El periodista recuerda su entrevista con Cristina Fernández de Kirchner: "Yo pedí que la mesa fuese grande para que no fuera una charla de café".
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00:00but we have a guest who we adore, Mr. Luis Novarese.
00:09How are you?
00:10Very well.
00:11Let's go to the presentation, but I say that we want him, of course, a journalist,
00:14winner of more than a thousand, he can win all the awards, but he is a fantastic guy.
00:18This is what matters to us in the report of Novarese.
00:21Here we come.
00:26It is highly likely that they tell you 9 out of 10 times that no.
00:31Now, if you are clear that this is a desire, that it is a passion,
00:35that it seems to be in love, that it is something that makes you approach
00:39what you believe to be happiness, you do not abandon it.
00:42Desire is the best architect of life, and Luis Novarese was worth valuable readings,
00:47a lot of passion for his vocation and a huge will as tools to build
00:52this journalist and writer, who today is a reference of communication in Argentina.
00:57This Luis Novarese that the public knows and admires,
01:00who for his own merit became one of the great interviewers
01:03that the Argentine television has, was not always illuminated
01:07by the lights of acceptance, and suffered for many years
01:10in the shadow of bullying and discrimination.
01:13I suffered a lot as a child.
01:16Many times I had bullying.
01:18The blonde, the white, and others.
01:21And many times the way of expression was to say,
01:23this asshole, I had a bad time.
01:24The early death of his father and the congenital disease of his mother
01:28deepened that unhappiness of the years of youth.
01:32My mother had a congenital disease that made her suffer a lot.
01:35My mother had Rendu Osler, which is a congenital capillary fragility
01:40that I luckily did not give birth to, and that caused her
01:43very deep nasal bleeding with a great anemia.
01:48Just as his father died without knowing his true sexuality,
01:51what happened to his mother was very different.
01:54At first he reacted to the beat.
01:56He found it horrible, horrible.
01:58It was one of the classics that said,
02:00the problem is not you, it's your friends.
02:02Did you see that story?
02:03No, he didn't like it at all.
02:05Until later he saw that there was a decision of mine
02:08taken absolutely ...
02:10I am what I am.
02:11The classic of Sandra Mijanovic in Luis Novarese mode.
02:17Hi Luis, how are you?
02:19Hi Laura.
02:20Nice, nice, nice because in a few sentences it paints you as you are.
02:25Hi everyone.
02:26Hi Luisito.
02:27I have a certain weakness for UFAL.
02:29Excuse me, but there is a very special current with Laura.
02:33It's true, it's true.
02:35You know Luis that I was very little in Miami with a mutual friend
02:38who is called Kevin Cass, who is a theater director.
02:41And he is crazy about the book of Novarese,
02:44with Luis in general, because we love him very much.
02:46And he tells me, look, it's going to be a series.
02:49And it's going to be a ...
02:50And what do I say?
02:51And it's going to be Luciano Casser.
02:52And he said, are you like that?
02:55Look, when I published ...
02:56First publishing a book for me was a dream.
02:58You know when I left this house.
03:01It's amazing to come and meet friends.
03:04I worked in this studio making animals in a pandemic.
03:07With a fear we worked in this place.
03:10When I left here, I said I was going to write a novel.
03:12And they said, yes, go ahead.
03:13And here is the novel.
03:15Incredible.
03:16And when I published it, well, it was a writing process.
03:20I imagined some characters.
03:21I said, the philosophy teacher here is Mirta Busnelli.
03:24I went to see her at the theater and I said, Mirta, read that this is for you.
03:27And one day I took it to Luciano, who was not a friend.
03:30Luciano Casser.
03:31Yes.
03:32I went to see him in person.
03:33If you can, go see it.
03:34Fantastic.
03:35Wonderful.
03:36Which was also great for him in the United States.
03:37It's amazing.
03:38Of course.
03:39Kevin took it and so on.
