Friday, December 3, 2010

Twitter me this, twitter me that...

I personally don't really like Twitter to begin with. It's sort of weird and people either use it to exchange as if they were talking on an instant messenger (which is annoying to everyone else following them) or they only post links to articles, blogs and so on.

Anyway, the funny part about Twitter is probably that some stars do tweet. Others don't. Vincent, as you all might know by now, might.

In times of veryfied accounts and so on it's normally easy to tell if a star is twittering or not. There is one account, claiming to be le Gallo. Or being le Gallo. I personally thought it's not him, but after recent controversy I think it might be. Weird? Well, let's start at the beginning.

This account ( started quite a while ago and even though I followed it, I wasn't too sure if it was Vincent or not, actually I thought it's rather not.

Then, as I thought, Mr Gallo confirmed these thoughts by telling the New York Post he wanted this "fake twitter account" to be shut down. The weird thing is, the Post "interview" that is quoted ( sounds...odd. Can't quite grasp it, but there are only a few quotes directly by him and if you put together what he actually SAID it could - and I say could, not must! - also be simply irony or his kind of humour. Plus, if we remember - the Post and Vincent Gallo don't really share a close and kind relation so why would he tell them?

Even weirder, the Twitter Account still exists and still claims it's the real deal. There even is an interview with him to be found here that does sound a bit like Gallo to be honest.

Well, we'll probably never know the truth but in times of slow news, I'm interested to hear all your opinions on the matter - if you even care ;)

Tuesday, November 9, 2010

Some pics

Finally something new - seems like there are no reviews of the showas so far...

Thursday, October 14, 2010

Monday, October 11, 2010

And, an explanation from the man himself on why he didn't talk to the press in Venice

Gallo began shooting this highly conceptual film without following any traditional program of production or pre-production, and instead began filming without any preparation or a traditional script, never allowing anyone from his cast or crew in on the film’s ultimate vision.
Vincent Gallo has forever rejected any explanation of the concept, story, process, or rumors surrounding the making of his new film, stating, “None of it would fit easily into tabloid format, and so writers and journalists would be forced into simplistic interpretations to avoid their own shortcomings and the shortcomings of the press in general.”
Though Gallo understands his silence may excite journalists and bloggers into easy brush-offs and perpetuate unsubstantiated rumors and hearsay, he still chooses to disconnect from the low frequency exchange required to communicate with the press.

Movieline on Essential Killing and, especially, Monsieur Gallo

Essential Killing: Dear Vincent Gallo, Why Do You Torment Me So?

Oh, Vincent Gallo! There’s no escaping you. You follow me from continent to continent, from festival to festival. Last week, in Venice, I saw your strange little picture Promises Written in Water (also playing here in Toronto), and while I wasn’t wowed, I couldn’t quite dismiss it, either. But while in Venice, I missed Polish filmmaker Jerzy Skolimowski’s Essential Killing, which netted you the Best Actor award there — in fact, you’ve got pretty much the only role, aside from Emmanuelle Seigner, who appears very late in the picture. So today in Toronto, I decided to check out Essential Killing. I needed to see for myself if you really deserved that award, you scalawag, you.

The answer is yes. Essential Killing is virtually a silent film, and Gallo gives a wordless performance as a Taliban or Al Qaeda tribal soldier (the picture spells out none of the details, only the essentials) who’s captured by U.S. troops. He’s stripped of his clothes, beaten and tortured. As he’s being transported with some other prisoners to another location, the truck in which the group is traveling crashes, and they’re no longer in the desert: They appear to have been transported to somewhere in Eastern Europe, or perhaps Russia. Gallo’s character scrambles away from the crash, now finding himself in a snowy landscape that’s completely foreign to him, and his captors pursue him as if he were an animal.

In this role, Gallo looks gaunt and haunted, even more so than usual. Skolimowski shapes the filmmaking around him quietly, the way you’d settle a blanket over a sleeping child. These snow landscapes, often replete with lonely or angry barking dogs, aren’t exactly becalming, considering that Gallo’s character is on the run for his life: Dressed in a bloodied white camouflage outfit — his wounds are numerous, including a bleeding cut on his foot incurred when he steps into a steel-jawed trap — he trudges, limps and, when he’s able, sprints through this dazzling white-tipped forest terrain.

What makes this performance so mesmerizing when — face it — so much of what Gallo does is just patently annoying? His character does some extreme things to survive: He claws at tree bark and chomps on it; he scoops some ants from a dirt hole and shoves them into his mouth; and, most shockingly, he holds a nursing mother at gunpoint so he can suckle here. Frankly, if you described these things to me before I’d seen the picture, I’d say that Gallo is the last person I’d want to see doing them.

And yet for once, Gallo — who I sometimes do like as an actor and as a filmmaker — shows no affectation. Perhaps because he doesn’t speak in the film, much of his energy is forced into his limbs and into the trunk of his body, and it has a lot to say, even in the context of its dogged exhaustion. This is a striking, primal performance, and maybe it’s an example of what can happen when a filmmaker takes one of an actor’s essential tools — his voice — away and pushes his focus elsewhere. Gallo has a reputation for being self-aggrandizing and annoying as a personality, but this performance overrides and whites out any personality quirks. In Essential Killing, he’s confounding and surprising, challenging everything we think we know about Vincent Gallo. In other words, he does what we always say we want actors to do, and what we don’t always allow them to do.

Monday, September 6, 2010

...and a little summary of the one we're all waiting for...

...which is, "Promises Written in Water": Summary

Sounds intertesting and reminds me a bit of a short story I once read and had my final exams at university on but can't remember the title of anymore.

