Yayo Pinto, un programa especializado en entrevistas a grandes figuras dominicanas. Transmitido todos los domingos por Telesistema Canal 11 a las 7:00 pm.
Category
🗞
NewsTranscript
00:00A communication entrepreneur, a great comedian, a great friend, an entrepreneur, a person
00:14rich in experiences with whom we are going to laugh a lot.
00:18Manolo Osuna, see you soon.
00:30Well, as I said, Manolo is one of the comedians and intellectual communicators, it is difficult
00:42to describe him, but above all he is a friend and he is a person that I value a lot what
00:48he does in the media and his story and what he has done.
00:51I think to start talking, I want you to tell any young Dominican who is watching us,
00:58like you, you stumble with the media, how do you start, in what way?
01:04You have a story, you worked with the big media, you lived outside the country, but
01:09how do you start?
01:11How do you decide in this difficult world?
01:13Well, I went to study theater at the National School of Drama in Bellas Artes, I finish,
01:19obviously, because I finish, I meet several people from theater, friends of theater,
01:24one of his theater friends went to work with Luisito Martínez, because I spent some time
01:31doing theater, with many precariousnesses, obviously, because the theater in the country
01:35does not have enough support, much less at that time, in those two days that it does
01:40that.
01:41So, after a while, the pot began to get to me, to get to me and to tell me, you are not
01:47going anywhere, the pot, and the people of the theater tell me, no, you can't get away
01:51from the theater.
01:52The famous, you can't.
01:53No, the theater is the essence, that's what you studied, and the pot told me, keep believing
01:58in the essence.
01:59The pot is a tremendous counselor.
02:00Yes, yes, yes, I was coaching hard, and I listened to a friend who told me, look, Luisito
02:05Martínez needs an actor.
02:06I laugh a lot now with the subject of personal coaches and self-help books, there is no better
02:10self-help than Trayace.
02:12Exactly.
02:13So, in the aftermath, I was already a month in the air and I needed another actor, Luisito
02:19Martínez was forming a comedy play.
02:22You have to remind people that Luisito Martínez is the great Valbuena.
02:25Exactly.
02:26He was forming the comedy play, and then he needed one more actor, he was fine with the
02:35team, but he said, I need one more, and then she recommended me to him, she told me, at
02:42first I didn't want to, they were going to finish me, my theater partner, they were going to
02:46beat me up when they saw me on television, but she talked to him and he said, well, I
02:52just have two conditions for him to come, because I don't know him, I don't care if he's
02:58ugly, the important thing is that he has talent, that he works for comedians.
03:02Okay.
03:03I arrived and when he saw me…
03:04You have talent.
03:05He saw me when I was filling out the first condition, he said, well, look, yes.
03:08That's not what I meant to say.
03:09Now that's good, now that's good.
03:10That's not what I meant to say.
03:11When he saw me, he said, he has one of the conditions, and then, now you need to have
03:18talent.
03:20We started, and from there, on June 26, 1996, I went on television, to this day.
03:29But, and at what point, cinema?
03:33Because I'm going to tell you one thing, I love cinema, and one of the activities that
03:38I do with my children is that I enjoy going to the movies with my children.
03:42Yes.
03:43And a few years ago, I don't remember the day, but I remember that I went one day to
03:48a movie theater that was in 360, and there were like three posters with your face,
03:52and I said, how many movies are you going to see?
03:55I mean, at what point did you, radio, television, theater, then cinema,
04:01explain to me the path to cinema.
04:03Well, cinema, I remember that when I was with Luisito Malti, I participated in
04:10New York 2, New York 3, they put it on him.
04:14Well, as I worked on the program, the movie, obviously, he was one of the
04:18protagonists and one of the main producers, they put me in that movie.
04:22That was the first one, but there was no cinema law.
04:25Obviously, it came a very long journey, and then, then, time passed,
04:31and regularly, look at the actors, at that time, as they needed a lot of commercial
04:38money to take people to the movies, and I was in the humor, in the comedy,
04:44they put me to work on the movie, there are the bachatas,
04:49because I make that clarification, because the cinema law comes in 2012,
04:54and that movie was made in 2011, without the law.
04:59Then the cinema law comes in 2012, and that's when, obviously,
05:04more movies are made, more people call, and that's when the cinema boom comes,
05:08and more people are dying.
05:10That's where it comes from, I think it's one of the projects that,
05:13without me being an expert on the subject, where you never took a tip from the pot,
05:19which is with Perico Ripeado.
05:22Yes, with Perico Ripeado, yes, it's true.
05:24I started there.
05:25Yes, it's true, Perico Ripeado.
