Dinner’s on Me with Jesse Tyler Ferguson - Eva Longoria – on Aging, Ambition & Why 'The Best Is Yet to Come’

Episode Date: May 26, 2026

'Desperate Housewives’ star and ‘Searching for France’ host Eva Longoria joins the show. Over oysters and a burger, Eva reflects on ‘Desperate Housewives’ as her “film school,” her transition from TV directing to her first feature ‘Flamin’ Hot’ and the upcoming Netflix female-led comedy ‘The Fifth Wheel.’  Eva also discusses executive producing ‘The House of Spirits’ on Prime and the joys of becoming a mom in her 40s. This episode was recorded at Coucou in West Hollywood, CA. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Let's see. Today on the show, you know her from Desperate Housewives and from searching for France on CNN. It's the multi-hyphenate actor, producer, director, Eva Longoria. So, you know, if I get the job, I would love to. And he goes, stop. He's like, you cannot go in there asking for the job. No white man goes into these rooms thinking they don't have the job. Right.

Because you have to put on your white male privilege pants and walk into the room and go, this is how I'm going to shoot it. This is what we're going to do. This is Dinner's On Me, and I'm your host, Jesse Tyler Ferguson. So today I'm meeting up with Eva at Kuku, which is an adorable little French bistro, tucked off of Santa Monica in West Hollywood, next to the Trubidor.

I've been wanting to try this place for quite some time. A lot of my friends have been raving about it. It's that sort of effortlessly chic Parisian vibe with the California cool that we do so well here on the West Coast. They have marble top counters, icy martinis, steak fritz. I thought this would be a perfect place to catch up with Eva over some oysters and some great conversation. All right, let's get to the conversation. Wait, I was just thinking the last time I saw you.

Was in the Democratic National Convention. The DNC where you pulled me into your car because it was chaos getting out of there. And your husband was so lovely. He loved him. I know. But you pull, I remember you pulled me into your car. You know, just come with us. We'll get you, like, to, like,

corner and you get, like, we got to get out of here. We got to get out of here. We couldn't get out. We couldn't get out. And all I remember, and tell me, this is just a figment of my imagination. I just, like, this, I'm combining, our conflating stories, but, like,

I remember you taking tracks of your hair out in the car. Yes, yes, yes, yes, that was you. That was me. I thought you were going to confuse me with Sophia Vergara. No. Well, also takes tracks of her hair out. I feel like every actress's friend of mine is always taking tracks of their hair out.

this out of my head. Yeah, yeah, yeah. It was like, I was in pain. I always, I take my boobs out, I take my traps out. That's right. You were taking, like, everything was coming off. Yeah, I'm a 12-year-old boy. Yeah, yeah.

I love it so much. Okay, so that wasn't just a fantasy I was having. I was like, I think I remember even pulling huge chunks of her hair out. Yeah, that was, that was last time I saw you. That was, two years ago. I know. I know. That was before the chaos.

Yes, before the chaos. I have to say, like, I left that night very invigorated. And very, obviously, many of us did. Obviously, things did not go how we wanted it to go. But I do, like, what an incredible moment to, like, witness, you know, our first, like, kind of truly viable female candidate of color. Like, I mean, like, I mean, that was. Yeah, it was actually really inspiring being in that room.

But everybody, even remember Michelle spoke? Yes, I mean, the most incredible speeches. It was so many amazing speakers. and like the romance of the ideology of democracy. I was like, yeah, it was so poetic and so, like, they were so articulate. I'm like, vote, right? But it was that. I felt very inspired after that.

I had never been to a DNC. Oh, really? No, it was my first time. My husband had gone several times, and he was like, I think we should go this year. And I was like, yeah, absolutely. Well, you know, did you go to the, were you there on the roll call night? That's not the night. Yeah, that was, so, you know, we make it a party.

We're like, from the windows to the walls. Like, for Georgia. I know, yeah. Like, you know, everybody has, like, all the states turn out to each other. And then the Republican National Convention is, like, just a roll call. They're like, here, here. Yeah, yeah, yeah. Present.

Present and accounted for. Yeah. I know. These doors okay being open with sound? I knew. I fucking knew you were going to go here. I knew it. I was like the director's going to come out.

And three, two, one. But the lighting's good. The lighting's incredible. We like the lighting. No, I embraced all that. I embraced the sounds. The street sounds. I love it.

I did when I had Nisi Nashon. We were literally sitting outside off Venture Boulevard on Garbage Day. I was like, we're taking it all in. It will embrace all of the trucks. I know, I love it. When I do my podcast, like my son will run in and go, Mom! La la la la, wah. And then I'm like, leave it in.

