sociales.

00:04:24Internet.

00:04:25Ni la intención de desprestigiar tanto al otro.

00:04:27Pero opiniones, acciones, incluso ilegales, toda la vida.

00:04:33Siempre han sucedido.

00:04:34A veces la academia se ha hecho la vista gorda.

00:04:36Otras veces no le queda de otra más que evidenciarlo.

00:04:38El caso Harvey Weinstein, por ejemplo.

00:04:41Pero lo primero que les quiero preguntar Fer y Beca es,

00:04:44¿Cuál fue el primer tweet de Karla Sofía que ustedes vieron y dijeron a la torre?

00:04:50O sea, esto sí ya está en otro nivel de considerar realmente

00:04:55si esto podría genuinamente valerle su nominación o su premio en otro caso.

00:05:05Bueno, fíjense que a mí, yo desde...

00:05:08Creo que ya lo habías mencionado en otras ocasiones,

00:05:11de que ya ella, Karla, había hecho tweets bastante controversiales

00:05:15con respecto a una campaña de odio, de desprestigio,

00:05:20que se estaba viviendo aquí en México.

00:05:22Nos llamó de qué gatos y qué personas de mal y no sé qué.

00:05:26Pero eso se había quedado como muy localizado

00:05:29y creo que lo manejó bien en el sentido de,

00:05:32¿Me están atacando a mí?

00:05:34O sea, digamos como en estrategia de PR, de comunicación,

00:05:38¿Me están atacando a mí?

00:05:39Hay una campaña de desprestigio.

00:05:41Hay mexicanos de bien, mexicanos de mal.

00:05:43Son los que me quieren tirar.

00:05:45Pero ya después con lo de George Floyd,

00:05:47eso sí fue así como de, oh boy, ¿De dónde vino eso?

00:05:51¿Qué pasó?

00:05:53Y creo que sí fue cuando Variety, The Hollywood Reporter,

00:05:57ya los medios internacionales asociados a la academia

00:06:00comenzaron a opinar al respecto.

00:06:02Fue cuando yo dije, ay, esto ya se descontroló.

00:06:04Y luego cuando empezaron así que los miles de memes

00:06:07hablando de lo horrible de Karla Sofía Agascón

00:06:10insultando al Oso Paddington.

00:06:12Y así dije, oh Dios.

00:06:14Eso ya se.

00:06:15Me encantó.

00:06:16Ese del Oso Paddington me gustó mucho, Vega.

00:06:18Ese es un gran meme.

00:06:19Fer, ¿Tú cuál fue el primer tweet que viste?

00:06:21Que yo sé que no estás tanto en redes sociales,

00:06:23pero llegó a tus manos esta situación también.

00:06:28No fue el tweet directamente, fue la nota de Variety.

00:06:31O sea, como de, oh, los tweets polémicos de Karla Sofía

00:06:35podrían costarle la nominación de que justo mencionaba a George

00:06:39Floyd.

00:06:40Y ahí fue, o sea, realmente mi primera reacción,

00:06:42creo que fue muy similar a la de Vega, que es como de, dude,

00:06:45les hemos estado diciendo por meses, por semanas,

00:06:49que Emilia Pérez es ofensiva por tal razón,

00:06:53que la manera en la que la actriz aborda al público mexicano no

00:06:57es la correcta, que Jux odiar nos odia.

00:07:01Que nos dice un pueblo, un idioma de, ¿Cómo se dice?

00:07:04¿Cómo era?

00:07:05De país en desarrollo.

00:07:06No, era como.

00:07:08Dijo, no hizo pobres, dijo como sencillos.

00:07:12País, país modesto, sí.

00:07:14Países modestos, países modestos.

00:07:16Sí, sí.

00:07:17Entonces, es como, todas esas cosas que ya son mega cancelables,

00:07:21que ya son cosas que no están bien, no les importaron.

00:07:25No, no les importaron.

00:07:26Hasta ahorita, que ya me da.

00:07:28Sí, pero eso, me encanta que lo menciones, Fer,

00:07:30y eso a mí me da mucho coraje, porque se los juro, o yo creo,

00:07:34se los juro, yo creo, hablo por mí.

00:07:36Hablo por mí.

00:07:38Que pudieron haber salido todos estos tweets,

00:07:40y voy a leer algunos.

00:07:41Por ejemplo, este que a mí me pareció el primero más grave,

00:07:44que tenía que ver con, precisamente,

00:07:46la gente que practica o que, bueno, su religión es el Islam.

00:07:51Porque este tweet dice lo siguiente, está aquí en la pantalla.

00:07:54Dice, ¿Cuántas veces más la historia tendrá que expulsar a los

00:07:57moros de España?

00:07:59Todavía no nos hemos dado cuenta de lo que significa esta amenaza

00:08:03de las civilizaciones, que constantemente ataca la libertad

00:08:06y coherencia del individuo.

00:08:08No se trata de racismo, se trata del Islam.

00:08:11O sea, ahí fue cuando me fui para atrás.

00:08:15O sea, que no puede ser, señora.

00:08:17O sea, ¿qué?

00:08:19O sea, a ver, seguramente hay un montón de gente que piensa eso,

00:08:23que vive en España y piensa eso,

00:08:25pero que incluso tiene un mínimo de lo sentido común y dice,

00:08:29no lo voy a tuitear.

00:08:31O sea, a ella, como una actriz nominada en Oscar,

00:08:33hubiera podido también tener un poquito de lógica.

00:08:35Y aquí, siendo abogada del diablo,

00:08:37o sea, no, obviamente, por ningún motivo,

00:08:39baleando las hartas estupideces que dijo la señora,

00:08:42sino diciendo, te metes a tu Twitter,

00:08:44le pides a tu equipo de PR,

00:08:46con una pequeña fracción de lo que ganaste por tu actuación,

00:08:49que borren cualquier pendejada que hayas dicho.

00:08:51O sea, solo por si acaso.

00:08:53No, porque, a ver, también hay una cosa.

00:08:55¿Sabes yo a quién culpo mucho?

00:08:57¿A quién?

00:08:58O sea, como Netflix no se dio cuenta.

00:09:00Emilia Pérez iba a hacer la película

00:09:02que iban a Canadá.

00:09:03¿Cómo no tienes un control de talentos?

00:09:05Claro.

00:09:06¿Cómo no checas el Twitter de todo el mundo?

00:09:08¿Tus talentos? Sí.

00:09:10Y dices...

00:09:11Claro, a ver, la parte de volando de hace dos años.

00:09:13O sea, aquí no sé si viene una fecha,

00:09:15pero las fechas que eran de hace dos años,

00:09:18ah, 2016.

00:09:19O sea, la señora tenía como cuarenta y tantos años.

00:09:21No estamos hablando de que, puta,

00:09:22o sea, yo cuando tenía quince tuiteé una pendejada

00:09:24que ahora me arrepiento.

00:09:25No, no, o sea, esto fue hace ayer, ¿saben?

00:09:28O sea, y es claro que su actitud sigue siendo la misma,

00:09:31porque nosotros los mexicanos

00:09:33fuimos los primeros que empezamos a decir,

00:09:34oye, ¿por qué está diciendo estas cosas tan feas?

00:09:36O sea, no es que ella dijo,

00:09:38es que yo era una persona así,

00:09:40no me he dado cuenta de esto.

00:09:42Y saben, voy a hacer un comentario

00:09:44para aludir al otro,

00:09:45es que hay muchas cosas que me hacen enojar.

00:09:46El primero es con la academia,

00:09:47porque leímos esto del Islam.

00:09:50Les voy a leer otro,

00:09:51que a mí me hizo enojar mucho ayer,

00:09:53que es de Cristóbal Colón.

00:09:57¿Qué dice?

00:09:59Ella está citando un tuit

00:10:01que era sobre una noticia

00:10:03que decía que habían retirado una estatua de Colón en Chicago

00:10:06una semana después de que manifestantes

00:10:08intentaran derribarla.

00:10:09Y ella responde a eso.

00:10:11Estos mierdas tarados,

00:10:12hijos de esclavizadores,

00:10:14de inmigrantes,

00:10:15de asesinos de tribus,

00:10:16son los ignorantes de la historia.

00:10:18Tiran piedras contra la estatua de un señor

00:10:21que buscaba una ruta hacia las Indias,

00:10:23culpable tan solo de que esa gentuza

00:10:26haya nacido ahí a la madre.

00:10:29¿Podría haber salido ese tuit xenófobos

00:10:32contra México,

00:10:33contra Brasil,

00:10:35contra Argentina?

00:10:37La academia no hubiera dicho nada.

00:10:40¡Ah!

00:10:41¡Ah!

00:10:42¡No!

00:10:43¡Ah!

00:10:44¡Ah!

00:10:45Pero habló de George Floyd.

00:10:47Ahora sí,

00:10:48qué cagascón con Carla Sofía.

00:10:50Eso me enoja.

00:10:52A ver, entiendo.

00:10:53La academia surge.

00:10:54Es un producto estadounidense.

00:10:56Y si te metes con ellos,

00:10:58o sea,

00:10:59agárrate, ¿no?

00:11:00Guillotina.

00:11:01Y tal vez no.

00:11:02Posiblemente no vaya a pasar.

00:11:04Pero qué curajimidad.

00:11:05Que es como,

00:11:06¿pudo haber hecho mierda?

00:11:08Religiones,

00:11:09culturas,

00:11:10creencias,

00:11:11personas,

00:11:12ideologías.

00:11:13Pudo haber hecho mierda.

00:11:14Es como,

00:11:15Emilia Perez,

00:11:1613 Oscar nominees.

00:11:17Es como,

00:11:18¡uh!

00:11:19Pero,

00:11:20¡no!

00:11:21La señora de George Floyd,

00:11:22que también es una tontería la que dijo la señora de George Floyd,

00:11:24también está mal.

00:11:25Pero lo que me enoja,

00:11:27es que apenas así,

00:11:29apenas así hicieron caso.

00:11:31Qué coraje me da.

00:11:32O sea,

00:11:33qué coraje,

00:11:34porque eso nos habla.

00:11:35De que todo esto que se ha hablado desde México de,

00:11:36¡Hola!

00:11:37Emilia Perez es ofensiva.

00:11:39Está horrible.

00:11:40Es transfóbica.

00:11:41Es como,

00:11:42¡no!

00:11:43No, mexicanos.

00:11:44No hacemos caso.

00:11:45Aquí los que sabemos somos nosotros.

00:11:46¿Estás de acuerdo?

