By Alison Willmore | Indiewire October 2, 2012 at 3:33PM
There’s a certain pleasure that Ben seems to take in his work and his place. He likes to do business with a smile, even when he’s being completely frightening: do you think he enjoys reminding people that he has this muscle to flex?
Men with that kind of violent power, when they tell a story, or when they want to have a private conversation, the person being spoken to really wants to get the hell out of there as quickly as possible. The sooner the whole meeting is over with, the better, because there’s less room for a potential mistake. I think Ben Diamond loves that, loves to torture people in those terms: “No, please, sit down. Let me tell you another story about yourself.” He likes to toy, like a cat with a mouse, but he also has this Roman emperor quality where you feel like maybe there were grander days. Even though he enjoys playing with people in Miami in 1959, in a way, he’d prefer to be playing a bigger hand.
He’s been slightly diminished and weakened by being confined to Miami and not being able to return to Havana. There’s a slight sadness, a feeling of a man who was king at one point – but who is no longer as powerful as he was. And the characters are proving to be quite surprising in this extremely dark, sexual world that Ben is starting to develop for himself -- which also has something to do with the lack of power, of influence, in the crime world. There’s not much he can do aside from lying on his chaise longue by the pool, so he starts to meddle in people’s lives and the steamy angle is -- every time I read new episodes I’m shocked! I feel like my mother. It’s getting sicker, more twisted, by the second.
Does it ever feel like a challenge for you to keep a character like this grounded -- one whose nickname is "The Butcher," who isn’t exactly eager to show a softer side? I kind of wondered how you saw the revelation with Stevie at the end of the first season working in -- and offering a more complicated look at his character?
There are a lot of complexities to Ben Diamond, I feel. He’s had this past -- the orphanage, Chicago, and it will be revealed soon that he worked as a carnie for a while, and so there are a lot of sides to him. I kept seeing where he chose to talk to someone, usually Ike, about where he came from and what he’s about -- unfortunately, people are usually not that interested. Usually I don’t portray a villain in a one-dimensional way.
What seems to happen to me is that once I get my head around it, I actually start having a lot of feeling and compassion for the character I’m playing, however horrific they are. The character that I did in “The Constant Gardener,” I had a line of dialogue: “Those patients should have died, anyway.” If I can deliver that line and mean it, you know, then I’ve found a key into Sandy Woodrow... With Ben, I can sort of find these little bits all the time.
I know you’ve appeared in TV series before, but this is your first role as a regular. How has that experience has been for you in terms of differing from film -- has it been a positive to be able to stay with the same character character for a longer period of time?
For me, they’re like chapters of a book. It’s like reading a novel, and in a way, we did a volume one and now we’re moving into volume two. They’re not restricted to a first, second or third act format. That’s really exciting for me, coming back for a second season, rediscovering Ben Diamond, and a world that I already know. Usually with a film, everything is so fresh -- here, you can say, “Oh yeah, that looks familiar" or "I remember this guy." That’s just wonderful. I also, truly, enjoy reading the episodes. I get a fresh one and I scurry off into the corner and read it. It has that sort of anticipation when you don’t want it to end. Also, working through cable where you can reach out to a certain number of people without having to worry about that first [box office] weekend, so you can grow, develop, it’s really great. I’m happy with it.