He would come up to you and tell you where he wanted you to take the story and to improvise dialogue around certain ideas that he had. And Flesh [68] was a different movie altogether.
I pretty much thought we were gonna shoot another movie and then it just became something else as we went along with it. But that was alright. I trusted him in that. He would always tell me that we were making an Andy Warhol movie that would one day show in museums. And now he rants and raves about how much he hated Andy. Paul was always there when Andy shot his films. He was always on the sidelines giving everybody direction while Andy sat behind the camera.
So would you say there was a power struggle between them, or was it that Andy was so distanced that he was above conflicts like that? It was just his way of doing things. And then you went on to work with some pretty major European directors, like Walerian Borowczyk and Louis Malle.
Was there any adjustment for you, given that their methods were totally different from those of Warhol and Morrissey? So it was a very weird combination, these producers and the types of movies that Walerian made. It was a little difficult when an erotic scene has one person trying to make it a sex scene and the other person trying to make it something completely different.
But I think it turned into an interesting type of film. Oh, absolutely. How did you react when you they told you they wanted to bandage your arm, to cover your tattoo?
I thought that was a great idea. I had to be somebody different once. I thought that the best films I did… You know, I had a great relationship with Paul, getting through a lot of that. But when I moved on to do a different style of film with the people in Europe… My relationship with Serge was incredible.
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See all related lists ». Do you have a demo reel? Add it to your IMDb page. Find out more at IMDbPro ». How Much Have You Seen? How much of Joe Dallesandro's work have you seen? See more awards ». JD: Yeah. Then I went to Europe and got to work with a lot of great directors and film people, really important people. So that was pretty fucking cool, you know? TP: Even for me nowadays, I get the feeling that the European artistic scene is much more into something I can give to them rather than the American culture, which is sort of the other way around.
JD: Back then they found me more interesting than in America. Nobody gave me a sword [laughs], nobody went like this [pretends to knight Thiago] and knighted me, there was no big ceremony. It was a pin. JD: Yeah, but it was more important to me when I found out that Europeans love my work, it was a lot more interesting to them than it was to Americans.
So many times you got naked on screen, the taboos about sexuality and masculinity, all those things, you were pushing the boundaries, but did you realise?
Paul knew though and he tried to make me aware of the significance of what I was doing. It was all new to me, I came from a real rigid and strict Christian upbringing, but I was a bad boy and got myself in trouble and things like that. TP: Is it true that you stole a car and got shot in the leg by police?
I felt more comfortable just looking after the Factory and taking care of the films, sending them off to be shown, I felt more comfortable doing that rather than being in front of the camera.
TP: Do you think the naked thing was bad for your career? When I got back here they wanted me for regular movies. TP: I want to tell you a story that is a bit awkward [laughs].
About four or five years ago, I got into a really big depression. JD: You put yourself out there. JD: Into the normality of the world?
TP: Yeah. JD: People review your work and there will be good reviews and bad reviews. TP: But I felt like people were liking it for the wrong reasons. During that time it was all about finding a family, right? This bunch of misfitted people, I have the feeling that you were all the wrong people in the right place, and in the right moment.
I went to New York at that time and I visited the Chelsea Hotel but they were renovating it and they were not accepting visitors. So I went in there pretending that I wanted a tattoo, I had no intention of actually getting one that night, but they let me in and… Joe: So this tattoo parlour was actually in the hotel? TP: Yeah, in the hotel. So yeah, you and Candy were my favourite Factory superstars who I really identified with.
Do you remember Candy well? JD: Yeah, Candy was very quiet. Because he picked out interesting people we were able to improvise a small story and it was like a documentary for people, they thought they were seeing a piece of truth. TP: You really trusted him. Dallesandro's association with Warhol lasted less than a decade. I was lucky to be in them, and I did what I was asked. They have no hair, or they're 70 pounds heavier; they've turned into another person. But I'm pretty much the same.
What's his secret? Dallesandro doesn't have one. He no longer drinks alcohol, but "I drink Pepsi. I smoke cigarettes.
I pretty much live a real unhealthy life. But I stay connected.
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