00:11:47Ay,

00:11:48pero ahorita se siente más personal,

00:11:49Beca,

00:11:50siento,

00:11:51por el tema de que.

00:11:52Mucho,

00:11:53ya.

00:11:54Justo,

00:11:55o sea,

00:11:56digo,

00:11:57tienes a una Lady Gaga,

00:11:58hablando de Joker 2,

00:11:59diciendo,

00:12:00a veces a la gente no le gusta lo que haces,

00:12:01puntos,

00:12:02acabo fin,

00:12:03vámonos todos,

00:12:04ando a casa,

00:12:05a comer chimichangas.

00:12:06Pero tienes una protagonista de una película,

00:12:07que cuando le haces saber que la película nos ofende,

00:12:08responde de las maneras más agresivas posibles.

00:12:09Entonces,

00:12:10por eso se siente más personal,

00:12:11porque es como,

00:12:12nos devalúan nuestra opinión.

00:12:13Como,

00:12:14¡país!

00:12:15O sea,

00:12:16ni siquiera como críticos,

00:12:17o como cinéfilos,

00:12:18yo estoy completamente de acuerdo contigo,

00:12:19y,

00:12:20los tres señores,

00:12:21¡independible!

00:12:22No,

00:12:23no,

00:12:24no hay peros.

00:12:25Bueno,

00:12:26quizá uno,

00:12:27y es que,

00:12:28ya que estamos hablando como de que estos son los Oscar 20-25 más sucios de la historia,

00:12:31tal vez en parte porque las tres denominaciones de Emilia Perez no tienen sentido,

00:12:35y esta nueva controversia de Carla Sofía lo demuestra,

00:12:39pero,

00:12:40si vieron El Aprendiz,

00:12:41bueno,

00:12:42los tres gatos y yo que vimos El Aprendiz.

00:12:44Me encanta El Aprendiz.

00:12:45Es buenísima,

00:12:46pero,

00:12:47But in that movie, they give you the three rules

00:12:51that Donald Trump has followed to keep being successful.

00:12:57And they tell you to attack, never accept that you have lost,

00:13:03and always say that you won, even if it's not true.

00:13:06And I see Carla Sofía doing exactly that,

00:13:09because her apology is not an apology.

00:13:12I mean, it's a, sorry if I offended you,

00:13:15but there's still a hate campaign against me,

00:13:19and I'm going to keep living my truth, and such.

00:13:21I mean, it's not enough at all,

00:13:26but I do see the strategy of,

00:13:30we're trying to keep the truth by the book

00:13:33for the white snob groups in the academy.

00:13:37Beca, but do you agree that no one ever went against her?

00:13:40I mean, no one, no one, people speak ill of Emilia Pérez.

00:13:43I mean, yes, in fact, I think that at the beginning,

00:13:45every time I made a comment,

00:13:47we lost your audio.

00:13:53Sorry, whenever I saw her talking about Emilia Pérez,

00:13:56the comments I always made were,

00:13:59first, the one who acts better is Zoe Saldana.

00:14:03Zoe Saldana, the truth is that,

00:14:04regardless, I sit, I convince you,

00:14:07and also Carla Sofía Gascón does it well.

00:14:09I mean, really, no one talked about,

00:14:11that lady, how dare she?

00:14:14I mean, no one, no one, no one.

00:14:15I mean, if people spoke out, it's like,

00:14:17hey, this movie doesn't treat the topic of the missing people with respect.

00:14:21Or is this movie being empathetic with this other situation?

00:14:24Or is this movie...

00:14:25No one said, you, Carla Sofía Gascón.

00:14:27She justified those, in quotes, attacks.

00:14:31She transformed them into attacks.

00:14:33And the last apology she gave,

00:14:35it really blows my mind,

00:14:37because she said something to Hollywood Reporter like,

00:14:39I, who am a minority,

00:14:41ah, now you do represent the minority.

00:14:43Because, besides, it's impressive,

00:14:46to be part of a minority and not be empathetic with other minorities,

00:14:49it's ridiculous.

00:14:50I mean, the amount of tweets she's posting is,

00:14:52really, I mean, not being empathetic in general is wrong.

00:14:56But, it's that,

00:14:58you didn't want to play the card,

00:14:59you said you didn't represent anyone,

00:15:01that you represent yourself,

00:15:02that you don't have to be the face of the trans community,

00:15:05and now you do.

00:15:06And now you use it as a shield,

00:15:08of, I, because I'm a minority, poor thing.

00:15:10No, I mean, it's not right.

00:15:12I mean, honestly...

00:15:14No, and I think a sample of that is that

00:15:17Selena Gomez and La Acuenta de la Academia

00:15:20already stopped following her on Instagram.

00:15:22And while we talk,

00:15:24Soy Saldaña has already publicly left Hollywood Reporter

00:15:27to get rid of everything that is happening,

00:15:30to say that she is very sad,

00:15:32that she always works with a framework of respect,

00:15:34inclusiveness, blah, blah, blah.

00:15:35No, Soy Saldaña has been the smartest.

00:15:38If you don't say it, you can't.

00:15:39Yes, it's that...

00:15:40Don't ask, don't say it, you can.

00:15:43No, of course, because it's the most prudent thing to do, I mean...

00:15:46And it's that, I mean, she already had three nominations for the Oscar.

00:15:50You shut up, you thank her,

00:15:52the great privilege of being the first transsexual actress

00:15:55to be nominated for Best Actress, blah, blah, blah.

00:15:58And no one would have ever brought those tweets to light.

00:16:02Because really, no one was paying attention to her

00:16:04until she kept going, and kept going, and kept going.

00:16:06Until she got involved with the BTS fandom.

00:16:10It's that she got involved with the worst, I mean...

00:16:12And with the Brazilians.

00:16:15Thank you Brazil, thank you ARMY.

00:16:17Up with BTS, up with our Brazilian family.

00:16:21I mean, it's that you don't know who you're not with.

00:16:23I mean, if I suffered...

00:16:26I mean, who suffers more, Jesus Christ or me?

00:16:30When Selenator greeted the Selenators.

00:16:34Despite everything, the truth is that they change me.

00:16:36I was brutally attacked.

00:16:38I mean, that's...

00:16:41I think it's a tenth of the comparison.

00:16:43Well, maybe not, maybe it's comparable.

00:16:44But with BTS.

00:16:46I mean, how? How?

00:16:48How?

00:16:49How? How?

00:16:50But well.

00:16:52Let's move forward in this conversation.

00:16:55Talking about the rules and guidelines of the Academy

00:16:57to be able to formulate an answer at the end

00:16:59or during the conversation

00:17:00of whether we feel that this situation could be worth

00:17:04the nomination to Carlos Sofía.

00:17:06Rules and guidelines.

00:17:07One, code of conduct.

00:17:09Here goes the part...

00:17:10I'm going to sing it so you don't get bored.

00:17:12The code establishes that the members must

00:17:15one, foster an environment of respect, inclusion and equity.

00:17:18Two, abstain from any abusive, harassing or discriminatory conduct.

00:17:25And three, maintain the integrity of the Academy and its values.

00:17:30I didn't understand anything because I read it.

00:17:33Foster an environment of respect, inclusion and equity.

00:17:36No, not complied.

00:17:38Abstain from any abusive, harassing or discriminatory conduct.

00:17:41Not complied.

00:17:42Maintain the integrity of the Academy and its values.

00:17:45Up to there, yes, he did.

00:17:47Point number two.

00:17:48Sanctions for inappropriate conduct.

00:17:50It says, if an actor or another member of the Academy

00:17:52is accused of a serious offense,

00:17:54for example, harassment, abuse or serious crimes,

00:17:56the Academy can take measures such as

00:17:58one, expulsion, which is the case with Harry Weinstein or Roman Polanski.

00:18:02Two, prohibition of attending the Oscars,

00:18:06although the actor may still be nominated.

00:18:09For example, Will Smith, who cannot attend the Oscars

00:18:12for 10 years after the slap in the face of Chris Rock.

00:18:15Will Smith may be nominated, but he cannot attend the ceremony.

00:18:19Withdrawal of awards in extreme cases,

00:18:21although the Academy has rarely done so.

00:18:23How is a punishment decided?

00:18:25A committee of membership evaluates complaints and evidence.

00:18:28Lawyers and ethics experts are consulted.

00:18:30And the Board of Governors votes for the sanction.

00:18:33Now, everything we said was like the strongest starting point,

00:18:36which was when our Brazilian brothers and we were more united than ever.

00:18:41Speaking ill of other actors, a negative campaign provision.

00:18:45The rules of the Academy prohibit any attempt to discredit

00:18:48or underestimate other members.

00:18:50Studies and publicists cannot launch campaigns

00:18:52that attack competition and it is not allowed to suggest

00:18:56that one performance is less deserving than the other,

00:18:59which was what Michel Yebo did and there were no repercussions.

00:19:03The Academy can send warnings or disqualify someone

00:19:06if it considers that their comments damage the integrity of the awards.

00:19:09In serious cases, it can prohibit an actor from attending the Oscars

00:19:12or revoking the nomination.

00:19:16Having said that, could she be disqualified from the Oscars?

00:19:21Carlos Sofía Descon, Fer, BK, opinions.

00:19:24I don't think so.

00:19:26It's like all the rules in this world, it's something very ambiguous,

00:19:31thinking that at least this part of the code of conduct,

00:19:35most of these tweets that have come out are from 2019, 2020

00:19:39and they are past things.

00:19:40So, on that side, they could appeal and say,

00:19:43oh yes, it was from the past, but in the campaign we didn't do it.

00:19:47I think there are also things that are taken out of context

00:19:52or that are not seen completely.

00:19:55For example, what Fernanda Torres said.

00:19:57At the beginning of this interview, she says that Fernanda Torres

00:20:00is a wonderful actress who surely deserves the awards

00:20:06that she has received and she said that she didn't have the opportunity

00:20:09to see her work yet, but what she said is like,

00:20:14what is not right is the people around her

00:20:17who are generating this campaign of disprestige.

00:20:20So, it's like they can mix things like,

00:20:23no, we never attacked Fernanda Torres directly,

00:20:26no, we never said these things from the nomination to the moment.

00:20:31These behaviors were from the past.

00:20:34They are wrong, yes, but I don't think they are enough

00:20:37to revoke an Oscar nomination.

00:20:39Also, for the pride of the Academy, because the Academy,

00:20:43I feel like it's going to be a little scary for them to stay like,

00:20:45damn, we have to admit that we were wrong

00:20:49and that the Mexican fans were right.