05:26It's true, I blew it, that was it.
05:28Even now that I'm, maybe because I'm in the campaign and stuff,
05:31send me something, help me with something,
05:33because the truth is that that can…
05:35Don't be a gambler so they can put a boot on you,
05:37but come here.
05:38No, but…
05:39Hey, the owner of the bank, let him lend it to you.
05:42To the bank, guys.
05:43But come here.
05:44Hey, Manolo, this is paint, nothing else.
05:46Yes, but it's good.
05:47This is paint, nothing else.
05:49Mine is Paca paint.
05:51Yours is brand paint.
05:53But the problem is that the paint has to go with it.
05:57Exactly.
05:58Tell me, tell me, that project, Perico Ripeado,
06:01I think it's one of the things that explodes your figure, right?
06:04Yes, it really does.
06:06I have to do a megaculpa, because in reality, Perico Ripeado,
06:09we did it in 2003, we were there,
06:12then Ángel Muñiz calls the three of us and says,
06:15I want to make a movie with you three,
06:17and we go as partners, we go there, Perico Ripeado,
06:22it was the first time in reality that I shared,
06:27obviously, I played a protagonist in the cinema,
06:30which was with Perico Ripeado.
06:32Raymond, Philly, Rodríguez, and me.
06:34And well, the movie came out,
06:36which to date is a classic of Mexican cinema.
06:39No, but you compete with Daddy Yankee,
06:41and all of Puerto Rico, and Nueva York,
06:43I imagine, because the truth is that ...
06:45Well, say it.
06:46You know that ...
06:47If he makes me a shootout.
06:48No, and I saw ...
06:49He found out.
06:50No, because I saw that it was a woman.
06:52Let me tell you, when my production team,
06:55we do a small due diligence
06:58of the artists with whom we are going to share,
07:02and they tell me that,
07:04that you are more famous in Puerto Rico
07:07than Daddy Yankee in the Bronx,
07:09and I say, hey, the woman of Daddy Yankee
07:11is suing him for 100 million dollars,
07:13don't tell me that.
07:14No, if your team told you that, change your team,
07:16because they are misinforming you.
07:18You are not telling the truth to your team, right?
07:21And now, Manolo,
07:23in the middle of that life in movies,
07:27I don't know if they are my thing,
07:30but I feel like I'm taking a turn,
07:32taking a turn towards intellectuality,
07:36towards a communication with much more consequences.
07:41I feel more aware of governments,
07:43I feel more aware of the problems of society,
07:46I avoid you in philosophical debates
07:50and other types with other media
07:55and other platforms.
07:58Is it that Manolo is taking a turn towards maturity?
08:01Or what is Manolo looking for
08:04in that world that is a little less funny
08:09and more transcendent?
08:11I always had a social concern,
08:14always.
08:15When I was a little boy,
08:17I think like a teenager,
08:19my brother belonged to El Paso Gredo
08:22and he gave me books.
08:24This was Guillermo Antroi,
08:26El Capitalismo,
08:28and many books by Izquierda.
08:30I was always very fond of reading.
08:35And I was creating for my father,
08:38perhaps because of my father's inheritance,
08:40I always listened to him with a social conscience,
08:42with a social concern.
08:44And I always had social concerns.
08:46That was like reserving,
08:48I studied theater,
08:50I did comedy,
08:52obviously television is commercial,
08:54cinema is mainly commercial,
08:56but I had that reserve
08:58that I really wanted to do approach
09:00to political issues.
09:02I like politics from the point of view of analysis,
09:04not party politics,
09:06or participating in parties.
09:08I have never aspired,
09:10nor do I want to aspire to any political position.
09:12I don't like it,
09:14but I like political analysis.
09:16That's what I had in reserve.
09:18I did several interviews,
09:20for example, in Mayanero,
09:22when I was there,
09:24there were some clashes with some politicians,
09:26that kind of woke me up,
09:28I can do a few interviews,
09:30politically speaking.
09:32Then my friend Emilio López
09:34proposed to me
09:36to do a program of political interviews,
09:38and now that I invited you,
09:40maybe you invite me,
09:42because I've seen that
09:44everyone has gone there,
09:46and I don't know if you know,
09:48I do something in politics,
09:50I don't know if you know.
09:52Hey, don't make me talk,
09:54so you can invite me again.
09:56Can I tell you a story,
09:58so you can laugh with me,
10:00before continuing the interview.
