The landscape of Hollywood has seen a vibrant influx of Latino talent, a path paved by the successes of luminaries like Antonio Banderas, John Leguizamo, and Benicio Del Toro. In recent years, the critically acclaimed film Y Tu Mama Tambien catapulted its stars, Gael Garcia Bernal and Diego Luna, into the international spotlight, opening doors to a broader spectrum of roles. For Diego Luna, this trajectory led him to share the screen with acting giants Kevin Costner and Robert Duvall in Open Range, and ultimately, to his most significant role yet. Diego Luna took center stage as Xavier Perez in Dirty Dancing: Havana Nights, released on February 27th. In this insightful interview, Diego Luna delves into his experiences filming Dirty Dancing: Havana Nights and offers a glimpse into his burgeoning career.
From International Acclaim to Havana’s Dance Floor
WM: Were you surprised by the overwhelming attention and opportunities that came your way after Y Tu Mama Tambien garnered international recognition?
LUNA: Surprised isn’t the word. I’m incredibly proud, happy, and excited by it all. To say I was shocked would be disingenuous, and frankly, detrimental. It’s been a genuinely enjoyable journey, having the privilege to work with such talented individuals and to have my work seen by a wider audience. I recall during the Y Tu Mama Tambien days, press tables were sparsely populated, with journalists often preoccupied on their phones. Now, there’s a palpable shift in attention. I have a wealth of stories I’m eager to tell, and I’m grateful the world is now listening.
Stepping into Xavier Perez’s Shoes: More Than Just Dance Moves
WM: What drew you to Dirty Dancing: Havana Nights? Was there a hidden desire to showcase your dance prowess?
LUNA: Absolutely not! Dance was actually a significant challenge for me as I was far from a natural dancer. In fact, you’d usually find me on the dance floor only after a few drinks, perhaps attempting to impress someone across the room. Dancing, for me, was more about proximity than proficiency! Initially, the prospect of dancing for the film was daunting. I underwent two months of intensive training. However, the appeal of Dirty Dancing: Havana Nights was multifaceted. Firstly, it presented an invaluable opportunity to take on a leading role in an English-language film, a crucial step in my career aspirations. Secondly, the film offered a refreshing portrayal of young, intelligent characters. I felt there was a dearth of movies that depicted teenagers or young adults as nuanced, real individuals, rather than resorting to stereotypes.
My character, Xavier Perez, is deeply political, and I appreciated the film’s potential to engage young audiences in political awareness and activism. It encourages them to critically examine their surroundings and consider how they can effect change if they are dissatisfied with the status quo. Xavier embodies this analytical and proactive spirit, which resonated with me. Furthermore, the music in the film was a major draw. I remember expressing my concerns to a producer about the potential for generic Latin pop dominating the soundtrack. I was thrilled when he played a track that aligned perfectly with the film’s tone and authenticity. It became clear that Dirty Dancing: Havana Nights aimed to be a commercially viable film with substance, featuring great music and talented people. The producers’ impressive filmographies, including Pulp Fiction and Frida, further solidified my decision to join the project.
Navigating the Legacy of the Original “Dirty Dancing”
WM: The original Dirty Dancing is a cultural touchstone from over a decade prior. Did you revisit it before filming Havana Nights?
LUNA: I watched it approximately two weeks before we commenced shooting.
WM: And what were your impressions upon watching it?
LUNA: It’s certainly not the kind of movie that captivates you at eight years old, when your cinematic preferences lean towards Star Wars or a thrilling soccer match. However, watching it was essential preparation. By the time I viewed the original Dirty Dancing, I had already developed a distinct vision for Xavier’s character and his dance style. This timing proved beneficial as it allowed me to create a unique interpretation, free from direct influence or imitation of the original film. I made conscious choices about my character’s movements and reactions, ensuring Xavier stood apart. In retrospect, not having the original film as an immediate reference point was advantageous in forging my own path.
From Dance Novice to Ballroom Confidence (Almost)
WM: After filming, would you say you’re now skilled enough to confidently enter a ballroom and impress the crowd?
