MetroFocus: October 5, 2021

HISPANIC HERITAGE MONTH: VOCES & “LIGHTS, CAMERA, ACCIÓN”

Lights, Camera, Acción is a new short film airing as part of the upcoming season of the critically acclaimed PBS series, Voces, which examines the culture and history of Latino Americans, as well as documents the most pressing issues impacting the community today. Made in partnership with Latino Public Broadcasting and WNET’s American Masters, Lights, Camera, Acción features interviews with some of the biggest Latino American stars, many of whom got started right here in New York. The project looks back on the history of Latinos in film and television, detailing the ongoing journey for equal and accurate representation in media. Tonight to discuss the short film and the history of Latino American representation on the small and large screens, we welcome award-winning actor, producer, and director Edward James Olmos, who also appears in the film, as well as Sandie Pedlow, the executive producer of Voces and executive director of Latino Public Broadcasting, and Ben DeJesus, the director of Lights, Camera, Acción.

Lights, Camera, Acción premieres on Tuesday, October 5, airing immediately following the broadcast of American Masters — Rita Moreno: Just a Girl Who Decided to Go For It at 9 p.m. (check local listings). The film will also be available for streaming on all station-branded PBS platforms, including pbs.org/americanmasters and the PBS Video App beginning October 5.

TRANSCRIPT

> THIS IS 'METROFOCUS' WITH RAFAEL PI ROMAN, JACK FORD AND JENNA FLANAGAN.

'METROFOCUS' IS MADE POSSIBLE BY SUE AND EDGAR WACHENHEIM III, SYLVIA A. AND SIMON B. POYTA PROGRAMING ENDOWMENT TO FIGHT ANTI-SEMITISM, THE PETER G. PETERSON AND JOAN GANZ COONEY FUND, BERNARD AND DENISE SCHWARTZ, BARBARA HOPE ZUCKERBERG, THE AMBROSE MONELL FOUNDATION.

AND BY -- JANET PRINDLE SEIDLER, JODY AND JOHN ARNHOLD, CHERYL AND PHILIP MILSTEIN FAMILY, JUDY AND JOSH WESTON, DR. ROBERT C. AND TINA SOHN FOUNDATION.

> THERE NEEDS TO BE NEW SCORSESES, THERE NEEDS TO BE NEW TARANTINOS AND THEY NEED TO BE PEOPLE OF COLOR, THEY NEED TO BE WOMEN.

THEY NEED TO BE PEOPLE FROM THE LGBTQ COMMUNITY.

BEING BEHIND THE SCENES, HAVING A SEAT AT THE TABLE, BUILDING YOUR OWN TABLE, IF NECESSARY.

I WOULD LIKE TO HANDLE OUR STORIES FOREVER.

I FEEL LIKE WE'LL NEVER RUN OUT OF STORIES BECAUSE WE HAVEN'T BEEN ABLE TO TELL OUR STORY.

WE HAVE SOMETHING REALLY IMPORTANT TO CONTRIBUTE, AND IF WE HAVE MORE CHANCES TO DO THAT, WHO KNOWS WHAT COULD HAPPEN.

> GOOD EVENING, AND WELCOME TO 'METROFOCUS.'

I'M JACK FORD.

THAT WAS A QUICK PREVIEW OF 'LIGHTS, CAMERA ACTION,' A NEW SHORT FILM APPEARING AS PART OF THE UPCOMING SEASON OF THE CRITICALLY ACCLAIMED PBS SERIES 'VOICES,' WHICH EXAMINES THE CULTURE AND HISTORY OF LATINO AMERICANS AS WELL AS DOCUMENTS THE MOST PRESSING ISSUES IMPACTING THAT COMMUNITY TODAY.

MADE IN PARTNERSHIP WITH LATINO PUBLIC BROADCASTING AND WNET'S AMERICAN INTERACTORS, 'LIGHTS, CAMERA, ACTION' HAS INTERVIEWS WHERE SOME OF THE BIGGEST STARS, SOME THAT GOT STARTED RIGHT HERE IN NEW YORK.

THEY LOOK BACK IN THE HISTORY OF TELEVISION, FILM AND DETAILING THE JOURNEY FOR EQUAL AND ACCURATE REPRESENTATION IN THE MEDIA.

JOINING US TO DISCUSS THIS FILM IS SANDY PEDLOW, THE EXECUTIVE PRODUCER.

AND ALSO THE EXECUTIVE DIRECTOR, SANDY AND EVERYBODY IN HERE AS WE TALK -- THERE WE GO, ALSO THE EXECUTIVE DIRECTOR, PRODUCER OF 'VOICES,' AS I MENTIONED, THE EXECUTIVE DIRECTOR OF LATINO PUBLIC BROADCASTING.

