S1: Growing up in a Mexican household , Sundays often meant Cantinflas reruns or other classics from Mexico's golden age of cinema.
S2: But the films that really had our toes glued to the screen.
S1: The B-grade Mexican westerns.
S2: Like the scene that you just heard , two bad guys trying to drive a load of narcotics through a police checkpoint. Even the most inexperienced viewer would notice the awkward editing cuts , the laughable fight scenes , and the ever present robotic acting.
S3: Head on with the. Yeah. Exactly.
S1: Exactly. Those are the movies. We mean. Everyone seemed captivated wherever they played.
S2: You mean indigenous or cowboy hats in off road trucks ? AK 47 tucked under their arms. A battle of narcos versus police or.
S1: A battle for the heart.
S2: These films are not good by Hollywood standards in Mexico. They're derogatorily referred to as churros.
S1: Films with poor acting , weak scripts , and a low production budget. And growing up with these films , that's all we thought. They were just bad movies.
S2: Then we met someone who completely changed how we saw them.
S1: In front of the camera stands. Actor , singer and producer Emilio Montiel.
S4: Dos hombres de confianza.
S2: He's five foot seven , wearing a fancy suit , a thick mustache , and a Tijana typical of wealthy cowboys. At a glance , he could pass for late Mexican singer Vicente Fernandez.
S1: Emilio has produced hundreds of these type of movies , and we are on the set of his latest film , Laurencia.
S2: Spanish for The Inheritance. Today he's playing a wealthy landowner. He's standing in the living room of an old but luxurious house , surrounded by his three adult children.
S1: They are confronting him one by one about being cut off from their inheritance.
S5: Two mijo. Loco.
S2: Behind the camera is a ragtag crew of three juggling multiple roles. The director doubles as the main cameraman , the assistant director as the lighting gaffer , and the sound operator will also edit the film.
S1: Despite being a small crew. They are remarkably effective , coordinating and executing each scene seamlessly as they progress through the day's shoot.
S6: Senor Villarreal. Compromiso. Senorita. Senorita.
S2: The filming is briefly interrupted by a correction. The director , Javier Cruz , makes this six foot two white American actor Rory Pendergast.
S1: And the scene concludes as Emilio rests his hand on the waist of a young woman as he walks out of frame and towards a terrace overlooking the Rosarito Sea.
S2: Emilio plans to produce four movies over the next 2 to 3 months. Each will take about two weeks to shoot , with total production costs around $40,000.
S1: This particular movie will be ready to be screened by May.
S2: But not on the big screen. This movie is going directly to YouTube.
S1: Emilio's movies don't have the reach to make it to theaters. They are created on a shoestring budget , usually with an inexperienced cast looking to break into the acting world.
S2: And that shows the acting leaves a lot to be desired.
S1: But Emilio is fully aware of this , and so is his audience.
S2: 100 million of them. Every time one of his movies is uploaded to YouTube , commenters rush to show how much they love Emilio's films.
S1: Each film attracts 250,000 to 500,000 views , with some reaching an impressive 5 to 10 million.
S2: So if so many people love these films , are they really that bad ? From KPBS , this is Port of Entry.
S1: Where we tell cross-border stories that connect us.
S2: I'm Alan Lilienthal.
S1: And I'm Natalia Gonzalez.
S2: You are listening to. Port of entry. Okay.
S7: Como esta ? Mucho gusto.
S1: A week prior to being on set. Our producer , Julio first met Emilio at his headquarters , a small house in the Santa Fe neighborhood , a working class area on the outskirts of Tijuana between the city and Rosarito.
S8: Como hotel. Entonces yo Rosarito pues tengo todo me a Severo. Tengo computer aqui.
S2: He explains that the house doubles as an office storage for his equipment and films , and sometimes lodging for his cast and crew. Once inside , one of Emilio's movies is playing on a wall mounted TV. In that scene , he lip syncs to a song he wrote while serenading a woman on the beach in Taiwan.
S8: Baila también. Puedo mas. Habibi.
S1: Emilio sings , he acts. And he even used to dance. At first glance , you might not expect such a diverse talent from a man of his appearance. But just like his films , there is much more to him than meets the eye.
S8: Si nosotros nos. Yo yo hemos a la linea yo.
S2: Emilio was born in Oakland , California , but grew up in a shanty home in Tijuana's old Hidalgo neighborhood. He was one of eight children.
