Leonardo DiCaprio sure does get attached to his directors. Heís
been inseparable from Scorsese for three films, and now heís all
chummy with his BLOOD
DIAMOND director, Edward Zwick. We call him Ed because
star and director were good about letting each other speak, often a
problem with some interview pairings. Each were able to drop their
message about the film within pointed questions about the touchy
subjects it covers. And Leo was dreamy.
|Leonardo DiCaprio||Edward Zwick|
Did you anticipate the ferocity with which the international diamond industry has come out against this film?
Zwick (EZ): Well, we knew that there were things that had happened
in the past that people would have rather forgotten, but their job
is the image of their product and the notion that they have devoted
many, many millions of dollars to that image is not surprising.
DiCaprio (LD): I didnít anticipate it, no, but when you approach
situations like this, these are things that are based on real events
and we are depicting a time in recent history where diamonds
resulted in a lot of civil unrest in these countries.
I had never anticipated, no, that that it would be this
intense by any means.
What was your knowledge before doing this movie? How much did you learn before the process of the movie?
I think I was like anybody else, I had heard whispers of it, but
until I got there and until I started to do the research I didnít
really quite understand the immense impact, certainly on
EZ: I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student. And I had known a bit of what had happened there, but the access that one gains from experts, to people who have devoted their lives and put their lives at risk to learn these things, is such a remarkable opportunity and it became an odyssey to me. I immersed myself in this field. I went, met victims and victimizers. Smugglers, mercenaries, traders and politicians. And it was just the most incredible opportunity to delve deeply into a place and what one hopes is that you honor that.
honor those people. That you do well by those who know much more
than you. I was very, very lucky that I encountered a man named
Sorious Samura who is a journalists from
Leo, what was your motivation to do this movie? Was it the social message?
First off on the script, it was such a powerful character. It was
such a powerful storyline and thatís what you look for first. I
wasnít personally going out seeking films with a social and
political message just to do it for the sake of doing it. It has to
have an entertainment value. It has to be a good movie and it has to
convey a message without the audience feeling they are being
preached to and I really felt this script accomplished that. And to
me it was very representative of a huge sort of issue in the world
today of corporate responsibility and what these corporations do and
All the way to gold and rubber and all kinds of other natural resources. And here was this character that was exploiting others that were less fortunate than him, dealing in the black market and not really being conscious of the world he lives in. And I just felt it was a really powerful character. I felt the dynamic between Djimon Honsouís character and my character was -- it was based on an earlier script and it was really Ed Zwick and Marshall [Herskovitz] who learned about the diamond trade specifically and brought the political aspects into this story, but in a way that I didnít feel was preachy. In a way that I felt was authentic. So, of course, itís always great to do a movie that you find is entertaining, but also can give some sort of political or social message and I felt this movie did that.
you left boyhood behind? Are you a man in movies now?
LD: As far as growing up, what can I say? I have to be honest, I never thought about that ever throughout the entire course of my career about choosing a specific role because it would make me seem more man-like. Even with roles like CATCH ME IF YOU CAN, I was 8 years or 10 years older than the character I played. It was an interesting character and I knew that as well that to be playing a character like that may be one of the last times I could be playing a character like that.
I think these things are really something are intangible, that you can never really control. You do these movies, you give it out to the world and you really have no idea how people are going to react to you [or] the subject matter. Iíve been in plenty of situations where I thought the film would turn out one way or my performance would be looked at one way and it was an entirely different situation. Once you make these movies you give it out to the world and you guys get to pick it apart.
did you go about getting your accent?
Spending a lot of time with the locals, drinking beers with them.
Hearing their stories. A lot of guys from the South African
military. I got to hang out with this military expert and just
listening to them talk. And of course, I had an accent coach and he
was there, guiding me through it, but we had conversations with
these people. Listening to their stories, made them say sentences
over and over again. Thatís just the kind of thing you do.
I wanted to definitely go to
I would add only one thing about what he did. Heís modest. He was
capturing these voices and able to immerse himself so completely so
as not to just give it the right ear, but to act within it and even
to improvise within it so he could inhabit the character and a lot
of the things you seen that film are things Leo himself came up with
or suggested based on what he learned about the dialect and all
these little bits of nomenclature and the little things that come
into it were also from him.
either of you been back?