AND THE DIRECTOR OF 'LIGHTS, CAMERAS, ACTION' AND YOU WILL RECOGNIZE THIS FACE, AWARD-WINNING AK THOR, PRODUCER, DIRECTOR AND ACTIVIST THAT ALSO APPEARS IN THE FILM.

WELCOME TO ALL OF YOU.

THANK YOU VERY MUCH FOR JOINING US.

THANK YOU.

SANDY, LET ME START WITH YOU.

WE MENTIONED THE SERIES 'VOICES.'

TELL US WHAT IT IS ABOUT AND WHAT THE FOCUS OF THIS SERIES IS.

WELL, 'VOICES' IS LATINO PUBLIC BROADCASTING DOCUMENTARY SERIES THAT EXPLORES THE DIVERSITY OF THE LATINO EXPERIENCE, WHICH IS ART, CULTURE, HISTORIMENT HISTORY.

WE WORK WITH LATINO FILMMAKERS FROM ACROSS THE COUNTRY TO FIND THOSE STORIES THAT WILL PROVIDE A LENS AND PROVIDE A BETTER UNDERSTANDING TO THE DIVERSITY OF LATINO LIFE.

OUR AIM IS REALLY NOT ONLY JUST TO ENTERTAIN BUT TO PROVIDE THAT FULL PERSPECTIVE OF OUR CULTURE AND OUR HISTORY.

WE HAVE AN EXCITING PLAY COMING UP IN ADDITION TO THE 'LIGHTS, CAMERA, ACTION,' WE HAVE 'LETTER 'LETTERS TO LOUISA,' PROOF OF EXILE TO LOOK FORWARD TO THIS FALL.

WE HAVE A LOT TO LOOK FORWARD TO.

LET ME COME TO YOU FIRST AS A DIRECTOR.

YOU HAVE A NUMBER OF PROJECTS OUT THERE I'M SURE FLOATING ABOUT IN YOUR OWN MIND, PEOPLE COME TO YOU BEFORE.

WHAT WAS IT ABOUT THIS PROJECT AND THIS FILM THAT MADE YOU SAY, OKAY, I WANT TO BE PART OF THIS?

WELL, I THINK WITH THIS FILM, WE HAD AN OPPORTUNITY TO REALLY CELEBRATE THE IMPACT LATINOS HAVE HAD ON THE HISTORY OF HOLLYWOOD.

BOTH THE PAST, THE PRESENT, AND ALSO THE FUTURE.

SO A LOT OF TIMES, YOU KNOW, IN TERMS OF REPRESENTATION, IT COMES FROM A NEGATIVE POINT OF VIEW.

THERE'S NOT ENOUGH, THE NUMBERS, STATISTICS OBVIOUSLY SUPPORT THAT.

BUT I THINK THIS IDEA OF CELEBRATING IMPACT VERSUS JUST THINKING ABOUT THE NEGATIVE SIDE OF IT IS SOMETHING THAT REALLY GOT ME EXCITED.

TO BE ABLE TO HIGHLIGHT AND SHOWCASE THE NEXT WAVE OF LATINO CREATORS BOTH ONSCREEN AND BEHIND THE CAMERA I JUST THOUGHT WAS SOMETHING I DIDN'T WANT TO PASS UP.

EDWARD, SAME QUESTION TO YOU.

YOU ARE STILL HAVING A MARVELOUS CAREER.

YOU HAVE A LOT OF OPPORTUNITIES TO DO SO MANY INTERESTING THINGS.

WHY THIS FILM?

BASICALLY, IT'S ONE OF THE MOST IMPORTANT FILMS THAT YOU CAN BE MAKING AT THIS TIME AND SITUATIONS AS THEY STAND RIGHT NOW.

DOCUMENTARY FILM MAKING IS THE BEST USAGE OF FILM THAT THE ART FORM HAS EVER EXPERIENCED.

THERE'S NOTHING BETTER.

AND BENDIA JESUS IS BRILLIANT, HIS WORK AS A FILMMAKER, AND ESPECIALLY HIS ABILITY TO CAPTURE THE INNER SELF OF EACH INDIVIDUAL AS THEY'RE SPEAKING.

AND HE GETS REALLY TRUTHFUL PERFORMANCES AND PEOPLE WILL BE VERY HAPPY TO SEE THE ARRAY OF PEOPLE THAT COME IN TO -- THAT HE ACTUALLY INTERVIEWS.

AND WHAT HE GETS TO AND WHERE IT GOES.

SANDY PEDLOW, I MUST SAY, I HAVE TO COMPLIMENT THEM BOTH, BUT SANDY IS AN AMAZING, AMAZING EXECUTIVE DIRECTOR BUT AMAZING HUMAN BEING.

SHE'S BEEN WORKING NOW DILIGENTLY FOR NOT ONLY LATINO CAUSES BUT HUMANISTIC CAUSES.

