Entrevistes sobre el canvi per Júlia Otero amb Carlos Latre

Uploaded by BancSabadell on 01.02.2013

The Expansion Account by Banco Sabadell presents:
Interviews about Change by Julia Otero.
JULIA OTERO - How are you? CARLOS LATRE - Great.
J.O. - Your seat. C.L. - Thank you.
J.O. - Do you think, Carlos, that people know who Latre is? Latre, I mean?
Not the hundred characters you can portray. C.L. - No, I think they're still discovering who I am.
J.O. - And you?
C.L. - Me, too. I'm constantly discovering new things every day, seeing new nuances,
new pastel colours that make you neither black nor white
but intermediate things you gradually discover throughout life. And it's fantastic.
J.O. - And... might you find it more difficult than someone else
to know exactly who you are? Because you've spent half your life inside
another person's skin and inside someone else's personality. It's very difficult to know
who we are but, in your case, it must be even more difficult, isn't it?
C.L. - Yes, but remember that changing personality so much helps you get to know yourself
much better. J.O. - It's difficult, is it?
C.L. - Yes, yes, because you reaffirm yourself, you appreciate more what you're like when you're you...
When I put on a personality, I don't just copy it
but try to know what they think, how they feel and what they'd say,
which means you try to stop being yourself to be someone else, and when you're yourself, it means...,
It's encouraging to find yourself, to find out how you think,
to know what you want, how you want it. And that makes you feel like someone different, like coming home,
like returning to yourself. J.O. - But don't you sometimes
feel vulnerable when you're Carlos Latre? Always in someone else's skin...
C.L. - Increasingly less so. J.O. - Ah! That's good. That's means
there's a change towards... C.L. - Confidence.
J.O. - ... confidence. Have you noticed that a lot?
C.L. - Yes, yes. Maturity. It's called maturity, it's called changing every day,
it's called learning, it's called listening, looking, observing, soaking up.
There's a lot of things that make you change every day, to become what you want to be when you grow up.
J.O. - It's clear that you have a talent for changing but not everyone,
even if they want to, can impersonate another person so well.
How did you find out you had this gift, this huge talent? C.L. - When you're young, right? When you're young
you start playing, you start doing voices, you start doing what you like
about other people, you start imitating other gestures, other looks,
even other ways of thinking, because I think we're all imitators, we all like taking
some good phrases from someone or taking on what someone is like or how they think or act...
J.O. - They say that what's not tradition is copied, don't they?
C.L. - Of course. That's why everyone has an imitator inside them, but …
J.O. - You're young, you start doing voices, you start playing characters
that must have been teachers from your childhood, from school certainly, relatives, neighbours,
people from the telly. But when did you start to think this might be
a modus vivendi? Because a lot of people might have
this talent but when did you start to think "And what if I dedicate myself to this?"?
C.L. - There were two points: one when, by chance,
I joined the world of radio and realised that it was possible. J.O. - Yes, because you have a nice voice, don't you?
C.L. - Thank you. J.O. - It's the voice of Latre.
C.L. - Yes, it's the voice of Latre, which is one of the things they say.
"We didn't know what your voice was like". But now they do, more and more. J.O. - More and more, more and more.
C.L. - And the other big change was when I realised that I was different by doing characters
that no-one else did. J.O. - I don't know what you mean.
C.L. - That was the big change. When I started doing voices that no-one else did and
I said "Listen, I'll do some people that no-one else does" and so I started doing some different
voices, strange ones, characters who weren't normally among the ones done
by impersonators, by comedians. And that was the big change
because it was a surprise, being different from the others, right?
That's one of the most important things. I think you have to strive for originality.
It might sound bad for an impersonator to say it but it's true. And another big change
in my life - which I realised many years later -
was when my voice changed, when I was young.
J.O. - When your voice broke, you mean, what men go through?
C.L. - Of course. When my voice changed - that voice is the one
that's made me what I am today. J.O. - And does it frighten you that, one day,
the time might come when you can't work and do what you're doing now, a great impersonator,
a great creator of characters? Because that might happen. Are you prepared to change,
if that time comes? C.L. - Yes, yes, it doesn't frighten me at all.