S1: After his father left , Emilio and his siblings began helping to support the family as soon as they were old enough to work.
S4: It almost tristes porque Los anos dejo entonces , pues no Como se Como dice no la letras Como dicen cuando Loretta.
S2: No he says hunger kept him from learning. Schoolwork just couldn't compete with the need for food. He repeated it first grade four times and didn't finish sixth grade until he was 16.
S8: Chiklis , Periodico de la la gente A mandate.
S2: To help his family. He sold gum and newspapers at the border and bagged groceries in San Ysidro , where he recalls being fired 19 times for eating the merchandise.
S1: Quiznos says he gave school a last shot in his 20s , enrolling in adult school in San Diego to pick up English , a skill that eludes him to this day.
S2: But the teacher caught him flirting with girls instead of focusing , and he was promptly kicked out.
S8: Como diciendo. De.
S4: De. Caliente.
S8: Caliente.
S4: Aqui esta de la muchacha.
S2: That was the extent of his academic development. By his own admission , everything he learned in life , he learned outside the classroom. School just wasn't his thing.
S1: Perhaps he was just a fish in the wrong pond.
S2: This realization wouldn't dawn on him until later in life , and it only happened because he stumbled into a movie set as a kid. A moment he now credits as the start of his movie making journey.
S8: Una pelicula en el torneo de Tijuana.
S2: Emilio recalls Petula Clark , the British actress filming at Tijuana's now demolished Plaza de Toros , the city's bullfighting ring.
S1: He was just an 1112 year old kid in the crowd when someone pulled him onto the set for a quick cameo.
S8: El Ghazal. Guerrillas. Los toros. Dos van dos Vandellas. Mendez a las tres quiera Petula Clark.
S2: In return , he got $10 and that was it. His first taste of life on a movie set.
S1: He still doesn't know why they picked him , but the memory stuck and the spark was ignited. He vividly recalls this as the moment he fell in love with movies.
S2: And his first call to moviemaking. He would have a second 110 years later when he was 21. At that time , Emilio was working full time in construction and raising three kids with his wife. He dreamed of making it as a singer and was committed to that dream. He took every chance that came his way , which prompted mockery from many , especially his coworkers.
S8: Por qué. Porque en el otro lado y se me no vengo porque a cantar.
S2: Whenever he asked his supervisors for permission to skip work for singing gigs , his coworkers mocked him. A constant reaction every time he shared his artistic aspirations. Companeros.
S8: Companeros. Entonces aqui adentro. Ahora les voy a de mostrar.
S2: The ridicule stuck with him , fueling his determination to prove his detractors wrong.
S8: Mucho adios de mi mi voz en una en una radio.
S2: He prayed for a chance to hear his voice on the radio , hoping someone would notice his talent. That chance finally came one afternoon at a carnitas restaurant in Tijuana.
S8: The mariachi.
S1: Like many restaurants in Mexico , mariachi and trios would roam inside and offer guests a song for hire.
S2: At his friend's urging. Emilio sang a few songs with the mariachi dos canciones.
S8: Paloma Negra y amor de Los dos.
S1: The guests applauded , impressed by his voice.
S2: After he finished , a waiter handed him a card until. The bill had been taken care of. By.
S8: By. Gracias.
S2: The mystery fan left before Emilio could thank him.
S1: He later called the number on the card. It turned out it belonged to a producer from Jalisco , who invited him to record with a full mariachi in Guadalajara.
S2: The news of his talent spread and it opened more doors , leading to more recording sessions in other studios across Mexico , just as his singing career began to show promise. One particular recording session in Tijuana would change his path from singing to movie making.
S8: Julio ahi estaba mi padrino. Bernabé Meléndez qué es actor también de mucho nombre de mi padrino.
S2: Someone important was at the studio that day. Bernabé Meléndez , known as El Gato or The Hitman. A big name actor in the Mex Western narco film world. Remember this ? We played it at the top of the episode. That's Bernabé. And next to him , a younger Emilio , both in a truck holding AK 47 seconds , driving to ambush the bad guys. At the studio. Bernabé was immediately impressed by Emilio singing.
S9: Pensando Como siempre , Esperando regreso. Mi amor.
S2: Being noticed by the genre's leading man was as close to a blessing as one could get. But before Emilio fully immersed himself in filmmaking , he followed Barnaby's lead.