00:20:52And that blow to the ego is a little more complicated for both of them.

00:20:58Not only that, I really don't think the Oscars think a lot about Mexico.

00:21:02I think they think more about how it would look like

00:21:05if the first trans actress, who they nominate as the best actress,

00:21:09they take away the Oscar.

00:21:11That would be something that looks very bad.

00:21:14And also, as you say, I feel that, in fact,

00:21:17they tried to relax these rules a little bit

00:21:20of how the nominees talk about the nominations or the processes

00:21:24from Andrea Rice, Borucu.

00:21:26Just the nomination of Michelle Yao and Cate Blanchett,

00:21:29when this actress appeared,

00:21:32who really appeared as a surprise,

00:21:33because the film barely met the standards

00:21:38of exhibition and screen projection to be considered.

00:21:42And it was the mouth-to-mouth of friends from Hollywood,

00:21:46among them, let's say, Meryl Streep,

00:21:49Edward Norton, Cate Blanchett.

00:21:51So, they modified the rules so that it wouldn't be like,

00:21:54you can't talk about anything,

00:21:56to say, well, be aware of what they say on social media,

00:22:00that it can impact you.

00:22:01But, it would look very bad,

00:22:04and I think they're realizing how bad it would look

00:22:08if they take her seriously as a candidate and give her the win.

00:22:13I think that's what makes these Oscars interesting.

00:22:17But, you know what makes me mad?

00:22:20It's what pisses me off the most.

00:22:22That she really could not have won.

00:22:24I mean, that she would have won the Emmy Award.

00:22:25It's like, she won the Emmy Award because she acted better.

00:22:27And now it's like, of course,

00:22:28they didn't give her a Carla Sofía for everything she did.

00:22:30It's like, what if they didn't give it to her

00:22:32because they suddenly found out,

00:22:34the members of the Academy,

00:22:36that they vote, that she acts okay in the film.

00:22:42She acts well, period.

00:22:44It's not, honestly, it's not an outstanding performance.

00:22:48It's not.

00:22:49It's not like, sorry,

00:22:51for those of you who like it, I just recorded the video today,

00:22:53the film of a complete stranger.

00:22:54It's not an extraordinary direction.

00:22:57It's not an outstanding direction,

00:22:59that of James Mangold.

00:23:00I like James Mangold, I like Walk the Line,

00:23:02I like Logan a lot.

00:23:03Well, I like Walk the Line a lot too.

00:23:06It's not an outstanding performance.

00:23:08I mean, and there are many nominees this year

00:23:11that, outside of Carla Sofía,

00:23:13it's like, it doesn't make sense.

00:23:15I mean, it doesn't make sense that you exclude this person

00:23:17and consider this person, because, genuinely,

00:23:21for me, Tilda Swinton did a better job

00:23:23and deserved to be in that category more than Carla.

00:23:25But, we already know that they come from a...

00:23:27In addition, a spectacular Netflix campaign,

00:23:30I have to say.

00:23:32Becca, you were with me in a presentation

00:23:34that we had, that I was doing,

00:23:37of what is coming in 2025,

00:23:38but the host was like a global event,

00:23:40the host was from the United States.

00:23:42The truth is that the woman's mouth was filled with...

00:23:45I mean, not the mouth of the...

00:23:47Netflix bet on Emilia Pérez

00:23:49when the woman wanted to get out of the box.

00:23:52The woman's pupils were dilated.

00:23:54I mean, Emilia Pérez, you know,

00:23:57when a person from our team saw her on Cannes and said,

00:24:01I want to have that movie.

00:24:02Of course.

00:24:02I mean, that's when you connect,

00:24:04you connect one neuron with the other

00:24:05and you realize that, of course,

00:24:07the moment that Netflix,

00:24:08and I love Netflix a lot, don't take it the wrong way,

00:24:10but the moment that Netflix says,

00:24:12this is going to be our movie and we're going to push it.

00:24:14I mean, I went to Los Angeles the other day,

00:24:16to the mother.

00:24:18I mean, really.

00:24:20Uber, to order an Uber on the phone,

00:24:22it had advertising,

00:24:23I mean, the phone in the Uber application,

00:24:25Emilia Pérez advertising.

00:24:26Moving down the street, Emilia Pérez.

00:24:28In the hotel, Emilia Pérez.

00:24:29The city of Los Angeles is plagued by Emilia Pérez.

00:24:32The huge campaign that was made

00:24:35for this movie to be recognized is,

00:24:38like never before seen, really.

00:24:39Let's see, any distributor,

00:24:41if it's Disney, of course they're going to tell you,

00:24:42Captain America is coming, wow.

00:24:44But Emilia Pérez,

00:24:45they were quotes and quotes of the movie of the year.

00:24:47You've never seen something like that in Times Square,

00:24:49huge, I mean, it's impressive.

00:24:52I mean, and it's not surprising,

00:24:53that's why it's nominated, right?

00:24:55But the campaign was very intense.

00:24:59That's why I think,

00:25:00and that's why I think people from the Academy

00:25:03will know how to differentiate between Carla Sofía

00:25:06and the rest around Emilia Pérez, for example.

00:25:10Yes, I think so.

00:25:11I mean, I'm not so sure

00:25:13that I damaged the opportunities of the movie

00:25:16in another category.

00:25:17No, not at all.

00:25:18No, not at all.

00:25:19I think the movie still has three Oscars in its pocket.

00:25:22I mean, Spiel Danne,

00:25:23best international movie and best song,

00:25:25for the bad.

00:25:26I'm almost sure.

00:25:27I don't think so.

00:25:28I mean, I think that here,

00:25:29now there is a campaign against it.

00:25:32It's that one, I mean, as I was saying,

00:25:34be careful with what you wish,

00:25:35because it can become a reality.

00:25:36I mean, she wanted a campaign against it.

00:25:38Here it is.

00:25:40I mean, here is the campaign.

00:25:41Before, there was no campaign against it.

00:25:43And the only enemy is herself.

00:25:46Totally.

00:25:47Totally.

00:25:49They're going to put in the Oscars

00:25:51something like Garfield,

00:25:52that says, no, not Garfield.

00:25:56Here are some of the notes we saw.

00:25:59Here's Jack's hate,

00:26:01which also the man, I mean, really.

00:26:02I mean, the man,

00:26:04we've talked about it many times,

00:26:06but everything he said got worse.

00:26:08Everything he said got worse.

00:26:10Now, let's open the fan a little bit,

00:26:12because we just talked about

00:26:13that it's one of the dirtiest races to the Oscars,

00:26:15and I don't know who,

00:26:17but everyone wants to announce someone with free time

00:26:20to look for things

00:26:21to be able to cancel certain nominees.

00:26:23In this case, we have this,

00:26:27well, attempt to cancel,

00:26:28which was done by Zoe Saldana,

00:26:30nominated in the category of Best Actress,

00:26:33for having done blackface

00:26:34to interpret a biography of Nina Simone,

00:26:38and then Zoe Saldana left.

00:26:40I don't know if it was at this time,

00:26:41or I think many years ago,

00:26:42she had already apologized.

00:26:43She apologized four years ago.

00:26:46Yes.

00:26:46What do you think of this situation?

00:26:50I think that this was part of a campaign

00:26:55of, look how problematic Emilia Pérez is,

00:26:57and all her cast.

00:26:59Yes.

00:27:00And what she got out of it was blackface,

00:27:03but curiously, not her Zionism.

00:27:05Because Demi Moore is also quite Zionist,

00:27:08and she has also spoken about Israel and Palestine.

00:27:13So...

00:27:14And many members of the Zionist Academy.

00:27:16In the end, in Hollywood,

00:27:17I don't have the percentage,

00:27:19I don't know, 30, 40 people from the Jewish community,

00:27:23but there are many, many, many Jewish people.

00:27:27Not for nothing, they fired Melissa Barrera from Scream.

00:27:29There are levels of controversy,

00:27:32which don't seem so serious.

00:27:33Also, taking into account the sensitivity of the Academy,

00:27:37that is, the sensitivity of the SNOP voters of the Academy,

00:27:40that these accusations are not serious,

00:27:42but that they do not take them that way,

00:27:44and therefore the actors in question do not reflect

00:27:47or do not face this level of scrutiny or cancellations, right?

00:27:53Yes.

00:27:54But I think it also has to do with...

00:27:56Well, a while ago I was talking about it a little bit with Gaby, right?

00:27:59I mean, I think a time has come

00:28:02in which we are looking for historical things

00:28:07that maybe at the time would not even have aroused such reactions, right?

00:28:12I mean, Fernanda Torres's blackface is from 17 years ago.

00:28:16We are talking about a time

00:28:17when there was no really studied conversation

00:28:22about racism in territories that were not American,

00:28:24or even within the United States,

00:28:26as it was deserved to talk about these issues, right?

00:28:30So there are things that are like...

00:28:32Okay, wait, I mean, I know that people have done a lot of bad things,

00:28:37but also going back to the 80s, to the 90s,

00:28:4040 years ago, to see what actress did what,

00:28:44it's an absurd thing for me.

00:28:45I mean, this one about Timmy Moore's kiss to a 15-year-old boy,

00:28:49it's like, yes, hey, but this happened...

00:28:53Timmy Moore was 19 years old.

00:28:55We are talking about a long time ago, 30 years, right?

00:29:00What you are telling me...

00:29:03What you are telling me, I think, goes a lot with...

00:29:07the way in which the culture of cancellation has evolved,

00:29:10or the so-called woke culture in Hollywood.

00:29:14Because I think that before,

00:29:16I mean, we have also come from a decade

00:29:19where we try to give exposure to old tweets

00:29:24that can be controversial.

00:29:26Let's remember what happened to James Gunn

00:29:28when Marvel fired him.

00:29:30Yes, with his comments about pedophiles, right?

00:29:32Pedophiles.

00:29:33I mean, we have already come from that,

00:29:34and I sincerely believe that these Oscars

00:29:38are like this point of inflection where Hollywood is...

00:29:42The tamales are starting to get on my nerves a little bit.

00:29:44I know, I know. Sorry.

00:29:46Oh no, forgive me if the tamales arrive.

00:29:48Here in the neighborhood, they happen at all hours.

00:29:51And also in Fierro Viento.

00:29:52It's already going to be February 2nd,

00:29:54already fall with the tamales, don't do it.

00:29:56Are they Lincoln Park tamales?

00:29:58Because they saw that today they were giving them away.

00:29:59I wanted to go, but I couldn't because I had my ankle broken,

00:30:02but I really wanted to.