Don't cut my son out. He will walk in in a podcast. He will walk in a podcast. some water? Um, well, just, listen. Fine, we'll start

with water. Jesus Christ. What does a girl got to do to get a drink around here? What would you like, order? Can I get it? Do you have a, do you have,

is this French? Yeah. So you don't have Prosecco? No, it's fucking he's like, don't insult us. I know.

Okay, no, then I'll take Assangement Spritz. I'll do it with champagne. I'll do it with champagne. I just want sparkling water right now. We're going to pretend. Make it,

make it, so we can pretend it's a son to my friends. Make it fancy. I love it. I love that you embrace all that. That's amazing. Now I do. Yeah, I know that's great.

Remember, you know, hold for planes when you're shooting. How many times have we heard that? And I remember I was directing something. I don't know, maybe it was like LAX, like the show. And they're like, hold for the plane. I go, this show's fucking called LAX. Why can't the sound of the plane be in the fucking show? I know.

I know. We would always laugh on modern family because like the sound had like the craziest ears. Like they could hear something from so far away. And then like I love when they would have the boom mics and they would try and find where the weird sound was coming from. But there was this one sound guy who me and Eric loved to make you fun. He was so easy to like embody his spirit because he would like,

he would walk up and then he would sort of like he would assess you. He wouldn't look at your face yet. He would like look at what you were wearing. He's like, he would just like, you walk up and you go, hmm. Okay. And he like assess and he'd go, good morning. And then he looked you up and good morning and like then acknowledge you. It was.

I feel like only us. Yeah. Only like actors who have been through a thousand moments like this can get it. Because the other thing, I love, I love PAs when they're like, they're like, hey, good morning. They just go to another world for a little while. Yeah. It's like, oh my God, how was your week? How was your weekend?

It's like they are so. I know. I was like, oh, I'll take some scrambled egg. Yeah, yeah, yeah, yeah. Scramble d'ags? Yeah. That or like you're like walk even just like slightly toward the restroom and you hear like a million walkie-talkies. Like it's 10-4.

10-1. 10-1. 10-1. 10-1. 10-1. I'm just going to be really fast. I know. I also hate being tracked on set.

I hate when people are like, everybody knows where I am. There's 4,000 people going. It was, because I like to go for walks and like I just walk. and like they were on a turn. I always go, how long is the turnaround? They're like 30 minutes. Like, all right. Like, guys, Eva's walking.

Eva's walking. She's walking off the set. And I'm like, yeah, I'm going to go for a walk. I need a little fresh air. I, the very first sitcom I did in L.A. was at the Warner Brothers. Oh, wow. I love that ball.

And I was being put up at a little hotel across Barnum. You didn't live here? No, I was living in New York. Oh. Barham. Barham. I was in a theater actor. So I was, I was flown here.

I did my first pilot. And I remember just saying, I'm just going to walk home. So I walked off the set, walked home. The sidewalk literally ended. Like it ended and I had to walk in the street over and overpass. And beep-b-b-b-b-b-b-m. Like the transfer van pulls up behind me. They had been following me because they were worried about me.

Yeah, please get in the van. Yeah, please don't walk anywhere. Yeah. So, Jesus. That happened last night. Paula Bell, who wrote this movie. I just do. I love Paula.

Paula and Janine. Are you done with this, by the way? I'm in post, yeah. Tonight's with the friends and family. Oh, my God. How'd I know? I know. I know.

Because I would have loved you to get eyes on it. I have so many questions about that. I know, but no, so they flew in because we have friends of family. Yeah, I love this. I know. Shake it, baby. Shake it, shake it. Embrace it.

Now for a quick break, but don't go away. When we come back, Eva talks about the importance of female-led comedies. Plus what it's like raising her son all over the world. Okay, be right back. Right now, our family is living that New York theater life. I'm performing in a play right now called True, where I get to play Truman Capote, and the kids are here with me,

and I'm working in the city, which is amazing. I love it so much. It also means I'm juggling a lot. Between rehearsal schedules, school drop-offs, figuring out dinner in between shows, and then making sure everyone has what they, need, it's hard enough just getting through the day, let alone planning ahead. And while we're here in New York fully immersed in this, you know, this season of life, it got me thinking about how our

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Fabio Semin Tilly. Big hearts, big voice, big laugh. A rock star hairstylist who drove a Porsche. He was like a wizard behind the chair. The killers came for Fabio in his own backyard. You can't rationalize it. You can't figure it out. There was rampant speculation about everything.

