Name: Diego Luna Talks ‘Kiss of the Spider Woman,’ ‘Andor,’ and Playing Revolutionaries
Uploaded: 2025-12-16T17:59:51.000Z
Duration: 21 min 19 s
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The only reason I'm still alive is because I have information they want.

Past simple

You were in danger the minute you met me.

Modal verbs - A2

I'm so excited to talk to you because I've been a huge fan of your career for, like, an extremely long time.

I was actually grew up in Corbish, Christie, Texas.

And when Ytu Ma Tambien came out, it was like everybody was talking about that movie.

It was like the biggest thing that ever had happened.

And it's so great that you're now back with another film that people are raving about, another incredible year between Andor and Kiss of the Spider Woman.

So I'm gonna start with Kiss of the Spider Woman because this is actually an interesting thing, especially for you.

now it's been turned into a musical and it's won awards all the way through.

But sadly, it doesn't often get cast authentically.

So it was really great to see you as a Spanish language actor playing this role.

So talk about getting the role and taking that back a little bit by playing it authentically.

Because, first thing, this is a novel, right?

And it's quite interesting what that book has generated over decades.

You know, how relevant still is today, you know how different it reads today at the same time.

And it's fascinating how many things have come out of it.

As you said, a theater play, a musical play that opened in Broadway in the 80s that was really important for a community that was a hit.

But that also, like, was the first in many things.

You know, it was like, it was a very important event in New York.

And then a film directed by Babenko that was also very special.

And then the play, I remember the theater play and the musical in Mexico, you know, so the play traveled and was executed in different countries, you know, But

Bill Condon had a great idea which was like, well, let's make a homage to the Broadway play, you know, which is very specific.

You know, I think many, many people thought when.

When we announced the project, that we were doing a remake of a film, but

it has nothing to do with that, you know, And

I think that's beautiful because it's just a different thing.

But the seed is the same, you know, and is this, this, this.

This thing that the book had, which is so relevant today, to remind ourselves, you know, about down, about opening up, about allowing love to exist in every possible way.

It's a story about understanding, about change and revolution.

I mean, it really hit me deeply, you know, when I read it, because it also is a story that celebrates cinema and celebrates theater, you know, and

It celebrates cinema when cinema was pretty much theater shot, you know.

And the approach of Bill was very, very beautiful because he committed to that.

To that language, you know, to that visual language.

And we approached all the musical side of the film being very, very consistent in trying to make it the way they would have make it back then, you know, and

it was fascinating to go into that world.

But not the same, you know, this was very special.

And I got to work with amazing people from the theater industry in New York.

That it meant a lot to me, you know, coming from theater and being able to do that and work with those performers was very special.

And it's funny that you mentioned that, because I've been a student of your work on camera, but

you've also talked about how you don't love to dance on screen.

Like, this is actually something that I've known from ITU Maitambien, and

then also the one that you don't enjoy, Havana Nights, but I am obsessive with.

And it's like, man, you seem to dance a lot, though, for somebody that supposedly doesn't like to dance on screen.

So was it just that you really wanted to work with Bill because he makes you dance?

And I feel like that had to be the conversation.

I was more scared about the singing, you know, even though I don't have very complicated songs.

For me, singing is something I never trained for.

And also, like, I come from a country and a community that would dance, you know, for fun every weekend.

It was part of my life, but it's different.

I guess I respect very much dancers, you know, I respect very much those performers that can use their voice and their body in that very.

And it needs a lot of work and precision and.

And for me, well, yeah, I respect that a lot.

And I am very cautious, you know, But I also love the challenge, as I said, and

I think we had the right tools, you know, first of all, Sergio, Sergio, the choreographer, he was very kind to give me everything I needed to execute, and

The weight of the Musical is not on my shoulders, you know, And

I had the opportunity to work with someone like Jennifer that is, like, just the best at what she does, you know, and

it was so, so wonderful to see her process and learn from her and be taken by her hand through this journey, you know, And

Tonathieu and I, we worked really hard on putting together those numbers.

And again, we had great, great partners in this journey.

So it seemed like the right place to go and do something like this, you know, I don't know.

And this time, like, you do the Jennifer Lopez, like, type thing where you're like, in it, everything.

It was like, I was so excited to see you in, like, a musical type moment.

You were playing somebody that was fighting for freedom against incredible opposition.

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Diego Luna Talks ‘Kiss of the Spider Woman,’ ‘Andor,’ and Playing Revolutionaries

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