Original subtitles

Seriously, Martin, you

really think that's funny?

So, uh, why am I here?

We need your expertise.

My parents were very supportive though.

My parents are both very supportive.

Let me not throw them under the bus,

but they were like,

"What are you doing?"

They were worried.

They were like, "You're so

smart, you could be a lawyer."

Ironically, I thought,

because you're just talking about school,

I thought I was gonna go to Yale.

That's not true.

I didn't think.

Everyone around me thought

that I was gonna go

to Yale to be a lawyer.

Okay.

So when I was in high school,

I was like one of those, I was like,

Like, one of those kids that like, I had

such an appetite for it.

Like, I just like had an appetite for

political science, for

government, for world history,

like for all of those things.

So I would, I would stay up until three

or four in the morning

and go to school at seven

writing essays and like perfecting it and

making sure it was like

the right, this sounds

so nerdy, but like the right like syntax,

the right structure, the right theory.

Like I had a very strong work ethic.

Okay.

And so my vice principal, he sat me down.

I think his name was Mr. Bear.

And he was like, "You

should consider going to Yale."

And I was just like, I laughed.

I laughed at his face

because I was just like, "Me?

Going to Yale?"

I would never live, first of all, I would

never live in New Haven, Connecticut.

Yep.

I would go to colds.

What would I do there?

There's no Cuban coffee, no emaduros, no

ema comida that I would

be comfortable to eat.

And then also again,

did I say it was cold?

And then like, they would

never accept someone like me.

It was just like, I had never, it didn't

feel so connected with

the rest of the country

as like, for instance, New York does.

New York, it feels like

everything is possible here.

I don't know.

No, I-

It feels like everything is

possible if you work hard here.

And that's not, I don't know, and that

could be my own thing

with Miami, but Miami feels

a lot more me being a child of immigrants

more than like the following generation.

My father had very much

the, "You need to survive."

I came from poverty

and we need to survive.

And I just never thought I'd go to a

school like that, ironically.

Do you think that that preparation in

college that it helped

you for your acting career?

I think that, I think for a long time, I

wanted to go to a school

like that to be seen as

legitimate and to be seen as valuable.

I think that when I came to New York at

such a young age and I didn't

have any family connections,

I had no resources, I had nothing to find

a way for me to get in the business.

I was like, I auditioned for these

Broadway plays and it'd

be like, "Well, what school

did you go to?"

And I'd be like, "I'm

learning from life."

And they're like,

"That's not good enough.

What school did you go to?"

And so it became a thing where there was

a play actually, and

it was about Colombian

women.

And it was about some stuff that my own

family experienced and I

was like, "I can do this

play."

There's no reason, no one

can do this play as good as me.

I was like, "I can do this play."

And everyone who had

got in was from Juilliard.

And it was that experience that I was

just like, "I need to go to school.

I need to go to an actual drama."

Because I only did

conservatory at that point.

So I studied in London at the London

Academy of Music and

Germanic Arts and I did classical

text there.

And then I studied in every conservatory

in New York City and

still people would be like,

"Well, what school did you go to?"

And so it became a point where when Yale

came into the picture,

it was what felt like for

me for people to take me as legitimate.

I was like, "I have to

go to a school like this."

And then I don't know.

In some way, I think the school needed me

more than I needed the school.

How so?

Well, because they're really changing.

They're rapidly changing.

But you have to imagine

that these are institutions.

And I think a lot of people of color and

maybe women of color

experiences too, when you go

to an institution like that, that is so

embedded into the United

States, they didn't have,

when I was there, it was still better

than what it was for

other people, but they never

had like...

Martinezes.

They didn't have like Martinezes really.

They didn't have like plays that they

understood could be for us.

And then speech was an interesting thing

because by the end of my

time at school, I couldn't

recall my own voice.

I didn't know how my own voice sounded at

that point because I

had so much classical

training to speak a standard speech, like

American standard speech.

And so it's an interesting experience,

but in some ways, I feel

like my biggest lessons

is when I came out of school.

Like when I think about what I learned at

school, it's like what

happened after I came

out.

Let's talk a little bit about after

school, what was your

first role right after school?

My first role was a nun.

I played...

Is that right?

I played a nun in a prodigal son and so

funny because I also

grew up really religious.

I had played someone who spoke in tongues

at school and everyone

loved it and they were

like, "What is...

You're crazy.

How could you do that?"

But I grew up in churches

in Miami where they did that.

And when I would go to Columbia over the

summer, I would be going to churches.

My dad had cousins who were

very involved in the church.

