Hola, mi gente! Feliz Día de los Muertos from the Carreón Cinema Club.
One of Latin America’s most revered cultural traditions, the Day of the Dead, has infiltrated el norte with gusto. Even Target gets into it these days! However, what thrills me more is how a particular group of filmmakers endeavored to craft two fantastic animated films that have broadened the reach and power of these special days celebrating the dead.
First up, Jorge R. Gutierrez’s gorgeous and inventive 2014 adventure, THE BOOK OF LIFE, produced by Oscar-winning director Guillermo del Toro, nominated for a Golden Globe Award as Best Animated Feature Film.
If that wasn’t enough, Disney/Pixar wasn’t going to be left out of the ofrenda, creating the 2017 family classic COCO, directed by Lee Unkrich. But something tells me you already know a little something about that not-so little blockbuster. (Hint: It received two Academy Awards, including Best Animated Feature Film.)
Both films remain heartfelt and poignant to me, but I have a special place for THE BOOK OF LIFE. The visual artistry devised by Gutierrez and team is so original, emulating the love and passion of Latino artisans in several mediums and multiple generations. The textures, the colors, and Mexicaness of it all live in the myriad details that populate the screen. If you haven’t seen it, please make an effort to add it to your family viewing choices.
Until next time, amigos! And por Dios, subscribe to the Carreón Cinema Club already!
In 1998, the great Hilary Clark encouraged me to step into the role of content producer/interviewer. To be honest, it felt more like a dare. I thought our publicity content was rather dated at the time, colorless and flavorless. This was during my tenure as a studio publicist at 20th Century Fox under her invaluable guidance. I took her up on the challenge, hired a crew and went to the Virgin Megastore on Sunset Blvd. to interview composer Mark Snow and television icon Chris Carter about their collaboration for “The X-Files” movie soundtrack. I never looked back. By 1999, I was responsible for the writing, producing, and interviewing of all content created by Fox International Theatrical Publicity. It was an unusual role as most publicity departments didn’t handle this task. They’d hire an agency and that was it. No, this enterprise was the result of vision and it changed my life in the process.
Much has changed over the last two decades, especially in this industry. I’ve changed, too. I used to be caught up in the false notion that I had to be a James Lipton-type. When I finally found my true voice, it was as natural as just saying, “Hi, I’m Jorge.” No adornment or overstating things, just simplicity and honesty. I gush, sure. I’m first and foremost a fanboy for all things motion picture. I was also raised on Regis Philbin, Merv Griffin, and Mike Douglas. I was also nurtured by Linda Ellerbee, Diane Sawyer, and especially, Charles Kuralt. It is a winning combination, where I end up getting hugs more often than annoyance or indifference from the people I interview. I take great pride in that ability.
Sure, I still make the mistake of giving a person the answer in my question. It is true, I never really mean, “Last question.” And, I can’t do a 20-minute BTS interview, not really. It usually ends up going over 40 minutes or more. In fact, the fearless crew on my recent project in New York coined the phrase, “The Jorge 20.” (I’m not offended, I swear.) Even this posting was just supposed to be a “Happy Anniversary” Instagram moment! But nooooo, I had to write a novel about “What it all means!”
I don’t always think I’m the best person for EPK because I have “big emotions” that fight against the rule of this job, which is not being visible. I’m not sitting at video village trying to butter up film producers for that next gig. Yet, I know I am visible when I sit in the chair and begin that next interview.
As BTS producers, we have 30 seconds to let talent know we’re not going to be looking for a “gotcha” moment or engage in any of the other bad behaviors that have been unceremoniously attached to this role. No one likes facing someone who just reads questions off a page. It also enrages me how still others make this process about themselves and NOT the movie or television show. The flip side is no better, where it is obvious the client or studio executives could care less about nuance and humanity. Their only focus is making sure we hit what’s been listed on a marketing brief or remain oblivious to interview at and keep their eyes on the ticking of an iPhone stopwatch.
Still, during these last 20 years, I’ve achieved more than even I imagined in this role. I continue to roam this country and world in search of stories that complement the profiles of some of the best and not-so-best films and TV series. The artists and cultural figures I’ve had the privilege to sit and interview over the years are as diverse and fascinating as I’d hoped, even surprising, too. My journeys have not just been about chatting with actors and filmmakers, either. Nobel Prize winners, best selling authors, pop stars, families seeking asylum, entrepreneurs, and public figures venturing into a different spotlight are all part of this story. Y ahora la narrativa también se cuenta en español.
Red carpets, rooms built out of black duvetyne, junkets at five-star hotel suites on several continents, storerooms, warehouses, falling lights, hurricane-induced blackouts on set, museum offices, desert gateways, hutongs, a Mexican prison with Mel Gibson, legendary and still vital film festivals, jungle spa retreats, jazz festivals, screaming fans, stern publicists pointing at a watch, colleagues bitching over why I have more time, planes, train rides, bus rides, a police ride-along with an armed consultant, noisy soundmen, diva DoP’s, recording studios, snowy man-made villages, busy city streets, country backroads, and everything in between. It’s been the good, the bad, the ugly, and the redemptive. As for my collaborators? They’ve been or become great friends, war buddies, some frenemies, but the numbers of role models, muses, and mentors are greater. Oh, the madness of this town defies anything you think you know or read. You cannot be part of this circus without having some sort of tale to tell.
I always wanted my own talk show and in many ways, this is like having one without people knowing who I am. (Although that dream still lingers.) What still excites me is knowing when I’ve connected with someone and they reveal more than just “the perfect soundbite.” It is when real emotion is present, whether laughter or tears, that I find the ability to want to keep doing this job. These moments of revealed humanity give me hope that we are all not living just for “the show.” These connections DO matter in this job, no matter how we continue to water down all the messages into a square box for 60 seconds or less.
Being a storyteller has been my goal since childhood. I’ve been bouncing back and forth between writing and producing for most of my adult life. It is rather telling that I am now grappling with the effects of a changing media landscape, which has even impacted the entire BTS/EPK medium. In this era of influencers and similar constructs, I worry about my true fate. Ageism is rampant everywhere. I went from Young Turk to Establishment in the blink of an eye. Maturity and experience are viewed by too many people in this industry as being expensive and even irrelevant. It strikes real fear in my heart some days. I do take great pride in knowing what looks and sounds real, though, and I know how to make people not fear the question or the conversation. It doesn’t matter if it’s in English or Spanish, either. It all has to count for something, even in a world where people think “fake news” is a real construct.
When I was recently sent the lead photo of this piece by Dave Nolte of Scratch Creative from a marketing shoot completed last June, I was at a low point. Losing Dad to Alzheimer’s in late February of this year left such a void in my life. I also found myself possessing a need for a second act. I felt so guilty and scared about this, which I’ve coupled with the tangible doubt as to whether I even want to continue this journey as a producer/interviewer. Then I saw the photo Dave sent me and I was instantly reminded of what I am capable of in this world.
Stories need telling by people who truly give a shit about an impactful and engaging narrative. Spin is not enough for some of us, nor is passing off HDR images and excessive font overlays as the “story.” The cynicism of thinking the audience doesn’t care is bullshit. We are in part responsible for feeding them this steady diet of lowest common denominator content instead of elevating them with material that nurtures the ability to pay attention and think!
I was taught and mentored by some amazing people to be a rebel in this town until the end, dammit. I am not the product of Affirmative Action or quotas. No one felt sorry for this gay Latino from Pico Rivera and said, “Aw, let’s give him a chance.” I didn’t complete my journalism degree, nor am I the most technically-savvy producer in the game. To be clear, I am here because I worked like hell to be in the room, even making some compromises that make me wince today. Dad always said the worst thing you can hear is “No.” I heard the negative and other choice words that did little to stop my trajectory.
The people that were a major part of my Hollywood career are no longer part of this industry or are facing an uncertain future, too. “The Jorge Show,” as I call it, has been a shared adventure. Period. I didn’t achieve this life alone. I carry their influence and teachings with me on every project, every interview. As long as people are willing to sit with me without reservation or fear, they will discover that they are in good hands and in the presence of a good heart.
And, yes, I’ll keep getting their attention first by sporting a great pair of shoes.
Here’s to 20 more years of “The Jorge Show” and conversations to remember.
**One of my most treasured moments, meeting Mexican icon Verónica Castro and the incomparable director/writer Manolo Caro for the Netflix series, “La Casa de las Flores” (House of Flowers). This was a true full-circle moment to treasure, the bridging of my American and Mexican selves as a content producer. Gracias a Netflix y Hari Sinn y su equipo por realizar este sueño.
My sister Nancy coined the name “Poppadoodles” way back when. I instantly loved the sound of it, both frivolous and absurd, two words you’d never use when you wanted to describe Dad. He was Big George, Jorge Sr., Tío Jorge, but never Don Jorge, or Jefe. He represented many things to many people.
Dad passed away the morning of Tuesday, February 26 at the age of 94 at our home in Pico Rivera. It didn’t rain that day. The sun was out. He was surrounded by family and our closest friends. Alzheimer’s was also his nefarious companion during the last 12 years of his life. It finally left us alone, but it never fully took Dad away. Jorge Sr. knew where he was and who was the source of the love in that living room space that day.
Writing about him in the past tense makes me want to scream. Thinking about him in the past tense makes me want to cry. That is why I choose to focus my emotion on words these days. Words were my best friend as a chubby, eccentric kid. Words were what kept Dad entertained as he shuttled us all over Los Angeles to meet rock bands at record signings, shows, musicals, sports, everything. A carefully folded newspaper or magazine was also with him when he played chauffeur to the exciteable brood that was us.
