Norman Stansfield (billed as Stansfield) is a fictional character and the primary antagonist of Luc Besson's 1994 film Léon: The Professional. Portrayed by Gary Oldman, the corrupt and mentally unhinged Drug Enforcement Administration (DEA) agent has been named as one of cinema's greatest villains. In recognition of its influence, MSN Movies described the Stansfield character as "the role that launched a thousand villains". Character Stansfield is a DEA agent who employs a holder (Michael Badalucco) to store cocaine in his residence. When Stansfield learns that the holder has been taking a cut and adulterating the remainder, he and his henchmen gun down the man's entire family, with the exception of 12-year-old Mathilda Lando (Natalie Portman), who is able to find refuge with her neighbor, professional hitman Léon (Jean Reno). As the film progresses, Mathilda implores Léon to teach her his trade so she can kill Stansfield and avenge the murder of her 4-year-old brother, the only member of her family she loved. Stansfield wears a beige suit, and is unshaven with often unkempt hair. He has been described as a psychopath, and as having an unhinged, unpredictable personality; however he has also been cited for his charm. He is a classical music enthusiast who likens his killings to the works of Beethoven. Throughout the film, he takes a drug in capsule form that appears to be Librium, an early benzodiazepine. Creation and filming According to director Luc Besson, the title character's austere nature gave actor Jean Reno "no room to play". Therefore, Stansfield was devised as a contrasting figure with whom "anything was possible. Anything." Although the antagonist of the film, Stansfield was intended to offer a measure of comic relief. Besson stated, "A movie without humor somewhere, is not a movie. A movie needs humor" (one writer described Stansfield as "menacing but so full of whimsical tics you can't help but let out a guilty chuckle"). Oldman had a collaborative rapport with Besson, saying, "You share ideas, and if you come up with an idea that he likes, you can bet your bottom dollar that it'll go in the movie. I liked working with Luc so much that if I actually never worked with another director again, it wouldn't worry me." In a later interview, however, Oldman alluded to some conflict with Besson on-set: "He tells you how to move, how to speak, where to stand. He tried that