But every wild theory was wrong. Because the truth was even more unbelievable. Well, is anyone hearing what I'm hearing? And even more heartbreaking. The uncertainty of not knowing. is a form of agony. From Sony Music Entertainment and novel, this is Cut Color Kill.

I'm Jonathan Hirsch. Cut Color Kill is available now on The Binge. Search for it wherever you get your podcast to start listening today. Subscribers to The Binge can listen to all episodes, all at once, add free. And we're back with more dinners on me. I want to hear just a little bit about, so you finished Fifth Wheel. I'm so excited about this. So good.

First of all, I'm very, very excited about true directing career. Oh, thank you. I know you've been doing it for a while, but I just watched Flaming Hot on a plane a few months ago. Yeah. Before I even know I was going to sit down with you, it was like, oh, I may need to watch this. Yeah. And it's such a, that was your first feature film, right? My first feature, yeah.

I'm kind of blown away because, I mean, obviously you have like tons of experience from directing many, many things. Yeah. But it was so sure-footed. Like, I was just really, like, struck by the tone. And first of all, the story is incredible. Thank you. And it's such an inspiring story. It's such an inspiring story.

It's so beautifully died. Everything, like, rags to riches and believe in yourself. It's, like, all those great themes. But, like, the, I read the script, and I was like, I have got to do it. I'm the only, I really believed. I was the only person in the world who could direct it. And when you feel that, because, They weren't even going to meet me on it because I had never done a feature.

I'd done like 12 years of television, which is the hardest form, Matt, by the way of directing. It's the hardest single camera. As far as time management goes, too. Yeah, the time suck of single camera. It's my favorite form. I love TV. Love TV. And I never had an ambition to do film.

I was like, I wasn't like, I'm going to direct a film one day. I was like, I love TV. I was in the grind of episodic television, and that's where I got my feet wet. and then I just fell in love with it. And then I just started to do pilots. And I loved world building with, like, a pilot and setting the tone and the cinematic look for a TV show. And I like staying with characters for a very long time.

You know, I did a lot of Blackish. I did a lot of Jane the Virgin. I love going back and back and back. I can't believe I never did you guys. I know. It's very sort. Yeah, Sophia hates me. Oh, please.

Sophia does not like that. Are you kidding me? She's one of my best friends. I was, that's what I thought. I was like, maybe something happened that I don't know about. Let's start some rumors. Let's start some rumor.

No, are you kidding? I'm not. Let's give on something. I talk about it. I think she's one of my favorite people in the entire world. Exactly. In the entire world.

You have so many funny stories of her on set. But you'll appreciate this because we were in Paris and they were like, we want to go to this restaurant. I go, oh, that restaurant's so like, it's so loud. And Sophia's like, I know.

And I was like, okay. So I get us a reservation. I get there first. And then they go, Oh, Miss Angoya, we got your table in the back. And I go, I don't think Sophia's gonna like that. No, she's not. But let me go see it. And it was like popping. The restaurant was so

loud. And so we go to the back room. And I go, I love this. I go, we'll sit here, but in case we need to move, they go, yeah, yeah, but the only table we have is like right dead center in the middle of the restaurant. And I go, okay, so I'm sitting there and in come Sophia, her whole entourage. And she's like, what are we doing back here? Yes.

How am I supposed to find a husband if we're sitting in the back? We should be in the middle. And I'm like, grab it. That's right. This is so much better. Everybody can see me. Yes, exactly. Isn't that so funny?

Like, I remember we were shooting an episode of Modern Family in, like, Tahoe, and they put us up, they got us reservation in a very nice restaurant there. And they put us in a private room with, like, curtains all around us. And she thought, she's like, are we being punished? Why are we back here? Like, she, like, she, like, I think she even opened up the curtains herself. Like, she's like, I want to be a part of the room. Oh yeah, that's exactly right. But anyway, I can't believe I didn't direct you guys.

But I love, so I love television. And then when I read that family thought, I was like, I have to do this. And then I got the job. When you put yourself out there for like a feature like that, do you have to like, did you come in with like, this is how I see. You have to come in with the whole. A whole world sort of like. Yeah. So you have to come in with a vision.

And they just want to know, you know what you're talking about, you know. I remember the first time. Do you know Brian Tannen? Brian Tannenen was one of the headwriters of Desper Outstores, but he was also headwriter of this show Grand Hotel we did together. So I was practice pitching my pitch to him, and I was like, okay, and I have my whole deck, and I built out a whole deck and a graphic designer and videos playing,

and so I start, and I go, so, you know, if I get the job, I would love to, and he goes, stop. He's like, you cannot go in there asking for the job. No white man goes in to, these rooms thinking they don't have the job. Right. Because you have to put on your white male privilege pants and walk into the room and go, this is how I'm going to shoot it.

