Actor, composer, producer and multi-instrumentalist Anthony De La Cruz, who plays Hector in Glass Casa, has worked on everything from commercials and major features to indies and TV series.
You might recognize him from the hit sketch comedy series I Think You Should Leave with Tim Robinson or from Netflix’s Selena: The Series. He also appeared in the international action blockbuster The Rescue—a big-budget Chinese film with incredible special effects and cinematography. Recently, Anthony worked alongside Kathy Bates on an episode of Paramount’s Matlock.
We had the pleasure of chatting with Anthony about the unexpected way he found himself in Glass Casa, filming stinky death scenes, the secret to making acting easy, and more!
On joining the movie last-minute
How did you get your role on Glass Casa?
Well, interesting situation. So San Diego has a pretty tight community…
It was sort of last minute, literally the day before, I think it was, if not the same day. Lizet Benrey, who was in the film as well, I guess somebody backed out or something happened with the person playing Hector. And, of course, [Lizet] gave me a call. And I was like, of course, yeah, let’s do this. You know, I’m always down for a cameo or just show up when needed. And especially if it’s a good project.
So it was a last-minute phone call, you know, and I show up and I’m like, wow, look at this house/mansion that we’re filming at.
“You’re playing Hector. He’s, you know, a mob guy; works with the lead.” And I was like, okay, let’s do it. And so, yeah, I just was there one night and filmed—in and out.
Next thing you know, fast forward to the San Diego Film Awards 2024. Lizet and I were in the audience, and we accepted Best Ensemble for the film… and I was also crowned King of the San Diego Film Awards! That was crazy!
Anthony with fellow Glass Casa cast member Lizet Benrey (right) and writer/director Laa Marcus (center) at the San Diego Film Awards 2024.
Again, it was last minute going in. And now I’m accepting the award because the main cast isn’t here! So it has its benefits. You know, it was fun.
So you and Lizet knew each other from before this project?
Yeah, I met Lizet years ago through the International Mobil Film Festival in San Diego, where movies are made with only cell phones. She did an abstract type film, and I did my own music video or something. And we talked, and then eventually I made my own short film with Lizet as the star of it using a mobile phone. And it turned out really well.
So yeah, I met her through that. And, of course, San Diego’s a tight community, so we’ve been in commercials together. We did a transit commercial where she’s my spouse and we’re taking the bus. We are currently working on an abstract short film together.
And I heard you two got to do some improv together, for some of your voiceover dialogue.
Oh, yeah. So in the movie, when they’re talking about her character and the story behind the house and the cartel, there’s a scene where they’re going through the house and they’re hearing noises, and there’s a television that’s blasting, and it’s a novella going on, and she and I lent the voices. Just arguing like a real telenovela, so they hear our audio from down the hallway.
So it’s pretty fun. It was cool, it was different, I didn’t expect that at all. I mean, like I said, we’ve been friends for a while. We work together. And it was kind of cool that when there’s opportunities, sometimes you’re like, oh, we need somebody now, tomorrow. And I was fortunate that she thought of me to give me the call. So it’s pretty cool.
Because I want to help out. I love indie film. You know, I’ve worked on big things. But I’m always down to support indie because, hey, you never know when [it’ll be] the next Scorsese or Sofia Coppola, you know what I mean? Or Laa Marcus. So I’m always down to support.
On shooting death scenes and his acting process
And [spoiler alert] you get a death scene! How was that to shoot? Was that really fun?
Well, no, not really. [Laughs] There’s a good little story behind it.
Somebody on the crew was, I guess they’re anticipating this scene. So they took one of his shirts, one of his ripe shirts, that he wore. [Laughs] Yeah. That he wore filming and sweating and so they just put a hole in it with little blood on it, to wear that for the “I’m gonna get shot” scene. And I still cringe to this day. I mean, it was so bad. I’m like, seriously? Like, we can’t do anything, like get Febreze? Like, hook me up, right?
There was nothing, and so I’m like, alright, here we go, this is where you’re an actor, just get into it, suck it up.
Anthony as Hector in a scene from Glass Casa.
And so I did the scene, and then I’m on a slope. If you see the movie, you’ll see that I fall out of the bushes, out of the landscape where I got shot, and it was about a nine-foot drop, like a slope that you could just slide down. There’s a little lower level, but it was a nice little grade. And so I had to do the scene a few times. My shoes are starting to slip. The mud is starting to cake on my shoes. And I’m like, “Okay, how many more times are we going to do this before I finally do go down the slide?” And then, of course, you know, I didn’t fall right, or the camera or something messed up, or the angle. So you had to do it a few times.
You really got your workout that day, it sounds like.
Yeah, it’s not uncommon. I did another movie where they wanted the shot of me coming down the stairs. I did like 10 times. So it’s not uncommon where you’ll do things over and over and you’re just hoping that it isn’t that taxing, if you will.
