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Tom DiCillo is an American director, cinematographer, writer and (sometimes) actor born in Camp Le See full bio». Mr. Monk Meets the. Director (17 credits). Flaked (TV (as Tom Dicillo). - Prove It () Mr. Monk Meets the Playboy () (as Tom Dicillo). Posts about Tom DiCillo written by Scully Love Promo. How did you initially meet Tom and how long did you know him before you decided to write a As Tom is my favorite director, I knew I was in this rare position of being able to talk to him.
I felt it was just about ready, so spending more time waiting on responses from people was starting to drag the whole endeavor out. I asked once more, stating that I needed to know if Brad was in or out because I had to finish the book and they came back and said Brad had, after carefully considering it, decided he could not contribute at that time. Everyone brought their own great insights into Tom, but Catherine Keener, Steve Buscemi, and Chris Noth gave me perhaps the most detailed account of what Tom is like as a person and as a filmmaker, because they have either worked with him a lot or have known him for a long time.
Chris gave me so much insight. What was the most surprising thing that you learned about him? It was fascinating to discover the intimate details of his life before the films and the fame: It was those more personal moments that were revelatory, and very interesting and rewarding to me as a writer. No detail was too minor or superfluous. It all added up to help me create what I hope is a definitive work of this great artist.
I believe your book is the definitive work about Tom DiCillo. I really appreciate that, Christine. Every person brings their own personal history and sensibilities to their experience of a work that makes it exclusively their own.
It depends on what day of the week it is. I find it hard to pick one favorite, but I do know the ones I connect most immediately with for different reasons. Johnny Suede will always be the most important film for me, so it is probably my personal favorite, as it was the film that opened my eyes to cinema. But, objectively speaking, I do think that Delirious is a frontrunner as his best work.
Something about that film really clicks with audiences. What Al Fountain John Turturro experiences in that film is probably something many people experience in their lives at some point, and Tom pulls it off with such cinematic skill, a deft surrealist aesthetic, and with great humor and pathos, those elements which are so distinctly DiCillo.
I agree with you about Delirious. It has such a vital energy, such a range of emotion, and a stunning command of style. For me it is easily the best American film of the last decade. Can you reiterate those themes for my readers? Rather, they look to the immediate context of satire, trying to pick up on sly digs here and there at these venerated institutions, painting Tom as purely an iconoclast.
Look at the thread of familial discord that runs through from Johnny Suede right up to Down in Shadowland. Jim Morrison and Tom DiCillo. I now deeply admire their mysterious style of music and their prodigious musicianship. I love the whole social and political historical context that was going on around them, which makes them a fascinating band to write about. I interviewed drummer John Densmore and guitarist Robby Krieger for it, which is a pretty cool thing, to have those guys in there.
I love that you mention how wonderfully eclectic the soundtrack to Box of Moonlight Wall of Voodoo, Peter Murphy, Nick Cave is as it was a highlight for me.
Do you feel the same way? We have spent a lot of time working on music together. It was very exciting working with Tom on vocals and the actor Kevin Corrigan on bass — my job was made easier working with such skilled performers. And the fact that he uses some of my favorite bands — such as those you just mentioned — just sweetens the deal. I had no idea that you played guitar and piano on In Your Dreams!
Have you collaborated with him on any of them? Thank you, I appreciate that. Yes, that song is pretty amazing. I love how Tom mixed that song, it sounds terrific. I like that session player aspect of working with the bones of a track, fleshing out the sound and my work is done. Tom then does his production and engineering work on it and I just look forward to hearing the finished version just like any other fan.
Who are some of your favorite recording artists? Music is a big part of me. I love everything from s dance bands, to 60s surf music, to 80s pop, to hardcore punk. My favorite albums would include: The music of our youth remains special to us forever. The production is fantastic, very much of that lates era. You must have been able to see them live during those times, which would have been great. What has writing this book taught you about filmmaking and The Arts in general?
That I know almost nothing about filmmaking. I am truly in awe of filmmakers. I want whatever magic is conjured in creating the art to remain elusive. I want to retain some of that awe that was instilled in me upon seeing Masters of the Universe in the movie theatre when I was four. I have never acted or directed. All I can offer are my opinions and thoughts on the films, back it up with some words from those who were there and have actually made the films, and then try and edit it into some kind of legible or readable context.
That, really, is my job. I consider myself less a writer and more a proactive fan. Of the Arts in general, writing this book has made me appreciate the dedication of every other writer who takes the time to write about a subject that fascinates them, no matter what discipline they work in, because their passion fuels the passion of others.
I hope my book fills the gap on the shelf that Tom DiCillo fans have been waiting to fill, and I hope it inspires others in the way that other film commentators have inspired me. Who or what will your next book be about? Reynolds has worked with some of the greatest directors, and to name just a few of the brilliant films he has starred in with these filmmakers: The real world was considerably different.
I found myself going to auditions and being treated in such a way that I couldn't help but get really angry and I ultimately realised that it wasn't for me.
I thought, I can't do this, I can't go to these auditions and make myself stupid, that's what they want me to do. If you had half a brain, you can't do it and that's why I have tremendous respect for actors that do make it in this business because it is awful, not only how you're treated but how you're expected to use your intellect. But those eight years were an immensely valuable time. I acted on stage, I acted in a few films. I originated Johnny Suede as a one-man show that I performed and I really, really enjoyed it.
Ultimately it helped my writing immensely and it helped me deal with actors. Every now and then I try to cast myself in one of my films but ultimately I end up with someone who better serves the part.
I was all set to do it and then Nick Cave said he was interested and I asked myself who would be better in the role and gave Nick the shot and I think he's terrific in it.