LUNA: Definitely not ballroom ready! The ballroom scene we filmed was quite an experience. We were surrounded by nine couples of professional dancers, which was both inspiring and slightly intimidating. We felt a surge of accomplishment when we managed to keep up and even reach the semi-finals in the scene. We performed the entire routine, not just snippets pieced together in editing. It was a complete dance, performed repeatedly. There’s an undeniable thrill in executing a full dance sequence like that. However, the reality is the professional dancers were incredibly supportive, subtly guiding us and making space for our inevitable missteps. It was a collaborative effort that made us look far more competent than we actually were! So, while I can confidently perform the routine from the movie, ask me for another dance, and I’d need another two months of rigorous training! I’m a one-routine dancer for now.
Chemistry and Camaraderie with Romola Garai
WM: What was your experience working alongside Romola Garai?
LUNA: It was fantastic. The chemistry between Romola and I was paramount, and I think there was a collective apprehension about whether we’d achieve that crucial connection. Dancing intimately with someone requires immense trust. It’s a unique form of communication, a dialogue between two bodies that must harmonize. Establishing that synergy was the most vital aspect of the film, and thankfully, it materialized beautifully. We were in sync throughout the process. Initially, watching our early dance attempts was disheartening, we both thought, ‘This is never going to work!’ But we persevered, witnessing gradual improvements, supporting each other every step of the way. By the end, we were perhaps a bit overconfident, even presumptuous! We started offering choreography suggestions, convinced we had earned our stripes as dance experts! We felt a real sense of ownership over our dance journey, having navigated the challenges together.
Hollywood, Home, and the Global Stage
WM: Having worked with Kevin Costner in Open Range and now with Steven Spielberg on The Terminal, does Hollywood feel like your primary career destination now?
LUNA: My next project is actually a Spanish-language film. I don’t aspire to ‘conquer’ Hollywood or the American market. My goal is simply to make movies that resonate with me, to tell stories that I would be drawn to even if I weren’t involved. I didn’t attend university, so I see each film project as a learning opportunity, a chance to work with mentors. I seek out collaborations with people I admire, and I’ve been fortunate to have those opportunities. However, I remain deeply committed to my Spanish-language career. It’s my native tongue, and Mexico is where my acting journey began. There’s a somewhat disheartening pattern: before Y Tu Mama Tambien, I made sixteen films that went largely unnoticed. Then, international recognition arrives, and suddenly, you’re celebrated in your own country. It’s a bittersweet irony, highlighting a tendency to undervalue homegrown talent until it’s validated externally. However, the positive outcome is that this recognition empowers me to initiate projects in Mexico, to support directors I admire, and to contribute to the Mexican film industry. Ultimately, I want to make films, regardless of location. There are directors I admire globally – in Spain, England, France, Mexico, South America – and I’m open to working wherever compelling stories and inspiring collaborations take me.
Learning from a Master: Steven Spielberg
WM: What was it like working with Steven Spielberg?
LUNA: It was an incredible experience. He is truly exceptional. If I were to define a great director, it would be someone with a clear vision who effectively communicates their needs to the entire team, ensuring everyone is aligned in telling the story. Spielberg embodies this perfectly. He is remarkably clear about his objectives, efficient in his approach, and articulate in conveying his vision. This clarity makes you feel like an integral part of the creative process. He’s simply amazing. Working with him was a masterclass in filmmaking. I relish learning on set, and it was the ideal environment for that. Observing his process and the unified purpose of the entire crew was truly inspiring.
A Small Role, a Big Experience in “The Terminal”
WM: What role do you play in The Terminal?
LUNA: I play one of the friends Tom Hanks’ character makes while he’s in the terminal. My character works with food, managing a food cart, bringing meals from the kitchen to people in the terminal.
Family Ties and Artistic Lineage
WM: Your father is a renowned set designer. Is he proud of your acting career?
LUNA: [Laughs] Yes, he often jokes, ‘Damn it, I chose the wrong career!’ We have a deep mutual admiration, which is a wonderful thing to share. We collaborated on a play as a tribute to my mother, who passed away when I was two. He designed the set, and I performed in it. We brought together her friends from around the world for this special production. It was a deeply meaningful experience. I’ve done two other plays with him as well. Initially, we were cautious about collaborating too early in my career. For my first ten projects, he wasn’t involved to avoid any perception that he was opening doors for me. We wanted to establish our individual paths before working together. It’s interesting because his background is primarily in theater and opera. I recall when he was on tour, despite being a leading set designer in Latin America, he never traveled in first or business class. It’s somewhat disheartening that someone so accomplished could still face such limitations, while even a modest film success can suddenly elevate your status. It highlights the often-skewed values in our industry, where movies are often treated with disproportionate importance.
