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But I'm getting too serious. When I try to explain what I do, I get a little bit disgusted with myself because I come off too earnest. In the simplest terms, it's a pleasure to borrow someone else's body and someone else's life. That's the craft, and it's a bit like voodoo, because you don't know exactly how you do it. It's one of those invented things. I spend a lot of time in Germany so it's in my head. I didn't feel the need to go to a dialogue coach and be very strict with it because that's not in the spirit of how it should be approached.
My take was that it should be played with and invented. Sometimes I envy their power and money, and other times I feel sorry for them since they have a gun to their head. They have so much to protect that they have to be very careful, thus very certain every step of the way, and that leaves out a lot of work of any freshness. I don't want to do that - I'm not that kind of actor. On principle I don't have favorites.
To pass judgment on something you've done is a face-saving act, and I think it kinda stinks. There are all kinds of movies, all kinds of impulses and all kinds of needs for people watching movies, and sometimes I'll do a movie that I don't particularly care for, but then I'll run into someone that it speaks to and they love it. So for me, to give my personal take on it, could mean ruining that movie for someone else, because they can find pleasure where I can't. Most of the work happens when you're on the set.
It's like going to a cocktail party - you know who's going to be there, you have certain expectations about the topics of conversation and the social dynamic. At the same time, when you arrive, you've got to be able to abandon those preconceptions and be mercurial. But sometimes the most important thing is just having a good costume.
I always like to mix it up. It's like anything. If you're eating pasta for a week, eventually, you crave something else. A balanced diet of different roles and different stories and movies - I think it's the way to stay healthy artistically and career wise.
It does a funny thing because you're not refining one way of seeing you. That's one way to have a career. You can make a persona, corner a market, and make yourself almost a thing. You can use that and that can be interesting iconographical but I still am that actor who likes to bend myself to the material rather than find material to support some idea of who I am or some persona that I've made, or some mask that I've made.
Marty [Scorsese] had made this movie in his head for years, and I felt privileged to be involved. I always try to find people that are burning to tell a story and then help them do it. I try to avoid anyone that pokes around-filmmaking should be an opportunity to make something that's very thrilling and, you know, exciting.
On some level, I'm a sensation junkie. I'm always very fond of laconic, cut-off characters that have a rich inner life, and you have to restrain that. There's a funny perception that I play bad guys, but if you really know my movies, the big and small ones, the truth is often I play good guys.
But they're good guys that are flawed, good guys who are outside of society. They're odd or they're criminals, but morally they tend to function as good people. I'm aware that I have more experience, but when we're all in the room together, we're just trying to help one another.
I had to fit in with them; that's the real takeaway, and that's the pleasure, because whenever you're in a movie, that's your job. You want to be the fabric of the story, you want to be woven into it. You don't want to show off. You don't want to stick out. I liked the world. I didn't quite know what the character was until I started doing it. I also liked Sean [director Sean Baker ] a great deal.
He has a great film culture; he's smart. He's also a one-man band in that he really rolls up his sleeves, edits his own work, writes his own work. I mean, we're talking auteur-land, and I like that.
Now, as I go through life, I recognize those people are us. That was the process of making the movie, too. We were working with people who were actually living in that motel, and it informed what we were doing. Hopefully, people will see how precarious all our lives are if we don't help each other. There's a strong humanist message to the story. At Eternity's Gate Vincent van Gogh. The Florida Project Bobby.
Antichrist He. Show all Hide all Show by Hide Show Actor credits. Tropico pre-production Raymond. Godwin Baxter. Dead for A Dollar post-production Joe Cribbens. Inside post-production. Zylander Quark. Lassen voice. The Commandant voice. Narrator voice. Fox Rat voice. Bean's Holiday Carson Clay. Michael Copeland. Van Horn. Emit Flesti. Virgil Cole. Jeffrey Hunt. Eric Masters. Hide Show Producer 3 credits. Hide Show Writer 1 credit. Hide Show Soundtrack 4 credits.
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Self - Interviewee. Show all 7 episodes. Willem Dafoe is pretty well known for taking on challenging and bizarre roles, as well as not being shy about pushing boundaries with his characters.
One role that embodies this philosophy was Dafoe's character in Lars von Trier's Antichrist. It's a really strange work with tons of bonkers scenes, including one where Dafoe's character known only as "He" , um, bleeds in a very unique and disturbing way. Even better was an interview with von Trier after the fact, where he discussed why they had to use a body double for Dafoe's manhood.
He told the interviewer , "He's extremely well-equipped. When pressed about why, von Trier says that Dafoe's was too big, and that "everybody got very confused when they saw it.
Devoted husband and father. His privates were so big that people were confused. Dafoe has always been interested in arts and creativity, and like many of that ilk, that's gotten him into trouble on occasion. In an interview with Stephen Colbert , Dafoe recalled how a video project he made in high school got him expelled.
As the story went, Dafoe interviewed three different students for a class as an experiment in video editing. Dafoe described them as a Satanist, a nudist, and someone interested in legalizing pot.
He claimed that he would've edited out any of the problematic sections, such as shooting the nudist in the nude Unfortunately, Dafoe's teacher found the unedited footage and thought he was shooting a pornographic film. As a result, Dafoe was kicked out of school and left his hometown shortly afterwards. It can often be strange to hear a major actor working in a commercial , especially if you never actually see them on the screen. Celebrity endorsements are one thing, but it would be weird to hear an Oscar-nominated actor like Dafoe doing uncredited character work in an advertisement, wouldn't it?
Well, a long-running campaign for Birds Eye frozen foods featured a puppet polar bear named Clarence who lived in people's freezers, extolling the virtues of Birds Eye's products. For years, Clarence was voiced by Dafoe. Talking to The Guardian , he explained, "The ad agency said, 'He may only be a glove puppet, but he needs integrity.
I thought it was going to be an animated polar bear, inside this refrigerator, scolding people. He claimed that people found the charm in it, though he was confused why Birds Eye went with a weird puppet. Willem Dafoe has been working in Hollywood since the early s, and his first Oscar nod came in He's had decades of consistent output since then, meaning he's spent a lot of time promoting movies and giving interviews.
So it makes sense that he would occasionally run into someone who just doesn't like him, and in the case of one reporter, the feeling is mutual. At the end of one interview with The Guardian , Dafoe requested of the reporter, "Don't make this into a crackpot profile, please.
That's happened before. I think she thought I lived by the pool with all these flunkies, and her life is very hard, so she wanted to portray me as this useless bugger.
In , Barber wrote a piece on Dafoe where she said she expected him to be attractive but was "terribly disappointed. So yeah, while it seems most people absolutely adore Dafoe, there are a few people out there who just don't get the charm.
Few movies live in Hollywood infamy quite like Heaven's Gate. The Telegraph called it "the movie that sunk a film company, incinerated its director's career, and pretty much called a halt to a whole era of cinema. It also happened to be the first Hollywood film Willem Dafoe was cast in. Luckily, he escaped the fallout, as he was actually fired from the set and uncredited in Heaven's Gate. The reason?
He laughed at a joke. As Dafoe tells it via San Francisco Gate , here's how it went. I was the lamb for sacrifice.
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