I never did ask what he read about or what he even thought about what he read. I just know that when it was time to take us home, he carefully folded the material back up and we’d begin the journey. That slice of peace and quiet was always obliterated by our breathless stories about who or what we saw. He’d smile and listen as we cut through the city with caution because his precious cargo was aboard.
God, I wish I did ask him about those articles in the Herald-Examiner or Newsweek. One time, he even stood in line with my brother and me at Tower Records on Sunset Blvd. We wanted to meet the legendary child known as Boy George. Talk about your culture club. (Boom.) When we got up to meet George, we told him our Dad was a George, too. A huge smile stretched across the Brit crooner’s tastefully made-up face. Wouldn’t you know they launched into a nice little chat? Like neighbors stopping for tea. It was something George did not have time for with any of gallery of nightcrawlers and club kids that were desperate for a similar audience? Dad had no idea who Boy George even was, saying “That’s a nice young man” as we walked away. I wish Steve Jobs had already conquered the world for an iPhone! Imagine the photo, heck, the footage! Still, the memory remains a treasure, regardless, and unfiltered all these years later.
It is fitting that Dad made his living as a textile engineer. The yarn spun on the daily at the factory was no less important and as strong as the family ties he weaved at home. It never frayed. Even when it was pulled to maximum tautness, we didn’t break. Sometimes the words I exchanged with Dad were in anger, punctuated by the slam of a door or the start of a car engine. Even our silences carried the weight and text of our thoughts. That wasn’t the case once he began his travels with Alzheimer’s. I’d be damned if I’d let that bastard of a disease rob me of my time with Dad. I fought against the ALZ hard with smiles, laughter, and talks, real talks. It started out in English and then transferred to Dad’s native Spanish when his mind placed me in that category of awareness.
I have no regrets. I only possess this incredible want to have him here for a little while longer. I was able to say what I carried in my heart to him way before he left us. It is my most treasured moment with Dad. It happened at the Arboretum in Arcadia early last fall. Walking was tough for him, so I got him a wheelchair. We ventured around the gardens. It wasn’t a particularly beautiful day. In fact, it was grey and humid. The grounds were going through some pruning and renovations. The only added color that day was the famed peacocks, which were plentiful. I chose to tell Dad that I loved him and that he was right about so much. That I was sorry for all the hell I put him through. He was quiet for a moment, then, he asked if it was alright if he pushed me around the gardens, that I’d done enough. I said, “I don’t mind.” He answered, “Okay.” Then he started to comment on the peacocks, saying they don’t do anything. Just walk around and show off. I laughed. “Dad,” I said. I can’t believe you’re arguing with a peacock.” He just smiled and folded his hands on his lap. “I want to go home,” he said. So, we did.
Dad’s burial services were on a sunny Tuesday morning in Pico Rivera. I had the task of speaking, along with my brother. Writing his eulogy wasn’t easy, but when I started to write it, the words didn’t fail me. As my dear friend Ann said to me as my grief was in its upswing:
“He may be gone, but please know, as someone said to me when I lost my Dad, “The conversation continues.”
And it does…
A Eulogy for Dad by Jorge Carreón, Jr.
When you’ve been blessed to live a life as long, rich and vivid as Dad’s, the brevity of a eulogy seems cruel and unfair. Six paragraphs and out. I couldn’t do that. You only have to stop, pause, take a breath and take a look around a room like this and see the emotion and extent of the impact one life can make. You take comfort in knowing that this speaks volumes to the character and respect generated by Jorge Ramirez Carreón. Words were his power, and words are the inherited power we wield today.
I remember the day after my big performance in a high school play when I asked Dad what he thought of my “star” turn. He said, “Mijo, you’re a lot of things, but you’re not an actor. Write. It is what you do best.” He was “right,” for lack of a better word. He was pretty much always right about things.
I’ve been staring at a blank screen for days, crafting this message of remembrance and goodbye for Dad. All I could hear in my head are messages like, “Is this going to be enough?” followed by “I can’t do this.” When I finally sat down to put these words up on a laptop screen, it was surrounded by his spirit at our family home in Pico Rivera. Flowers, his favorite slice of nature, were everywhere. Music, the songs inspired by his varied tastes, provided the underscore. It made sense to me here. He made sense to me here, the house that raised my siblings and me.
My brother has composed a fitting testimony to his life, the details and achievements of a life less ordinary, but extraordinary. He ventured from the security of his home and living in Mexico to venture into the unknown territory of the US. He met Mom, married, had four children; he built the life of their dreams. The palm tree that graces the center of our home in Pico is that perfect symbol of our family history. It stands taller than ever before. It has bent with strong winds, never breaking, even when it felt like life was too much. It is the summation of who we are as his people, his family. You find a piece of who we are with each frond. Lil’s maturity and leadership as the firstborn. Nancy’s devotion and selfless protection of us all. Ernesto’s poetry and introspection. Mom’s love of life and strength. It is resilience incarnate.
With Dad’s diagnosis of Alzheimer’s 12 years ago, the first impulse was to think life was over, that he’d forget us all quickly, that the damage to his mind and body would be relentless. We were scared he’d never be able to partake in our lives most crucial moments as adults. We were cursed and doomed. Yet, in the end, it was a gift. My father getting lost in the haze of this infernal disease allowed me to find him again. It is a personal detail that I will never let go.
My family mobilized upon the Doctor’s word. Nancy and Ernesto led the charge in researching every facet of treatment programs, medications, insurance allowances, anything, and everything to make sure Dad would live his best life with us beside him. That he was with us for as long as he was, glowing with color and filled with energy, is a testament to everyone’s role in keeping Dad healthy and alive. We involved him in all aspects of our lives. He wasn’t “sick” Dad. He was chingón Dad for us, for everyone he’d offer a smile. That’s the lesson of his life. Don’t fear the illness; make it fear YOU.
Like many Latino men, we like to live in our memories, tasked with the preservation of our family lore. Being Jorge is not just sharing the same name. Being Jorge means living as the chief chronicler of my family. You should see the epic collection of slides that remain encased and boxed, dutifully scanned by my sister Nancy with Smithsonian-like care. That is why I was compelled to record all that is Us before Dad’s mental files were purged entirely of data. My family and I will never forget the outpouring of emotion felt by many of you who never had a chance to meet Dad in person but were witnesses to his life in other manners.
My name now carries a stronger aura of poetry and romance. Yet, Dad is singular, the original creation. My task is never to let his memory fade, preserving that beautiful handprint in my heart, in all of our hearts.
Back to the power of words. Dad era creyente, a devout believer. He was a voracious reader, informed, an elegant debater who loved a good match of wits. I ask you all to take a moment at some point today to think of a word that personifies what Dad means to you. Share it with us today, tomorrow, whenever inspiration strikes.
As for us? Let me tell you: Dad is adventurous, sage, loyal, devoted, humorous, strict, careful, silly funny, lover of the song “Guantanamera,” classical music and Lerner & Lowe showtunes, Howard Stern-listener, admirer of Trini Lopez, Willie Nelson & Glen Campbell, damn good long haul driver, world-traveler, Christmas card address monitor, abstract pancake maker, mistaker of wasabi for guacamole, Nescafe drinker, eater of canned tuna fish in Italy, church leader, Eagle Scout motivator, industrious, a textile engineer, cultivated, Catholic, mustached, bald, native son of Celaya, Caballero, Mexicano, husband, father, tío, hero. He is forever our Poppadoodles.
We love you, Dad. Te queremos mucho, Pa.
**This is a video produced by my brother Ernesto for his Mateo & 8th line of home decor. We played it during the rosary services in honor of Dad. Hearing his voice sound so confident was shocking for a moment, then, restorative and calming. I hope you give it a view.
***Please consider making a donation to one of the following charities:
After you’ve taught the world how to be a Latin lover, what do you do for a follow up? If you’re an international comedy star, you offer the world an unexpected new twist on one of the most beloved romantic comedies of the 1980s and go… “Overboard.”
Since his groundbreaking American film debut in 2013 with “Instructions Not Included,” Mexican actor and filmmaker Eugenio Derbez broadened his audience further with the 2017 box office hit “How to Be a Latin Lover.” Seeking a new challenge, Derbez and production partner Benjamin Odell knew they set the right course in taking on the famed 1987 romantic comedy “Overboard.”
Several industry heavy hitters had already tried to find the right combination that would take the film from being a mere remake to a filmed entertainment that spoke to a generation that, incredibly, may not be familiar with the original. Recasting the roles played by powerhouse duo Goldie Hawn and Kurt Russell would not be enough. The basic premise of sweet, vengeful justice that happened to blossom into an unexpected romance also would need an update.
After much planning and discussion, this bold, new “Overboard” was ultimately set forth on a journey that would reflect the diversifying image of mainstream American cinema. Genders would be reversed, giving Derbez and blonde comic dynamo Anna Faris a chance to put their mark on the characters essayed by Hawn and Russell. More, the identity of the film would take on a multi-cultural one, mirroring the audience that continues to impact more than box office revenue. The end result can only create a splash of its own. Find out how this “Overboard” set sail in the following Q&A with stars Eugenio Derbez, Anna Faris, and Eva Longoria.
“Overboard” opens citywide on Friday, May 4th.
JORGE CARREÓN: What is it about the original that makes people smile, even today?
EUGENIO DERBEZ: Goldie Hawn. I love her. She’s amazing. She’s adorable. She’s charming. She’s funny. She’s everything. And the story is interesting, you know? This clash of cultures is funny when you see the rich against the poor and then they switch, and they torture her.
