- 1 day ago
Willem Dafoe, uno de los mejores actores en pantalla, se sentó con nosotros para analizar algunos de los papeles más importantes de su carrera cinematográfica, incluidos ‘The Wooster Group’, 'Spider-Man', ‘At Eternity's Gate’, ‘The Lighthouse’ y ‘Motherless Brooklyn’. ¿Las has visto todas?
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Por más de 50 años, GQ ha sido la guía de moda y estilo de vida para el hombre contemporáneo. Considera este canal como tu espacio para entretenerte con las últimas noticias del deporte, consejos de moda y cuidado personal, lo mejor de la cultura pop, eventos culturales y todas tus celebridades favoritas.
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LifestyleTranscript
00:00Hi, I'm Willem Dafoe, and this is the timeline of my career.
00:04I never really decided I wanted to be an actor.
00:07I always kind of thought I'd end up doing something differently, and then enough time
00:12passed where I thought, I guess I'm an actor.
00:13I've been doing this for a while.
00:18I went to school for a little while in an acting program, but I dropped out very quickly.
00:22And I was reading about people like the Performance Group, the Manhattan Project, Grotowski,
00:27Robert Wilson.
00:29So I went to Mecca, which was New York.
00:32There was part of me that thought I would try to be a traditional actor, but I kept on finding
00:37myself going downtown, going to loft performances, seeing dance, and I got involved with a company
00:43called the Wooster Group that I ended up being with for 27 years, and that was my day-to-day
00:47life.
00:56My first IMDB credit is Heaven's Gate.
00:58But that was a very particular situation.
01:01Someone said, you know, they're making this movie, and it's Michael Cimino, and The Deer
01:06Hunter came out.
01:07I had seen it.
01:08I thought it was great.
01:09I was looking for ethnic faces.
01:12The audition was you did one monologue in English, and then you did another language.
01:18So I had a friend of mine phonetically write out that speech in Dutch.
01:22They just assumed I was fluent in Dutch.
01:24So when I got there, Cimino asks me to improvise in a scene, talks me through the whole scene,
01:30and he says, okay, and then Dutch.
01:33And I'm like, I don't speak Dutch.
01:36What?
01:37You don't speak Dutch?
01:39I was in a lighting setup, and someone told me a joke.
01:44Cimino heard me laugh, and he turned around and he said, Willem, step out.
01:48And that was it.
01:49I was fired from that.
01:51So, I don't really count that as my first movie, although if you look hard enough, you
01:56will see me.
01:58I'm one of the cockfighters.
02:00I fight Jeff Bridges' cock.
02:03Don't you think I ought to get out of here while you do that?
02:08Relax, mom.
02:10And crank that radio up.
02:13The first movie that I really made that I had a substantial role in was The Loveless.
02:18Is that any good?
02:21And that's really where it started.
02:23Bingo.
02:24Catherine Bigelow and Monty Montgomery saw me at the Wooster Group, and they asked
02:30me whether I wanted to make a movie.
02:33I'm attracted to strong directors, auteur directors, directors that really need to do something.
02:39You like to be around those people.
02:41They inspire you.
02:42They take you to places that you can't go by yourself.
02:45And I'm not interested in doing a job.
02:47I'm interested in helping an artist do what they need to do.
02:52They're behind the camera.
02:53They need someone to be their creature on the color in the canvas, and I love that.
02:58Okay, mom.
02:59You're back in action.
03:01Platoon was a movie that took a long time to get made.
03:15Oliver Stone saw lots of actors, because he first just wanted to cast a group of actors,
03:24and then decide what characters they would play later.
03:28He said, yeah, okay, you're gonna be in this movie.
03:30I don't know which role,
03:32which was kind of an interesting approach.
03:34I arrived in the Philippines
03:36and my plane was the last plane in
03:38because there was a revolution.
03:40Sit tight, the movie's canceled,
03:42we'll get you out when we can.
