Can I ask Jennifer Venditti
by Jordan Mattos
I met Jennifer Venditti in 2006, but I first heard of Jen way back in 2000. I was a teenager and had just started interning for Visionaire, a fashion magazine, the summer before my freshman year of film school. Alessandro Magania, one of the editors at Visionaire, had mentioned Jennifer Venditti as being one of the best casting directors in fashion he had worked with, and her name stuck with me. As an aspiring filmmaker, I was fascinated by the mysterious process of how my favorite directors found their actors.
About five or six years later, I was working for a DVD publisher of indie films, and my friend Mordechai, who worked at Jack Spade (the men's line of sister company Kate Spade), and I came up with the idea of doing a DVD compilation of short films that could be sold in store. At the time they were selling Mike Mills’ Paperboys - so the idea would be that the films would be in a similar style. I would handle the call for submissions, and we’d curate the films together.
Jennifer (and her producer Chiemi Karasawa) had responded to the call with a plainly marked DVD with the title Billy the Kid scribbled in sharpie. It was a 40+ minute cut - too long for a compilation of shorts - but I looked at the name and instantly remembered her from my days at Visionaire. Billy the Kid was a mix of everything I loved about the movies - a tenderness and care for the humans depicted, told in a lean, punk storytelling style. I came onboard as an associate producer, and together with my friend Danielle Digiacomo, we found financing to get the film finished and out into the world.
Jen has since gone on to cast some of the coolest shows and movies of the last decade - Euphoria, Uncut Gems, American Honey. She’s recently worked with A24 to release a book of some of her favorite casting memories- Can I Ask You a Question? The Art and Alchemy of Casting . For the Youth issue of Permanent Paper we sat down to have a catch up.
Jordan Mattos: Jen, it’s been a while! I think the last time I saw you, I had come into the JV8 office with Matthew Lessner at the office in Soho. We were looking at these big books with hundreds of polaroids.
Jennifer Venditti: Yeah, Matthew had come in to cast his film, The Woods (2011), which later did Sundance. And Max Nova, my office mate, helped produce that. That was a while ago!
JM: And now you have this beautiful book - Can I Ask You a Question? - that A24 put out. It’s gorgeous. Being familiar with your work, I think it does an excellent job of capturing the magic you’re able to see in people. How long did it take to produce the book?
JV: Aw, thank you! It took about 2 years. I had wanted to make a film about humanity through the lens of casting as a followup to Billy The Kid. The film didn’t come together - but, A24 came to me and approached me about doing a book together, and I saw this as a fantastic alternative to the film idea I had in my head.
Can I Ask You a Question? The Art and Alchemy of Casting by Jennifer Venditti
All images courtesy of A24
JM: Has there been much that’s changed about casting over the years? Do you look for talent offline? For people who don’t have instagram accounts?
JV: Well it used to be that you could only street cast movies and shows by going up to people on the street or by seeing actors in person to audition them , the old school way. Now, we do alot of online research and open calls and Zoom auditioning and self tapes. A Lot has changed.
JM: What was a big pandemic change for you?
JV: I quit going to the office every day!
JM: Was there anything you started?
JV: I became a dog owner and a person who lives in the country. I hike every day, I became a driver and a car owner. Never had a car before!
JM: What’s a usual morning routine like for you?
JV: I meditate. 20 mins every morning and hike with my dog every morning.
JM: Do you have any style icons, people whose fashion you really enjoy these days?
JV: I don't remember the last time I looked at a fashion editorial –but I like Janicza Bravo’s style. I enjoy looking at her and seeing how she expresses herself.
JM: I went to college with Janicza! She’s a special one.What about designers? According to our research, you were a big Marc Jacobs fan back in the day?
JV: I like Schiaparelli - the new designer there is very interesting. He used to do work for Thom Browne - I think he’s quite good. I like the aesthetic of presenting yourself, but I don't go out looking to buy the latest thing these days. I don't shop the same way I used to either- I do way more vintage now or maybe one special piece a year. Usually something I can wear in the woods and do something fancy if needed. I like fancy things dressed down and vice versa.
JM: You were nominated for an Emmy for Outstanding Casting in a Drama Series.Congratulations. What did you wear to that?
JV: I found this vintage burnt orange dress that was sleeveless and asymmetrical, with a silk black cape made by my friend Jane Mayle.
