Casting. George Lucas, Rick McCallum, and casting director Robin Gurland auditioned over 200 actresses for the part of Padmé Amidala. They chose 16-year-old actress Natalie Portman to play the role.
Throughout the film, he takes a drug in capsule form that appears to be Librium, an early benzodiazepine.
His feelings toward Mathilda awaken an appreciation for life and show there's a reason for him to exist. But he never responds with even the slightest glimmer of interest in her emotional advances. He loves her, but not romantically.
The relationship was not consummated, but Mathilda does convince Léon to sleep innocently with her in the same bed. The original script also featured a scene where Léon walks in on Mathilda taking a shower. Thanks to Portman's parents demanding the filmmakers minimize innuendo, the scene was ultimately scrapped.
Natalie Portman and Keira Knightley are of course not related. While the “Star Wars†and “Black Swan†actress was born in Israel, Knightley hails from Britain and is best known for movies like “Bend It Like Beckham†and “Love Actually.â€
The plot follows Léon (Reno), a professional hitman, who reluctantly takes in 12-year-old Mathilda (Portman) after her family is murdered by corrupt Drug Enforcement Administration agent Norman Stansfield (Oldman).
Plot. Years after Leon The Professional, Mathilda becomes way mature and takes Leon's place as new assasin.
Léon: The Professional (1994) – Ending Explained. In the end, Léon dies but Mathilda gets to have a second chance in life. That happens because some folks prefer to sexualize Mathilda, instead of seeing her as a child.
Throughout the film, Leon nurtures a plant that he refers to as his best friend. This plant is an aglaonema, and since first seeing it in the film a few years ago, I made it my mission to get myself a 'Leon plant'.
Drinking milk comes with the regimen. He attempts to enrich her and provide her with a more wholesome environment, and milk represents those qualities. It's a fluid of life, nurture, and care. Additionally, it's a fluid of innocence and, in the case of both Léon and Mathilda, childhood.
It turns out Tony doesn't actually pay Léon for any of his “cleaner†work. He holds the money, telling Léon he's more trustworthy than a bank, because “banks always get knocked over. And nobody knocks over old Tony.†Given the places Léon lives and his lifestyle, he's clearly not rolling in excess cash.
