This comment came in last week. I liked the questions so I thought I’d post them here.

“Hello, Tom. My name is Nicolò, I’m an Italian student from the University of Turin. The thesis for my academic degree is about the cinema of Steve Buscemi, as an actor and a director. For this reason I watched for the first time your “Living in the Oblivion”. I think that it is amazing…!! one of the most beautiful American pictures that I’ve ever seen. Your film has an atmosphere that reminds me something of Federico Fellini, but at the same time it has something so original and pure that, I swear, is so rare to find… especially here in Italy. For me “Living in the Oblivion” is a sort of “8 e mezzo” (8 1/2) of the independent American cinema, and it deserves to be even more known in my country, where it is so hard to get your and other independent movies.

DiCillo & Buscemi on “Delirious” set.

If you don’t mind I’d like to ask you  some questions about your own work and your opinion about Steve as an actor and director. Thanks anyway for your time and your patience… the most important thing is that I found another great director in you which I hadn’t known… it’s a pleasure and a fortune for me.
Grazie mille!”

1. In your opinion in which way can a film be considered independent today?

TD: It has only been in the last few months that I’ve come to realize how vastly different independent film is today from when it started. In fact, I’m not sure I recognize it any more. All I can say is what originally inspired me about independent film, and about being an independent director, was the freedom. There was a joyous, sexy thrill about breaking completely away from the Hollywood penitentiary. The whole point of being independent was to cut loose, to break the chains, to create a cinema that was more real, more courageous, more creative and more honest than the Hollywood crap cycle.

Today, it has become almost impossible to tell the difference between a Hollywood film and an independent one. Both are now controlled by the same value system; Box Office and Opening Weekend. For both, success is measured in dollars. Independent filmmakers have had to become skilled at the Hollywood game. To get a film financed they have to cast Stars. They have to write scripts that still somehow will guarantee to the distributor that the seats in the theater will be filled. So, for me, the independent films that somehow do miraculously end up on screen now look and feel just like Hollywood films. They feel thin, tired and laced with artificial ingredients.

There are a few that make it through but they are very rare. What I look for in an independent film is a passionate, personal vision. I look for the directors whose main interest was in making the film, not in selling it.

2. How have your Italian roots influenced your work, if they did?

TD: I’m half Italian. I’m proud of that half but I don’t really consider myself Italian. Ironically, the film that lit my brain on fire and inspired me to become a filmmaker was La Strada, by Fellini. Perhaps there is a cultural connection, I don’t know. I mean Stallone is also Italian and I was never inspired to make a film like  Rocky I, II, III, IV, V, VI, VII, VIII.

3. What do you think of Steve as an actor, and also what do you think about him as a director?

TD: I think Steve is one of the greatest American actors. This is mainly due to his talent and to who he is as a human being. For me, he brings the rarest of combinations to his performances; which is an amazing blend of pathos, spontaneity and humor. These are key elements in my own sensibility. I don’t think any of the characters I have written have been brought to life on screen more fully than the ones Steve has played. What he did in Living In Oblivion was amazing. What he did with Les Galantine in Delirious was miraculous. No matter how far gone the character is Steve always finds a way to make him sympathetic. And he does it without cheating.

When we work together I actually say very little to him. The most enjoyable thing for me is  to whisper something to him right before a take, not telling the other actor, and even surprising Steve with the suggestion. Every single time I’ve done this Steve simply smiles quietly and then leaps into the take with complete abandon and joy. There is nothing more exhilarating for a director.

Many people assume Living In Oblivion was mostly improvised. It was not; in fact 99% of the action and dialogue was in the script. One scene however was completely improvised by Steve. I needed him to yell at the crew members so I could shoot their reaction shots. He did it so incredibly, making up specific insults for each member of the crew, that I instantly turned the camera on him and asked him to do it again, this time on film. He did it even better.

Nick Reve (Buscemi) loses it in “Living In Oblivion”.

Fellini described this as a “willingness”. I think he was talking about an actor being completely open to doing whatever it takes to get the scene. I would have to say that Steve is the most willing actor I’ve ever worked with.

