Emilram Gosio, a versatile and challenging career: he debuted in the cinema naked at the age of 17, he had to lose 8 kg for “Pertoneme” and more! Don’t tell anyone Forgive me TVMAS

His name is a combination of Emilio, his father, and Ramon, his grandfather. Emilram Kosio Palacios (Lima, 1981) grew up between the fifth block of Trujillo and Chiclayo by the Church of Nuestra Señora de Copacabana. In Rímac. In a spicy neighborhood, he says. Where he achieved street and mischievousness, he now pours it into his more active and dove characters, namely Samuel, the old man, who defies the advice of his foster mother and engages in shady and dangerous businesses in “Pertoneme”. , a soap opera from Del Barrio Productions starring Aldo Miyashiro and Erika Villalobos on America TV.

“Every time I play a lampoon or neighborhood character, I bring out the profiles I had in my childhood. They may seem complicated, but when you get to know them you realize they are not. Unlike other minors, I entered the world of acting at the age of 14, so I didn’t kill that much. At that age I did a TV movie by Aldo Salvini. “Tribus de la Calle” at age 15, and “Tell No One” by Panjo Lombardi at age 17” comments the versatile actor and educator.

To play Lito’s brother (Miyashiro) in “Pertoneme”, Kosio based much of his character on the two “comrades” he met in Rimac. She had to radically change her appearance and lose eight kilos, which was difficult for her to achieve.

“Losing weight wasn’t easy because I was one of those people who ate a loaf of bread and got bloated. I have been fighting this issue for ten years. At home I eat healthy, but at night I get nervous and eat a whole pot of brown rice (laughs). I also shaved and wore earrings. I have never pierced my body before.”, the artist commented. “The letters are in the corner and you have to look out for them. The body speaks. By observing their looks and behaviors, we draw them,” he adds.

─As part of the cast of “Perdóname”, how do you feel about the controversies surrounding the story starring Aldo and Erika?

I think all this happened for love. Many say why expose your children. I don’t see that there is negative expression. I know the family. Michael (18) had been working at AAA for some time, and Fernanda (15) was already working at the theater with her mother. Two boys who decide to work in this environment, what better than their parents to guide them. I think it’s wonderful that no matter what happened (the couple broke up after Aldo’s betrayal) they are still united and support each other. I appreciate that.

─How do you come to act?

There are no artists in my house. My father was a lawyer and my mother a telegraphist, a profession that no longer exists. It was my sister Teresa who nurtured an actor in me without desire. He danced and sang with me. My baby woke up. At first, I thought it was a reflection of my north. He followed Juan Gabriel, Mario Vargas Llosa, Alan Garcia. I really liked the work of Carlos Alvarez and George Benowitz. I started acting at the age of 12 when a job training teacher took us to act in some commercials. Of those of us who went, they chose only two. I am one of them. Then another ad came on and I didn’t stop until I entered a fiction. I learned to act empirically. I made short films at the University of Lima. Then I got into the movie “Don’t Tell Anyone” starring Ricardo Velasquez. It was he who suggested to Roberto Angels that he should study acting.

─“Tell No One” (1998) marked her debut on the big screen at the age of 17 and her first nudity. How was that experience?

Up until that moment I had not had the necessary acting training, I had only taken small workshops, and I was still determined because I would never get a powerful opportunity again. My father allowed my entry. He told me not to suck. That’s what I did. I played Johnny, a foreman’s son. The nude scene takes place in a river, where she is bathing with Joaquín (Santiago Magill) and tells him about her affair with her cousin. Joaquín grabs the horn, and Johnny, innocent, shows him his private parts. Eventually, the scene ends in a fight (laughs).

─In 1999, you worked again with Pancho Lombardi in “Pantaleón y las visitadoras”. You haven’t majored in acting, but you’ve still made your way into film. As a step?

At that time, actor Pierre Linares, trained by Roberto Angels, always won roles for me. It happened in “Ciudad de M”, “Pantaleón” and “Tinta Roja”. I didn’t major in acting, but after an actor dropped out, they invited me to record a scene with a Spanish priest. That’s all my participation. I wanted to be ‘El Cinchi’.

─After a few years, you pulled off that nail playing ‘El Sinchi’ in “Pantaleón y las Visitadoras: El Musical” (2019).

This was Aristotle’s gift. It was very nice. A good director friend of mine, Marisol Palacios, says: “Characters come to you, they’re not free.” They will always help you in many personal and work matters.

─A few years after training with Roberto Ángeles and Alberto Ísola, you played the main character’s friend in “El Guachimán” (2011). Is it true that Roberto said not to watch the movie?

(Laughs) I told him: “I hope you don’t see the movie I just made.” I didn’t tell him because I thought he was bad, but because he did the things he taught me not to do. He is an attractive, curious, Creole character. I gave him all the cheer in the neighborhood. It was a lot of fun.

─How do you stay relevant in both film, television and theatre, much less door-knocking and acting?

I think it’s lucky because we’re a small media outlet. In other countries you are stressed and you work hard because you are competing with many people. Two years ago, during an epidemic, I received an invitation from a Mexican director to act in the thriller “Hucera” (2022), in which I played a gynecologist. I had seven shots. I don’t know anyone, just me Perusu. It was showing me what I was made of. I loved it, it was a great learning experience.

─After that experience, did you try to pursue a career abroad in Mexico?

It’s not that easy, you have to compete with all the Mexicans and talk like them. I want to go to Spain. I have thought that.

─At any point in your life, have you faced discrimination or racism?

As a child they called me “black” and when I came to television after school, they saw me as a mountain man. I was not discriminated on the basis of race, but I had class discrimination on the part of people who mistreat you and make you feel inferior even with their eyes. This happens a lot to this day. It’s something in our DNA and we need to heal. It is very difficult.

─In “Contigo capitan” (2022) you played Edwin Oviedo, the former president of the Peruvian Football Confederation. How did you build it?

I based the script. The director told me that it doesn’t have to be a replica.

What do you think of Juan Reynoso’s sequel? Do you think he should go?

I should be aloof, but it’s hard to have money, when there’s an economic recession in Peru. This man’s arrogance means that Perusas, beyond not loving him, mistreat him. Hopefully a good technician will come in when he’s gone.