Andy Garcia

creates fear what's interesting what's interesting when you have a child for me anyway what's interesting is it empowers you the stakes are higher therefore you gotta either sink or swim you know and uh you you know it's like you now you're representing not only yourself as an artist you're representing your wife and your family and that little girl.

creates fear what's interesting what's interesting when you have a child for me anyway what's interesting is it empowers you the stakes are higher therefore you gotta either sink or swim you know and uh you you know it's like you now you're representing not only yourself as an artist you're representing your wife and your family and that little girl.

So it's sort of like you're going to have to shoot me between the eyes to take me out. No time for doubt? There's no time for doubt. And like I said, I think there was a power, the thing. And about that time also, you know, in that moment, the light started to appear, you know. A spiritual light as well?

So it's sort of like you're going to have to shoot me between the eyes to take me out. No time for doubt? There's no time for doubt. And like I said, I think there was a power, the thing. And about that time also, you know, in that moment, the light started to appear, you know. A spiritual light as well?

I guess so. I mean, it wasn't like a religious thing. It was... Clarity. Yeah, sort of certain clarity. And I think it also has to do with, you know, really all this time is always focusing on the craft. and studying and exploring the craft and getting to know your instrument and where you are as a person is grounded, you know. So so, you know, you understand what who you are.

I guess so. I mean, it wasn't like a religious thing. It was... Clarity. Yeah, sort of certain clarity. And I think it also has to do with, you know, really all this time is always focusing on the craft. and studying and exploring the craft and getting to know your instrument and where you are as a person is grounded, you know. So so, you know, you understand what who you are.

and what you have to say and why you want to say it, you know.

and what you have to say and why you want to say it, you know.

No doubt. And when the craft is mixed with inspiration, spontaneous inspiration, then the art form comes about. But the craft roots you in the ability for that magic to happen. You know, without it, you, you know, you kind of you're you're acting. You know what I mean? Yes. Early teachers always said they might get caught acting, you know, instead.

No doubt. And when the craft is mixed with inspiration, spontaneous inspiration, then the art form comes about. But the craft roots you in the ability for that magic to happen. You know, without it, you, you know, you kind of you're you're acting. You know what I mean? Yes. Early teachers always said they might get caught acting, you know, instead.

is the untouchables because i thought that was sort of your big break well yeah because that was a uh commercial success that movie and the whole world saw that film and that helps you a lot you know because now you become not just you know just an actor looking for work you somehow become recognizable or marketable in another film or get that guy and you know

is the untouchables because i thought that was sort of your big break well yeah because that was a uh commercial success that movie and the whole world saw that film and that helps you a lot you know because now you become not just you know just an actor looking for work you somehow become recognizable or marketable in another film or get that guy and you know

But that came by a series of things that happened, starting with the movie in Miami, A Mean Season, and... I remember they had offered me a reoccurring part in the show Cagney and Lacey, which is a show I would do voiceovers for. But in those days, it was so odd because television, if you were in a television series, it was sort of like taboo. Then you wouldn't be considered for films.

But that came by a series of things that happened, starting with the movie in Miami, A Mean Season, and... I remember they had offered me a reoccurring part in the show Cagney and Lacey, which is a show I would do voiceovers for. But in those days, it was so odd because television, if you were in a television series, it was sort of like taboo. Then you wouldn't be considered for films.

Really, it was like... No, either or.

Really, it was like... No, either or.

And everybody who was in television had dreams of being in movies. Yeah. And that was not anymore. But in those days, and I made a choice to not take the gig. and just roll the dice, you know, stay in the voiceover and look for my next film. And this movie came about with Hal Ashby, Jeff Bridges, called A Million Ways to Die.

And everybody who was in television had dreams of being in movies. Yeah. And that was not anymore. But in those days, and I made a choice to not take the gig. and just roll the dice, you know, stay in the voiceover and look for my next film. And this movie came about with Hal Ashby, Jeff Bridges, called A Million Ways to Die.

And they were looking for the antagonist in the movie, which was a character that they say was patterned, you know, like they were looking for someone like Hector Macho Camacho, the fighter. Street, urban, tough, slick, aggressive, you know, yeah.

And they were looking for the antagonist in the movie, which was a character that they say was patterned, you know, like they were looking for someone like Hector Macho Camacho, the fighter. Street, urban, tough, slick, aggressive, you know, yeah.