- 8 months ago
Salma Hayek comenzó su carrera como actriz en México apareció en la telenovela Teresa y en la película El Callejón de los Milagros. Posteriormente logró un papel en la película americana Desperados junto a Antonio Banderas en 1995. Pero su papel que la lanzó a la fama fue en la película Frida en dónde interpreta a la pintora mexicana Frida Kahlo, por este papel Hayek fue nominada para un Oscar como Mejor Actriz.
La actriz es originaria de Coatzacoalcos, Veracruz aunque abandonó su país de origen para perseguir su carrera en el cine. A lo largo de su trayectoria Salma Hayek ha trabajado con infinidad de directores logrando darle vida a todo tipo de personajes. Actualmente continúa actuando, próximamente aparecerá en la película House of Gucci y en The Eternals de Marvel.
En este video Salma Hayek recuerda sus papeles más icónicos en dónde nos cuenta diferentes anécdotas de las producciones, sus relaciones algunos de los directores como Robert Rodríguez. Además de los retos a los que se tuvo que enfrentar para sus diferentes personajes, como por ejemplo, cuándo tuvo que aprender a entrar en trance para poder bailar con una serpiente en From Dusk Till Dawn (una de sus escenas más inolvidables) o el proceso de producir Frida.
La actriz es originaria de Coatzacoalcos, Veracruz aunque abandonó su país de origen para perseguir su carrera en el cine. A lo largo de su trayectoria Salma Hayek ha trabajado con infinidad de directores logrando darle vida a todo tipo de personajes. Actualmente continúa actuando, próximamente aparecerá en la película House of Gucci y en The Eternals de Marvel.
En este video Salma Hayek recuerda sus papeles más icónicos en dónde nos cuenta diferentes anécdotas de las producciones, sus relaciones algunos de los directores como Robert Rodríguez. Además de los retos a los que se tuvo que enfrentar para sus diferentes personajes, como por ejemplo, cuándo tuvo que aprender a entrar en trance para poder bailar con una serpiente en From Dusk Till Dawn (una de sus escenas más inolvidables) o el proceso de producir Frida.
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00:00I read the script and there was no snake.
00:03And then right before, you know, not right before, but there was some time,
00:07but, you know, weeks before we started, he said,
00:10oh, by the way, you're dancing with a snake.
00:12And I'm like, that's my greatest fear in life.
00:20Desperado and Once Upon a Time in Mexico.
00:22It was not only my first lead in an American movie,
00:25it was my first American movie, actually.
00:28And Robert Rodriguez is super specific, so the character is created by him.
00:34He wrote it for me, which is, that helps.
00:38And it was, it's just very easy with him.
00:41You know, he moves very fast, and Antonio was really cool and lovely and fun to work with.
00:49Is that him?
00:50Yes, you're not doing anything to him around here.
00:53All you guys, both killed, and I don't want to die with this, okay?
00:58Stay away from the window before they see you.
01:02I kind of understood that it's not really a choice.
01:07You have to do your stunts.
01:08And so I was doing all the stunts, and it was also my first time doing stunts.
01:12And Antonio also did all his stunts.
01:16And so we had a lot of fun with the movie.
01:18We have, I was very proud and scared.
01:23I remember jumping from one building to another one and scrapping all my knees and was full of blood.
01:30And I said, I don't care, I'll do it again.
01:32And it was really painful, but I did it again anyway.
01:35You know, it was my first movie, and I just, I wanted to prove myself.
01:40And I wanted to show that I cared for the movie, and I was professional.
01:44So no matter what happened, I just would do it.
01:47You have to remember that also Robert Rodriguez gets involved with the wardrobe, the light.
02:08He operates the camera.
02:10He practically does your makeup.
02:12I mean, he was doing, like, everything in every department.
02:16Then when we were going to shoot Once Upon a Time in Mexico, I had a much bigger role in that one.
02:25Except that there was a threat of, I think it was the Actors Guild going on strike,
02:33and that we were not going to be able to work for some time.
02:36So all these movies started shooting at the same time.
02:39And I had been trying to do Frida for, like, eight years.
02:42And exactly at the same time, they were both going.
02:46I said, Robert, I have to do this movie.
02:48He had to rewrite the script really fast so that I wouldn't be in it.
02:54And just, I mean it, of course, but a lot less.
02:56And he said, I'll trade you.
02:58I'll do that for you.
03:00Because he had me by contract.
03:01He could have said, no, you don't do Frida.
03:03You have to do this movie.
03:04And I will let you do Frida.
03:08I will make your part smaller.
03:10I will save it for the end.