03:40And I say, take it, Luciano.
03:41And two days later he calls me and says, how do we make it a series?
03:45And he started going crazy.
03:46Nothing, we are fantasizing.
03:47Hopefully.
03:48Hopefully.
03:49Are you going to take it to the series?
03:50The book kills me.
03:51I die.
03:52Of course.
03:53It's a great idea.
03:54I don't know.
03:55Writing the novel was a huge effort.
03:56I laughed a lot.
03:57Because once we chose the novel, we chose the cover, whatever.
04:01Because my publisher tells me, hey, and the second part?
04:04I say, stop.
04:05Well, it's like when you have a child and he doesn't like it.
04:09Stop.
04:10Let me see.
04:11People are very anxious, Luis.
04:12But I tell you, reading everything out of love, but not everything, that I go for the second
04:16reading.
04:17One imagines the characters so much.
04:20So much.
04:21Whether it's one, whether it's C, whether it's Ana, whether it's Inés, whether it's, of course, the teacher,
04:25Betis Orlás, that one really sees the series.
04:28It is very well written.
04:31With such short scenes and even, you know, I would tell you that you see it filmed.
04:36You see it.
04:37Cinematographic.
04:38Of course.
04:39It's great.
04:40It's great.
04:41Do you have a cinematographic culture to have achieved this?
04:43I really like cinema.
04:44I like TV.
04:45I'm one of those who say, I watch TV.
04:48You know, you can have some who say, no, I don't like it.
04:50I don't watch TV.
04:51Come on.
04:52Come on.
04:53They know everything.
04:54They are the first to know everything.
04:55And he loses a puppy and calls you and says, do you pass it to me on TV?
04:57I say, but if you don't watch TV.
05:00Of course.
05:01What's wrong with you?
05:02The novel was written with the intention that they were short chapters,
05:05very impactful, that hooked the person and that they had some ideas.
05:10Love stories.
05:11It's a love novel.
05:12It's a friendship novel.
05:14It's a cult to friendship.
05:15It's a novel that if there is love, there is sex.
05:17Mirtha told me, little girl, when she saw it, she said, a lot of sex.
05:21I said, yes.
05:22And if there is love, of course.
05:24And there is a bit of philosophy and there is everything.
05:27I am very, very happy.
05:29You know that yes, you have to be.
05:31You have to be because it has had a huge acceptance.
05:34People like the novel a lot.
05:35Buy it because it's fantastic.
05:37All for love, but not all.
05:38And also, within the books, very cheap.
05:40I say this because people care.
05:42Because there are very expensive books today and the book, the book Vareseo, is very accessible.
05:47So it's very good.
05:49It's a fantastic reading.
05:50No, what I was saying, I stayed with what you said as a little girl.
05:54And I was thinking about the look of the other on this story.
05:58I imagine.
05:59Oh no, first I remembered.
06:00The tribute you do to José Pablo Feynman.
06:02Because you took that philosophy course.
06:04I took that course.
06:05There are very few things anchored in reality.
06:07I know exactly.
06:08I'm very bad with dates.
06:10But it was before I assumed Néstor as president of the nation.
06:13I was coming to Rosario.
06:14I worked in Rosario.
06:15The huge part.
06:16Now I'm getting married, almost with Buenos Aires, with Rosario.
06:19But I worked a lot in Rosario.
06:20And every Thursday of my life, for a year, I took the bus when I finished from 12 to 14.
06:26A program that Carlos Bermejo does.
06:28I took the bus, I got here, I got off at Puente Saavedra.
06:32You could still get off at Puente Saavedra.
06:33I took the subway and I went to the Armenian club and I took a course by José Pablo Feynman.
06:38A huge philosopher.
06:39Huge.
06:40That went from Descartes to today.
06:42And I came back in the last car.
06:44And when I took this course, I said, hey, here's the novel I want to read.
06:47Sure, sure.