I'm tempted to go back to acting, I don't know if it would be in my own film though. I think all directors should have a go at acting. The instant you put a foot on stage you're suddenly aware of this group of people watching you.
You feel utterly defenceless, vulnerable and you think, oh, oh, now I've got to come up with something. But you get a feel for the most fertile environment to come up with something. If someone is yelling and screaming at me and giving me nasty, negative stuff and there are people working all through the shot.
Is that the most productive for the actor? Or is it something else? And you begin to get a sense. Ultimately a director's greatest gift or compliment is to step back and go wow, look what's in motion, let them do their thing, you know. When I work with an actor like Steve Buscemi, with one idea that I might throw out to him and watch him take off, it's thrilling. Of all your fine movies, Box of Moonlight is my clear favourite.
This doesn't seem to be the general consensus though and I seem to remember many critics giving it a hard time. How would you explain the reaction to it from certain circles? KingBoyD, that's a very personal revelation and it really means a lot to me to hear him say that because I was astonished at the severity with which people attacked the film. Not only did they attack it but they completely misunderstood it and attacked it anyway and I'm really glad that KingBoy found something in it, because I think there is a lot in it.
It was immediately dismissed by critics as just being a piece of fluff and I don't know how they could make that statement. It was a departure for me. I don't want to go off on a thing about critics. You have to be careful. But critics, when confronted with something genuinely new, most critics have a moment when they look at it and they don't know what to think and they can go either way.
They're either going to embrace it or they're going to crucify it. Nine times out of 10, if it's really new, they crucify it, but if critics are all hailing something as new, you can bet your ass that it's not. Unfortunately in my case, as an independent director, critical support is essential. It doesn't affect a film like Tomb Raider. You can have reviews saying, "Well the film is incoherent but you have to see Angelina Jolie's lips. I think we're also in a very cynical time.
I think that for whatever reason, people don't trust or for some reason are not interested in anything that genuinely looks at human beings. I've noticed that as a society there seems to be a general self-loathing in the public that our films just support. I'm not talking about the violence I'm not saying that at all. I think Box of Moonlight was a fable, it was about what happens to a guy who finds himself in a very difficult situation.
He suddenly doesn't know who he is and he meets someone who helps him figure that out. Meanwhile, he gives this other kid something to hold on to also. It's a different time right now especially if you consider that on a daily basis we're dealing with like kids walking into schools and just mowing down 30 of their classmates.
Tom DiCillo | SCULLY LOVE PROMO
That has to do something to you and what I'm trying to do is to maintain my sense of innocence about human beings because if you don't then you turn into this unfeeling, completely emotionless person, where you laugh at everything, laugh at discomfort. I hope that answers King's question. How much credit do you take for having 'discovered' Sam Rockwell?Tom DiCillo (Director) & Steve Buscemi (Actor) - Living in Oblivion (1995)
Wow, that's a nice question, thank him for that very much because I feel that in a way, I did discover Sam Rockwell. When I was casting Johnny Suede I saw hundreds of guys. Finally one guy came in and it was Sam Rockwell. He did an amazing audition for the part of Johnny Suede and I just loved his quality as an actor.
He was a complete unknown. I said wow this kid is a great actor and I almost cast him but he was too young for the part. But I said to him, "Man you were really good" and we actually became friends. So then I wrote Box of Moonlight with him in mind.
He came in for the first audition when we were trying to raise the money to make the film and he was amazing. Then I lost all the money, then I had it again. Five years went by and every day someone would call me and say listen if you cast Keanu Reeves in the part, we'll give you the money, if you cast Jason Priestley, we'll give you the money, but I was like I got the guy.
I can't make it any other way. I think Sam is a great actor, immensely inventive.
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I mean the guy is coming up with stuff like 24 hours a day and I think he's incredible in the part - emotional. It's a very difficult, difficult part. He's not some hippy, free spirited If any fucking criticism annoyed me the most about the film were those that dismissed it as a hippy thing Being a hippy is about smoking a joint, sitting back and letting life pass you by. This kid isn't doing this at all. Out of his own fear of society and his inability to function outside of society, he has to withdraw but it's not a passive thing.
He's a strange individual suffering quite a bit actually. I thought it was obvious but I guess not. Do you think that kind of salary and stardom gets in the way of making a good film? That's a very good question Kudra. I'm going to go out on a limb here and just give you my gut reaction to that.
It's obscene, it's horrible.
That generally takes the form of acting like a total asshole. I could tell you stories that all you really want to do when you hear this stuff is slap these people across the face and say wake up.
But the world doesn't operate that way and personally, working with stars like that I don't think I could do it. I'll give you a hypothetical situation. If they were willing to work with me and were willing to work the way I work and forget their egos and come in and bare their souls with me, make a film that was a script that I believed in and was passionate about then I would do it.
If the studio gave me the money and said we like your script, then I would do it. But they are never going to do it. The whole business is a glamour business, even independent films now are operating on that draw.
It's a glamour business, people love to go see things that somehow remove them from their own lives, to see people like Julia Roberts who is like a mythical being now. Question 5 from Pickers Oh alright, I'll ask it: Just how much was the vacuous idiot himbo star of Living in Oblivion based on your experience of working with Brad Pitt on Johnny Suede?
This is a good question and gives me an opportunity to finally set things straight. I thought I had made this clear. When we were first going to make Living in Oblivion, we had made the first half hour based on money I had and my wife had and we got the actors to put up money and we made the first half hour of the film.
Once we had it, we thought this turned out pretty good and I knew I had to make a feature of it somehow. So I wrote the next parts. Catherine Keener when she first read the script and the part of Chad Palamino, said, "Let's ask Brad to do it.
He laughed his ass off about it.