J.O. - Change doesn't frighten you. C.L. - It doesn't frighten me, doesn't scare me at all,
it's been constant throughout my life. I think that we humans
are very afraid of change. We're very wary of change but we change non-stop, every day.
I mean, our body changes, our way of thinking changes,
our image changes, everything around us changes but, in spite of that, we're frightened of
change, you see? In my case, I think it's necessary to change because, if you don't,
if you only think of the present, of the past, you're forgetting the best bit,
which is what lies ahead, aren't you? J.O. - So, when you imagine yourself
in twenty or thirty years' time, do you imagine yourself doing the same thing or
do you think you'll find different paths, that there'll be important changes in your life,
even in your professional activity? C.L. - Yes, yes, but it'll be totally changing.
I don't know where it will end but that's exciting, change is...
J.O. - And is that because you're still young or not, Carlos?
C.L. - No, no. J.O. - Because sometimes we get old
when we stop dreaming that change is possible, when we see the rest
of our lives exactly the same. I'm just asking... They say that's when we really get old.
On the other hand, when we still visualise, we're able to imagine a change, we're still young, right? Or not?
C.L. - That's the role, the idea but it's not true.
I believe you're always young enough to change, you should always
think about changing, should always think that, what you'll do, you don't know if it'll be better or worse
but it'll be different. I believe you must be different in life and I believe you must be able to change,
to handle change because that makes you mature. Changes, especially painful ones,
are what make you as a person and you enjoy the positive changes.
J.O. - And becoming a nobody, I mean, from being like a sort of hanger where
all the characters come alive, come into their own, to being Latre,
that's also a big change in life. Now, when you sign an autograph, you sign Latre.
So when did you begin to think "I'm starting to become
my own entity"? C.L. - I think that one of the lucky breaks I've had
in my career is that it's all been very gradual. I wasn't an overnight success.
First I was hidden behind a mask and they used to say
"Who is that man who does the impersonations in that programme?". Afterwards,
the characters they liked, I mean the characters people liked...
they wanted to know who was behind them. After finding out who was behind them, they said
"We like that guy, right? And he can continue with this story because
we like what he does". Because, in the end, we depend on the public, on people liking it and all that.
And, little by little, they got to know me, the Latre that's behind it all,
and I think we're in that process. J.O. - But aren't you afraid of becoming typecast?
Because, evidently, you do humour, you're a funny person, witty, clever,
you do a lot of impersonations, you create characters..., but wouldn't a challenge,
such as doing a dramatic role, excite you? C.L. - Yes, but I used to be obsessed about it before
but now it's just there. I think things happen when they have to happen and, if they're going to happen,
the important thing is to be ready. I used to say "When it happens,
I'll do this or I'll do that." Now I think "If it happens, I hope I can do it, that I'm ready for it".
I think it's very important to be self-confident,
to be sure of yourself and you only get that with
experience, because if not... But in spite of experience, you're never sure about yourself.
J.O. - Have you been changed a lot by the appearance
of that little being they say is your daughter? I mean, the day they say
"Here, you have a baby; it's your daughter or it's your son" – in this case a girl –
has that changed your life a lot? C.L. - It totally changes your life, it changes...
Well, people worry about the most important changes in life.
One of the biggest changes is when you change your first nappy and you say:
"Well, it's for real now". There aren't any instruction manuals here, no-one has told you...
Because everyone tells you - there's something that's a huge lie,
when everyone says: "it's so wonderful, so lovely!" Because it isn't. It stinks!
J.O. - So what they say about the "shit of angels" doesn't exist. But it's good that we keep on
telling the lie, isn't it? C.L. - Well, yes, you understand and
it's marvellous, it changes your life, it changes how you think, it makes you prioritise things
that weren't as important before as they are now and it makes you see things
more calmly, although a revolution has started. And there are times
when it's like a balloon; life's like a balloon that gradually adds more weight on
until you reach the earth and say "Now we've landed; now we're on terra firma".
J.O. - And do you still dream of changing the world? Were you a child who, so to speak,
wanted to change the world? Because that's typical of youth, of adolescence.