Essential Killing - A Review

Time Out London as a quite interesting (sadly not too detailed) review of "Essential Killing":

Sunday, August 29, 2010

Essential Killing - some pics

Some more pics/stills from Essential Killing - I personally don't like the beard too much but that is just my superficial, girly opinion. Klick on them to see them full size :)

Wednesday, August 4, 2010

Another Pic

And another one, thanks to the power of Twitter (and a user called robdefranco) and another Anonymous poster :)

Friday, July 30, 2010

Pic from the Set of Loosies

Beard = Gone :)

 Taken from Peter Facinelli's Twitter (

Thursday, July 29, 2010

Promises Written in Water at Venice Film Festival

Do I need to say more?

Sources: Many. Official Lineup has been announced. So that means it will be shown, right? Right.

Friday, July 23, 2010

On a Serious Note

There has been more and more hatred on here in the last weeks. First I ignored it, but now I feel like I just can't and shouldn't. I never ever opened this blog in order to deal with haters and if there are people who have nothing better to do but to come here and freak around over an actor they hate or over the way I deal with this blog, I really wonder if they have nothing better to do with their time.

Anyway - I thought about turning the blog into a purely private blog as this is what it was intended to be first. I never thought so many of you would find the blog and like it and participate. But then again, I also really like the interaction, I like most of you people here and I don't want to just close it all and never ever hear from you again. After all, the interaction makes it much more fun.

There is an option on Blogspot that would be sort of "in the middle" - I could close the blog from public viewing and make it viewable only for "invited users". That would mean I could allow those of you who want to to keep on reading the blog in the futuer and at the same time keep away Anonymous Posters who just come here to bash everything without any reason at all.

Before I do this, I'd like to know what you guys think about it because I feel a bit like this is not a decision I have to make on my own but rather together with all of you, the "good people" I've met on here and I've really started to like.

Sunday, July 11, 2010

Saturday, June 26, 2010

Be fast, my Dears...

Some youtbe clips have surfaced of Gallo, Sean & Yoko at the 2005 ATP End Jam.

As always, better be fast watching them :)

A short interview on Tetro

Filmmaker, actor, musician, artist and arch Reagan Republican, Vincent Gallo is a contrary soul and now he has a fan in Francis Ford Coppola. Kaleem Aftab meets him

‘I’m a person with more flaws than most people because I am maybe a little more ridiculous’ says Vincent Gallo with typical understatement. The man of many clothes – actor, director, painter, singer, songwriter and internet entrepreneur has always been a Marmite figure, but whether he’s loved or reviled, it seems it’s impossible not to take notice of the 47-year-old.

Gallo has such a reputation for being difficult that Tetro director Francis Ford Coppola went out of his way to speak about how wonderful Gallo was as an actor. Although it would have been fun to be a fly on the wall when Gallo broke his leg just before the film went into production. He complains that these days he’s becoming a walking ailment: ‘I’ve gotten much older now and I think I’m noticing it because I’ve worked my whole life on the floor and worked a lot fixing things and making things, I don’t know if it’s tendonitis or arthritis but the hardest thing for me is opening things.’

Gallo just doesn’t do normal. Even today he sports a beard that looks like it was borrowed off the set of The Life of Brian. Trying to get him to talk about one topic or respond directly to a question is problematic. He goes off on tangents but every so often he’ll say or do something surprising, even interesting.

He was born in Buffalo, New York in 1961, the son of Sicilian emigrants. Aged 17 he moved to New York City to study acting, and once there he started a musical collaboration with artist Jean Michel Basquiat and worked as a painter. In 1981, he appeared in the cult classic New York Beat Movie (recently rediscovered and recut as Downtown 81). In addition to playing a small role Gallo also appeared on the soundtrack. And so started a remarkable career that reached its high point with his remarkable directorial debut Buffalo ‘66 in 1998.

Gallo’s follow up The Brown Bunny was unfairly derided and his career as an actor has never really fulfilled it’s potential, he’s been at his best playing dark mysterious characters in The Funeral and Trouble Every Day. But he’s not complaining, ‘I’ve got a lot going on, my life is full, and I have a lot of energy for everything, but I don’t have an agent, I don’t have a personal assistant, I don’t have a gardener and I don’t have an intern.’

Even when he speaks about Tetro, the conversation is not about Coppola or the role but about what he was doing when the camera was not rolling. Gallo claims that he’s working on a new film, although it’s experimental and has no budget. ‘I’ve done a new movie, so I produce my own films, I edit my own films – and not like Robert Rodriguez, where I have 400 slaves working for me and put my name on it, I mean really I have my Avid and sit in a room alone and cut my movie. I took my G5 to Buenos Aires and every night after shooting I’m just looking at footage.’

Saturday, June 19, 2010

Vincent in a new movie - is it any good?

According to like a million sources around the internet, Vincent Gallo will star in the indie flick "Loosies". Also linked to the project is Michael Madsen whom you might know from...well, nothing really (just kidding - he did do some movies and apparently was in "24" as well). 
The play, which evolves around a pickpocket in New York City who is confronted by a pregnant woman with whom he had a one night stand, was written by "that guy from Twilight" Peter Facinelly, who will also play a role in this masterpiece.

The plot sounds like it's either going to be one of those films Vincent only did for the money or, there might be at least a small amount of hope that it is sooooooo well done and so different and surreal (even though I have no clue how that plot would offer any of that...) that it's actually a good movie. 

Fingers. Crossed.