ANNA FARIS: I love the original so much. I grew up watching “Overboard.” It was my sick day movie! It feels like I watched it every day. It was the movie that my friends and I could all quote.
EVA LONGORIA: It is such a classic film! I love the original. I love Goldie Hawn. I love their love story!
CARREÓN: What makes this take on “Overboard” special to you?
DERBEZ: Flipping the genders was fresh because we wanted to break stereotypes. The normal thing to do is I would play the carpenter and Anna (Faris) would play the billionaire in the yacht. But it’s a different world. When you want to do a remake, you do it because you love the movie. If you start changing too much it becomes another movie. We were careful in not losing the core of the original story.
FARIS: I’m thrilled to be a part of it. it’s also terrifying because When I was approached with the project, I was incredibly flattered but I also felt like these were huge shoes to fill. But, I couldn’t resist it, so we’ve reimagined it. The Kurt Russell character is played by my me and Goldie Hawn’s character is played by Eugenio. I think we’ve updated it and I hope that it satisfies fans of the original.
LONGORIA: There are movies that you go, “You cannot touch that!” I thought this was one of them. When I first read the script, I wanted to not like it. [LAUGHTER] It’s a reinvention more than a remake. The role reversal makes more sense now if you think back to the original. This role reversal is a little more accepting because it’s the guy who is going to do hard labor in the house. He should. [LAUGHTER]
CARREÓN: The gender reversal of roles is just one layer of this new imagining of “Overboard.” Eugenio, what did it mean for you to take on the role played by Goldie Hawn?
DERBEZ: It’s typical that in Hollywood you always see the Mexicans playing the gardener, the immigrant. But there are other kinds of Mexicans. Many Americans don’t know that one of the richest men in the world is Carlos Slim. That’s why I decided to play this Mexican billionaire as if he were a Carlos Slim type. What I loved the most is I got to play two Leonardos. The Leonardo who’s rich and the Leonardo who’s poor later. But, it was a real challenge playing the billionaire. When I watched the original movie, one of the things that I really loved from Goldie Hawn was that even though she portraying a mean and terrible human being, she was always charming. And I was like, “God, I need to find the way to do the same thing!”
I wanted this guy to be, even though he’s a jerk and he’s always mistreating people, I wanted him to be charming and lovable. That was the challenge. Although, I did love being the billionaire more than the other Leo because it had more room to play.
CARREÓN: How about you, Anna? How did you want to make your role as Kate resonate in this new context? Is she an extension of your real self?
FARIS: I think that every character that I play of course has a degree of me in it because I think that’s how you sort of attempt to embody a character. I love Kate because I could recognize her sort of desperation. She wanted to be able to do the right thing. And yet, there’s this temptation. She succumbs to it and takes Eugenio’s character out the local hospital when he’s suffering from amnesia and convinces him that he’s her husband and that he also has three jobs and must now support her family. [LAUGHTER] That sounds pretty horrendous! But, I like that Kate was very real to me. She’s funny and gritty and she’s working her ass off to raise these kids and to try to make ends meet. It makes me feel like a lot of the people that I grew up with. Hopefully, it’s honoring the idea of how just hard it is for working single women and people.
CARREÓN: It is important to be able to trade comedic dialogue with an actor who’s also adept at bringing the funny. How was it creating a bond as Leo and Kate?
DERBEZ: Anna and I clicked from the moment we met. There’s nothing better than having chemistry with your co-star. Anna was exactly as I imagined. She’s funny, she’s amazing, she’s full of energy, she’s always making jokes. It was easy to work with her because she’s always feeding you with funny stuff. During takes, I’d be enjoying her performance as if I was watching a film! I’m like, Sorry I wasn’t reacting! I was watching Anna!”[LAUGHTER] Besides it is a little bit freaky because she looks like Goldie Hawn. You can’t imagine how similar she is. There were a lot of takes where I was watching her and thinking, “Oh my God, it’s exactly like Goldie Hawn!” I loved that.
FARIS: I couldn’t adore Eugenio Derbez more. He’s got these big eyes. He’s innately charming. He’s hysterical. Our first day of shooting we were stuck in a car on a trailer together. And we hadn’t spent that much time together except for a couple of rehearsals and a couple of meetings before. And I was just like chatting his ear off. And I remember him looking over at me with like sort of this look of confusion. I’d like to think also he was charmed by my chatty Cathy business I was doing. [LAUGHTER] We both come from this comedic background. We both have though dramatic undercurrents in ourselves. We talked a lot about acting throughout the course of the movie. I admire him so much.
CARREÓN: One of the revelations from these interviews is that Eugenio admitted he and Anna are both insecure when it comes to performing. Why?
DERBEZ: Well, she’s so humble. Anna is one of the funniest comedians in Hollywood. English is not my first language. It’s hard for me to perform in English. I was always curious about whether I could be funny in English? People say I’m funny in Spanish, but I’m not so sure I’m going to be able to crossover in English. Every day I would ask Anna, “Was I funny?” She would say, “What are you talking about? You were really funny!” Then she’d be the opposite, “I think I wasn’t funny.” And then I’d say, “What are you talking about? You’re really funny! You’re Anna Faris!” I think all actors in the world are insecure, but probably more so if they’re comedians. [LAUGHTER]
FARIS: I don’t know how Eugenio does it. We were just talking about that just a sec ago. Like, I was like how do you do this. How do you, how do you, it’s just incredible to be able to speak and act in a language that’s not your first!
CARREÓN: Do you think a cross-cultural romance experienced by Leo and Kate is a risky move for a mainstream film today?
DERBEZ: Yes and no at the same time. We’re going through rough, tough times. But it’s time to make a statement. I think America is a great country and it’s built by many groups of people, not just one. I’m Latino and Latinos have been doing great things here in the U.S. In a certain way, we’re telling people that anything can happen. This is America. That’s life in America.
FARIS: I loved the idea. I hope that this movie can touch different cultures, different generations. It feels progressive in that way. I love it that we have these incredible Mexican actors in our movie. I love it that we speak Spanish. It feels like next generation as well and I feel to be a part of that. I think that is something that makes this movie stand out.
CARREÓN: The new “Overboard” also has a secret weapon that wasn’t part of the original film, which is the scene-stealing Eva Longoria as Kate’s best friend, Theresa.
FARIS: The first day Eva came to set she ran up to me, and mind you, I had never met her before. She gives me this massive bear hug and she’s just like, “You and I are going to be best friends.” And I was like, “Oh my gosh! You are a dream!” I loved acting with her. She’s just an incredible person and an amazing actress. I think that there can be a sense of competitiveness sometimes, which many of us have experienced in the past. It’s wonderful to be at a place in life where no one is bringing any of that to the table. I just love her so much. We should definitely play buddy cops or something in another movie! [LAUGHTER]
LONGORIA: It is just so fun being able to play off Anna. I’ve been such a huge fan of hers my entire life, from “The House Bunny” to the “Scary Movie” franchise to “Mom.” She’s just such a talented comedian. She has this natural instinct for comedy. She’s really great with physical comedy, so doing scenes with her has been a lot of fun. And to play her confidant and to be able to play off each other has been a dream for me.
CARREÓN: How important was it to have all roles not depict a cultural or gender stereotype?
FARIS: There’s been this wonderful sort of awakening, where we have brilliant writers and our directors and screenwriters creating material that’s multi-dimensional and doesn’t fall into a particular category. I love that Kate, my character, had dialogue could have easily been played by a guy. It feels great to have anything that sort of fits into a box that’s conforming in any way. Hopefully, we’ll see more roles played by all different kinds of people.
LONGORIA: We’re taking steps forward in the right direction with diversity in film. We have to do more and it starts behind the camera. Eugenio’s directing and producing. I’m directing and producing. When you have the viewpoint of a diverse person, what’s in front of the camera is bound to be diverse. We are taking small strides, day by day. The landscape of America is changing, and changing in a Latin way, I think that will eventually be reflected in television and film.
CARREÓN: What’s been the most compelling aspect of having creative control over a film project? A great example with “Overboard” is its diverse ensemble, particularly with the talents of such acclaimed Mexican actors as Cecilia Suárez, Mariana Treviño, and the great Fernando Luján as Leo’s family.
DERBEZ: I’m basically hiring myself for every project. And I like that because I have a voice. It’s important to have a voice nowadays. I wanted to introduce some of our great Mexican actors to a new audience. They’re amazing! I loved doing that. And if I can be a bridge for all this great talent we have in Mexico, then I’m happy.
LONGORIA: I applaud what Eugenio’s been doing with his films in Hollywood as a Mexican actor. What’s been so wonderful to see is that he brings his culture with him. He brings the actors from Mexico with him. He’s never turned his back on his origins. He’s doing these bi-cultural films really well. They’re funny. They have general themes. Universal themes that a general market can enjoy and I think that’s the key. That’s why “Desperate Housewives” was so successful worldwide because you deal with universal themes that everybody can relate to. If you do movies about love and romance and divorce and heartache and jobs and child raising and death. I mean, those are things everybody can relate to. And then you make it a comedy? [LAUGHTER] It’s enjoyable to watch. I’ve had these moments where I look around the set and I get chills because there are so many talented actors on the set, but there are also so many diverse talented actors on set. It’s very rare that you go onto a movie set and you see actors from Mexico City doing an American film. And that’s really what I applaud Eugenio for.
CARREÓN: Expectations versus reality. Which did you all enjoy more? The scenes on the yacht or the ones on land?