So it was like Monday,

Wednesday, Sunday going to church.

So the first role I played was a nun who

could speak Aramaic in this...

It was kind of like a scary episode.

And that was my

biggest paycheck I ever got.

I remember.

It was a guest star.

I was like, "Oh my God,

it's my biggest paycheck.

I'm going to be okay."

And it was three months after I

graduated, which was 2020.

So imagine everything shut down.

We all think we don't

know what's going to happen.

It was a really great time to enter the

workforce because nothing was happening.

And that was my first job right out,

right three months in.

Who and how?

Was anybody that you knew, your audition

for it, how did you get that opportunity?

I did a self-take because there were no

in-person auditions anymore by 2020.

So I did an in-person tape and I remember

I was working at

restaurants and I was very

tired because also, mind you, the

weirdest experience for

me was that when I came out

of school, I was working so much.

Like I was getting four

hours of sleep for three years.

That when nothing was happening when I

came out, I was like...

It felt like I was in a treadmill and I

was sprinting and

then suddenly it stopped.

And I was like, it was very freaky to me.

So I had all this time and then I was

like, I have to work.

Now I lost health insurance from school.

I don't know what to do.

And so I was working a lot and I remember

I sent in a self-tape

in the midst of like

going to a work shift and they called me

like the following one

and they were like, "You

booked it."

And I was with the Colombian director.

Colombian director.

Antonio Negrete, who's doing

"Lincoln Lawyer" right now.

Colombian director.

Oh, wow.

Yeah, I love that show.

So do you remember your...

How did you get that

opportunity with Grisela?

Grisela?

Yeah.

So my very first audition out of school,

the casting director,

Rachel Tenner, I just signed

with my managers and they sent me my very

first audition and it was to play kind of

like a 70 year old woman in

a project called "The Maid."

And I, being...

I don't know.

I don't know what the word is.

Like being spicy, being rebellious, being

like very protective

of like what I try to

represent for Latinas.

I was like, "I'm not going to be in

anything called The Maid."

I was just like, "That is not why I went

through all of this time at school."

And the person I was with at the time,

they were like, "You

need to relax and just read

it.

Just like read the thing.

Like you can't just say no.

Like you have to actually sit down and

breathe and read it."

And I was just like, "Okay, okay."

So then I read it and it was about...

It was based off the book "The Maid" that

was like a best seller

in the New York Times

and it was not about anything that I

thought it was going to be.

And then I was like, "How am I going to

play a 70 year old woman

who's the owner of a cleaning

service?"

And I was like, "Fine.

I'm going to do it."

And so like I prepped for it.

I remember getting like a cup of noodles

and like thinking of

all the experiences I had

growing up in Miami, seeing like so many

women who had to do that to survive.

And I was just like thinking of women

that I grew up with

that it reminded me of.

And then I sent it in and the casting

director was like, "I like her.

I'm going to keep my eye out for you

because now I know I'm

going to keep my eye out.

Like I know something."

And I didn't understand it.

And I was just like, "Okay."

And they were like,

"She really likes you.

Like my manager's."

And I was like, "Okay."

And a year after that, Griselda, they

were casting for

Griselda for a woman from Miami

who becomes the first or one of the first

homicide detectives ever in Miami.

And I remember reading it and I was just

like, "I think I could do this."

And I was like, "I'm pretty sure like I

kind of understand what that is like

being underestimated

all the time."

I think I understand this woman.

I had sent in a tape with someone over

Zoom and then I didn't hear anything.

And then I was just

like, I kind of gave it up.

And then three months later, they were

like, "We rewrote the whole scripts.

We want you to audition

for it again, please."

I was like, "Okay."

And I didn't know that they were looking

all over the world for this part.

And the casting director, Rachel Tenner,

was like, "You guys

aren't finding her because

this is your girl."

And like fought for me.

And then the director saw me, Andres

Báis, and was like, "Yes."

But he wasn't yes at

first, to be fair, to Andy.

He was unsure.

And then I was...

To end the story of how I got the role,

when I graduated from

school and I said there was

nothing, I started going online and

looking for anything I could

be a part of, community-wise.

And so I got into this

fellowship by Lena Waithe.

She's an amazing

executive producer, writer.

She won an Emmy for the Master of None.

And she was making an inaugural, first

year, inaugural,

basically collective of the 10

best screen actors of color, 10 best

writers of color, three, no, five

executive producers.

And she wanted them all to be from

marginalized communities,

but the best of the country.

And I had an audition for that.

I got in.