06:48There are five people who are going to meet in the philosophy course.
06:51What are they going to tell each other?
06:53That they become great friends.
06:55Well, they are characters of Super 30, Super 40.
06:58Sure.
06:59And there I showed that you can make friends.
07:02And that things are told that had not been told before.
07:05Hey, look, I'm in love with Laura.
07:08I love her.
07:09She is the love of my life.
07:10But other women make me hot.
07:12What do I do with this?
07:13Or I just got dumped.
07:16They just dumped me.
07:17They told me, I don't love you anymore.
07:18How do I solve the heartbreak?
07:20No, but it's very well, very well, very well told.
07:23It's a wonder.
07:24I'm not going to ask you to raise your hand.
07:25Those who have been left.
07:27All, all, all.
07:28Who has not happened?
07:29Obviously.
07:30See, I'm going to say, I'll never recover.
07:32I mean, how come he doesn't love me anymore?
07:34With what right does he not love me?
07:36No, but essentially the whole story of C and D1.
07:38One of the characters.
07:40It's fantastic.
07:41It's fantastic how that back and forth is raised.
07:44It's very beautiful.
07:45Very beautiful.
07:46Let me congratulate you, Luis.
07:47And besides, how nice that all those feelings are inside you.
07:50Because this book is you.
07:51Yes.
07:52Well, I recorded it.
07:53One day the publisher tells me.
07:55I was deceived.
07:56Who deceived you?
07:57No, please.
07:58Who lied to you?
07:59I am very easy.
08:00The publisher, which is Penguin, which is the South American label.
08:05I wanted to write and they offered me to write.
08:08I wrote for Cristina, Macri, Melencia.
08:10What a tower.
08:12Again.
08:13I do all this all the time until Fernanda Mainelli, who is Rosarina,
08:16who is the granddaughter of the founder of the most beautiful bookshop
08:19I've ever known in my life, which was the Rosario Bookstore.
08:22I said, what do you want to write?
08:24When I show him the novel, he says, well, let's try.
08:26I finish writing the happy novel.
08:28He says, don't you want to record the audiobook?
08:30And I said, I dedicate myself to that.
08:32It's nothing, very easy.
08:34Error.
08:35No.
08:36Recording the audiobook is difficult.
08:38But I recorded it.
08:39It's with my voice.
08:40In all formats.
08:41It's in physical, in e-book, and it's in audiobook.
08:45And I'm getting messages from those who say,
08:49I'm going to run and I'm going to listen to you.
08:51I come home, I go north and I'm going to listen to you.
08:54And soon the series, which is what I love.
08:57Who would you like to direct it or produce it?
09:00Look, I really liked the series that Lali did.
09:04The End of Love.
09:06The End of Love.
09:07The End of Love.
09:08Well, it has a text from a great writer, Mara Tenenbaum.
09:12What do I know?
09:14At this point, I would like to be able to participate if it were done.
09:19I have the actors.
09:20I also sent Julieta Ortega.
09:22Oh, how nice, Juli.
09:23The text, because I say, Ana can be Julieta Ortega.
09:26Very good.
09:27Played character.
09:28Very strong character.
09:29I have the characters.
09:30I mean, the actors or actresses chosen, more or less.
09:33Then I have a friend of mine who is an art director.
09:35Yes, there are with everyone.
09:36Mirta Bunele, Luciano Castro.
09:38Mirta, Luciano.
09:39There are five.
09:40Julieta Ortega.
09:41Julieta Ortega.
09:42There is a beautiful Eva.
09:44Yes.
09:45Nothing.
09:46But in case it would be.
09:47Put it.
09:48Leave something in the production, because if not, they will tell you everything.
09:51You are going to read it now, guys.
09:52I want to read it now.
09:53Of course.
09:54Oh, you should have read it.
09:55I have a friend who is an art director and says, no, nobody known.
09:58Let's do it.
09:59We are already dreaming.
