The importance of life and death is explored in The Sea Inside, a true story that stars the commanding Javier Bardem as a quadriplegic Spanish poet fighting for his right to die.
Ramón Sampedro was paralyzed at a young age after a diving accident severely damaged his spinal cord. The accomplished poet went on to wage a very public 30-year campaign to win the right to end his life with dignity. The film, directed by The Others‘ Alejandro Amenábar‘s, concentrates on the later part of Ramón’s life and delves into his relationships with two women: Julia (Belen Rueda), a lawyer who supports his cause, and Rosa (Lola Duenas), a local woman who wants to convince him that life is worth living. The Sea Inside shows us how Ramón taught everyone he encountered the meaning, value and preciousness of life, even if it meant the right to end it.
Hollywood.com sat down with Spaniards Amenábar and Bardem to discuss The Sea Inside‘s very powerful messages–and how the film’s Oscar buzz really doesn’t fazed them that much.
How huge is Ramón Sampedro in Spain?
Alejandro Amenábar: We all knew him from the television [and his public battle with the Spanish courts to end his life], and when he finally died [in 1998], he became hugely famous. But I never thought I could make a movie about his life. I just got his poetry book, to see how he wrote, which impressed me. Such a philosopher. Then I found out about Sampedro’s life, about his relatives, and how all these women fell in love with him. I began to realize how incredible he was and that his story could make a brilliant movie.
Of all the stories you were told about Sampedro, which one struck you the most?
Javier Bardem: His sister-in-law, the woman who took care of him for all those years, told us that Ramón never, ever cried. Not once–at least not in front of his relatives. There is a scene in the movie in which Ramón [breaks down]. We discussed it and thought it would be good because we didn’t think people would believe the truth. That he never showed the pain.
I read that much of the script came out of improvisation.
JB: The group of actors we worked with were all amazing, and we knew that this was something very serious. We approached the work very humbly. There was no room for vanity or selfishness, and we pulled together to serve the story. The scripted dialogue was so profound that sometimes we couldn’t reach it. So we were focused in trying to come up with the best way to approach it.
Was it difficult playing such a physically demanding role?
JB: It was OK, not a huge deal. It’s all about being still, relaxing your body, breathing. And to put everything in the voice and the eyes. It’s more about being in contact with yourself, trying to breathe and relax, and relax and relax. But at the wrap party, I just couldn’t quit moving. I was dancing and climbing the walls, over the sofa for hours and hours.
AA: The biggest challenge was making the audience forget about the make-up, someone who is 35 playing someone in his 50s. You need a very subtle performance with very exact delivery. That’s why I respect [Javier] so much.
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In your research, Javier, did you speak with other quadriplegics, especially about their sexual feelings, which was very important to Sampedro?
JB: Absolutely. We heard about a boy in France who was only able to blink an eye, who wrote a letter to [the French government], asking for his right to die. He said in the letter, “I’m 22-years-old and was in a motorcycle accident and can only move one eye, but I still desire the nurse. And I’m having a problem with that because I’m 22 and I’ll never again have the pleasure with a woman.” He said that was why he couldn’t stay alive. Who are we to tell someone [in that condition] that sex isn’t important, that you can live without it?
AA: I tried to put myself in that position and at first, I thought that I would go on and not want to die. I would try to get through it. But then after reading about this French boy, I changed my mind and thought it would be hell. I would rather be in a prison in Iraq than be absolutely still, only able to move one eye. And I’d be very upset if someone told me I couldn’t do with my life what I wanted to do. So cruel.
Did you intend the story to be as inspirational as it is?
AA: I think this story asks you how much do you love your life. Because the more [Sampedro] said he wanted to die, the more he reaffirmed life. He was full of vitality even though he wanted to die. Maybe because I understand, more than ever, that a movie’s experience is a journey. And the ultimate journey is life and death, itself. We wanted to present [The Sea Inside] as a journey.
How about your own feelings on life and death?
JB: Well, I don’t want to die, that’s for sure. But I have to say after reading Ramón and knowing who he was, I’m a little more relieved about the idea of dying. Because, and I’ll repeat [Ramón]’s line, ’cause I think it’s a good line, “I feel more comfortable with the unknown.” We are always trying to comprehend what’s behind everything, and of course, we want to know what’s behind life. But Ramón didn’t worry about that and that comforted me. Touched me.
Once again, your performance, as well as the film, is creating a major Oscar buzz…
JB: I think we are going to win all the Oscars. [laughs]
Are they as important in the European community as they are here?
AA: From a practical perspective, yes. It means your film has a better impact all over the world. But whether your film wins an award or not, it doesn’t lessen the film in any way, which is all I really care about.
JB: The Oscars bring people to the movie theaters but it isn’t necessarily a sign of quality. I’m not going to say who they were, but I was watching the Oscars once, in Spain, and there was this actor that I thought did a great, great job [and deserved to win]. But then this other jerk won the Oscar and everyone was applauding. That day I said “I don’t believe in this s**t.” I mean, would I like to have an Oscar? Of course, I’d like to have one. Not because I’m a better actor but because it means my career. That’s the way it works. We live in a capitalistic world, and I’m in the market.
The Sea Inside opens wide in theaters Jan. 7.
