Watch Vincent Gallo Versus His Critics in a ‘Buffalo ’66’ Roundtable

In his 1998 review of Vincent Gallo’s soft palette tap-dancing strained and strange love story Buffalo ’66, Roger Ebert noted that the film, “plays like a collision between a lot of half-baked visual ideas and a deep and urgent need. That makes it interesting.” Starring Gallo and a Christina Ricci—clad in idiosyncratic sartorial gems from sparkling mini dresses to red boots that pop amongst the films hazy texture—Ebert also mentioned that from the film, “what we get is more like improvisational jazz, in which themes are introduced from other movies, and this one does riffs on them…There’s not a thing conventional about this movie.”

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And speaking to his work and the work of a filmmakers as a whole in an appearance on Richard Jobson‘s film show in 1998, Gallo said that, “If something’s self-indulgent and it’s good, then it’s good.” The show provided and illuminating and rare moment in which we’re able to witness a director confronting his critics face to face. As a guest on the show, Gallo sat down alongside Jonathan Romney, Alexander Walker and Anne Bilson for a roundtable discussion of his work. “I’m a person who looks to critics for a clearer understanding of what’s going on in culture,” Gallo says. “I enjoy critics and I am comfortable being criticized. I’m only not comfortable when I feel the critics have personalized the reaction to a piece of art based on any sort of itchy hang-ups or special interest groups.”

Take a look at the 25-minute conversation below.

Brad Pitt for Chanel & Other Random Celebrity-Designer Pairings

In case you missed it, Brad Pitt has been named the new face of Chanel No. 5. The Moneyball actor and man that Angelina Jolie told to put a ring on it now follows in the footsteps of the iconic French fashion house’s previous campaign vets, Nicole Kidman and Audrey Tautou. We know what you’re thinking: Why is Brad Pitt the face of a woman’s fragrance, let alone the most famous fragrance in the world? We’re confused, too. In honor of that, here’s a lighthearted round-up of a few more curious Hollywood-fronted fashion campaigns.

Lindsay Lohan for Phillip Plein

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In-between court appearances and that infamous Playboy shoot last year, Lindsay Lohan found the time fly to Italy to shoot a campaign for German designer, Phillip Plein. She does look good, though.

Eva Longoria and Tony Parker for London Fog

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Back in 2009, Eva Longoria teamed up with her husband at the time, Tony Parker, for an unexpected shoot with London Fog. Hollywood couple campaigns are always a tricky thing, and this one was no exception.

George Clooney for Omega Watches

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We get that George Clooney is a fancy man who wears fancy watches, but this photo is just hilarious. 

Vincent Gallo and G-Star RAW

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Who knew that indie king Vincent Gallo wore G-Star?

Afternoon Links: There Is A Kurt Cobain Solo Album, Ashton Kutcher and Mila Kunis Might Be Dating

● According to Hole’s Eric Erlandson, Kurt Cobain recorded an full solo album — what "would have been his White Album" — before he died. So probably, Kurt will preform the album in full as a hologram at Coachella next year. [NME]

● To few’s surprise, Urban Outfitters is stocking yet another questionable tee shirt. It’s almost like racism is a part of their agenda or something. [D+T]

● Vincent Gallo is suing the City of Los Angeles over their Arts District Business Improvement District, an organization that is supposed to be using tax dollars to clean-up and beautify the Downtown Arts District. Gallo, however, does not think they are up to the task and he wants his money back. [TMZ]

● In this week’s episode of A Day In The Life, the boys of Das Racist take Morgan Spurlock to Guitar Center and to meet Philip Glass. Watch the whole affair on Hulu. [Prefix]

● Cam’ron announced on Twitter late last that, beginning today and excepting weekends, he will release a track a day for the next 30 days. The hashtag’s #UNLostFiles, for those that will be collecting. [Complex]

● Ashton Kutcher and Mila Kunis — both, of course, of That 70’s Show fame — went out dinner and touched hands. According to one bystander, "She looked hot," and so it "was definitely more than a dinner between friends." Assume what you will! [Page Six]

● The Pulitzers are here! Did you get yours? No? Next year. [Poynter]

Vincent Gallo for G-Star?

We knew that actor-director-musician-unfathomable genius Vincent Gallo was unpredictable, but this latest news really caught us off guard. WWD reports that he’ll star in Dutch clothing label G-Star’s fall men’s campaign alongside British actress Gemma Arterton. “Vincent is unorthodox, authentic, imperfect and raw — all characteristics matching G-Star’s DNA,” says the label’s global brand director, Shubhankar Ray. “We are happy to have an independent trailblazer and cultural artist like Vincent as our new face.”

Maybe his Brown Bunny co-star Chloë Sevigny’s fashion focus has rubbed off on Gallo, given that they’ve been thisclose and all.