But I like how they tied the whole thing together.
When you come in last-minute like this and not really have the full script and you only get that piece of what you’re in, you kind of don’t know what the whole story is about. So you wait and then you finally watch the movie and like, oh, okay, that’s how they tied it in.
They did a good job of me not being there [at the beginning], kind of setting things up for when you do see me.
I mean, it’s suspense, like a whodunit kind of tied in there. And [writer/director] Laa did a really good job with the script, kind of misleading you, leading you back in. And the comedy. All the ladies did an amazing job with the comedy, the dialogue. And like I said, it’s a fun movie. I just watched it last night, kind of refreshed myself. And , I wish I had a bigger role in that fun movie they made, but I did my part, you know, it was good to be a part of it.
But yeah, it’s not the first time I’ve died on film.
Oh, it’s not?
Yeah. I mean, I’m ready for whatever. One of my first feature films, it was a Tom Sizemore movie, and I had Vivica A. Fox in my backseat, and we had Bai Ling in another vehicle. I mean, she’s an Oscar winner from China.
It’s called Assassin’s Game, right? I don’t know how many hundreds of people got killed in that movie. And I’m one of the first ones to die.
We open the scene in this dialogue, and me and the other bodyguard are arguing in this SUV. Vivica is in our backseat. And before the scene ends, we hit these spike strips out in the desert.
We pop out, and a sniper hits me first.
So, yeah, you know, I’ve done some falling and whatnot in movies when it’s necessary. But as you get older, man, you get all rickety. You’re like, “Okay, how many takes? Can we do it in two, three?”
So yeah, [the Glass Casa death scene] was muddy, a little dirty, but it helps. It helps you play the role better.
Because it was so physical? And you’re actually dirty and tired, not just pretending to be?
Exactly. You know, people talk about “using it”. I mean, it’s not really about using it. If you really just let yourself be in it, it’s there for you. The ground, the hillside, me falling. So sometimes the environment helps a lot.
I’ve done that on a few movies that I’ve been in [perfect environments]. I’m in a documentary about the San Salvador, which is the ship Juan Cabrillo discovered San Diego in. And I was out in the ocean on a 1600s Galleon for like a week. I was the priest so I had [a robe and] rope sandals, I mean it’s not hard to act when you’re actually on a ship. It’s a replica of the original and everyone’s dressed like we were there, like the historian said, we were “living history”. Yeah, and it was cool.
Anthony in Voyages of the San Salvador – Cabrillo’s Journey. SOURCE: IMDb.
And I’ve done that a few times. I’ve learned how to ditch a plane in the ocean in a big action film that I’m in. I had a few days with a real pilot to show us where all the mechanisms are. So when we’re doing the scene, you know, real pilots won’t go, “That’s not there. That’s wrong.” You know, so we had to learn exactly how it [really] is.
It seems like verisimilitude is an important part of your process.
Really the best mode to be in is not thinking. So you’re in it. You’re no longer thinking about yourself. You’re just doing. The environment’s there.
One more little thing that I did was, I’m in this film called Why the Nativity?, and they built a real Bethlehem. And I’m walking in, and I am in awe going, oh, my God, there are real camels walking by.
It’s not hard to act. Some people think it’s hard. Not really, if you just kind of really submerge yourself, you know, submerge yourself in that situation or the location.
So Laa’s set… I mean, the house is its own character as you see them go through it. And it’s really amazing in person and on film.
On what to expect when watching Glass Casa and what it’s like to get recognized
So what can people expect when they watch Glass Casa?
It’s a really good movie. It’s fun. You will laugh. You’ll get a kick out of it. And some of the comments that the girls make, you know, you’re used to it from, you know, “guys’ movies”, you know. And it’s kind of cool to see these ladies sort of in power.
Go watch Glass Casa. Keep an eye out for me, but the movie is good. All the ladies do a great job and Laa made a really good movie.
You’ve been in so many shows and movies. What is it like getting recognized?
I love it when people reach out to me or share with me where they saw me. Because I never know what’s going to show up or when. I like when people go, oh, my God, I saw you. And the excitement they get; I’ve found rewarding.
And so I get a kick out of the comments and their own experience. I realize it’s really about that, how you can touch people and maybe, hopefully make them happy.
Anthony De La Cruz.
Want to see more of Anthony’s work? Look for him in his new commercial for Twisted Tea, the Dante’s Inferno-inspired horror film Penance, and indie feature Night Children, the follow-up to the multi award-winning and internationally recognized Ni Una Mas (Not One More), both starring Anthony. Be sure to follow Anthony on Instagram to stay up to date on all his upcoming projects!
Please note: this interview has been lightly edited for length and clarity.