Saturday, June 5, 2010

Something new from The Independent

Who on earth does Vincent Gallo think he is? James Mottram meets Hollywood's most outspoken star
Saturday, 5 June 2010 
Most celebrity websites offer little more than a few photos, cuttings and the occasional message from the star. Not so at Take the merchandising section, fronted by a picture of Gallo dressed in a sailor suit and grabbing his crotch. Among the usual CDs, T-shirts and posters, you can buy such rarities as a Charles Manson artwork (given to Gallo by Johnny Ramone on his 33rd birthday) or the helmet he used when he once raced motorbikes professionally. There's even a section marked "Personal Services". Yes, for $50,000, Gallo has made himself "available to all women – all women who can afford me, that is". You too can spend an evening with Vincent.
In truth, you'd probably get value for money. A self-confessed "strong right-wing Republican" (he doesn't "support extreme leftist concepts"), Gallo may have an ego the size of a hot-air balloon, but even an hour in his company is wildly entertaining. Indeed, who else would have the guts to offer up, on the same website, their own sperm for the princely sum of $1 million? Painter, hip-hop impresario, breakdancer, bass player, male model, actor, film-maker, architect... it's little wonder a cult exists around this self-styled legend in his own lifetime. "Credit where it's due," says Chloë Sevigny, the actress who famously performed fellatio on Gallo in his much-reviled sophomore film The Brown Bunny, "he's a Renaissance man".
When The Brown Bunny, a virtually plotless road movie, was unveiled in 2003, the reviews were savage. Esteemed US critic Roger Ebert called the film "the worst in the history of Cannes", to which Gallo responded that Ebert was a "fat pig with the physique of a slave trader". Nevertheless, he retreated like a wounded animal, cutting 30 minutes from the film before scuttling for shelter, away from the public eye. Since then, he's barely been seen on screen – until now. This month heralds Gallo's triumphant return in the title role of Tetro, the new film from Francis Ford Coppola, one of the greatest directors of all. It's a classic Gallo turn: full of anger, childishness, bile and beauty – just like the character Billy Brown he played in Buffalo '66, his 1998 directorial debut.
I interviewed Gallo for that film. When we meet again, sitting in an airy room in a Venetian villa, he claims to have a dim recollection of the event. "I think it was the first piece of European press that I'd ever done," he says, in that high-speed East Coast whine of his. "And I thought, 'Oh wow, that felt really good.'" He then proceeds to tell me that nothing good ever came of the press he's done over here. "It's gotten me into a lot of trouble, especially in England. If I gain support, the support doesn't seem to mean anything. It's not like anyone really cares about me. It's not like I've developed a real friend, a relationship that's going to be around for a long time." It sums Gallo up – underneath all the bluster, he's a complex mixture of sensitivity and pain.
At first glance, it seems he hasn't changed much since our last encounter. Now aged 49, he's as fragile and as fuck-you as he ever was. Today he's wearing red-and-white dogtooth-patterned trousers and a plain white T-shirt – thankfully free from self-promotion (in Cannes, he was seen to stride around with "Gallo" emblazoned on his chest). His brown hair is what you might call scarecrow-chic while his bushy beard makes you think of late period Jim Morrison. What with those manic blue eyes of his, he would've made a good Charles Manson, a role he was once mooted for in a biopic that never materialised. Then there's his wiry body, with not an ounce of fat on it. "I'm very into food again," he tells me. "I eat a lot of raw things."
While he's not vegetarian, Gallo's lately been shopping for food at outlets he calls "very focused and fanatical", a phrase that could easily describe himself. "I drive out to this quail farm, where I get a lot of these incredible quail eggs, which I eat all day long," he says. "And [I eat] a lot of superfoods like goji, cacao and chia seeds, things like that. And I like unpasteurised milk of the goat and the sheep. They send it once a week from Pennsylvania, from the Amish farms, and I get it in Los Angeles." A health zealot, Gallo hasn't drunk alcohol or taken drugs since he was 14. "I feel that it's mainstream behaviour. I'm repulsed by any mainstream behaviour. And this kind is the most unattractive to me."
In the world of celebrity journalism, where actors are media-trained to be bland, Gallo is like a walking truth serum: put him in front of a captive audience and he unleashes a torrent of invective against all those who've crossed him. When we met before, it was the British actor Tim Roth who was winding him up because he didn't want to star in a movie with him. "Tim fucked me! Tim fucked me," he cried. "And I'm unfuckable." In Cannes, with The Brown Bunny, the whole world was against him. Kirsten Dunst's agent was a "nasty, lunatic woman" while Winona Ryder, who was due to be in the film, proved impossible to get to the set on time. "At 9 o'clock in the morning, she was sleeping with a mask on and earplugs in and no one could get her out of the room. She had some tablets which seemed to have impacted on her behaviour."
For all this, there's a dark humour to Gallo's words, as he lifts the lid, with unflinching honesty, on the Hollywood underbelly. Back in 1997, he famously penned an article for Grand Royal magazine, the in-house publication of the Beastie Boys. In it, he interviewed himself, using the opportunity to slight everyone from Bill and Hillary Clinton to Abel Ferrara, who, he alleged, was too high on crack to direct him properly in the 1996 gangster film The Funeral. It would almost be pointless to try and count the enemies Gallo has since accumulated. "I've never been a popular person, but it doesn't matter," he says. "I have everything in my life that I want. I'm not a walking publicity stunt. I'm not an anarchist, or bitter. I'm not trying to be subversive. I just try to remain unguarded, unprotected by fear, and agents and publicists, and I feel comfortable that way."
While today's conversation shows Gallo has mellowed a little, he still can't help himself. "I'm easily antagonised and easily upset," he says. This time it's Lance Acord, the acclaimed cinematographer who has worked with Spike Jonze and Sofia Coppola, as well as shooting Gallo's own debut. "Lance Acord could run around Hollywood telling people that he shot Buffalo '66 but Lance Acord pressed the button when I said, 'Press the button'," says Gallo, beginning to foam at the mouth slightly. Yet despite this one-man siege mentality he seems to exhibit, Gallo is kind to those he loves. Meryl Streep, with whom he starred in The House of the Spirits, is "incredible – sexy, goofy, funny". Likewise his LA Without a Map co-star Julie Delpy – "the funniest, sweetest girl in the world".
