Summary of Ernesto Sevilla - ESDLB con Ricardo Moya #122

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00:00:00 - 01:00:00

In this video, comedian Ernesto Sevilla discusses his work on the TV show "Museo Coconut," his thoughts on the current state of comedy, and his new stand-up comedy show. He talks about the pressure he felt to produce quality content for the TV show, and how he eventually came up with the idea for the show. He shares his thoughts on the current state of comedy, and how comedy has evolved over the years. He also talks about his new stand-up comedy show, which he believes is one of the funniest things ever made.

00:00:00 This video features Spanish stand-up comedian Ernesto Sevilla and American comedian Ricardo Moya. Sevilla talks about how he got started in stand-up comedy and how American comics are better than Spanish comics because they have more references. Sevilla also talks about how important it is to find your own style and not to copy other comedians. Sevilla says that he started doing comedy at the beginning of the 21st century, and at that time, Spanish comics didn't have any stand-up comedians to look up to. He recalls one time when he was telling a friend who didn't write anything that he hadn't done anything, and his friend told him to stop being modest and to start doing something. Sevilla has always said that, when it comes to comedy, American comics are the best because they are more creative and have more skill. He also says that, when you start to make money as a comedian, it's important to have a methodical approach and to be able to stick to a routine. Sevilla talks about how he became successful and how he learned to work methodically. He then talks about how some comedians become successful by copying others and how that doesn't work in the long run. Sevilla says that, when it comes to comedy
00:05:00 This YouTube video features Spanish singer and songwriter Ernesto Sevilla performing several songs from his early career, including one about his early comedy influences. Sevilla talks about how he started as a comedian, citing as his main inspirations Spanish humorists such as Chiquito, Gila, and Ángel Garó. Sevilla then goes on to discuss American humor, comparing it to Spanish humor. He recalls one memorable performance of his with fellow comedians Andrés Pajares and Fernando Esteso, during which he played the character of Gañán. Finally, Sevilla talks about the importance of keeping a regular conversation and how, during his tribute to Gila, he and his fellow comedians all dressed up as villains.
00:10:00 In this video, comedian and actor Ernesto Sevilla talks about his career and the importance of comedy. He shares the story of how he and his wife lost their daughter and how he misses her. He goes on to say that being a comedian is like being in a constant state of limbo, where you're always aware of death. However, he says this is what makes comedy so powerful and addicting. Sevilla also talks about his own self-destructive tendencies and how they've led him to be a comics. He says that being self-destructive is a way of protecting oneself from the pain of life. Sevilla concludes the video by saying that comedy is a way of confronting mortality and that it's a valuable tool in life.
00:15:00 Ernesto Sevilla talks about his childhood and how he started wanting to be a director when he was just 10 years old. He recalls how he enjoyed reading magazines and watching movies about the movie "Batman" and remembers how excited he was when it was released in 1989. Sevilla talks about how he persuaded his father to buy him a video camera so he could make his own movies, and how he eventually got into film school and started making short films. He talks about the importance of having real, in-person production values for his films, and how he's still chasing the same goal 50 years later.
00:20:00 Ernesto Sevilla speaks about his decision to live a single life and how it has changed over the years. He recalls a time when he was very scared about being single and how he overcame that fear. He also speaks about the pressures that come with being in a committed relationship and how it's different for men vs. women. He reminds the audience that there is no right or wrong answer when it comes to choosing to be single, but that everyone has to find their own way to live.
