Jude Law: ‘For me, Star Wars is a children’s fantasy. But you can put adult themes into any children’s fantasy’

Before streaming platforms took it upon themselves to churn out stars like popcorn in a social media microwave, acting icons didn’t personally command millions of followers. And the London-born Jude Law, 51, is of that generation. “I don’t have social media, but I’m learning from those who do that it can help you show yourself in a way that you’re comfortable with and that represents who you are,” he explains to EL PAÍS in a video call. “For me, one of the joys of acting is surprising people and playing roles that make them believe you’re someone other than who you are. I think, to do that, you have to maintain a certain degree of mystery. I don’t want to say that I do… but people don’t know everything about me, even though they might think they do,” he chuckles.

Some of his most memorable works, such as Closer and Sherlock Holmes, are celebrating their 20th and 15th anniversaries respectively. But by no means is he a star of the past: he recently presented The Order at the Venice Film Festival, a thriller by Justin Kurzel inspired by a white supremacist terrorist group that terrorized the U.S. in 1983. And he’s also in Eden, directed by Ron Howard, with Ana de Armas and Sydney Sweeney in the cast. And, this past December 3, the series Star Wars: Skeleton Crew was released on Disney+.

To cap off an intense year, Law will receive his star on the Hollywood Walk of Fame. “I feel honored, very excited. It’s not usually easy to use expressions like ‘I’m overwhelmed’ when I’m asked about work, but this leaves me speechless. It means a lot to me. I’m old enough to realize how long I’ve been working and it makes me feel proud. So, to be recognized… I’m really moved by that,” he confesses.

Question. The plot of The Order is set in the 1980s, but the far right is on the rise today. Can the film help us learn from history?

Answer. Zach Baylin, the screenwriter, read The Turner Diaries (the controversial 1978 novel considered to be a bible of the racist far right) and wrote his script before the 2021 assault on the U.S. Capitol. And the incredible thing is that copies of the book were found in the Capitol Building itself. This is a work set in the past that speaks [about] domestic terrorism and the mentality of the far right, yet it seems terribly current. Husk, the man I play in the film, is a [combination of several men]l; we didn’t want him to be a real person. He represents an ordinary man with a successful career, who’s about to retire. Tired and depressed, Husk suddenly discovers that something terrible is brewing in his own backyard and he’s forced to draw on his own strength to understand it and, ultimately, destroy it.

Q. Star Wars fans aren’t usually easy to please… were you afraid to get involved in the series Star Wars: Skeleton Crew?

A. Now that I’ve seen it, I’m not afraid. I actually had my reasons for doing it. I was introduced to the Star Wars universe when I was nine, so my relationship with the franchise is that of a child. The first three films marked my childhood, my games and even my imagination. I love [director] Jon Watts’ idea of being inspired by 1980s films like The Goonies, Close Encounters of the Third Kind and E.T. – and taking childhood fantasies [to adults]. That’s how I’ve always related to the saga: through the eyes of a child. For me, it’s a children’s fantasy. But in any child’s fantasy, you can put adult themes. That’s what Jon and other directors have done wonderfully, by creating a world around Star Wars through the eyes of young people. [They’ve included] great life lessons. For me, this was an opportunity to create something that I knew my kids would love (the actor has seven children, between the ages of two and 28) and to work with directors who, like me, were excited to be able to enter a universe like this.

Q. Closer (2004) is a raw and intense film. Shot 20 years ago, it was a key moment in your career. How do you see it today?

A. Closer is about how we feel when we meet someone who connects with us and the horror show of splitting up. The script is human, raw and sincere. I hope that makes it timeless.

Q. And what memories come to mind when you think of Dickie Greenleaf, whom you played in The Talented Mr Ripley (1999) and who earned you your first Oscar nomination?

A. I love that character. He’s not a good person; he’s a spoiled child immersed in a narcissistic loop, but I have very good memories [of the role]. I was young and innocent; I found myself working with wonderful people in an incredible part of the world and I dove right in. It was a kind of whim, to let yourself go and love life like Dickie, with those boats, the wine, the clothes... there was a kind of exuberance that made it an exciting film to make. I’m very proud of its legacy.

Q. You’ve said that you almost didn’t take the role, for fear of being pigeonholed because of your looks.

A. It’s a funny story that reflects what happens when you give bad advice to young actors... I almost passed up the opportunity to work with Anthony Minghella and those wonderful actors (including Matt Damon and Gwyneth Paltrow) and play a role like that just because they kept telling me not to pigeonhole myself. My inner demons told me I was [nothing more than] good-looking. But I was wrong, because in a role like that, you can always dig up deeper themes and motivation if you put yourself in the hands of a good director. I gave it 100%. Thank goodness I did it.