10:00A casting.
10:01Let's do a casting of new people.
10:02I don't know, I don't know.
10:03Hopefully.
10:04Hopefully.
10:05When I started studying with Laura, she told me and shattered what multimedia is.
10:09Remember?
10:10Many years ago.
10:11I remember something.
10:12When we did the course.
10:13Well, and it's amazing because you talk about the audio book, and in the United States,
10:16in the world, that is, for example, Cher has just released the first part of her memoirs.
10:20Of course.
10:21With audio book included.
10:22Of course.
10:23They are, not only the book, but the number one audio in the world.
10:26The same happened with the meaning of Maria Carey.
10:28Book and audio book.
10:30And it is to have the voice of that person that you adore.
10:32Very interesting.
10:33The multiverse that is formed around it.
10:35It has nothing to do with anything, but I entered this place, this studio.
10:38I also did A24 here, when A24 was done.
10:41And in the studio that is there, tiny, was Mauro.
10:44Mauro, who was a box like that, nothing, two by two.
10:48Of course.
10:49And he had 96 guests.
10:51Did you see how Mauro was?
10:52He put them in.
10:53He put them in.
10:54And I was there, there were some scary armchairs.
10:59So we both sat down and Mauro, with his glasses here, told me one day,
11:04Here you are.
11:05I adored him.
11:06Mauro was a guy of a culture, he knew Cortázar, he knew Borges.
11:09I say, look, Mauro, I'm writing a book.
11:12Of what?
11:13A novel.
11:14Then he looked at me and said, you have already written Cortázar,
11:16what are you going to write for?
11:18So I went in here and I said, I remembered Mauro, I miss him,
11:23I remembered that other one, and I say, and I come with the book in my hand,
11:26I am very happy.
11:28You know I was thinking of Rottenberg, because Rottenberg says,
11:30when you have to have a play, you have to have the ax.
11:33The ax is there, there it is.
11:35And you had those five people, you had that meeting of philosophy,
11:38and then creativity sprouts.
11:41Luis, you are a great interviewer, I must say,
11:44in all of the Notes of the Nation, a great interviewer.
11:47Where is the heart of a character?
11:49How do you get there, to the interview little by little?
11:52Because for me it is a genre, there are people who know how to do it very well.
11:56I always liked the report, the research, the information,
12:01but there are people who do very good reports.
12:04How do you get to the heart?
12:05The secret is to shut up.
12:07The interview is an act of listening.
12:10The interview is a genre.
12:12What we are doing is a chat of friends,
12:15it has nothing, it is to meet.
12:17But the interview is an act of listening.
12:22Let's see, Laura Uffal is coming,
12:25and I want her to tell me something,
12:27but if I am respectful,
12:29I realize that Laura brings something to say that I did not know.
12:33And if I shut up, that appears.
12:36I think the secret is,
12:38I have the luck to do an interview of 55 minutes, which is not usual.
12:42So, it's pushing.
12:45I am an analysand, I have been analysing for a long time,
12:49and my analyst always says that the analysis is a two-way road.
12:54The patient goes a little further,
12:56and a few steps back goes the analyst.
12:58The interview is a bit like that.
13:00The interviewee goes there, and you are pushing him.
13:03But I always find, here, in this channel,
13:07in A24, I happened to interview Valeria Bertuccelli,
13:10the day it was about the decriminalization of the voluntary interruption of pregnancy.
13:14That was the subject.
13:17I knew that she had gone through a situation,
13:21and suddenly, in the middle of the interview,
13:23she changes the subject and talks about something else,
13:25that she had gone through a situation of labor harassment.
13:28And if I see that interview,
13:30my face is a surprise, it is genuine.
13:32I did not know that I was going to say this.
13:34López Murphy does an interview that I have done 600 with him.
13:39At one point, I saw that he was going to a place and he told me,
13:42my daughter has cancer,
13:44who unfortunately passed away this year.
