Born in Hammersmith, London, Alan Rickman is the quintessential villain we love to hate. Aside from his impressive and considerable theater work, most fans remember him as the aristocratic master thief in Die Hard and, more recently, as the potions master Severus Snape in the Harry Potter films and Judge Turpin in Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street.

Rickman attended the Royal Academy of Dramatic Art and worked extensively with various British repertory and experimental theater groups. He performed in "Tango at the End of Winter" in London's West End and the Riverside Studio production of "Hamlet" directed by Robert Sturua. He also played Mark Antony, opposite Helen Mirren as Cleopatra, in the Royal National Theatre's production of “Antony and Cleopatra” at the Olivier Theatre in London. In 2005, Rickman directed the play "My Name is Rachel Corrie" at the Royal Court Theatre in London. His impressive body of theater work caught the attention of producer Joel Silver, and it was Rickman's stylized interpretation of the villainous Hans Gruber that catapulted him into widescreen stardom. Since then, Rickman has appeared in more than two dozen films.

In Bottle Shock, Rickman plays British wine shop owner Steven Spurrier, who had set up and conducted the famous “Judgment of Paris,” an event that legitimized California wines and sent shock waves through the international wine community. When presented with a hastily banged out 20-page script by Jody Savin and Randall Miller, Rickman eagerly embraced the project. “I loved the idea,” said Rickman. “I started to get a picture of who this person [Spurrier] was. While it was uncharted waters, I trust Jody and Randall--from their work on Nobel Son--to steer the ship through.”

Always anxious to immerse himself in any character he portrays, Rickman talked about his meeting with Spurrier. “I had spoken to him about the role,” said Rickman. “I think he was a bit horrified that I was playing him. Neither of us realized it, but we had actually met in Italy about three years ago.” Rickman structured the character in his own inimitable way. “The essential image is what’s useful,” remarked Rickman. “If you consider that he’s a particular kind of alien coming from a particular strand of the country with a class system…and you take mister upper-class Englishman and drop him in the middle of the desert and make him march around as if he owns it already--without the sense to remove his tie in 100-degree heat--well then, you kind of know who you’re playing.”

Actors sometimes have mixed feelings about a film, especially one that attempts to recreate a historical event, but Rickman wasn’t shy about expressing his view of the finished product. “I genuinely loved it,” said Rickman. “I mean, what’s not to like? You don’t even need to like or care about wine. It’s about a bunch of people and an endeavor that’s been going on for centuries.”

The final wine-judging scene in the movie was pivotal and drew on Rickman’s knowledge of French and his talents as an actor. Rickman carried the scene--strictly bound by protocol--with aplomb and comme il faut. “I speak French, and I wanted to be true to someone of Spurrier’s background,” explained Rickman. “Of course, he would have spoken French, but in exactly the way I’m speaking English now: with an accent and absolutely no concessions to the foreign country (laughs).” Rickman also opined about the venue chosen for the judging scene. ”I told Randy, ‘You must be joking. You’re going to have a competition for world-class wine in the open air with the sun beating down on the wine?’ His response: ‘It’s a movie; enjoy it.’ I was hot and sweating in the sun and I kept thinking that all this wine would be ruined by now. Nevertheless, Randy did find a great location.”

Bottle Shock is filled with some unforgettable movie moments. Rickman went into a few scenes that affected him most. “The heat was constant,” said Rickman. “You’re wearing a wool suit with a tie and shoes and socks in 100-degree heat outside.”

Having tasted dozens of wines in the film, Rickman expressed his varietal preference. “To be perfectly honest, it really depends on what country I’m in,” said Rickman. “I’ve just come back from Italy, and while there, I wouldn’t have enjoyed anything other than Italian wine. At home, well, certainly not English wine (laughs). Though there are some pretty good English white wines. I’m not really a wine collector or expert. I do have some South African, French and Italian wines that I’ve brought back with me during my travels.”

Rickman’s broad palette of films includes both big studio productions as well as a variety of indie successes. He seems to gravitate to one more than the other. “Most of my work has been in independent films,” stated Rickman. “Just a few have had big publicity budgets.”

Veteran actors have been known to mentor their junior counterparts, but is the reverse true? Has Rickman learned things from those less experienced he’s worked with? “Always,” explained Rickman. “It’s a whole different energy, like plugging yourself into a different socket with completely fresh ways at looking at things. At the same time, you’ll sometimes see horrible flashbacks of yourself at certain points, certain moments of over-intensity.”

As their careers develop, actors sometimes alter their raison d'etre for acting. Rickman commented on his career as a man of parts. “I’m an actor for the same reason I started,” said Rickman. “Except now I can make sentences about it. It's an instinctive choice and you learn to put the equipment together to support the instinct and the imagination. It’s always about wishing to be a storyteller and you hope that it’s worth it.”

Rickman is known for his strong theatrical ties to London, and one can’t help but wonder if he himself feels like a fish out of water in the states, particularly in Hollywood. “Not any more,” said Rickman. “As an English person, you grow up with such an idealized view. It’s not like you’re going to the desert. Coming here is coming to magic land. If you’re not an upper-class English lad, Hollywood is some kind of holy grail.”

With no shortage of projects to choose from, Rickman briefly touched on his next project. “I’m gong to direct a play in London…a production of [August] Strindberg's play ‘Creditors.’ It’s a tricky piece with only three actors and it opens at the highly respected Donmar Warehouse in September.”

Rickman then segued into comparing the acting one does in film to theater and how one influences the other. “Gary Oldman recently said he doesn’t see any difference between the two, and neither do I,” remarked Rickman. “The values are completely the same. When you’re doing a play, you’re very aware of feeling the shape of the whole piece all the time. So you use yourself in a different way. A great playwright once said, ‘Working in film is like painting in watercolors, and working in theater is like painting in oils: one isn’t better than the other.’ It’s just a different use of yourself. To me, they are supportive of each other.”

Acting is a unique profession, yet it is sometimes compared to other endeavors. Rickman commented on what he perceives as being closest to acting. “Wine making wouldn’t be far off,” said Rickman. “It’s utterly to do with nature and you’re imposing some kind of discipline on it. It’s a bit unnamable and it’s a matter of taste.”

Bottle Shock is now playing in limited release.

For more information, visit bottleshock.com.