SHE CULTIVATES THE ENTIRE RACIAL PERSPECTIVE BUT I MUST SAY THE HUMANITY IS HER KEY AND SHE'S DONE AN EXTRAORDINARY JOB IN ACCUMULATING VOICES, WHICH IS REALLY THE CLEAREST CENTRAL PIECE OF LATINO PUBLIC BROADCASTING.

I WOULD SAY AS OF RIGHT NOW THIS NEW SHOW THAT WE HAVE AND THE NEW PROGRAM WE HAVE IS STUNNING.

IF PEOPLE HAVE NEVER SEEN IT, BOY, GET READY.

AGAIN, IT'S NOTHING MORE THAN DOCUMENTATION OF HUMAN BEHAVIOR AT THE HIGHEST LEVEL BY SOME OF THE BEST FILMMAKERS IN THE COUNTRY TODAY.

AND ISN'T THAT THE ESSENCE OF GREAT STORYTELLING?

YEAH.

DOCUMENTING HUMMEN BEE HAEVER BASED ON INDIVIDUALS.

SPEAKING OF INDIVIDUALS, IN PUTTING THIS TOGETHER, OBVIOUSLY DOCUMENTARIES COME IN VARIOUS SHAPES AND FORMS AND SOME LOOK DIFFERENT THAN OTHERS.

THEY FEEL DIFFERENT.

YOU START OFF WITH THIS AND THERE ARE A VARIETY OF INTERVIEWS RIGHT IN THE VERY BEGINNING, AND PEOPLE, MANY OF WHOM ARE INSTANTLY RECOGNIZED.

WHY DID THEY DECIDE TO START IT THAT WAY?

WELL, I THOUGHT IT WAS IMPORTANT, OBVIOUSLY, TO GET THE AUDIENCE HOOKED ON WHAT THEY WERE ABOUT TO SEE.

SO FROM THAT POINT OF VIEW, OBVIOUSLY, YOU WANT TO HIT THEM WITH IMAGES AND THINGS THAT THEY WILL REACT AND KIND OF INVEST IN.

REALLY THE THESIS OF THE PROJECT IS WHAT I HAD MENTIONED BEFORE, THIS IDEA OF WE'VE BEEN THERE ALL ALONG.

EVEN IF YOU DON'T NECESSITY ABOUT IT, WE'VE BEEN THERE.

NOT ONLY WILL WE BE THERE IN THE FUTURE AND MORE IMPORTANT THAN EVER TO THE INDUSTRY BUT WHEN YOU TALK ABOUT THE INDUSTRY AS IT IS TODAY AND LOOK AT SOMEBODY LIKE DESI ARNAZ, HELPING TO CAME THE MULTI-CAM SITCOM FORMAT THAT NOT A LOT OF PEOPLE REALIZE CAME FROM A LATINO, I THINK IT'S IMPORTANT TO BRING THOSE STORIES TO LIFE AND RECOGNIZE PEOPLE, AND WITH MY PARTNER, THE EXECUTIVE PRODUCER, JOHN LEGUIZAMO, BUT ALSO SHARE THE SPOTLIGHT WITH THE NEXT CREATORS LIKE TANYA SA RACHIO AND SOME OF THE ACTORS WE FEATURED THERE.

THE COMBINATION OF BRING THEM INTO THE TENT, SO TO SPEAK, AND LET'S GIVE THEM WHAT OUR MESSAGE IS THROUGH THE REST OF THE FILM.

THE FILM IS SO -- THIS FILM IS SO POWERFUL.

SANDY, LET ME JUMP TO YOU BECAUSE I WANT TO GET SOMETHING QUICK I JUST WANT TO TOUCH ON.

THE FILM IS VERY POWERFUL AND REVEALING, WHICH IS SO IMPORTANT.

WHEN I SAY REVEALING, SANDY, TALK A LITTLE BIT ABOUT THE HISTORY IN HOLLYWOOD AND THEN SORT OF TOUCH ON IT AS IT BEGAN TO PROGRESS, AND I WILL GET TO THAT, BUT LET'S TALK ABOUT THE EARLY DAYS OF THE LATINO AMERICAN PRESENCE IN THE EARLY FILMS.

WHAT WAS THAT LIKE?

WHAT DO WE LEARN IN THIS FILM ABOUT?

WELL, WE LEARN IN THIS FILM THAT LATINOS HAVE BEEN THERE FROM THE VERY BEGINNING, AND IN MANY CASES, PEOPLE DIDN'T EVEN KNOW THEY WERE LATINO.

I GREW UP WATCHING ANTHONY QUINN ON THE SCREEN, AND IT WASN'T UNTIL LATER IN LIFE THAT I FOUND OUT HIS ORIGINAL ROOTS.

THE SAME WITH RITA HAYWARD OR MANY OTHER ACTORS.