JM: Do you have any thoughts about kids these days being pushed to get plastic surgery?
JV: I want to live in a world where people can express themselves freely- who am I to judge, really? But I do see people getting work done at an earlier age, and I think generally young people should wait. I think people should develop their soul and truly get to know themselves on the inside before they make any big decisions about changing their outside appearance.
JM: Are there any films or shows you won’t do? How do you pick what kind of projects you decide to cast?
JV: I won't do violent horror. But I love working on things where I have an opportunity to learn. I’m working on the Park Chan-wook series, The Sympathizer starring Robert Downey Jr and a large cast of Vietnamese talent that were all discoveries. It’s been very inspiring on many levels, from the creative team to having an opportunity to cast in different communities and learn about their experiences and history.
JM: I hope I see you behind the camera, as a director, sometime soon Jen. Billy the Kid was such a magical experience, and I can’t wait to see what you do next!
Jordan Mattos is a film distributor born in NYC. He earned his degree in film production from NYU Tisch School of the Arts, where he absorbed the films of Fassbinder, Pasolini, Bunuel and Jodorowsky. His first job at a conceptual art gallery that never sold art inspired respect for fiery, irreverent artists that provoke the boundaries of commercial storytelling. In distribution, Jordan's focus is on introducing provocative, visually striking cinema to a global audience.
DashWood Factory Miwa Susuda
by Masayo Kishi
Dashwood Books, a semi-underground and highly influential bookstore on Bond Street in the Bowery section of Manhattan, was founded in 2005 by David Strettell, a former cultural director of Magnum Photo. In 2018, he was entrusted with the book section of the Gucci Soho store in NY by creative director Alessandro Michele and has successfully curated nearly 2000 titles.
Japanese writer and photobook consultant, Miwa Susuda, joined David at Dashwood in 2006. She rose to become the manager, and founded the publication Session Press in 2011.
The bookstore is pursuing its own publishing project in addition to many out of print, high quality used and new books. They constantly host book signings and events and provide the latest information on the most interesting books produced in the international market online and on Instagram. They have trusted clientele from intensely invested photo book collectors to pure youth looking for the retrograde rebellious spirit and originality. Everything is online and self-selecting today, but their fans prefer to visit and talk with them in person to discover using their own visual perceptions. As if visiting the bookstore were one of the therapies of expressing and finding yourself.
Their unwavering heat and honesty throughout may actually be the most necessary in modern times.
Since Covid-19 hit, the two have been extremely busy, but fortunately, I got a reply about my questions for Miwa.
Let's hear her loving and tender responses about photographers, but also her stoic vision about photographs.
M Especially with Covid-19 happening last spring, I consciously use my IG as a reminder that Dashwood is an important place for our community. I started taking pictures of our clients with their recent purchases in their hands, making sure to show their smile and their enjoyment at the store. Many people left NY for their homes in Europe and Asia and the media talked about how NY "was over.” Since they claimed that there is no center city like NY and then the center was no longer necessary, due to marketing being moved to the internet. I highly disagree with their negative view of NY or heavy reliance on a store’s online presence. I wanted to show the rest of the world that we, New Yorkers, are the most excitingly creative people in the world and we support, nurture, and glow together for our art community. Dashwood is an important place for people who love photography and art.
2, Do you have a mission for paper media to act as a person who introduces photographers, artists, and writers to the world?
M I believe photography doesn’t exist unless it's printed. The photo book functions as the final and essential outcome for the work of a photographer.
3, Are there any photographers you've become more fond of lately?
M This is probably due to my Japanese background but I've always had a sweet spot for documentary shots or snapshots. Specifically, I'm enjoying a new book by a Japanese photographer, Takashi Yatoo. His father was second generation from Korean and Japanese families and his book, Palam, is autobiographical. The authentic feeling of each shot is undeniable.
4, Do you have a specific photograph that you love very much?
M Any photography or anything which tries to break boundaries.
5, Are there any upcoming photographers who you have high expectations of?
M N/A, I am sorry but I feel a bit uncomfortable responding to this question since all upcoming photographers equally gain their potential in the future.
6, Are there any memories you can’t forget about in this bookstore?
M When Mao Ishikawa came to Dashwood Books for her signing, she made a wonderful speech in front of many people. She is not fluent in English and it might have been scary for her to speak in front of people she didn't know. Especially in a foreign country. I admire her determination and responsibility as a photographer.