10:02You know that when Luis Abinagel won the elections,
10:04I had been going there for many years,
10:06every day,
10:08to the house of the current president,
10:10when he won,
10:12on a Sunday, on Tuesday or Wednesday,
10:14I went to his house,
10:16to congratulate my friend,
10:18I found a guy who was 6'4",
10:20with a folder,
10:22and when I went to the elevator,
10:24the guy said, subject,
10:26you are no longer Eduardo Sanlovatar,
10:28tell me,
10:30I went to Luis,
10:32he knows me,
10:34his name,
10:36you are not on the list,
10:38I said, well,
10:40that's how I learned,
10:42I had to make 60 phone calls,
10:44until finally,
10:46now you mentioned,
10:50the past of El Mañanero,
10:52and El Mañanero is a program,
10:54that has everything,
10:56but it has political content,
10:58your entrance and then your exit from El Mañanero,
11:00tell me one and the other.
11:02El Mañanero, when I returned from the United States,
11:04I had a full pot,
11:06the second season of Hop,
11:08it was my turn,
11:10so thank God,
11:12that's deep, the second season of Hop,
11:14I recovered in the second round,
11:16because in the first I fell,
11:18I didn't pass in the first,
11:20in the second you pass,
11:22but you produced a lot,
11:24but you have to see how you save,
11:26no,
11:28like a weird thing,
11:30but when I returned,
11:32obviously, El Naguero tells him,
11:34because we had already worked together,
11:36El Naguero and I,
11:38he tells him, Boli, Manolo is here,
11:40he came back to New York,
11:42Rototen and others,
11:44and he is going around,
11:46and like El Mañanero,
11:48Boli wanted to reestablish him again,
11:50that is, in terms of figure,
11:52moderately,
11:54he calls me,
11:56I entered El Mañanero,
11:58he got the contract to go
12:00to Radio New York,
12:02I entered El Mañanero,
12:04and that's how my entry happened,
12:06I think it was 15,
12:0831,
12:10August 31, 2015,
12:12I entered El Mañanero,
12:14I entered there, and I had that time,
12:16why did I leave El Mañanero?
12:18For a logical thing,
12:20El Mañanero, I was aware,
12:22this is a transition,
12:24I am behind mine,
12:26to create my own media,
12:28to be the center of a project,
12:30to be again, because I had been,
12:32I had previously had two radio shows
12:34and a television show,
12:36it breaks everything, I go to New York,
12:38I work, I come back,
12:40I have to employ myself,
12:42because I have to live,
12:44I employ myself with Boli,
12:46I employ myself with Roberto Angel,
12:48on television, in movies,
12:50but always aware,
12:52this is temporary,
12:54and I can go recomposing
12:56to reassemble my media company,
12:58and thank God,
13:00last year,
13:02no, last year, 2024,
13:04is when I decide,
13:06well, it's over,
13:08I leave, and I decide to form my two programs,
13:10El Show Perfecto at noon,
13:12and continue with Politiqueando,
13:14which was the spearhead.
13:16I have to admit that you are doing well,
13:18you are penetrating,
13:20you are doing things,
13:22and now also, in the past,
13:24you mention your transit
13:26through New York and the United States,
13:28what weight does that have in your life,
13:30what do you think of the Dominican diaspora,
13:32or the Dominicans abroad,
13:34what has that taught you,
13:36how do you feel among them?
13:38I think that,
13:40us there in New York,
13:42we could have more if we were,
13:44if we were aware of community.
13:46Explain that to me,
13:48I think I agree with you.
13:51We are a mass of people,
13:53but we are not a community.
13:55There is no Dominican community.
13:57There are many Dominicans,
13:59more Dominicans than from any other country
14:01in New York, perhaps,
14:03but they don't have cohesion as a community.
14:05Do you understand?
14:07So, they are Dominicans who are solidary
14:09in an individual way,
14:11as I have always said here,
14:13the Dominican, a neighbor,
14:15his house burns down,
14:17and we all go with a can of water,
14:19but if someone says,
14:21well, so that this doesn't happen,
14:23let's go to a neighbor's meeting,
14:25let's put 10 pesos,
14:27no, don't talk to me,
14:29we are not good to group up,
14:31we are good,
14:33solidary and individual.
14:35And to defend us.
14:37Exactly.
14:39And the one who falls ill,
14:41everyone goes and helps him.
14:43Exactly, we are individual.
14:45But we don't prevent people from falling ill.
14:47We don't end up cohesion.
14:49In any other country,
14:51there are three parties,
14:53here there are 575,000 parties,
14:55700,000 unions,
14:57800,000 merengues,
14:59all of us.
15:01There are associations,
15:03TV programs, radio.
15:05Here, everyone who has 10 followers is a communicator.
15:07Exactly.
15:09So, in New York,
15:11you feel that we obviously drag that.
15:13The Dominican, what gives you strength?
