‘Unfortunately, Joe Diamond Is Andy Garcia’

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Andy Garcia hasn’t been to the Cannes Film Festival since 2007, when he promoted Ocean’s Thirteen. Before that, he attended in 1995 for Things to Do in Denver When You’re Dead. This year, he’s back with Diamond, a new film he wrote, directed, and stars in. It’s a classic noir story set in modern-day Los Angeles. Garcia plays Joe Diamond, a private detective who deliberately embodies the style of 1940s film noir icons like Bogart and Bacall – from his hat and car to the way he talks, and even his dislike of modern technology like Waymo and TikTok.

Diamond unexpectedly became famous after saving some flamingos, and that attention led to a new case: Sharon Cobbs (Vicky Krieps), the wife of a murdered billionaire, believes she’s been wrongly accused and hires Diamond to prove her innocence. As he investigates, he clashes with a police officer (Brendan Fraser), shares witty conversations with his bartender (Bill Murray), enjoys meals with the coroner (Dustin Hoffman), and finds himself attracted to an intriguing woman (Rosemarie DeWitt) who seems to understand his unusual personality. Throughout the case, Diamond is haunted by a past tragedy that may explain why he throws himself into solving mysteries while always dressed in a suit.

Garcia’s new film is charming and heartfelt, a project he’s clearly passionate about – he’s been developing the script for fifteen years, facing many setbacks along the way. This is his third time directing, following the 1993 documentary Cachao … Como Su Ritmo No Hay Dos and the 2005 film The Lost City. When we met to discuss the movie, his excitement was obvious. Our conversation also ranged to his interest in Jungian psychology, his frustration with AI reservation systems, and a memorable role he played – Fernando, the wistful romantic in Mamma Mia! Here We Go Again.

We actually talked a few years back – I interviewed you for the oral history of Mamma Mia 2. Oh, that’s right! It was a really fun project, and the movie itself was so joyful. Everyone involved seemed to have a great time.

Someone asked if I still text with Cher. I do, occasionally. There’s one text exchange I’ll never forget. I had injured my back playing golf right before a shoot, and I was getting therapy on it every morning. Cher sent me this device for my back – it wasn’t a weapon, more like a massaging belt. She signed the text, “I hope this helps. Love, Ruby,” which was the name of her character in the movie. I was so surprised! I didn’t expect Cher to send me a gift. I texted her back, asking if it was a joke, and she replied, “How many Rubys do you know?!”

You’ve been to Cannes three times now. Thinking back to 1995, what stands out? It wasn’t Ocean’s Eleven, it was actually Things to Do in Denver When You’re Dead. My family – and now my grandkids – were with me then, just as they are now. It was a film I was proud of, and people seemed to really enjoy it.

Which premiere was more enjoyable? They were completely different experiences. Ocean’s definitely made a bigger impact; I barely remember where Denver was shown. What I especially remember about the Ocean’s premiere was my daughter, Daniella. She came with me, and she actually has a small role in the movie – she plays the hotel clerk at the beginning. She even asked me to help her with her homework, which is how we ended up going to the premiere together! When we arrived, they wanted us to walk the red carpet with the cast. I told Daniella she’d walk with the publicists, while I’d walk with the cast. But then I realized she wasn’t with me! I looked up the carpet and there she was, 15 years old and confidently walking it all by herself, taking everything in – she reminded me of Peter Sellers in Being There, just looking around and enjoying the moment. She wasn’t shy at all.

So, people always ask about Diamond, and yeah, I’ve been tinkering with it for about fifteen years now. It actually started way back with my daughter, Daniella, and a school assignment. She was a senior and had to write a short noir story after reading A Lonely Place in class. She asked for my help, and we decided to set it at Bob’s Big Boy. Honestly, the very first thing that came out of my mouth – the opening voice-over – is still in the movie! It’s this line about waking up among ice plants, with Big Boy smiling down… I remember thinking, “What’s so funny?” From there, I just started building the character and the scenes with Sharon Cobb, and I was honestly surprised by where he ended up taking me. It really blossomed from that simple homework assignment.

For about five years, I couldn’t stop thinking about this person’s story. I kept telling myself I needed to learn more about them, and I even imagined it becoming a TV show. I started writing and had a pilot script of about 60 pages by 2012. My first complete screenplay followed in 2014, based on the same story, though the details changed over time. Unfortunately, I couldn’t find anyone interested in buying the idea.