7, What are the important points when you are making a photo book?
M Communication with a photographer, designer, and printer.
8, What do you respect about your boss/mentor, David?
M David’s unique vision always challenges new things for our community. Being unique and edgy is especially hard now due to quick exposure online but his originality always shines!
9, Do you have any daily routines in the morning or before going to bed at night?
M Yoga and meditation.
10, What do you define New York City?
M Tough and kind.
11, Any upcoming projects?
M Daido Moriyama book!
12, What is your obsession?
M I enjoy working with and for my community (It’s a good obsession).
by Masayo Kishi
A Japanese-born makeup artist, Ayako, was one of the few Asian artists to be part of the circle of "legendary children" which made up the 90's fashion industry and continues to be a trailblazer in the industry.
I can only assume how difficult it must have been back then for an Asian makeup artist to work in one of the world's top industry locations like New York. However, Ayako captured so many from the beauty and fashion industries with her imagination, curiosity, modesty, attention to detail, and beautiful black straight hair. Her hair is reminiscent of Sayoko Yamaguchi—one of the first successful Japanese professionals in the industry and an elegant behind-the-scenes girl. Ayako has worked with top celebrities and musicians such as Alicia Keys, Jennifer Lopez, Winona Ryder, Penelope Cruz, and Naomi Campbell. She has undoubtedly paved the way for Asian make-up artists of today.
Ayako's real career began in 1995, when she dropped off her portfolio at Francois Nars, the makeup artist she worshiped and the founder of Nars Cosmetics. Of course, there are many more stories before this incident, but this is the "key" moment of her life. She soon becomes his first assistant and eventually the Nars International Makeup Director.
During her time working with Francois Nars, she worked on major fashion shows and photoshoots, taking part in many shows by American designers such as Lim, Rodarte, and DVF. Apart from Nars, she also worked on shows for Versace and Fendi as head makeup artist in various locations from South Africa to the Great Walls of China—all while working on campaigns for fashion houses like Chanel and Fendi.
Afterward, her departure from Nars led her to pursue her dream of launching her own brand, Addiction, in 2009. Countering the trendy babydoll look in the Asian market at the time, she pushed forward more intense Asian beauty by bringing back red lipsticks and black eyeliners. It was a success. She continued her journey as the Creative Director for ten years until 2019. She collaborated with top photographers, Mert Alas and Marcus Piggott, Steven Meisel, and Karl Lagerfeld for its campaigns.
In the theme of Permanent Paper #2, Obsession, I intentionally curated the pieces to represent the essence of our visually oriented magazine. I especially could not resist two of her works, the 90s glamourous and dreamy world of David LaChapelle, or the theatrical transformations of models created by Francois Nars—so I requested the pieces from Ayako.
Imagine the amount of teamwork it took before the internet and digital photography. Am I the only one, or do you also feel the heat of passion radiating from these photographs?
P : We heard about your time as a “housewife” in Japan. How did you end up in New York and enter the world of beauty?
A : After studying abroad in France––even though I had an amazing experience from there, I ended up marrying my high school sweetheart on a whim! I kept studying French while I did my housewife things. One day, my sister, who was a stylist, put me in a shoot as an amateur model. I was fascinated by the world of photoshoots. I felt like that was my calling. I wanted to be part of that world. Then I applied for makeup school right away and got admitted. After graduation, I luckily got a job at a beauty laboratory of a major cosmetic company. After I had the opportunity to work with the makeup team from New York, then one of the stylists insisted that I come to New York to hang out with them. I visited them and tried an agency to see how it would work, not thinking anything would happen, but one of them offered to sponsor a working visa for me, so I decided to move to New York. I didn’t have a lot of time to think, and I wasn’t a hundred percent sure if it was the right move, but I thought it was an amazing opportunity for me to experience, so I moved forward with it rather than continue my married life.
P : Back then, the New York beauty scene was for only a select few, so as a Japanese person, it must have taken an enormous amount of hard work, talent, and luck. Becoming an assistant to Francois Nars must have been one of your first steps to enter that world. Can you talk about meeting him?