And at the time that they sent me in that

second tape for

"Gereselda," we were heading

out to LA to do a showcase.

So when Andy was like, "I like her, but I

don't know," I said

to my team, I was like,

"You tell Andy that if he wants to know

him right for the

part, I'm going to be in LA

next week and he

should meet me in person."

And they were like, "Well, no."

I was like, "No, you tell him if you want

to know, if he really

wants to get a sense

of me, not none of this computer,

virtual, you don't

get a sense of anybody.

So if you really want to get a sense of

what I can bring to the

table, tell him to meet

me in person.

I'm flying out to LA next week."

And Monday came around,

I didn't hear anything.

Tuesday came around, I

didn't hear anything.

Wednesday came around,

I didn't hear anything.

I was leaving Sunday morning.

Thursday came around, I was like, "If I

don't hear by tonight, I didn't get it."

Like it's over.

It's left me.

And then I think Thursday night, they

were like, "What time is she leaving?"

And it's like,

"Sunday morning, what time?

11 a.m., he'll meet you at 8."

And I was like, "What?"

And I met him at 8 a.m. on a Sunday, and

we talked for like an

hour and a half, and

I like left and I was

like, "I think I got it."

That was it.

I think I got that part.

Yeah, but we had a

really good conversation.

It was beautiful.

We had a very...

We talked about his life, and we talked

about how it felt like

to try to make art in what

we do.

Just like this, we just talked.

I wasn't trying to

convince him of anything.

I wasn't trying to prove anything.

I was just like, "If it's yours, it's

yours, and if he meets

me, he'll know it's mine."

The culture have anything to

do with you getting the part?

You think in the conversation?

Yeah, I think...

I don't know how much

it had to do with it.

I think he appreciated that I was from

Miami, so I

understood the way we navigate.

So I think he appreciated that.

I think he also appreciated that because

I'm Colombian, I think

he appreciated that too.

I think what he was

really looking for is like...

June is someone very...

She's a real-life person, and she's

someone that has a lot of

tenacity, and she's someone...

What's interesting about her is she's

mixed, and she's

Cuban-American, and she speaks Spanish,

but she wasn't like...

That was a detriment to her at that time.

All of the cops at the time were all

white men, and they were

like, "You don't know anything."

It was the thing that she was being

criticized about, her being

a Latina, her being a woman

that were her biggest strengths.

He was looking for someone that...

He said that could very...

In a very raw way bring that, and you

can't really act that.

You either have it or you don't, I think.

There's a piece when your character says,

"You guys are overstating

the fact that she's a woman."

It was like...

You're underestimating this.

You're underestimating.

I love that scene.

Talk to me a little

bit about that whole...

Shane is that?

Yeah.

Shane was that again.

I think that there was a conversation

about the fact that

everyone was just talking about

the fact that...

Is this for the group of men in the room?

Yes.

Was it in the...

There was a board, and then

the guys are at the table?

Exactly.

That same scene.

That scene, actually funny enough, that

scene is one of my more

interesting scenes because

what was happening in that moment...

We had guests.

Oh, we don't have guests.

I'm sorry.

There's no coffee here, I guess.

That scene, I was heading to do my Yale

graduation the following day.

Okay.

And I had read the scripts so much that

when we were going to

film that scene and they

gave me my outfit, I was

like, "This is the wrong day.

This happened two days before.

This is happening on this day, and this

just happened, and this

just happened, and it should

be a different time of day."

And everything was set up.

If you've ever been to set...

It was all set up, all the lights.

We have everything, the location.

And then I go to Andy, and I'm walking,

and I'm like, "Andy, this isn't right.

This is a time like this.

This happens, and this

happens, and we're not there."

And Andy was like, took me in, and he was

just like, "You're right."

And we had to go to

the Netflix executives.

We had to wait for two to three hours to

figure out what was

missed because they missed

the time of day for that scene, and they

missed where it happened

in the script because there

were rewrites.

And so three to four hours talking over

with the executives, and

then our AD is like, "It's

okay.

We'll get you on next Tuesday."

And I was like, "I

can't come next Tuesday."

And they're like, "What do you need?"

And it's like all these

people, like 100 people in the room.

And I was like, "I'm

graduating on Tuesday."

And they were like, "What?"

And we're like, "What do you mean you're

graduating on Tuesday?"

I was like, "I'm

graduating from school on Tuesday."

And it's like older guys, and they're

like, "What are you talking about?

You're graduating?

We're on set.

You are filming a movie, basically."

And I was like,

"Yeah, I already got this.