DERBEZ: We were all so happy the day they told us were going out into the open sea on a luxurious yacht. Then we had to reduce the crew because we all couldn’t go onboard for weight purposes. In the end, we couldn’t wait to finish shooting on the yacht. [LAUGHTER] It was so hard! The interiors of the yacht were covered in plastic to protect the walls, the furniture. We were standing up most of the time. We’re sitting on the floor. It was packed. You couldn’t walk around. You couldn’t bring food inside or drinks. All of us had to have lunch outside. It’s Vancouver. It’s Canada. It was freezing. It was so windy! The scenes on the jet with the beautiful women in bikinis? We were all shouting and yelling and laughing. When I came back to the yacht, and the crew said, “You all looked like you were having a lot of fun!” I said, “No! We were freezing. The water was cold! Those were shouts, not laughs!”
FARIS: I loved making “Overboard.” Just the thrill of getting to be a part of it is amazing to me, one I could never have imagined as a child. I also loved that our directors and Eugenio gave me a sense of freedom. There was a lot of improvisation, plus the idea that we’re telling a romantic journey in an unconventional way.
LONGORIA: We had a funny scene, Eugenio and I with the condoms. That’s all I’m going to say. I’m going to say is Eugenio Derbez, Eva Longoria, and condoms. Watch the movie. [LAUGHTER] I loved anything with Anna. I loved my screen husband Mel Rodriguez [who portrays Bobby]. You have no idea. Mel and I have known each other for 18 years. Every time we had a scene together, the director was like, “More of that!” Now we have to go do a show together. We’re that good together. It feels like we’ve been married 20 years. We’ve all had a lot of fun, but the water scenes were rough. It was raining, it was freezing. It’s probably some of the funniest stuff we’ve shot, the end of the movie, the little boat chasing the big boat. I think people are really going to enjoy it.
CARREÓN: What do you hope audiences take away from watching “Overboard?”
FARIS: It ultimately becomes a love story. What Kate and Leo bring out in each other is eventually the best in each other. Leo becomes a version of himself that he didn’t know he had in him. And I think Kate’s walls get broken down. There’s something really interesting in the idea that this man who has everything that the world could offer and he somehow finds reward in having a family and a simpler life. It’s the idea of what money can’t buy.
LONGORIA: People can expect a lot of fun out of this movie. They’re going to want to go on this journey with these characters, between Kate and Leo and their families. I feel like there’s a desire for a movie like this right now, especially in the world we’re living in. We want to escape into a beautiful place, a happy place. You want to experience someone else’s journey and not think about your own problems. [LAUGHTER] This movie’s going to do that for you.
DERBEZ: It was a challenge and a great responsibility to do a remake of this great film. When we hired writers Rob Greenberg and Bob Fisher and we read the final script, we were thrilled. We first talked to MGM about flipping roles and they were like, “No! This is an iconic movie. We don’t want to go that far!” They read the script, and they were like, “Oh my God. We love it!” We have a great movie. I think we have an amazing movie. Funny, interesting, and with a lot of heart. It has everything and it’s a roller coaster. It’s a family movie, too, which is a plus. I like doing movies for everyone.
**The interviews with Eugenio Derbez and Eva Longoria were completed on location in Vancouver during production in June 2018. The Anna Faris interview was completed in Los Angeles in January 2018. The transcripts have been edited for this piece.
The “Overboard” English and Spanish featurettes were produced by Jorge Carreón at Monkey Deux, Inc. for Pantelion Films.
Edited by Kate Ryan (English) and Steve Schmidt (Spanish), the featurettes are included courtesy of Pantelion Films.
In my first conversation with President Trump on Inauguration Day, I thanked him for the positive things he had said about the Dreamers. He looked me in the eye and said: “Don’t worry. We are going to take care of those kids.”
Despite many of the terrible immigration policies this Administration has put forward, I have always held out the hope that President Trump would keep his word and “take care” of the Dreamers. After all, the President told America, “we love the Dreamers.”
But today’s announcement from Attorney General Sessions was cold, harsh, threatening, and showed little respect, let alone love, for these Dreamers.
Starting this countdown clock will require Congress to act fast to stop rolling mass deportations of hundreds of thousands of young people—students, teachers, doctors, engineers, first responders, servicemembers, and more. Families will be torn apart and America will lose many of our best and brightest unless Republicans join with Democrats to right this wrong immediately. I first introduced the Dream Act sixteen years ago to ensure these young people could stay here, in the only country they’ve ever known. Now Congress must act on this bipartisan bill, and act now. These families cannot wait.
— A statement from U.S. Senate Democratic Whip Dick Durbin (D-IL), ranking member of the Judiciary Subcommittee on Immigration.
The intent of the Deferred Action for Childhood Arrivals (DACA) policy signed by President Barach Obama in June 2012 was to allow undocumented immigrants who entered the country as minors to receive a renewable two-year period of deferred action from deportation and eligibility for a work permit. As of 2017, an estimated 800,000 young people, also referred to as “Dreamers” (after the failed DREAM Act), enrolled into the program. As for September 5, 2017, DACA is no more. Now, they face an uncertain future, whether they enrolled into the program or are no longer eligible for its protection.
Living in fear as an undocumented individual is just one of the many realities faced by millions of people living in the United States today. Historically speaking, to be an immigrant is to be responsible for all the societal ills and woes of a nation. We’ve seen what humanity can do when it vilifies and turns against “The Other,” that group of people who become the target of genocides and “final solutions.” How anyone can venerate such monsters, as witnessed in Charlottesville, Virginia last August is beyond the pale. Yet, we have only begun to see the ramifications of a president who has inspired those living with white privilege to exact a sense of revenge, of taking back a country they feel has gone to the dogs. That’s what many of us are to certain sectors of America, animals unworthy of being deemed human.
Since Trump took office, he’s made an art of playing to the cheap seats, that coterie of angry trolls sporting those damn red caps with the legend “Make America Great Again.” His propagandist rhetoric continues to target journalists, Women, the Muslim community, Black Americans, the LGBTQ community, the Latino Community, anyone who just isn’t white. He targets anyone with a brain able to deduce just how dangerous his screaming brat mentality really is for us all.
Trump wants to be worshipped, not challenged, even by those he chooses to marginalize. He demands your respect, although he’s done nothing to earn it. To challenge him is to stir his pitchfork mob of fans while most the members of his political party of choice opt to stick its head in the sand or stay silent. All fear to lose their moment of power, even if it means sacrificing the greater good of the nation. I often wonder who will stand up for anyone if most of the nation is excluded from the bullshit Trump country club our president and his acolytes have chosen as its manifest destiny for our nation.
Our most treasured national icon, the Statue of Liberty, is an ageless beacon, offering shelter from the storms of inhumanity elsewhere. Trump has turned our borders into the frontline of class and racial warfare, its motto is “Keep Out. You Don’t Belong Here.” If we are now known for turning people away, mercilessly deporting the rest, how will that not stop the war on terror? How will it not inspire new groups to target this great nation with their own brand of wrath? We cannot keep punishing the many for the sins of the few who refuse to honor decency and peace.
This entire nation owes its very identity and soul to the millions of other immigrants who have risked life and limb for decades to secure a better life for themselves and their families. To believe otherwise is absolutely un-American. Perhaps if those who fear “The Other” understood that not everyone who dares to call America their new home is a criminal run amok. Perhaps they need to be reminded of the ones who come here for a specific reason, to find their version of the American Dream. Like my parents. Like many of my friends’ parents and families. Who knows what immigrants can offer this nation in terms of innovation, inspiration, and beneficial to us all lucky enough to be citizens of the United States. Perhaps they need to know that not everyone who comes here is looking for a handout or abusing the social welfare system. I offer one reminder for your consideration.
In 2005, writer Joshua Davis penned an extraordinary article for Wired Magazine chronicling the lives of four undocumented teen boys from Arizona. What made them unique? They bested universities such as MIT and Harvard to win a robotics prize at UC Santa Barbara. Titled “La Vida Robot,” Davis’ meticulously written story of Cristian Arcega, Lorenzo Santillan, Luis Aranda and Oscar Vazquez’s journey to victory was truly the stuff of Hollywood films. A decade later, that film, rechristened “Spare Parts,” was produced.
Directed by Sean McNamara and starring George Lopez, “Spare Parts” benefited from the momentum of the early DREAM Act (DACA) era, when the Latino voice had never been more urgent in terms of our national narrative. While the film relied on the “feel good” tropes of the underdog story, it did not shy away from the fact that these “illegals” are not the enemy in this ugly, paranoid era of fear mongering and reactionary politics.
I had the privilege of meeting journalist Joshua Davis and the real boys of Carl Hayden High, interviewing them and their cinematic counterparts for Pantelion Films. Along with producer and star George Lopez, they first expressed the importance of the Latino imprint in terms of mainstream films. However, their ultimate goal was to not only provide quality entertainment, it was to also illuminate an essential community still undervalued or unfairly marginalized by some Americans.
“Spare Parts” opened in January 2015, renewing attention on the lives of Vasquez, Arcega, Santillan, and Aranda. Over the course of a decade, the group from Carl Hayden High School inspired countless newspaper and magazine pieces. Writer Davis followed up his “La Vida Robot” article with a book, also titled “Spare Parts,” catching up on the lives of the boys. Director Mary Mazzio was inspired by the Hayden students to create the documentary “Underwater Dreams.” The quartet was also included in “Dream Big,” an IMAX feature-length documentary about engineering achievements. Even the team’s famed robot Stinky had its moment when it was put on display at the film’s premiere at the Smithsonian.