A : Five years after living in New York, I had done various types of jobs at that point,
but unfortunately, I knew that my career wasn’t where I wanted. So I started to think
about returning to Japan, but I still wanted to do something before that––it was
working for fashion shows in Europe and New York. I thought, why not give it a try
before going back to Japan? So I sent out the book to the makeup artists to see if there
would be an assistant position for the artists I truly liked. Fortunately, as if to prove the
past five years were not a waste of time, all of my wishes came true, and I became a
team member for all four makeup artists at Paris, Milan, and New York fashion weeks.
It was extremely tough working for all four of them, but it felt so exciting, and I knew
something that I was looking for was there, so I decided to stay in New York and not
return to Japan. Next season, I decided to stick to and concentrate onjust one person,
Francois Nars, whose style of work inspired me the most. After the season, I devoted
my time more to suit his work. At this point, for the first time, I felt the real reason to
be in New York.
P : Works you have provided us with––Playboy featuring Naomi Campbell, The Face featuring Gisele Bündchen, Italian Vogue featuring Alicia Keys, and more––show us that you have worked with David LaChapelle on quite a lot of important projects. What was the most memorable work that you guys have done?
A : I have worked with him on so many amazing photo shoots, and there was always this energy of creating art rather than shooting fashion photography. They would start working on the set from the previous day at his spacious studio in the East Village. The scale of the shoots always became so huge in many different ways, and we worked until we were satisfied. And one of the most memorable shoots was the Playboy one with Naomi Campbell. We transformed Naomi into different characters in each set. Her beautiful body and skin harmonized with colorful settings, creating magical hours where you forget the concept of time.
P : You have experienced backstage at fashion shows before the internet. Are there any memorable episodes? Can you talk about legendary designers and supermodels?
A Karl Lagerfeld––not only at fashion shows but on each occasion when the job is done, would take our hands and say, “Thank you for today.” I will never forget the warmth of his hands. When a job is more tasking, he would tell me, “Go to the Chanel store on Cambon tomorrow, Ayako, and pick whatever you like. Someone from the store will be waiting for you.” Jackets, bags, shoes, etc. and his huge love, all of them were like my dream come true moments. As well as those prints he made me were my treasures.
There was a photo shoot with Linda Evangelista. When I nervously suggested the idea of making her eyebrows blond, she smiled and said, “I am here for you today. You can do whatever you want. That’s my job.” I remember thinking, “Wow, this is what it takes to be a supermodel.”
I’d like to talk about Gianni Versace. In 1997, in his haute couture collection, there were pieces printed with Japanese characters reading Versace. After that show, I worked on the collection catalog and editorial in Paris as I did every year. I came up with the idea of painting those letters on a model’s body. Since it was Japanese and only the Japanese could understand what it said, I thought only I could do the body paint. So I spoke over the phone with Gianni and got his approval. And then, a few days after the photo shoot, I heard the news that he was assassinated. He was also another one who thanked each model by kissing them on their cheeks after shows. That kindness still brings tears to my eyes.
At last, the person who influenced me in every sense is Francois Nars.
P : Anyone interesting who transforms into someone else after getting your makeup done?
A : I don’t think I had anyone change their personality, but there’s one interesting episode with Sarah Jessica Parker at the Golden Globes. When I was doing her makeup, all of a sudden, the mirror we were using that was leaning on the wall just shattered. Since she believed that it was bad luck, the calm and collected Sarah Jessica became very nervous. But she confidently won Best Actress that night. It became a thing among the girls that when I do their makeup, they win awards.
P : You later worked with Karl Lagerfeld for your own brand; how did you feel? Any stories?
A : Since he had given me so many job opportunities, I knew that I wanted to work with him when I started my own. Even though the makeup line was a competitor to his, he willingly accepted the offer, and I am so proud of that. On the day of the first campaign shoot, I was extremely emotional but he comforted me so that the shoot went the best way. And the very first frame was the one that became our first advertising campaign!
P : When there was no such thing as retouching photographs, what was the trick you had with your makeup skill? Any techniques that you don’t need anymore?
A : Whether there are more developed digital retouching techniques or not, the most essential thing in makeup to me is skin texture and color. Especially back then, creating the bare skin look was the key, and I was so good at it, especially for black skin. The techniques you no longer need are bar soap to glue the eyebrows down and taping up to lift the face line.
P : What is the secret to having trusting relationships with people who have long careers like Naomi Campbell, Alicia Keys, Anna Sui, and others?
A : I would say probably to keep comfortable and mindful distancing.
P : What is your makeup motto in working with top level artists of the world?