I think that same quality extends to the films Steve has directed. Each one deals with people on a very human and intimate level. In each one Steve allows the actors to live and breathe, thereby creating characters on the screen that touch us deeply. I love Trees Lounge but Lonesome Jim and Animal Factory struck me with more resonance. In both those films I see the eye of a director who is excited about the absurd realities of people, where tragedy and humor are intricately intertwined.

I also see a director who trusts and respects his audience. He lets his films take the time they need. He doesn’t rush them; he doesn’t force them. He trusts the audience will follow. And this trust ultimately allows the audience to trust him.

4. Today I watched When You’re Strange and it deeply touched me because I am also a musician. How important is the music in your movies?

TD: Music and film are like lovers; in the best circumstances their interaction creates something warm, breathing, sexy and completely unpredictable. There is a powerful flash of life when image and music come together. There is the potential for the creation of something profound, emotional and unexplained.

I’m not talking about sad violins playing at the death of a puppy. I’m talking about a sound, any sound, that connects mysteriously to an image and sparks some kind of emotional connection. This connection is best when it is unexplained.

Unfortunately most music in films simply explains what is already explained in the image; happy scene, happy music; scary scene, scary music. In essence music like this treats the audience as if they are morons. But if you look at Ennio Morricone’s scores even as far back as The Good, The Bad and The Ugly, you see a composer and director (Sergio Leone) working together in a way that still has not been equaled in terms of creative freedom. Morricone brought whistling, chanting, bullwhips cracking to the western as well as such odd modern elements as twangy, whammy barred surf chords.

As a result Morricone’s score created a strange emotional connection that is original and unforgettable. I am openly inspired by Morricone. I feel each film should have a sound or musical world that is completely unique to the film. I love the period during editing where music starts to come in. First you create the bones of the film by cutting the scenes together as clearly and powerfully as possible then you add the flesh; the music. Sometimes the truth is you need music to help a scene that was only partially realized. But, mostly the joy is using the music like a gift. It caresses the film, bringing it blood, mystery and life.

For me, making a film is an attempt at some emotional connection. Music makes that connection even richer.

Over the past few weeks The Black & Blue Orkestre has been busy revisiting an earlier song. Hard to believe we’ve been doing this since 2006; some of the songs are almost 6 years old. As we are moving toward releasing a CD of all our originals we’ve been taking a look at how they all hold together.

For the most part all of them do. But, one or two have benefited from a dose of the sound that Will Crewdson, Grog Roxx and I have discovered over the past year; a sound that I feel is distinctly The Black & Blue Orkestre. And so, with that in mind we’ve looked back at some of the earliest Black & Blue tracks and reworked them as if we’d just done them yesterday.

We’ve just done so with this track, NERVOUS LAUGHTER. Dedicated listeners will hear the origins of our previous track, Rapture, in this piece. But, I was not happy with those lyrics so I spent some time rewriting them until I was. Grog came up with a new, jumping bass groove and Will laid down a bed of tense, edgy guitars with a real bite.

Also, you will hear Grog for the first time singing the chorus by herself. I thought this would be a cool way to introduce a new feeling to the song; a new element of beauty. Grog’s voice goes with the new lyrics in a way that mine could not and gives the song a hint of hope.  Not a bad ingredient when all is said and done.

So, here it is, NERVOUS LAUGHTER; new vocals, new music and a new groove. See what you think.

I’m happy to announce that The Black & Blue Orkestre has a brand new vocal track called BALL & CHAIN.

This one originated from a guitar loop I made from a fragment of a Chuck Berry song about a train ride to hell. I didn’t have any lyrics except for this fragment that hit me one day 15 years ago when I was walking down the street:

Mama said, yeah
Papa said, no,
I said, kiss my ass yeah the bof of yo.
Kiss it again where the sun don’t shine
And when I’m gone kiss it one more time.

That seemed like a good place to start. Never expected it to end up where it did. Grog composed and performed a very gutsy–actually she used the word ‘ballsy’–bass line that rumbles along like a race car with stone wheels. Will took over from there and fleshed out all the guitars, from the punch-crunch rhythm to the wailing leads. If you listen close you might hear me poking out a little organ riff.

I like what the song is about. Yeah, maybe a word or two is auto-griobaphical but there may also be a hint of what I learned from doing The Doors film; especially in the area of Morrison and his family.

See what you think.