Right now, it's all about Coppola. Gallo seems made up that the director of The Godfather and Apocalypse Now came calling for him to play in the most autobiographical film of his career. "If Martin Scorsese, Stanley Kubrick or Alfred Hitchcock asked me to be in a film, I wouldn't have been more excited than I was when Francis called me," he says, breathlessly. "Not even close. It didn't even matter what we made. To tell you the truth, I didn't really like the script. It's not really my cup of tea. You know my taste probably a little. Tetro wouldn't be my cup of tea. It didn't matter. I knew I was in the company of a very special person, and I adjusted to his world, which was very difficult."
While Coppola initially wrote the role with Matt Dillon in mind, he turned to Gallo when it became clear Dillon was unable to make the film, due to scheduling conflicts. "Everyone said, 'You can't work with him. He's terrible. He's a nightmare. He's a monster!'" says Coppola. "But I just called him up and I said, 'Will you come and spend a week with me and just get to know each other?' I went to pick him up at the airport and when I saw him, I just felt he had the right mystery... though he was covered in hair. It took me five haircuts to get his hair down! But I must say he was very intelligent and a pleasure to work with. He was there on time, he worked hard and he always tried to be truthful."
In the film, beautifully shot in black-and-white in Buenos Aires, Gallo's Tetro is a would-be novelist living in the bohemian La Boca district. The meat of the film is his relationship with his younger sibling Bennie (Alden
Ehrenreich), who comes to seek him out a decade after Tetro left home with the unfulfilled promise that he would return. It's a mirror of Coppola's relationship with his late elder brother August (the father of the actor Nicolas Cage). As Gallo puts it: "His brother was older than him. His brother knew all about movies. He taught him about films. He showed him how to write. He taught him everything. And then his younger brother becomes the most successful film-maker in history! So then where is Augie after that in the family?"
The film is almost as personal to Gallo as it is to Coppola, and the actor's own family history is equally troubled. Growing up in Buffalo, New Jersey, where his mother ran a beauty salon, he was not encouraged to pursue a career in the arts. The parents visited by Billy Brown in Buffalo '66 were, to some extent, modelled on his own. "My mother and father are exactly like that, but more painful," he says, as he tells a story of how they once collected him from the airport, when he was 16. Back then, the young Gallo excitedly told them he'd been accepted to study acting under the tutelage of Stella Adler, the famed teacher of Marlon Brando and Harvey Keitel among many others. His father, he says, "slams on the brakes to the car. The car goes skidding into a snow-bank. And he grabs my ear, and he pulls me by my ear from the back seat to the front seat, into the rear-view mirror and he pushes my face, five or six times, into the mirror. The rear-view mirror breaks off from the windshield. And he tells me, 'Look at your face, you retard. You look like Paul Newman? You look like Robert Redford? Those are actors. You look like an idiot. Get a job. Stop telling your mother lies, because she believes you. When you get a job as a plumber or in a gas station, give us a call and we'll come and visit you.' And then he threw me in the back seat." Like all of his anecdotes, it's twisted, shocking and told with all the power of a force-10 gale.
By this time, Gallo was living in New York, hanging out with musicians and artists. He formed the band Gray, with his artist friend Jean-Michel Basquiat, and after a time racing bikes and managing the hip-hop crew New York City Breakers, in 1983, he held his first solo art show in Manhattan. Just 21 at the time, he went on to become one of the most successful American painters of the decade, with Vanity Fair even running an article on his work back in 1990 (the same year he won a bit-part in Martin Scorsese's Goodfellas). He quit painting after that, and his screen appearances ever since have been never less than memorable – whether it be as the face of Calvin Klein in a stunning collaboration with the great photographer Richard Avedon, or his Mexican transvestite in Freeway II: Confessions of a Trickbaby.
Yet as Gallo emerges once more into the crosshairs of the critics, I wonder whether he was scarred by his experience in Cannes with The Brown Bunny. "No, I had a wonderful time!" he says, defiantly. "I'm from Buffalo and I'm in the South of France; 3,500 people are hooting and hollering during my movie. That was a high. It was not a provocative film, regardless of what anyone thinks. But they booed from 'A film by Vincent Gallo'. They booed at 'A Vincent Gallo Production'. It didn't take the movie to get them to boo! They booed the opening credits! It would've been nice if I had a more gentle response. It would've been nice if it wasn't a Kafka-esque [experience], if it wasn't The Trial. It didn't matter why I made the film, I had already been accused of why I made the film."
It certainly hasn't put him off directing for life. Among other projects since that fateful Cannes – including designing a house and overseeing the All Tomorrow's Parties music festival in 2005 – he has found time to make a third film, the ultra-low-budget Promises Written in Water. Gallo's cagey about the details, but it's the story of a terminally ill girl. Rather lamely, I ask if it was nice getting back behind the camera. "Well nice is perhaps the wrong word," he smiles, politely. "What makes you go back into being uncomfortable and giving that kind of attention to something? No, I wouldn't say 'nice'. When you decide to go into your basement and clean it all out and reorganise it, is it nice to get back out there and clean it up? Nice is not the word but it feels good when it's done."
Gallo used to be in the rock band Bunny with fellow actor Lukas Haas, and later put out his own well-received CD, When. He says he may return to Europe to play live, but "if there isn't [interest], then cool, I can live with that". Following Tetro, there are already some other acting roles in the can, not least voicing the hero in the Swedish animated movie Metropia, in which his bald character looks suspiciously like his friend, the similarly provocative director Gaspar Noé. "My least favourite face is Gaspar Noé's!" he giggles. "Meaning, if God said you could be anyone, I would pick Clint Eastwood in Dirty Harry. If God said you're going to be Gaspar Noé, I'd go to the nearest bridge and jump."
One suspects that he won't. Such are his powers of self-belief, Vincent Gallo probably feels immortal.