00:30:04Continue with your idea, sorry.

00:30:05I think that these Oscars are like a point of inflection

00:30:11where we are realizing that there are no perfect symbols,

00:30:16which is like this conclave idea, in fact.

00:30:18There are no figures that can be the ideal hero,

00:30:24that is going to represent an entire community.

00:30:27Not just Carla Sofía Gascón, but also Demi Moore,

00:30:30or Zoe Saldana, or even Mickey Madison,

00:30:33and Sean Baker, and Yura Borisov from Anora.

00:30:36Because the controversy of Anora

00:30:39about the coordinators of Intimidades was strong,

00:30:43but Yura Borisov, being a Russian star,

00:30:47just for appearing in propaganda films for Kremlin,

00:30:50is also very strong.

00:30:52Oh, I didn't know that.

00:30:54We'll get to that.

00:30:56Everyone has a tail to step on.

00:30:58Yes.

00:31:01So I think this part of the culture of cancellation,

00:31:05or the term woke, after the failure of MeToo,

00:31:08I mean, Hollywood said, you know what, that's it.

00:31:10It's not even appealing to us anymore.

00:31:12But did it really say, that's it?

00:31:13And don't you think that Emilia Pérez did really respond to that?

00:31:16Oh, because you had a very clear opinion about that, Beca,

00:31:18so it's cool that you share it here.

00:31:20Didn't Emilia Pérez still respond to this progressive issue?

00:31:26Like, yes, let's nominate Emilia Pérez,

00:31:30because she's different, and because she's on TV,

00:31:32and because she has a trans actress,

00:31:33and because...

00:31:34Wasn't that Emilia Pérez's response to that,

00:31:38like, wanting to be risky and brave and bold?

00:31:45I mean, like...

00:31:46I think that I've been told a lot,

00:31:48and well, I've seen a lot of comments that say that...

00:31:51And there's still, I mean, even yesterday,

00:31:54when I was discussing this with people,

00:31:56I said, I'm going to give Emilia Pérez the Academy,

00:31:59because it's the clearest message against Trump.

00:32:02Because of all this thing that now, officially,

00:32:05everyone in the United States is a woman, and so on.

00:32:07Of course.

00:32:08Because of Donald Trump.

00:32:10Yes, woman or man.

00:32:11Exactly. No, everyone is a woman.

00:32:13But, well, that's another technicism.

00:32:15It's just that it's very stupid, man.

00:32:16It's very stupid.

00:32:17Everyone is a woman. Perfect.

00:32:18What happened is that he stipulated,

00:32:21that it's in his reform,

00:32:23that all people have to have the gender

00:32:27that the dominant chromosome assigns them

00:32:30at the time of conception.

00:32:32And that's the X.

00:32:34So, everyone is a woman,

00:32:36because the male sexual organs develop later,

00:32:41six weeks after conception.

00:32:43So, in theory, in the United States, everyone is a woman.

00:32:46I loved this date you sent, Beca.

00:32:49It's true, it's great.

00:32:50I also laugh a lot at the absurdity.

00:32:53But, we come from that absurdity of...

00:32:56I mean, one of the most powerful nations in the world

00:33:00has just elected as president

00:33:03a criminal convicted to four federal charges.

00:33:07It doesn't make sense.

00:33:09And when they told me,

00:33:10no, it's Emilia Pérez, woke,

00:33:12I don't know what, the representation,

00:33:14it seemed very limited to me, that analysis,

00:33:16because I feel that the Academy is not giving that luxury of,

00:33:19oh, no, it's an important film,

00:33:21and that inclusion, they already did that with Everything,

00:33:23Everywhere, All at Once.

00:33:24The Academy was,

00:33:26it's time to award inclusion

00:33:27and award other types of artists and voices.

00:33:29No, with Parasite too, right?

00:33:31It's going to be the inclusion,

00:33:32like opening the borders a little bit,

00:33:34like a movie with subtitles.

00:33:36Thank you, I know you don't like to read,

00:33:38but it's the speech that Bun Yong-Hoo said,

00:33:42I know you don't pronounce it like that, excuse me.

00:33:44But I think that Parasite and Teamwork share water in,

00:33:47ah, because, I mean, they've always awarded,

00:33:50in quotes, the progress,

00:33:52in the sense that they're never going to award

00:33:54a story that celebrates old values,

00:33:55they're going to award,

00:33:56I mean, yes,

00:33:58yes, they're going to award nostalgic movies

00:33:59like the movie Muda,

00:34:01this, The Artist, right?

00:34:03Which is like a love letter to the cinema.

00:34:06I hate that phrase.

00:34:08But usually they award movies that,

00:34:10ah, of course,

00:34:11we hadn't realized that

00:34:13there was discrimination,

00:34:15or that there was,

00:34:16because that's why Oscar baits start,

00:34:18movies like Precious,

00:34:19which is like, it meets all the quotas

00:34:21of things that the Academy is going to say,

00:34:22bravo, right?

00:34:25But notice that I feel that Emilia was a,

00:34:28it's a French movie,

00:34:29speaking in Spanish,

00:34:30I mean, it meets with these boxes of inclusion,

00:34:33but it's also offensive,

00:34:36it's weird,

00:34:37it's bad taste,

00:34:38I feel proud to award it,

00:34:40because Mexico is already in fashion,

00:34:42so,

00:34:43the drug thing,

00:34:44it's time to make fun of that,

00:34:46it's time.

00:34:46Yes, we've talked about that.

00:34:48I feel that it's like this Oscar thing,

00:34:51saying, no, look,

00:34:52we're bold too,

00:34:53and we're politically incorrect,

00:34:55although not so politically incorrect,

00:34:57because here are these,

00:34:59these kind of wow-kissing shades of,

00:35:01oh, look, a trans actress,

00:35:03oh, look, they speak Spanish.

00:35:04I mean, I've always believed that the Oscars

00:35:07wanted to award that,

00:35:08and that's why they awarded Emilia Pérez.

00:35:11And that's why I don't think it's funny anymore.

00:35:13And there's also the possibility,

00:35:14no, don't give me that,

00:35:15there's also the possibility that the number of members,

00:35:18which are more than 8,000,

00:35:20are men of 70 years old,

00:35:2280, 60,

00:35:24not so old, not so young,

00:35:2670,

00:35:27that they really liked it.

00:35:29I mean, beyond how eccentric,

00:35:31how different, it's like,

00:35:32how good is it, you know?

00:35:33I mean, not even for,

00:35:34I mean, not even for everything it does or undoes,

00:35:38but because it's fair.

00:35:39I mean, there's also that possibility,

00:35:40but,

00:35:41I'm leaning more towards yours.

00:35:42Fer, I wanted to ask you about this topic,

00:35:45which was one of the first controversies

00:35:46about a movie of the nominees,

00:35:49which was the use of artificial intelligence,

00:35:51which was used in the movie The Brutalist

00:35:54to improve the Hungarian accent

00:35:57of the actors that maybe,

00:35:59well, if they speak 100% in English,

00:36:01maybe 3% is spoken in Hungarian.

00:36:04These interventions they have,

00:36:05then they justify the,

00:36:06let's change to English,

00:36:08to obviously be able to speak in English.

00:36:13I remember, Fer, that you were aware of the controversy,

00:36:16and then you saw the movie,

00:36:17so you were aware of it,

00:36:18which is interesting,

00:36:19because Becky and I saw it without knowing this,

00:36:22and you saw it with this in mind.

00:36:24What do you think,

00:36:25and do you think the Oscar may be worth it,

00:36:28Adrienne Brody, or not?

00:36:31Wow, it's a complicated discussion,

00:36:35because I think to begin with,

00:36:36when people read the term artificial intelligence,

00:36:38they get scared and say,

00:36:39no, it's wrong,

00:36:40because really,

00:36:43in one way or another,

00:36:44we, as communicators,

00:36:46have also started to show it that way,

00:36:50like, no, artificial intelligence,

00:36:52yes, but in a certain way,

00:36:55we've been saying like,

00:36:56no, artificial intelligence,

00:36:57no, not at all.

00:36:59But really,

00:37:01this use of artificial intelligence,

00:37:03at least on the subject of accents,

00:37:05of the brutalist,

00:37:08it's not something that you say like,

00:37:10it can't be,

00:37:11damn it,

00:37:11they're staining a person's art,

00:37:13it's a,

00:37:14we're talking about a tool for dialect,

00:37:18to simply improve pronunciation,

00:37:21which is a relatively simple thing, right?

00:37:23I mean, if they had this Hungarian actor,

00:37:28or this person who gave speeches in Hungarian,

00:37:32and from that,

00:37:33the pronunciation was adjusted,

00:37:35both from Felicity Jones and Adrian Brody,

00:37:37in some of the dialogues,

00:37:38but it's not like it was like,

00:37:40oh, no, it's that they didn't say anything,

00:37:42so we had to put a false mouth,

00:37:44and generate an automated speech,

00:37:46completely by computer,

00:37:47with Google Translate,

00:37:48I mean, it's not about that.

00:37:50It's a,

00:37:51it's a minimal use of,

00:37:53which I feel would not have to affect,

00:37:56the interpretation,

00:37:57or the consideration of Adrian Brody,

00:37:59for the Oscar for Best Actor,

00:38:00because in the end,

00:38:01a big piece of the film was made in Hungarian,

00:38:04well, not so much,

00:38:05so what are we talking about?

00:38:06They're,

00:38:07some letters,

00:38:08some insults,

00:38:09and some that are long.

00:38:10But also, I mean,

00:38:11this topic is complicated,

00:38:12it's complicated,

00:38:13but also,

00:38:14it's not the only tool,

00:38:15it's not the only tool

00:38:15that they're using to interpret,

00:38:16they used the whole body,

00:38:18no, also,

00:38:19the intention,

00:38:20everything.

00:38:21It's a,

00:38:23eh,

00:38:24what?

00:38:25I got distracted.

00:38:26Forgive me.

00:38:28I lost my way.

00:38:29No.

00:38:31Well, I mean,

00:38:31the thing is that,

00:38:32if it's being used as a tool,

00:38:35when we're seeing that it's a low-budget film,

00:38:38that it wouldn't have been ready,

00:38:40that its post-production process

00:38:41would have taken at least another two years

00:38:44to be released,

00:38:45it's a little bit more tolerable.

00:38:48I mean, you know,

00:38:49it's like,

00:38:49okay,

00:38:50artificial intelligence was used,

00:38:51how good,

00:38:52oh, I hit my microphone,

00:38:53I'm so sorry.