03:12But you have to sing the end credit song.
03:15And I was so terrified of that.
03:17But we did it.
03:17And by the way, I came at the end of Frida so tired.
03:22And my stunts in Once Upon a Time in Mexico were a lot more complicated than in Desperado.
03:28And I was so tired, but we did it from dusk till dawn.
03:34They were doing a movie called Four Rooms, where each one of them, it was Robert Rodriguez
03:40and Quinton, Alison Anders.
03:44I'm sorry, I don't remember the fourth director.
03:47But in Robert's short, the kids are watching television and there is like a stripper on
03:55the television.
03:56And I was not in that movie at all.
03:59And one morning, I'm woken up at like five in the morning.
04:04I'm on the phone like, what?
04:05Hello?
04:06What happened?
04:07And Robert says, I need you to come right now to the set.
04:10I need you to do me a favor.
04:11I'm like, what?
04:12What?
04:12I need you to do something for the movie.
04:15It's just something quick on the television.
04:18You just have to dance, whatever.
04:19And then anyway, I get there and I have to like do like a strip, like a strip dance.
04:27And I'm like, what are you doing this to me?
04:30I've never done that before.
04:31I don't know how to do it.
04:32And he goes, that's why I want to.
04:34And I worry like you couldn't find a stripper in LA.
04:36He goes, no, I auditioned a lot of them, but because kids are watching it, there's something
04:42a little bit, you know, something about it that they look professional.
04:47It makes me feel uncomfortable.
04:49And I said, but I have clothes.
04:51You're going to wear your bikini.
04:52OK, so I said, I'll do it, Robert, but you cannot show my face or something like that.
05:05And so we did it.
05:07And I think he didn't show my face, but he put me in the credits, which is worse.
05:12But anyway, Quinton saw it.
05:14And that's where he got the idea to write Sant'Anneco upon the monument.
05:22Then I read the script and there was no snake.
05:32And then right before, you know, not right before, but there was some time, but, you know,
05:37weeks before we started, he said, oh, by the way, you're dancing with a snake.
05:41And I'm like, that's my greatest fear in life.
05:45And he said, well, let me do it.
05:47Let me know if you're not capable of overcoming your fear for a role,
05:51because we can always give it to Madonna, which, I mean, I'm sure it's not true,
05:58because if they could have had one Madonna, why me?
06:01But I was so afraid to lose the part.
06:04I thought I was going to be able to convince him,
06:06just let's do it like in the script without the snake.
06:09But so I had to learn how to go on trance
06:13so that I could overcome my biggest fear.
06:19So I was on trance when I was doing that dance.
06:26Dogma.
06:27The thing about that one is I was so impressed of the cast.
06:32Even Alanis Morissette, which at the time, you're too young,
06:38but she was like the biggest thing on the first of the years,
06:41with, you know, Little Pill.
06:43And we had Ben Affleck and Matt Damon right after the Oscar.
06:49Linda Fiorentino, who also at that time was like the most,
06:53you know, revered actress.
06:54She was so talented.
06:56Chris Rock, who again at the time was like number one comedian.
07:01So just the cast was extraordinary.
07:04And I was so excited to be a part of that group.
07:08Kevin, it's so intelligent and interesting and fun.
07:16And he wanted me for that role.
07:19So I was just so excited to do it.
07:22But it was nerve-wracking a little bit
07:25because it's so crazy, the script.
07:28How do you know Metatron?
07:29How does she know Metatron?
07:30This is the last side.
07:33You're kidding.
07:36Wow.
07:38And I play a muse.
07:40And I think what a lovely thing to play a muse.
07:43He did make me do a strip dance on that one too
07:48as I was chewing bubble gum.
07:50How do you know Metatron?
07:51How do you know Metatron?
07:52How do you know Metatron?
07:53How do you know Metatron?
07:54How do you know Metatron?
07:58Frida?
07:59My connection with Frida and the movie,
08:03it gave me a purpose more than anything.
08:07It was not a movie.
08:08She was my hero.
08:11But also, it meant so much to me.
08:15All the things I wanted to complain about in the world
08:17or change the perception, the perceptions in the world,
08:22I could do with this film.
08:25And it was important for me to show that my country is full of sophistication
08:30and how at that time all the great thinkers around the world would come to Mexico.
08:35It just steps out of the stereotypes that were used for all Latin American characters at the time,
08:45you know, in the end of the 90s.
08:47Because remember, I was trying to get this done for a very long time.
08:52There's so many things about her, like her courage to be unique also.