S1: Starting with an invitation to Tecate , a town east of Taiwan.
S2: Where Bernabé had an errand to run for an upcoming movie.
S8: Mi padre no recuerdo hacer cuando ahorita. Porque no hablamos.
S2: On the way to Tecate , Bernabé praised Emilio singing and encouraged him to bring that talent into film , telling him there was a place for him in the industry.
S8: So no recuerdo de la primera pelicula Sima muerto in Tijuana. Como , Mario Fernando and Patricia Rivera.
S2: As an actor and producer , Burnaby had the leverage to place Emilio on the set of a production with the Almada brothers.
S1: The legendary pioneers of the genre.
S8: Also may say hello to KM. Gracias , gracias , pero del tradeoff.
S2: Bernabe got him in , but Emilio would have to start with an unflattering role.
S8: No no no no no no no es dice. Mangano. ESO es es el trabajo. Ah , okay.
S2: He was offered the so-called role of the trader. Spanish for traitor. A bit of wordplay. Meaning he would be the gofer. Go for this , go for that.
S1: Basically a production assistant.
S2: Sprinkled with the occasional cameo as an extra , just to get his foot in the door. But not the full acting role Emilio had been hoping for. At least not yet. Bernabé opened the door for Emilio , but he still had to walk through it and prove himself. Finally , that opportunity came on another Almada brothers production , Muerte in Tijuana , where he would also work as a gofer. The film was directed by Hernando Nambi , who had worked with Hollywood legends like Burt Lancaster , Kirk Douglas and John Wayne.
S8: Estados Unidos.
S2: When Hernando needed to fill a small cast role. He approached Emilio on set.
S8: Pero trabajo en esta en la construction.
S2: Fernando asked Emilio what he was doing on the set and if he liked moviemaking. Emilio replied with a very enthusiastic.
S1: I love it , but I work in construction in the US , sir.
S2: To which Hernando said.
S1: Don't worry , come. In.
S8: In. Y el medio oportunidad de un personage. Controversy.
S2: Fernando promoted Emilio from gofer to a small part with lies alongside Fernando and Mario Almada , Patricia Rivera and his padrino Bernabé.
S8: Cuando yo kago hacer la pelicula muerta in Tijuana. Entro con un persona para pantalla grande.
S2: Emilio was thrilled , finally appearing on the big screen with a speaking role not just as an extra person.
S8: Mario Almada , Fernando Almada y de Patricia Rivera. Me queda y Mira adelante. Aqui me tienes a las campanas no lo hagan.
S1: In 1991 , Muerte in Tijuana was released , marking Emilio's big screen debut.
S2: Over the next decade , he appeared in numerous productions alongside Bernabé and the Almada brothers.
S1: Emilio only had background or supporting roles , and he wanted more.
S2: But there was a problem.
S8: Si es un producto. No te vas a meter. Dinero una persona. Por qué porque. Eh eh eh eh eh eh eh eh eh eh eh eh eh. Canal es un Alberto.
S2: No one wanted him as their star. It was too risky. He was still just an unknown. Especially when others on set doubted his acting skills.
S8: Si tu trabajo porque de aqui.
S2: Someone on set told him he wasn't cut out for acting and that he should stick to construction. Emilio felt that deeply. No.
S8: No.
S2: It seemed that no one had faith in him. Hurt but not deterred , Emilio was determined to be the star of a film. so he decided to take matters into his own hands.
S1: He would make his own movies and cast himself as a star.
S2: Years of experience acting and working behind the scenes provided him with the necessary expertise to bring a film to life. He was determined to prove he could succeed , even if no one at work on the film's set or at home believed in him. Especially his ex-wife. They had separated years earlier after the romance had faded , and when he shared what he was planning , she gave him an earful.
S8: See porque yo la sposa cuando me. Voy a hacer una pelicula. Una pelicula estas loco okay.
S2: She thought he was crazy to take that risk. And to add insult to injury.
S8: Es algo el Domingo pero no lunes. Entonces si hasta también me Corazon de ahi.
S2: He was fired from his construction job for asking to miss work. Emilio had hit rock bottom. So here he was , 40 years old , divorced , with three children , with nothing but hope and a prayer. Emilio went all in.
S1: You are listening to Port of Entry.