This is what we're going to do. This is how it's going to look. You don't go and I mean, if you guys agree, maybe shoot it like this. And I'm hoping if we, he goes, take all those freaking words out of your presentation and it changed me, not just the president. It changed the way I go. It also changes the chemistry in the room, though, too, because it feels like you are someone who comes in with such...

Yeah, this is my job. Sure-footed, like I just said, very short-footed. It shows that, you know, you know what you are going to do, and they should be so lucky to have you, you know? You're welcome. Exactly. I'm so excited about Fifth Wheel.

Did that feel like a major genre shift for you? No, because, like, comedy's my wheelhouse. Like, that's my wheelhouse. Things just show up? What is happening? Oh, my God. Is that one any chance? Maybe.

She's like, no. That's how Mexicans eat oysters. What would you ask for? Tabasco. Hot sauce. I would have Tabasco. Don't say Tabasco and then like clarify hot sauce. I know what Tabasco is, ma'am.

Tabasco, it's a kind of hot sauce people use. I'm from New Mexico, okay? Oh, yeah. There it is. But tell me about it. So you're pleased with Fifth Wheel. Oh my God. So I specifically said, guys, because Flaming Hot was funny.

It actually was funny. And so after Flaming Hot, I was like, I really want, this is what you got to do. Look, you got to put lemon, Tabasco. We should have salt, but it's fine. The notes, the notes. And so I was like, I want to do a big fat female comedy. And my agents were like, got it, got it. And I was like, I want like a little.

And we, like, you know, and I said kind of like bridesmaids, but like now and what does that look like? And so my agent had called me and he was like, stop the presses we found the script. And it was the fifth wheel. And I had to meet with Paula and Janine, who wrote it. And they were, you know, they were looking at all these directors. And it was Netflix. And thank God they were fans of my directing. So I went in and met with Paula and I just was like, listen, lady, this is what we're going to do.

And this is what the movie will be because it. deserves to be in the same level as all the male comedies that get that budget, that get that marketing, that get that platform. And like, why do the female comedies always go? And then we have this. It's like a second thought. Oh my God, this is great. That's gorgeous.

I don't have my phone. That is so pretty. I want to take a picture of that. Just so everybody knows. Yeah, take a picture. I think someone probably already took a photo, but I'll take another masterpiece. Oh, my God. Here, look at me.

Wait. Oh, beautiful. Oh, stunning. Gorge? Gorge. How about preference for the temperature of burger? Medium? Yeah. Yeah.

Yeah. Oh, it's a whole situation underneath there. It's a whole situation underneath. You've got to do the spread. Oh, my God. Yes. But, yeah, so we shot in L.A., which was crazy. I had to shot L.A. in, like, nine years.

No, nothing shoots here in right now. Nothing shoots in L.A. When you were shooting, is that, like, the most time you spent in life recently? Yeah. Because I know you are, you're mostly in Spain and Mexico, right? Mexico, yeah. Are you Mexico City? Mexico City.

The greatest city. Isn't it great? The greatest city. Do you prefer being, if you had to choose over Spain or Mexico City? Oh, don't make me. They both have different pros and cons. Yeah. The Spaniards really love life.

So do the Mexicans. But the Spaniards really like, they work to live. It's that European, like, you know. Long lunches. Long lunches. Oda de Vermut, which is, you know, 4 o'clock, we got to stop. That's right. Bermuth hour.

I'm like, what's happening? That's crazy. You know, the streets are so alive because people are out and multi-generation. So you see kids in a restaurant, you see grandparents in a restaurant. And I feel like that's something we don't do here. Like, if I take my seven-year-old to a nice restaurant, people like side-a you and like, ugh, why'd you bring a kid here? How is your son now eight? Seven, eight.

He's about to be eight. Yeah. Yeah. And there it's like, grandma and grandpa at the bar. Right. My son's at the bar. Like, we're all just out. Everybody's out.

And nobody has their phones out. Right. Nobody has their phones out in Spain. Everybody's talking and laughing and talking to the table next to you. And oh my gosh, where are you from? Oh, yeah, yeah. Like, it's just such a social country. Everybody is so kind.

Yeah. Mm-hmm. And Mexico, too. Mexico is the most beautiful, the most beautiful thing about Mexico is its people. The Mexican people are so. kind. When you were doing your Searching for series, I know you started Mexico, right? Did Mexico,

then I went to Spain, and then I did France. And you're doing another season in France. Second season. We leave Saturday. I was just saying, I don't understand. I've... They were delicious. Yeah. Oh, yeah. Thank you. This is great. Oh, my God. That is crazy. You know, between you and Padma Lakshmi and

my, we just had him on the show, Phil Rosenthal. All these friends of mine who were like somehow reverse engineering these incredible jobs where they get to travel the world and eat incredible food It's exactly what I did. I was like Where do I want to be?