00:38:55How good that the production

00:38:57also has the courage to say it,

00:38:58and admit it,

00:38:59and not stay like,

00:39:00don't tell anyone that we're using this.

00:39:04But I don't think it's like,

00:39:07something so criminal.

00:39:09I mean,

00:39:10like I was saying,

00:39:11the issue of the dialogues in Hungarian

00:39:13are relatively minimal.

00:39:15And Adrian Brody's work

00:39:17can't just be reduced

00:39:19to how he pronounces certain words,

00:39:21or how he says certain things,

00:39:24because the acting is not limited to that.

00:39:26I mean, the acting of a person.

00:39:26I think one way to explain it,

00:39:28Fer,

00:39:29is the people who watch movies,

00:39:29well, all the people who watch dubbed movies,

00:39:31and say,

00:39:32wow,

00:39:33that was super good,

00:39:33Brendan Fraser,

00:39:34in The Whale,

00:39:35and I saw it in Spanish,

00:39:36and it's like,

00:39:37so you didn't see the acting,

00:39:38because you saw it in...

00:39:38Let's see,

00:39:39it's the voice of another person.

00:39:40And you thought it was a good acting,

00:39:41not just for his voice,

00:39:42you thought it was a good acting

00:39:43for the whole character.

00:39:46Exactly that.

00:39:47I mean,

00:39:47I don't think we should

00:39:48demerit Adrian Brody's work

00:39:49for this tool.

00:39:52But then there's the issue

00:39:53of artificial intelligence,

00:39:55which is another issue.

00:39:57We're still thinking

00:39:58that it's a low-budget production,

00:40:00that didn't have the money

00:40:01to hire more designers,

00:40:03and I'm a little bit opposed to that,

00:40:05because I think you can always

00:40:06find an artist

00:40:08who can help you with that.

00:40:10And not just Adrian Brody,

00:40:11but Guy Pearce,

00:40:12in the cast.

00:40:13True.

00:40:14100%.

00:40:15And it's this

00:40:17artificial intelligence

00:40:18that was used to create

00:40:19the final sketches

00:40:20of some of the models

00:40:21and 3D designs

00:40:22that you see

00:40:23from the projects of Laszlo

00:40:24towards the end of the story.

00:40:26That's when it's like,

00:40:27hmm,

00:40:28this might not be

00:40:30as viable,

00:40:31but, I mean,

00:40:32this is already an artificial intelligence use

00:40:34within the film,

00:40:35within the production design theme,

00:40:38maybe,

00:40:39within the art department,

00:40:40and that has nothing to do

00:40:41with the performance

00:40:42of its participants.

00:40:44So it's like,

00:40:45I think we have to differentiate

00:40:47which uses of intelligence

00:40:48are acceptable

00:40:49and which other uses are not.

00:40:51I think that also,

00:40:52last year,

00:40:53we had the controversy

00:40:53of this movie,

00:40:56Late Night with the Devil,

00:40:57which also,

00:40:58for some of its frames,

00:40:59used artificial intelligence.

00:41:01And the topic went like,

00:41:03ah, yes, well,

00:41:04next news, right?

00:41:06So it's like,

00:41:07I feel that

00:41:09the way they used it

00:41:10in The Brutalist

00:41:11shouldn't really affect

00:41:16the possibilities

00:41:17that the movie has

00:41:18within other,

00:41:19yeah, exactly,

00:41:20within other nominations,

00:41:21because it's something

00:41:23of this size

00:41:24in a movie of this scale.

00:41:26But I think we have to

00:41:28take into account

00:41:29that the Oscars

00:41:30never award what is

00:41:31supposedly,

00:41:32in quotation marks,

00:41:33objectively better,

00:41:35and that it's very political.

00:41:37And I feel that the use

00:41:38of artificial intelligence

00:41:39in these moments in Hollywood

00:41:41is extremely political.

00:41:45And more so

00:41:46because of the type of conversation

00:41:47that is being given with

00:41:48The Brutalist,

00:41:49which is objectively

00:41:49the best movie.

00:41:50I mean, for me,

00:41:51in an ideal world,

00:41:52I would win The Brutalist.

00:41:53I also liked it a lot.

00:41:54For me it was,

00:41:56I mean, for me it was an experience

00:41:58to go to the cinema,

00:41:59to go to the cinema,

00:41:59and I value it a lot,

00:42:01because I feel that now

00:42:02it's getting more and more difficult

00:42:03to find a movie

00:42:04that is an experience

00:42:05to go to see on a big screen.

00:42:07And,

00:42:08but,

00:42:09but, the big but is that

00:42:11I don't know if the level

00:42:12of conversation,

00:42:13or if the passion

00:42:14that people are really feeling

00:42:16for the movie

00:42:18can open the debate

00:42:19to the use

00:42:20of artificial intelligence

00:42:22right now in Hollywood,

00:42:23especially when there is still

00:42:25a lot of work

00:42:27by the unions

00:42:29and the same studies

00:42:30to determine

00:42:31what is going to be the ethical use

00:42:33or the correct use

00:42:34of artificial intelligence.

00:42:35It is also to consider

00:42:37what kind of profiles

00:42:38are being part of the Oscars,

00:42:40because not,

00:42:40remember that not all voters are,

00:42:43it can't be artificial intelligence.

00:42:44Many of them are producers

00:42:46and they are people

00:42:46and executives of the studio

00:42:48who also support

00:42:49the use of artificial intelligence.

00:42:50So it's not like,

00:42:52no, that's why they're going to punish him

00:42:53because everyone is afraid.

00:42:54But that's the narrative.

00:42:57I mean, the narrative of how they look.

00:42:59That's why I also find it interesting

00:43:01that whoever came out

00:43:03to defend the use

00:43:05of artificial intelligence

00:43:06in The Brutalist

00:43:08was the editor.

00:43:10Forgive me, I don't remember

00:43:11what his name is,

00:43:12but he's the editor,

00:43:13not the director,

00:43:14and neither is Edwin Brody.

00:43:16Edwin Brody clearly

00:43:17had to have given his consent,

00:43:19his consent to modify it.

00:43:21He was clearly involved

00:43:22in the process

00:43:23and that is extremely valuable

00:43:24because he is a great actor.

00:43:26But it strikes me

00:43:28that he didn't also come out

00:43:30to defend the creative process

00:43:32of the use of artificial intelligence.

00:43:34Well, I really shouldn't have done it.

00:43:36I mean, I think we find ourselves

00:43:38facing a case

00:43:38that is very similar

00:43:39to the last Beatles song,

00:43:41which is,

00:43:42artificial intelligence

00:43:43got dirty in this song

00:43:44and people got scared and said,

00:43:45it can't be,

00:43:46they replicated John Lennon's voice,

00:43:48when it was actually

00:43:49more a matter of cleaning

00:43:50and clarifying an audio

00:43:52than a matter of,

00:43:53let's take and modify

00:43:55John Lennon's voice.

00:43:56But there you are bringing

00:43:57something old.

00:43:58I mean, the same thing happened

00:43:59with José José,

00:44:00which I think also came out

00:44:01that at the end of last year,

00:44:02an unpublished song

00:44:04was fixed

00:44:05with artificial intelligence.

00:44:06But we are already talking about,

00:44:08I mean,

00:44:08about art that has already been done,

00:44:10that has been a long time

00:44:11and that is being recovered

00:44:13and that technology

00:44:14is helping to recover.

00:44:16At the moment,

00:44:18there is a film

00:44:19that is extremely artistic

00:44:21that also uses

00:44:21artificial intelligence.

00:44:23I think the Academy,

00:44:24in terms of narrative

00:44:26or statement,

00:44:27they are not there yet

00:44:29to be discussing it

00:44:30because it is still a topic

00:44:32with many edges

00:44:32that causes a lot of excitement.

00:44:34I mean, of course,

00:44:35my favorites are

00:44:36Eddie and Brody from Brutalist,

00:44:37but I think it is very important.

00:44:38Well, let's see,

00:44:39I think it would be cool to talk about it

00:44:40and we will talk about it

00:44:41once we see who won,

00:44:43because, as Beca says,

00:44:44it is a narrative

00:44:46and we will see how

00:44:48aligned we were

00:44:49with what we thought

00:44:50was going to be its narrative

00:44:51and how much not.

00:44:52It's going to be super, super,

00:44:53super interesting.

00:44:54Don't stop following

00:44:55Frefocos' videos

00:44:55if you have reached this point

00:44:56and you haven't subscribed to the channel yet,

00:44:57we invite you to subscribe,

00:44:58please leave your comments.

00:45:00And this gossip about Conclave,

00:45:01I don't know about it,

00:45:02Beca, if you can also explain

00:45:04why this film is in controversy.

00:45:07Of course, Conclave

00:45:09is one of the least controversial

00:45:11films currently,

00:45:13because what is happening

00:45:15is that there are

00:45:16American Catholic groups

00:45:18who are calling

00:45:19to boycott the film

00:45:20because they think it is a bad

00:45:22representation of the processes

00:45:24to choose a new Pope.

00:45:26And they also think

00:45:28that they are using, let's say,

00:45:30ecclesiastical figures

00:45:31or ecclesiastical processes

00:45:33of a religious institution

00:45:34to push agendas.

00:45:36Wow.

00:45:37That's the issue.

00:45:38To me, it's the controversy

00:45:40that I think is the least...

00:45:42the least strong,

00:45:43to be honest.

00:45:43Well, if it's the least strong,

00:45:44it's also the one that

00:45:45few people know, right?

00:45:46But now you discovered it.

00:45:48Ah.

00:45:49That it's a strong competitor too.

00:45:51I think the Oscar is

00:45:53between Brutalista,

00:45:55Conclave,

00:45:57and it could be Emilia Pérez.

00:45:58Wicked.

00:46:00Accomplito Non.

00:46:01Wicked is going to win.

00:46:02No, Accomplito Non, no.

00:46:03Although, you know what, Beca?

00:46:04You know why?

00:46:06No, I'm going to tell you something.

00:46:07I said,

00:46:08why is Accomplito Non

00:46:10nominated for the Oscars?

00:46:12And then I remembered that

00:46:12Bohemian Rhapsody won.

00:46:14And it was like, of course,

00:46:15I don't want to think about it anymore.

00:46:17Well, that year,

00:46:17Green Book won Best Film,

00:46:19but it won Best Director,

00:46:20Best Actor, Best Edition,

00:46:22Best Everything.

00:46:23Bohemian Rhapsody.