“When Mexico sends its people, they’re not sending their best. They’re not sending you. They’re not sending you. They’re sending people that have lots of problems, and they’re bringing those problems with us. They’re bringing drugs. They’re bringing crime. They’re rapists. And some, I assume, are good people.”
Yet, with all the attention and praise for their underdog story, life after high school for Vasquez and several of his classmates has not been without its complications. As of 2014, Vasquez was able to secure his American citizenship after a challenging decade that saw him return to Mexico at one point. His return to his homeland meant a 10-year ban of re-entry to the U.S. It was or the assistance of Senator Dick Durbin, D-Ill., who helped overturn the ban, allowing Vasquez return to the States with a visa. Enlisting in the U.S. Army, Vasquez saw combat in Afghanistan before returning and finishing his college education. Now a U.S. citizen, he and wife Karla moved to Texas with their family, where he works in an engineering-related job with BNSF Railroad.
Aranda was already a citizen when the team won the robotics contest. Arcega and Santillan both attempted college careers but ultimately were forced to drop out due to the changes in Arizona state law that required all students without legal status to pay out-of-state tuition fees. Today, Santillan runs a catering company with former classmate Aranda, appropriately called Ni De Aqui, Ni De Alla. Translation? “Neither from Here Nor from There.”
“The Making of ‘Spare Parts'” featurette produced by Jorge Carreon @ Monkey Deux, Inc., edited by Steve Schmidt and Drew Friedman for Pantelion Films.
The effect of this unilateral executive amnesty, among other things, contributed to a surge of unaccompanied minors on the southern border that yielded terrible humanitarian consequences. It also denied jobs to hundreds of thousands of Americans by allowing those same jobs to go to illegal aliens. —
From U.S. Attorney General Jeff Sessions statement on the Trump Administration’s rescinding of DACA, September 5, 2017,
As of September 2017, the more than 800,000 undocumented children brought to the U.S. by their parents are awaiting the other chancla to drop now that “President” Donald J. Trump has announced the end of DACA. Its effect will be catastrophic, breaking families apart and ending opportunities, like finishing an education or gainful employment, that have been hard won. What we stand to lose as a nation, however, is on par with a lobotomy.
The hope generated in 2012 when President Barack Obama signed this bold piece of legislation into effect was designed to protect them from a growing sense of paranoia and fear stoked by members of the GOP, and especially, Trump. They don’t know who are the Dreamers affected, nor do they care. Trump’s campaign engaged classic fear-mongering tactics, stoking the fires of intolerance with his supporters. It didn’t matter if the facts were true or not. The lack of employment, our border safety, our homes, our lives, we were all under attack by this scourge of evil from Latin America or elsewhere. We smirked that Trump could never be elected on such a brazenly racist and xenophobic platform. No one was laughing as the election proved otherwise. Now we have the sound of fear and it is palpable. (That American-born Latinos even voted for him because they deemed “her” unpresidential and untrustworthy is a testament to self-loathing that deserves its own essay. I say to them now, “Look what you’ve done to your brothers and sisters in blood. Shame on you.”)
As the child of immigrant parents, I am beyond angry. As an American citizen, I am ashamed. I wasn’t raised to hate people. I was raised to believe in the innate good of humanity, because good can flourish, even in the direst of times. Yet, to be told that I’m not good enough to be an American because of my Latino heritage or my sexuality is enough to make me want to take up arms. This is not the America that raised me and I’ll be damned if I let it harm anyone else out of fear and intolerance. What Trump offers is not the American Way. It is HIS way. That’s not good enough, not for this beautifully diverse nation.
Immigrants are not here to eradicate white history or white privilege. Nor are they here to tear this country asunder. That is a total lie to keep the status quo of xenophobia. We excuse the horrors of white terrorism, but movements like Black Lives Matter are deemed dangerous, inspiring legislation to declare such movements as being illegal.
American history was never just white. It is every color and creed and orientation, no matter how hard people try to obfuscate it. We are at a crossroads that will have consequences for generations to still to come. What we lose by excluding the many undocumented individuals now forced to live in the shadows again won’t be felt immediately, but it will be felt. Nothing stirs up a public more than paying for the poor decisions of our leaders. And we will pay for the loss of DACA is many ways, socially, morally and economically.
We are deporting the wrong groups of people. To be silent is to be complicit in this cruelly interminable series of unjust and un-American traitorous political acts. If we continue down this path of eradicating those deemed unworthy of citizenship, we will cease to be the United States of America. We will become the Dishonorable States of Trump, a soulless and rudderless nation offering nothing but a smirk, hatred, and violence to the world that once looked to us for guidance, protection, and inspiration.
**Now that the DACA program has been shut down, here is a breakdown of the Trump decision and what people should know:
Some DACA recipients won’t lose their DACA on March 5, 2018: People who have DACA now and whose DACA doesn’t expire until after March 5, 2018, will continue to have DACA and the work permit that comes with it until the expiration date of their DACA.
It’s too late to apply for DACA: The president ended the program so from Wednesday (September 6) on no more applications for DACA are being accepted.
A deadline that shouldn’t be missed: People whose DACA expired Tuesday, September 5 or will expire Wednesday, September 6 through March 5, 2018, can renew their DACA, but they must apply by October 5.
The ball is in Congress’ court – or Trump’s?: Between now and March 5, 2018, Congress can draft legislation to revive DACA, come up with a substitute or even do away with what the administration has put in place. Some opponents of DACA disagreed with the program being authorized by the president but may support a congressionally created program. Late Tuesday, Trump tweeted that he may “revisit” the DACA issue if Congress doesn’t act.
Legal challenges could play a role: There’s always a possibility of a court case. President Donald Trump came up with the DACA phase out plan under threat of legal action by a group of state officials. A young immigrant and immigration group filed a lawsuit in New York Tuesday challenging Trump’s action. There could also be discrimination lawsuits as a result.
Forty is the old age of youth; fifty is the youth of old age. – Victor Hugo
Nature gives you the face you have at twenty; it is up to you to merit the face you have at fifty. – Coco Chanel
Just remember, once you’re over the hill you begin to pick up speed. – Charles M. Schulz
“Youth has many glories, but judgment is not one of them and no amount of electronic amplification can turn a belch into an aria.” — Alan Jay Lerner, “The Street Where I Live”
Age ain’t nothing but a number – Aaliyah
Todo lo he hecho a sabiendas y no me arrepiento de nada. Ni de lo bueno ni de lo mano ni de los momentos felices ni de las tristezas. Al final, tengo el alma llena de paz y de tranquilidad. — Chavela Vargas
Holy fu*k! I’m 50! – Everyone else
I turned 50 today. I figure all that’s left for me now is getting an AARP membership and let those discounts begin! Hahaha. Nah. That’s not how I started my countdown to turning 50 earlier this week. It began by my pondering how I would look with the new Chanel Gabrielle bag in black lambskin. I mean, if it works for Pharrell Williams, who is an elder fashionista statesman of 44, it should look amazing on me!
Masculine. Feminine. It doesn’t matter anymore to me. I am finally settling into loving me as I am today after years of thinking happiness could only be found in constant reinvention or letting perception dictate who I was as a man. Capes. Open-toed shoes. Painted toenails. And that’s just cosmetics, an expression of my evolving style. It’s on the inside where I am discovering where real beauty lies and I think I can safely say “I am beautiful” now. Maybe not at the top of my lungs, but I can say it, dammit.
Helen says this classic ad for the fragrance named Charlie, starring that golden blonde Shelley Hack and New York cafe society crooner Bobby Short, summed up my 40s. I’d have to concur. It was a decade filled with high-end glamor and high street drama. As I venture into the next 10 years, I think I’m gonna favor a life like a Chavela Vargas song.
I think about where I was 10 years ago. I was preparing for my 40th birthday party in my patio, complete with taco cart, a wide assortment of boozy drinks and a lot of fun people, family, friends, co-workers. I’d reached a personal peak. I was vice president of a content agency. I had a boyfriend that I loved so much. My duplex apartment was the first dwelling of mine to feel like home. The night of the party was soupy warm and full of expectations for the decade ahead. My worlds were colliding again, but I felt confident that it would be a night to remember. And it was.
That was 2007.
It is 2017. The company I worked for at that time went bankrupt, leading its charismatic owners to an acrimonious and shocking divorce. Most of that crew went their separate ways, starting families, moving abroad or across the country. I love that they are all living exciting new lives today.
I broke up – twice — with my musician BF. In 2010, we stayed apart for good. While communication between us is now sporadic, it is still better than it was during the volatile early years of our split. However, I have yet to be able to call anyone a partner since, much less a steady date.
My duplex remains my chosen sanctuary, complete with pictures on the wall and other examples of a life less ordinary. The occasional screech of wild parrots still makes me smile as they break through the tree-lined quiet that makes this stretch of South Pasadena wonderful.
My family remains a unified front, even though some of us are starting to rebel as we finally make awkward attempts to curate lives on our own. Dad’s struggle with Alzheimer’s has run its inevitable course. While he is still very much with us, the realities of his age (92) and the illness have shrunk his capacity to stay in the moment. His dependency on my mom and sister is at a critical mass and I wonder how much more they can endure. Now I am starting to think about what will THEY need once he longer requires their selfless care.
I am three years in with the most extraordinary – and award-winning – agency. Career remains at a peak and I am surrounded by a constant source of creativity and inspiration. Yes, my political incorrectness does get me into trouble from time to time. However, is altering my unique voice a good thing or is it a means of being oppressed by those who can’t dominate me? Either way, the struggle keeps me alive and bristling with an energy I still possess, no matter how hard I try to obfuscate it.