How do I make a job there? Tell me about the France version of it Because like I know as a parent You know, sometimes jobs that take me away from my home It's very complicated. Yeah, how old are your kids? My kids are four, they're approaching four and six. So around the same as you.

Yeah, yeah. Well, Santi came with me everywhere. He did. Okay, that's what I was going to ask. Yeah. And I talked to a lot of people about it. Ricky Martin, Zoe Salada. You know, people are like, how do you do it?

Carrie Washington, how do you guys do it? And they gave me their homeschool teacher agency, and we traveled with the teacher that went with us everywhere. But he was also young. Like, you know, in those pre-K, TKK, pre-KK, pre-K, like, you don't. It's easy to miss a few days with that. No, but it's also like, he's fine. We can travel and be with a teacher to help him, you know, developmentally be where he needs to be. I think traveling is the greatest luxury.

I get that it's like a privilege and a luxury, but it's also the greatest education you can be in the child. I agree with that. My son's like, when we're in Paris, he's saying hello in French. He's counting in French. He's playing on the playground in French. He knows macaroons. Mom, can we go to that place with the macaroons? And then when we're in Spain, he's like, oh, my God.

I want a chuleta. Mom, can we go? Like he, I knows, like, oh, this is a different culture. Yeah. And he loves maps. So he's like, Mom, I want to go to, what did he say? He wanted to go. Kazakhstan.

I don't even know what it was. Because he saw it on the map. Yeah, my son has this globe. It's like this interactive globe that has a stylist. Yes, yes, yes. And, you know, you could point to different countries and it will tell you about. Yeah. And where does he want to go?

Yeah, so he was driving in the back. He was in the backseat. I was driving the car. I was taking him to school. And the globe was asking him to find, where was it asking him to find? I think it was asking him. Something like that.

It was like, it was challenging for me to like picture where it was. And so I was trying to like guide him. I was like, okay, like what are you looking at now when he'd tell me? I'm looking at France. I'm like, okay. So go. And I was like trying to figure out where. And then he found it.

And he was telling me where it was in the globe. And I was like, okay, wow. this is, I mean, it's pretty incredible. He has, like, a sense of, like... Yeah, the world. We live in a global community. We don't live in L.A. We don't live in New York.

We live in a global community. And that's why I love doing it. I mean, I didn't have that growing up, though. No, the first time I ever went to Europe, I was 20... I don't go to Europe. Yeah, 25. Wow. Yeah.

I mean, and my son's... My son, when he was eight weeks old, I did Dora the Explorer, the movie in Australia. Yeah. And I was like, how am I going to do this? and they were so great. I was still breastfeeding and I had a baby nurse

and like it was hard, but we had to go to L.A. Australia three times. L.A. Australia, Australia back. L.A. Australia. But he was so tiny. He was sleeping. It didn't matter. But I remember then I went to Texas.

I went to Texas after we did that. He's like maybe three months old. And the boarding pass, the lady's taking my boarding pass from L.A. to Texas. She goes, um, he's platinum. Oh.

I was like, she was so confused. Like, how can a three-month-old baby be platinum? His points. His miles. And I was like, I know, we had to do Australia like three times in two months. And she was like, well, he gets a free drink. Oh, my God, that's hilarious. But I'll take that.

I'll take it. But I'll never get. She was so confused. She's like, is this his boarding pass? That's so funny. Because he's platinum. And she was so confused. That's really, that's gold.

Now for a quick break, but don't go away. When we return Eva and I bond over becoming parents later in life, and she explains how the Desperate Housewife set influenced her as a director. Okay, be right back. Across Canada in a Volvo. Destination, Vancouver, turn left to leave. Travel west through. Approaching.

Continue toward. You've arrived. Adventure and Comfort with Volvo. Whether you prefer gas, plug-in hybrid, or fully electric, there's a Volvo for everyone. Learn more at VolvoCars.ca. And we're back with more dinners on me. Does it sometimes feel, because I sometimes reflect on this with modern family,

you know, the thing that you're most known for, like Desperate Housewise, probably for you. Yep. Not that it's a thing that is, for me, modern family probably, and when we look at the grand scheme of my career

when I become older, it's going to be the thing that probably sure it made an impact, but I just, I imagine there's to be so many bigger things for me, like artistically than that. I refuse to believe my greatest success is behind me.