15:15We are a community.
15:17Invest in what?
15:19In being in politics and in the media.
15:21And in those two things,
15:23our community in New York is helpless.
15:25It is helpless.
15:27There are many Dominicans
15:29who have progressed economically,
15:31they invest in supermarkets,
15:33they invest in other types of business,
15:35but not in media that allow
15:37to give more exposure and voice
15:39to the Dominican community,
15:41and also, for example,
15:43in New York,
15:45we are a mass,
15:47people, consumers,
15:49maybe we are even clients,
15:51but unfortunately,
15:53we do not have strength as a community.
15:55I think it is interesting what you say,
15:57because definitely,
15:59I have said in many scenarios,
16:01Manolo, that the future of this country
16:03has a lot to do with what we are going to achieve
16:05by relating to our communities
16:07abroad.
16:09And I tell you in the plural,
16:11the future of the United States
16:13is very different from the community
16:15in the south of the United States,
16:17not to mention Madrid,
16:19not to mention Barcelona.
16:21And I think we will have to see that.
16:23A question, I see that you,
16:25for some time,
16:27worked a lot with the Salcedos,
16:29with Roberto and with Robertico.
16:31Explain your relationship with them.
16:33I joined Roberto Salcedo Padre
16:35in 2000.
16:37I worked with him in,
16:39in a program that he had,
16:41that he created,
16:43that he put me as an executive producer,
16:45which was called El Pasarrato.
16:47Time passed, and I lasted,
16:49forgive the time,
16:51nine times nine,
16:53and I lasted about ten years.
16:55From there, I received an offer,
16:57I go to Channel 5,
16:59obviously I go to Channel 5,
17:01in a year and a half, I break,
17:03I go to New York, I go to work.
17:05And why is it that every time you have a bad bank,
17:07I go to New York.
17:09We have talked a lot about New York,
17:11but it was only once.
17:13Thank God, it was only once.
17:15I wait for a post,
17:17but only once.
17:19I go, I spend a little time in New York,
17:21two years, I come back,
17:23thank God, the law of the cinema,
17:25Roberto Angel, I work a movie with him,
17:27and he tells me, look,
17:29I don't want us to lose the bond,
17:31the bond that we have,
17:33so that we don't lose the bond.
17:35He had his father's company,
17:37and he had his own company,
17:39and the father was already in politics,
17:41and Roberto Angel was already linked
17:43directly to the production
17:45of television and cinema,
17:47so he told me, I want you to work
17:49in everything I have.
17:51And so it was, I went to work with him,
17:53which I am grateful to him,
17:55I thank him eternally for a word he told me,
17:57that my gratitude has become eternal
17:59to him, who told me, you shouldn't go,
18:01but I will do everything possible
18:03so that you don't have reasons
18:05to leave this country.
18:07And so it was, in everything I am,
18:09you will work, you will work with me,
18:11and so it was, and that's why people
18:13saw me, have seen me,
18:15in all the movies of El Anillo,
18:17as a coach, and also as an actor,
18:19and as a co-actor too.
18:21And now that you talk about cinema,
18:23if you had to choose a medium
18:25to express yourself and to work,
18:27cinema, radio, television,
18:29social media, what would it be?
18:31I would have liked to do it,
18:33I would have actually liked
18:35to be a writer, but I couldn't,
18:37the stress, the search,
18:39you know, the anxiety,
18:41you have to be there,
18:43you have to be captivated by that money,
18:45you are not rolling,
18:47you have to have it in place.
18:49If the money rolls ungrateful,
18:51it forgets about you.
18:53Exactly, you have to have it in place.
18:55You have to have it half prisoner.
18:57Exactly, but really,
18:59theater,
19:01and the media
19:03have become my passion
19:05because they are
19:07the means for me to express myself.
19:09The main motive
19:11of an artist
19:13is to express himself,
19:15to communicate,
19:17and the media allow me
19:19to say what I think, what I feel,
19:21and serve as a voice,
19:23clone the voice of those who don't have it,
19:25and communicate things,
19:27things that I understand
19:29can help us improve.
19:31You know, there is something
19:33that worries me,
19:35the word is in fashion,
19:37influencers.
19:39I have talked
19:41about the dynamics
19:43of digital platforms,
19:45it motivates
19:47many of those
19:51who participate daily
19:53in those platforms
19:55to look for views,
19:57to look for likes,
19:59and I say that
20:01it can be dangerous,
20:03because it is a race
20:05for vulgarity,
20:07or a race for sensationalism.
20:09What do you think about that?
