IN CONVERSATION WITH JOHN LEGUIZAMO
words LEANDRO DA SILVA
interview TIMOTEJ LETONJA and LEANDRO DA SILVA
Few artists have shaped modern entertainment quite like JOHN LEGUIZAMO. Across film, television, theatre and comedy, the Colombian American actor, writer, and playwright has built a career defined not only by remarkable versatility, but by a relentless commitment to authenticity, representation and storytelling. From iconic performances in Carlito’s Way, Romeo + Juliet, Moulin Rouge! and the Ice Age franchise to his acclaimed work on Broadway, Leguizamo has spent decades pushing creative boundaries while championing Latino voices in an industry where representation still struggles to reflect reality. Following his appearance in CHRISTOPHER NOLAN’s epic The Odyssey, Leguizamo reflects on loyalty, legacy, the craft of acting, and why creating space for Latin excellence remains one of the driving forces behind everything he does.
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TIMOTEJ LETONJA
Today we’re here to talk, of course, about your many years of work in the film industry, but also about an exciting new film you have coming up. The Odyssey (2026) exists on such an epic scale, but at its core it’s also deeply human. How did working with Christopher Nolan preserve that emotional intimacy throughout the filmmaking process for you?
JOHN LEGUIZAMO
He guards storytelling with all his strength and might. He really protects the story he’s telling. It’s powerful and beautiful to be part of a production led by someone who’s constantly looking at what each character brings to the story. He really casts you for your superpower and what you can uniquely bring to a role.
When I first met him, I hadn’t read the script yet. We had a two-hour lunch together, which was incredible. One thing that fascinated me was seeing the kind of fanbase he has. I’ve never seen a director with such a huge young following. People kept coming up to our table, and I thought they were asking me for photos or autographs, but no, they wanted Christopher Nolan. I’ve never experienced that before. During that lunch, he told me, “I need you to make the language real.” That’s a huge responsibility, but it’s also exactly what I chase most as an actor: turning dialogue into the most natural and truthful experience possible.
After that conversation, he offered me the role of Eumaeus. Then, once you’re officially signed on, the script arrives in true Nolan fashion. Someone personally delivers it to your house, and you have to be the one receiving it. The pages are printed in a special way to prevent copying, and honestly, they’re difficult to read. You almost need to be outside in direct sunlight because the print reflects so much light. But that’s Christopher; he protects every aspect of the story. At the same time, he gives you enough freedom to create a fascinating character. He’s aware of every detail and concerned with every aspect of the experience.
I’ve worked with incredible directors such as SPIKE LEE, BAZ LUHRMANN, AVA DUVERNAY, TONY SCOTT, BRIAN DE PALMA, and what they all have in common is that they’re great leaders and motivators with a clear vision. But Christopher’s superpower is his obsession with the smallest details of human behaviour. He’s fascinated by the tiniest nuances, and I found that incredibly inspiring.
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TL
I can imagine working with all those incredible directors must be special. What’s also exciting is the variety of roles you’ve been able to play throughout your career and the opportunity to explore completely different characters.
LEANDRO DA SILVA
Greek mythology often celebrates heroes, but loyalty is really what holds this journey together. Your character stands beside Odysseus through chaos and uncertainty. What fascinated you most about exploring that kind of loyalty?
JL
That’s interesting because that’s exactly how Chris described the role to me. He said, “You’re going to play the most loyal character in Western literature.” I immediately loved that because, in Latin culture, loyalty is deeply ingrained in you. You’re taught that family is more important than the individual, that sacrifice for the greater good matters. That’s such a huge part of our culture that it’s already baked into my DNA. Because of that, portraying Eumaeus felt very natural to me.
He’s waiting for his master, his best friend, to return. He’s teaching Telemachus about the kind of man his father was, so that his son can become that kind of man himself. He’s preparing him for the future and for the battles ahead. At the same time, he’s taking care of Argos, the dog, who’s also incredibly loyal. Argos waits for Odysseus to return before finally allowing himself to die. He’s 20 years old and holding on because he believes his master is coming back. In a way, we all take courage from the dog. We think, “If the dog believes he’s coming back, then he must be coming back.”