03:44So for about three or four days,
03:46me and a couple of other people that were there
03:49ahead of time were out on the streets with the people
03:53and it was an incredible feeling
03:54because it was a revolution that happened
03:57for the most part without violence.
03:59They got the movie back on track and we made it.
04:02The fact that that death scene in Platoon has become iconic,
04:06as I was doing it, it felt special,
04:09but that doesn't necessarily guarantee it's gonna be iconic.
04:13All the elements came together and I was just part of that.
04:16When you talk about task-oriented acting,
04:19it sounds like maybe that isn't emotional,
04:22but it's very emotional.
04:23I'm told to run from here to there.
04:26I know that I'm going to die at a certain point.
04:30Does it get any simpler than that?
04:32But once you engage, it was like practicing a death.
04:36And when I see it, I do get a chill.
04:40I remember very well the first time I was nominated
04:42for an Academy Award.
04:44I didn't even know when they were announcing nominations.
04:47My son's babysitter called me up.
04:49Hey, guess what?
04:50You've been nominated for an Academy Award.
04:53Hey, can I go with you?
04:55No.
04:57I move faster or longer.
04:59Remember, we're bringing God and man together.
05:02They'll never be together unless I die.
05:05Last Temptation of Christ, there was a long search
05:09to find Jesus, and I wasn't involved in any of that.
05:14Almost every actor I knew at one point went in on this movie,
05:18but I wasn't part of that.
05:19I was teaching, and I got a call.
05:22Hey, Martin Scorsese wants to talk to you.
05:24Really?
05:25So, of course, I went to New York and said,
05:27absolutely, I'd love to do it.
05:29He said, let's do it.
05:30When you're being crucified, this flood of emotion comes to you.
05:33The flood of association comes to you.
05:35It's a very powerful thing.
05:37That movie had a huge effect on me,
05:39and when we were shooting in Morocco,
05:42there was nothing else.
05:43Modern life felt a million miles away.
05:46I had no idea it would be controversial.
05:49Its intention seemed so pure.
05:51It was exploring something that had to do with spirituality.
05:55I didn't anticipate the problems that happened.
05:58I think that was a particular time politically
06:00that the religious right needed an issue
06:04to kind of circle their troops around,
06:07and that became it.
06:08What is accomplished?
06:12When did you talk to Lula?
06:17Uh, I talked to her this afternoon.
06:24When you was out.
06:26Wild at Heart was a great experience
06:28because that role kind of did itself.
06:31David Lynch, like, you know, brought out a hanger at one point
06:34and said, Willem, this is your costume, and that was it.
06:39He also said, we got to get you an appointment with a dentist.
06:42And I said, why?
06:44I read the script, and it said he had bad teeth,
06:48but it shows really how actors put limitations on themselves sometimes.
06:53I never thought we were going to do double dentures.
06:55I put them in my mouth, and I couldn't close my mouth properly.
06:59Anybody.
07:00Go like this.
07:02You're going to feel lascivious and like you're hungry,
07:05like you want something, and you're going to with some people.
07:08That became the key.
07:10Slicked hair, accent, all that comes together.
07:12It came out of externals.
07:14That was a good rule.
07:17Here's what happened.
07:19I read it in a parked car down the street for the kid to leave.
07:27Boondock Sinks, Troy Duffy was a first-time director.
07:30He was basically a bartender, and he liked movies,
07:33and he thought, well, I can make better movies than what I'm saying,
07:36so he wrote a script.
07:38He came in through the garage.
07:40The kid says he leaves it open when he takes his bike out.
07:44And created a bidding war.
07:46And then there was a lot of problem with casting.
07:49And finally, it went into turnaround,
07:51so they had to rethink how they were going to do it.
07:54He tracked me down at the theater,
07:56watched the theater show that he thought was wacky.
07:59I don't think he made head nor tails about it, but he was a sport.
08:03I just liked the fact that he was a self-starter,
08:06and this was such a passion project for him.
08:09Yeah, it was a gamble.
