Yuca, again, I appreciate your response - as it tells me precisely why you are so highly critical of my first film. You saw only the first film and a trailer of another - so this confirms what I thought was the situation.
You wrote, "You promised to document a group of people who were largely ignored at the time."
Response: Yes. Very accurate.
You wrote, "Even though in the end you didn't actually document them you did give them a modicum of exposure"
Response: Impossible to please everyone. On one hand - you and others got little to nothing out of the first film - I respect that you have your opinions and that the expectations you had were not met. But on the other hand - I can't count the number of beautiful emails received, or the precious words others have shared at most of the public-screenings of that film from old and young (some I've captured on film), or the wonderful testimonials (which I have screenshots of) from dancers in North & South America, Europe, Africa and across Asia. Impossible to please everyone - which is a choice I had to make each time I release each of my soundtracks and films. While I'm very, very sorry that your expectations were not met - I cannot undo what is already done - but even if I could - that would mean that I'd have to forfeit all the most amazing responses to the films from others who got so much out of the films, I'd have to undo how so many others appreciated hearing my father talk about the walking bass, hear Freddy Rios talk about his impression of dancers today versus his experiences back then at the Palladium, and for all those who love the music I composed and produced with some of the very beautiful musicians you conclude are owed an apology, and Cuban Pete talking freely about what he felt his contributions were .. and so much more. The film introduced names and faces to dancers of today - many of whom have shared how grateful they are for doing so. To undo so much and much more - just because some are unhappy - unrealistic and impossible. I made a choice: do what I could for those who are able to receive and appreciate my approach. You are disappointed - and that's to be respected. Again, I'm genuinely very sorry. Of course, now, years later, I look back and I'm like, "Geeez, I should have done a better job at editing, I should have not included this or that, I should have cut this, I should have trimmed this and that" ... and so I did that in the re-edit because of others who shared similar sentiments as you. I listened and I responded.
You wrote, "Add the fact that your father was a well respected musician in the mambo era, and of course these people are unlikely to criticize you."
Response: They're unlikely to criticism me? Perhaps, I can share two examples with you to the contrary. First, at Tito Puente's funeral, sitting at the table were my father to my left, Cachao to his left, Cela Cruz to his left, Tony Bennett directly across from me, and several other musicians to my right. It was one of those moments where time seems to stop - they made sure I understand that my generation had a choice to carry on the legacies or let the secrets go in the grave with those who pass away. Cachao was a true gentleman - and I remember clearly how he and Celia Cruz scolded me in front of my father and the rest of them - that being "only a musician" was not enough - but that I should do much more than that - to make sure that my generation at least knows the faces and names of those who made that era what it was. Yuca, you were not there with us that day so I do not expect you to appreciate the pressure I felt. But, from my heart I share with you this: perhaps I was not enough prepared to make you happy - but instead of choosing indifference - I chose to do what I could with what I had available to me. I am not ashamed of trying.
A second personal experience - was in February 2008 - in Miami Beach. I had only samples of my first movie .. it was just bits and pieces. Pedro (Cuban Pete) and Cachao sat on the sofa near me as I presented about 50 minutes of the bits and pieces I had. I showed them the pieces I wanted and the pieces I didn't want in the film. To my surprise, many of the pieces I did not want were what they felt most strongly about being included in the film. So, while you disagree with them (which you're welcome to), plenty of the footage of the old-schoolers was what they suggested for the film. The footage of younger dancers giving their opinion - a LOT of that I didn't want to be in the film BUT younger dancers told me that it was good to have both generations to show opinion others might relate to. There is a LOT that goes into making a film, Yuca, and not always do I get the best advice or leadership. I'm not the only one in the world who has gone through trial and error.
So, unlikely to criticize me?? They did. A LOT. And I was under a lot of pressure to nurture the nostalgia of the old-schoolers with giving something the younger generation could relate to. Part I Re-Edited - is NOT 2hr-30min like the original - I cut it down to 1 hour and 40 minutes .. removed a LOT of that footage from the first film that took up space .. and added footage of some of the dancers of today you are critical of - because strangely enough - one of the biggest criticisms of my first film back then was that dancers of today couldn't relate since there "were not enough respected dancers of today" in the film. So, I took that advice seriously. It seems that you disagree with that strategy - but it was the strongest criticism coming - and after the re-edits of both films - that's when things changed and things got much, much better.
You wrote, "Incidentally, Celia Cruz died in 2003 and TP died in 2000, so I doubt either of them endorsed your films, seeing as La Epoca 1 came out in 2008. (Or have you been in touch with them via a medium?)
Response: Again, perhaps I can be more clear. Buena Vista Social Club was released in 1999. It was the first inspiration for me. I told my father that I was inspired to do a documentary. One of the first calls he made: Tito Puente. His schedule did not allow for us to meet - but he heard the idea and the concept - and he contacted two other musicians who were in my first film whose contact information I did not have. The movie "The Palladium - Where Mambo Was King" was released in 2002 which was the biggest inspiration. By the way, I had done plenty of telephone interviews and taken notes - and I asked my father to call Celia Cruz. We spoke, she heard the concept, and said some of the most beautiful words to me encouraging me to do the movie - and she warned me that many would react in various ways - some positive, some negative - but that my intent was what they (the older generation) would judge most.
Yuca, you were not there, either, to experience those very precious and personal moments. Of course, I was frightened and worried about who would be disappointed. The least of whom were disappointed are the very ones you believe deserve an apology from me. I don't know how else to express to you that my heart was and is right, my intention was clear, and there is no shame in that.
Lastly, about Arsenio, he contributed so much to these scene. You may not be aware - but he was the musician all others referred to .. he was the musician who the other musicians were very pleased was given that time.
Impossible to please, everyone. I had a choice to make. I made it. There is no shame in this. Since you feel so strongly about this - and are so vocal without knowing the facts - and since you seem to quality yourself as a film critic - just out of curiosity - have you exercised the courage to produce your own film - to contact the beautiful persons still alive (Charlie Rodriguez, Pacheco, Alfonso Panama, Luis Mangual, Jose Mangual, Freddy Rios, Mike Ramos...) .. to compose your own music and record and produce your own music and that the musicians still living would devote their time to record in those tracks of yours? These are just facts .. I'm not boasting, but sharing some of what went into what I did. Have you or do you plan to produce your own film the way you think it should be done - and put yourself out there to others who will be disappointed and openly criticize? If no, why not? You seem to feel that you know better how to produce the films, how to compose the music, how to interact with these beautiful persons, how to market it and balance the material for the widest audience possible .. so why not do it yourself if you have not, yet?
Thank you, again. I speak from my heart with as much kindness and humility as possible while still defending my work and myself from your criticism. If you find it in your heart to respond, with kindness, I look forward to it. Most of all, THANK YOU for taking the time to respond with clarity. You may or may not believe this - but I'm grateful that even though we disagree - that you have had this open dialog with me. It means a lot. Thank you.
