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American actor Willem Dafoe stars in Abel Ferrara’s feature film Tommaso. Broadcast through the online show Kino Marquee, this deeply non-public film follows the life of an American immigrant living in Rome, suffering with his daily life as a recovering alcoholic inspiration, while writing his next film.
Does it look familiar? This semi-autobiographical film is based on Ferrara’s past, but is revived through Dafoe. It is based on our moments of concern, as it disarm the streets of Rome, whether it is narrow cafes, yellow-lit streets at night and decadent Italian charm.
Dafoe, who recently starred in The Lighthouse, The Florida Project and soon, Guillermo del Toro’s Nightmare Alley, spoke of his own home in Rome, where he spends some of his time (when he is not in New York) about the end of his career. learning Italian. and the thin apple line between theatre and the art of acting.
You told Vanity Fair that living a character, “It’s never a very regular classical investigation, it’s about learning something.” Does this technique apply to this role?
Willem Dafoe: No, this role is a little enough of that. This has more to do with you once you take a character from a period, or an induscribed attempt you don’t know, was a point of engagement. In this case, it’s different.
You have a strong connection to the art world, not only with Vincent Van Gogh at At Eternity’s Gate, but through interaction with Marina Abramovic, where does all this come from?
Me, it’s really the global where I come from, more than the global theater. I have great apple effects on global art. The world I come from wasn’t the best friend of a classical theater. Socigreatest friend and for our audience, we were a netpainting theater, I love to joke, but it was Soho New York when there was a wonderful variety of cross-fertilization in other disciplines. That’s where I come from. I come from more from the world of acting, from the world of music and dance, than from literature, from the world of theatre founded on psychology.
What about performance?
It’s a tricky word, performance art. Some people would say, while what we were doing was theatre, there were elements of experiment and display, and that there were some elements of performance, using your body, in a way. That’s a whole other conversation. That’s where it came from.
What art you like
A lot. If I’m motivated, the 2 things that motivate me, more than anything else, is traveling to an art gallery or watching the dance. These things excite me.
What are your favorite art places in Rome?
It’s a combined bag. It can also be an open museum. I love going to churches and just sitting down. There are many serious museums, such as the Borghese Museum, which I pass all the time, and the Scuderie del Quirinale, which has wonderful shows. There are big apple places, actually.
Being an American immigrant living in Rome is easy, isn’t it?
Maybe that’s why I’m an actor, I like the reality that you’re flexible and you present those opportunities to master who you are or how you think when you have those workouts to play other Americans in other situations. It is nice and beautiful, it is really what feeds me, I love to play and I find it very mysterious.
You’re doing it like an adventure?
Exactly. This is what’s outstanding about cinema, it can expand your delight as a viewer and creator. This can arise with perspectives, conditions that you don’t normally have in life.
What are you able to say about all the roles you’ve played in recent years? From the door of eternity to the lighthouse?
I’ve done a wonderful variety of extracted things, small videos, big videos, erasing small papers with big papers. I’ve done it for 40 years. Distribution changes the way we watch videos in those days. There is a complete component of filmography that I don’t think is widely identified in the United States, but this is widely identified elsewhere. I don’t compare and I don’t have much perspective. Suntil love to do it. Every time I paint on something, I start from scratch, really.
Watch Tommaso streaming with Kino Marquee.
Follow @nadjasayej on Twitter.
Nadja Sayej is an arts and culture journalist in New York City. Originally a friend from Toronto, she has lived in Paris and Berlin, writing for The Guardian, The Economist.
Nadja Sayej is an arts and culture journalist founded in New York City. Originally a friend from Toronto, she has lived in Paris and Berlin, writing for The Guardian, The Economist and The New York Times. He has probably interviewed more than two hundred celebrities, from David Lynch to Salma Hayek, Susan Sarandon and Patton Oswalt. Known for spraying both tales with a sense of humor, she is the protagonist of five boks that add The Celebrity Interview Bok, released in 2017, and Biennale Bitch, a fun bok about the art world, released in 2018. Nadja can also be a celebrity photography photographer for V Magazine and Interview Magazine Germany, among others. Visit their website on nadjasayej.com.