Right. Absolutely. When they're like, oh my God, you were on that really big show, Modern Family. And you're like, yeah, yeah, but I still have lots of, things I'm going to do. I feel like I haven't even tapped into the full potential that I have.

Like I'm like, oh, I can't wait to see what's coming next. I, but I do, I have such an appreciation for obviously what Desperate Housewives gave me, you know, this platform and ability to say yes or say no to things. Of course. And also give you, like, be like free film school, I imagine. It was my film school, 1,000 percent. Yeah. I use Desperate Housewives as my film school.

I'm like, what's that? What's a lens? Why are you changing it? What's the gate? Because we filmed on film. Right, right. I'm like, what is that? That's actually pretty rare.

Do you feel like you're influenced by those directors? A thousand. I'm influenced by Mark Cherry. His tone was so specific. It was so funny because Carrie Washington was a dear friend of mine, and she, the first time I screened Flaming Hot for her, she called me, she goes, so crazy. That movie's everything, it's so you.

It's your energy. it's fast-paced, it's energetic, it's loud, it's great, but it's also the Desperate Housewives camera movements. It's also your Chicano studies degree. It's also your activism. Like she thought the movie was so mean. I said, it is, it was, but the influence of the camera style was definitely Housewives, whip pans and push-ins and dolly shots.

It was like always moving, and that's Mark Cherry. That's the brand of Mark Cherry and his, you know, dromody that he really perfected that genre. How do you communicate? Now I'm asking questions for myself. I'm using you as my films of school. Great. How do you communicate when you want something like that?

Yeah. That very stylized thing. I mean, I wouldn't know how to even like say. Yes, yes. Hide the push in the Zoom or blah, blah, blah. Yeah. Did you say that? Now I do.

But when I didn't know, I used sound effects. I would go, hey, you know, Bob, I would really, I wanted to go like, whoosh, you know what I mean? Like, woof. And he goes, oh, okay, so you want a whip pan. So you just explain yourself. You're going to be so good at it. I think I am.

You're going to have a good time. I'm excited. I mean, what I've noticed from your work, really even before you decided that you wanted to, or even before you were actively producing, I guess, is that there is like a through line and sort of like a mission statement to your work that I really value and appreciate. and I feel very much, like, I feel very much the same way. I do a lot of stuff me and my husband, we produce some things together or stuff that I might do by myself.

You know, I do find myself using that as an opportunity to shine alive back on the LGBTQ community. And that's where a lot of the scripts that we respond to seem to, you know, speaking that way. And, you know, I- Because you have something to say. Yes, yeah, yeah. And I feel like the right person to tell those stories.

Mm-hmm. And I certainly feel that with your work. It's definitely on purpose. Yeah. Because I do think filmmaking is about perspective. Because we can both do Cinderella, but your perspective of that is very different than my perspective of that. And the Cinderella I would want to make would be look like this, you know?

And the one you want to make is like, oh, what if we did Cinderella, but, you know, with LGBTQ. And what if we did? And I do think the lens in which you tell stories matters. And that's where when we talk about diversity in Hollywood, it's not diverse stories, it's diversity of thought. Like why we think differently, and that reflects on the screen. And I do think with like, Flaming Hot, it was a really good example

because I was like, I am Chicano, I'm the one that can tell the story. I am Richard Montanese. Like, I have struggled. I've been told no. I've been told you maybe don't do that. I had such a strong perspective of that. But where it really matters for me is hiring. So it was so important for me to on Flaming Hot to have all department heads be Latino.

And the DP had to be Latino, the costume designer. Because literally the way in which they saw my vision of the movie, they got. There was a shorthand. They're like, yeah, of course. You know, props, having not Tabasco on the set, having chalula or tapatio. That's what we use. And he, you know, to have that setting and going, no, guys, what is this? Like, this is.

I remember, I remember we're mixing the movie, flaming hot. And when you mix it, you're doing the sound. So you're putting, you're taking out that thing and you're adding this or you're adding, you're adding sound effects. And there was a flour tortilla on the, I mean, a corn tortilla on a comal. And the scene was she's heating up tortillas. And she's like, honey, we got to go, blah, blah. And the sound guy put in like a frying sound. Like, it's frying.

Right. Because he goes, oh, it's on the stove. It must sound like that. And I go, who the fuck put... Like French fry? It's frying when it's hot oil. Have you not heard of a tortilla on a comal? It doesn't sound like that.

It sounds like this. So I didn't have to explain myself on set. I was a shorthand I had with them. And on the fifth wheel, it's such a female comedy. Mostly, the producers were female. Paul and Janine were the writers. I was the director. all the stars were female.