I'm sorry.

I need to go to my graduation."

And they were like, "Fine.

Then we have to do the scene tonight."

And then we did that scene at two or

three in the morning.

And when I was walking down, I was

walking down with the

changed outfit and everything,

and there's these long

hallways where we were filming.

And as I was walking down, people were

standing to the sides,

and they were all nodding at

me like, "Good job.

Good job.

Good job.

Good job.

Good job."

Which is what was happening for June by

the time that we were

filming by that episode.

And it was the weirdest experience,

because it felt like our

lives just went like...

Because I caught something that no one

else caught, which is what June caught.

And it was just these looks that people

were giving, nodding,

that I did it for something.

I was going to ask you, in your future,

do you see yourself

doing more than acting?

Yeah.

I think so.

Yeah.

It was that type of detail, eye to

detail, preparing,

catching that when nobody else

caught it.

That's probably me being a detective.

The eye to detail, I would say the thing

that matters most to me,

my dad always said this

thing, if you're going to do something,

do it with excellence.

Don't just do it.

You were given the opportunity to do

something, so do it well.

If I would...

It would be so basic.

If I didn't wash the dishes well, he's

like, "You didn't do that well.

Do it again."

And so I would rewash the dishes.

And then laundry, you

didn't fold that well.

Fold it well.

And I would refold the laundry.

And I think that kind of...

Tough love?

I don't know if it's tough love.

I don't think it's tough love.

I think it's...

For me, even when I think of projects I

want to be, I'm a part

of, and then I will be a

part of, people are taking the time out

of their day to watch

something, to be moved

by something, to spend their time.

And time is a non-renewable resource.

You never get it back.

So if someone's going to take the time to

watch me in a play, or

take the time to watch

me in something, then I

don't want to waste their time.

They're never going to get that back.

So do it well.

And I feel like it's a respect for

people's time, for their

money, for their attention.

I feel like we're living in an attention

economy, where everyone is trying to grab

it.

But I think also what we've learned along

the way is if we like

things that are interesting

and unique and real, that's

so much of what we're seeing.

And it doesn't have to even be...

And then it's removing the idea of it

having to be perfect.

It doesn't have to be perfect, but it

should be done with the

utmost integrity and excellence

that you can bring to it.

I am with you 100%.

I think your father, by

the way, I want to say hello.

He actually said hello to

me in a prequel to this.

Yeah, he did.

He did.

And I like the fact that he

said he liked to "un ching."

He did.

"Un ching."

He told me that.

And "salulu, salulu."

Let's talk about now.

So you are working like crazy now.

Talk to us about your show.

Okay.

So now I'm on SVU, Law & Order SVU.

And that, speaking of, is

a show that's done so well.

It's the longest running show on TV.

We're entering our 26th season, or we are

at our 26th season right now.

And it's a show that also speaks a lot

to, I believe, powerful women.

We have someone like Mariska Hargitay,

who's been leading that

show from the beginning.

And she's someone who is a survivor and

someone who's fighting

for people who are typically

never heard, for their stories to be

heard, for them to get

healing, for them to see that

there's a light at the end of the tunnel.

And she's also someone, speaking of as

like a number one, who

does things very with like,

she's like, "Stop,

we're going to do it again."

That wasn't good enough.

The show has a lot of meaning for me

because also when I came

in for the show, I think

they had seen Griselda and they were

like, "We want to see her.

We're interested in her as well."

And when I had conversations with the

writers, I wanted to also

still defy stereotypes in

some way.

And I wanted to be, she just

happens to be Latina, right?

I feel like white people

are given that privilege.

They're just people.

Exactly.

And what they do and what they think and

how they view the

world, that is what we look

at in terms of their humanity.

We don't look at their cultural ethnicity

or race or anything.

They just happen to be people.

I feel like I've been

given that with Kate.

Kate is someone whose father, Eri Silva,

is a proud Latino from

New York and a commissioner,

so like in a position of power.

But she's coming from a lineage of like,

"I need to step up to that.

I don't want people to think

like I got anything for free."

And she's also badass and she's fierce.

And I'm excited for her story to come out

where people really

get to know who she is

because there's a lot

more to come with her.

It's just like kind of...

I feel like so much of it when you have

roles like that is like

you're giving the little

breadcrumbs until you can

have the breaking point.

I'm all about the breaking point.

Were you nervous when you first got to

the setting you were in

front of other people?

I mean, yeah, I'd be lying if I wasn't.

I mean, I'm meeting Marish

Gohargade for the first time.

