In star-studded ‘Conclave,’ newcomer Carlos Diehz steals the spotlight
As I delve into this captivating narrative, I find myself in awe of the journey that the protagonist, Juan, embarks upon. His life story is a testament to resilience and determination, with each step he takes echoing the rhythm of his past experiences.
Edward Berger’s captivating papal thriller “Conclave” is filled with suspense as events unfold in the hidden corners. Alliances change and crumble in dimly lit stairways, tense recriminations fly through dark corridors, and secrets are unveiled in the well-lit privacy of the papal apartment – all potentially disrupting the ancient procedure for selecting the next pope. Thus, when a stunning revelation (beware: spoilers!) emerges in the film’s climax and an unforeseen calamity sheds a harsh new light on the possible popes, it feels like a dizzying moment of liberation.
In a bold move, the forward-thinking Cardinal Bellini (Stanley Tucci) accuses the traditionalist Cardinal Tedesco (Sergio Castellitto), expressing his disappointment and shame. Unwaveringly, Tedesco inflames the crowd with speeches about an impending religious conflict, as disillusioned Cardinal Tremblay (John Lithgow) looks on in despair, and Cardinal Lawrence (Ralph Fiennes) remains stunned by the spiraling events beyond his control. Eventually, Cardinal Benítez (Carlos Diehz) rises to speak.
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Through the pandemic, the versatile character actor found newfound popularity, becoming a renowned mixologist and culinary guide: with “Conclave,” Tucci serves as a reminder of his exceptional talents.
With a composed air, he addresses the gathering, “I humbly apologize, but it seems that over the past few days, we’ve acted more like self-centered, insignificant individuals. Our focus has been on ourselves, on Rome, on the election, and on power.
Hiddenly chosen by the previous pope, Benitez’s mere presence poses a challenge to the delicate equilibrium within the conclave. Unlike his fellow contenders, he exudes a serene aura that acts as a calming influence against the backdrop of the internal politics and theatrics among the leading candidates. Despite not actively campaigning and being an unfamiliar figure to the other cardinals before their assembly, by the time Benitez speaks, he becomes the unexpected frontrunner in the election.
Diehz delivers a captivating debut performance in “Conclave,” marking his first appearance in a feature film. At age 53, this Vancouver-born actor, who had been working as an architect for over three decades, decided to venture into acting in 2020. Before landing the breakout role, he dabbled in a few short films. Born and raised in Mexico City, Diehz continues his work with the same Canadian architecture firm today.
In this conversation, De Los discussed with Diehz about his unique path to the big screen, the motivation behind his portrayal of Cardinal Benítez, and discovering the courage to embrace who he is. For the sake of brevity and clarity, this interview has been condensed.
Had you ever thought about pursuing acting before becoming an architect?
From a young age, I’ve had a natural affinity for the arts, dabbling in drawing and sculpting. As I grew older, I began to appreciate acting as well, realizing that the people on screen were actually performing their roles. However, being a timid child who spent most of my time lost in thought, I hesitated to join the world of acting. In high school, I tried my hand at drama, but the extroverted and flamboyant nature of my peers was overwhelming for me. A chance to appear as an extra in a movie came along later, but standing before the camera was so nerve-wracking that I was asked to shout obscenities, which sent me into a panic. The director then decided to go with someone else instead. That experience almost gave me my big break, but alas, it didn’t work out. [Laughs]
Why did you decide to give it another try later in life?
About four or five years ago, my spouse and I transitioned into empty nesters, and I felt the urge to acquire a new skill. With no spare time or funds for college, I needed an independent learning experience. Acting once again piqued my interest, so I decided to give it a try. Unfortunately, just as I was about to embark on this journey, the pandemic occurred, forcing everything to close. However, I stumbled upon an online workshop and enrolled in it. The instructor immediately emphasized that if I was only participating for personal gratification or as a hobby, I should reconsider because acting is a profession, not a charity or pastime. In the classes, assuming different personas and characters became so enjoyable that I realized, “This is my newfound enthusiasm. This is what I yearn for.” So, while continuing to practice architecture for 35 years, I discovered this exhilarating new passion.
