Although Rinko Kikuchi and Adriana Barraza didn’t spend any screen time together in their searing film Babel, they still share a special bond: They each just received their first Academy Award nomination for their powerful performances in the Best Picture nominee. Hollywood.com talks with the two fascinating actresses (with the help of translators) on their experiences making this film about breaking down language barriers and realizing what it is to be human.
On their Oscar nominations:
Rinko Kikuchi: I’m not sure if I’m nervous or not. I’m just wondering if I’m going to be able to have some fun. I’m sure I will. But I’m really in a state of confusion right now. And I’m wondering how long the red carpet is at the Oscars.
Adriana Barraza: I will scream. Then I will faint. Then when I wake up, I’ll cry, maybe. Then I’ll talk with my brother, kiss my husband. And I will thank God.
On preparing for their roles:
RK: I spent a lot of time with [the deaf] at their schools. What struck me the most is the way they communicate through their whole bodies. It just seemed to me a very healthy way of expressing yourself, so vibrant. It was inspiring for me to watch them express themselves so freely. There was a beauty to it, a sort of primal instinct, communicating by using their entire bodies. It was quite beautiful. And the most difficult thing for me, to emulate that, was how to make it my own, as my own language, as I was learning to sign. That was a big issue.
AB: It took many things to prepare to play Amelia. The weight [Barraza gained 35 pounds] was only a small part. I had to change my accent. I was born in the middle of Mexico, but as Amelia, I had to speak with a more colloquial border-area accent. I changed the way I walked. I had to find many reasons to play Amelia convincingly. I know many, many Mexican women who have an ugly life, a hard life. They are 30 years old but look 50. I also spoke with Alejandro a lot. But all the research was nothing when I put my foot, for the first time in the night, in the desert sand. And I hear the coyotes [makes howling sound] and hear the snakes and didn’t see ANYTHING cause it was night. I was afraid. And in that moment, I understood Amelia. Because in one hand I have Elle Fanning and the other I have Nathan Gamble and my duty is to care for these children. Amelia had to take care of them, but Adriana Barraza also had to take care of these [young actors], Elle and Nathan.
On filming in the Mexican desert:
AB: It was really, really hard. Not only for the heat, but my weight, the heels. It was 120 degrees! And the sand…it was really, really hard. [Barraza suffered from heat exhaustion during the process]. The hardest thing, however, was trying to bring to life a woman who was in such a horrible situation. And to make it real, to make the audience really believe it was happening.
On working with director Alejandro Gonzalez Inarritu:
RK: Alejandro is one of those directors I really respected and admired, so it was dream come true to be able to work with him on a film like this. He was very passionate about everything—but mostly about working with actors. I think we were able to establish a relationship where we were able to completely trust each other. I could always count on him to watch out for me, watch what I do in front of the camera. It gave me a certain kind of assurance that I was doing good work, especially in those scenes where I am emotionally and physically stripped bare.
AB: It was a really great experience to be with my old friend Alejandro [Barraza starred in Amores Perros]. Not only Alejandro, Rodrigo Prieto, the director of photography, and Gustavo Santaolalla, the music director. All my old friends from Amores Perros. And obviously, Gael Garcia Bernal. It was great joy because I was in Mexico again and with my friends again.
On seeing the completed film for the first time:
RK: I had never met the actors until the screening of the film, and in fact, never even saw those parts of the script that took place outside of Japan. It was an amazing experience watching it all come together. It was very much Alejandro’s intention not to give anything away, anything that would get in the way of my working on the set. He didn’t want me to know. So seeing it for the first time was very satisfying.
AB: I was surprised. When I saw the Moroccan kids and the Japanese actors. And I saw Cate Blanchett and of course, Gael, I thought, “Yes, this is Babel! This is the realization!” It took us all coming together for me to understand the movie. I tried to speak with the Moroccan boys, and I did that. I tried to speak with the Japanese actors, and I did that, too. And meeting Cate, with her beautiful eyes and such warmth, giving me praise for my performance, I was in heaven. Because when an act of creation is realized and comes together that way, it’s a miracle.
On what the title of the film means to them:
RK: The title refers to the fact that human beings can overcome the obstacles of language and other cultural barriers and communicate with one another. I do think language is tool to communicating with each other but for obvious reasons, it obstructs. It’s not necessarily bad to have obstructions, like language, because I think that it forces you to look at other ways to communicate—to bring out the beauty of human nature.
AB: Well, I think the title fits perfectly. Alejandro told me something I’ve never forgotten. He said: “I started to do a film about the difference between human beings. And when the time passed while shooting, I realized the things that unite us, bring us together.” In this moment, in this globalization of our lives, for everything, you can see the sheepherders of Morocco, living in the hills, the people of Japan and the traditions of Mexico, it’s really important. Why can’t this modern era allow us to see simple human events?