Tuesday, April 27, 2010

T-Shirts. And they don't cost a fortune.

Good news today - sort of.

According to This is London, there has been a collaboration between Uniqlo and Vincent, resulting in six T-shirts with different logos and stills from his "most celebrated works".

The good news: They only cost £12.99 and the Pound is quite weak at the moment ;)

The bad news: I couldn't find them anywhere on (who only ship to the UK, which makes it even worse for anyone not living there).

Sunday, April 25, 2010

The already infamous Beer-Commercial

Mono Rousseau, thanks a lot for the link :)

Here you can have a look at the already famous beer commercial that Vincent has done in New Zealand.

And I have to say - yes, nicely done for a commercial but now that I saw it and saw his role in it, I even less understand what all the fucking fuss was about. I mean, please....! "Could a kiwi actor have done just as well?" Any actor could have done that. It was just a choice to pick Vincent. But then again, with all the media attention they (the beer people) got because of that - maybe that also made them quite happy altogether. I mean, when does the shooting of an ad get such a big deal of attention?

Just wish he'd finally chop off that beard...

Friday, April 16, 2010

More on "Red Sky" from Movieline

Interesting article in my opinion...

You can find it here

EXCLUSIVE: How Vincent Gallo Staged a Coup on the Set of His Next Film

In 2008, mercurial actor Vincent Gallo signed on to star in The Funeral Director, an independent film written and directed by Pete Red Sky. Now, in 2010, Gallo is touting his own Promises Written in Water, the first film he’s written and directed since The Brown Bunny.

There’s just one thing: they’re the same movie. How did this happen?

Let’s start from the beginning. In late 2007, Gallo and actress Allison Lohman (Drag Me to Hell) attached themselves to The Funeral Director, a pet project set up by Red Sky (who has one other feature credit to his name, the indie film The White Horse is Dead). Though Lohman fell out of the film shortly after, Gallo stayed aboard and even wrangled a producer credit. Under Gallo’s watch, the cast was filled out using non-actors, Sage Stallone, and European fashion models Delfine Bafort and Esther de Jong.

The Funeral Director may have been a small film almost wholly financed by Red Sky, but its premise was quirky enough to merit some attention when shooting commenced in January 2008:
“A broken-hearted man, Kevin, finds company in a pet cricket. After ditching a lucrative advertising job, he signs on as an apprentice in a funeral home and finds himself not only working for a sexually starved pre-menopausal funeral director, but also rooming with her free spirited nymphomaniac niece. In a strange way, Kevin becomes like one of the old Renaissance masters by taking the dead corpses to study and advance his art by photographing them. While the nymphomaniac becomes addicted to the idea of helping him win back his ex-girlfriend they find themselves exploring loss, death, and resurrection. In a dark romanticism, Kevin attempts to artistically reincarnate the dead people by dressing them up in elaborate costumes and makeup, trying to recapture the memory of their best human quality and to defy the tragedy of their death.”
It’s a story that would require a firm hand to keep from tipping into absurdity, and according to those on the Los Angeles set, that’s where the problems began. The less-practiced Red Sky was a passive presence in the directorial chair, which frustrated his lead actor. “From day one, the director was showing signs of his inexperience on set and lack of confidence in handling a fiercely unpredictable talent like Gallo,” said one source. “Vincent would come to set and ask where his mark was, and the director would have to sit and think about it for ten minutes.”

After bringing production to a halt on a daily basis to give “film production 101” lectures to cast and crew members, Gallo finally called for a meeting with the producers and director halfway through the shoot. His ultimatum: he’d walk if he wasn’t made director.

“From that point on,” said the source, “Gallo took over and assumed all rights to the project. He was now the director of the film and treated like so by cast and crew.” Meanwhile, Red Sky — usurped of his passion project by the star he’d cast — was left with little to do but follow Gallo around on set. Unfortunately, letting Gallo have his way didn’t calm him. Screaming fits were common, and Gallo harangued the script coordinator so much that she quit before filming was completed.

Then again, that initial shoot was only the beginning. After filming finished on The Funeral Director that February, Gallo headed to Buenos Aires to shoot Francis Ford Coppola’s Tetro. (By all accounts, those two had a much improved actor-director relationship.) When Gallo returned his attentions to the messy project he’d left behind, it wasn’t Pete Red Sky’s The Funeral Director anymore. Now, going forward, it would be Promises Written in Water, written and directed by Vincent Gallo.

