Rather than follow all the storylines at once, the film follows one person’s storyline for the twenty minutes leading up to the assassination attempt. Once we see the shots hit the President, we start over from another characters perspective. As we watch each segment unfold, new details get revealed. Only after all the characters have told their stories do we finally understand what actually happened.
While some have compared the film to Kurosawa’s “Rashomon”, they really are completely different movies. “Rashomon” used each person’s storyline to show how we all view an event differently, but “Vantage Point” never changes what actually happened, just the perspective of how you see the event unfolding.
Anyway, now for the reason you’re here, the interview with Edgar Ramirez.
Since “Vantage Point” relies heavily on not knowing that much about the characters and their motivations, all I’ll say is that Edgar plays one of the main characters in the movie. Sorry for being vague, the less you know the better.
During the interview we talked about how he got into acting, all the movies he’s been involved with, and what he has coming up. Actually, it was one of the best interviews from the junket.
And if you missed the movie clips I previously posted you might want to watch them before reading the interview. You can click here to see them. Finally, here’s the MP3 of the interview in case you’d rather listen to it.
Question: Did you develop a back-story beyond what it’s shown in the film?
Edgar Ramirez: Yeah, but it’s something that I usually do with each character just to have my…I mean I do my homework, so because it’s important to me to have some sort of reference even though sometimes the script or just the whole story doesn’t give it for me it’s important to have something real and built to rely on to solve the conflicts of the character. So I did it. I mean, my character because of his brother and all the–you know his attempts to set his brother; he had a real motivation that it was always there. However, I build my own story to try to give him some sort of, you know, humanity that is pivotal in building any character.
Question: What about the special forces aspect which is a nice surprising development, but it’s sort of all of a sudden he becomes you know the Schwarzenegger action hero of this movie—assassin anyway? Did you meet Special Forces people or do weapons training?
Edgar Ramirez: Yeah, yeah. I had the privilege to work and to train with real Special Forces agents.
Question: What was it like?
Edgar Ramirez: Luckily, yeah, it was very tough because one of them is one of my best friends so he didn’t have any mercy with me during training, so he was even more demanding to me than he would have been to any other actor because we’re child friends, but it was great. He’s a member of the Elite Anti-Terrorist troop in Venezuela so I could train with the real people. And I had also the chance to hang out with them and also focus on the psychological aspect of these guys to fully understand that they sweat, they make love, the go on dates, they have barbecues, they have sisters and brothers and for me that was important because we tend to think that all these characters, like either terrorists or special forces agents from any legitimate army in the world, they tend to be these robots, you know? These kinds of androids who don’t sweat, don’t hesitate, who fear nothing and it is not the reality. So for me it was important to put my focus on that too. So the training was both physically and
Q: Your career seems to be, you know all of a sudden you have this huge international career; you’re in the new Soderbergh film about Che Guevara with Benicio. How did that happen? Was that your ambition to sort of launch?
Edgar Ramirez: Yeah. Well, I decided to become an actor 6 years ago. I majored in political communications so I intended to be a diplomat. I was trying to get my life somewhere else. So for me just making the decision of becoming an actor was already like big and severe enough so I hoped to make movies. Whatever they were, you know set and whatever stories and touching characters were available for me. So I always saw the world as my stage—like my place of work. I think for an actor the whole world is a place of work because if you focus on characters and on stories they are
everywhere, so yeah, I feel very privileged to have had this great opportunities in the international cinema and especially in the American cinema.
Q: Was it Amores Perros that put you on this platform—this international platform?
Edgar Ramirez: Well, what it did was to help me make the choice. I met Alejandro González Iñárritu years ago during my college days and I was in charge of international promotion of this movie festival he was invited to as part of the jury, and then he saw my work on a short film that was directed by a friend of mine. But he did it out of a favor. It was like a hobby for me to perform at that time and then he liked it and he offered the possibility to be in Amores Perros but it was during my thesis. I was going to the Harvard National Model UN that year, I was involved in my other activities and I didn’t do it. I didn’t try enough to go to Mexico and do it. So 3 years later I was working already in politics in my country and then I think he came back to Venezuela but he wasn’t coming from Mexico, he was coming from Cannes so that would make me say, okay what’s the worst that can happen? I mean, let’s try and try it.
Q: Could you talk about shooting the different vantage points sequences for this movie and did you tally your performance or alter your performance—Forest Whitaker said he tried not to do that. That he pretty much did the same. What about you because your vantage is obviously more detailed than some of the other characters.
Edgar Ramirez: Yeah, I agree with Forest on that. We all tried to mostly focus on our own storyline and just you know like try to solve our comforts and go for it. But in certain moments we had to be aware that we were in someone else’s vantage point, in someone else’s you know, point of view for technical reasons. And in order not to give out the plot and in order to complete I think the intention of the movie that is to show that nothing is what it seems and that everything will depend on the point of view from where you’re seeing it, so yeah, it was a combination of both
Edgar Ramirez: No, not really. I mean, in my case I always break down the script to my storyline because as an actor I can’t know more about my character than my character itself, so for me I had like my own sequence like all articulated, you know to keep the continuity.
Q: What was the most physically challenging part of making this film for you?
Edgar Ramirez: Probably the car chase because I did my own stunts.
Q: Did you really?
Edgar Ramirez: Yeah I went out of the window. It was me, yeah. So I was hurt and I had to hold myself you know from the side from the holders and then shoot it back to them who was behind me.
Q: And you were shooting blanks we hope?
Edgar Ramirez: Yes, of course. And I checked!
Q: Can you talk a little bit about working for Soderbergh on the back-to-back projects?
Edgar Ramirez: Yeah, it was great. It was really great. I mean, he’s one of the…for me one of the finest American directors of you know of the most recent years. I think he’s got a…he’s so solid. He’s got such a clear idea of what he wants when he’s shooting and he conveys it in such a harmonious way, you know, because shooting Che was very difficult. The weather conditions were just extreme. We didn’t have to… I mean were really guerilla and all messed up and dehydrated and everything. We were shooting in Puerto Rico which is such a humid area and we were improvising a lot and however keeping, you know, the consistency and the coherence of the movie. It was really great for me. It was a great privilege