Otto Ortiz Opens Up About Television Censorship: "There Are Too Many People Watching Over You"

Renowned Cuban comedian, writer, host, and entrepreneur Otto Ortiz appeared as the special guest on the debut episode of the 'Rigoterapia' podcast, hosted by actor and comedian Rigoberto Ferrera. In an engaging 45-minute conversation, Ortiz reflected on pivotal moments in his career, discussing both the highs and the challenges he faced in Cuban television, while also sharing insights into his ventures as a businessman.

Ortiz expressed his love for crafting humor, admitting that he finds more joy in writing than performing. "I perform to get my face out there because writers usually go unrecognized," he stated. Reminiscing about his involvement in teleplays as both a writer and actor, he noted, "Within the comedy genre, they were quite good, and you were part of many of them," he remarked to the interviewer. He also collaborated with director Pulido on several projects, which he described as having similar themes with different names. Yet, one of his most rewarding experiences was working on the segment "El Tity y el Nene," which resonated well with audiences due to its prime-time spontaneity.

Afterward, Ortiz transitioned to Canal Habana, where he hosted a late-night talk show. He regarded this period as one of his most successful in television. However, he admitted that accepting a similar role on National Television was a mistake. "That's when things started to go downhill," he confessed, pointing to the constant scrutiny from "too many advisors" and the censorship he encountered. "There are too many people watching over you: questioning why you said this or that," he explained. This pressure, combined with public criticism, hindered his performance. "People were harsh, claiming I was imitating Alexis Valdés, even though that type of show has long existed on television." He acknowledged that his final phase in TV was not favorable and regretted leaving Canal Habana: "I should have stayed there, and I might still be there today."

A significant topic in the discussion was the censorship he faced with the teleplay "Helado Tropical," a comedy about three engineers working in restaurant kitchens to earn extra money. "It was playful and critical, but it got censored," Ortiz shared, illustrating the constraints creators face in Cuban television.

Ortiz also reminisced about his early days in comedy, mentioning his time at CUJAE, humorously noting, "As many comedians came out of there as politicians." He touched on his well-known dispute with ESEN, involving the loss of his car in an accident five years ago. Although the vehicle has not been replaced, he expressed some hope: "With the government's latest announcements, I might get it back before the year ends."

On the entrepreneurial front, Ortiz revealed that he owns a pizzeria, a business providing financial stability when comedy doesn't yield expected earnings. "I probably got that from my father, who was a confectioner," he quipped. Unlike in comedy, where he has never compromised, he admitted that in business, he has had to "negotiate with inspectors" to keep his venture afloat.

Lastly, he talked about his passion for baseball and softball, sports he plays on a team of comedians, even though he confessed not being the best on the field. "My game is stirring things up," he joked, sharing stories of competitive matches with other teams.

Through this interview, Otto Ortiz offers a candid look at his career, the obstacles of censorship in Cuban television, his role as a businessman, and his leisure pursuits, making it clear that while humor is his true passion, perseverance and adaptability are also key components of his journey.