C.L. - I don't think so. J.O. - You weren't a naughty child, revolutionary?
C.L. - Very naughty, a brute, I was pure energy
and you have to know how to channel energy, you can't waste it.
I didn't want to change the world but I knew I wanted to be different in this
unstoppable world. I was very clear about that. From an early age
I had to do something special. J.O. - In other words, we're all the same
insofar as we're all different; the big difference is that
we're all the same, right? C.L. - Of course we're all the same but we're each
"from my father and from my mother", as my mother would say, who's from Castellón.
J.O. - But that means there's a part of our destiny that's inside us, that wonderful thing
that Shakespeare said, right? He said our character is half our destiny.
Do you believe what happens to you is a part of what you're like?
C.L. - Yes, but I also believe that people can change.
You are the way you are and you'll almost always be the same;
we're genetically like that, but you can change your life. You're marked by the paths and
the steps taken in your life and we have the key to be able to change.
J.O. - And have you learned to say "no"? C.L. - I'm working on it. It's very difficult
but I think it's an important change in life when you learn to say "no".
At the moment, I'm at the stage of "Listen..." J. O. - "I'm looking into it", the stage of "I'm looking into it".
C.L. - "Listen, we'll have a look, see if it's possible",
because I need time to react.
J.O. - Is it painful, the point when you have to stop impersonating, imitating a celebrity because
the person's no longer very important to society? It's a delicate moment,
I suppose? I mean saying "No, that's out now, it's no longer in fashion".
C.L. - Yes, it's tough but that's life, that's life. The big problem is that life is so fast;
fashions change, idols change and music changes and
I think it's better to accept that and get on with it.
J.O. - And have you ever changed and started to respect the people you've impersonated
for years? C.L. - Yes, there's a very important point which is
when you know... the change from "impersonation/admiration" to when you
really know the person, and this admiration might become something else,
it might confirm what you thought or it might come as a nasty surprise, a change:
"I didn't expect that" or "he's disappointed me". J.O. - And wouldn't you like to do a show
where Latre is only Latre and, ultimately, all those characters would disappear
that have accompanied you since you started out? Do you want it to be the public who,
at some point, demand that from you or do you want to take
the first step? C.L. - You're always the one who takes the step.
People are conservative by nature and it's always you who has to take the step.
J.O. - But if it works?
C.L. - If it works, it's success. I mean, taking a risk, changing, trying it,
I think that's success because, if you stay where you are, nothing will happen.
J.O. - Well, to improve you have to change, that's evident, in any area,
to improve you have to change. C.L. - Yes, and take risks and not be afraid of
making a mess of it, because failures are the pepper and salt of successes.
J.O. - Have you ever cried? C.L. - A lot!
J.O. - For professional reasons? About everything?
C.L. - I cry a lot, about everything. J.O. - It's great to be living at a time when
men can say they cry about things. Your father certainly
couldn't have done that in his time. C.L. - Yes, yes. For example, our parents,
we were talking about that, they had a life that was work, holidays, work,
holidays - there aren't any feelings, they couldn't cry, they very often couldn't say
what they thought. I think that, in that case, the change has been very much for the better.
Why can't you cry, why can't you show your feelings, if they're true?
J.O. - And when your front door closes and Carlos comes in, as it were,
what remains outside? C.L. - I suppose a lot of masks.
By "a lot of masks" I don't mean I'm different outside my home
but there are a lot of things you do that, when you get home, you're yourself and you can take off your coat
and say "Phew, now I'm home! Right, no more thinking about what I have to do,
no more thinking about who I have to be", because of that pressure I was telling you about,
very often you've put pressure on yourself to be what people
expect you to be.
J.O. - Have you felt OK, have you felt OK here?
C.L. - It's been great, very good. J.O. - I couldn't reach to give you a kick right in the leg
but I've loved being here with you, talking about the future,
the present, the past.
C.L. - Thank you. J.O. - And you.
C.L. - Listen, do you have any change? J.O. - No, I don't have any...
Remember that's mine
Interviews about Change is a production by Banco Sabadell, recorded in Barcelona on the 24th of November 2012.