08:10It was very much anticipated, and then it had a fall from grace.
08:15It got a very minor distribution, but against all business models,
08:20it got popular.
08:22It became a cult movie.
08:23I can tell just by how people come up to me on the street.
08:26It's usually a very male audience, but not always.
08:29Of a certain age, if they come up to me, I know it's going to be
08:33a Boondock Saints person.
08:35It's going to be a guy that wants to talk about Detective Smetter,
08:38which was a really fun character to play.
08:40Boondock Saints has a special place in my heart.
08:43For some people, they think it's trashy,
08:46but the people that love it, love it so dearly.
08:49Today I want the Boston police to do my thinking for me.
08:52I will have a tag on my toe.
08:53Now give me a squad car and get me over there.
08:56Don't think I can't harm you.
08:58Tell me how you would harm me.
09:01And even I don't know how I could harm myself.
09:05Shadow of the Vampire, second time I got nominated,
09:08I play a vampire that's based on the actor in Nosferatu.
09:12I could watch a film and copy this guy.
09:16That's where it starts.
09:17It was a makeup job that took three hours to get in,
09:21three hours to get out every day.
09:23It was a complete package that took me away from myself
09:27in a very concrete way.
09:29And whenever that happens,
09:31you connect with a kind of joy of performing
09:34and a joy of finding gestures
09:36that wouldn't normally occur to you.
09:39You can't wait for inspiration.
09:41You've got to do something,
09:42and then it's really through action that stuff happens.
09:47Make him wish he were dead.
09:51Yes.
09:52And then grant his wish.
09:56But how?
09:57The cunning warrior attacks neither body nor mind.
10:01Tell me how!
10:03Spider-Man.
10:04I wanted to do it very badly.
10:06It was competitive.
10:07I remember I was making a movie in Spain,
10:10and they flew a casting director to do a screen test
10:13in my hotel room.
10:15That's how I got the role.
10:17I had to fight for that role.
10:18My friends were like,
10:19really, you're gonna make a cartoon movie?
10:21Some of them snobbed it, you know?
10:22But I thought, no, this will be cool.
10:24This is interesting.
10:25Movies from comics were not a normal thing.
10:28It felt like something new.
10:29And then you had Sam Raimi.
10:31He knew this material and he loved this material.
10:33And it was a double role.
10:35We were doing a lot of wire work.
10:38That stuff for me is fun.
10:40It's like being a circus performer.
10:42When are they gonna make a circus movie?
10:44I'm ready.
10:47Don't you know me and Esteban always thought of you as our baby brother?
10:54I've always thought of you two as my dads.
10:58Please don't let anyone make fun of me for saying so.
11:02I can't guarantee that, Klausi, but I'll try.
11:05I've worked with Wes Anderson four times now.
11:08Life Aquatic was the first time.
11:09It's different each time.
11:11Don't imagine that Wes Anderson works just one way.
11:15There were these master shots, very long, and he'd just fold parts of the ensemble in.
11:21So I was on the set all the time and it would be like, hey Willem, do you want to be in this shot?
11:26Sometimes we'd work all day on one shot, rehearsing it, and then we'd shoot at the end of the day and sometimes we'd do it in two takes.
11:36It felt like theater.
11:38When I say I don't normally do comedy, I find out I do comedy after.
11:44You know, you play the scenes, you live in the world.
11:47I can say in retrospect, that's comedy.
11:50We're being led on an illegal suicide mission by a selfish maniac.
11:55I hear what you're saying, but I think you misjudged Sakai.
12:02The literature that you used in your search was about evil things committed against women, but you read it as proof of the evil of women?
12:11Antichrist, I love that film.
12:14It speaks the unspeakable.
12:17It gets play for some of its extreme violence and some of its kinkiness, but there's a lot more besides that in the movie.
12:24Lars, every day is a trial.
12:27Every day is shocking.
12:29Every day is interesting.