We just got back!
We were there for six months.
LD: For me, Djimon and I became very close. I mean, it is going to be a lasting friendship for me. Ed is my friend too, by the way. [Laughs.]
Sorious and I, I think. formed something very important. I have not
had occasion to go back yet, I had been there before. There were
some remarkable people, more than I have the opportunity to mention.
We were in
you go back there for the premiere?
I donít think we can. Itís simultaneous to all this happening.
in contact with
Certainly playing a character like this who, as I said, was taking
advantage of the poverty around him and taking advantage of the
continent, it posed for a lot of, whatís the word? It was
uncomfortable as an actor to portray this man in front of an African
crew in locations like
The fact that these people have been through so much, they have been in a civil war for 30 years, the poverty rate, but literally, people were still dancing in the streets. The joy, the energy, the happiness they exuded to everyone was unbelievable and it made me come back home and sort of not want to listen to anyoneís problems. I donít want to hear what we as Americans have to deal with. When you are immersed in a place like that for six months and you see the extreme levels of what people have to deal with there. Yet they are able to keep a positive attitude. You just donít want to hear peopleís problems out here anymore.
For research, what other stuff did you do besides the dialect?
LD: There was a lot of military training too and we had a great stunt team too. We did a lot of faux military activities of hunting in the bush and tracking in the bush. What it was like to track in the bush. Hanging out with a lot of guys in the South African army. And really, that was really the tough stuff, getting that military background, because they are some of the best trained guys in the entire world as far as tracking is concerned and living in the bush.
I didnít go out and live in the bush for them a week or even a day, but it was a matter of doing these exercises with them. Like I said before, a lot of spending time and hanging out with them and hearing their stories. There is a certain amount you can get from books. You need to speak with the real people and ask specific questions that affect your character. Questions you have about your character otherwise youíd be skimming through hundreds of books trying to get that specific answer.
impressed you the most about Africa?
LD: What I was really overwhelmed with by Africa was its tremendous natural beauty. I got to go to some pretty amazing places. Every other weekend we got a day or two off and go on a safari or the natural wonders of Africa and if anyone gets the opportunity to go there, itís something you have to do in your lifetime.
Ed, can you talk about the casting process that brought you to Djimon?
Well, to me, Djimon is no longer any kind of a secret having done
such extraordinary movies, but they were always parts that were
always shining in brief doses. And I think the opportunity for me
and for him was to explore a nuanced performance that goes overtime,
that allows him to demonstrate a lot of other colors and I think
there is no substitute for someone who understands in some almost
cellular level, what a part is about.
He is a west African man and he could at times hear music
that I could only dream of. At
times he was in some sort of rapture about what was happening there.
And he, as much as taking direction from me, I think he also taught
me things that I was able to use in the movie. And as a
collaborator, I know Leo will say something quite similar.
LD: I mean, his character is really is the heart and soul of the movie. The story of a man trying to find his son. And he embodied this character and the word is electrifying, the intensity that he gives in his performance. What can I say? He and I were kind of alone on set and it was me and him and there is no other actor who could have given this performance. He is astounding in this movie and the energy and the intensity that you get off him as an actor, you get to play off each other every day. He is quite a brilliant actor.
They also went through great physical trials together.
They were in the mud, they were doing these stunts. Every
day, just because Leo had somehow in the middle of the shoot
contrived there were going to be four days off and as we were in
some swamp or some horrible place, Leo would come by.
Djimon and I would sit there and talk about the different kinds of
hot chocolates you can get in Paris and croissants and chocolates
and dream like two weird women on pastries.
I think while you were away you left a phone message when Djimon and
I were still in the muck and you left a message where you were
imitating Edith Pilaf.
you get injured on set?
LD: Yeah, Djimon got banged up, I hurt my knee. There are some of the sequences in this movie that Ed set up. A full week of squibs and diving behind cars. I donít know, you talk about that, because Iíve never been in an action sequence that was that well choreographed.
What about TITANIC?
Well, action. That was a
Well, they both played with pain. They played hurt and thatís the
really the best thing you can say about someone who gives themselves
utterly and they both did. You
can only do that if somebody commits completely.
And had it been two other actors, many of whose names I could
think of and so could you, who were doing those parts, we might
still be in African shooting.
was the last time you bought a real diamond?