S2: Emilio's goal was clear to become a lead actor. In 2008 , Emilio produced his first movie , no mas muertes en la. Frontera.
S7: Frontera.
S2: Or No More Deaths at the border , about migrants journeying north.
S1: And from that his production studio , Producciones Montiel was born.
S2: As with many of his productions , he also composed a song for the film. The track You're Hearing Now was written for that first movie titled nomas cruces en la frontera , or No More crossings at the border.
S8: Previous peliculas. Entonces empresas.
S2: It wasn't until Emilio began producing his own films that he starred as the lead and he hasn't stopped. He's produced more than 200 films , and though he started with Narco Mex westerns , he has since shifted to more family oriented stories like the four he was producing when we met him. But producing came with real challenges.
S1: The biggest one has always been money.
S8: It's a it's a pelicula yo Como ? El ultimo le vent de la Vendee.
S2: But for his first film , he invested $30,000 of his own money and only just broke even.
S1: But over time , he found creative ways to fund his projects.
S2: Though he doesn't ask outright. Fans often contribute almost always in kind , like catering or filming locations. Think of it as a type of crowdsourcing. There's also one unusual way he funds his movies.
S10: I know that some of the actors , kind of like me will pay to be in it. And I think that they're trying to , like , be actors.
S2: Rory Pendergast is the six foot two American Emilio was filming with when we first arrived on set. You see , Emilio welcomes actors who can contribute with more than just their performance.
S1: He developed a pay to act model. If they made a cash contribution , he would create a role for them and coach them in front of the camera.
S2: Rory is one of Emilio's recurring pay to play actors.
S10: But for me , yeah , you know , I kick him a little bit of money at the end of it , and because it just kind of helps. It helps the ecosystem. It helps everything just kind of continue on in the process of things.
S1: This is the sixth movie he's been in. He pays to appear not just because he enjoys it , but because the on screen visibility doubles as marketing for his law firm.
S10: As a as a I mean , just look at this. Any attorney. Just. Just turn your head.
S11:
S10: Is getting spent on those billboards. And yet here with just a there's some crumbs you get to plant something that potentially could be there forever and again.
S2: Emilia's funding methods may be unconventional , but they've helped them bridge the budget gaps and pay his crew.
S8: Entonces aqui no se aqui nos vamos actors NE yo soy actor entonces no se.
S2: So he makes it very clear to his crew that no one in front of the camera is ever reprimanded or scolded for their acting.
S8: Ellos gracias a Dios y ellos two. Tienes trabajo y hacemos las peliculas.
S2: It's because of these non-actors that there's work for him and his crew , and he makes sure they feel welcomed on every project. A few days before another production We joined Emilio while he ran errands. We wanted to understand his reliance on non-actors and the impact of his direct to YouTube model.
S8: Y trabajando son actor's nunca estudio for Emilio.
S1: Anyone on set working in front of the camera is an actor with or without experience.
S2: He admits that it also helps offset production costs.
S8: Entonces Como yo gracias a Dios y esas personas hago peliculas y no , no mayo productores quiera. Quieras.
S1: More importantly , he pays forward the favors he received when starting out. Yo.
S8: Yo. Gracias a Dios. Como tengo muchas puertas abierta. La gente ha sido muy bueno conmigo. Dios nunca me desamparados.
S2: Emilio's laid back approach means the door is open.
S1: If you're willing to work hard and contribute , you are welcome.
S2: And it's paid off. Some of the people to whom he had opened the doors returned the favor by offering donations , securing filming locations , or providing assistance on set. It's a you scratch my back , I scratch yours system. And for nearly 20 years it's worked.
S1: Even if he isn't able to secure big investors , Emilio gets his movies made.
S2: And without investors to finance his films , that makes all the money he's able to put together extra critical , including YouTube earnings , however inconsistent that might be.
S8: Entonces es. Como anos si three anos pueden dollars and un mess.
S2: At his peak , Emilio made as much as $17,000 in a single month from YouTube views alone. For him that was huge. Distribution hadn't always been so simple. In the 1980s and 90s Mex westerns struggled against Hollywood blockbusters. Many producers , like Emilio , turned to cable deals or direct to VHS and DVD releases. That meant splitting earnings with those distributors. But then came YouTube.
S12: So we're going to take a look at YouTube and just I absolutely love this site because I know there's lots of sites out there that allow you to upload videos , but this one is the most user friendly.