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This isn’t the actor’s first foray into fashion. He’s a former model for Calvin Klein and has been sitting front row at fashion shows for quite some time. He also collaborated with controversial fashion photographer Terry Richardson on that ubiquitous Belvedere Vodka campaign back in 2008. Plus, he’s like a god in France, where you can’t take the metro without confronting Gallo’s Curacao Cocktail-blue eyes.

The above campaign image looks like Gallo’s playing it safe, but we’re sure he’ll find a way to Gallo-fy the ads, simply by being Gallo.

Chloë Sevigny Wants a Guy Who’s Good With His Hands, Hates Being Called ‘It Girl’

Since 1978, Playboy has run their “20Q” feature where they’ve asked everyone from Al Pacino to Bettie Page 20 questions about their work and personal life. The latest person on the hot seat is actress and designer Chloë Sevigny. In a rather candid but playful interview for the January issue of the magazine (accompanied by the above photo), Sevigny breaks down everything that the media has pegged her for, including that infamous scene with Vincent Gallo in 2003’s The Brown Bunny. “What’s happened with that is all very complicated. There are a lot of emotions. I’ll probably have to go to therapy at some point,” the actress reveals to Playboy. “But I love Vincent. The film is tragic and beautiful, and I’m proud of it and my performance.” Sevigny is refreshingly honest with every question thrown her way, including dating. It may come as a surprise, but she’s actually a really big fan of texting—or sexting, even: “The other day I got a text from a boy, but it wasn’t hot. I mean, if you’re going to text me every day, you haven’t seen me for months and you’re trying to seduce me, you’d better spice up that text.” And although you’d think the artistic guy is more her speed, she’s actually into the opposite: “I want a guy who is masculine, good with his hands and able to build stuff and who has survival skills. Facial hair is a big turn-on. Most of the kids I hang out with in New York are hipster arty types, but I like a stronger, more physically imposing man—like a lumberjack.”

The interview also broaches the subject of her style icon status and how she was named an It girl in a 1994 article in The New Yorker. “I’m glad I grew up during the last vestige of cool, in the 1990s, when everything wasn’t blogged and on the Interwebs, when things were more on the down-low and underground,” says Sevigny. “I guess I am stylish, but I would rather have people come up and say ‘I really liked your performance in this or that’ than ‘I really like the way you dress.’ That irks me.” She also thinks the term “It girl” is dead: “Today the term is used to describe, say, Peaches Geldof—a girl who doesn’t do anything but is just sort of around. The original It girl was the 1920s movie star Clara Bow; then, in the 1960s, with Edie Sedgwick and Warhol, It girls turned into socialites, ladies of leisure.”

There’s no question that Sevigny’s made a slew of great films that have reached cult status like Kids, Boys Don’t Cry, and Julien Donkey-Boy, but she can’t deny that her designer collaborations and continuous support of the fashion industry are just as relevant to her fan base, if not more. On another note, can you believe she’s 36-years-old?! The girl does not age.

Photo via Huffington Post.

Vincent Gallo No Less Self-Absorbed

Vincent Gallo’s last directorial outing, The Brown Bunny, earned boos at Cannes and sparked an exchange between the director and Roger Ebert wherein Gallo wished the critic death by colon cancer. At stake was a very precious art film in which Gallo meets a series of women before the inevitable getting-blown-by-Chloe-Sevigny denouement. Though not without at least a few fleeting moments of interest, it made Buffalo ‘66 seem densely plotted, and made much less of an impact critically and commercially. Now an early review from Venice has it that Gallo’s latest, Promises Written in Water, is even more self-indulgent.

“Gallo’s drama puts the ‘i’ in solipsism” says Xan Brooks of the Guardian. “Promises Written in Water is a ‘Vincent Gallo Films’ production, with music by Vincent Gallo. It is ‘written, directed and produced by Vincent Gallo’ and opens with a 10-minute shot of none other than Vincent Gallo, who pads about a hotel room, chainsmoking like a bastard and pausing occasionally to eyeball himself in the mirror.”

In other words, true to form. Only Asia Argento has proven Gallo’s equal with her monumentally personal and insane Scarlet Diva, but I feel like Gallo is somehow the more vain of the two. Recall that in Buffalo 66 there’s a scene where a kid looks at Gallo’s crotch and exclaims “It’s so big!” And to think that people say James Cameron is conceited.

Thank God for Sonic Youth

Sonic Youth is still ever so relevant within the world of music. Thank God! With only flickers of promising hope from young musicians, one is always prone to retreat to familiar and sublime melodies. That being said, I was so happy to say yes to an invite to hear the band’s new album, The Eternal, out June 9 on Matador Records. Coincidentally, my best friend — the lovely and always chic Miss Kristin Vincent — hosted the listening party at her Lower East Side bar, Home Sweet Home — submerged within the confines of the building’s basement, speakeasy style.