Q. Speaking of bad advice… as a child, you were told something very British: not to be too enthusiastic. When did you decide not to follow this?

A. It’s taken me most of my adult life, because I was made to believe that being enthusiastic isn’t cool. But I’ve never been able to not be enthusiastic and I think I encourage my children to be enthusiastic, too. I can’t help being who I am… I like to know that I have that side and, in fact, it’s something I encourage. Being passionate, enthusiastic and excited are wonderful things that show that you’ve been inspired, that you have an opinion and that you believe in something. If you talk about art, or beauty, it’s important to express it.

Q. Do you feel British?

A. My mother comes from a beautiful little town in North Wales and I have [deep] ties to that side of my family. We don’t know as much about my father’s side, but I don’t feel very British in the way I see life, nor do I think that the English have ever understood me. I don’t think I’ve ever fit in well [in the UK]. I don’t have a clear social status, because I come from a working-class family… but then again, I’m very middle-class. And, if that wasn’t enough, I have an unusual name. I don’t think I fit their standards. The English like to be more categorical and put you in watertight compartments. The more I travel, the luckier I feel to be a person of the world rather than someone from any one place.

Q. What is it about Spain that attracts the British so much?

A. At first, it was a practical thing. One of the first affordable direct flight routes from Heathrow was to the south of Spain: the first holiday-goers came back delighted and told everyone how much fun they had had. I have a very special relationship with Europe; I really like its unity. I’m a great Europhile and Brexit broke my heart. Spiritually, I’m European: my parents would load up the car and take me and my sister camping in Spain, France, Italy, or Greece. It’s wonderful how rich all these cultures are… and they’re all so close together! That’s one of the wonders of the world.

Q. Are you afraid of getting older?

A. Once you’re over 50, when you see that there’s a generation 20 or 30 years younger than you who are doing great work, you realize that the roles they’re playing are no longer there for you. And you start to wonder if you’ve made the most of everything you’ve done. But, at the same time, other opportunities come up, other new roles. I’d be stupid to think that I could play a 25-year-old. Luckily, my frame of mind isn’t there: it’s about adding 25 more years. So, of course there’s a sense of looking back, thinking, “gosh, yeah, those years are gone.” But you gotta look forward.

Q. People consider you a style icon. Are you comfortable in that role?

A. I’ve always loved fashion, because it can help you express who you are and how you feel… but I’ve never taken it seriously or thought about it much. It would be like spending too much time looking in the mirror every morning to look perfect. Style icons? I think of James Dean, Paul Newman, Marlon Brando, Montgomery Clift…

Q. Firebrand (2023) portrays Henry VIII as the villain and, obviously, Katherine Parr, his sixth wife, as the victim. How do you feel about the film world finally adopting a female perspective?

A. It’s a very good question. The mere fact of making this film, of telling the story from [her] point of view, says a lot about where we are. Telling the biography of a white man from 500 years ago today sounds, at the very least, indulgent, especially if you take into account his behavior. The most interesting story, on the other hand, is that of the woman who survived, manipulated him and beat him at his own game. For me, all this represents that — thank God — we’re reevaluating storytelling in film. The best story isn’t always that of the old white man. The best story is somewhere else.

Q. What would you advise a young actor who suddenly becomes famous?

A. To protect his privacy, advice that I wasn’t given. I would tell [him or her] to respect [fame], appreciate it and safeguard it, because it can be taken away from you. But the more you give in, the more people assume you’re willing to keep doing it. And, before you know it, you’ve got nothing left. I think an essential survival lesson is to have a healthy life. And that’s something that, in turn, helps you as an actor.

Q. You’ve filmed with Spielberg and Scorsese. Yet you often say that your success is a matter of luck. You’re clearly a great actor. Would you dare admit that?

A. No, I still don’t [feel] comfortable saying that about myself. You’ve always got to be thinking about what’s next, rather than looking at, say, the work you’ve done. [You have to have] curiosity about what’s coming up and who you want to work with. I’ve embraced the opportunity to be versatile and curious. I’ve always wanted to be better and learn and work with people who can help me be better. But I think that starting to talk or reflect on yourself beyond that, as an actor, isn’t very healthy. Unless you plan to stop and say, “That’s it, good job, this is as far as we go.” Then, that’s okay.

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