The actor has gained a wealth of experience over the course of a career that stretches back more than 20 years in dozens of films that have achieved legendary status in Spanish cinema: Jam\u00f3n Jam\u00f3n (Bigas Luna), alongside Javier Bardem and Pen\u00e9lope Cruz; Historias del kronen (Montxo Armend\u00e1riz); La flor de mi secreto (Pedro Almod\u00f3var); La buena estrella (Ricardo Franco); Son de mar (Bigas Luna); in works by directors such as Peter Greenaway (the creator of cult films such as The Draughtsman\u2019s Contract), or in super-productions including Blow (Ted Demme), There be dragons (Roland Joff\u00e8), Colombiana\u00a0 (Olivier Megaton) and Riddik\u00a0 (David Twohy).<\/p>\n
Jordi has worked a lot to become something more than a great supporting actor. What\u2019s the next step he\u2019s going to take? He has just returned from a stop-over in Milan, and before that he was in London, where he\u2019s filming Criminal, along with Kevin Costner. He\u2019s always got various irons in the fire at the same time.<\/p>\n
What importance do you give to fashion and its world? There was a time when young girls and boys dreamt of being actors but now they all want to be models. Is fashion socially overrated?<\/em><\/p>\n When you take a peek at other fields, you see a new world. Just yesterday I was in Milan walking along Via Santa Tecla with a chief editor from Vogue and I was amazed by his sensibility not only when it came to fashion, but also architecture and the city\u2019s paintings. For me, the word fashion has two meanings. One is haute couture which is reserved for a few people. The other, more common one known as pret-a-porter, I believe that it has done a great deal of good socially because it has given people an identity. It has helped many people from the middle class and middle to lower class to belong to a social group, to a tribe, and the result is that in the end, a young girl decks herself in rags and piercings and says to her mother: \u201cMum, this is who I am\u201d.<\/p>\n In your opinion, what counts for elegance in a man? Do clothes make the man or does man make the clothes?<\/em><\/p>\n Elegance is a state of mind. In London I saw Cameroonians or Indians walking along the street wearing just a few pieces of material and trousers and I said to myself: how elegant! Above all, you have to be dressed, and not disguised. In Hollywood, my friend Johnny Depp, for example, is in a position to dress in a very special way and he has created clothes that have a grunge\/bad boy touch that can look really good. On the red carpet you can see actors such as Joaquin Phoenix, Philip Seymour Hoffman (now deceased) or Antonio Banderas, dressing in a very normal way. But for the girls it\u2019s more complicated.<\/p>\n As well as being an actor, you\u2019ve been a painter for many years. Where does the need to paint come from? What inspires you: sensuality, melancholy? What are your personal demons?<\/em><\/p>\n Personal demons are good! They\u2019re like outboard motors, driving you to do things. I have greater trust in the person who paints a monster than in the one who paints a sunset. For example, Francis Bacon painted corpses and people who were ill. But if you read interviews with him, you see that he was a great person and that he had a big heart. Who lies behind the exterior? I am an actor: one day I get out of bed as a pirate and the next dressed as something else: melancholy, sadness, all faces possible. The same thing happens with painting.<\/p>\n What do you miss about the golden Hollywood of the 40s, 50s and 60s, in the film industry, the actors or the films?<\/em><\/p>\n The truth is that I have not paid much attention to that golden era. I am more familiar with the Italian cinema of Passolini or Visconti, the French nouvelle vague or Spanish cinema from the 50s to the 70s. Nowadays, I believe that we are living in a huge paradox. We\u2019ve lost much of our liberty: that generation of filmmakers went through the Second World War, but after that they experienced great freedom. Now, those above us want to sell us the idea that we are free, but it\u2019s not true. We\u2019re living in a kind of invisible dictatorship that we purchased. It\u2019s not a state of war, but you see things that make you think, such as those people who were evicted from their homes by the police because they weren\u2019t able to pay. The more apparent freedom we have, the less we transgress, and the less free we are.<\/p>\n In cinema, there was more freedom before: in El fantasma de la libertad, Bu\u00f1uel had a group of bourgeois citizens dining while seated in toilet bowls. That kind of freedom doesn\u2019t exist today when it comes to writing a script, except a few people who have reserved it as a kind of last refuge, people like Lars Von Triers.<\/p>\n From the current filmmaking scene, Spanish, European or American, who are the big guiding lights for you as a director, actor or actress?<\/em><\/p>\n It\u2019s not easy. I\u2019ll tell you an anecdote: a film agent once asked me to give him the names of directors with whom I would like to work. Of the 70 names that I gave him, it turned out that 40 of them had already died. But, in the end, of the 30 remaining, there\u2019s no doubt that all of them are fantastic. It\u2019s quite another matter to say with which of them it would work because, in practice, working is a completely different matter. With regard to actors, I like lots from Daniel Day-Lewis or Charlotte Gainsbourg to that old Spanish actor, Pepe Isbert. I\u2019ve been watching his films again lately and I think he\u2019s a genius.<\/p>\n Do you watch many films? \u00a0<\/em><\/p>\n Yes, I watch films on video and I freeze the scenes over and over again. As far as I\u2019m concerned it\u2019s very intense, it\u2019s more than you can digest, it\u2019s like eating 20 suckling pigs. You learn that, whatever the result is, deep down, there aren\u2019t any bad films, they all deserve respect.<\/p>\n Of all the performances you\u2019ve given up until now, which one do you rate the highest? And why?\u00a0\u00a0<\/em><\/p>\n It\u2019s very difficult to say because of what I was telling you before. In a way, choosing one means discrediting the rest. And that would be very unfair towards the profession: acting means commitment, an actor has to be there, they\u2019ve signed up for six months or a year; it\u2019s not like a make-up artist who can leave at any time if they want.<\/p>\n I have very warm memories of my films from the 90s, a time in which there was some great filmmaking in Spain, with directors such Bigas Luna, of whom I\u2019m very fond, Alejandro Amen\u00e1bar and Julio M\u00e9dem. Also the film El c\u00f3nsul de Sodoma, where I played the poet Jaime Gil de Biedma: I read the biography of the poet Miguel Dalmau, recited his poetry, and studied the DVDs and the audio archives with his original voice.<\/p>\n In Hollywood, while filming Blow, at the beginning I didn\u2019t know what I was doing. Three people helped me enormously to find my way and they managed to get me to overcome my fears: Ted Demme, Pen\u00e9lope Cruz and Johnny Depp. Afterwards, I\u2019ve found that connection with many others, for example, in Heart of the Sea with Ron Howard (the director of Cocoon, or A Beautiful Mind) who was an actor himself previously.<\/p>\n<\/div><\/div><\/div>![\"jord](\"https:\/\/ibiza-style.com\/wp-content\/uploads\/2015\/03\/jord-molla-8-1000x875.jpg\")
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