Thurston Moore’s visual skills as a painter complemented the party; above Home Sweet Home sits Envoy gallery, where Thurston’s art opening took place simultaneously throughout the evening. Lo and behold, I found myself popping up and down the secret stairwell between Home Sweet Home and Envoy, drinking vodka tonics and gabbing away with Kristin. By the way, drinks were free courtesy of Kristin, and I didn’t need that quintessential neon-colored wristband. Quite nice to have those kinds of friends, though I could hardly hear the band’s new album. Way too noisy.

Across the room, a sexy blond caught my eye. No, it wasn’t Kim Gordon just yet, but Marc Jacobs’ Swedish publicist Asa Larsson. We’ve met countless times, yet for whatever reason we’ve never been able to remember each other’s names. I told her I was to interview Maja from The Sounds, also from Sweden, soon. She suddenly burst out, “Oh, I looovvvveeee Maja, we’re going to dress her for one of The Sounds’ shows! You have to email me your interview.” Hence why I now know her name — that business card she passed along with email and name intact certainly did the trick.

Kim, with her daughter Coco in tow, finally arrived. I hadn’t seen nor spoken to Kim in over a year, but we did get a chance to briefly say hello. I asked if she’s ever been to Home Sweet Home. “Well, I don’t really hang out in bars much anymore — it’s cool though.”

While leaving the fête, I spotted friend-of-the-band Mr. Vincent Gallo talking to pals outside. Probably fresh off doing something Tetro-related (that new Francis Ford Coppola film in which he stars). No chit-chat with Vincent though.

I was disappointed about not properly hearing the album, but I felt better knowing its sounds would arrive in my email inbox the next day. Sure enough, it did not disappoint. My favorite track — the last one, “Massage the History” — oozes a spacey and cerebral reverberation, shimmering with guitar murmurs. The whole album knocks it out of the park. Thank God indeed.
Sonic Youth Tickets Terminal 5 Tickets New York Tickets

Francis Ford Coppola Returns to Roots with ‘Tetro’

imageA family man whose proudest achievements are not his films but his children, Francis Ford Coppola maintains, “Our families form the basis of our original view of life: I think most people are caught up in issues, experiences, and memories of their families, and I am no exception.” His newest film, Tetro, is not, however, autobiographical. Starring Vincent Gallo, it concerns the endurance test of a strained relationship between Italian brothers in the other America, south of several borders, in Argentina. “Even though this is fiction, I used what I know best: my life,” he explains.

A New Yorker by way of Detroit (his middle name comes from the Henry Ford Hospital where he was born; Ford admired a play Coppola’s father was doing in the Motor City at the time), he now divides his time between homes, children, and businesses in northern California, Italy, and Central and South America. In addition to his careers as an Oscar-winning filmmaker, writer, hotelier, organic winemaker, pasta producer, restaurateur (with Robert De Niro), and publisher, he served as the model for his friend George Lucas’ character Han Solo — who had “been from one end of this galaxy to the other” — excellent preparation for his honorary role as His Excellency Ambassador Francis Ford Coppola from Belize to San Francisco.

A born-again independent feature filmmaker, he celebrated his 70th birthday on April 7 fine-tuning Tetro, which marks a return to his original game plan to write and direct his own personal screenplays — his first since The Conversation, for which he won the Palme d’Or at Cannes in 1974 — and a wish almost completely obscured by his Oscar wins for The Godfather Part II in the same year. (Only the death of author/co-screenwriter Mario Puzo in 1999 would put an end to Godfather numerals.) “There was an idea that if we could make one big success, with that money I could subsidize the rest of my career,” says Coppola.

That didn’t happen. And as time marched on, it became increasingly clear: “Nobody else would want to subsidize an independent film like Tetro,” a deeply personal story. “I just feel that at a certain point you have to go back to the beginning. The best thing for me at this point in my life is to become a student again and make movies with the eyes I had when I was enthusiastic about it in the first place. What the studios want now are ‘risk-free’ films, but with any sort of art, you have to take risks. Not taking risks in art is like not having sex and then expecting there to be children. ” An interesting perspective for a man whose screen record runs even longer than his 46-year marriage to his only wife, Eleanor.

Tetro will be released on June 11. And for those eagerly awaiting the premier of his eternal “next” film, Megalopolis, don’t hold your collective breaths — he’s been writing, re-writing, and re-re-writing it for at least a decade. But Coppola is as unpredictable as he is original. Watch this space.