It’s a fair question – why do projects get turned down? Often, the reasons are kept private. It could be anything from concerns about the audience – like, ‘Who will even watch this?’ – to thinking the story isn’t strong enough or that there just isn’t enough interest. Ultimately, they say no. But this idea really stuck with me; it wouldn’t leave my mind.

The atmosphere is definitely reminiscent of classic film noir. I became so invested in this character that I decided to build an entire mystery around him, and then figure out how it all played out. That part was a puzzle in itself, but the core of the story really became about understanding why this character is the way he is. I wanted to create someone complex, not just a stereotypical ‘crazy’ character. I wanted someone you could actually feel for, but I struggled to pinpoint what drove him for a long time. About halfway through the fifteen years I spent developing the story, I had a dream that finally gave me the answer – I woke up crying, and I knew exactly what had been missing.

What was the dream?
It’s in the movie.

So, was that a moment from the film itself? Yeah, I had a lot of dreams about his character’s past experiences. I woke up right away – you just have to when you have an idea – and I wrote the voice-over with the line, “The only thing worse than crying yourself to sleep is crying in your sleep.”

Is it unusual for you to cry in your sleep?No. I don’t do it a lot, but it happens.

Do you experience intense dreams, or even nightmares? I do sometimes. Often, though, my dreams are connected to my work – the characters I play or the stories I’m working on. They also reflect what’s happening in my personal life. I actually use my subconscious and dreams as part of my preparation. I try to understand what they mean – for example, if I dream I’m being chased by a gorilla, I ask myself, ‘Who in my life does that gorilla represent?’ Certain themes tend to repeat, relating to your personality, your interests, and the things that inspire you. There’s a definite pattern, and as an actor, I usually find something in those dreams that’s relevant to my work.

You’re a Carl Jung guy.
It rears its head.

You often portray characters who are quiet, thoughtful, and keep their feelings hidden. Do you see yourself as that type of person? I definitely can be. When I take on a role, it always starts with my own inner life, even if I’m playing someone from history. I need to connect with the character on a personal level. For example, with Modigliani, I looked for what we had in common – his anxieties, his desires, his suffering, his loneliness, and his fear of living. I have to find those feelings within myself, because I can’t just pretend to feel them; I need to genuinely experience them to bring the character to life.

I enjoy how you seem to poke fun at your own serious image in movies like Mamma Mia, Book Club, and Barb and Star. Is that something you intentionally do?

Not really. I don’t plan things out. I just try to be present with the other actors. Of course, I think about the character – in Mamma Mia, the character has a deep love for someone who’s no longer with him, and he’s living alone. When she reappears, he sees her almost like a vision, like a religious apparition. My favorite moment is when Fernand sees Ruby and shouts, “My Ruby!” And she looks down and says, “Fernando?” It’s the opposite of what you’d expect – she’s like, “Fernando?! What are you doing here?”

When I’m acting, I really try to become the character and live authentically within the fictional world – as Sanford Meisner advised. I focus on reacting to what my scene partners are doing, rather than planning my own performance. I have a strong understanding of my character’s motivations and background, allowing me to improvise convincingly. For example, a key moment in the film Diamond – a small interaction between me and Vicky in our final scene – wasn’t scripted. I spontaneously asked her to ‘keep your chin up’ while gently holding her chin, which perfectly captured the underlying dynamic of the relationship: my character wanting her to find strength and move forward.

The script has some humorous parts where Diamond expresses dislike for Waymo and TikTok. I was curious if the actor felt similarly. I was exploring how the character navigates the modern world and whether he’s aware of things like TikTok. I don’t want to reveal too much about the story, though.

So, what are your thoughts on AI? It’s a big conversation here too. But honestly, I don’t like anything that diminishes human connection or takes jobs away from people who need them. I recently tried to make a reservation at a restaurant I often visit. Usually, I call and they recognize my voice – we chat, and they help me find a time. It’s a personal experience. But this time, an automated system answered, repeating my name back to me in a robotic way. It was unnerving! I miss the simple back-and-forth, the ability to say, ‘How about 9:30 instead?’ If I can’t even have a quick conversation to confirm the details, I’d rather go somewhere else.

In the movie, a character asks Joe Diamond, “What are your greatest strength and biggest weakness?” Diamond’s response is simply, “Silence.” He explains his weakness as occasionally taking long pauses when speaking. The actor who plays Joe Diamond is Andy Garcia.

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2026-05-20 23:56