Pedro Almodóvar and Antonio Banderas have made eight movies together, and their latest, Pain & Glory, may represent the high point of their collaboration. In perhaps Almodóvar’s most directly a…
, exactly. That’s when we started connecting on a different level. At the time, he had already decided who was part of his group. It was almost like a company of theatre actors, but in cinema. A group that was working all the time with him. We were together practically the entire time. We used to go and live the night life of Madrid together, to the discos, to the dinners, to this and that. People like Rossy de Palma, Carmen Maura—: Victoria Abril. Yeah, it was like my stable company.
At the same time as being a part of that with Pedro, I also had an independent life as an actor in the theatre. I used to do theatre—and also movies—with other people. I had that thing going on over there, but there was always Pedro. Pedro became the pivot point of my career; I always returned to him. Until I left Spain.: That was the beginning of the ’90s. I left behind La Movida. At the time, La Movida was finishing and something else was starting.deals with what happens many years later.
: I regret youth. That’s something you have to learn to live with. When I thought about getting older when I was young, I thought I would be OK, because by the time I got there I’d have different necessities than I did when I was 24. I was wrong. I would like to do exactly what I did when I was 24, but of course I don’t. I don’t hang out; I don’t go out.
DEADLINE: Antonio, what did you make of the script he delivered to you? You play a man who looks and lives strikingly like Pedro. And there were moments along the way in your relationship where, like the actor character of Alberto in the movie, you had disagreements. Did you think that character was you?: I think Alberto, in a way, is a Frankenstein made of many of the characters of the actors, and also the actresses too, he has known along the way.
At the same time, it could be as deep as I wanted it. This really is a kind of miracle, because when you start shooting, anything can happen. The nature of a shoot is that there are going to be problems, and the director’s job is not to let them get out of hand. Truffaut used to say that shooting a film was like having yourself and your whole team on a train, on a fast track and with no brakes. And that it was the director’s job to make sure the train didn’t derail.
DEADLINE: The character is facing mortality, and you faced your own at the top of 2017 when you suffered a heart attack. Did you relate on those terms?: Yeah. It came from many different places. It was not one thing, like we opened this box in the morning with the same suit and wore it every day. No, it was not like that. I think it was a state in which we were allowing things to happen.
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