S2: YouTube gave him control over distribution , and now some of his films have up to 10 million views , though these days earnings are closer to 2 to $3000 per month. And if money does come his way , he makes sure it trickles down to his cast and crew.
S1: And it's own quirky way.
S2: It's worked to really understand Emilio's approach to acting.
S1: Emilio invited us to visit the set of his latest movie , and even pitched the idea of acting.
S2: Naturally , we couldn't pass it up. First up , Julio and his cinematic debut cast as a showbiz reporter Teoria reale.
S7: Escala de una senso misterioso. Estoy segura de Los canards de television y otras personas de la Mira para included in superannuation. No , no no. Mr. t o Villarreal. Yo ! Julio.
S1: Acting. What an amusing prospect. How many take did it take you to nail the scene , Julio ? 100.
S13: Hey , being in front of a camera is not my thing. I did my best on set.
S2: Everyone was focused and treated Julio's time with the same respect they would give any seasoned actor. It completely subverted our expectations. We thought it would be far more relaxed. The crew was serious about making the movie and approached the story with real reverence.
S1: This dedication was a sentiment echoed by director Javier Mira.
S14: Ultimate medicago mas a este tipo de peliculas cu son Yamada's video home Q para me es un termino equivocal porque son peliculas.
S1: Javier is a seasoned director and cinematographer with almost 50 years of experience in film production. He has shot and directed over 150 movies.
S2: Recently , he's focused on creating films often labeled video home , a term used pejoratively to describe the type of movies Emilio producers due to their extremely low budgets.
S14: Puesto son peliculas en el mismo.
S1: Javier insists that despite the financial constraints , these films deserve the same respect as any other.
S14: Take a look. Hacemos tanto Emilio Como yo Como las personas trabajar con nosotros ? Es no menos el.
S2: Javier believes the work he does with Emilio and his colleagues is meaningful because they respect the genre and the format. Despite its director YouTube berate status.
S1: For him , low budget doesn't mean low standards.
S14: Para nada mas para U2. No hay una felicidad es una cidade de boca in Boca.
S2: Keep in mind , he adds , there's no PR or advertising budget. The viewership is completely organic.
S1: Built on shares and word of mouth.
S14: Las peliculas reproductions and reproductions of reproductions. Bawk bawk bawk bawk. Entonces yo siento tiene mucho mucho valor.
S2: Then it was my on camera acting turn. Director Javier walked me through the scene and through my first movie debut.
S7: Buscando ademas. Vamonos.
S14: Vamonos. Porque ya es muy tarde. Cierra esto justamente y se van. Okay.
S1: Estoy Obviously Alan killed it , but he did rush the scene starting before the director made the call to action.
S2: Hey , hey. I got excited. We're not all seasoned actors like you and.
S1: Oh , my gosh , you could never. I'm kidding. You actually did a great job.
S2: I did have a lot of fun.
S15: I chose.
S14: Ahi muy bien.
S2: The experience was an eye opener. We started to understand why people are drawn to Emilio's movies. You can see part of it in the dedication and enthusiasm on set. Rory sees the same affection reflected online in the comments and reactions to their films. It means something to him. It takes him back to the early days when he first met Emilio.
S10: And I met him years ago. Uh , it was helping out with some construction at my house. And this guy said , hey , Emilio. He's. He's a movie star. Whatever. He's not a movie star. Come on. But he's just , like , busting my chops. But then I looked , and he's a movie star , so this was like 20. I don't know , 17 , 20 , 18. I'm like , dude , put me in a movie. Yeah , I speak Spanish , I speak Spanish , let's go. In 2019 , I had this little bit part in Kenya Kenyan.
S6: Dollars de la recompense.
S10: Right ? I was terrible , like , it's it's hilarious how terrible I am. I mean , I really watch it , just you can laugh at me. That's how funny it is. Okay.
S16: Okay. Bueno. Qué vino , Senor Emilio was.
S8: Aqui en el licenciado. Yala.
S16: Yala. Esos documentos y es seguro Q vamos a ganar este demanda y sera mas rapido de lo Q yo pensar.
S2: Rory has a point. That definitely wasn't an Oscar worthy performance.
