Benjamin Bratt

"It can be considered by many to be foolhardy, especially when you’re messing with what’s considered a sacred text. But it’s also an irresistible challenge, isn’t it? It evokes so many different wild and outrageous and beautiful images that anyone who loves both novels and films can’t help but imagine what it would look like on the big screen. In this case I’m glad they took the challenge on. I think Marquez is glad too. Apparently he’s seen it and he’s responded favorably to it, he likes it. The trick is, as you aptly point out, is how to do it but how to do it well. Because it’s not an easy translation to make, and certainly nearly impossible when you’re talking about a great novel, which this is. The best you can hope for really is to capture the essence of the book, and I think the film has done that, which is good news."

"Film and television essentially feel the same when you’re doing it, because it’s the same technical approach. All the homework is the same. The homework for each medium is all similar, but the gratification in a live theater context is much higher, because it’s immediate. It’s far more dangerous, because there are no retakes. It’s electric, it’s an actual chemical transaction that occurs between you and the audience. Whatever energy you’re throwing out to them they throw it right back to you, and it kind of feeds on itself in this vacuum…"

"Well it was a bit of a conundrum because his actions in his kind of business had a real ugliness. It's power and violence and murder and mayhem and menace. And yet, I thought it was a mistake as an actor to predetermine or prejudge whether he's a good guy or a bad guy. You can't go into any characterization with that opinion or attitude or approach because it's sudden death. What it will convey ultimately is a one-dimensional character – the figure in the black hat that you've you seen countless time…"