We all were firing on all cylinders with jokes. And what we thought was funny because we all were women. Like, fuck, that happens all the time. Nikki did a really funny joke about, you know, her cheating boyfriend. And she was like, you know, hell, I'd shove an air tag up his ass if I didn't think he'd like it. And then I have to add that to the rotation.

And we all laughed so loud because you're like, yeah, when you have to add a new. move. Yeah, to the rotation. To the rotation. Like, we were laughing so hard, but she just, like, spit that out. We were laughing, but that wouldn't have happened if it was a male director and male, you know, writers

back there going, why should say that? That doesn't make any sense. Right. So that perspective matters. And we hired, you know, we, everybody we hired was mostly female. Our whole post team, our editor, our music supervisor, I mean, all of that, musical editor. Almost everybody

in post is a female. But, like, that's where you can make a dent. Because then you're a multiplier. So it's not just you going, look at the chance I'm getting. Isn't this great for us? It's the chance you give to everybody in your crew. Right.

Another thing I really appreciate about the work you've done is you have done a lot of documentaries, which I know, because I've done a lot as well. You know, I'm always told like they don't make money. They're really hard to get funded. But I'm like, but I have to tell the story. Like we have access to this person and this story. Like, how do we not give them a platform?

Yeah. So, I mean, I've definitely appreciated that about, you know, I just, I guess there's, there's a very clear vision about your work and, like, sort of like a thesis to your work, but it's also all encompassing of so many genres, like the House of the Spirits. Yeah. Which is so good. So beautiful. So freaking beautiful. One of the most beautiful productions. Productions.

Yeah. First of all, how did you get involved with that? Because I remember seeing the House of the Spirits with Meryrd. 30 years ago. And Winona Ryder. All the white people. Winona Ryder, went close. I had a great cast.

I forgot Glenn Close. Yeah. Anthony, Antonio Baderas was in it. Yeah. So, I mean, that was, you know, a little color. A lot of white people. Oh my God, I forgot about the burger. Oh, I know.

Oh my God. I was like, why do we get a knife for dessert? I know, listen. I will have a bite up. I'll just have a bite. Oh my God, I have to at least try it. Oh my God, it's so good. It's like a thousand I-O-O-O-Ele.

That's so good. Yeah, it's so delicious. Wow. I see them. We see them. We see them. Oh my God, that's a really good burger. Wow.

Wow. Oh my God, the first bars. Oh my God. It's so good. Okay, wait, why were we talking about House of Spirits? We were talking about, I was saying House of Spirits. I was just, the sort of breadth of your work that you have, kind of attack. to yourself too. You are like a true multi-hyphenote.

Like you must have so many ideas. Like what percentage of the things that you are passionate about that spark interest in you, do you think end up becoming something that we get to see? Anything I want to do comes to life. Really? Yeah. So I'm because I'm very picky about what I do now. So I'm lucky enough that I'm in a position now that so much is incoming now. So like House is

That just fell in my lap and I was like, yes. So I'm fortunate that I've built a body of work that can attract. I mean, it's also, you know, it's certainly not, I think, lost on anyone that, you know, as a Latina in Hollywood, you know, it's, to be producing and directing, you are, I mean, there are others, but not many. And it's incredible to hear how, you know, much. work you do to bring people into all your departments. That's such incredible work.

And like you're really putting your mouth. Yeah. Well, that's why I created hyphenant media. My media company is because I wanted to build the pipeline of talent. And above the line, below the line, not just in front of the camera, but like, you know, do you want to be an editor? Let's get you in. Let's get you shadowing people. On the fifth wheel, I told them, I was like, hey, guys, I want any female director that wants to shadow me.

I don't care if I have a shadow every day. and I gave them access so we had a bunch of directors come in and sit and shadow and see how the sets run and see and they got to ask questions and it was really great yes I mean I did the opposite of what I was so good I just can't

fall asleep before my screening I know I know I said it wasn't going to have any more than one bite of that and I basically you devoured it something I can't relate to you about is that I've also became a parent in my mid-finding 40s for the first time. You know, I mean, I know you have stepkids as well

who are older, but like, you know... I'm a grandparent from my stepkids, yeah. I'm a grandma. Wow. But no, yeah, but having a kid, yeah, it's 43. First of all, I mean, what's your perspective on that and what's your perspective of it? Oh my God, it just keeps coming.

You were done. Gorgeous. Stop it! I'm such a sweets fanatic too. Are you? I'm not. You're not? No, I'm salty.