00:25:00 This video features Ernesto Sevilla and Ricardo Moya discussing the challenges of being single and having a long-term relationship. Sevilla shares that he's happy people are getting more open about being single, as it's not always easy for people to self- deceive about their situation. He also shares a humorous anecdote about how he first got into writing for television.
00:30:00 In this YouTube video, Ernesto Sevilla speaks about his early days as a writer and how he started working with Ricardo Moya. Sevilla recalls how he sold the rights to a nonexistent series to Paramount Comedy for 500,000 pesetas each (about $1,600 at the time). Three years later, Sevilla was hired to write the pilot for a new series that never aired, which he directed. Sevilla also talks about his relationship with Santiago Esperanza and how he was able to save money during his early days as a writer.
00:35:00 Ernesto Sevilla and Ricardo Moya were close friends for a long time, and as children they were always curious about each other. Sevilla and Moya have been friends since childhood, but didn't become friends in earnest until they moved to Madrid and teamed up to work together four years ago. Sevilla was like a distant cousin to Moya, and they remember seeing Joaquin Reyes in Albacete and smoking cigars together like an authority figure. Because Sevilla has that "chivato" look, Moya also considered him a distant cousin. But when they started working together, they became really close friends. Julio López, Julián López, and Carles Areces were also friends of Moya's when they were children. Sevilla was the catalyst for all of them getting to know each other. Julián López went to the same school as Moya and they became friends when Moya was 17. Raúl Cimas is also a friend of Moya's from when they were kids. Sevilla is always in touch with people he finds funny, and that's why he's become friends with Julián López – they share a similar sense of humor. Sevilla
00:40:00 This video discusses the origins of salsa music, specifically the formation of Ernesto Sevilla and Ricardo Moya's group, ESDLB. Sevilla and Moya recount their shared philosophy and how it has influenced their music. Sevilla also talks about the difficulty of replicating or emulating an organic group, and how producers have repeatedly attempted to copy or produce salsa in the same way. Sevilla concludes by saying that the group's creative energy is inevitable and that as individuals, we often sacrifice more for the sake of the group. He also credits the group's enduring relationships to its creative nature and the close-knit nature of salsa music.
00:45:00 In this video, Ernesto Sevilla talks about how one complaint does not see the big picture. As a PP representative during the time, she did not know about the Ernie Sevilla Show being funded with taxpayer money. Sevilla also recalls when the show was monthly, and how he and his friends would gamble on the show by betting on skits. However, Sevilla says there was no change in creativity due to the lack of budget. Sevilla also talks about how he and his team grew rapidly after making the switch to many different shows. He recalls the time when he and Ricardo Moya were the only writers on the show, and how they would call up other comedians to do monologues at their house.
00:50:00 This episode is about good news; we're finishing up sketches. We're going to look for more things and that museum. We've also got some advice from Ricardo Moya, and contrasting opinions. For example, when the nuns idea was accepted, some people in the group didn't like it, but they eventually got over it. Since the sketches evolved from sketches to a more complex project, it was important for the group to have continuity. This was a challenge for them, as some members were used to working on one project and stopping when it was finished. Palmero tells the story of how he got his start in production, and how two men and a half came to be. He explains how the team had to bring in extra people and set up stages. The episode concludes with a segment where the audience is given an entire episode to watch from the beginning to the end.
00:55:00 Ernesto Sevilla, one of the most famous Spanish comedians, discusses his experience working on the TV show "Museo Coconut." He talks about the pressure he felt to produce quality content, and how he eventually came up with the idea for the show. He shares his thoughts on the current state of comedy, and how comedy has evolved over the years. He also talks about his new stand-up comedy show, which he believes is one of the funniest things ever made.

