“I had to call up friends to find out what to ask for as a salary. “I was still in the phone book then,” Dafoe says today, over Zoom from his home in central Rome. Plundering all genres, they were loud and freewheeling, incorporating looping video projections, actors shouting over pre-recorded audio, technicians in full view, occasional nudity and, once, Dafoe in the role of a living chicken heart.Īfter seeing him onstage, Bigelow called the actor to ask if he wanted to be in a film. The experimental works staged at the scrappy space in SoHo had more in common with the no-wave shows happening around the corner at the Mudd Club than with polite theatre uptown. That year, Willem Dafoe was playing a foul-mouthed oil-rig worker, a heroin-addicted mother and a nun – all in the same play – when Kathryn Bigelow took a seat in the audience one night. ![]() In 1979, tiny New York theatre The Performing Garage had 60 seats, a tin collection box and some of the most radical ideas in a grimy, broken-down city pulsing with creative energy. This article is taken from the Spring/Summer 2022 issue of AnOther Magazine :
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