And has this movie changed your mind about them?
I donít remember the last time I have. My mom is the only person I
would buy one for. And
she for a while now hasnít wanted one.
But, that isnít to say people shouldnít.
Look, these come from my conversations with Global Witness of
Amnesty International. You have to go into the stores where you buy
these diamonds at and ask for a certificate and ask for some
authentification that this isnít a conflict diamond and you have
to as a consumer use your best judgment to say, ďYou know what? I
believe you are being truthful in what you are saying and I see the
document and youíve proved to me this isnít a conflict
Thatís one of the biggest way this whole process can be stopped.
it mean people shouldnít keep buying diamonds?
LD: Does it mean that? I donít know. Probably not. But that isnít to say consumers shouldnít go out and do that. They should just use their best judgment and ask the right questions, because ultimately diamonds are a source of economic stability in Africa. But what they are specifically trying to target are these conflict diamonds that have funded these sort of warlords and civil strife in Africa. Itís about stopping those specific diamonds.
Itís a rare opportunity to actually have an effect. Because it was
awareness that helped bring this process about and it will be
heightened awareness that will help it. And thatís not always the
case in the world. But in this particular case, if that awareness is
increased than things will get better. So, itís an individual
choice, but it has to be an informed choice.
Other African themed movies this year had both white and African characters, CATCH A FIRE came out and bombed. Is there an economic imperative to have a white character in this film?
EZ: You know, ironically thatís not where we live as artists. We just try to tell stories. Itís for others who finance these movies to make those decisions. This happened to be a story about two African men and to tell one story without the other it wouldnít have be the same story. Itís not as if we had a story about a Mende fisherman and then said, ďOh, we need a white guy in it.Ē The irony, I think, is that such movies as you describe all began their development years ago. It takes a very long time for these things to come to fruition.
And I think itís not a surprise that artists from a lot of different circumstances might be plugged into some unconscious or some collective unconscious that would lead them to focus on this place and this moment. But itís not now, itís not as if itís a sudden trend people have jumped on. Itís something that has begun a long time before.
said you are playing with pain. Why would you do that?
Is it an addiction?
LD: Iíll tell you, quite honestly, it comes from being a fan of this art form, of film. It really is. I mean I think this is the great modern art form in my opinion. There have been 100 years of cinema, but there is so much still to be done. And I am a fan of movies and there is something about watching film that is burned into celluloid for all time that is now a piece of history. You go watch, being a fan of classic films and my children and their children are going to be watching these movies.
To make a great movie is such a combination of different things that need to come into play to actually make a memorable film and not have a film to fall by the wayside. To have something live on during the years. And one of those elements is the commitment the actors have to their performance. It doesnít always come into play, there have been a lot of great performances in the past in films that werenít great, but if you are lucky enough to get that combination together and be in a memorable movie, that to me is like being a part of a piece of art that is going to last forever.
said ďmy children.Ē Are you hiding something from us?
Of course! [Laughs]
cinema really change peopleís minds about issues?
LD: I donít think itís too much to hope for at all. There is tremendous capability there. Certainly in the world of documentary, absolutely. I look at films like FAHRENHEIT 9/11 and numerous other films that have changed political climate. But I think there is a tremendous role to be played in that respect, but thatís the key thing. Not to comment on this film or talk about how great this movie is, but I think this movie is the weird combination where you are able to get people into the audience, you are able to get people to get involved with a compelling story and meanwhile they are getting this political message and it isnítí hitting them over the head. They are going to absorb this social message, I believe anyway. Traditionally itís been one thing or the other. I think this is one of those rare opportunities or combinations that is going to affect people like that and simultaneously while entertaining them.
Being political yourself, how happy are you with the recent election results?
I think that Iím just going to say, Iím happy. I think that the
country has taken a turn for the better and I think a lot of things
that have been subdued politically and a lot of things that people
have wanted to happen are hopefully going to happen now. Itís
really up to the Democrats to not say things anymore and to take
action now and I think they will.
the Oscar buzz on THE DEPARTED?
Uh, great. [Laughs]
you feel this role with BLOOD DIAMOND, youíre sort of competing
with yourself for a Best Actor nomination?
I donít know. Once again, that goes into the hands to all you
people to pick this all apart of compliment it or insult it. Weíll