00:46:25Which I like more,

00:46:26than Accomplito Non, to be honest.

00:46:29I don't like any of the two.

00:46:30They're on the same level.

00:46:32Here's what you mentioned

00:46:33about the actor from...

00:46:37Anora?

00:46:38Anora.

00:46:40I don't know if I got it wrong.

00:46:43I added this.

00:46:44It's when Sebastian Stan said

00:46:46that he wasn't considered

00:46:47to be part of the Actors on Actors

00:46:48because no actor wanted to speak

00:46:50against Donald Trump.

00:46:52Exactly.

00:46:53I mean, I think that...

00:46:55We're talking about...

00:46:56Exactly.

00:46:57I mean, we're talking about

00:46:57how these are extremely political awards

00:46:59that have been like this

00:47:01in recent years,

00:47:02in the last decade.

00:47:03And when the time comes

00:47:04for this Actors on Actors session,

00:47:06which are usually actors

00:47:07who are positioning themselves

00:47:08for the award ceremony

00:47:09or who are making noise

00:47:10with acclaimed films,

00:47:12Sebastian Stan says,

00:47:13hey, they didn't invite me

00:47:15because the advertisers

00:47:16of all the actors said

00:47:17they didn't want to play with me

00:47:18to avoid retaliation

00:47:20now that the elections are coming.

00:47:21Because this was before

00:47:22Donald Trump was elected president.

00:47:25And I don't know,

00:47:26I feel like it's something

00:47:28hypocritical to a certain extent,

00:47:29in the sense that you didn't want to have him

00:47:31having a debate

00:47:32and now you have him nominated

00:47:33as the best actor.

00:47:34Which is also like the Oscars ceremonies

00:47:36they always make it political

00:47:38and they're going to make a joke about Donald Trump

00:47:39and everyone is going to laugh.

00:47:41But there, yes, because we are all,

00:47:42it's not just one, right?

00:47:43We all laugh.

00:47:44I mean, it wasn't me.

00:47:47And it's also super hypocritical

00:47:49because no one is talking

00:47:51about The Apprentice

00:47:52and no one is taking

00:47:53neither Jeremy Strong

00:47:54nor Sebastian Stan

00:47:55as serious candidates

00:47:56in their categories.

00:47:57I mean, we're not talking

00:47:59about anything about it,

00:48:00which is super, super, super.

00:48:01I am talking,

00:48:03for me, Jeremy, well,

00:48:04it's just that the Oscars

00:48:06are in Broody and Sebastian Stan.

00:48:08In fact, I made a,

00:48:09in my criticism,

00:48:10I mean, it was like,

00:48:11if I don't nominate,

00:48:13I lose my hope again.

00:48:15How is this about celebrities

00:48:17asking to cancel

00:48:19the Ceremonia por los Incendios?

00:48:21Y muy bien.

00:48:23Los Angeles estuvo enfrentando

00:48:26grandes incendios

00:48:27en las últimas semanas.

00:48:29Fue una de las devastaciones

00:48:31más grandes que ha tenido

00:48:33el estado y la comunidad

00:48:35de Los Angeles.

00:48:37Sí, en los últimos años.

00:48:39Y de pronto, celebridades

00:48:41como Stephen King,

00:48:42Emma Richard Wood,

00:48:44Jean Smart,

00:48:44se han pronunciado en contra

00:48:46de llevar a cabo

00:48:48las temporadas de premios

00:48:49porque es muchísimo dinero.

00:48:51Lo que generan los Oscars,

00:48:52o sea, lo que cuestan

00:48:53es una cosa absurda de dinero,

00:48:56tan solo en tiempos de transmisión,

00:48:58de los anuncios que se muestran,

00:49:00de promoción de películas y demás.

00:49:02Y la gente dijo,

00:49:03lo mejor que se podría hacer

00:49:04con este dinero

00:49:05es ayudar a la reconstrucción

00:49:07de un lugar que,

00:49:08pues, prácticamente genera

00:49:10cine para Estados Unidos,

00:49:11que es un lugar donde

00:49:13un montón de actores,

00:49:14de artistas, de artesanos,

00:49:17de estilistas y demás personas,

00:49:19pues, trabajan y habitan

00:49:20y componen a esta industria.

00:49:22Entonces, muchos se han pronunciado

00:49:24en contra de que los Oscars

00:49:26realmente se lleven a cabo

00:49:27después de toda la tragedia

00:49:28que se vivió en el condado

00:49:31de Los Ángeles.

00:49:32Pero, pues, no, no, no se,

00:49:33no se van a cancelar.

00:49:34Show must go on.

00:49:35Así los Oscars.

00:49:37Y yo creo que eso muestra

00:49:38como también la gran desconexión

00:49:40que hay entre la élite

00:49:41de los Oscars

00:49:42y lo que pasa en la realidad.

00:49:44O sea, tan solo, pues,

00:49:45en el show de Netflix,

00:49:47que llegó John Mulaney,

00:49:49ya hizo un chiste sobre los,

00:49:50sobre los incendios de Los Ángeles,

00:49:52de, ay, qué bueno que estábamos

00:49:54preparados para, para cualquier,

00:49:57para todos los incendios,

00:49:58menos uno, y todos, ja, ja, ja.

00:49:59No, dijo, para todas las

00:50:00catástrofes que podían haber

00:50:01en el mundo, menos una.

00:50:03Y todos, ja, ja, ja.

00:50:05Ja, ja, ja, porque todos

00:50:06tenemos tres casas

00:50:07y ya nos movimos, ¿no?

00:50:09Y sí podemos viajar al teatro,

00:50:11que no le pasó

00:50:12absolutamente nada, sí.

00:50:14Las otras cientas de miles

00:50:15de personas que viven

00:50:16en Los Ángeles, que están

00:50:17viviendo eso, no, no importa,

00:50:19les vamos a hacer felices

00:50:20con nuestro show de los Oscars.

00:50:23Yo sí siento que están

00:50:23bien desconectados.

00:50:25El tema aquí, con todo

00:50:26lo que hemos dicho,

00:50:26es que la relación que tenemos

00:50:28todos los que nos gusta el cine

00:50:29con los Oscars es súper tóxica,

00:50:31porque creo que uno ya,

00:50:32ya llegó uno a una edad, ¿no?

00:50:34Uno alcanza cierta edad

00:50:36en la que descubre

00:50:39que los Oscars son los papás,

00:50:41que los Oscars no, no premian

00:50:42a lo mejor del cine,

00:50:43que los Oscars sí tienen

00:50:45una narrativa que va cambiando

00:50:46año con año, va cambiando

00:50:47incluso meses con mes,

00:50:50la agenda que, que exista, ¿no?

00:50:51Entonces, y a ver,

00:50:53hay miles de películas mejores

00:50:56seguramente que salieron

00:50:56en 2024, que no son

00:50:58las que están compitiendo.

00:50:59¿Por qué?

00:50:59Porque ya lo mencionamos,

00:51:00si a Mila Pérez no hubiera sido

00:51:01una película que fuera adquirida

00:51:02por Netflix, pasa sin pena

00:51:04ni gloria, porque seamos honestos,

00:51:06aunque Jack Odiard venga

00:51:08de una familia de artistas

00:51:10y haya dirigido buenas películas,

00:51:14o algunas no tan buenas,

00:51:16pero sea un señor reconocido.

00:51:17En México, o en Latinoamérica,

00:51:19o en Hollywood, no,

00:51:20es un nombre que resuene,

00:51:21un Jack Odiard.

00:51:22No es igual a decir

00:51:23Steven Spielberg, Tarantino,

00:51:26Guillermo del Toro,

00:51:27que lo que sacan a gente

00:51:28pone atención.

00:51:29La película llegó a donde llegó

00:51:30por el apoyo de una gran plataforma,

00:51:33como el resto, ¿no?

00:51:34O sea, por eso se celebran

00:51:36películas chiquitas como Flow,

00:51:37que seguramente su director,

00:51:39que me encanta que siempre

00:51:40esté en Twitter,

00:51:41empujó mucho la película.

00:51:42Le empujó, le empujó, le empujó,

00:51:43y al ser tan grande la obra,

00:51:45pues no se puede negar

00:51:47como su calidad, ¿no?

00:51:49Pero muchas de las películas

00:51:50están ahí porque son

00:51:51de directores reconocidos,

00:51:52y porque hay dinero

00:51:54y hay una inversión.

00:51:55O sea, nos lo contó Lila Avilés,

00:51:58quien al final no continuó

00:52:00como representante de México

00:52:01por Totem el año pasado.

00:52:03Ella nos contó en el podcast

00:52:04de Hablando de Cine,

00:52:05vayan a verlo,

00:52:05Hablando de Cinecon,

00:52:07que es muy caro estar nominado.

00:52:08O sea, tú no puedes decir,

00:52:09¿a qué te va mi película?

00:52:11A ver si me nominan.

00:52:11No, no, no, no, no.

00:52:12Hay que pagar.

00:52:13Y hay que pagar mucho dinero.

00:52:15Entonces sí, lo mencionaste

00:52:17ahorita, Beca, élite.

00:52:19O sea, es una élite al final.

00:52:20No, no puedes ser

00:52:21solo parte de los Oscar

00:52:23porque lo hiciste bien,

00:52:25porque tu película es buena.

00:52:26Eso no es suficiente.

00:52:28Yalitza estuvo nominada por Roma

00:52:30no porque fuera la mejor actriz

00:52:32del momento.

00:52:33A ver, yo soy Tim Yalitza, ¿eh?

00:52:35A mí me la dejan en paz.

00:52:36Pero está ahí porque está

00:52:38en una película de Alfonso Cuarón.

00:52:40Porque es uno de los favoritos

00:52:42de Hollywood, Alfonso Cuarón,

00:52:44porque es un gran director.

00:52:45Pero si la misma película

00:52:46con la misma actriz, exactamente,

00:52:48hubiera sido dirigida por

00:52:50Pepe Cantú.

00:52:52No espero que no existe

00:52:53ningún Pepe Cantú.

00:52:54¿Quién sabe?

00:52:55Si hubiera llegado.

00:52:56Posiblemente no.

00:52:57Entonces es como que

00:52:58ser conscientes de eso

00:52:59al momento de ver la ceremonia.

00:53:01Pero en lo que tiene que ver

00:53:03particularmente con Emilia Pérez,

00:53:05también yo sí celebro

00:53:06que como mexicanos

00:53:07no nos hayamos quedado callados.

00:53:08Aunque la premien.