Embracing a “Real Guy” Physique
WM: Were you conscious of your physique and the need to bulk up for Dirty Dancing: Havana Nights?
LUNA: We discussed portraying a relatable, ‘real guy.’ I prefer movies where I can connect with the characters. I find it difficult to relate to action heroes with unrealistic physiques, spending hours in the gym. I wanted to embody a character who works physically demanding jobs, using his body for his livelihood, but not someone obsessed with gym culture. The filmmakers were supportive of this approach, which I appreciated. I did have to work on my posture, standing straighter, which was a challenge as I tend to slouch. People often think I’m shorter than I am – I’m 5’10” but often perceived as 5’6”. Xavier is more upright than me… well, not straighter in that sense! [Laughs].
Revolution and Cuban Identity
WM: How do you think your character would reflect on his decision to remain in Cuba?
LUNA: Revolutions are typically born from a need for change, but the outcome often deviates from the initial aspirations. The Cuban revolution achieved significant advancements, particularly in education, which is remarkable. You might find highly educated individuals, like doctors or dentists, working as taxi drivers, which is a poignant paradox. It reflects both the strengths and the limitations of the current system. As for Xavier, I’m uncertain whether he would remain in or leave Cuba. One thing I deeply admire about Cubans, wherever they reside, is their enduring love for their island and their unwavering belief in its unique value. They are also intensely political, with strong opinions. This political engagement extends even to the Cuban community in Miami. It’s crucial to clarify that Xavier’s desire is for revolution and change, which differs from being strictly pro-Castro. Revolutions arise when people seek control over their own destiny and their homeland. Whether Cubans today fully experience that control and enjoyment of their island is debatable. Having visited Cuba twice, I’ve been struck by the warmth, generosity, and openness of the Cuban people, their willingness to share despite facing hardships. They possess immense potential but may not have access to the opportunities they deserve. Cuba today presents a complex and contradictory reality.
Challenges in Mexican Filmmaking
WM: Why aren’t there more Mexican filmmakers working in Mexico?
LUNA: Often, they find it necessary to leave to pursue their cinematic visions. It’s a regrettable situation. You make a successful film in Mexico, and then it can take years to get another project off the ground. Conversely, opportunities can materialize more readily elsewhere. Guillermo Del Toro, a prominent Mexican director who directed Blade II, once remarked that Spain is a filmmaker’s paradise, an ideal location for shooting movies. It’s disheartening that a Mexican filmmaker can’t express the same sentiment about his own country. It’s a harsh reality, but you have to persevere and seek opportunities where they exist. Meaningful change will only occur when the government truly recognizes culture as a necessity, not a luxury, as it is currently perceived. The recent political shift in Mexico, ending seventy years of single-party rule, hasn’t yet translated into significant changes in cultural policy. There’s still a lack of understanding that an informed and educated populace is essential. Visiting Cuba, you’re immediately struck by the prevalence of reading. The statistics on book readership in Mexico are unfortunately quite low.
Venturing into the Con-Artist World in “Criminal”
WM: Could you tell us about your upcoming film, Criminal?
LUNA: It’s a con movie, and I play a Mexican character living in Los Angeles who teams up with John C. Reilly’s character to pull off a con. It’s a very entertaining film with a clever script.
Embracing Identity, Avoiding Stereotypes
WM: Are you concerned about being typecast in stereotypical Latino roles in the future?
LUNA: I am continuously working on refining my English to expand the range of characters I can portray, from various nationalities. I don’t view my background or accent as a limitation. Many American actors my age can’t convincingly perform a Latin accent, and I can. So, I see it as an advantage, a unique skill. Everyone’s career path is different, and I don’t want to replicate anyone else’s. I want to forge my own path. If my accent is part of my identity and my current reality, I will embrace it and work with it to broaden my possibilities. My motivation is to expand my horizons, to explore diverse roles, while remaining proud of who I am and where I come from.