AND YOU SEE IT FROM THE VERY BEGINNING.

WHAT'S UNFORTUNATE WHEN WE LOOK AT THE EARLY HISTORY, A LOT OF LATINOS WERE PORTRAYED AS STEREOTYPES AND THAT SORT OF LOCKED THIS IMAGE OF WHAT LATINOS SHOULD BE ON THE SCREEN.

WHAT TYPE OF STEREOTYPES WERE YOU SEEING IN THE EARLIER DAYS?

I'M SEEING THE STEREOTYPES OF THE LAZY MEXICAN, THE PEOPLE THAT CAN JUST BE A CARICATURE AS OPPOSE TO A CHARACTER ITSELF.

IT WAS ALWAYS THE PERSON TO MAKE FUN OF, BUT NOT THE CENTRAL CHARACTER THAT COULD HOLD, YOU KNOW, A FILM, YOU KNOW.

EDWARD, WHEN YOU ARE A YOUNG PERSON AND LOOKING TO GET STARTED, OR MAYBE EVEN BEFORE YOU WERE LOOKING TO GET STARTED IN THIS BUSINESS, DO YOU REMEMBER SOME OF THE LATINO CHARACTERS EARLY ON THAT YOU SAW AND SAID, YOU KNOW, I WANT TO DO THAT, THAT'S WHAT I WANT TO DO, AND I SEE THEM DOING IT SO MAYBE I CAN TOO?

THERE WAS AN ARRAY OF ARTISTS, I THINK JOSE FERRER IS TRULY WAS A GIFT.

HE WONG THE ACADEMY AWARD FOR SIRIANO DEBERTH YAK, BEST ACTOR.

AMAZING, AMAZING PERFORMANCE HE DID.

YOU COULD NEVER TELL HE WAS LATINO.

HE DID A BRILLIANT JOB OF JUST PERFORMING AS A CHARACTER IN A CLASSIC -- AND HE WAS A CLASSIC ACTOR.

TO ME HE WAS THE MOST INSPIRATIONAL OF THOSE THAT I WAS EXPOSED TO AT THAT TIME, EVEN THOUGH THERE WERE A LOT, LOT OF PEOPLE -- NOT TOO MANY PEOPLE KNOW THE STATUETTE OF THE OSCAR --

THIS IS A FABULOUS STORY.

I WAS GOING TO ASK.

GO AHEAD.

PLOE PLEASE TELL THE STORY.

LET BEN TELL IT.

TELL THEM WHAT YOU DID, BEN.

WHAT'S THAT, THE OSCARS, CORRECT?

YES, THE MODEL FOR THE OSCARS STATUE.

YES, WE HAVE THIS OBVIOUSLY FAMOUS OSCAR SO WHITE AND ALL OF THESE CAMPAIGNS OVER RECENT YEARS THAT HAVE COME OUT SAYING THERE NEEDS TO BE MORE REPRESENTATION, WHICH WE ALL AGREE, BUT WHEN I STARTED UNCOVERING THE HISTORY OF ACTUALLY THE OSCARS ITSELF, WE STARTED REALIZING THAT WHEN THE OSCAR -- THE ACTUAL STATUETTE WAS BEING DESIGNED, THE ART DIRECTOR OF MGM WHO WAS TASKED WAS THAT, HIS WIFE WAS THE BEST FRIEND OF AN ACTOR NAMED EMILIO FERNANDEZ.

A MEXICAN ACTOR DIRECTOR.

THIS WAS IN THE 1920s, ABOUT 1929 WHEN THEY DESIGNED IT.

HE ENDED UP BECOMING THE MODEL FOR THE ACTUAL STATUETTE THAT WE GO UP THERE AND HOLD.

WE HAVE BEEN THERE AND WILL CONTINUE TO BE THERE.

YOU CONTINUE TO JUXTAPOSE IT AND SAY OH, MY GOSH, THAT'S HIM ALL THIS TIME AND NO ONE EVER KNEW THAT WAS HIM.

LET ME ASK YOU ANOTHER QUESTION, BECAUSE I MENTIONED THIS WAS SO REVEALING THIS FILM, THINGS THAT WE DIDN'T KNOW THAT WE SHOULD HAVE KNOWN AND HOPEFULLY WE WILL AFTER THIS.

BEN, COME BACK TO SOMETHING YOU STARTED TALKING ABOUT, YOU STARTED TALKING ABOUT DESI ARNAZ AND LUCILLE BALL AND DESI-LU, WHICH BECAME THEIR PRODUCTION COMPANY.

AND I DID NOT KNOW HOW MANY SUCCESSFUL SHOWS THEY WERE BEHIND.

AGAIN, YOU'RE TALKING -- SANDY, YOU WERE TALKING ABOUT THIS, THE IDEA OF STEREOTYPES.