At first glance, it may not appear that architecture and acting have much in common, but have you discovered any parallels in the way you handle these two distinct fields?
It seems that both architecture and acting require a creative approach while also meeting specific demands. In architecture, you must cater to the client’s needs as well as those of the authorities, all while adhering to certain standards. Acting shares this duality; artists use their imagination and embody characters, but they must align with the director’s vision, meet technical requirements, and collaborate within a team. When portraying a character, actors expose a significant portion of themselves, yet they don’t completely become someone else – instead, they channel the character through themselves.
Growing up in Mexico City, were there any actors who stood out to you and shaped you?
The golden age of Mexican cinema was quite dramatic. I find it captivating how Pedro Infante could portray a simple carpenter in “Nosotros los Pobres,” and then transition into a motorcycle policeman in “A.T.M. ¡A toda máquina!” It’s the versatility and charm he brought to these roles that drew me in.
Nina Gold, a casting director, discussed their global search for the role of Cardinal Benítez. Do you recall any details from the original character description?
To begin with, the initial character sketch primarily focused on his physical attributes – he was a slender individual of mixed ethnicity. My representative believed I would suit the role well, so she forwarded my showreel, and they asked me to try out for it. Following the first audition, I secured the part. In the ensuing fortnight, I read the script twice to familiarize myself with the entire plot. For the second audition, they provided me the entire script, and I discovered it was remarkably true to the book, which made me incredibly pleased.
When perusing the details, it brought me back to my late teens or early twenties, experiencing my spiritual awakening period. At the time, I was adrift, but then found solace in faith, eager to share the positive message with everyone around me. Teenagers often aspire to transform the world, don’t they? Upon reading about this character in the synopsis, I couldn’t help but think, “This is who I could have become if I had dedicated my life to the church.” It was a chance to embody that person for a while, and that sense of encouragement was profound.
× How would you describe the three-month-long casting journey involving multiple audition stages that you recently went through?
The situation was quite intimidating, and I found myself grappling with a lot of self-questioning. To overcome this, I chose to rely on the process and remind myself that they initially called me back, and continued to invite me again, indicating their faith in my abilities. When it came to the final audition in Rome, I simply told myself to maintain composure, repeat what I’d done before, and not overthink things. However, being there with Nina Gold, Edward Berger, and the producers certainly added a layer of pressure – [laughs]! To manage this, I had to stay focused on their instructions, find the perfect balance between emotion and timing, and maintain my calm throughout the audition.
In your acting role, you were set to make your big-screen debut alongside esteemed actors. However, the character of Father Benítez required a strong, doubt-free portrayal. Can you explain how you balanced these two contrasting needs?
In my own words, I had to convince myself daily, “I’m right where I belong,” despite the inner doubt whispering, “Can I truly measure up among these esteemed actors?” It took a great deal of self-encouragement and affirmations to boost my confidence. Every morning, I’d remind myself, “I’ve earned this role. I belong here.” Even in Rome, amidst the sets, I had to practice this affirmation repeatedly, opening myself up to the kindness and mentorship of my fellow actors. Surprisingly, they were not only warm but also instrumental in guiding me through this experience, which turned out to be the most rewarding aspect of it all.
Additionally, having spent three decades as an architect, you’ll encounter some extremely challenging scenarios involving investors and officials, with no room for error or do-overs. My background in architecture has proven particularly useful in such situations, as it necessitates consistent delivery.
From playing Cardinal Benítez, did you learn something new about your own self? Could you relate to his battles at all?