00:53:09Eso creo que también

00:53:10va a revelar una realidad

00:53:11de los Oscars, ¿no?

00:53:13Y había un tuit que hizo

00:53:15que ya no está aquí Fer,

00:53:16pero había hecho

00:53:17Fernanda Solorza, ¿no?

00:53:18Que me gustó mucho

00:53:19porque en esta casa

00:53:20le rezamos a Fernanda Solorza,

00:53:21¿no?

00:53:22Sí estaba.

00:53:23Se me hizo interesante.

00:53:24Ya no está.

00:53:26Lo quitaste.

00:53:28Sí estaba antes.

00:53:29¡No!

00:53:30Salte y vuelve a entrar.

00:53:32No me quité.

00:53:33Sí está.

00:53:34¿Sí?

00:53:35A ver, a ver.

00:53:36Sí, antes.

00:53:37O sea, quito la presentación

00:53:39y vuelve a upload.

00:53:41A ver.

00:53:42Yo sí lo puse.

00:53:43¡Ah!

00:53:44Aquí está.

00:53:46Pero ¿por qué?

00:53:47¿Por qué?

00:53:48¿Por qué?

00:53:49¿Por qué?

00:53:53¡Voilá!

00:53:55Fernanda dice,

00:53:57hoy,

00:53:58bueno, justo hace cuatro horas

00:53:59tomamos a hacer esta captura,

00:54:00quizá la academia gringa

00:54:02se está dando cuenta de que,

00:54:04me encanta que especificó gringa

00:54:05porque es lo que estamos hablando,

00:54:07se esté dando cuenta

00:54:08qué pasa cuando los criterios

00:54:10de inclusión

00:54:12se ponen por encima

00:54:13de los artísticos.

00:54:15Ahora tienen una bomba en las manos,

00:54:17una lista negra de omisiones

00:54:19y más minorías ofendidas

00:54:21que nunca.

00:54:22La ironía, ¿no?

00:54:24Prefiero no ser que inclusión,

00:54:25pero, pues, tienes este tema.

00:54:27Aclaro,

00:54:28la representación es importantísima

00:54:30y yo estoy de acuerdo con Fernanda,

00:54:31no hay duda de eso.

00:54:32El asunto es observar

00:54:33cómo funcionan

00:54:34todos los elementos

00:54:35dentro de una película

00:54:36y no considerar

00:54:37elementos aislados.

00:54:39Bravo.

00:54:41Aplausos.

00:54:43Ahí estaba,

00:54:44nos hicimos debate nada más

00:54:45porque sí.

00:54:47Estamos todos de acuerdo con Fer.

00:54:51Sí, a ver, yo

00:54:52y a mí me da mucha risa

00:54:53porque siempre tengo años ya que

00:54:55¡Ah, Gaby!

00:54:56¡Ah, Gaby no le gustó

00:54:58la película!

00:54:59A Emilia Pérez me decían,

00:55:00¿Por qué no es progre?

00:55:01Y yo,

00:55:03¡Ay!

00:55:04Yo también soy una abogada

00:55:05de la inclusión,

00:55:06pero también de la inclusión correcta,

00:55:08no de la inclusión estereotípica.

00:55:10A mí no me interesa

00:55:11si pones una persona lesbiana

00:55:13y su personalidad es ser lesbiana,

00:55:15una persona con una discapacidad

00:55:17y su personalidad es la discapacidad.

00:55:18O sea, la inclusión correcta

00:55:19es cuando la...

00:55:21Eso no es el personaje, ¿no?

00:55:23El personaje es un ser humano

00:55:25completo y complejo,

00:55:27no una caricatura,

00:55:28no un estereotipo.

00:55:30Que no lo es Emilia Pérez

00:55:31porque Emilia Pérez es una caricatura

00:55:33y un estereotipo.

00:55:34Entonces, claro que yo también

00:55:35siempre abogaré por la inclusión

00:55:36y celebraré todas sus películas

00:55:38inclusivas, bellas,

00:55:40en este tema del cine.

00:55:43No es el caso en estas películas.

00:55:47¿Quieren ustedes dar entonces

00:55:49un veredicto final?

00:55:51Yo les quiero preguntar,

00:55:53¿Revocan la nominación?

00:55:55¿Sí o no?

00:55:56¿Le quitan el premio a Oscar La Sofía?

00:55:58¿Sí o no?

00:56:00¿O en general toda esta polémica

00:56:02va a hacer un cambio

00:56:04en las reglas de la academia?

00:56:06¿O va a afectar en alguno de los nominados

00:56:08o los ganadores?

00:56:09¿Sí, no, y por qué?

00:56:11Para concluir.

00:56:14Vázquez, tú primero.

00:56:16Ok.

00:56:17No, no, no revocan nominación.

00:56:20No le van a dar el premio

00:56:22porque, pues a fin de cuentas,

00:56:23aunque siga la nominación ahí,

00:56:24los votantes sí tienen oídos

00:56:26y van a decir como de,

00:56:27híjole, creo que no está bien

00:56:29que votemos a favor

00:56:31de Carla Sofía.

00:56:34Eso puede que le haya quitado

00:56:36las oportunidades que tenía de ganar.

00:56:38O sea, a partir de lo que mencionaba

00:56:40Beck en un principio,

00:56:41de esta idea de ser la primera mujer trans

00:56:43en ganar, de ser nominada y ganar

00:56:45un premio Oscar.

00:56:48Por otro lado,

00:56:49¿Va a cambiar las reglas de los Oscars?

00:56:51No sé si de los Oscars en sí,

00:56:53pero sí de los productores.

00:56:55Y no tanto las reglas,

00:56:57sino la cautela que tengan ahora

00:56:59para buscar a ciertos actores

00:57:01y a ciertas estrellas.

00:57:02Es como de, especialmente con talentos extranjeros,

00:57:04porque estamos hablando de que

00:57:06Carla Sofía no era un nombre

00:57:08conocido,

00:57:10dije nombre,

00:57:11un nombre conocido en

00:57:13Estados Unidos antes de esto.

00:57:16Y entonces ahora que si tú traes

00:57:18a un actor que, digamos,

00:57:19viene de un contexto mexicano,

00:57:22de un contexto argentino,

00:57:23y no sabías nada de él hasta esta película

00:57:25que fue nominada al Oscar,

00:57:26ya va a haber una evaluación un poco más profunda

00:57:28de los antecedentes.

00:57:29Contratado de Marcelo para protagonista.

00:57:32Es que es exactamente eso.

00:57:34O sea, creo que

00:57:35muchos de estos tuits no fueron borrados

00:57:37tampoco porque Carla Sofía no tenía

00:57:39la menor idea de que esto iba a escalar

00:57:41de esta forma.

00:57:42O sea, como que ella dijo,

00:57:43sí, qué padre, Emilia Pérez,

00:57:44estoy muy feliz de participar en una producción

00:57:46francesa que va a llegar a Hollywood,

00:57:48pero como que nunca dimensionó

00:57:50las consecuencias que se iba a traer.

00:57:52O sea, estaba nominada hasta 13 premios

00:57:54de la Academia.

00:57:55Debió haberlo hecho, pero...

00:57:59Yo me siento muy triste porque nunca me bloqueó.

00:58:02Yo siempre esperaba que me bloqueara

00:58:03porque sé que era como una medalla que colgarse.

00:58:05Sí.

00:58:06Porque aparte le decías como,

00:58:07hola, Carla.

00:58:09Me gustó mucho tu actuación,

00:58:10solo no la película.

00:58:11Bloqueado.

00:58:12O sea,

00:58:13pero bueno,

00:58:14ni modo.

00:58:15He perdido la oportunidad.

00:58:17Que a mí, sinceramente,

00:58:18me caía muy bien al principio,

00:58:19desconocía todas estas cosas,

00:58:20pero tenía unas declaraciones como muy fuertes

00:58:22de que no existe la felicidad.

00:58:25Y yo de que sí, es verdad,

00:58:26no existe.

00:58:27Es un estado de ánimo.

00:58:28Yo sí, sí, tiene razón.

00:58:29Me caía muy bien

00:58:30y luego ya no me cayó también.

00:58:31Pero también puede recapacitar,

00:58:33creo que es importante en ese tema

00:58:34de las canceladas, etc.,

00:58:37el espacio a la redención.

00:58:39No de la noche a la mañana,

00:58:40pero sí decir,

00:58:41oye, tal vez la señora en cinco años

00:58:43diga, no mames,

00:58:44sí la cagué.

00:58:45O sea,

00:58:46y sí me arrepiento,

00:58:47y sí estaba mal,

00:58:48y sí me disculpo.

00:58:49Y ahora sí que siguiendo

00:58:50los lineamientos

00:58:53y las enseñanzas del Buda

00:58:55que mencionó en los Golden Globes,

00:58:57que yo no sé,

00:58:58pareciera que no sé quién es su lama,

00:59:01a quién sigue,

00:59:02porque no sé,

00:59:03no le está dando buenos consejos.

00:59:05Pero pues sí, ¿no?

00:59:06O sea, como este día también de,

00:59:08ya nunca,

00:59:09que nadie le trajo,

00:59:10es como,

00:59:11creo que tiene que existir

00:59:12un espacio para la redención.

00:59:14Todos la merecemos como seres humanos.

00:59:16No de la noche a la mañana va a cambiar,

00:59:18pero puede cambiar.

00:59:19Yo le deseo el bien.

00:59:20Le deseo que,

00:59:21que no gane el Oscar,

00:59:22le deseo eso sí,

00:59:23pero le deseo mucha salud,

00:59:25mucho crecimiento personal, espiritual,

00:59:28y que sí,

00:59:29que pueda mejorar,

00:59:30que pueda,

00:59:31que pueda,

00:59:32a veces uno nos da mucho coraje

00:59:33cuando nos equivocamos,

00:59:34y da mucho coraje saber que está uno mal,

00:59:36pero reconocerlo y aprender de ello,

00:59:38creo que es un derecho humano y universal.

00:59:42Siempre y cuando no sean cosas ilegales

00:59:44como las que hizo Harvey Weinstein

00:59:45y Roman Polanski,

00:59:46ellos que se pudieran,

00:59:48pero este tipo de situaciones,

00:59:49es decir,

00:59:50tonterías,

00:59:51se pueden mejorar.

00:59:53Más porque,

00:59:54o sea,

00:59:55se supone,

00:59:56bueno,

00:59:57estaba leyendo que lleva más de diez años

00:59:58practicando budismo zen,

00:59:59japonés,

01:00:00entonces,

01:00:01o sea,

01:00:02como que no va muy bien en sus clases.

