Below is an interview Benicio conducted with us in New York City.

What was so appealing about this role for you?

BENICIO: The director was the first thing that came my way. Then there was Sean Penn being involved with it, Naomi Watts was being considered [for it], and the script. It’s a character driven piece and actors kill for parts like these. I’d like to thank the people. (Smiles)

Can you talk about showing the hard, and yet, also the volatile side to this character?

BENICIO: Yeah, we wanted to show a little bit the contradictions and at the same time making him kind of like a simple guy. We wanted to show that contradiction of being hardcore and almost noble. The fact that he doesn’t deserve to enjoy another day. There’s something noble about it. He does the right thing most of the time but just a little too slow. But too fast, too. The guy’s going through a depression and that’s the bottom line. It’s a thing called “survival guilt.” People suffer from that and it’s a disease. Some of the people who survived the Oklahoma City bombing were sent to places that get treatment. Withdrawing the pain was one of the steps. Most of these people are in circles. That’s basically what this guy is going through – he’s in a spiral that he can’t get out.

During the initial stages of production, did you talk about the backstory behind your character with director Alejandro?

BENICIO: Yeah, we did talk about it. The director and I did talk about it. He was really into the fact that he’s abandoning his faith and conviction. I thought that this guy was more depressed. So we went 50-50 with it.

So did you see “Amores Perros” and was that the reason why you wanted to work with Alejandro?

BENICIO: That was the first step, yeah. It’s like a girl you first see that's pretty. (Laughs)

Was working with Alejandro different from the other directors you’ve worked?

BENICIO: The directors – they’re always kind of similar in many ways. They’re also special in their own way. I do like his subjects and what he tries to do [with them]. We do have that in common. If it lacks realism, we try to make it real. Sometimes, what is real for him isn’t necessarily real for me or vice-versa. It’s easy to work with people who will understand what it is you’re trying to accomplish.

What about working with a script that tells a story that’s completely disjointed?

BENICIO: The script was very much liked that. It was already chopped up like that. When I first saw the movie, during the first 35 minutes, I was like, “Huh?” But in a good way. It just pulls you in. I don’t know if this story, if it was story in a linear fashion, if it would have the same pull. It could but I don’t know if it would. It’s a dark movie and it’s getting you involved. It’s making you think. It’s not only about the soul and this and that. But think about the plot. How did this guy end up over here?

Alejandro likes to constantly move the camera around. Is it difficult, as an actor, to work like this or does it allow you to focus on the character more?

BENICIO: I think it’s easier because you have a little bit more freedom. The camera’s moving and you can bump into it a little more. There’s freedom with the use of space. When a camera’s not moving, you have to move [to certain places] to be in the frame. So there’s an element of freedom that I like.

And how was working with Sean Penn?

BENICIO: Really professional. He’s a pleasure to work with. I might be the wrong person to ask this because I liked Sean Penn before I started to be an actor. I liked him because of his sense of individualism or whatever he brings to it. Or maybe even his sense of reality.

Your character hangs on to religion in order to get through his ordeal. What do you hang on to?

BENICIO: (Ponders) I don’t know. I hang on to my wallet. (Laughs) I don’t know. Different things. I hang on to the things I love.

Do you have any bad memories of Christmas?