But the journey since 40 has not been easy and I worked hard at making it unnecessarily complicated, which may be my biggest achievement today. It can’t be explained away through depression, family loss and a voracious need to be liked anymore, although I continue a mighty battle with them all. What I discovered in the last decade is that I am my own worst enemy and we have reached a moment of “high noon.”
I gave turning 50 a lot of thought and my taking this milestone to Mexico City was the answer. I wanted to step away from all that has given me pause these last few years. I wanted not to worry about my weight, my lack of romantic pursuits, my stagnating friendships, the visits to the nutritionist, the shrink, the anti-depressants, the meds for diabetes and high blood pressure, all of it. I wanted to pay homage to my identity as an American born of Mexican parents. That I remain proud to be parte del mundo hispanohablante. I wanted my parents to know I owed all that I was, more, I wouldn’t be able to even stand before them if it wasn’t for their bringing me into this world. I wanted my siblings to know that they mattered, despite this surprise round of growing pains we are experiencing now.
2017 has been a watershed year for friends. Weeks on the road brought the most wonderful energy to my life, taking me out of my self-imposed inertia because of my forging these new friendships. And the effects, which started out as confusing and frustrating, have evolved into a refreshed perspective on the roles my close circle of friends plays in my life. Loyalty was never an issue here. They are the epitome of tough love and I need them for that alone. More, it was high time for them to know how they still make me try to BE a better person. Period.
The weekend’s wine-soaked dinners, and there were two, truly became the stuff of a dream. The theme of “Details of Diego and Frida” that was taken too literally by my cousins who drove three hours from Tlalnepantla to reach the first dinner. The all-female salsa band that played a theme as I entered the antro at the Sheraton María Isabel. The post-dinner mariachi performance as the “final-final.”
Perhaps the greatest moment was seeing Dad literally bolt from his seat at the table at Balcón when he laid eyes on his nieces, that sonorous blast of color and love I’ve grown to cherish so much more in the last decade. Dad KNEW who they were in an instant, Alzheimer’s be damned. The hugs and kisses and tears were a harbinger of things to come, too. Annie G captured the moment, broken ankle y todo, the sweetest gift preserved by one of my best friends, herself a purveyor of honest sentiment and great care.
At each stop that weekend, I offered my thanks to everyone, triggering a series of testimonials that were better than any AFI tribute I’d ever seen. As I faced my family, my friends at the Saturday night dinner at Rosetta in the colonia Roma, I was overcome with such emotion. I felt nothing when we dined at the Balcón del Zócalo on Friday night. I was too worried about having enough seats for everyone. Yet, after a day’s cultural excursion to the Museum of Anthropology and the visit to see the art of Diego Rivera and Frida Kahlo at the Museo Dolores Olmedo in Xochimilco, I was in a fight to keep the buzz of happy from dissipated too soon. It was all going so fast! I just let the emotion take over. I couldn’t keep it in and I didn’t want to anyway. The hot tears I let fall were wonderful on my skin.
This was the unification of the two Jorges, the American and the Mexican, and it was ultimately an out of body experience. I looked around the family-style dinner table at this grouping of family, friends, co-workers and more. I could see and feel the presence of those family members and friends no longer with us. Tío Ernesto and Tía Tayde. Aunt Susanna. Melissa Duke. I know they enjoyed a trago conmigo, that was the source of my emotion.
I was reunited with esteemed Mexican film journalist Daniela Michel, herself now a major figure in world cinema. It may have been an absence of 10 years, but the distance in time was quickly shored up the minute I saw her. We spoke at length that night, sharing the details of our lives in the effortless manner that belied the reason we became friends in the first place. Her influence on my life goes without compare and how I’ve missed our epic conversations. She’s a lot like Alan in that she brings out the best in people she trusts in friendship. Walking her through the colonia Roma streets, sitting down with her husband Jim and friends for a quick drink after the dinner encapsulated what I envisioned my life to be as I enter this fifth decade. It’s about the power of community, of creating a family that is made of strong ideals, true conversation, and absolute joy.
The next Sunday morning, we staggered through Reforma for an oh-so-necessary pozole brunch at La Casa de Toño in the Zona Rosa, I was determined not to cry again. I had to keep some sense of strength and avoid the calling of the chillón. But then I looked over at my Dad, and his face was one of such love that his tears gave the order to allow for my own to march again. I’ll never forget that image, swiftly banishing all that we said and did so wrong to each other as father and son when I was growing up. In it is place was a recharged soul, one that I had let become airless and dull. My father. My mother. My family. My friends. They all brought me back to life. Having them in Mexico City was an affirmation of the following:
I am alive.
I am getting better.
I am looking forward, even as things change anew.
I wanted to wax lyrical in this post. Perhaps the flourish is steeped in the hyperbole that is the curse of being a former publicist, yet it’s something I’ve done since I first penned my first paragraph. Ego dictated that I write the sort of essay that gets quoted and/or added to some basic DIY Pinterest wall with a deep thoughts pic. Instead, I am happier with keeping 50 closer to my heart. The intimacy and emotion of the entire weekend were the culmination of a journey that’s never failed me, even as I failed myself in the process. What I’ve discovered as I start this chapter is that everything changes for the better in an instant when you finally let love take its rightful place within yourself. Once people see that emanate forth, nothing will stop another person’s love from being returned in kind. That’s the gift we are so lacking these days of acrimony and confusion. And we need to fight like hell to restore its place in us all.
My heart’s at the wheel now
And all my mistakes
They make sense when I turn them around
What I thought was so permanent fades”
— From “Watiress,” score written by Sara Bareilles
The gifted singer-songwriter Sara Bareilles is the Carole King of our moment. I am drawn to her music for its honesty and poignancy. Like Ms. King, she is so cognizant of the universal emotions we experience at any age, at any moment, in life and in love. Her score for the musical adaptation of the film “Waitress” represents some of her best work as a songwriter. Near the end of the second act, the character of Jenna sings about how her view on life has changed because of the birth of her daughter, Lulu. That song, titled “Everything Changes,” resonated like a thunderbolt as I penned this essay. I may not never know the wonderful sense of achievement of being a parent. However, I do understand the importance of being reborn when we begin to shake loose from the torpor of our discontent and fear. Because, as Bareilles writes:
“Everything changes. My heart’s at the wheel now and all my mistakes, they make sense when I turn them around. Everything changes. What I thought was so permanent fades.”
I don’t want my past mistakes to fade, but I know they will not represent me, either. And if it takes another half-century to right these many wrongs, so be it. Most people forget you 10 minutes after you’ve gone. We don’t own this time on Earth, we pay rent. Don’t you want it to count, to know you were the best you could possibly be while you’re here? Don’t you want to cast aside the standard of mediocrity and narcissism we’ve let define our time? We need to deserve each other again so when the time comes for our departures, all that remains is what was felt with truth and love. That’s my goal for the next 50 years or however many years are left in my narrative.
“Every man carries a bit of the personality of the Latin lover inside. If you have the energy, if you have the inner self-confidence, you can be a Latin lover. It’s not a stereotype. It’s a way of living!”
— Eugenio Derbez on his role as Maximo in “How to Be a Latin Lover”
It was a sensational opening weekend for HOW TO BE A LATIN LOVER at the box office. The bilingual comedy lead by Mexican comedy titan Eugenio Derbez, Salma Hayek, Rob Lowe, Kristen Bell and a multi-cultural/multi-generational ensemble cast debuted in second place with $12 million from just 1,118 theaters. With Latinos comprising an overwhelming 89% of the audience and a “A” CinemaScore grade, this “Latin Lover” has plenty of seduction power and swagger to fuel its momentum.
My colleagues at Monkey Deux, Inc. and I had the distinct privilege of working on the campaign for HOW TO BE A LATIN LOVER, crafting the broadcast and online publicity materials that began during production last Spring 2016 in Los Angeles. It is by far the most entertaining film that Pantelion Films, the Latino division of Lionsgate (with Televisa) has produced and perhaps the most enjoyable project we’ve collaborated on to date.
As an American-born Latino in Hollywood, the opportunities to work on films that reflected my Mexican heritage were far and few in between. Since my association with Pantelion began in 2013, the door that opened into this world of Latino entertainment has been one of the best things to ever happen in the near 25 years of my career. Meeting and working with some of the most formidable Latino artists working today continues to add an exciting layer to my role as a producer/interviewer. More, the chance to express myself in two languages has allowed for opportunities I never thought possible.
I had to share a little of the memorable experience in speaking with Derbez and Hayek about the making of HOW TO BE A LATIN LOVER, interviews which were used to create the featurette that is running online and the production notes given to the press covering the film. I’d like to see how any wall would dare to keep out the unbridled creativity and cultural pride shared by Derbez and Hayek. If anything, their recent appearances on several leading morning and late night shows translated into something for everyone to enjoy at the movies.
As we venture through a divisive time, where isolating those who are deemed not like “us” is acceptable, we need to continue to support diversity, especially in the arts. We all have stories to tell, stories that reflect our true face as a nation. You may not make films like HOW TO BE A LATIN LOVER your priority. However, sooner or later, all of our experiences and perspectives will grace the silver screen without being listed as a “special episode,” a “woman’s picture” or crafted for a “niche audience.” That’s how we can stop the walls and project a saner future for us all.