20:11How could we think
20:13about that,
20:15so that we don't end up
20:17in a society
20:19where we are always
20:21insulting each other,
20:23which is more shameless
20:25than the other,
20:27what do you think about that?
20:29Look, I think that,
20:31I have always said,
20:33and I have believed,
20:35we don't do anything by asking
20:37to remove the bad from where it is,
20:39and we don't have a way
20:41to put the good,
20:43because then the space is deserted.
20:45I think that with good work,
20:47with a job that connects
20:49with the people,
20:51with values,
20:53not anti-values,
20:55we can achieve things.
20:57Because if we criticize
20:59as simply as that,
21:01that doesn't go away
21:03because we criticize it.
21:05We have to give an alternative
21:07to quality people.
21:09We have to give an alternative
21:11to people to connect
21:13what is possible,
21:15to make those views,
21:17to make a room with good content.
21:19We don't do it
21:21to do harm to others.
21:23No, that's what there is.
21:25That's what gets to them faster.
21:27That's what requires less
21:29intellectual effort.
21:31Well, they consume it.
21:33I understand that we have
21:35to find a way,
21:37to make our content
21:39valid, of building values,
21:41but that it reaches people
21:43and that people can consume it.
21:45I think that the battle is there
21:47because there are interviews
21:49that I don't do. Why?
21:51Because they don't add up.
21:53Because it would be an act
21:55of incoherence.
21:57There are people who would give me
21:59very good views, excellent,
22:01many views and many dollars,
22:03and yet there are interviews
22:05that I don't do.
22:07They say that you don't go out much,
22:09that you don't like to be in the middle,
22:11is that true?
22:13It's true.
22:15Yes, but I don't...
22:17I work in the middle,
22:19but I don't live in the middle.
22:21I like it. I'm a family person,
22:23from my house, and I go to specific things.
22:25I always go with my wife
22:27to the theater,
22:29to the movies, to the restaurant,
22:31or on a trip. I don't smoke,
22:33I don't drink, I don't dance.
22:35What do I do in the middle?
22:37What do I do?
22:39It's boring in the cities,
22:41I don't like this music.
22:43I stay in my house,
22:45I watch Netflix, whatever.
22:47But let me tell you,
22:49it's unique, the fact that you,
22:51the one who lives from art,
22:53the one who lives from creativity,
22:55the one who associates creativity,
22:57composing, writing,
22:59the occurrences, with bohemian life.
23:01So, you were a typical guy,
23:03without drinking,
23:05without the beer,
23:07was it always like that,
23:09or is that the mature Manolo?
23:11No, not always.
23:13I've never tried, I don't know if he knows
23:15any kind of alcohol.
23:17And why? Are you like Donald Trump?
23:19No, I'm not.
23:21The only difference is that he's the president,
23:23a millionaire.
23:25And I won't be.
23:27But you have something.
23:29Don't laugh.
23:31What was always,
23:33that was my life,
23:35my life was a calm life,
23:37I'm a lonely guy,
23:39a lonely guy,
23:41or from a family,
23:43from a very narrow circle,
23:45and that's always been my life.
23:47I go to the media, I share with the media,
23:49and I have a theory with the media.
23:51When people want to know about my private life,
23:53I tell them, look, what happens is,
23:55my private life is about wisdom,
23:57and we're not for wisdom content.
23:59In the media,
24:01it's to say and to do what people like,
24:03what's attractive to them,
24:05and that's what I try to do.
24:07In the world of public affairs,
24:09and we want to make proposals to society,
24:11people always want to talk
24:13about our private lives,
24:15and our families,
24:17and I always tell people,
24:19for example, they call me Yayo,
24:21since I was a kid,
24:23but I use Yayo because my son's name is Eduardo Sanz.
24:25Okay.
24:27The oldest.
24:29So he hasn't bought this movie.
24:31No, exactly.
24:33It's yours.
24:35Eduardo Sanz is him,
24:37I'm Yayo.
24:39Because, definitely,
24:41and that's why I admire what you say,
24:43because you have to have passion
24:45and desire,
24:47but the one who doesn't have it,
24:49who walks around and says,
24:51look, you're this and that,
24:53that's not for everyone.
24:55Not only that,
24:57what happens is that I know,
24:59and I'm aware,
25:01I know the commitment I have,
25:03as a person who does public work,
25:05therefore, I'm compelled
25:07to expose myself to criticism
25:09and praise.
25:11I'm used to that.
25:13But my family, no.
25:15I don't have to expose my family to something
25:17that they're not used to,
25:19that I got used to over time.
25:21You know,
25:23that's so true.
25:25A few years ago,
25:27I went to an important political leader
25:29in the country to complain,
25:32and a colleague of ours
25:34had said something inappropriate,
25:36and he answered me,
25:38he said, welcome to political activity.
