monokuromuheaven

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僕はもっと欲しい、もっと欲しい　

Boy Septem Peccata Mortalia The Day In Question • 2017

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A REZA

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been thinking about a vampire au

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miserable old men but at least they have each other

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"It was a very dark time for me"

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Possesion

Original work by Néstor Martín-Fernández de la Torre

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steady

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stream It Gets Dark Too Early <3

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POV : When he says he'll be happy to stand down as dean

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how are you gonna be catholic, british AND bisexual... pick a struggle

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Conclave (2024) - Jewelry Design by Riccardo Penko

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– RALPH FIENNES and STANLEY TUCCI in CONCLAVE –

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Carlos Diehz: cinema’s architect. All about Conclave’s premiere

Carlos Diehz felt a special inclination toward acting when he was a child. However, his shyness led him to study architecture, though he excitedly recounts his time as an extra in The Man in the Golden Mask, which French filmmaker Jean Reno shot in Mexico City in 1989. After over 30 years of working as an architect, living in Canada due to his job, and witnessing how his children grow up, the Mexican rekindled his interest in acting and began taking classes.

“With the kids out of the house, I said: ‘Now I can do whatever I want, and I thought about acting’, since it was unfinished business for me. I chose an acting studio in Vancouver, but then the pandemic happened, so I started searching online and found an acting workshop. It was great. It lasted eight weeks, three hours a day, and I learned a lot. One of the lessons I learned came in the first class when a teacher said: ‘If any of you are taking [this workshop] as a hobby or just to learn something new, don’t make me waste my time and don’t waste yours because this is a business and you are your capital.’ That idea stuck with me, and I took it seriously”, Carlos Diehz said in an interview with Excelsior.

A couple of days ago, the actor and the rest of the cast of Conclave stepped onto the stage to receive the Best Cast 2025 Award at the Palm Spring International Film Festival. In the film created by Edward Berger, Carlos Diehz plays Cardinal Benítez, a Mexican priest who lived in several conflict-torn countries. He arrives at the Vatican to join the conclave that will designate the next Pope, not imagining that his presence would be highly significant. With only three short films and a formal acting career of three years, the Mexican actor has captured the attention of international media, primarily due to his importance in Berger’s story, whose film All Quiet on the Western Front received a nomination for Best Adapted Screenplay at the Oscars. “One day, one of the acting and life coaches told me: ‘You are the hero of your own story, and in the end, you get what you’re looking for, but if you don’t know what you’re looking for, you’ll struggle constantly.’ It was in 2021 when she asked me: ‘What is your wildest dream to accomplish within the next five years?’ and I said: ‘In five years, I want to be in a movie working alongside Oscar winners or nominees, if possible.’ At the time, she thought it was cute, but it was what I wanted. One must follow their passions, and there is no age limit. Acting was a pending passion of mine, and it worked out—it’s going well. We’ll see what happens next”, Carlos said via Zoom. In September 2022, he received the movie script for Conclave from a young agent who worked with him. He knew the role was his when he read the character’s description: a Mexican priest of small height, brown-skinned, and with a “peculiar” voice that the actor describes as soothing. After a long talk with the film director, during which he expressed to Berger how he envisioned the character, he got the role that put him in the limelight within the film industry. “When I met with Edward, he asked me what I had in mind for the role, and I told him I thought of Saint Francis and Saint Ignatius. They saw God as a mother because the relationship with their fathers was difficult. I told him Benitez treated everyone with maternal love, [because] a father is a guide but is also authority. In contrast, a mother is affectionate, nurtures the emotional side, and, at the same time, steers it. So I told him Benitez was like that. I got the role, and I recalled some teachers telling me, just when I was beginning, ‘Keep going because someone has already written a role for you’”, recounted the actor born in 1971. Amidst the euphoria sparked by Conclave, which last Sunday won Best Screenplay at the Golden Globes and recreated the Sistine Chapel in Cinecittà, Carlos Diehz has a clear stance on fame. “The people in front of the screen are just like any of us. Talking to them in Rome was about life, not work, and you realize everyone is the same. We all suffer, we all love, and we all cry in the same way. Being there at the front and having that fame—it's all temporary. It comes and goes, and they all know it. That’s why they keep their feet on the ground, and that’s amazing. It doesn’t matter how famous they are in their field; everything is temporary.” Diehz told us he will continue to combine his job as an architect with his acting career since both are his passions. “Both are an escape from the other.”

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Translation made by: marianaalvarez0808@gmail.com

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CARLOS DIEHZ's role in the movie CONCLAVE #UrbanaPlayMovie with Rolo Gallego

Rolo Gallego: The first thing I want to ask is, given the impact your acting has had, especially your essential role in Conclave, do you ever wonder, “Why did I wait so long to say, “Okay, let’s go with acting?”