My character spends his time fighting for that belief and encouraging everyone around him to keep faith. As an actor, my job was to make the audience believe that Eumaeus would do absolutely anything until Odysseus finally returned.
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polo GUEST IN RESIDENCE
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TL
In a film driven by mythology and spectacle, how important was it for you to keep the emotional truth of your character at the centre of your performance?
JL
It turned out to be a very emotional role. I didn’t foresee that at first, but it became much more emotional than I expected, and Chris really encouraged that and brought it out in me. There were moments where I almost broke down when Eumaeus finally reunited with Odysseus after 10 years. He’s been waiting for him, protecting his home, holding onto hope. From that point, I believe Eumaeus has lost sight. He’s old, he’s been waiting forever, and then suddenly he senses that this might be Odysseus standing before him. That realisation completely overwhelmed me.
Chris created an environment where I could really go there emotionally. I’m a very method actor, so I have to do my own little rituals, my own witchcraft, if you want to call it that. I talk to myself, I work through emotions, I do whatever I need to do to bring those feelings to the surface. Afterwards, Chris complimented me on my work and told me it was amazing. Coming from someone like him, a true visionary, it was one of the greatest compliments I’ve ever received.
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TL
You’ve played so many different roles throughout your career. What do you hope audiences take away from your work after they leave the cinema?
JL
Definitely that I’ve helped raise the bar for Latin excellence. My Latino identity is incredibly important to me. I know some actors don’t necessarily want to be defined by their ethnicity, but growing up in America and experiencing the racism that exists here, it’s impossible for me to separate that from who I am. I want people to walk away knowing that Latin excellence is real. That we can elevate material, transcend expectations and bring something extraordinary to roles, scripts and films. That’s always been important to me.
TL
Was there a moment on set where you realised the scale and ambition of what Christopher Nolan was creating with The Odyssey?
JL
Absolutely. A couple of moments really stand out. One was in Morocco. I walked onto set and saw a full-scale Trojan horse, partially buried in the ground, with real actors inside. MATT DAMON was there, JON BERNTHAL was there, Christopher Nolan was there. It was freezing cold, around 45 degrees Fahrenheit, and everyone was packed inside this enormous horse. We’ve all grown up seeing images of the Trojan horse and thinking, “There’s no way an army could fit inside that thing.” But Chris built one that actually made you believe it. That was incredible.
Then there was Sicily. Every day we had to climb down a 900-foot mountain to reach an ancient castle location. There were dogs, boars, crew members everywhere, and when you looked up, you could see the entire Mediterranean stretching around you in every direction. Meanwhile, helicopters were flying overhead capturing scenes with Telemachus. My white hair was blowing in the wind and I remember thinking, “This is absolutely wild.” It was one of the most extraordinary filmmaking experiences I’ve ever had.
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shoes ZEGNA
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necklaces JOHN'S OWN
LDS
You’ve spent years balancing deeply personal storytelling with major studio productions. Did working on this film feel different at this stage of your career?
JL
It absolutely did. I’ve worked across theatre, television, streaming, animation voice. But this was the biggest production of my life. I’ve done longer shoots. Moulin Rouge! (2001) lasted almost eight months. But this was different. The scale was unlike anything I’ve ever experienced.
What I admire most about Christopher is that he still stands behind the camera. That’s old-school filmmaking, and I miss it. When directors watch everything through monitors, they can’t always see the tiny details in an actor’s eyes. But when you’re standing behind the camera, you can see everything. You can see what the actor is trying to communicate. Even with these enormous IMAX cameras, Christopher is right there, fully present. It’s incredible.
TL
You’ve experienced so many different sides of the industry throughout your career. What do you think has changed the most about the way audiences connect with artists today?