13:46I never expected López Murphy to come and tell me,
13:50but he needed to do it.
13:52And if you are respectful in the interview,
13:54you shut your mouth, at one point it blooms.
13:57For me, it is a moment of return to psychoanalysis,
14:00of transference, where the interviewee and the interviewer meet.
14:04There also has to be a climate,
14:06there has to be respect, there has to be a lot of things,
14:09and above all, a look.
14:11And a place, I guess it has to be of trust.
14:14There is a matter of trust with you, Luis,
14:16that the other one surrenders.
14:18I'm going to be with Luis Navarez,
14:20that's not being with anyone, even if you don't believe it.
14:22And it must be like that, Luis,
14:24it must be what the other one feels,
14:26to be able to open the heart or the mind,
14:28or surrender and trust something,
14:30and even forget that one is on TV,
14:32that this is the fundamental thing.
14:34Look, this week I had,
14:36like those weeks that you say, dreamed.
14:40This week I interviewed Fernando Troca, the cook,
14:43Chinaski, the psychoanalyst I highly recommend,
14:47Rada, Agustín Rada,
14:49and on Thursday, Rolón.
14:51One better than the other to interview.
14:53I didn't have a single politician,
14:55I didn't have any of this.
14:57And Chinaski, who is Rosarino,
14:59I didn't know him, I had seen him with the black woman, Bernassi,
15:02he thinks very differently from what I think.
15:05And we both had the confidence to say,
15:08look, we think differently,
15:10but we come to talk to see what we see of the other.
15:14I put it there because it's the one I had never interviewed.
15:17And it's good milk.
15:20Let's see.
15:22And it was an interview that I highly recommend.
15:24Well, you know that the great secret
15:26of the life of the human being is dialogue.
15:28I'm going to another topic,
15:30but one cannot kill the one who knows.
15:33A film between Israeli children and Palestinian children.
15:37What I wanted to show is that if people get to know each other
15:40and end up playing football together,
15:42he is no longer that enemy.
15:44When you get to know the other person up close,
15:46when you can try it, when you can listen to him.
15:48For some reason, God gave us the word.
15:50The human being, the word is the greatest thing.
15:52You can say it like that, vocalized or not,
15:54so that it is understood.
15:56But that communication between two human beings
15:58is the great miracle we have.
16:00Sometimes we don't know how to take advantage of it,
16:02especially in this country, for example.
16:04It costs a lot.
16:06But apart from that, I say this,
16:08the interview is not an act of judgment.
16:10I don't come to judge,
16:12I don't sit down to judge the interview.
16:14In the interview, the content is the king.
16:16I've had the interview,
16:18which is still controversial,
16:20with Cristina Fernández in 2017.
16:23Is it one of the most remembered, Luis?
16:25For me, yes.
16:27Remind people for what special moment.
16:29Cristina finishes her term in 2015,
16:32spends two years without political activity,
16:34and in 2017 she appears as a senator in the capital
16:38and loses with Esteban Bullrich and Gladys González.
16:41She had never given an interview,
16:45I work at Infobae,
16:47and she started, she's going to talk, she's not going to talk,
16:49she's not going to talk.
16:51Daniela says to me,
16:53would you do the interview, Cristina?
16:55Obviously.
16:57I interview everyone.
16:59Well, no, yes, she's going to do it,
17:01she's not going to do it, she doesn't want to.
17:03And she does that interview.
17:05Then Daniel told me something that was very wise.
17:07He told me, are you willing to be killed?
17:10The 30% on the right is going to kill you
17:13because you didn't break a chair in his head.
17:15The 30% on the left is going to kill you
17:17because you didn't glorify it.
17:19Work for the 40%.
17:21This interview, this interview.
17:23The you-know-what-yes.
17:25This is the interview of the you-know-what-yes.