Carlos Diehz: Yes, I sometimes do, but things have gone so well that I have no doubt this was the perfect moment. In Rome, Stanley, Ralph—all of them—asked me, ‘What have you done before? [I answered] Well, live! Truly live.

During my teenage years, I went through a mystical phase, which, along with my life experiences, helped shape my interpretation of this character. You know I’m an architect, so sometimes I had to deliver bad news in person, stay calm, and still earn the client’s trust. That’s fantastic practice for being in front of the camera and having the opportunity to do another take, unlike in real life. 

 Without question, everything that has happened in the past 30-35 years since I considered acting has helped me.

Rolo Gallego: I’ve been reading that during the pause in the pandemic, you rediscovered your passion for acting, right? You took courses.

Carlos Diehz: Yes, when the pandemic started, and my children began their own journey, I said, ‘Okay, I'll do something I’ve always wanted to learn, something new that allows me to travel and meet new people’ [laughs], and I’ve met a lot of people. It was then that I said, ‘Well, I still have pending acting, and it’s something I’ve always wanted to do; I still have that aspiration.’ After that, I started searching for acting courses, and with the ongoing pandemic, I found some online. So, I took it online instead of traveling to California for the first course. The next one was in the U.S.—I don’t remember the city, but it was somewhere near Atlanta, in the central part of the country. That opportunity was great. As I told you, everything fell into place at the right time.

Rolo Gallego: You were talking about your fantastic colleagues. Tell me more about your experience. We won’t say more than this, but your role in the movie is significant. Tell me more about how it was to meet them. How did you prepare for this demanding role? 

Carlos Diehz: From the first casting call and invitation, I noticed that the leading actor was Ralph Fiennes. I said, ‘This role has to be mine. I don’t know what I’ll do, but it has to be mine’. Still, I was insecure—what do I do in front of Ralph Fiennes? How can I measure up to him? How do I overcome the impression of being in front of Ralph Fiennes, John, Isabella, Stanley—everyone?

I studied Ralph Fiennes a lot. His gestures, his expressions in movies and conferences, everything I could find on the internet. I watched him on the big screen at home and would move closer to become familiar with his voice, gaze, everything. 

His gaze is powerful, and he drops hints with his eyes and breathing. When I got on set, figuring out the dynamic and following his direction in each scene was easier. What helped the most was finding that everyone was open-minded and generous. They offered me the help they lacked in their youth, knowing what it’s like to be in this situation. Everyone welcomed me; it was both touching and professional. It created a delightful environment, not only for me but for everyone. There was a sense of joy as if we were old classmates reuniting at a high school reunion. It was a fascinating environment, from the producers to the director. It was friendly and professional, unlike anything I had ever experienced. It helped me do what I needed to do.

Rolo Gallego: Of course. So, what’s next? I know you will continue working as an architect. How will you manage both worlds—acting and architecture? 

Carlos Diehz: My boss is one of my greatest fans. He tells me, ‘If you have another project, take a leave of absence for one or two months, whatever time is necessary. If you have to go, then we can work on contract’. [laughs] He won’t let go of me so easily. I don’t plan on quitting architecture; it’s exciting and gratifying. Usually, we work on projects for Indigenous nations, and knowing that people benefit directly from my work is a great satisfaction and immense motivation. 

It’s fantastic to have the freedom to take casting calls, work on projects—in films or TV, whatever they may be—and then return to architecture—the dream of a lifetime. 

Rolo Gallego: Speaking of dreams, do you also wish for a role in Spanish? 

Carlos Diehz: Of course. Someone asked me who I would like to act with and which film production company. [Pablo] Larrín, Chilean director. Amazing, touching, and passionate things are happening in Latin America that show what it’s like to be Latin American. I would love to participate in something like that. 

Rolo Gallego: Now, talking about the awards season, it seems like Conclave is collecting many nominations and has been well-received by the public. What do you hope people will relate to in the movie? I mean, it’s a movie about faith—about changes in mindset related to faith. What would you want people to connect with? 

Carlos Diehz: I would like people to connect with the fact that we are all human. In the church, those who try to provide an ideal are human, too, so we are prone to failure, spiritual depth, and a commitment to ideals. There will always be people who uphold these commitments and ideals, and hope is always present—but it’s a choice. Then there are people who, no matter how virtuous or holy their intention may be, can work for it through people and love or choose other improper means. At the end of the day, it’s a deeply personal decision that depends on the individual. The situations portrayed in the movie could just as easily occur within a political party, a university committee, or a neighborhood association where every person must make their own choice.

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This transcription (me) and translation was made thanks to my good friend: marianaalvarez0808@gmail.com

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ourtle 🐢

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beast like a lion