01:00:00 - 01:50:00

In the video, Sevilla and Moya discuss the current state of the entertainment industry and how it has changed over the years. Sevilla talks about his new project, a compilation of different comedic sketches. He also discusses the importance of giving directors freedom to create, and how this has led to some unique and memorable films in the past.

01:00:00 In this video, Ernesto Sevilla, a comedian, talks about his experience in the early days of stand-up comedy, when improvisation was the only written material involved. He and his friend, Joaquín, improvised together and created many successful programs. Sevilla says that as he got older, he realized that he was not as good as he used to be and that the audience was not receptive to his material when he first started out. He talks about the contrast between the early days of stand-up comedy, when improvisation was the only written material, and the present, when comedians must rely on pre-written material and rehearsals. Sevilla says that this change has led to a decline in the quality of stand-up comedy, as less skilled comedians are given opportunities to perform. He concludes the video by saying that comedy is still an enjoyable experience for those who are open to it, and that comedians must continue to create innovative and original material in order to maintain the interest of the audience.
01:05:00 In this video, Ernesto Sevilla discusses his time working on SNAKE PIT with Ricardo Moya. Sevilla notes that it was an "inaudita" time back then because there were so many opportunities and that today, things are much more "medido". He also says that back then, there was a different sense of humor and that people were more open to new ideas. Sevilla believes that SNL has helped to bring humor to the mainstream and that it is an important part of their development as comedians. He says that it is important to always be learning and to strive for more than just "simple success".
01:10:00 In this YouTube video, Ernesto Sevilla discusses the difference between his work as a comedian and his work as a musician. Sevilla believes that what he does as a musician is what he is most passionate about, and it is always applicable because when you go into this kind of thing, you tend to idealize things a lot in your early records. He talks about how he feels about people who are critical of his work, saying that it is selfish for an audience member to not let the artist create freely. Sevilla goes on to say that, even though he has adapted to certain standards over time, he still feels like he is in control of his work. He believes that, when it comes to comedy, you have to be willing to negotiate with your audience, and that is something Farrelly and the Farrellys have always done well. Sevilla ends the video by saying that he is proud of what he has done with his career, and that it has been a positive evolution.
01:15:00 In this video, Spanish singer and songwriter Ernesto Sevilla discusses his album "4 Esperes," which consists of four songs that explore different spheres of life. He describes the album as having a "editorial absolute" and being a reference point for youth. Sevilla talks about how his music moved during the 1990s and how it has influenced subsequent generations. He shares his thoughts on the current state of music and how it has changed from when he was younger. He concludes the video by saying that he wants to work until he reaches 100 years old and that he is satisfied with his current lifestyle.
01:20:00 The speaker discusses how he has grown apart from his old friends over the past 10 years, as they have all changed their views and lifestyles. He compares this to his younger days when he and his friends would watch the popular sitcom "The Simpsons" together. He remarks that this was a time when the show had a deep and meaningful message that is no longer present today. He fears that if current trends continue, the show will be lost forever.
01:25:00 In this video, Ernesto Sevilla discusses his experience working on the ESDLB project with Ricardo Moya. Sevilla discusses the importance of giving directors freedom to create, and how this has led to some unique and memorable films in the 1970s and 1980s. Sevilla goes on to say that the 1990s saw a shift back to more traditional filmmaking approaches, and that recent Hollywood blockbusters such as Star Wars and Jurassic Park are products of this new era. Sevilla finishes the video by discussing the American independent film scene in the 1970s and 1980s, and how it changed dramatically with the release of Spielberg's thriller, Tiburón, in 1975, followed by Lucas's epic space opera, Star Wars, in 1977.
01:30:00 In the 1980s, though a child, I believe that Ernesto Sevilla is the best director of children's films because I had some titles and an impressive way of putting kids who had Indian Jones to the future of all this movement, but then I believe in the 1990s came a very similar era in American cinema, that is, all the directors of American cinema of the 1990s for me is very reseñable and very good, as you can highlight of this Argentinean one is reserved. Cows. I do not know what the 1990s had for two but the second of States Two countries but it is that in Spain also passed or mean the cinema of the real in Spain, which was a marvel or a kind of airplane to liberty stirring in the 1990s in Spain and the end of 1990 for it no longer is popular a lot Alex de la Iglesia began 90 July, Medem began 90 months ago, there was a lot of people who suddenly seemed to become suddenly interested in cinema, or be reborn as suddenly everything became very similar to 190, or as you might think, inferior to what is now, level of content, level of realization, because of that, American cinema of the 1990s, which had days
01:35:00 In this video, Spanish comedian Ernesto Sevilla discusses his new stand-up special, ESDLB, with Ricardo Moya. Sevilla discusses the different aspects of his stand-up, including his approach to comedy and his personal experiences that have influenced his material. He also discusses his new special, which deals with personal topics such as abortion and death. Sevilla discusses the importance of allowing others to have their opinion, and how his open-mindedness has helped him in his career. He concludes the video by talking about his new bomb-detonator watch, which he says is not a death threat, but a "funny clock" that helps keep people amused.
01:40:00 This YouTube video is about Ernesto Sevilla, a Spanish singer and songwriter. Sevilla explains that he is not afraid to speak his mind, and that he has always been rebellious. He tells the story of how he met a dangerous man, and how that led to his first relationship with a musician. Sevilla then goes on to describe his current musical project, which is about reconnecting with the artist in each person. He advises young people to be fearless and to not let anyone control them.
01:45:00 In this video, comedian and actor Ernesto Sevilla discusses his experience working in the entertainment industry, and his thoughts on the current state of the industry. He also talks about his new project, a compilation of different comedic sketches.
01:50:00 In this video, Ernesto Sevilla (ESLB) and Ricardo Moya (PDI) discuss measures to improve living conditions for the population. Sevilla suggests different amenities in order to make people feel comfortable. Moya asks about the chapter 0, which seems to be about preparation for always doing things alone. Sevilla reveals that he has time left, and that it is a pleasure to have a relative with some control. Moya also tells Sevilla what he wants to say, and they say goodbye. Sevilla then calls the police.