IF YOU'RE WATCHING THE EARLY LUCY AND DESI, YOU HAVE DESI THE FIERY LATINO, THE ENTERTAINER HERE.

BUT HE WAS SO MUCH MORE.

BEN, TALK A LITTLE BIT ABOUT WHAT HE DID AND WHAT THEY DID.

YES, WELL, WHEN LUCY AND DESI ARNAZ HOOKED UP, THEY DID A LIVE SHOW ON THE ROAD BEFORE IN THE '50s, THEY ENDED UP TAKING THAT IDEA AND CREATING THIS IDEA OF THE 'I LOVE LUCY' SHOW.

SO DESI ARNAZ WAS A SAVVY BUSINESSMAN, FOR SURE.

WHEN HE WAS NEGOTIATING HIS CONTRACTS, HE REALIZED MAYBE THERE WAS A WAY FOR THEM TO KIND OF MAXIMIZE THEIR PROFITABILITY AND JUST KIND OF THE OPPORTUNITY, SO HE ASKED FOR TWO THINGS.

HE ASKED FOR, LET'S BRING IN MULTIPLE CAMERAS BECAUSE AT THE TIME YOU WOULD BROADCAST A SHOW, AND IT WOULD SHOW UP ONE TIME AND THAT WAS IT.

IT'S LIKE YOU HAD TO SEE IT OR IT WAS GONE FOREVER.

SO HE ACTUALLY THOUGHT OF THIS CONCEPT SAYING LET'S SHOOT IT LIKE A PLAY, AND LET'S RECORD THIS PLAY AND THEN WE CAN USE THAT PLAY OVER AND OVER AGAIN AND THAT ACTUALLY BECAME THE SYNDICATION MODEL THAT WE ENJOY TODAY.

SO WHEN YOU SEE A TV SHOW, YOU KNOW, FROM BACK IN THE DAY ON ANOTHER CHANNEL, THAT WAS ALSO DESI ARNAZ.

AND THEN THEY WERE SO SUCCESSFUL THAT HE SAYS, LET ME HOLD ON TO SOME OF THOSE RIGHTS AND AT THE TIME THE STUDIO DIDN'T REALLY CARE.

THEY GAVE HIM THE RIGHTS.

HE TOOK A LITTLE BIT OF A PAY CUT, ET CETERA.

HE KEPT THOSE FILMED RECORDINGS AND THEN ENDED UP REALLY MAXIMIZING THAT.

WHEN YOU LOOK AT DESI AFTER THAT, HE ENDED UP CREATING SO MANY OTHER SHOWS THROUGH HIS PRODUCTION COMPANY THAT ARE PART OF AMERICANA, SHOWS LIKE 'DRAG NET,' 'THE ANDY GRIFFITH SHOW,' THE LIST GOES ON AND ON.

AGAIN, AN LATINO AT THE CORE OF ONE OF THE MAJOR MOVEMENTS OF HOLLYWOOD HISTORY.

WHY IS IT SO IMPORTANT THIS RECORD OF ACCURATE REPRESENTATION, WHY IS IT SO IMPORTANT NOT JUST FOR THE LATINO COMMUNITY BUT ANY COMMUNITY, IN TERMS OF HOW OUR MEDIA DEPICTS THEM?

BASICALLY, WE REALLY DO TRY TO UNDERSTAND OURSELVES ONE TO ONE BUT WE HAVE A LOT OF PROBLEMS BECAUSE WE NEVER GET A CHANCE TO REALLY UNDERSTAND THE OTHER.

AND THAT'S WHAT IS GREAT ABOUT ART, ALL ART.

BUT DAN'S WRITING, PAINTING VISUAL ARTS, AND ESPECIALLY THE AUDIO VISUAL WITH BEN, BECAUSE NOTHING ATTACKS THE SUBCONSCIOUS MIND AS MUCH AS THE AUDIO VISUAL EVENT, NOTHING.

IT HAS SUCH A PROFOUND EFFECT ON THE RECEIVER, THE PERSON RECEIVING THIS, IT STAYS WITH THEM FOREVER AND IT DOESN'T GO AWAY.

IT'S LIKE A COMPUTER, IT GOES IN THERE AND STAYS THERE.

AND ONCE IN A WHILE YOU CAN RECALL IT.

THE DIFFICULTY IS WHEN YOU SEE THESE DIFFERENT IMAGES COMING AT YOU, CERTAIN STEREOTYPICAL WAYS.

STEREOTYPE IS A VERY INTERESTING SITUATION.

A STEREOTYPE IS ONE ASPECT OF A CULTURE THAT IS ONLY -- THE ONLY THING THAT YOU SEE OF THAT CULTURE.

