Javier Bardem is stepping beyond his familiar villain roles and opening a fresh dimension in his career. In the newest film, Lilo, my friend the crocodile, he embodies a character who sings and dances beside a melodic crocodile voiced by Shawn Mendes, a creature who communicates through music. The movie is slated for release in theaters on Friday, October 21.
Going back to the start, audiences first heard him sing Make Em Laugh from Cantando Under the Rain in Boca a Boca.
Exactly that tone returns! Not only that, she also performed Por el amor de una mujer by Julio Iglesias in Huevos de oro.
And what prompted this revisit of a hidden musical side?
It began with a string of musical moments, including The Little Mermaid (live-action from the Disney classic directed by Rob Marshall, with King Triton, still awaiting release), Ser los Ricardos (Oscar-nominated for its craft), and now this. The idea came naturally: if life places it there, one should explore it. There’s also the weight of family watching at home, with young children who can’t yet see every project. What note should be written to them about this being a bold departure? His kids may be young, so they’ll see him on screen for the first time, and the excitement mixed with a touch of nerves is real.
There is obvious joy in the process, a sense that the role is pure enjoyment—someone with deep passion, eager to share it with others. Doubts and conflicts fade when the energy is so infectious. It’s wonderful that the music translates so smoothly to scenes that kids and families can savor, and the crocodile pairing adds an extra dose of charm.
Did this part come at a moment when fun was needed in a career?
It helped that he’s reached a point where public opinion matters less. Translation crews deserve space to express themselves, and while not every project is a major film, artistic expression can still reach audiences through diverse avenues. Working with Aaron Sorkin and a crocodile, paired with a remarkable co-star like Nicole Kidman and a vivid musical score crafted by the team behind The Greatest Showman, represents a special balance. Each element holds its own weight and deserves recognition.
Also, the directors Josh Gordon and Will Speck, known for Slip to Glory, are part of this project. Is there room to imagine Bardem in tights like that iconic role?
There was a moment when he turned down Steven Spielberg’s Minority Report to pursue Mondays in the Sun, partly because the English language project wasn’t ready, and the action sci-fi genre didn’t feel like his path at the time. If the script crossed his desk again today, a very different decision might unfold—perhaps even stepping into roles with a fearless, roof-jopping energy as a digital being.
Is there a right time for everything?
Ten years ago he believed himself a serious actor capable of certain choices, yet performing a musical number on set is not a serious ordeal. The crocodile character is entirely fantastical and effects-driven, yet the precision of each movement is demanding in its own way. The idea that intensity equals difficulty is a common misconception; this project shows how precision and playfulness can coexist.
What stands as cinema’s biggest obstacle behind a global pause for pandemic times?
Platforms offer abundance, but an overload of content can dull the senses. Hours spent scrolling without finding something engaging are frustrating. The core challenge is not deciding between one fantastic show and another, but navigating the ever-growing catalog while staying connected to the conversation that matters most to viewers.
Is there a fear of missing out on something great?
At fifty-three, he avoids letting that anxiety shape his life. He observes it in his kids and the adults around him, noting how speed and volume alter how people consume media and how media consumes them. The pace is quick, the choices numerous, and the cultural pressure to stay in the loop can feel relentless. Yet he believes in choosing what resonates, free from the fear of being left behind.