JL
Movie stars used to be idolised. They felt larger than life. There was a much stronger separation between the public and private person. Actors protected their personal lives and audiences could project whatever they wanted onto them. Today, because of social media, those worlds have merged. Actors are more accessible and more human. Audiences know so much more about their lives.
What’s interesting is that I still think people are searching for the same thing. They want to believe that the actor has disappeared into the role. That’s what I look for when I watch a film. I want to forget I’m watching an actor.
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pants J. MUESER
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TL
I completely agree. That connection between the actor and the character is what makes a performance so powerful.
LDS
After so many years of storytelling across film, theatre and television, what still feels essential to you as an artist?
JL
The craft. A lot of actors end up falling in love with themselves. I’ve always been in love with acting itself. I continue to study. I work with acting teachers. I approach it the same way an athlete approaches training. If you’re a tennis player and you want to improve, you work with a coach. Acting saved me when I was young. It gave me courage and purpose. The ability to bring language to life and tell stories has always been what drives me.
I’m also deeply committed to Latin storytelling. Latinos represent an enormous part of the American audience, yet we’re still underrepresented both on screen and behind the scenes. I want Latin stories to be everywhere. I want them to be excellent. That’s a mission that continues to motivate me every day. I’ve written one-man shows, brought Latin stories to Broadway, and worked hard to expand the space for Latino voices in American culture. That’s the work that still excites me most.
TL
Your career has been defined by versatility. Whether it’s comedy, drama, animation or stage work, how do you find your way into a character and make them feel authentic?
JL
I’ve always been fascinated by people. I collect voices, behaviours, mannerisms, anything interesting. I’ve spent my entire life observing people. When I begin a role, I do as much research as possible. I meet people like the character, read everything I can, watch videos and gather little pieces of information that help me build a complete person.
For Eumaeus, I would turn off all the lights at home and walk around in the dark because the character loses his sight. One of my closest friends is blind, so I studied her behaviour carefully. I was also playing someone much older than myself, so I spent time observing older people, their posture, their breathing, the way they move their necks. Authenticity is always the goal.
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TL
That makes perfect sense. Research really does go a long way. We’re celebrating a shared love of cinema in this issue, so is there one film that changed your life or changed the way you see the world?
JL
That’s a difficult question because so many films have changed me. Annie Hall (1977) affected me because of its honesty and vulnerability. The 400 Blows (1959) completely broke my heart. La Strada (1954) felt magical. It made me feel like anything was possible if you believed in your own voice and imagination. Honestly, every great film changes you a little bit. Each one inspires you to go deeper, to think differently and to become more.
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TL
I agree. Is there still a director you haven’t worked with who remains at the top of your list?
JL
MARTIN SCORSESE. I’ve been lucky enough to work with so many incredible filmmakers throughout my career, but Scorsese is the one. I’d love to work with him someday.
TL
One of my personal favourites is YORGOS LANTHIMOS. His world is fascinating to me.
JL
Absolutely. The Favourite (2018) was incredible. I think it changed period filmmaking forever. It felt like a cinematic explosion because it completely reinvented what that kind of film could be.
TL
Thank you so much, John. It’s been an absolute honour speaking with you.
LDS
Thank you, John.
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tank top CALVIN KLEIN
bracelets and necklace EMANUELE BICOCCHI
necklaces and earring JOHN'S OWN
sunglasses THOM BROWNE
watch HUBLOT
TEAM CREDITS:
talent JOHN LEGUIZAMO
photography FERNANDO SIPPEL
styling NATA BOCHA
grooming GEORGE KYRIAKOS at HONEY ARTISTS
set design FRANKLIN CHUQUIRALAGUA
tailoring TETYANA BREGIN
retouching MARIO ERNUN
producer NIKA BREGVADZE
1st assistant BEKA MAGLAKELIDZE
styling assistant ALENA ALIFIRUK
set assistant PARNA KAPANADZE
production KYNN PRODUCTIONS
editor TIMI LETONJA @timiletonja
interview LEANDRO DA SILVA