AND IF IT'S A BAD STEREOTYPE, WHICH MOST OF THEM WERE IN THE '18s, 19s, 20s AND 30s, IT JUST BECOMES IN YOUR MIND, THAT'S WHO THEY ARE.

THEY'RE ALL THAT WAY.

THAT'S THE DIFFICULTY OF STEREOTYPES IN ANY CULTURE.

IT COULD BE ASIAN, INDIGENOUS, CAUCASIAN, AFRICAN, LATINO.

ALL OF THE CULTURES CAN BE STEREOTYPED AND WE HAVE BEEN, WE'VE SEEN IT.

GOSH ALMIGHTY, WE'VE SEEN IT IN ALL OF THE CULTURES.

AND IMMEDIATELY IT'S VERY DIFFICULT FOR THAT CULTURE TO GET PAST IT.

YOU CAN'T, BECAUSE THE FIRST THING PEOPLE THINK OF IS THE IMAGES THAT THEY KNOW.

AND THEY COME TO PLAY.

AND SO IT'S VERY IMPORTANT THAT WE UNDERSTAND THE POWER OF THE AUDIO VISUAL EVENT, ESPECIALLY DEPICTED ON THE BIG SCREEN BUT ALSO ON TELEVISION, BECAUSE TELEVISION SCREENS AT THE HOMES NOW ARE 80 INCHES AND THEY'RE HUGE.

TALKING ABOUT THE PERMANENCE OF AN IMAGE.

YEAH.

RIGHT IN YOUR LIVING ROOM.

AND IT LOCKS IN HERE.

YES.

REMINDER FOR OUR VIEWERS, WE'RE TALKING ABOUT THE UPCOMING SERIES FILM 'LIGHTS, CAMERA, ACTION' WITH THE DIRECTOR AND JESUS, THE ACTOR/DIRECTOR FEATURED IN THE FILM.

SANDY, LET'S COME BACK TO THE IDEA OF THE EVOLUTION HERE.

SO WE TALKED ABOUT STEREOTYPES, AND YOU TALK IN THE FILM ABOUT THE ROLE THAT INDEPENDENT FILM IN THE THEATER HAD IN THIS EVOLUTION.

TELL US ABOUT THAT A LITTLE MORE.

WELL, YOU KNOW, I CREDIT INDEPENDENT FILM REALLY FOR OPENING THE DOOR TO MANY, MANY INDEPENDENT DIRECTORS AS WELL AS ACTORS AND NOT JUST LATINOS BUT ALL COLORS.

AS I LOOK AT -- AND IT'S INTERESTING BECAUSE PBS HAD A ROLE IN THIS THROUGH 'AMERICAN PLAYHOUSE.'

AND THAT WAS ONE OF THE VERY EARLY DRAMA SERIES ON PBS WHERE THEY DEVELOPED FILM AND THEY HAD A THEATRICAL RELEASE AND THEN THEY WOULD COME TO AMERICAN PLAYHOUSE AND THROUGH THAT WE SAW 'CAMDEN DELIVER' WITH ED JARD WARD J. NORTON AND MANY, MANY OTHERS.

AS YOU LOOK UP THAT TIMELINE YOU SEE OTHER INDEPENDENT FILM SUCH AS 'REAL WOMEN HAVE' WHICH OPENED A LOT FOR THE INDEPENDENT WOMEN TO BE IN THE MEDIA.

SO THE INDEPENDENT FESTIVALS HAD A GREAT GROW IN REALLY OPENING THE DOORS.

BEN, ARE WE SEEING THAT STILL TOGETHER?

EXPLAIN FOR US A LITTLE BIT -- FOR THOSE OF US WHO ARE NOT IN THAT PART OF THE BUSINESS, WE TALK ABOUT INDEPENDENT FILMS.

WHAT DOES THAT REALLY MEAN, AND WHY HAS THAT BEEN A VEHICLE FOR THIS EVOLUTION WE'RE TALKING ABOUT.

WHEN YOU LOOK AT THE HOLLYWOOD INDUSTRY AS IT IS, THERE'S A LOT OF GATEKEEPERS THAT ARE GOING TO DECIDE WHETHER OR NOT YOU CAN MAKE YOUR PROJECT.

WHETHER IT'S GOOD OR BAD OR WOR WORTHY IS ALMOST SECONDARY.

THEY'RE GOING TO DECIDE HOW YOU FIT IN THERE FROM A BUSINESS POINT OF VIEW.

BUT WHEN YOU'RE AN INDEPENDENT FILMMAKER, THE GREEN LIGHT IS WITHIN YOURSELF.

YOU CAN GIVE YOURSELF A GREEN LIGHT.

IT'S A WAY OF KIND OF TAKING THE POWER BACK AND AS SANDY MENTIONED, IT'S OPENING A LOT OF DOORS NOT JUST FOR A LOT OF LATINOS BUT ACROSS THE ENTIRE INDUSTRY.