Art-House Movie Sex vs. Porn

News came (heh, heh) recently that art-house legend Peter Greenaway has begun casting for his next film. Nothing surprising here, except that Greenaway (whose A Zed & Two Noughts is a staggering, symmetrical exploration of entropy and one of the pinnacles of contemporary cinema — not to mention the closest any filmmaker has gotten to replicating the magic of Vermeer’s lighting) has allegedly asked potential female stars the following two questions: “Would you be willing to have unsimulated intercourse on screen?” and “Would you be willing to appear in a shot in which semen leaks out of your vagina?” Rarely do acclaimed directors incorporate full-on home-stealing into their films, but it’s certainly happened before. (Here’s looking at you, Mr. John Cameron Mitchell.)

After sitting on it for a few minutes (it’s just too easy, I’m sorry), I began to wonder whether recorded sex was more appealing when helmed by non-porny moonlighters or if we should all just leave the dirty stuff to people with names like Ron and Larry …

The Idiots (1998). Before the reigning bad-boy of Danish cinema broke waves with his highly-publicized Björk spat, Lars Von Trier released this film about a group of “anti-bourgeois” adults looking to defy social mores. In doing so, they pretend to be developmentally delayed — they call it “spassing” — a consuming pastime that climaxes in a graphic group sex scene. It’s no real mystery why this thing was nominated for the Golden Palm at the Cannes Film Festival.

The Brown Bunny (2003). I’ve always liked Vincent Gallo’s films, and, despite the myriad times he’s been torn apart by journalists, he’s never been anything but polite to me. That said, The Brown Bunny was, at times, hard to stomach. After Chloë Sevigny’s Daisy performs fellatio on Gallo’s Bud (giving new meaning to “Performance of the Year”), he insults her in bed, calling her out on her assumed promiscuity. When asked about the experience, Sevigny told London’s Guardian, “It wasn’t that bad for me; I’ve been intimate with Vincent before.”

Shortbus (2006). Let’s just say that the creator of Hedwig and the Angry Inch grew into his own with the release of his second film, an urban sex odyssey about relationships and relations in Manhattan after dark. Everyone from cabaret icon Justin Bond to singer-songwriter Jay Brannan took part in John Cameron Mitchell’s pansexual labyrinth. It’s A Midsummer Night’s Dream for the auto-erotic asphyxiation set.

Ken Park (2002). Written by Harmony Korine and directed by Larry Clark, the guys responsible for KIDS, it’s no surprise that this skate-sex exploration features incest, drug abuse, and enough oral to fill a dentist’s office. Not surprisingly, the film has not been shown in England, has been banned in Australia, and was never given wide release in the United States.

9 Songs (2004). How appropriate that a man named Michael Winterbottom (and the filmmaker behind A Cock and Bull Story and the upcoming The Killer Inside Me) would direct this sexually explicit story about love and music. It was branded with an X-rating in most countries but, oddly, shown by the Dutch public broadcaster BNN (which, months earlier, screened Deep Throat). Despite its ejaculation scenes, 9 Songs only received a 28% “Cream of the Crop” rating on Rotten Tomatoes.

A lot of Diego Luna’s Career. There was Y Tu Mama Tambien (2001), of course, in which Luna and co-star Gael García Bernal went all locker-room buddies on each other, and then, after a few bottles of tequila, had a three-way with a married woman. This month, Luna stars in The Night Buffalo (2007), which, allegedly, depicts unsimulated on-screen sex. It should also be noted that, despite a lack of full Luna in Harmony Korine’s fantastic Mister Lonely, the actor does play Michael Jackson.)

El Topo (1970). Rumor has it that the sex scenes involving legendary writer-director Alejandro Jodorowsky and actress Mara Lorenzio in this cult western aren’t fake. But, when pitted against the film’s insatiable bloodsport, it all seems sort of irrelevant.

Borat and Bruno (2006 and 2009, respectively). In Borat, the titular Kazakh journalist, while looking to make benefit from the cultural learnings of America, engages in a naked rumble with his full-figured producer Azamat Bagatov (after the latter is caught masturbating to photos of Pamela Anderson). In Bruno, which centers on an Austrian fashionista (who makes Clay Aiken looks like Mickey Rourke), character creator Sacha Baron Cohen incensed censors with what looks like gay sex inside of a tent. The tent was later pitched to avoid an NC-17 rating.

Green Porno 2 (2009). This series of short live-action films focused on the reproductive habits of marine life stars Isabella Rossellini, who dons a giant sea-creature phallus to impregnate a sperm whale. (I think it was a sperm whale … truth be told, I was a little distracted.)

I was hoping to come up with a 10th example to round-out a fully-flesh-out list (last time, sorry), but I came up short. In its place, here are funny, actual porn titles that spoof Hollywood films: Shaving Ryan’s Privates, Beverly Hills 9021-Ho, Jurassic Pork, Charlie’s Anals, and You’ve Got Male (Genitalia).