17:27And nothing, I said,
17:29my job was not an act of judgment,
17:31it was to ask him about Venezuela,
17:33about Lazaro Baez, about Cristobal,
17:35about his children.
17:37Let him speak, let him speak, of course.
17:39Then you, who are a TV personality,
17:41look, I'm watching this,
17:43and I remember this detail.
17:45She asked for some things,
17:47like to last about an hour,
17:49and I asked for one thing,
17:51that the table was big,
17:53so that it wasn't a coffee talk,
17:55and that there was no one in the studio.
17:57Three days later, she does another interview
17:59with Gerardo Rosin, and there was an audience.
18:01And it was a Bolonki,
18:03because people applauded.
18:05The climate is impossible with an audience.
18:07So, I say, that interview was
18:09in a bubble, the two of us.
18:11I am very proud of that interview,
18:13even though yesterday, yesterday,
18:15someone tells me, hey, why didn't you fuck her?
18:17Oh, people still, look at me!
18:19They calm down a bit, you see?
18:21Well, nothing, that's the interview.
18:23It's an act of listening,
18:25it's an act where the content is the king,
18:27and it's an act where
18:29you discover things,
18:31the you-know-what
18:33comes from a final, final, final question,
18:35and I say, you told me the whole truth.
18:37Yes.
18:39And she is surprised and says,
18:41you-know-what, four you-know-what,
18:43with four different tones.
18:45Well, it was a nice,
18:47how good the production, how fast.
18:49Here, here, I asked her,
18:51when they get it wrong with you,
18:53everything comes out.
18:55Now,
18:57with love, yes, with a little humor,
18:59a little humor.
19:01Between you and Upfal,
19:03there are some maxims that you say,
19:05let's see, listening, the content is the king,
19:07the language, and I suppose
19:09that I add, knowing who you interview,
19:11doing a preliminary investigation
19:13to see what he did, what he didn't do,
19:15what he said, where is the streaming?
19:17What is the streaming today?
19:19A new language where many times
19:21you speak without knowing,
19:23they don't pronounce the words.
19:25And they tell you that's good.
19:27Sure, how do you see this massiveness
19:29of streaming and its communicators?
19:31It's a mess, because on the one hand
19:33I celebrate that there is streaming,
19:35because it gives labor.
19:37It gives labor.
19:39Then everything decays.
19:41I am the oldest of those who are here.
19:43What?
19:45You are young.
19:47Yes, very young.
19:49But I say, I am from the time
19:51when it was debated whether the radio
19:53was finished or the TV appeared.
19:55Sure.
19:57Well, thank God.
19:59Nothing is finished.
20:01The books were going to finish, Luis, please.
20:03It is true that it is read less
20:05for economic reasons and so on,
20:07but I thought it was fine.
20:09Then it decays.
20:11When interesting things appear
20:13on the streaming,
20:15you see that it falls apart.
20:17So nothing, I don't worry.
20:19You have found yourself in situations
20:21listening to a streaming program
20:23and grabbing your head.
20:25I can't believe what I'm hearing.
20:27Grabbing my head and saying, stop.
20:29Because one thing is to ask
20:31from ignorance,
20:33and another thing
20:35is to be ignorant.
20:37Sure.
20:39No, no, no, asking the other
20:41because you don't know if you want to know
20:43and out of greed and interest is valid.
20:45But asking bluntly is another thing.
20:47Luis, in this fantastic interview
20:49with Cristina...
20:51Wait, I have to tell you something.
20:53This boy is very small.
20:55How old is he?
20:5718.
20:59I don't talk to him.
21:01I don't address the word.
21:03Please.
21:05I hear a noise.
21:07In that interview with Cristina,
21:09which is fantastic,
21:11I saw it many times,
21:13when it starts, she tells you
21:15looking for what?
21:17Two or three years later,
21:19I don't remember the date,
21:21two or three years after this interview,
21:23Dr. Fernández says,
21:25I saw that Macri was interviewed,
21:27not like me,
21:29that they put a spotlight on me
21:31as if I were a journalist
21:33and makes a gesture like Picana.
