I first learned about Antonio Banderas when my friend Alex made we
watch Pedro Almodovar's early, twisted films. They usually involved
histrionic women, elaborate wallpaper and a masturbating Iberian hunk named Antonio Banderas. By
the time his Zorro films came about, I felt as if I knew the man.
His newest film is a direct-to-DVD heist picture called The Code (also known as Thick as Thieves), directed by Deep Impact's Mimi Leder and out on DVD and Blu-ray on June 23rd. He stars alongside
Morgan Freeman and Radha Mitchell. I won't lie and say it is the greatest film ever (it is a little more The Score than Ocean's Eleven) but there are plenty of worse flicks out there. And, really, how often to you get to see so man Fabrege Eggs up close?
Below is a transcript of my conversation with the heavily accented and
sensual Antonio Banderas. Note - he also confirms that he is planning
to return to Broadway in an adaptation of Zorba the Greek.
Jordan Hoffman: Where are you right now?
Antonio Banderas: Los Angeles.
Jordan Hoffman: Not that far away, all things considered. I want
you to know that, much like Richard Nixon, I am recording this
telephone conversation. I wanna know that's OK with you.
Antonio Banderas: Absolutely, I'm not going to put you in jail.
Jordan Hoffman: You know - you are even more handsome over the
telephone. It's incredible. I'm hearing your voice and I'm
reconsidering all my previous thoughts about my sexuality.
Antonio Banderas: [laughs] Thank you very much. Now you know why they called me to do Puss In Boots.
Jordan Hoffman: I want to congratulate you on the new film, The Code, which I just saw. Some of those scenes are actually shot in Grand Central Terminal in New York City. What's it like to close down Grand Central to make a movie?
Antonio Banderas: I think actually it's the first time I worked on a movie in New York City, except for a couple of scenes I did in New York when I did The Mambo Kings, which was my first movie in America. I'm emotional, actually, working in the city. It's such a cinematic city. Normally New York movies are filmed in Toronto or Vancouver, for tax purposes or whatever. But this time we were working there for a week, week and a half, and the rest of the work was done in Sofia, Bulgaria. Even inside the train station, all the subway scenes, were shot in Sofia, which was kind of difficult because the art people have to prepare the scene for a few hours beforehand, and then change it back before the station opened again the next day. But the thing is, in this movie, it doesn't matter where it was shot. You are in New York.
Jordan Hoffman: New Yorkers are notorious for getting mad when someone interrupts their lives. Did any anyone yell and scream at you during the week and a half shoot?
Antonio Banderas: Sometimes. I think there was a scene where I was outside a Central Park station and some guys were yelling, "Antonio!" But I think that scene was erased. The people in New York are very loose. They go through their business and ignore whatever is happening on the streets, for the most part. I have an apartment in New York with my wife, and we walk around and we don't have bodyguards or anything like that. We just go, and I love it. Experiencing new restaurants, theaters, museums, whatever. That's actually the city I would love to live in, but my wife is resistant to that.
Jordan Hoffman: So in this film there is a heist. There is planning and scheming. What are some of your favorite movies in this genre?
Antonio Banderas: My character actually refers to a couple of movies. Jules Dassin's films [Rififi and Topkapi] One of those classic heist movies. I love heist movies to see all the planning, to watch characters squeeze their brains in order to break the rules. To do soemthing that is outside the law and get away with it. I love heist movies when there is not violence, when you can do something clean and scientific. And at the same time there were a couple of Italian heist movies that were done comically. Big Deal on Madonna Street, I think was one of them that I love. It's a heist movie about nobodies trying to be high level thieves. [The Code] is a genre movie, which was one of the biggest challenges we had to confront in opening the movie theatrically in The States. It's an independent company competing with the big studios, who usually handle this type of film. So we were in a way, handicapped to compete with the studios. I know there were some studio offers to distribute the movie in America, but [producer] Avi Lerner was not happy with the input they were going to have in promotion and publicity so he decided just to open it theatrically in some other countries, like Spain a couple months ago, for example, and it will open in 20-25 more countries, but not in America, which is pitiful, but that's the way it works.
Jordan Hoffman: When you're working on a film, how much are you thinking about where it's going to play and what kind of distribution it will receive?