SO IT SHIFTED THE BALANCE OF POWER AND NOT BEHIND THE GATES OF POWER MOGULS, ET CETERA.

EDWARD, THIS MIGHT BE AKIN TO ASKING A PARENT WHICH OF THEIR CHILDREN THEY LOVE BEST, AND I APOLOGIZE FOR THAT BUT I WILL CHANGE IT UP A LITTLE BIT.

LOOKING BACK ON YOUR CAREER, DO YOU HAVE A ROLE THAT YOU CAN SAY WAS MAYBE MORE IMPACTFUL OR MAYBE THE MOST -- NOT THAT THE OTHERS WEREN'T BUT MAYBE MIGHT BE THE MOST IMPACTFUL IN -- IN PROJECTING THAT IMAGE OF A LATINO THAT MIGHT MAKE A YOUNGER PERSON THE WAY YOU DID, A YOUNGER PERSON LOOK AT YOU IN THIS ROLE AND SAY, ALL RIGHT, I GET IT NOW, I SEE WHO I AM AND I CAN SEE IT THROUGH HIM IN THIS ROLE?

IS THERE A ROLE OR TWO MAYBE YOU CAN POINT TO?

WELL, I HAVE BEEN VERY FORTUNATE.

I HAVE LIVED A VERY PRIVILEGED LIFE AND I HAVE BEEN VERY FORTUNATE TO BE ABLE TO UNDERSTAND THIS MEDIUM TO THE HIGHEST LEVELS AND RECEIVE ACCOLADES TO THE HIGHEST LEVELS AND HAVE BEEN ABLE TO BE GIVEN AN EXTRAORDINARY LIFE BY THE PEOPLE WHO HAVE SEEN IT.

NOW, THE FILMS THAT YOU'RE ASKING, IT'S LIKE ASKING EXACTLY THAT, WHICH ONE OF YOUR SIX CHILDREN DO YOU LIKE THE MOST?

AND ONE AM I GONNA SAY, ARE YOU KIDDING ME?

I LIKE THEM ALL AND I DO LIKE ALL OF MY FILMS A LOT.

IT'S HARD TO TELL BETWEEN THINGS LIKE 'STAND AND DELIVER,' WHICH RIGHT NOW HAS AN INCREDIBLE ACCOLADE.

IT'S PROBABLY THE MOST SEEN MOTION PICTURE THAT HAS EVER BEEN MADE IN THE UNITED STATES OF AMERICA, BECAUSE TEACHERS USE IT EVERY YEAR, TENS OF THOUSANDS OF TEACHERS USE IT IN THEIR CLASSROOM.

MILLIONS OF KIDS HAVE SEEN IT OVER THE LAST 33 YEARS.

IT'S BEEN REALLY WELL USED AND IT'S LIKE 'CATCHER IN THE RYE,' EVERYBODY READ 'CATCHER IN THE RYE.'

SO THAT BOOK WAS A VERY WELL-READ BOOK.

BUT THIS IS A MOVIE THAT THEY ONL DON'T USE FILM IN THIS MANNER IN CLASSROOM BUT THEY DID WITH 'STAND AND DELIVER.'

THE BATTLE OF CORTEZ THAT WAS THE FIRST TO BE EVER FILMED ON THE BIG SCREEN THAT CAME FROM PBS, THAT WAS VERY WELL RECEIVED AND MOTIVATING.

BUT, HEY, BATTLE STSTAR GALACTI ARE YOU KIDDING ME?

LIEUTENANT CASTILLE FROM MIAMI VICE, EL PA CHUKIA FROM ZOOT, THEY ALL HAD AN IMPACT.

BUT I WILL SAY THE MOST IMPACT I HAD WAS A CROSS BETWEEN 'STAND AND DELIVER' AND LIEUTENANT CASTILLO.

THE TWO REALLY RESONATED AROUND THE WORLD AND HAVE CONTINUED TO.

BUT LET ME -- JACK, THAT'S A HARD ONE.

THAT'S WHY I APOLOGIZED BEFOREHAND.

BUT IF YOU'RE ANSWERING THAT QUESTION ABOUT ONE OF YOUR CHILDREN THEY ALL WOULD HAVE BEEN, WE'RE GOOD.

WE'RE GOOD.

HE LIKES US ALL.

I'VE GOT MY FAVORITE, I'VE GOT MY FAVORITE.

WHAT'S THAT?

I LOVED 'SELENA' AND 'STAND AND DELIVER.'

WOULD I SAY IT'S SO INSPIRING AS A VIEWER AND KID GROWING UP AND I WAS IN SCHOOL AT THE TIME, IT WAS JUST SO IMPACTFUL.