Iced Tea, who's like amazing.

I mean, Iced Tea, shout outs to Iced.

I'm meeting so many people and the first

time I met them, to be

fair, I had to do a screen

test.

So I'm coming in from LA and I was in the

running for other projects.

So I was just like, "Well, I don't know

what's going to happen

with my life right now.

I don't know why I'm here.

I'm entering a room I'm not sure of."

And they were like, "No,

you need to make a right."

And then I'd like make a right and

they're like, "No, but go this way."

And I was like, "So lost."

I was like, "Where am I going?

You guys are like, you guys just know

where everything is.

I don't know where anything is."

And they're like, "Go into

this room and like make a right."

And then like you enter and it's this

place that has so much

history because like every

actor you can think of who's like had

some kind of career has done that show.

And then I met Mariska for the first time

and I have no idea where I'm going.

So like mind you, let's

say the scene was here.

I'm walking over there by the bathroom.

Like I'm like, "Well, where's the...?"

I was like, "Where are the cameras?

Where do I go?"

And then they're like

Mariska, she sees me.

She's like, "You, like you,

like you're, you're, come here.

Like you're meant to be here."

And like gives me this big hug.

And it was like those words

like, "You're meant to be here."

That when she like

hugged me, I went like, "Huh."

Because I was like, "What?

I'm meant to be like here?

What are you talking about?"

That's beautiful.

But I was nervous.

I was for, I was, I was nervous because

like everyone's known

each other for so long.

So like you're, like if you ever talk

about being the new kid

on the block, like that

is being the new kid on the block.

I saw in an interview that they said I

only signed up for four seasons.

Yeah, yeah, yeah, yeah.

Yeah, he did.

No, four episodes, I think.

Four episodes, right.

It was only four episodes.

Four episodes.

Right, right, right.

I definitely could see

this being a long run.

Talk to me about being a Latina in music.

Do you listen to any music?

We are here at a beautiful place, a

friend of mine owns his

bar, Bea Wax in Brooklyn.

That's so cool.

What do you listen to, music?

I listen to everything.

Right now, I'm listening to Kendrick

Lamar's new album on repeat.

Okay.

Because it's so good.

But I listen to everything.

I like grew up listening to Shakira.

So I remember Las Pies

Descalzos or something.

Pies Descalzos.

Descalzos.

I don't know why, but my family would put

that CD for us to sleep.

Oh, wow.

So I would listen to

her music to go to sleep.

And I'd wake up like...

And they're like, "Oh, that's Shakira."

It was like an earworm and it just

constantly played in my head.

So I definitely listen to Las Shakira,

Carlos Sivies, Juanes.

But I also listen to

a lot of Carol G now.

I listen to jazz, so I

listen to Miles Davis.

I'm getting into rock now for SVU.

So I'm listening to...

Right now, I'm

listening to a bit of Bob Dylan.

I'm listening to

Rolling Stones, Sex Pistols.

I listen to everything.

I listen to everything.

And La Muchacha, new

artist from Colombia.

Amazing.

La Muchacha, I haven't heard.

I love.

I love.

I'm gonna ask my Colombian...

You know La Muchacha?

What?

She's so good.

She just had a live...

She had a live show.

You gotta get La Muchacha to look at it.

You gotta get La Muchacha to look at it. I'm so good. You gotta get La Muchacha to look at it.

In Brooklyn, she's so good.

She talks...

You know what I like, and talking about

Kendrick Lamar and stuff like that?

They're talking about real stuff.

They're talking about...

When you do stuff in this business, I

think on the outside,

people are like, "Oh, that's

so glamorous."

Or like, "Oh, that's

so cool, and that's..."

Et cetera.

There's a lot of hard work, and there's a

lot of BS you put up

with, and there's a lot

of testaments.

Whenever someone's fighting for their

dreams, there's a lot of

a hero's journey of like,

will you learn past your

mistakes to be successful?

And artists like La Muchacha or Kendrick

Lamar, or even just like...

Bob Dylan, he spoke so much about things

that he went through.

They're being honest about the artistry.

I gotta tell you something funny.

When the song "Not Like Us" came out, I'm

playing that song,

and I don't know what's

going on in the world.

I'm like, "All right, so my son..."

You don't know the beef.

I don't know the beef, right?

I don't know the beef.

My son, I'm like...

And I put images of

immigrants working, right?

I own a cleaning company,

and we were doing this video.

Yeah, it's funny that you said you were

trying to play a role.

Anyway, they're not like us.

They're not like us.