08:57Like, not only there was the situation of Mexico,
09:02a way to also physically show Mexico, which was so beautiful,
09:07the colors of Mexico, the light of Mexico, the art of Mexico, the music of Mexico,
09:15Mexico, and the sophistication and cultural richness.
09:21But also, she, like I said, she had the courage to be unique.
09:26And I thought that that would be inspiring beyond the Latin American community,
09:34that her life would be inspiring for every woman and for every man.
09:38So, it was not just one more movie that I wanted, like, oh, it will be my lead.
09:44No, for me, I really felt like it was my destiny to make this, you know,
09:49and to do it the right way, to do it the right way.
09:54Señor Rivera.
09:59Diego.
10:00Who are you? What do you want?
10:04I have something important to discuss with you.
10:08I'm working.
10:09I'll wait.
10:11I, for real, produced this film.
10:13It's like, I practically did it on my own because I had no support from Miramax.
10:18And one of the problems why the many people that tried to do it before,
10:22one of the problems they ran into were the rights to the paintings.
10:26So, I befriended a woman, Dolores Olmedo,
10:30that actually became, I learned a lot from her.
10:33And she said, you have to woo me.
10:35I ended up wooing her for a couple of years and we became really good friends.
10:42And she said to me, you have me a hello.
10:44I was always going to give you this.
10:45I just wanted you close to me.
10:47And I said, you have me a hello too.
10:49I would have stayed close to you.
10:50I had to negotiate a lot of places that had never allowed anyone to shoot in there before.
10:58I did the cast by myself, all the cast in the United States.
11:02Every single name that we found, they were all friends that did it as a favor,
11:09except, no, they were all friends.
11:12They were all friends.
11:12Some more than others, but they were all friends.
11:14They say, if a girl asks your opinion and she's not a complete fright, you'll gush all over her.
11:22I need you to tell me one thing, honestly.
11:26Do you actually believe that I should continue to paint?
11:29Yes.
11:33Yes.
11:34Well, the truth is that after we finished it in the post-production,
11:40I was so emotionally and physically exhausted from the journey
11:47that I kind of said I did it and I kind of stepped out for some time.
11:55But when it was going to come out, I had to step in again
11:58because, first of all, they were going to put it just on television.
12:02And so we had to convince Harvey to put it on the theatres,
12:11but he was saying it was no good, it was not worth a theatre.
12:15And then when he tested high, he was upset,
12:18and finally he was going to put it only, at the beginning,
12:22I think only two theatres or only one theatre.
12:25I convinced him four more.
12:27And then little by little, it started adding theatres,
12:30but the success was not immediate.
12:33It was little by little, and it was very exciting
12:36to see how it had legs on its own,
12:39it stood up on its own against the lads,
12:42and how it still stands on its own, you know, after so many years.
12:48Hitman's Wife Bodyguard
12:54This is a sequel to the first film, Hitman's Bodyguard.
13:01Somebody was working at the time in Millennium
13:04who is a friend from Frida
13:08that was working at Miramax from Frida.
13:10He told me, look, I have this role,
13:14I know you would not normally do it,
13:16but I need you to do this for me
13:18because I want this character to be unforgettable
13:20because it's very important for the film
13:22because it's about her, but she's not in it.
13:26He knows that I really like it,
13:28and actually, it's terrible that I say it,
13:31but I'm actually really good at creating characters.
13:33She used to be Irish, by the way,
13:36and so I had a lot of freedom,
13:38and then Ryan, who's married to a really good friend of mine,
13:41said, come on, let's do this, come on, come on, you have to do it.
13:44So they shot it in this part in London,
13:47so it was easy for me because it's where I live now,
13:50and it was two days, and we had a lot of fun,
13:53and Patrick, the director, also was super cool,
13:56and they let me create a character,
13:58and cut to, the movie comes out, it's a big hit,
14:02and turns out the audience really loved the characters,
14:04so for the sequel, Patrick came to me,
14:06and he said, I want to incorporate Sonia into, you know, the duo,
14:12make it a three-handed instead of two-handed with the guys,
14:16and so we worked on the character together.
14:18She said, tell me about Sonia,
14:19and I just love the character.
14:21I could talk about Sonia nonstop,
14:24and so she's mad,
14:27but there is a logic to her madness,
14:31and I understand it really well,
14:33and I love the way she thinks out of the box,
14:38like what happens in her head is like really unexpected,
14:43but there's a consistency to it,
14:46and it's also a woman dealing with menopause, probably,
14:52that it's in denial of it,
14:54and so when you have crazy and you add the hormones,
14:57then the result of that equation is Sonia Kincaid in this new movie.
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