Antonio Banderas: I used to, but not any more. I just try to concentrate on the pressures that this profession gives me between action and cut. All the parallel worlds and parallel lives that a movie has, I prefer not to think too much about it. Otherwise it would be continuous ups and downs that would damage your mental health. You prefer to just keep yourself in the work. Whatever happens after doesn't depend on you, it depends on many, many other people.
Jordan Hoffman: We spoke about New York. I saw you in New York on the stage of Nine the musical walking through the water on the stage, getting everyone in the front row wet. Have you seen the film version that's coming out?
Antonio Banderas: No, not yet. Actually, my wife said to me the other day that she saw the trailer and she said it looks amazing. So I'm expecting the best for them.
Jordan Hoffman: It looks like someone doing their best Antonio Banderas, but that's OK.
Antonio Banderas: No, no. I'm pretty sure that Rob Marshall knew what he had in his hands and I'm sure he did a brilliant movie. And really, I'm talking from the bottom of my heart. I don't have any hard feelings.
Jordan Hoffman: Are you planning to see it, or maybe you'll wait a while?
Antonio Banderas: I will see it. Absolutely. I'm curious to see what they did with a reflection of a reflection of a reflection. The Fellini movie in 1962 [8 1/2] was already a reflection of movies inside movies and then the play [Nine]came in 1982, I think it was, and Fellini saw it in New York and he loved it. And then we did the second version revival four or five years ago, and it became again. I think the issue that Fellini was treating, the creation and the crisis is so wide that it's allowed to be revisited multiple times. I'm pretty sure that they did a fantastic job. The respect that I have for Rob Marshall and Daniel Day-Lewis and everyone who is in the movie including my friend Penelope Cruz, I think they're gonna be fantastic.
Jordan Hoffman: The real question is, do you think you'll sing along when you do see it?
Antonio Banderas: I don't know. All I can tell you is that for me, Nine was a theatrical experience. Probably the most beautiful time that I spent professionally, not in front of a camera, in America was on that stage of Nine every night, fighting with that character and confronting audiences. And I plan to go back to Broadway very soon.
Jordan Hoffman: Do you have something specific in mind or just a general desire to get back onstage?
Antonio Banderas: I've been offered to do Zorba The Greek. Another piece that has to be revisited. I saw the movie a couple weeks ago and it surprised me. I remember seeing the movie in the '70s at some point, but I didn't completely remember the entire story. I remember it being something more festive, more happy, but when I saw it the other day suddenly I found it a dark movie with ups and downs, like life itself, moments of comedy and moments very dark and very profound. And I love that, the possibility of jumping on the stage again to create a character that has nothing to do with what I did in Nine. So if everything goes on track, I believe I'll be onstage again in a year.
Jordan Hoffman: We spoke a bit about your work on the animated film Puss in Boots. I want to talk about another animated character, the Nasonex Bee. That is you doing the voice, correct?
Antonio Banderas: Correct.
Jordan Hoffman: OK, because I suffer from clogged sinuses, and I wanted to thank you for the aid you've brought me over the years. Every time I use it, I think not of mucus, but a nice Spanish Breeze on the Costa Del Sol. Why was the Nasonex Bee not in Bee Movie? Have you talked to Jerry Seinfeld about this?
Antonio Banderas: (not really enjoying this question at all) Um, no. I suppose they are two worlds absolutely different. Of course, when you do publicity you do it for money. Unless you've got an incredible pull for the product you are selling and you just want to do it for free. But that is not the case.
Jordan Hoffman: So you are working with Woody Allen right now?
Antonio Banderas: The movie is going to start on the 11th of July in London and I will get into the production around the 24th to the 30th and I will be there for a couple weeks.
Jordan Hoffman: I know you can't say anything about it because he's very tight about the script, but do you know the whole story or does he just feed you the part you're in?
Antonio Banderas: Not at all. All I can tell you is that I'm in a movie with a bunch of different characters. I practically have everything with Naomi Watts, and that's all I can tell you. No more. I don't even know the total context of the movie. I know what my character is. I know what she is, and that's it. I don't know anything else. You were totally right. They sent me a letter when I signed the contract saying, please keep it low key about talking to the press about what you're doing.
Jordan Hoffman: You're excited to work with Woody Allen, I'm sure.
Antonio Banderas: Absolutely. He's a legend that I admire. Not only his work as an actor and direct, but I've read his books. This is one of the most prominant intellectual Americans and I love the possibility of being close to him.