Last year, as Tetro was released, Gallo began to talk about Promises, though he notably omitted its origins when The Independent synopsized the effort:
The film is about a beautiful young girl who is terminally ill. She decides not to go to the hospital or have treatment but to wait until the pain becomes unbearable - and then to end her life. Her one fear is what is going to happen to her body when she is dead. She wants to be cremated. She reaches out to a photographer she meets, asking him to make sure that her wish is fulfilled. He takes a job in a funeral home so that he has the experience to perform the cremation. It sounds morbid in the extreme. “What I have tried to do in this movie is to make choices as if this was the first movie ever made and not to buy into the story of what cinema should be,” explains Gallo. This means making the film on the hoof, without much in the way of preparation.
“I shoot a bunch of stuff - improvs, things when people don’t know they’re being filmed. I look at the footage and separate it into filters. The first category is anything that is beautiful, photographically … beautiful could be out of focus, it could be a mistake. Beautiful can be intentional. It can be just luck, it can be because the film is processed a little funnily … Now, I take the film and start to look at the people in the film and I want them to be beautiful. Again, beauty is relative. Beauty can be beautiful ugly. It can be the back of their heads.” […]
Whether we’ll ever get the chance to see Promises Written in Water is a moot point. Gallo made it for himself, not for the world at large. “I have no intention of expecting anyone to see it. I am so tuned into it that I can’t imagine if it will have the same impact for someone else who doesn’t know all the things I know.”
As long as Gallo is satisfied with the film himself, he says that will be enough. “Don’t take this the wrong way if you’re going to write about it. I am giving zero attention to what the audience thinks. It’s not that I resent them or don’t care about them. I feel that if I am going to make my best work, I have to take that attitude … I don’t care if it ever gets released, I don’t care if anyone ever likes it.”
Then again, if Gallo had no plans to release it, would he have included its presumed 2010 release in the biography he submitted to the Tetro press notes, or spent a sizable chunk of his own money on reshoots? Cannes announcements will be coming fast and furious over the next week and Promises has been rumored for a sidebar berth; we’ll see if the strange saga of this film will be revealing a new chapter soon.

Wednesday, April 14, 2010

Fancy a Painting?

If any of you have $ 25.000  and want to spend them, here's your chance!

    Vincent Gallo  is selling a portrait of himself by Julian Schnabel on eBay for $25,000, explaining, "I don't want it, and it's too valuable to give away. I'd rather buy shoes."

    Sunday, April 11, 2010

    Hikari Takano Interview with Vincent Gallo

    Hikari Takano did an interview with Vincent Gallo - don't know exactly when though...

    You can find the audio file of the really good interview & listen to it here:


    Seems like it happened during a conversation close to a rather busy street though ;)

    A birthday, a birthday!

    It's Vincent's birthday today - instead of doing the whole "congratulations" thing, I thought - why not play a little game? Please use the comments to write down your own personal ending to the sentence:

    "Vincent Gallo is..."

    You can do a longer one, explain what you've written and so on or just use a few words (e.g. "Vincent Gallo is a genius") Everything is allowed :-)

    Monday, April 5, 2010

    Gallo Runs to Avoid Close Up Story

    Thanks Tim :-)

    Some scandalous news ;)

    "Gallo runs to avoid close up story" - enjoy the clip. My favourite quote from it is: "Gallo, we're told, has to concentrate on filming the advertisement."

    Isn't it weird how these kind of things only make me respect and like him more? I smiled all the way through the clip.

    And the discussion in the end - the big deal it is that they brought in a "Foreign actor". You could think it's about something seriously important and not about an advertisement for beer...chill, people, chill. World peace doesn't depend on this one.

    Wednesday, March 31, 2010

    Promises Written in...Cannes??

    Promises written in Water (remember? The film we were never supposed to see because he just made it for himself.) has a Wiki page now.

    The interesting part - it says the following: 

    Promises Written in Water is a self-financed 16-millimeter black-and-white Snuff Film and is due in 2010 at The 63rd edition of Cannes Film Festival.

    Oh, really?

    Sunday, March 28, 2010

    Small News

    Still working on the essay from the book - until then:

    Causing trouble again

    Monday, March 8, 2010

    Vogue Party

    He's been Oscar-Partying with the important people it seems - visit the link (thanks to M for the find) for some pictures that are mainly blurry but at least it's a sign of life.

    Lapo Elkann took exclusive pictures of the US Vanity Fair Oscar Lunch, a party for very few people, which was held in Diane von Fürstenberg's villa on the hills of Hollywood. Among the guests were Steve Martin, Victoria Beckham, Edward Norton, Ron Howard, Quincy Jones, Rupert Murdoch and Vincent Gallo  
    Diane von Fürstenberg and her husband Barry Diller warmly welcomed the Hollywood star system, personalities from the music and the internet worlds and the Vip jet set. While in the morning Los Angeles was hit by a torrential rain, around midday the sun reappeared, maybe called back by the party. Guests could therefore relax in a convivial and informal atmosphere, as Diane has this innate instinct to welcome and put at ease her visitors. Powerful people, Vips, Stars and Voguettes made themselves comfortable on cushions and carpets, lying on the grass, as if they were in a Casbah in Morocco.

    In that sunny atmosphere, surrounded by hundred-year-old trees and sumptuously laid tables there were Victoria Beckham with her children, Edward Norton, Ron Howard, Quincy Jones, Bob Colacello, Bryan Lourd, famous agent of Tom Cruise, George Clooney and Brad Pitt. Steve Martin, before co-hosting the Oscar show with Alec Baldwin, had a chat with Rupert Murdoch. And even the Blues Brother Dan Aykroyd and the actor Paul Sorvino, father of the Oscar prize Mira Sorvino, really enjoyed the party. There was also Vincent Gallo, looking almost unrecognizable with his thick long beard, probably due to his filming of Essence of Killing, a thriller about a political prisoner. A party characterised by informality for the Oscar celebrities.

    Wednesday, February 17, 2010

    He's Alive and at Fashion Week...! even have a picture.

    Anyone sure if that was really this year? Somehow it feels a bit older to me but that might just be me mistaking it for something else.

