Molina's wife Jill Gascoine is 16 years older than him.
Molina's nickname is Fred.
Molina taught Shakespeare at Circus Theatricals in Los Angeles in March 2003.
Molina met his wife Jill Gascoine while doing the musical Destry Rides Again in the early 80's. He played Destry while his wife portrayed Frenchie.
Nominations and Awards Won:
2005 - Chlotrudis Award for Best Supporting Actor for Coffee and Cigarettes (nominated)
2005 - Saturn Award for Best Supporting Actor for Spider-Man 2 (nominated)
2005 - VES Award for Outstanding Performance by an Actor or Actress in a Visual Effects Film for Spider-Man 2 (won)
2005 - Teen Choice Award for Choice Movie Bad Guy for Spider-Man 2 (nominated)
2005 - MTV Movie Award for Best Villain for Spider-Man 2 (nominated)
2005 - Golden Satellite Award for Best Actor in a Supporting Role, Drama for Spider-Man 2 (nominated)
2003 - Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role for Frida (nominated)
2003 - Golden Satellite Award for Best Performance by an Actor in a Supporting Role, Drama for Frida (nominated)
2003 - Imagen Award for Best Actor - Film for Frida (won)
2003 - BAFTA Film Award for Best Performance by an Actor in a Supporting Role for Frida (nominated)
2003 - CFCA Award for Best Supporting Actor for Frida (nominated)
2003 - BFCA Award for Best Supporting Actor for Frida (nominated)
2001 - Screen Actors Guild Award for Outstanding Performance by the Cast of a Theatrical Motion Picture for Chocolat (nominated)
2000 - Screen Actors Guild Award for Outstanding Performance by the Cast of a Theatrical Motion Picture for Magnolia (nominated)
2000 - FFCC Award for Best Ensemble Cast for Magnolia (won)
1999 - ALMA Award for Outstanding Individual Performance in a Made-for-Television Movie or Mini-Series in a Crossover Role forRescuers: Stories of Courage: Two Couples (nominated)
1998 - Screen Actors Guild Award for Outstanding Performance by the Cast of a Theatrical Motion Picture for Boogie Nights (nominated)
1998 - FFCC Award for Best Ensemble Cast for Boogie Nights (won)
1990 - RTS Television Award for Best Actor - Male for Virtuoso (won)
1990 - RTS Television Award for Best Actor - Male for The Accountant (won)
1990 - BAFTA TV Award for Best Actor for The Accountant (nominated)
Alfred narrated the audiobook "The Vampire Armand" (1998) by Anne Rice. He also narrated the 17-part original audiobook "The Chopin Manuscript", a serialized novel written by a team of 15 best-selling thriller writers, including Jeffery Deaver, Lee Child, Joseph Finder, and Lisa Scottoline.
Alfred made his film debut as the treacherous guide who almost gets the golden idol from Indiana Jones at the beginning of Raiders of the Lost Ark (1981).
Alfred became a member of the Royal Shakespeare Company in 1977.
Alfred auditioned for the part of "Rimmer" in The Red Dwarf (1988).
Alfred was nominated for the Tony Award in 2004 for Best Actor (Musical) for portraying Tevye in a revival of Fiddler on the Roof.
Alfred gained a good amount of weight to play the huge Diego Rivera in Frida (2002), and then slimmed down to play Dr. Octopus in Spider-Man 2 (2004). Alfred regretted that due to his part as Tevye in Fiddler on the Roof, he again was forced to regain his bulk.
Although he himself is fully an Englishman, Alfred's father was a Spanish waiter and his mother was an Italian housekeeper. His mixed background has allowed him to play characters of almost any heritage.
Alfred was nominated for the Tony Award for Best Actor in 1998 for Art.
Alfred is 6' 2" (1.88 m) tall.
Alfred has also played the main role in the amazing broadway production of Fiddler on the Roof
Alfred was named #12 out of 137 on Entertainment Weekly's Must See List in 2004.
Alfred: The worst thing that an actor can do is go into any project with a lack of respect for the material. You can have an opinion about it, but you have to respect yourself in doing it.
Alfred: When you fall in love with someone, you fall in love, and if you stay in love, you don't think of [an age difference] as something you can change or that you would want to change.
Alfred: The great thing about enjoying a certain modicum of success in film is that you can afford to be a little more choosy in terms of what you do. I make no bones about it:
Alfred: I think I knew I was good it quite early on. I wasn't good at acting, necessarily, but I was a terrific show-off. In my early teens, around the time my parents divorced, I was really good at mimicking people. I was good at accents, good at telling jokes; I was the class clown, which is a typical story with a lot of actors.
Alfred: It's amazing how willing audiences are to go along with conventions that are clearly not realistic. In one scene, we've gone back 18 months and then we're months ahead of the last scene. Audiences don't question any of that. And that's the great thing about theater. In movies, you need to be more logical and linear.
Alfred: (on portraying characters) The responsibility is to represent those people as accurately as you can, regardless of whether they're good or bad, evil or saintly. Regardless of what they're like, you have to represent them.
Alfred: (on humanizing villains) Try and find that thing that's very plausible and very authentic so the audience feels comfortable about suspending their disbelief and are willing to buy you in that role and go on this journey with you.
Alfred: (on "The Da Vinci Code") When a movie this big is being made, it's only natural that you want to protect the product. Like at car shows when the latest models are kept under those wraps. I think that's where the term comes from, isn't it? Keeping it under wraps. All these big, intriguing, enticing shapes are kept under these silken curtains until the very last minute when it gets pulled away and everyone goes, 'Ooh...' I think it's the same thing.
Alfred: I've never been one of those actors who can retain huge chunks of Shakespeare; it seems to disappear instantly after playing the role for months and months. I'm always rather in awe of older actors who could go into reams and reams out of nowhere.
Alfred: I suppose the biggest challenge is always to match what you do with the material, and in a sense to rise to the occasion and understand what the material is.
Alfred: (on working with special effects) The discipline is different. I always use a rather simplistic analogy. I often say to people that it's a bit like being a plumber. One day you might be working on a very intricate shower head. The next day you might be clearing out a rather nasty toilet drain. The same plumber does the job, they're different tools, but they all come out of the same box.
Alfred: (on his ideal role on film) I think I'd like to do a comedy on film. I've never done that before - an out-and-out comedy. I'd love to do something like that.
Alfred: (on being recognizable to American audiences) I'm at that point where every now and then people come up and say, 'Aren't you whatsisname?' They don't quite know who I am but they recognize me from somewhere.
Alfred: I'm a bit of a science fiction fan, and one thing I hate is when science fiction becomes too implausible. The thrill of science fiction is when it's tantalizingly possible that this could happen.
Alfred: (on a Shakespearean character he would like to play) I think before I get too old, before I hit 60 - I'm 52 now, my big thing is I would love to have a go at something like maybe King Lear on film.