01:00:03Pero de Temu.

01:00:04No,

01:00:05no va bien.

01:00:06Peca,

01:00:07¿cuál es tu veredicto?

01:00:08Fíjense,

01:00:09o sea,

01:00:10yo,

01:00:11la verdad,

01:00:12les tengo que confesar

01:00:13que soy muy fan de los Oscars.

01:00:14O sea,

01:00:15para mí,

01:00:16el,

01:00:17el predecir quién va a ganar,

01:00:18me encanta.

01:00:19O sea,

01:00:20es un hobby que yo tengo

01:00:21desde hace muchos,

01:00:22muchos años,

01:00:23que amo,

01:00:24amo,

01:00:25amo,

01:00:26amo con locura.

01:00:27Y tengo que decirles

01:00:28que estas

01:00:29son las,

01:00:30una de las premiaciones

01:00:31más interesantes,

01:00:32también,

01:00:33como a ese nivel,

01:00:34porque de verdad,

01:00:35no puedo,

01:00:36o sea,

01:00:37ahorita,

01:00:38en estos momentos,

01:00:39el año pasado,

01:00:40ya se sabía que iba a ganar

01:00:41Oppenheimer.

01:00:42Y el año antepasado,

01:00:43ya sabíamos que la competencia

01:00:44estaba entre

01:00:45Oscar,

01:00:46y Everything,

01:00:47Every World At Once.

01:00:48Y este año,

01:00:49o sea,

01:00:50de verdad,

01:00:51veo las estadísticas,

01:00:52voy a la,

01:00:53a como los foros de discusión,

01:00:54y a los grupos de gente

01:00:55que está como midiendo

01:00:56y sumando puntos

01:00:57para ver

01:00:58cómo van las estadísticas.

01:00:59Y van,

01:01:00o sea,

01:01:01un día está Conclavé,

01:01:02el otro está Complete Unknown,

01:01:03el otro sí está de Brutalist,

01:01:04a veces sí está Adrian Brody,

01:01:05a veces está Timothee Chalamet,

01:01:06a veces está Karla Sofía.

01:01:07Ahorita ya Karla Sofía está como

01:01:08de que en el último,

01:01:09es cañón,

01:01:10o sea,

01:01:11ya va ahí,

01:01:12vaya a su lugar.

01:01:13Lo veo muy a su gane.

01:01:14Pero,

01:01:15o sea,

01:01:16están fluctuando tanto

01:01:17que también me hace pensar

01:01:18como en esta parte de,

01:01:19este es el primer año

01:01:20en que los Oscars

01:01:21van a transmitirse también

01:01:22a través de streaming.

01:01:23Entonces,

01:01:24lo que les interesa

01:01:25y de cierta manera

01:01:26también les ha interesado

01:01:27desde hace años,

01:01:28ya han batallado muchísimo,

01:01:29es con su relevancia,

01:01:30con que la gente

01:01:31no solo los quiera ver,

01:01:32sino que hable de ellos

01:01:33y que los vean.

01:01:34Y yo creo que

01:01:35es un momento

01:01:36muy importante

01:01:37porque

01:01:38yo creo que

01:01:39es un momento

01:01:40muy importante

01:01:41porque

01:01:42hay que hablar de ellos

01:01:43y que opinen.

01:01:44Yo creo que otra vez

01:01:45son relevantes,

01:01:46la verdad.

01:01:47Exacto.

01:01:48O sea,

01:01:49para mí,

01:01:50la verdad,

01:01:51o sea,

01:01:52son una élite,

01:01:53pero son una élite

01:01:54muy pública

01:01:55y están

01:01:56inmiscuidos en los Oscars

01:01:57algunas de las personas

01:01:58más poderosas del mundo.

01:01:59Es un termómetro social.

01:02:00Lo que opinamos

01:02:01genera side-gays,

01:02:02o sea,

01:02:03genera ideas,

01:02:04discusión,

01:02:05debate.

01:02:06Así como México,

01:02:07México dijo no,

01:02:08o sea,

01:02:09sí estamos de moda

01:02:10en el extranjero

01:02:11pero estos temas

01:02:12siguen siendo

01:02:13muy relevantes,

01:02:14muy pesados,

01:02:15muy difíciles

01:02:16para nosotros.

01:02:17De aquí no te puedes burlar.

01:02:18Esto no está bien.

01:02:19Así para mí

01:02:20son los Oscars.

01:02:21O sea,

01:02:22son esta clase

01:02:23de termómetro

01:02:24donde ves

01:02:25cuáles son los intereses

01:02:26o las ideas

01:02:27que perduran.

01:02:28Y en estos

01:02:29sí están

01:02:30por todos lados.

01:02:31Lo único que sabemos

01:02:32es que

01:02:33nadie es perfecto

01:02:34y es como muy extraño.

01:02:35¿Y crees que le quiten

01:02:36alguna nominación

01:02:37o algún Oscar?

01:02:38Bueno,

01:02:39mencionaste que sí

01:02:40veas las encuestas

01:02:41de Carla Sofía

01:02:42pero a nivel personal.

01:02:43Ah,

01:02:44a nivel personal

01:02:45yo no creo que le hagan,

01:02:46que le quiten la nominación.

01:02:47Lo dudo bastante.

01:02:49Sí creo que dañó

01:02:50mucho las oportunidades,

01:02:52oportunidades,

01:02:53oportunidades

01:02:54tanto de mejor

01:02:55película internacional

01:02:56como de mejor película

01:02:57como para la misma.

01:02:58O sea,

01:02:59si ya había un votante fan

01:03:00de BTS ya perdió.

01:03:01O sea,

01:03:02ya ni siquiera es el tema

01:03:03de oye,

01:03:04es que dijo

01:03:05como internacional.

01:03:06Es que si eres

01:03:07practicante,

01:03:08o sea,

01:03:09si estás al Colón,

01:03:10si eres latino,

01:03:11o sea,

01:03:12ya perdiste.

01:03:13Ya no votaron por ti.

01:03:14O sea,

01:03:15sí atacó.

01:03:16Fue demasiado.

01:03:17O sea,

01:03:18fue como,

01:03:19¿quién más me faltara?

01:03:20¿A quién no he criticado?

01:03:21O sea,

01:03:22hasta dijo que,

01:03:23casi que dijo que,

01:03:24o sea,

01:03:25no dijo eso,

01:03:26¿verdad?

01:03:27Pero,

01:03:28uy,

01:03:29ustedes criticaban a Hitler

01:03:30y hay gente peor ahora.

01:03:31O sea,

01:03:32¿sabes?

01:03:33Está muy impresionante.

01:03:34Pero,

01:03:35muy buen análisis,

01:03:36Beca.

01:03:37Híjole.

01:03:38Bueno,

01:03:39mencionas también Beca

01:03:40del termómetro social.

01:03:41Y,

01:03:42pues yo creo que al final

01:03:43sí va a ser importante

01:03:44ver quiénes ganan

01:03:45este año

01:03:46y creo que eso

01:03:47nos va a dar

01:03:48como un parámetro

01:03:49más claro

01:03:50de evaluación

01:03:51para decir

01:03:52si les importa

01:03:53la narrativa

01:03:54externa.

01:03:55Es decir,

01:03:56no lo que ellos creen

01:03:57nada más como

01:03:58este,

01:03:59empresa,

01:04:00asociación,

01:04:01sino lo que se dice

01:04:02fuera del circuito,

01:04:03¿no?

01:04:04De Hollywood.

01:04:05Se nos fue.

01:04:06Me dio risa

01:04:07con una sonrisa así.

01:04:08La quiero mucho.

01:04:09Era adorable.

01:04:10Bueno,

01:04:11eh,

01:04:12si quieren,

01:04:13vamos a una segunda parte,

01:04:14va a estar interesante

01:04:15hablar sobre,

01:04:16digo,

01:04:17hay un video que hizo Fer

01:04:18sobre la relevancia

01:04:19de los Oscars,

01:04:20van a verlo,

01:04:21está aquí en Fuera de Foco.

01:04:22Vamos a despedirnos

01:04:23que hay que seguir el día,

01:04:24hay que hacer varias cosas.

01:04:25Espero que hayan disfrutado

01:04:26mucho este debate,

01:04:27mi querida Fer,

01:04:28discúlpame si te interrumpí,

01:04:29creo que un par de veces,

01:04:30perdónenme,

01:04:31luego tengo este asqueroso

01:04:32hábito,

01:04:33estoy trabajando en ello,

01:04:34eh,

01:04:35perdóname.

01:04:36My name is Fer

01:04:37en Twitter

01:04:38y en Instagram,

01:04:39que son las únicas dos

01:04:40que manejo

01:04:41y rara vez,

01:04:42pero ahí estoy.

01:04:43Okay.

01:04:44Beca.

01:04:45A mí me encuentran

01:04:46en Fuera de Foco,

01:04:47la TAM,

01:04:48ahí colaborando

01:04:49con mucha pasión y amor

01:04:50y también en Beca Salas,

01:04:51ahí también estoy en Instagram,

01:04:52en YouTube,

01:04:53en TikTok,

01:04:54hablando de estas cosas.

01:04:55Grandes artistas,

01:04:56las dos.

01:04:57Eh,

01:04:58muchas gracias

01:04:59por acompañarnos,

01:05:00hoy fue una bonita catarsis

01:05:01en este debate,

01:05:03creo que por eso también

01:05:04lo me adelantaba a hablar

01:05:05porque tenía como la boca

01:05:06así como bulldog,

01:05:07yo de que,

01:05:08con babas,

01:05:09gracias,

01:05:10suscríbanse,

01:05:11fue muy apasionante,

01:05:12exactamente,

01:05:13suscríbanse al canal

01:05:14y nos vemos próximamente,

01:05:15tenemos un debate

01:05:16del brutalista

01:05:17que quedó fabuloso,

01:05:18con un arquitecto

01:05:19que nos habló del brutalista

01:05:20y por qué tiene tanto que ver

01:05:21el brutalismo arquitectónico

01:05:22con el personaje,

01:05:23un gran,

01:05:24gran,

01:05:25gran debate,

01:05:26un análisis

01:05:27era fantástico,

01:05:28un gran,

01:05:29gran,

01:05:30gran debate,

01:05:31un análisis de la película

01:05:32era interesante,

01:05:33estén pendientes

01:05:34y bueno,

01:05:35nos despedimos,

01:05:36que tengan bonito fin de semana.

01:05:37Adiós.

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