You can’t treat citizens this way, and African Americans bear the greatest brunt.”ĭifferently troubling was the surprisingly bleak figure he cut in The House That Jack Built – a typically confrontational exercise by von Trier, about whom Dillon is nothing but enthusiastic.
“‘Put your hands against the wall’ is a thing of the past – now it’s like, throw ’em on the ground, choke ’em out and maybe shoot ’em. At first, Dillon was worried that people would identify him with the character now, he connects the role with the state of America in 2020. There was also the racist LA cop in Paul Haggis’s 2004 Crash, which won the best picture Oscar and earned Dillon a string of awards nominations. Since the 80s, Dillon’s career has had its highs and lows, but the highs have been pretty notable, including the Farrelly Brothers’ There’s Something About Mary and a 2005 adaptation of Charles Bukowski’s autobiographical Factotum. I recognised this kid, he was a juvenile delinquent – he was in a much worse place than I was, probably.” I think why I ended up doing that movie was because I connected so much with the character. He made his debut aged 14 as a teenage rebel in Jonathan Kaplan’s 1979 film Over the Edge the story goes that he was discovered by a casting agent while bunking off school in New York’s Mamaroneck, Westchester County. Photograph: Cinetext/Univ/Sportsphoto Ltd/Allstar Heartthrob … Dillon with Mickey Rourke in 1983’s Rumble Fish. Today, Dillon – voluble and friendly, with a deep-baked, gravelly voice – is 56, craggier and heavier, with a salt-and-pepper beard, but you can still recognise that kid with the poster-friendly broody brow. In the 80s, he was as much like a rock star as any movie actor of his generation, adorning countless bedroom walls following roles in Coppola’s SE Hinton adaptations The Outsiders and Rumble Fish. “I actually had this feeling that I was being followed throughout – if you’ve ever been followed, it’s a very strange feeling.”Īs someone who become a screen idol in his teens, Dillon probably has more experience of being followed than most of us. “It’s a very old-world city in the new world.” And there was something uncanny in the air, in keeping with the film’s stalkerish theme. I think there’s a lot to do with identity.” It was shot in Mexico City, giving a distinctive flavour to a fictional city that’s never identified. He stuck to his guns.”ĭillon sees Nimic as “a poem, in a way. “I remember saying to Yorgos, ‘I know what you’re doing.’ And he said …” – he gives a cagey sideways look – “… ‘Really?’ And he did not budge.
“European films tend to be a little more open to interpretation – this falls on the speculative side of things. On FaceTime from Albuquerque, Dillon gives a broad grin.
0 kommentar(er)