21:35We were both uncomfortable
21:37in that interview,
21:39because I had publicly
21:41had criticisms for her
21:43In 2017,
21:45I was recently in Buenos Aires,
21:47I think it's great
21:49that in the political interview
21:51there is some discomfort.
21:53The best interviewers
21:55on American television
21:57do not generate a clip
21:59of kindness,
22:01except those
22:03Fox with the right.
22:05But the discomfort is fantastic,
22:07especially for politicians,
22:09I think it's great,
22:11it's the best that can happen.
22:13What I thought,
22:15the one who was behind
22:17was Daniel Arad,
22:19he chose you first.
22:21Daniel was great,
22:23he told me,
22:25I don't know if I ever told you,
22:27I never asked him permission
22:29to tell you,
22:31I'm going to do the interview,
22:33he is the owner of the media,
22:35a journalist,
22:37and a week before,
22:39she asked,
22:41because we didn't really know each other,
22:43she didn't remember,
22:45I had interviewed her in Rosario,
22:47she told me,
22:49she wants to meet you in advance,
22:51it's a mess,
22:53I try not to talk to the interviewer,
22:55she is a former president and all this,
22:57one day I will tell that meeting.
22:59The preview?
23:01No, because you have to do another book,
23:03stop, stop.
23:05It's good, it has to be called the preview.
23:07Yes, the preview,
23:09it was super interesting.
23:11You must have a lot of previews,
23:13not just with Crisilla.
23:15But sometimes it happens,
23:17you tell me,
23:19okay, they are my source,
23:21how am I not going to meet,
23:23now it's ridiculous,
23:25our trade is rare.
23:27We are all day with the preview.
23:29And people, the avidity they have
23:31for information.
23:33Luis, how do you locate yourself
23:35in this moment of happiness,
23:37I know that Braulio is there,
23:39I know that Vera is there,
23:41I know it's wonderful to have
23:43that family that you achieved
23:45and I'm glad you enjoy it,
23:47because I know you enjoy it
23:49and I'm very happy for you.
23:51But how are you immersed
23:53in our society, in this life,
23:55in this time?
23:57Well, it's a difficult moment,
23:59it's a difficult moment,
24:01I have to say a bad word,
24:03I hope a lot,
24:05I mean, while I get into
24:07a political debate, I mean,
24:09first...
24:11Why tell you that?
24:13I don't know, because there will be no other way.
24:15They must not be envious.
24:17There are some who have a curiosity,
24:19what's wrong with the sexuality
24:21of others?
24:23Well, listen to me,
24:25the big issue is
24:27that there is a trans girl
24:29and they are desperate,
24:31and you have to take it,
24:33tell me your story,
24:35there is no empathy,
24:37it is a matter of empathy.
24:39And a lot of ignorance.
24:41Besides, I say,
24:43how do I explain that there is
24:45a girl transitioning,
24:47or a boy transitioning?
24:49Like this?
24:51Obviously.
24:53The kids, smaller,
24:55it's not an issue.
24:57When we tell our bond,
24:59crying,
25:01what joy, what happiness,
25:03that you were able to tell it.
25:05Then there is the son,
25:07who was 18 or 20 years old,
25:09they put him on the bus,
25:11and he says,
25:13why do I have to greet him?
25:15Of course.
25:17So, how do I live?
25:19I think there is a wave
25:21of very important conservatism,
25:23very pernicious.
25:25That worries me a lot.
25:27Women, my love,
25:29you said it about homosexuality,
25:31but the issue of the fight
25:33against women is terrible.
25:35Something turned around,
25:37I don't know where.
25:39But I see,
25:41I say it respectfully,
25:43because I don't know her,
25:45the deputy head of government
25:47of the city of Buenos Aires,
25:49Clara Musio,
25:51puts in discussion
25:53that women are not discriminated
25:55and that it is impossible
25:57to deny the feminism.