An excerpt from my production story on the making of HOW TO BE A LATIN LOVER with Derbez and Hayek below:
Following up the global success of Instructions Not Included in 2013 was no easy task for Mexican comedy superstar Eugenio Derbez, who wrote, directed and starred in what remains the highest grossing Spanish film in US movie history. Capturing that sort of lightning in a bottle twice can be elusive. Still, the timing of Instructions Not Included proved fortuitous, playing a role in further illustrating the importance of diversity in Hollywood-produced entertainment. Derbez opted to flex other creative muscles while patiently searching for the right project to tackle as a filmmaker, securing roles in such features as the recent hit Miracles From Heaven and the upcoming action drama Geostorm. Being able to choose the project that best fit his established comedy brand was a serious task, so when Derbez and his 3Pas Productions partner Benjamin Odell heard the pitch about an aging gigolo, they knew they hit pay dirt.
“I was looking for a script for me that could fit my accent, my audience, my age, my everything,” Derbez recalled with a smile. “What I loved about HOW TO BE A LATIN LOVER was the fact that we could play with this image of someone who is beautiful and handsome like Julio Iglesias or Enrique Iglesias or Ricky Martin. Maximo is really aging, probably in the worst years of his life, and I think that’s the funny thing about this character.”
Despite sharing a friendship that spans more than 30 years, Derbez and Oscar®-nominated actor/filmmaker and paisana Salma Hayek had often regretted that they’ve never had the chance to work together. That lifelong promise made good proved a formidable “get” for the film that all the filmmakers hoped would happen. As Sara, Maximo’s headstrong, burgeoning architect sister, Hayek said establishing that familial bond was hardly a stretch given her history with Derbez. (Fun fact: they share the same birthday of September 2.)
“I’ve been friends with Eugenio for a long time,” Hayek explained. “When I started my production company, one of the first ideas that I had was to do a show for Eugenio. But America was not ready yet, this was before Ugly Betty, to understand the power of the Latino market. We are very similar in many ways. I cannot think of a better fit for the characters than to be brother and sister. For me it’s a great opportunity to act in Spanish and to play a Mexican woman and to have fun, reliving a little bit our childhood. I got to relive my childhood in Mexico with a brother that in real life feels like a brother to me.”
For Derbez, other practical realites existed in wanting Hayek to join the cast, extending beyond the chance to work together. The duo even took to the recording studio later in the film’s post-production to capture their upbeat salsa version of the classic ballad “El Triste” for the soundtrack.
“It was an amazing good time because she’s lovable. She’s crazy. And she’s very creative. She’s always bringing new stuff. When we were acting in Spanish, we felt really good. It was like we weren’t even acting. We were like just playing around, like brother and sister. It’s not easy to find something like that sort of chemistry. It’s just so good to have two real Mexicans playing Mexicans because I’ve seen a lot of Hollywood films with supposed Mexicans that aren’t Mexicans. Another producer would have hired an actress from another place and probably some audiences wouldn’t be able to tell the difference. But for us you can absolutely tell when somebody has an accent from Colombia or Argentina or Spain. It was really important for us to have two real Mexicans portraying two Mexicans.”
Hayek further extolled the benefits of having a film populated by an ensemble of contrasts, which further enhances the humor found from the clashes of cultures and generations that are the film’s core.
“What’s great about the movie is that I think there’s going to be a lot of different audiences for this film,” Hayek said, “I liked the idea that in some ways Maximo also enjoys his job. It’s important to him to make these women feel special. It gives him joy. The minute they get older, they are abandoned or overlooked by society. I think that it’s a lovely quality of the character that is original in the film. Everybody gets to laugh about themselves in the way we laugh about the concept of the Latin lover. It has a lot of heart and that is extremely important. It’s a little naughty but it’s done in a clever way so that it can go over the kids’ heads, but there are still things they l get to enjoy.”
Shot on location throughout Los Angeles, Marino is proud that the film reflects more than just the iconic, glittering parts of the city audiences have come to enjoy on screen time and time again. Despite the often-raucous events that occur throughout the film, he wanted to make sure the face of the city was also a key player that was grounded in reality. The multi-cultural and bilingual sights and sounds of the city are also complimented by a soundtrack that includes a new recording from Grammy®-nominated star Carla Morrison.
“It was a blessing to shoot in L.A.,” Derbez added. “In this case, we could afford the luxury of shooting here. And it’s so good to see L.A. like it is.”
Timing again looks to be on the side of Derbez with the release of HOW TO BE A LATIN LOVER. In this era of exaggerated luxury and status symbolism, Maximo would feel right at home in the Instagram-documented age of certain reality TV “stars.” Derbez has worked hard to curate a comedy brand that’s ranks him as one of the top artists working in Mexico and Latin America today. While he’s made some inroads in the United States, HOW TO BE A LATIN LOVER did provide him with his first ever leading role in English. The actor-filmmaker admitted that the process was “tricky” at times, even prompting him to wonder if his type of comedy would translate into a different language.
“I come from the Hispanic world and we are broad,” Derbez exclaimed. “We’re big! In this movie, I go to places that I’ve never been, but in a very contained way. It’s really been a learning curve. I feel so good about it.”
Upon seeing the finished film, Derbez is more confident than ever that the strengths of the material and its message will play to the widest audience possible. It is one more phase of an overall plan to continue bringing a unique slate of projects that will not only redefine his own brand of comedy, but do away with the labels associated with being a specific type of entertainment.
“It came from an original idea and it became funnier and funnier every single day,” Derbez concluded. “I’m so proud of it because it’s really different. We’re breaking all the stereotypes. Every time I work, whether it’s on my TV shows or my films, I love putting something for everyone. I like to work for the entire family. This feels really fresh and different. It also has such a nice and important message. Money’s not the only thing that’s important in life. Maximo had everything. Cars, yachts, helicopters, planes. He lived in huge mansions, but he does realize that life is about something else. Life is about family, about love, about taking care of each other. That’s one of the best things the movie has to offer.”
Our language is the reflection of ourselves. A language is an exact reflection of the character and growth of its speakers. — Cesar Chavez
My family’s activism has never wavered since those first steps towards civic awareness, which took shape at home and in our classrooms at South Ranchito Elementary in Pico Rivera, California. I will never forget that moment in 1977, when those first uncertain steps led me to an encounter with the person who envisioned the path many Latinos remain on today: Cesar Chavez. As we honor this great man today, following is a remembrance piece I wrote for Desde Hollywood in 2014, which was timed to the release of director Diego Luna’s underrated “Cesar Chavez” film.
If you were a Latino (or Chicano) child of the 1970s in southern California, chances are you were part of a bilingual education program that was a glorious but short-lived experiment. Today, I can see it as a powerful opportunity to build a bilingual cultural identity. That wasn’t quite the image I had several decades ago. My parents, both Mexican immigrants, were unusual in the sense that they gave their first generation American children a choice. We could either learn Spanish or not. Sadly, I did not take advantage of becoming bilingual until many years later. Yet, I never lost sight that I was part of something bigger. The question became not just about learning the language, but understanding the importance of preserving a multi-cultural identity. Today, many of us face an additional challenge in terms of what role we should assume as Latinos and as Americans with a voice.
As the rising power of Latinos continues to amass in our contemporary culture, it is thrilling to discover the community at a real crossroads. We will dictate the next election. Immigration reform has never been a more prominent and important issue. The national narrative is being re-written, but how do we make sure we get a chance to contribute to these next chapters in American history? It is about taking those first steps forward to achieve awareness, to educate ourselves on the issues that affect us all.
The arrival of “Cesar Chavez” was a significant achievement for many reasons. Some have to do with the hope of a changing film industry that remains in play, but others are decidedly personal. Hollywood loves telling the stories of ordinary people who stare down adversity to become extraordinary figures in history. We’ve witnessed the return of the Great Emancipator; a king’s struggle with speech, the rise and fall of an “iron lady” and the harrowing 12 years lived by an American slave. Yet, something unusual happened when I viewed “Cesar Chavez” for the first time. This time, it wasn’t a performance or scene that stirred an emotional response. To coin a much clichéd tag line, this time the movie was personal.
In 1977, my entire family marched with Chavez and the United Farm Workers on a sunny April day in the Coachella Valley against the lettuce growers. We all knew the importance of Chavez’s actions would remain far-reaching. By today’s standards of political correctness, the teachers at South Ranchito Elementary could have been charged with imposing their own political agenda on their nine and 10 year-old students. Yet, today hindsight reveals a different scenario. These educators were trying to instill in us the value of community and responsibility we shared in preserving its ideals. We were being taught the power of being connected, very much how Chavez himself went out to speak with individuals face to face. It was that connectivity that created the UFW and changed the political future for Latinos in this country.
I am ashamed to admit that the impact of that April day faded too soon. I was living a suburban life of relative comfort by comparison to the young field workers I met that afternoon in the Coachella Valley. They saw the world a lot differently, but they didn’t shame us for not understanding. We were interlopers from classrooms miles away; fulfilling a teacher’s hope the experience would change us in some way. My adult journey did allow for a sense of community awareness, overreacting to hot button issues, as do most of us. But none of this happened in the way my idealistic teachers hoped. I’m an average American who votes, adhering to moderate political views. As I reach middle age, however, I find I am now questioning much in our modern life. And it is spilling into the contributions I am making as a member of the media.
It would be easy to go off on a tangent about how the industry still cannot understand that a multi-cultural audience wants to see itself on screen in roles that aren’t stereotypes. It is no coincidence that instead of watching films about dead rock stars, films like Eugenio Derbez’s “Instructions Not Included” are playing favorably with more than just a Latino audience. But the Latino community showed its strength and they were heard. Now, “Cesar Chavez” the film needs that same grassroots support to sustain what should be viewed as a cultural movement.