12:31When you work on a movie that is heavy or is dark,
12:35sometimes it would haunt you and sometimes it would just be so much that you'd be able to entertain some gallows humor and have a good time.
12:43Chaos reigns.
12:47You got your power back?
12:50You can use your TVs, VCRs, AC, what have you.
12:55Have a nice day.
12:57Love you, Mommy.
12:59I love you too.
13:01Florida Project, I was interested in Sean Baker.
13:04He's very pure.
13:05He knows how to do this thing that I love so much and that is work with what's there.
13:10Working with people that aren't normally actors or new actors was thrilling.
13:15He created a world and they were just existing in that world.
13:18They weren't thinking about acting.
13:20I could be not an actor.
13:22I could be a hotel manager.
13:24There were people living very similar lives to the story that we were making.
13:30Those people that were living in that situation told us how to make that movie.
13:35So when you work on a movie, sometimes you're working with a guy that was a cook last week.
13:40You're working with a woman that's maybe a model.
13:44A woman that's been doing Shakespeare for 30 years.
13:47Everybody has a different way to get there and I like that.
13:51And I like that.
13:52At Eternity's Gate, beautiful role.
14:08Julian's a friend.
14:10I've also been with him in the studio.
14:13I see him paint.
14:14He had a very particular way to tell this story that I knew wouldn't be a bullshit biopic.
14:21It would be an imagining of who we thought Vincent van Gogh might be.
14:27And there are lots of sequences of me painting.
14:30There's no stunt painter.
14:32I would have to learn how to paint.
14:34And Julian taught me so much.
14:36Not just about painting, but about how to see things.
14:39I felt very alive making that movie.
14:42A lad with eyes bright as a lady.
14:46Come to this rock, play in the tough.
14:50You make me laugh with your false drum.
14:53The Lighthouse.
14:55Wow.
14:57Rob Eggers.
14:58I saw The Witch.
14:59I knew nothing about it.
15:01I thought, wow, there's a filmmaker here.
15:03Something about how he made that world and didn't make it a period film that points at itself.
15:11You really were able to enter that world.
15:13I sought out Rob Eggers.
15:15We tried to do a few things that didn't quite happen.
15:18And then one day he said, I've got it.
15:20You and Rob Pattinson.
15:22More or less, yes or no.
15:24It was a very direct approach.
15:26And I said, absolutely.
15:28It's not often that in a film you get to perform with elevated language.
15:33That's an interesting challenge to have.
15:36How long have we been on this rock?
15:39Five weeks.
15:40Two days.
15:41Two days.
15:42Help me to recollect.
15:44Stop.
15:45Wait a second.
15:46You said Formosa.
15:47What is that?
15:48What's Formosa?
15:49You said working Formosa.
15:50What does that mean?
15:51No, Jesus.
15:52I said they're all working Formosa.
15:53Moses Randolph.
15:54I knew Edward Norton.
15:55We're both New Yorkers.
15:57He was in pre-production.
15:59It was quite late.
16:00When he first asked me, I said, I can't do this movie.
16:03I was growing the beard for Lighthouse.
16:05And I said, no one had a beard in the 1950s.
16:08And because I'm growing the beard for this other thing, I won't feel committed enough.
16:12I won't feel claims.
16:13The next day he called up and said, no, I don't think it's going to be a problem.
16:17And I liked his persistence.
16:19So I said, okay, let's do it.
16:21And in the end, I surprised myself.
16:23The beard helps because it really does set the character apart in a way that's very useful
16:29in the storytelling.
16:30Can I buy you a cup of coffee?
16:32I'm hungry.
16:33You can buy me dinner.
16:35I try not to live in the past and I try not to think too much about the future.
16:40Call me a hippie.
16:42What can I say?
16:43Be here now, baby.
16:45You learn your lessons intuitively.
16:48You refine things and you work towards the personal liberation.
16:57What is it?
16:58The Loveless.
16:59Ah, I thought you said The Love Bus.
17:02I thought, was I in a movie called The Love Bus?
17:09Not a bad title.
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