A : To maintain your sophistication.
P : Are there any projects happening or any photographers you want to work with?
A : There are so many photographers I would love to work with, and I also would love to try photography myself one day.
P : High heels or sneakers?
A : Definitely high heels. I do not own a single pair of sneakers, darling.
P : Coffee or tea? Favorite brand?
A Coffee. My favorite brand, as in clothes? Yves Saint Laurent, especially the Hedi Slimane era, Celine the Phoebe Philo era, Helmut Lang when he was the designer, and Rick Owens.
P : What is your plan for 2022?
A : I would like to start exciting projects and streaming. I also definitely would like to travel wherever I want.
P : Our issue two’s theme is “obsession.” What are you obsessed with?
A : My obsession is addiction and it still remains that way. But, I could say that I am obsessed with my eyeliner from Addiction by Ayako.
I am also a francophile, so my obsession is the French language, croissants, and cafes in Paris.
Oops, I cannot forget my dog. I am obsessed with my dog, Leo!
MR.Avenue A INK MOhammed
by Masayo Kishi
The magazine store, Ink, has been running in Alphabet City in the East Village of NYC for 25 years. They have been selling fashion, art, and porn print magazines right beside beverages, candies, and cigarettes. I used to live one block away from this shop 20 years ago. Checking out all the cool fashion magazines was a part of my life. I have seen many big names of fashion (photographers and stylists) here all the time. Each time I go, it's like a breath of fresh memory. Mohammed the owner is a happy guy with a big smile who has been working here since the opening. Our image can't show his smile because of the mask. He has the brightest, boldest smile, and has been one of the most influential individuals for me since I've lived in NYC. The day we talked, he was in a flower-printed cotton shirt that was selected by his lovely wife. I was allowed only 10 minutes for questions. "Focus on what you want to do for the long term," he said. Thank you, Ink.
: Where are you from originally?
M I am from Bangladesh. I have family here, a wife, and six kids!
They all grew big enough now and are doing well!
: Have you had a crazy person? Or horrible experiences?
M We had a lot of crazy ones: drunk people, messing up the store,
mostly stealing. But we have never called the police! They do nothing!
: How have the fashion print magazines sales been?
M We used to sell a lot until 2005. British Vogue was number one selling…
and Italian Vogue, Paris Vogue, and all American ones like US Vogue,
Glamour, GQ and of course, Dazed, I-D, and Self Service. Then sales
went down around 2006~2007. Porn magazines also [went down]
at the same time.
What has happened since COVID lockdown ?
M We have not received any magazines for more than three months, but somehow young people still buy previous issues from our store these days. It seems okay.
: While I am here in the store, I see you handle many customers without verbal exchanges. They get cigarettes or tobacco without speaking. Do you know by memory what they want?
M Yes, I know 95%. I’ve been here for 25 years! But my kids and wife want me to retire soon. Honestly, I am not sure how long I will be here. I have plenty of travel plans for my retirement! But this shop will continue for sure.
"Focus on what you want to do for the long term”
by Luis Sanchis
The Japanese photographer Keizo Kitajima was born in 1954. He was mentored by Daido Moriyama, one of the most renowned photographers in Japan.He produced many photographs documenting the '70s and '80s and won numerous awards.
Comme Des Garcons used his real-life photography for a perfume ad campaign in 1995 and it caused a sensation. Lately he has done fashion campaigns for brands such as Helmut Lang and Prada. All the books he published have become collector’s items and are very hard to obtain. In recent years his work has attracted attention from the next generation through the internet.
Kitajima rarely makes public appearances but finally broke his silence to speak with photographer Luis Sanchis (whom I interviewed previously).
1: Do you have any thoughts on advertisement photography versus fashion
K I'm surprised that I've been asked for fashion photos.
2 : From my point of view, you seem to be attracted to American culture.
Do you see a connection between Japanese and American culture?
K As you know, after World War II, the United States occupied Japan and
had a great influence on the Japanese from politics to culture. Personally,
I think I was strongly influenced by American pop culture.
3 : Do you have your own photo style? Where did it come from, if any?
K I always try not to have my own style. I'm enjoying street snapshots for
the first time in a while through fashion photography.
4 : What is the interesting part of a photo? Do you like other visual arts?
K Taking a picture deepens your experience. Currently, I don't have any favorite art.
5 : How do you see yourself and your work?