    Tuesday, February 16, 2010

    Motion Trio

    A band called MotionTrio is apparently doing the music für "The Essence of Killing". Apart from that finally being some news on that film, they also posted a picture of them with Mr Gallo on their homepage :-)

    Find it here:,news

    Or, simply take a look:

    Tuesday, February 2, 2010

    Kevin Corrigan on working with Gallo

    Kevin Corrigan, who acted in Buffalo '66, gave an interview talking basically about several of the roles he's played so far. It's quite interesting and can be found Here (Yes, I learned how to do hyperlinks ;-)

    This however is the excerpt on Buffalo '66 and on Vincent (even though he mentiones him and his style of filming in several other parts of the interview)

    Buffalo ’66 (1998)—“Rocky the Goon”

    KC: I met Vincent Gallo through a friend of mine, an actress named Bianca. We were both visiting her. She was in the hospital. She got sick. By the time I went to see her, she had bounced back, made a complete recovery. I walked in the room and Vincent Gallo was already there, visiting with her and telling stories. And I went, “Oh. This is the guy Bianca’s always told me about.” He’s a very entertaining, very interesting guy. And that’s where I met him. Then, three years later, I met him again at the Sundance festival, and he had seen me in something, and he liked me as an actor, and he said, “We could be brothers.” He put his face next to my face and got someone’s attention and said “Don’t you think we could be brothers?” And I reminded him that we had met before, and then he remembered me, remembered the clothes I had been wearing. Then he said, “I want us to work together, so I’m going to send you this script. We’ll play brothers.”

    A year later, I got a script from him and there was no brother in the movie. He had offered me the part of Goon. Not his brother, but his friend. I thought maybe I had gotten it wrong. Maybe he’d said “I want you to play my friend in a movie.” But he confirmed it. He said, “That thing where I wanted you to play my brother, that’s a different movie. I’m not going to make that movie. I’m going to make this movie. And I want you to play Goon.” I didn’t want to play Goon. I didn’t feel comfortable playing that part. I don’t know why. I was kind of afraid to play it. I saw the character as being really, really vulnerable, and I guess I was just a coward at the time. I didn’t see the opportunity to play a great part. It just looked like a dangerous job that I was too chicken to accept. I turned it down. The story of how I got the part back…

    I got nominated for an Independent Spirit Award [for Kicked In The Head] and didn’t win. I went to the awards ceremony, and I thought “It’s great just to be nominated. If I don’t win, I don’t care.” But I did care. First of all, I got drunk. Then, when I didn’t win, something happened to me. I felt very disappointed. I started to feel self-loathing. I started to have a really bad time. I left feeling really horrible. I had a lot of other things going on at the time that probably contributed to that. I went back to my hotel, and I really needed some company. I really needed some kind of validation. I was having a breakdown. I was mad at myself for being disappointed about not winning. I thought I could handle that. I couldn’t. I just felt like a piece of shit. I thought “I’ve got to get out of feeling this way. I’m going to call someone who really believes in me.” I called Vincent Gallo, because I still had his number. And I said, “Vincent, I really want to play that part now. I would be honored to play that.” And he said, “You want to play that part now?” “Yeah, I don’t know, I’m sorry I passed on it. I’d really like to do it now.” He said, “Well, I’ve already offered it to someone else.” “Oh shit. All right, I’m sorry.” “Listen, I’ll get it back. I really want you to be in it.”

    So apparently he had given the part to someone else, and then fired that person and gave the part back to me. This did nothing to help me. Now I felt guilty that I’d taken the food out of somebody’s mouth. Working on that movie was as trepidatious as I thought it was going to be when I passed on it, because I internalized all of these things about it. But you know what? Vincent once said to me “You are this character.” I said, “I know. I know I’m this character. I don’t want anybody to know that I’m this character. If I play this part, everybody’s going to know that that’s really me.” But then once I was onboard, that was it. I had to go there. I had to expose myself or whatever. That’s where acting can get really weird.

    I can watch that movie now, and that’s not me at all. And yet on another level, it is. I was very close to it. Once we shot it and it was over with, it wasn’t something that I looked forward to seeing. That was a new experience for me, because every time you’re in a movie, you can’t wait to see it. But not with that movie. I wanted to bury it. I felt like it was an act of penance. Like the way Harvey Keitel makes up for his sins in the streets in Mean Streets. I make up for my sins in my work sometimes. So I wasn’t even curious to see how that movie was going to come out. Well, my parts of it, anyway. I remember having this conversation with my agent at the time who was telling me, “I can get you out of this. You don’t have to do this movie.” But I said, “No, I have to, because I gave Vincent my word. I have to do it. I want to do it.” “Well, you don’t have to have your name on the credits.” So, if you notice, I’m not credited. My name isn’t on the movie. That’s because my agent at the time was able to have my name removed from the credits. Now I did sign off on that, thinking that if my name wasn’t on the credits, then no one would know I was in the movie. That’s kind of like a baby putting its hands over its eyes thinking that no one will see him.

    When Vincent heard about… He didn’t know this until he was going to lock picture, then he found I didn’t want my name on the credits, and he called me, too. He was really hurt by that. I didn’t talk to him at that time. I got the message and was, “God, I don’t know what to say about that.” I justified it later on. “Well, that’s part of my performance. The conceptual performance. It’s just going to be me as this character, uncredited. I’m there, but I’m not there.” I don’t know. I finally went to see the movie, because Vincent called me again when it was going to play at the New Directors festival at the Museum Of Modern Art. He told me that I was really good in it, and he hoped that I would want to see it someday. Then I started to feel bad, because I really respect him as an artist. I think the first time I saw it, some of those ghosts came back and prevented me from seeing it objectively. But then the second time I watched it… I watched it on videotape a few years after it came out, and I laughed like crazy. I thought it was really funny. In the years after that, I got recognized from that movie a lot. Just like Vincent Gallo said I would. “People are going to remember you from this.” “No! I don’t want anybody to know I was in that.” “It’s going to be the thing people remember you for.” “Oh, great.” I’m proud of it now.