25:40So that they don't criticize you,
25:42you're doing something else,
25:44but not political.
25:46And in this country,
25:48what they don't know about you,
25:50they make it up.
25:52That's right.
25:54They don't know it, but they make it up.
25:56But they don't stay quiet.
25:58You know, to go back to the topic of humor,
26:00one day, one of the intelligence agencies
26:02in the country sent me
26:04an intelligence report about me.
26:06Ok.
26:08Where they write a series of things.
26:10And after I read it twice,
26:12I said, wow,
26:14this scriptwriter,
26:16he's making a movie.
26:18Because I didn't see a single truth
26:20in the entire report.
26:22He made it up.
26:24He didn't ask you about the truth,
26:26he sent you a biography of you.
26:28Look, that's not mine.
26:30The one who gave me the intelligence report,
26:32I called him.
26:34For reasons of state, I'm not going to say the names.
26:36I called him and said,
26:38two observations.
26:40The first is,
26:42if what he says is true,
26:44take half of it.
26:46Give me half of it.
26:48I really need it.
26:50And the other part is,
26:52if we're going to make a drama,
26:54tell him that my phone number is this one.
26:56Because the report starts,
26:58Mr. Eduardo José Sanlo Batón,
27:00my name was correct,
27:02but after my name,
27:04that he uses the phone,
27:06I've never had that phone in my life.
27:08We were recording another guy,
27:10with something else.
27:12People think it's a joke I'm making,
27:14but that's how it is.
27:16I've found myself three times.
27:18Because he makes fables with a lot of things.
27:20Three times I've found myself on the internet
27:22with the fabulous life of Manolo.
27:24Give me half of that.
27:26I don't have one of those.
27:28He has so many cars, so many houses.
27:30Give me half of that, please.
27:32Look,
27:34that's not cool.
27:36But I'm going to tell you one thing.
27:38Humor.
27:40And here I'm going to talk about humor.
27:42What have you done about humor?
27:44Your finances.
27:46Your finances and your life are about humor.
27:48But I'm going to tell you one thing.
27:50Humor is a great shield to walk through life.
27:52We go out on a path of many things.
27:54You're talking about the pot,
27:56dead laughter.
27:58But when you hear it, it's hard.
28:00No, no, no.
28:02It's easy to tell, but it's hard to live.
28:04But you live it.
28:06One question.
28:08How difficult is it to produce a movie?
28:10Before, without the law of cinema,
28:12it was very difficult.
28:14You were hot with the law of cinema.
28:16When the anti-monetization project,
28:18as it should be.
28:20As it should be, yes, of course.
28:22You were a little opposed to that.
28:24Did you have any slight differences
28:26with that subject?
28:28Yes.
28:30Any difference in criteria,
28:32in focus?
28:34Complete, complete.
28:36As my niece said,
28:38that's a small part of the big thing.
28:40A small part of the big thing.
28:42So I had a little difference
28:44from the big thing.
28:46Yes, obviously.
28:48On that day,
28:50a group of the unions
28:52that you formed,
28:54I didn't know that so many people
28:56lived from cinema,
28:58and one day a group of people
29:00came to see me,
29:02and I started, because in this facet
29:04I'm laughing, because seeing you
29:06makes me laugh,
29:08but in my normal functions
29:10I'm a little more sober.
29:12As it should be.
29:14Because I'm charging taxes.
29:16The first one to say yes
29:18I get, even if it's a dishonor,
29:20because I didn't find anyone
29:22who would say yes.
29:24To pay taxes you should anesthetize
29:26because it hurts too much.
29:28I meet with that group
29:30and he's talking to me
29:32about the law of cinema,
29:34and I say, look,
29:36the important thing is not
29:38that we focus on the differences
29:40that we can have in the proposal
29:42and what you consider.
29:44And he says, no,
29:46we don't agree on anything.
29:48And I say, and my mother?
29:50And my mother?
29:52When they ask me,
29:54how much do you understand
29:56that you are given?
29:58I say nothing.
30:00It was logical,
30:02the law of cinema has brought
30:04a lot to the country,
30:06it has brought a lot of work,
30:08it has brought a lot of tourism,
30:10a lot of things,
30:12I don't tear off his arm
30:14a little bit,
30:16we accept it.
30:18Look, as you will understand,
30:20I don't like to talk much
30:22about the reform issue.
30:24You were given reverse,
30:26thank God.
30:28The word is not reverse,
30:30the word is a structured
30:32reconsideration.
30:34I see it well,
30:36how good that you made
30:38a structured reconsideration.