K The pictures I took are also others who teach me various things. In the process of making prints, I learn most from photography.
6 : Is there anything you haven't had the opportunity to do that you want to focus on in the future?
K Apart from fashion photography, there is a theme that I have been working on for a long time. We have been and will continue to focus on it.
7 : Do you feel that you have achieved your best shots so far?
K I have never thought so.
8 : Is there any difference between the excited feeling of shooting from when you first started versus now?
K I don't think it has changed much. However, it does not originally seek physical excitement.
9 : Are there any photographs that have reached a level of achievement towards your own purpose, so far?
K Unfortunately, there isn't.
10 : Are there any memorable moments or interesting situations that have happened while working on an assignment/project?
K When you look back at the pictures you took on the street from when you were young. The people and things captured in them now seem to be very important.
11 : Looking back on your current self and your past self from the 1980s, is there anything that you think has changed?
K I don't think I've changed mentally, but I feel that I’m aging.
12 : What if you could choose another profession?
K If you have such a profession, I would try it.
“As you know, after World War II, the United States occupied Japan and had a great influence on the Japanese from politics to culture. Personally, I think I was strongly influenced by American pop culture”
by Masayo Kishi
As a fan of Spanish photographer Luis Sanchis’ prominent works, such as those for Gucci and The Face (from 1997), I was a bit nervous to meet him through a friend in Chelsea, New York. This was back in 2011 and I was immediately moved by his perspective, thought process and his experiences. Since then, we have worked together and shared with each other the difficulties and joys of living as artists.
Let’s look back at his archives and latest works to hear how he's been feeling.
: Can I ask you, candidly, how the pandemic has affected you?
L We are living very interesting times, and we are all affected one way or another. We are all connected.
I believe what's happening in a strange way and in the long run is a good thing for humanity and for the planet, and proof that there is less pollution—dolphins are going back to Venice. People had to slow down and reflect on their lives, the world, and ourselves are waking up, and that always happened with a certain degree of personal pain. Our generation was too spoiled. Our parents or grandparents suffered similar situations like this one but not us until now. In my specific case professionally, I got canceled for several jobs. I know everything is shut down, and the future is uncertain. On a personal level it is tough economically, trying to keep positive and my energy high, taking care of myself and staying healthy. Reflecting. I've been in similar situations in the past, so I am familiar with this. Trying to use my energy in positive ways. Cooking, working on personal photo projects, and getting back to drawing, reading and reflecting on myself and the world. I believe it all starts with oneself then I can help others.
: Do you think this experience will change your photography in the future?
L I believe my photography and all I do is always changing and evolving, and definitely after this experience some things will change. My perceptions and the way I see myself, people and reality are ever-changing. As time goes by and I live more experiences, this enriches me and consequently, everything I do. You see, as we get older ourselves, our job and everything we do should get better, as long as you feel alive and you have a fire within. Photography and everything I do is just a reflection of me, and as I said, I am always changing. Regenerate and rejuvenate or die.
: What is your life motto?
L To have experiences, to learn, to know thyself and to grow to become
a human being to BE FREE.
: What was the most memorable shoot or a person you ever had?
L There are so many and at the same time, everything is memorable, and
at the same time they are all experiences. In the fashion photography field,
the first story I shot for The Face magazine was important. That story
opened me up to another world.I had an idea and very little money. I
bought a small plastic swimming pool like 6x8 feet or something like that
and filled it up with water. We shot in a studio with a couple of lights. This is
1996, no Photoshop, no digital. People thought that the pictures were shot
in a big swimming pool at night and Photoshopped it. Like most of my work,
even today it’s mostly done on camera. Old school, you know…
: Movies or artists who motivate or inspire you?
L The list is endless. Mostly from cinema, directors of photography (DoP),
painters and music. My own experiences, people, stories, etc.
I grew up reading comic books. All kinds from fantasy to sci-fi—classic
literature to superheroes. The artists that always impacted me and I
resonated the most with were the three D's: Leonardo Da Vinci,
Salvador Dali, and Walt Disney.
: What do you love and hate living in New York?
L Haha everything and nothing. I am pretty indifferent nowadays.
: Do you have any “you are so Spanish” moments?
L Yeah, I heard it before, but I don't remember any specific moment.
I feel universal. No country, no color. We are all from the stars.
: Lastly, I am curious about your horoscope?