S10: And so for me to spend a little bit of time here with Emilio , with the crew , with the director , with everybody , you can see that it's just it's this kind of tight family. There's the same core set of people , and then a few other people that kind of come in playing similar parts in this. The scripts are different in the background or the storyline , but it's always a very similar story , and I think it's just what people want , right ? When you look at the comments and how quickly people come to it that people love it , right ? It's kind of some of it , you could call it brain candy , eye candy , whatever it may be. It's just it's this it it fulfills this sort of either gap or something in people's lives where they just get to take an hour , an hour and a half , set aside and spend time with Tio Amelia.
S2: For Rory , the objective of promoting his love firm has taken a backseat. He genuinely enjoys being a part of Emilio's movies , regardless of the exposure they might bring to his law firm. Confident in Emilio's films , he pays little attention to critics and haters.
S10: Well , I think it's easy no matter what. Haters gonna hate , right ? If we all had $1 million for a budget , you're gonna make the movie up to that. You throw money at somebody. They should be able to make something awesome. But when you can do it on on a shoestring and you can , you're speaking. You're communicating something to people out there who feel it. That is cool , right ? Because they're just saying , hey , with less , this dude is doing more. And look at the people , how they how they love it.
S2: But like Rory says , haters are gonna hate. That's just what they do. And as it happens , Emilio once came face to face with one of his. Several years ago , at the peak of his YouTube success , he ran into a former co-worker , someone who had mocked him for years when they worked together in construction.
S8: Oportunidad de nos vemos el mismo Como Como a comprar yo también.
S2: They greeted each other respectfully , but this former coworker couldn't resist mocking him one more time.
S8: Dijo Antonio De La Hoya. Andas cantando segundo muy fragrant.
S2: Emilio , emboldened by his success , pulled out his phone and showed the hater his YouTube earnings.
S8: Sergio knows cualquier pendejo.
S2: Lookie here how you like them apples. The coworker and his wife were left speechless. As we were leaving Emilio's movie set , we found ourselves reflecting.
S17: I had so too much fun playing the role of this lawyer , and I want to keep acting with them. I had. I had a lot of fun. I like how lucidus , obviously , it's like , you know , it's like low budget , but I like their spirit. They're so motivated to just make movies and have fun and I love them. They're all like , you know , in their 60s , 70s , like this dude that I was just talking to started acting at 62 years old , and he's having the time of his life. Nice. I love that. I love that.
S1: Everyone we met had a similar story , a first chance , a small role , then another. In this world , you earned belonging by showing up.
S2: But not everyone showed up. Convinced Natalie , for one , had her reservations.
S18: Did you come here with a certain expectations , or did you change your mind about something.
S19: Like , I wasn't , like , super excited about this. I wasn't , I wasn't invested. I thought it wasn't like a great idea for an episode. But now that I know their story and I know how passionate they are and how much they care , It's. It hits me. It hits me different now.
S18:
S19: They have. They have an audience. They have a specific audience. And if they enjoy what they see , then it's worth it that they keep doing it.
S2: Even with the quirks and low budgets. Loyalty. Work ethic and community are intertwined in Emilio's movies. Maybe that's why some art is more valued than others. You can see it in the people , the dedication and the joy they bring to the set and especially the fans.
S8: Espana in Chile and Costa Rica. También tengo muchos fans. Gracias. In Guatemala , El Salvador.
S2: People around the world love the movies. Emilio makes. Bonito.
S8: Bonito. Gracias por ellos vimos haciendo peliculas porque si no nos Apollyon con voy a hacer peliculas.
S2: For Emilio , the fans aren't just viewers , there. The reason he keeps making his movies without their support , he says , none of this would be possible.
S1: Emilio's movies reminded us that it's never too late to pursue your passions. Along the way , you will find people who recognize you , share your vision , and feel at home in your work. Whether you're an emerging actress.
S2: Or the frontman in a binational band.
S1: Forget the haters and double down on what makes you feel alive.
S2: Even if you're just a construction worker from one of the poorest neighborhoods of Tijuana. This episode of Port of Entry was written and produced by Julio Cesar Ortiz Franco.
S1: Adrian Villalobos is technical producer and sound designer.
S2: This episode was edited by Chrissy Winn with support from Elizabeth Hames.
S1: Liza Jane Morissette is director of audio programming and operations.
S2: I'm Alan Lilienthal.
S1: And I'm Natalia Gonzalez.
S8: Nos vemos. Pronto.
S20: Pronto.