30:40Ah, but if Leonel tells you,
30:42it's fine.
30:44I don't think he'll say it again.
30:48I hope in God
30:50that neither he, nor the family, nor the cousins,
30:52nor the uncles, nor anything.
30:54He says that Simba is there.
30:56No, but you know that now
30:58we come with a different
31:00lineup.
31:02No, I know.
31:04Where there is a friend of yours who has been beating hard.
31:06No, hard, very hard.
31:08Yes, but I have days
31:10that I see that he doesn't mention it.
31:12When I saw that the friend said,
31:14he said to me, but come here,
31:16you are you, but you are not bouncing,
31:18he is from there to here,
31:20and he sees the friend,
31:22Manolo has his own means,
31:24no support for Manolo, the friend,
31:26the friend is the one who supports Manolo,
31:28I don't understand.
31:30They told me, you are not a friend,
31:32you are stubborn.
31:34Look, the best hope are the long ones.
31:36No, but wait.
31:38Don't make it infinite.
31:40No, but it's not like that.
31:42It's a pity that I brought it live,
31:44so that it stays.
31:46The most robust love is the one that sacrifices.
31:48Oh yes.
31:52Okay, get ready.
31:54Imagine that they prepare
31:56the love that you are looking for
31:58for 2044.
32:00Give me that love for 2028.
32:02You want the love of 2028.
32:06But look,
32:08I tell some of my friends
32:10who have comics,
32:12who are very formal,
32:14that at that party
32:16we are going to celebrate
32:18that I dance first,
32:20and then they dance later.
32:22But there is a certain incomprehension.
32:24That's logical.
32:26Everyone wants to dance at the same time,
32:28but we are not going to agree
32:30so that we all dance.
32:32One in the center,
32:34another in the corner,
32:36another one in the front,
32:38one dances the merengue.
32:40Who do you want to dance with?
32:42Because you have to make a couple to dance.
32:44Look, I'm going to tell you something.
32:46They are all very good.
32:48Yes, yes, yes.
32:50What you have to guarantee
32:52is to be in the dance floor.
32:54And then we'll see.
32:56I know you are a straight man,
32:58but look,
33:02this dance is
33:04between a woman and a man.
33:06Let's go back to the movies.
33:08Let's go back to the movies.
33:10Yes, because 2028 is far from over.
33:12That's my myth,
33:14but I already told you.
33:16Because in these topics,
33:18it's comedy that we are in.
33:20Exactly, it's humor.
33:22Political humor.
33:24And humorous politicians.
33:26Exactly.
33:28But look,
33:30talking in more depth,
33:32and I'm moving away
33:34from the game,
33:36you are a reference.
33:38Because you endure
33:40in the media,
33:42doing things decently,
33:44with height.
33:46Tell me about the spirituality
33:48in your life.
33:50What role does that play?
33:52How do you stay focused?
33:54You don't drink,
33:56you don't...
33:58What role does that play in you?
34:00That's the center of my life.
34:02I told you
34:04that I'm the second season of Hope.
34:06Because in reality,
34:08when I lost everything,
34:10everything, everything,
34:12in that boom,
34:14I owed 6 million pesos.
34:16And I didn't know where to look for it.
34:18I prayed to God,
34:20and my return,
34:22in 2013,
34:24I said, trust me,
34:26I trusted God,
34:28and thank God,
34:30he gave me back
34:32what I had lost.
34:34And I hadn't lost it in Malalys,
34:36but in life,
34:38you lose a lot of things,
34:40materials,
34:42but always...
34:44It's the one who's walking,
34:46who can fall.
34:48Exactly.
34:50Before I wake up,
34:52I have to pray to God,
34:54before breakfast, lunch, and dinner,
34:56I pray to God several times,
34:58all the time.
35:00God is really...
35:02I have an intimate,
35:04personal, deep,
35:06and non-negotiable relationship with God.
35:08I really do.
35:10I used to say that I was a Christian,
35:12but now that a group decided to blackmail me,
35:14I said, forget about being a Christian,
35:16I believe in God.
35:18I believe in God with all my heart.
35:20To those who have wanted to talk about that,
35:22I always say,
35:24you have to be careful with God.
35:26Yes.
35:28And the good thing is that
35:30one of the great virtues
35:32of God in my life
35:34is that when God feels that you,
35:36by impulse,
35:38want to respond to a lie,
35:40to an attack,
35:42to an insult,
35:44to an aggression,
35:46remember, I am your God.
35:48I respond to you.
35:50Amen.
35:52The revenge is mine.
35:54Leave it to me.
35:56I leave it to him.
35:58He can take it.
36:00Amen.