25:59What do you mean?
26:01Because feminism shows the LOLA,
26:03wait, wait,
26:05feminism is for me,
26:07feminism along with ecologism
26:09are the only two movements
26:11that have tried to change
26:13the state of things
26:15that is not good.
26:17Seriously, I have to explain
26:19that a woman has been very bad.
26:21All of them, do the test.
26:23physical, work-related.
26:24When I was 18 years old, when I started journalism,
26:26I had a great interview in El Diario Clarín.
26:28The man who attended me, I won't say his name
26:30because he's already deceased, locked me in a room.
26:33But...
26:34And that's the least we know.
26:35The least.
26:36And then he called me on his cell phone,
26:38at that time, well, I'm not going to tell.
26:40The least there is to tell.
26:42It's a moment where you have to tell again,
26:45you have to say it again.
26:46There's a...
26:47And after they call you a feminazi, right?
26:49Well, feminazi.
26:50Feminazi.
26:51There's a tremendous communicator called Susie Shock,
26:54I recommend you follow her on social media.
26:57The other day she got angry, she's a transvestite girl,
27:01and she said,
27:01do we have to tell again?
27:03Yes.
27:04Do we have to tell again?
27:06Do we have to claim again?
27:08And not to naturalize.
27:10And besides, I tell her,
27:10loosen up with the metaphors of the Tujes.
27:15Coso de Mandril.
27:16The other one.
27:17Stop a little.
27:18What antiquities, right?
27:19What's wrong with them?
27:20How crazy.
27:20But, Luis, hypocrisy is also the order of the day,
27:22because who discriminates more against a woman is a woman,
27:25and who discriminates more against a whore is another whore.
27:27I mean, I think the insults you suffer for your sexuality
27:31come from the majority of gay people,
27:33because I've seen it on social media,
27:35that they were my acquaintances or not,
27:37but they were men,
27:39and they were insulting you for free.
27:41That's why I particularly decide not to leave,
27:43because there's a lot of hypocrisy.
27:45I don't leave.
27:46You do leave.
27:47But let's see, I can understand what you're saying.
27:49I can understand that you don't like me,
27:51but what I can't do is have to argue again
27:55that the love between two men or two women
27:57has to be respected in the same conditions.
28:00Obvious.
28:01It's going back to being a whore again.
28:04And the thing is that it worries them.
28:05That's one thing.
28:06Anyway, Luis, you know that everything is for love,
28:08but not everything.
28:10You can't stop reading this book or looking for the audiobook.
28:12How do you look for the audiobook?
28:13You look for it on Google.
28:16Audible.
28:18It's on the Penguin page.
28:20And on my Instagram, it's on the bio.
28:22It's in the three formats, physical, e-book, and in COSO.
28:26And in COSO, I speak well.
28:29Excellent.
28:30Luis, the truth is that I thank you very much
28:32for coming, for being here.
28:34We love you a lot, we value you.
28:37Beyond the awards, you deserve everything.
28:39And your year, may it be spectacular.
28:41Yes, it's going to come close by.
28:43I know, why?
28:44It's going to come close by.
28:45Don't let us talk.
28:46And hopefully we'll meet again.
28:47Of course.
28:48With Laura, we work on Breakfast,
28:50on a totally dystopian show.
28:52She's a workaholic.
28:54I try, I try.
28:55I don't know a workaholic who reports,
28:57who writes, who self-manages,
28:59who does...
29:00Well, that's a fail.
29:01And who worries me for creating good minds
29:03in new generations of journalists,
29:04which is also important.
29:05Of course.
29:06So here are several examples.
29:08And you, Luis, the best, the best.
29:10We love you a lot.
29:11Thank you all.
29:12A pleasure.
29:13I don't greet this one.
29:14No, because you're very young.