TO BE EVEN COLLABORATING WITH SOMEBODY LIKE MR. OMOS, AND THAT'S WHAT I CALL HIM, BY THE WAY, IT'S THE IDEA THIS INDEPENDENT FILMMAKER, YOU CAN CREATE YOUR OWN OPPORTUNITIES AND GIVE YOURSELF THE GREEN LIGHT.

AND PEOPLE LIKE SANDY AND THE PUBLIC BROADCASTING ARE THERE TO NURTURE YOUR CAREER AND HELP YOU GET INTO THOSE DOORS.

BECAUSE THIS IS NOW MY FOURTH FILM WITH LATINO PUBLIC BROADCASTING.

AND SO, AGAIN, THEY'VE HELPED REALLY GROW MY CAREER IN A WAY.

I'M GOING TO CAST MY BALLOT WITH YOU FOR WHATEVER IT'S WORTH 'STAND AND DELIVER.'

GOT TO GO FOR THAT ONE HERE.

WE'VE GOT ABOUT THREE MINUTES LEFT.

I WANT TO TOUCH WITH EACH OF YOU SORT OF QUICKLY IF I CAN.

FILM MAKING, ESPECIALLY DOCUMENTARY FILM MAKING, IS A JOURNEY.

I ASKED FILMMAKERS THIS ALL THE TIME.

YOU'RE TAKING US ON A JOURNEY AS VIEWERS BUT YOU'RE ON A JOURNEY YOURSELF IN THIS.

IS THERE SOMETHING YOU TOOK AWAY FROM THIS THAT MAYBE SURPRISED YOU OR YOU DIDN'T EXPECT OR YOU DID GRAB AND SAY THIS IS WHAT I WANT, THE PEOPLE OUT THERE TO TAKE AWAY FROM IT?

EDWARD, YOU FIRST, WHAT DO YOU THINK?

IN ANY FILM OR --

JUST IN THIS FILM.

IS THIS ONE --

WHAT DO YOU WANT PEOPLE TO TAKE AWAY FROM IT?

WHAT I TOOK AWAY FROM IT WAS THE UNDERSTANDING OF THINGS THAT NO ONE REALLY KNEW AND KNOWS.

I THINK BEN'S DONE A REALLY WONDERFUL JOB OF GIVENING US THE OPPORTUNITY TO RECEIVE THESE IMAGES AND RECEIVE THIS INFORMATION IN A WAY THAT IS ENTERTAINING, IT'S EXCITING, AND IT DRAWS YOU IN.

AND I WILL SAY THAT THIS IS EXCELLENT FILM MAKING OF THE HIGHEST LEVEL, AND BEN AND JESUS HAVE REALLY PROVEN THEMSELVES TO BE A GREAT, GREAT FILMMAKER.

I'M ANXIOUS FOR HIM TO GET INTO DRAMATIC FILM SO THAT HE WILL HIRE ME TO BE IN HIS MOVIES TOO.

AND PAY ME.

I WOULD LOVE THAT.

THAT'S THE OTHER PART OF THIS, WE HAVE ABOUT 1:20 HERE.

SANDY, QUICK, YOUR TAKEAWAY, AND BEN, I WILL LET YOU WRAP IT UP.

A NEW GENERATION OF LATINO AND LATINA ACTORS THAT ARE OUT THERE AND THAT ARE REALLY TRAILBLAZERS.

ROJAS SAID IT ALL, I'M BILINGUAL, THIS IS THE TIME, I'M READY TO DO ANYTHING TO BREAK DOORS.

THEY'RE OPTIMISTIC ABOUT THE FUTURE AND THAT WAS REALLY, REALLY ENCOURAGING.

BEN, REAL QUICK FROM YOU.

ABOUT A MINUTE.

I WOULD SAY THIS IDEA LIKE SANDY MENTIONED, THE FUTURE IS BRIGHT.

YOU MAY READ THE TRADES AND SEE THE STA STIS TICKS IT'S NOT SO GREAT AND I AGREE WITH SOME OF THAT.

BUT I ALSO FEEL LIKE THIS NEW WAVE OF CREATORS AND GENERATION OF ACTORS BEHIND THE SCENES, LIKE MYSELF I CONSIDER, WE'RE READY TO MAKE OUR IMPACT AND WE'RE NOT FEELING DOWN OR ANYTHING.

WE ARE EXCITED ABOUT WHAT'S COMING.

WE'RE EXCITED ALSO ABOUT THIS FILM.

ONCE AGAIN, 'LIGHTS, CAMERA, ACTION.'

CHECK PBS.ORG AND YOUR LOCAL LISTINGS TO FIND OUT WHEN YOU CAN WATCH IT.

THANK YOU ALL VERY MUCH FOR DOING THIS.

I'M DELIGHTED I HAD A CHANCE TO CHAT WITH YOU.

YOU ALL BE WELL.

THANK YOU, JACK.

THANK YOU.

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