I was like, ooh, nuts. I'm going to have a few bites of that I can't help myself How has it been for you As I please help me Okay look back up As a quote unquote older parent Oh I've loved it

So many of my friends were young moms And the beauty of that is like now they're Our age and they're like ready to go They're like we're going to Paris We're going to Europe. But I'm lucky that I did everything before he arrived. I got to say yes to everything. They're like, do you want to go do the press in Rome?

Yes. I want to go do that. You know, do you want to do you want to shoot this movie over here? Yes, yeah. It was all about me, me, me. And I loved it. And I built my career. So by the time Sunday came, I was ready to like, now motherhood.

And I love it. And I really. I feel very much in line with that as well. It's not like people go, oh my God, you're so much more, such, you're so much more patient as an older. I was like, not really. I'm still, just because you're older doesn't make you patient. Uh-huh. Like, but I do think it makes me more focused on just him.

Yeah, for sure. As opposed to you. Absolutely, yeah. And how, you just turned 51 this year. Yeah. I'm turning 51 in October. Oh, we're both 75. Uh-huh.

Yes. What did you do for your 50th? Justin, my husband, is 10 years younger than me. And so we did this for our 30-40 as well. We celebrated together. And for our 30-40, we had like a party that went into wee morning hours. For our 40-50, we had an afternoon party that our kids were at. Yeah.

It was great. And all my friends were like, this was the best time to do this. It's a perfect time. I loved 50. I had a meltdown when I did. turn 30. I was like, what am I going to do? And I was like, shut up. I heard someone was like, today's the last day of my 20s and they were freaking out about it. I was like, oh, you're fine. Shut up. The best is yet to come. Best is yet to come. I love my 30s, 40s. I'm going to love my 50s.

I do too. Yeah. So far, I mean, I'm barely in it, but like so far it's been great. Yeah, I love it. Yeah. I was in the Hamptons with my, a tequila, like last year or something, and they were like, oh, you got to go to these bars. And I was like, guys, I'm not really like the bar type. And every time we walked into a bar, they were like, oh, my God, it's Evelyn Goria. My mom loves you.

And I would be like, oh, thank you so much. And then we went to the next bar. And they were like, Eveningoria, can I get a picture? My mom's going to freak out. And I'm like, yeah, yeah, yeah. And then the third person is like, Eveningoria, my mom loves you. And I was like, if one more fucking person.

Like they only know me because of their mom. That's really funny. I mean, I'm kind of in the same boat. I'm kind of in the same boat. Yeah. But then I'm like, of course. Okay, tell your mama. I should be FaceTime or let's call it.

Do you find that kids are now rewatching that's for housewives? Yes, everybody's rewatching it. It was like number two the other day on the streaming. Interesting. That's really interesting. I keep getting like notifications. Like, do you want to watch a house? I go, no, I don't.

I'm fine. I made it. Did you ever rewatch it? No. Did you watch it the first round? No. You didn't. Interesting.

No. The number one question is, you're going to do reboot? You're going to do reboot because of all the reboots. Yeah. But Mark says, no. Mark never wants to. Yeah, he's like, because, you know, this was a time where we did 24 episodes a year for a decade. There's none of the six to eight bullshit, you know?

So Mark's like, we fully mind the characters. Yeah. And I was like, I can't sleep with one more person on the street. Like, I literally have slept with everybody. Or can we? Can we? Find the right game. for you, you'll say yes.

The new neighbor. Thank you so much for doing this. I adore you. And please pick up the nuts that you threw before. Please, if you could just clean up any spare nuts. Sorry. This episode of Dinners on Me was recorded at Kuku and West Hollywood, California. Next week on Dinner's On Me, you know him as fashion icon, designer, accessories king,

and from his day's judging project runway, it's Michael Coors. We'll get into becoming fashion obsessed at a young age. I mean, he had notes as a five-year-old for his mom's wedding dress, and what it's like to see his name on handbags everywhere on a daily basis. And if you don't want to wait until next week to listen, you can download that episode right now by subscribing to Dinners on Me Plus. As a subscriber, not only do you get access to new episodes one week early, they'll also be able to listen completely ad-free.

Just click try free at the top of the Dinners On Me show page on Apple Podcasts, to start your free trial today. Dinner's On Me is a production of Sony Music Entertainment and a kid named Beckett Productions. It's hosted by me, Jesse Tyler Ferguson. It's executive produced by me and Jonathan Hirsch. Our showrunner is Joanna Clay. Our associate producer is Alyssa Midcalf.

Sam Bear engineered this episode. Hans Dale She composed our theme music. Our head of production is Sammy Allison. Special thanks to Tamika Balance Kalasney and Justin McKita. I'm Jesse Tyler Ferguson. Join me next week.