Life occasionally places us in circumstances where we may feel out of place. This could manifest as rejection or unpleasant encounters with others. In such moments, one might question their worth, but it’s essential to strengthen one’s character and learn to love and accept oneself unconditionally. Benítez has managed to do just that, which grants him the courage to stand firm alongside other cardinals, remain true to himself, yet challenge those who misunderstand the process of selecting the next pope – those who seem to have forgotten the responsibilities that come with their roles. This is a testament to his character, as he remains steadfast when he believes he’s on the correct path.
“Screenwriter Peter Straughan expressed that he hoped viewers would reflect upon one of Cardinal Benítez’s statements in the movie about understanding life between certainties. What ideas or emotions do you think the filmmaker wants people to carry away after watching?
The film presents a scenario where every individual possesses the power to decide their own path. This inherent freedom is often referred to as free will. The movie provokes thought about the essence of one’s self, encompassing soul, body, and mind, as well as the way we engage with our environment. Certain characters exhibit fluid morals, while others adhere strictly to the rules. A character like Benítez embodies acceptance of his destiny, which he perceives as being predetermined by God’s will. This may be what makes him appear more empathetic, loving, and caring. The movie centers around the dilemmas, faith-driven decisions, and choices each character faces – whether to embrace their inherent nature or reject it.
In your work, there are several touching one-on-one scenes with Ralph Fiennes’ character, Cardinal Lawrence. However, I believe one of the most impactful moments in the film is when your character, Cardinal Benítez, addresses the entire conclave. Could you share how you prepared for that scene?
I’ll explain the distinction between inspiration and execution for you. The inspiration stems from Franco Zeffirelli’s 1977 TV series titled “Jesus of Nazareth,” specifically the scene where Jesus drives out the merchants from the temple, as they were exploiting faith for profit. In this context, everyone is attempting to capitalize on the church’s current situation to bolster their own positions.
In reality, did it ever cross your mind how it would feel standing there among all those people after having a private chat with Ralph Fiennes out on the patio about turtles? [Laughs] Quite a change from our one-on-one conversation, now I was addressing everyone – Ralph, Stanley, John, and Sergio included. Everyone seemed to be paying attention to me.
Yesterday night, I was quite anxious, and I sought guidance from John Lithgow. Right from the start, he had promised to secretly mentor me. So, I approached him and asked, “Alright, secret coach, I need your assistance, please.” He welcomed me to his apartment for a discussion, and we delved into the topic of stage fright. He explained, “Stage fright is ever-present, it’s about how you handle it. You must feel empowered, knowing that when you deliver a speech, you are in control. You decide the pace, set the tone, choose your intonation, manage emotional shifts, everything. No one will interrupt, attack, or give directions. They’ll let you run the entire scene from start to finish. And when you’re finished, you’ll receive guidance, try to apply it, and rehearse again. But every single time, you are in control of the scene.
Did that translate on the day of?
One of the things that my first coach ever told us is, “Everyone Is cheering for you, because everybody wants you to do your best.” That’s how it felt that day. But still, when we were about to shoot that scene, I had the microphone here [on my chest], and Edward Berger comes close to me, and says, “Are you OK? Do you need anything?” I told him I was fine, and he says, “I can hear your heartbeat.” I had no idea, but I told him, “Well, if the heartbeat is coming through in the sound, maybe it would be a good idea to keep it in the background, because it’s a very heartfelt speech, right?” I have no idea if they used it, but it was fun to know that he could hear it.
How about this: “With all the fantastic feedback you’ve been receiving along with the rest of the cast, I’m curious to know what projects are coming up for you next?
At the moment, a few intriguing shows are under consideration by both me and my representative, though we’re not yet permitted to discuss them. I can only anticipate that these opportunities will pave the way for additional captivating and demanding experiences. All I can do is maintain optimism at this stage. The positive response has been immense, but it’s incredibly motivating, and I plan to continue moving forward with this momentum.
Cat Cardenas is a Latina writer and photographer based in Austin, Texas. Her work has appeared in Rolling Stone, New York Magazine, Harper’s Bazaar, GQ and other publications.
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2024-12-24 02:02