    Thursday, January 21, 2010

    Night of Pan

    Sorry for posting this so belated but I've been (and still am) without internet most of the time.

    Brian Butler's 'Night of Pan' with Kenneth Anger and Vincent Gallo gets L.A. premier at Projections festival

    Filmmaker, artist and musician Brian Butler will premier his short film, “Night of Pan,” at the Roberts & Tilton Gallery in Los Angeles on Jan. 16 at 7:30 p.m. at the opening of Projections, a festival of rarely seen films by the likes of Spike Jonze, Harmony Korine, Jean-Luc Goddard and Miranda July. "Night of Pan" depicts Kenneth Anger, Vincent Gallo and the director himself performing a dark occult ritual that "symbolizes the stage of ego death in the process of spiritual attainment."

    Projections was curated by Aaron Rose, co-curator of the successful museum exhibition (and book) "Beautiful Losers: Contemporary Art & Street Culture," which toured the world through 2008. In addition to screening on Jan.16, “Night of Pan” will be screened in a loop at the gallery on Feb. 18.
    Roberts & Tilton Gallery, 5801 Washington Boulevard, Culver City, Jan. 16 – Feb. 20

    That article is taken from:

    Pictures and a preview can be seen there as well :-)

    Thursday, January 7, 2010

    Merchandise + Vincent Gallo = Unique

    Thanks to Scorpio Rising, a little story about the merchandise - a good one that doesn't only focus on sperm.

    As there are so many pics coming along with the article (and the pics are really a vital part of the whole thing) I decided to only post the link here so you can all go and have a look:

    Wednesday, January 6, 2010

    Did you know?

    I don't like lists. I really hate limiting down something like music to my personal top 5 or top whatever of the decade/year/day/summer whatever. I just know and love too many songs/albums or films to pick a few precious one without feeeling bad about leaving out at least 20 others. Anyway, everyone does their best of the decade lists now because it is the thing to do and according to metrotimes, a certain album is on their number 8.

    What does it have to do with Vincent? Well, if you read their reason for picking that album, you'll know.

    "PJ Harvey, Stories from the City, Stories from the Sea (Island): The great Patti Smith pop-rock album that Patti never actually made. Who'd have ever thought we'd get a happy, almost celebratory love album from — of all people — PJ Harvey? (Of course, it wasn't long before she returned to a darkness that was deeper than the one she exhibited earlier in her career ... but maybe that's what happens when one falls in love with and writes an album in tribute to someone as seemingly creepy as Vincent Gallo.)"

    I didn't know that and as news are slow, I thought I'd post it.

    Monday, January 4, 2010

    I could have Vincent Gallo's baby

    The first really funny article on the sperm-offer at Vincent Gallo's official homepage. Even though it's quite evil in some places, I came to like the way it's written.

    I could have Vincent Gallo's baby

    Well, if I was female and had $1m. Yes, according to his website, Vincent Gallo is hawking not only T-shirts but his sperm, too. If only I'd known before Christmas

    We may only be four days into the new year, but resolutions are already being tested. If you planned to give up smoking, you may have already buckled. If you planned to join a gym, you may have been put off by all the sweat and mirrors. But if you planned to get pregnant with the baby of a skinny, independent cinema darling with a ratty-looking beard, you're in luck. Vincent Gallo is selling his sperm online. For $1m.

    It all sounds too good to be true, doesn't it? You simply log on to, fork out $1m and in return you get the chance to become the mother of a child who – if it follows in its father's footsteps – will grow up to form several bad bands, star in a number of films that nobody really watches and direct films that nobody really likes. Imagine the pride that will swell up in your heart as you sit little Jimmy or little Susan down to watch the blowjob scene from The Brown Bunny.

    There are caveats of course and, since this is Vincent Gallo, it's hard to tell if they are genuine or an attempt at tedious, deliberately provocative, "betcha didn't think I'd say that" shtick. As the website states: "Mr Gallo maintains the right to refuse sale of his sperm to those of extremely dark complexions. Though a fan of Franco Harris, Derek Jeter, Lenny Kravitz and Lena Horne, Mr Gallo does not want to be part of that type of integration."

    It's not all bad news, though – if you're naturally blonde or the relative of a mid-century German soldier, Gallo is kind enough to offer you a $50,000 discount. And it helps if you're Jewish, too – since a "connection to the Jewish faith would guarantee his offspring a better chance at good reviews and maybe even a prize at the Sundance film festival or an Oscar". Very droll. Or slightly bitter and heavy-handed. The jury's out.

    But what if you don't want to spend a million dollars to have Vincent Gallo's baby? What if you simply want him to fulfill your deepest fantasy? Well, for the knock-down price of $50,000, you can do exactly that. And this time there are no such limitations. You can do whatever you desire. Personally, I think it'd be quite nice to sit him down and spend an evening forcing him to read a book on how to make films that aren't terrible but, as a male, I'm not the market he's pitching to.

    Even if you are among the, frankly, short-sighted minority who wouldn't want to shell out an inordinate amount of cash to spend some intimate time with the star of Freeway II: Confessions of a Trickbaby, you still have a chance to own a piece of Gallo. For $2,000 you can have a tatty bit of cloth with some small flowers drawn on it; $1,500 buys you a photograph of Gallo standing in a bowling alley; and $150 buys you a T-shirt with the words Vincent Gallo written across the front in marker pen. The point is that, even in these times of severe recession, you can't not afford to have some Vincent Gallo in your life.

    Or, you know, you could just get Mr Belding from Saved By the Bell to phone you up for $20 instead. That's probably just as good.