Ricardo Aguirre Loera
Actor's statement
What I want most is to act so that people feel less alone. I want someone to walk out of a theater, even if only for a moment, feeling embraced, understood, calmer, and a little more healed than they were before. To me, acting is not only about playing a character or performing a scene well; it is about reminding people that kindness, gentleness, and love still exist in the world. I am deeply drawn to dramatic characters the ones who are broken, the ones carrying something inside them and do not know how to express it. But I also want to pursue characters that challenge me, that force me out of my comfort zone and help me discover how far I can go as an actor. I do not want to stay comfortable; I want to grow, expand, and become someone versatile, capable of disappearing completely into any character. I deeply admire actors who never stop searching, who step outside of their comfort zone and have the ambition to always improve. I want to do the same. I want to tell human stories, necessary stories, stories that make people feel. Stories that remind someone that it is okay to feel broken, afraid, or unsure of what to do with their life, because even then, hope still exists. I am interested in a transparent and natural kind of acting. I do not want people to see an actor trying to look good or trying to impress. I want them to forget who I am and lose themselves completely in the character. I want to reach that point where the only thing that matters is the truth of the scene and what that person is feeling. Through my characters, I want to express who I am: someone who believes in kindness, in empathy, and in the idea that love is still our strongest driving force. If one day someone watches my work and thinks, “thank you for giving me back a little hope when I felt like the world was falling apart,” then I will know that I created exactly the kind of cinema and acting I have always dreamed of making.
What I want most is to act so that people feel less alone. I want someone to walk out of a theater, even if only for a moment, feeling embraced, understood, calmer, and a little more healed than they were before. To me, acting is not only about playing a character or performing a scene well; it is about reminding people that kindness, gentleness, and love still exist in the world. I am deeply drawn to dramatic characters the ones who are broken, the ones carrying something inside them and do not know how to express it. But I also want to pursue characters that challenge me, that force me out of my comfort zone and help me discover how far I can go as an actor. I do not want to stay comfortable; I want to grow, expand, and become someone versatile, capable of disappearing completely into any character. I deeply admire actors who never stop searching, who step outside of their comfort zone and have the ambition to always improve. I want to do the same. I want to tell human stories, necessary stories, stories that make people feel. Stories that remind someone that it is okay to feel broken, afraid, or unsure of what to do with their life, because even then, hope still exists. I am interested in a transparent and natural kind of acting. I do not want people to see an actor trying to look good or trying to impress. I want them to forget who I am and lose themselves completely in the character. I want to reach that point where the only thing that matters is the truth of the scene and what that person is feeling. Through my characters, I want to express who I am: someone who believes in kindness, in empathy, and in the idea that love is still our strongest driving force. If one day someone watches my work and thinks, “thank you for giving me back a little hope when I felt like the world was falling apart,” then I will know that I created exactly the kind of cinema and acting I have always dreamed of making.
More Information
Youth Actor: No
Gender: Male
Originary from: Chihuahua, Chihuahua.
Raised in: Chihuahua, Chihuahua.
Languages: omit omit omit omit
Height: 177 cm.
Email: iamricardoaguirre@gmail.com
Phone number: omit
Visa: No
Skills
-Emotional intensity -Naturalism -Strong on-camera presence -Nonverbal expression -Quick improvisation -Emotional connection with the character -Dramatic performance -Ability to convey emotion through looks and silence -Adaptability to different characters -Deep understanding of subtext -Athletic ability -Cooking skills -Freestyle dancing -Amateur singer -Producing -Basic camera handling -Video editing -Screenwriting -Understanding of cinematic language
-Emotional intensity -Naturalism -Strong on-camera presence -Nonverbal expression -Quick improvisation -Emotional connection with the character -Dramatic performance -Ability to convey emotion through looks and silence -Adaptability to different characters -Deep understanding of subtext -Athletic ability -Cooking skills -Freestyle dancing -Amateur singer -Producing -Basic camera handling -Video editing -Screenwriting -Understanding of cinematic language
Work in Film
Ever in Sin Exposición, directed by Jay Elias (2026). Extra in La Captura, directed by Chava Cartas (2026). Elías in MIA, directed by David Meléndez (2026). Kidnapped Victim in the series Whiteblack, episode “Impostor Syndrome,” directed by Alex Vargas (2026). Bruno in Crónicas de un suicidio, by Ricardo Aguirre (2024).
Ever in Sin Exposición, directed by Jay Elias (2026). Extra in La Captura, directed by Chava Cartas (2026). Elías in MIA, directed by David Meléndez (2026). Kidnapped Victim in the series Whiteblack, episode “Impostor Syndrome,” directed by Alex Vargas (2026). Bruno in Crónicas de un suicidio, by Ricardo Aguirre (2024).
Work in Theatre
-Kid Goat in The Three Little Goats and the Hungry Ogre – Elementary School Play. -Donkey in Shrek – High School Play.
-Kid Goat in The Three Little Goats and the Hungry Ogre – Elementary School Play. -Donkey in Shrek – High School Play.
Certifications/workshops
I studied the Meisner, Stanislavski, and Strasberg techniques independently. To put them into practice, I incorporated them into my character work. In *Whiteblack*, I applied the Meisner technique by allowing my interactions with my scene partner—who was acting for the first time—to develop as naturally as possible. For *MIA*, I focused on inhabiting the everyday relationship with an artificial intelligence, inspired by the dynamic portrayed in *Her*, as both stories share a similar premise. Finally, in *La Captura*, I once again relied on the Meisner technique during my scenes. Director Chava Cartas asked us to improvise an unscripted take. During the scene, another actor unexpectedly grabbed me by the hair, and my instinctive response was to spit at him, as he was playing a police officer and I was portraying a criminal. Before my first experiences on professional film sets, I made a point of studying the work and perspectives of several directors. It was through *Cinema Speculation* by Quentin Tarantino that I gained a deeper understanding of my place within a production, the responsibilities of my role, and the importance of making the most of every moment on set. That perspective has helped me collaborate effectively with cast and crew while maintaining deep respect for every department involved in the filmmaking process. Bachelor’s Degree in Communication Sciences from Universidad Autónoma de Chihuahua
I studied the Meisner, Stanislavski, and Strasberg techniques independently. To put them into practice, I incorporated them into my character work. In *Whiteblack*, I applied the Meisner technique by allowing my interactions with my scene partner—who was acting for the first time—to develop as naturally as possible. For *MIA*, I focused on inhabiting the everyday relationship with an artificial intelligence, inspired by the dynamic portrayed in *Her*, as both stories share a similar premise. Finally, in *La Captura*, I once again relied on the Meisner technique during my scenes. Director Chava Cartas asked us to improvise an unscripted take. During the scene, another actor unexpectedly grabbed me by the hair, and my instinctive response was to spit at him, as he was playing a police officer and I was portraying a criminal. Before my first experiences on professional film sets, I made a point of studying the work and perspectives of several directors. It was through *Cinema Speculation* by Quentin Tarantino that I gained a deeper understanding of my place within a production, the responsibilities of my role, and the importance of making the most of every moment on set. That perspective has helped me collaborate effectively with cast and crew while maintaining deep respect for every department involved in the filmmaking process. Bachelor’s Degree in Communication Sciences from Universidad Autónoma de Chihuahua
Contact actor
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External Links
Instagram Link
https://www.instagram.com/rickaguirre_loera/
https://www.instagram.com/rickaguirre_loera/
Facebook Link
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Twitter
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Threads
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Spotify
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Demo reel
Come see this reel on www.ActorsOutlined.com