36:02I don't wish it on anyone.
36:04Don't invent it.
36:06Don't expect God to take it.
36:08Come to me.
36:10When God comes to take you,
36:12wow, it's really strong.
36:14What are the next projects, Manolo?
36:16What movies do we have?
36:18Well, there is a movie
36:20that is coming now,
36:22I think we have the faith
36:24that it will be the recovery
36:26of the greats here in Dominican cinema.
36:28It's called Rechazados.
36:30It's a movie
36:32by Vogue Group.
36:34It's the only Dominican movie
36:36that is made
36:38in a submarine.
36:40I saw the ad.
36:42It's an old boat
36:44that is there in Villaduelta
36:46but it's made by a submarine.
36:48It's the first movie
36:50that didn't drown.
36:52No, thank God.
36:54They randomly selected
36:56all of us who didn't know anything
36:58and put us in that movie.
37:00But since it wasn't meant
37:02to throw us into the water.
37:04We have a lot of faith
37:06that Rechazados,
37:08it's a movie that comes in March
37:11and will bring people back
37:13to the movies.
37:15I'm relatively new
37:17to communication.
37:19At the beginning,
37:21many years ago,
37:23I made a show
37:25and then the law,
37:27the university,
37:29the politics,
37:31they took me out of the media
37:33and now they are putting me
37:35in the media again.
37:37And you know that every day
37:39I'm in the news.
37:41By the way,
37:43are you a student?
37:45Obviously, I'm a student.
37:47Wow, how do you not finish this?
37:49What team are you in?
37:51If I know you're a student,
37:53I won't interview you.
37:55But for God's sake,
37:57I'm a student.
37:59No one is perfect,
38:01I understand you.
38:03But don't worry,
38:05therapy, therapy,
38:07you're going to be a student.
38:09No, like you were saying.
38:11And you want to continue being a defector.
38:13No, like you were saying,
38:15like you were saying,
38:17like you were saying,
38:19God will help you
38:21and take that away from you.
38:23But look,
38:25I ask my guests this,
38:27and there was one of these podcast producers
38:29who said,
38:31but you can't always ask the same question.
38:33I didn't tell him,
38:35but a simple question.
38:37Put your podcast.
38:39Don't complicate it.
38:43I'm a student.
38:45What advice would you give
38:47the youth who are watching us
38:49who are starting
38:51and about to come up
38:53with any of their passion.
38:55How are things achieved,
38:57how do people become
38:59what they dreamt of being,
39:01because that's something you've achieved.
39:03Calle atrás lo suyo.
39:05La oportunidad no hace delivery.
39:08El éxito es lo más exitoso que hay en la vida.
39:12Tú tienes que salir a buscarlo a él.
39:14Él no te va a salir a buscar a ti.
39:16No pierdas tiempo en cosas que se han demostrado
39:19que no te van a llevar al éxito.
39:21Porque tú siempre te vas a encontrar con gente que dice,
39:23este no es el momento.
39:25Va a inventar con eso.
39:27Tú no das para eso.
39:28Desde que yo tengo uso de razón...
39:30El factor no te conviene.
39:31Exacto. Mil cosas.
39:33Inténtalo tú.
39:34Vive tú el fallo, el error, el prueba, el error.
39:37Vívelo tú mismo.
39:38Calle atrás lo que tú quieras.
39:40Pero lo importante es que tú determine
39:42cuál es tu verdadero potencial.
39:43Trabaja en eso.
39:44Y trata de hacer que tu trabajo
39:47logre que la gente sienta que
39:50eso nomás lo puedes hacer tú.
39:52Ponte para eso.
39:53Manolo, yo no te voy a agradecerte desde tiempecito.
39:57A tu orden, mi hermano.
39:58Te admiro.
40:00Te deseo suerte.
40:01Gracias.
40:02Y vamos a ver cómo nuestros caminos se siguen juntando.
40:06Que así sea.
40:07Que así sea.
40:08En tu mano está.
40:10Y en la tuya.
40:12Está bien.
40:13No, la mano mía está aquí.
40:14Porque acuérdate.
40:15Es que no encontró la tuya.
40:17Los proyectos tienen que ser soñados
40:20para después ser vividos.
40:21Claro, claro.
40:22Estamos en la época del sueño.
40:23Sí, pero mira, sonó el despertador.
40:27Está bien.
40:28Manolo, un millón de gracias.
40:30Siempre a ti, mi hermano.
40:31Gracias.
40:32Bendiciones para ti y para tu familia.
40:57Gracias.
40:58Gracias.
40:59Gracias.
41:00Gracias.
41:27Gracias.
41:28Gracias.