And I'm playing that, and

I'm putting it on my Instagram.

He's like, "Dad, I know what's going on."

Do you know the beef?

I was like, "No, I just like that part.

It's not like us."

And I took it in and I was like, "We

don't take days off.

We keep working."

It's different when you have to go

overseas and land in a

place where nobody speaks like

you.

Exactly.

Do you feel like that's still in New

York, or New York is home now?

Is New York coming from Miami?

You've been here.

I feel like New York is more my home than

Miami at this point.

That's right.

Because I moved to

New York as a teenager.

And then I speak more

New York at this point.

You definitely look New York.

I look New York at this point.

But I feel like I was raised.

I grew up as an adult in New York.

And then New York also

raised me in ways of...

Is it Frank Sinatra who says, "If you can

make it here, you can make it anywhere"?

That's right.

That it's just like you have...

The opportunities are possible.

You just have to work for it.

And never take no as an answer.

The culture here, it's swag city.

You don't have to swag city.

And I think that I keep saying that as

immigrants, we believe that dream.

I believed it.

I was like, "Okay, New

York, I can do anything."

And now that things have happened for me,

I have the same mentality.

It's like, "I'm in New York.

I can make it happen."

You have to have some sort of that

destiny and sense of belonging.

Why are we doing a chain?

Because this is where I am

and New York, we could do it.

I want to ask you a last question.

Latinas that you love to work with.

I know that you work with Sofia Vergara.

I know.

I have to get respect to Sofia Vergara.

I have to get respect for her.

Latinas I would love to work with.

There's many Latinas I

would love to work with.

So I just saw Amelia Perez.

With Zoe.

Zoe Zallania.

I would love to work with her.

Selena Gomez.

They're both so amazing in the film as so

many other people were.

I would love to work with Aja Arjona.

Ana de Armas.

I respect the challenges, like the

creative challenges she

did in Maryland Monroe.

That's stuff that I want to do as well.

Also I really want to

work with directors.

I want to work with movie directors.

When I think of people like Pedro Al

Moldovar has done, you

have a lot of really amazing

Latino directors right now.

And given the

opportunity to talent like you.

I love who talked

about the Lincoln Lawyer.

That whole behind the scenes.

I want to ask you one last thing.

Tell me.

No, no, because I respect your opinion.

And I want to be sincere.

Tell me what you like about Uchine.

How you think that we

could continue this journey.

Because my goal is to

meet people like you.

And give inspiration for

those that are looking at you.

So anything that you

like about Uchine so far?

Yeah, it's like this is also

like this is like grassroots.

This is community driven.

Have like fellow Colombians over here.

I'm like talking to another

Latino such as like as we are.

It's there's not like so there's not too

many like there's so

many of us like the global

majority as they say like

we're we're so prevalent.

But in terms of like industry and stuff

and like making art

into like the nexus of like

society and what we're talking about.

There's more that we have to do.

And to have conversations like this.

It you know I think about like things

about the importance of

like being seen right.

Like when a when a baby comes out into

the world like the

first thing they have to do

is cry to get breath in their lungs.

And then the next thing they also have to

do is they have to

they have to be seen by

the mother by someone that they are being

acknowledged their existence.

And like I think about that in like such

a deeper way of like

what that means like also

for us because when you're seen your

existence is there for is

like is is is there for then

like put into the like put into the

universe is like

something that is worthy to exist.

Something that is validated something

that's acknowledged.

And that's that's the only way we can we

can continue to heal

and we can continue to do

things is like saying I see you I hear

you I feel you keep

doing you keep doing whatever

you want to do to like to embrace you and

like what your dreams are keep doing that

because you deserve a place at the table.

And I think that's

what Wuchin does right.

I am so thankful for

that because it's true.

I think that that's that's the energy

that I feel every

single time that I do out is

they look forward to the profiles.

They look forward to seeing them and only

that but the sharing

and collaborating with

the whole machine and to me

has given me it's a dream.

I couldn't I couldn't describe because we

started a long time ago we stopped.

And now that I'm doing it

again I'm full of energy.

I love the fact that every single one of

the people that I

profile they're looking forward

to this one particular video to showcase

because it's so beautiful.

And they become part of this journey and

I'm and I'm so thankful.

Julianna.

Thank you.

Gracias.

Thank you so much for being with us.

I am so thankful that you're giving us

the time and giving us Wuchin.

You want to say something?

Yes.

Well first of all Ramon thank you.

This is lovely being able

to be with you guys today.

And always don't forget Naming Wuchin.