After watching the marches and rallies depicted in “Cesar Chavez,” my mind went straight to the details of that hot April afternoon. The dusty walk of the countless supporters who joined la causa, their strong voices unified into a choir of peaceful civil disobedience, the annoying splinter in my right hand from the wood of the sign I held straight up into the sky. Even the hideous tartan pants I wore that day seem to take on a “Braveheart” glow. But most of all, I remember the walk to meet Chavez himself at the post-march rally.
My dad was with me, encouraging me not to be shy. We had been waiting for a break in the crowd, all wanting a moment to speak to him. Finally, we had our chance. I walked with the same purpose of my father, my shorter stride valiantly trying to mirror Dad’s more confident steps. Jorge Sr. spoke first, of course. Then, he introduced me to el señor Chavez. I was shaking the man’s hand, receiving that welcoming smile and a kind word of appreciation for being there that day. He went from being a photo in a textbook or news item into something out of a movie. Cesar Chavez was real and he was a real hero.
In early February (of 2014), I had the opportunity to sit down with Luna to conduct the interview that would be used for the “Cesar Chavez” broadcast press materials. He had just flown into Los Angeles from Washington, D.C., where he presented the film prior to moving on to its world premiere at the Berlin Film Festival. What should have been an easy 20-minute on-camera exchange for the electronic press kit became a 90-minute conversation that covered more than just the making of the film. The candor and sincerity revealed by Luna could not be tempered by exhaustion. Much is riding on the film and he is fully aware of what its success will dictate to him as he evolves from actor to director.
We are taught as journalists to never become part of the story, but this was a unique situation. It is hard to not see this as a full circle experience. Many people will be introduced to Cesar Chavez for the first time after viewing Luna’s film. It is an artistic risk for the Mexican-born artist, particularly with taking on this most American of subjects.
Still, the possibility of this cinematic meeting between Chavez and today’s audiences having the same resounding effect as it did with the hundreds of thousands of men and women who stood by Chavez, his family and the UFW is tangible. Therein lies the power of film. The greatest lesson to be learned is not reserved for the immigrants or American-born Latinos who continue to revere him. All of us must understand the meaning and power of Sí Se Puede. It does not belong to any one era or people. Its purpose applies to all those seeking to make change happen.
To illustrate the point further, here are excerpts from my conversation with Diego Luna on “Cesar Chavez,” exclusive to Desde Hollywood:
JORGE CARREÓN: Cesar Chavez was a truly humble man. How would he have viewed this entire process of making and promoting the film about his life?
DIEGO LUNA: He never wanted a film to be made about him. When people got to him and said, “We want to make a film about you,” He said, “No, no, no. I have a lot of work to do. I cannot sit down with you to talk about what I’ve done. I still have a lot to do. So, no films.” He hated the idea of being recognized. If you wanted to give him recognition, an award, he would ask you to do in the name of the union. He hated to be on the front page.
CARREÓN: Even with the industry’s fascination with biographical films, does his reticence explain why a film about his life has taken such a long time?
LUNA: There’s a reason why there’s not been a biopic about Cesar like the ones normally done in this country. If I were going to come and do a film, why would I try to repeat something that also doesn’t belong to me? To the way I see the world, to the kind of films we want to do? I wanted to make a film that for a moment you could say; “Oh is this going to end right or wrong? Is this going to have a happy ending where they win or not?” I hate films that when they start and you know how they’re going to end it. I’m pretty sure that in the course of these 10 years we cover of his life, he woke up many times saying, “This is not going to work.” I wanted that to be part of the film. If I would have shown a perfect man, making just the right decisions all the time, then you know the end. Why would you pay a ticket to see that? The other answer I have, which is not as beautiful as this one, is because you guys never made it.
CARREÓN: How do you hope the impact of “Instructions Not Included” will increase the marketability of “Cesar Chavez” with a mainstream audience?
LUNA: I hope this film works in that way. Before “Instructions Not Included,” every huge success in Mexico was like a niche success here. But that one was unbelievable. Suddenly on both sides of the border people were saying, “I want to see the same film.” That means something. Things are changing. So it makes sense there’s a Mexican telling the story of Cesar Chavez.
CARREÓN: Hard to believe, but you can see how certain sectors of the Latino American and Mexican film communities may have a polarized view of what you’ve done as director of “Cesar Chavez.”
LUNA: We are two different communities and I have to say there’s a lot of prejudice about Mexican-Americans in Mexico. And there’s also a lot of prejudice about the Mexican experience today from the Mexican-American community. Things have changed dramatically in the last 20 years. This film is an attempt to bring that wall down. It’s ridiculous that we’re not connected. That we are not working for each other, feeding each other. I come here and I go to my favorite two places near my house. One is a restaurant. There’s a family from Nayarit that does the best pescado a la plancha that you can get in California. It’s unbelievable that they’re not in touch with those who cook the exact same dish every day on the other side of the border. Why do we allow this world to really separate us? It’s ridiculous. I think we would be strong, really strong if we would be connected, if we would feel as part of the same thing. It’s like what the film says, “You can think it’s all about you and your life is miserable or you can open the door and say, ‘He probably thinks the same and if he thinks the same, if we all get together we might be able to change things.’” It’s time that we see each other as part of the same people. We would be stronger. We would be able to say we want these films to be made. We want more films like “Cesar Chavez” that would represent us, films that are about people like us.
CARREÓN: The reality is many audience members will be introduced to Chavez’s life for the first time. It is a thrilling prospect to see what they will take from this introduction.
LUNA: I think Chavez showed something very simple, but very difficult to actually believe in, which is even though you think that person doesn’t care about you, he does. He does. We have to work that muscle so we don’t lose that ability to actually care about what’s going on with our neighbors. We’re learning to be around so much violence and injustice and we shouldn’t get used to that.
CARREÓN: With the film now being seen by a mass audience, what impact are you hoping the film is able to make? This is a bold move, away from how the industry views you as an artist.
LUNA: I want to inspire people to say, “Why is there not another Cesar Chavez today in this community? What’s going on? We could be that man.” His life was very difficult. Eight kids. Imagine convincing that amount of people to go back to live in the worst conditions in the fields to bring change for a community that you’re not part of anymore? We should be celebrating that this happened and hope this is the first of many films not just about Cesar Chavez but the farmworker experience and the Mexican-American experience. I truly think we just have one chance. If this film doesn’t succeed in the box office, if people don’t actually go watch it, I’m going to have to rethink what I’m going to do in life or where I’m going to do it. This one shot has taken four years of my life. My son was born here. I opened a company in the States. But my heart, my stories, my father and my friends are in Mexico and I need to be able to keep both things happening. The film is about that in a way. I really hope this shows that cinema should be representing this community today with respect. It’s a very complex community and the need of content is huge. Films like “Cesar Chavez” need to exist and it’s just not happening. So let’s hope it starts to happen.
Despite booking first class, luxury passage on the Love Train yesterday, I was a bit reluctant to get out of bed this morning. Maybe it is the fear of knowing what democratic pillar #President Babyhands was going to decimate next. Perhaps it is the effects of four protein days messing with my head. I wanted to write some pithy little riff on how Lindora protein days are a privileged, overfed person’s descent into hell, but I lost the desire. Instead, I’ll let this little clip of an otter happily chowing down take its place. That’s going to be me tomorrow when I get to switch back to a regular menu of poultry, fish, vegetables and fruits again.
The notion of living in a parallel universe is starting to grow in my brain. I have these moments where the only thing I can do is shake my head. I joke to myself that all those years of reading post-apocalyptic fiction, watching nuclear war films and those dystopian epicsof yore like “Logan’s Run” and “Soylent Green” are actually going to pay off! I’m ready for whatever happens next! Then this fear grows in the pit of my slowly shrinking stomach. I have to remain and fight back the fear of letting it spread further so I don’t just lock the door and never leave the house again. .
Today, #PresidentBabyhands basically unleashed a round of “Mextortion,” proposing a 20% tax on all Mexican imports. Comedian that I am, one thought that flashed in my mind was, “Since I am in the process of losing weight, this could be a very good thing!” But really, it is not. Crushing an economy because they won’t fund your windmill from hell, Don Quixote, is tyranny at its worst.
Political cartoonist Lalo Alcaraz (of “La Cucaracha” fame) posted this image promoting a “California Resistance,” which is the lead photo of the diary entry. “Resist” is a powerful word for us all right now. It has taken root in my mind, from resisting the urges to consume things that can hurt me to resisting the urge to go full Howard Beale in public with rage. I can tell you this. I am losing one battle and it isn’t with food.
Restraint has never been a word I’ve been able to incorporate into my lexicon for living. Not as a kid, even less so as an adult. I am finally aware that “more” can kill. As we try to process the events of this week, more challenges will be brought to the American public in a way that will divide us and conquer other principles that must be defended to the bitter end. So, what does any of this have to do with a diet diary, you may ask? Plenty.
We are what we eat, people. And I am not going to subsist on a steady diet of lies and tyrannical chaos just because so many Americans hated having a black president for eight years. You ingest in trash food, you get toxic refuse that leaves your body in shock and prone to diseases that can kill you. The same applies to the Democratic process. We are what our elected officials represent. It is no coincidence that President Babyhands is an orange-colored menace. Cheetos are just as bad for me, too. Neither requires my attention to be healthy and strong, all the better to fight back.