B.L. After being in about
100 movies I have to say that you still make your roles look effortless!
Do you have a secret that you want to share on how you manage to
do this?
R.D. Maybe age, maybe I'm mellowing. I'm always trying
to improve myself and you know when you love something so much,
even though it's hard work I find that there is a relaxing
process that goes on with that too.
B.L. Assassination Tango
is clearly a labor of love for you. You wrote it, directed it and
star in it. How difficult was it for you to get it off the ground?
R.D. It's hard to get things going. When I did The Apostle
it took years; everybody turned it down in New York and L.A. because
I think that they were looking for an angle and not representing
the people the way that they should be represented. So I had to
finance it myself. With Assassination Tango I didn't
initially show very many people. The second person I showed it to
was Francis Ford Coppola, and he liked it so he came on board to
produce it.
B.L. That's not too
shabby.
R.D. No, not at all! You have more people to answer to but that
can be good too. The editing process was a little longer on this
but it was okay. We had to try different things but I think it worked
out for the better.
B.L. You have always had
a love for the tango and Cuban music so I was wondering why it has
taken you such a long time to make a movie about it?
R.D. That's what Coppola said way back to me, after Godfather
II. The first time I saw Tango Argentina it was very
ironic because he was in the audience. It's kind of full circle
because he has always liked the tango and the music so it worked
out.
B.L. What is it about the
tango that impassions you so?
R.D. It's such a nice hobby and so many people do it. There
are people who know more about it than I do but I have my own approach
that is very personal. When you go to Argentina and you just watch
the old guys walk, just the beginning and the end of the tango is
the walk, and you just watch that and you learn. It's a nice
hobby and good exercise, and do it with somebody that you care for
and you should be able to dance with a lot of people.
B.L. But as we see in the
film your dancing with Luciana is very special.
R.D.I like dancing with Luciana (Pedraza, his girlfriend and co-star
in the film) we got out a lot and we have parties. We have a barn
in Virginia that we fixed up with a dance floor, it's beautiful.
So we have parties there and put salsa music on. She surprised me
once and flew Pablo Veron in who is a great Argentinian dancer.
When she first started I helped her, but then she eclipsed me in
a way. I sent her in the beginning to Pablo to help her learn and
she did great.
B.L. So did you, though.
R.D. I dance, I can move on a good night! Sometimes I feel self-conscious
because I am an actor, and then other nights it goes better, and
then some nights I don't go out at all. It depends; we practice
at home so I just do it in my time and my space without putting
too much pressure on me. It's a very critical world, that
tango world. They are just dog eat dog and criticize each other.
Oh it's amazing, they are worse than actors!
B.L. Worse than actors? I
find that hard to believe!
R.D. Oh yeah, trust me they are worse than actors. This one guy
down there one night took his shoe and sock off and said, "Look
at my foot." It was perfectly formed, it was too wild. One
woman who I met down there told me she had 28 abortions. These people
are from another world.
B.L. Where did the inspiration
for this film come from?
R.D. It just came out of something. I once saw a guy in a club who
was pointing out to me that he was an assassin. He seemed like a
hairdresser; he had energy the opposite the way you'd think
they'd be. I just sat down one day, I had a lot of problems
in my personal life and in a month I wrote this thing. I kept it
in a drawer for a long time. I wanted to connect certain ideas to
Buenos Aires and the underworld.
B.L. Here you are at a point
in your career where you are starring, directing, producing and
writing. How can it get any better for you?
R.D. I would like to direct more but way back when I did my first
documentary, John Cassevettes liked me a lot so he sent me a script
to direct. I like to do projects that I understand, if I am going
to take the time to do them. So, I want to direct some more films,
but I don't know what they are because I really need to find
a subject that truly interests me. I don't want to do a big
Hollywood picture; I don't know if I could do that, answering
to all those guys. I have my own projects. There are untold stories
from cultures that you've got to go in and let it come from
them. It's their space, not mine.
B.L. You recently shot a
movie in Alberta, Canada with Kevin Costner, how was that?
R.D. It was good. It's a big Western and I like Westerns.
I busted six ribs last May and had I busted them a month later I
wouldn't have been able to be in the movie. But I did heal
enough to get out there and back on a horse. We were there for about
13 weeks. I loved Calgary; it was wonderful up there. It's
like Texas without the accent. We went to watch some great jumping
horse riders and at night we went to the Calgary Stampede, which
is the biggest rodeo in the world. I really liked it, and the mountains;
I don't think I have seen anything more beautiful. Go to Emerald
Lake, just West of Lake Louise, it's unbelievable. One day
coming home from work from an Indian Reservation, a male cougar
ran in front of the car; man, they are dangerous but beautiful.
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