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I was working my first adult job, a quasi journalistic job, writing content for a website. In the offices, we had banks of TVs, papers, a constant media stream, which was unusual for 2001.

Growing up in the Philippines, I loved all kinds of movies. We had a very healthy film industry there when I was a child.

Soon I worked during twelve years in theater works of the prestigious Theatre National Populaire. It was the best time of my life, the most difficult, the most interesting, the most exciting.

I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries.

In the '60s, I was teaching humanities at a college in upstate New York and trying to publish a novel I'd written in graduate school. But nothing was happening. So I moved to New York City and got a job as a messenger at a place that made movies.

No, I worked a lot for European television, doing documentaries in Brazil.

I made a conscious effort to focus on television so I could stay in Los Angeles, so I wasn't on a location all over the world doing movies.

By 1949, there was no more work for me out there, and I went to New York in 1950 and just did whatever I could. Mainly television. Some Broadway. A lot of dinner theater work, which is not a very satisfactory medium.

I started as a model in Mexico - I was traveling, but my base was in Mexico City. And then I studied acting for three years.