The Black & Blue Orkestre did a major reworking of an earlier song, with all new beats, new bass and new twang–and new vocals. We feel the extra effort was worth the extra effort. See what you think:

I’m also happy to announce that the Orkestre did it’s first interview with writer Christine Bode. There were some interesting revelations during the interview, especially about strip clubs and singing in the shower.

Here’s the article.

In other semi-non-related news the psycho/porno/romcom/thriller movie I’m trying to make just made a significant step forward. Rick Santorum has signed on to play a Catholic priest with a fixation on Sarah Palin as his sexy choirboy. Still waiting to hear if Romney will play a church crossing guard who encourages folks to go both ways.

Recently I got the idea to put a music video together for Frozen Sunset, a new instrumental track by The Black & Blue Orkestre.

I thought it might be a quick thing because there were no vocals. Then I foolishly suggested that Will and Grog shoot some video of themselves using their iPhones. Which meant that I had to shoot some video of myself.

The idea was that our little consortium, spread out like it is between NY, LA and London, would film themselves in their own separate environments, just the way we collaborate. We have met each other, but we have never played together, nor recorded in the same room as The Black & Blue Orkestre.

Well, two weeks later I finished this. I think it captures something of the track; and a little something of ourselves.

httpvh://www.youtube.com/watch?v=6kdtEYwcKms

The Black & Blue Orkestre has a new vocal track, called “Frozen Heartache“.

We’d be grateful for the lending of your ears.

It was somewhat inspired by the groove of “Frozen Sunset” but then took on a life of its own.

Wow, the 100th post. Perhaps it is significant this one is about…music.

The Black & Blue Orkestre has just finished a new track called FROZEN SUNSET.

This one is an instrumental, but don’t let that fool you. I’m pretty sure it will take you on a journey that will thrill and chill.

It basically started when I finally decided to try and fix my keyboard after 6 months of wonkiness. While I was testing it I played a few chords on a rhythmic patch, just to see if it was working. Then, just for the hell of it, I recorded the test, thinking maybe one day I’ll use it somewhere.

The next day I plugged in my guitar and laid some whammy bar chords down over it, again just for the hell of it–and to my utter amazement something crazy started to happen. I dropped in some drums and percussion fx and sent the track first to Will Crewdson who composed and laid down all the sparkling, interwoven guitar solos.

Then we sent it to Grog who wrote and laid down the bass; an amazing living pulse that drives the whole groove.

Ain’t music a crazy thang?

CheckiTowt.

The Black & Blue Orkestre has carved out another track. This one is called “Fade To Black.”

It’s a kind of bluezy emo surf rocker written and sung by DiCillo. Additional vocals and bass by Grog and guitars by Will Crewdson.

We’re inching toward getting enough original stuff for a CD. Let us know what you think.

I love this time of year. There’s a sharp thrill in the air. The holidays are here and people are full of anticipation and excitement. Everyone’s putting their lists together. Not Christmas lists; I mean their 10 Best Lists.

Yes, this is the time of year when people help us figure out which were the best 10 films of the year. Not 9, not 11. There are only 10 which is still a lot and I for one am glad to have someone tell me which ones they are.

The Winners are glad too; the Losers less so. In fact, for the films that don’t make the lists this is not a good time. It is a sad time. And for that reason we will stay away from them and link arms with the Winners for whom these are truly the Champagne Days; golden, sparkling and infinitely full of promise.

I experienced a bit of this thrill vicariously a few years ago. I was good friends with Shane Florian. I hope at least a few of you remember Shane.

Shane Florian & Tom DiCillo at Sundance 2009

He shot to fame with his very first film, Darker Than Black. I was on the subway with him when he got the idea. The train had stalled in between stations and all the lights went out. A drunk, white junkie at the end of the car yelled out, “It’s darker than a cave at midnight in here!”

That’s what Shane wanted to call his film; Cave At Midnight. I gave him the idea to call it Darker Than Black. It starred John Travolta whom Shane had snagged right before Pulp Fiction when Travolta was still on that long, slow, downward slide everyone in this business is so terrified of.

Shane told me straight out he wanted to make his first film “one for the critics.” I was amazed at his foresight and felt like an imbecile having no career strategy like that of my own. In a brilliantly calculated move Shane took the production deep into a subterranean cavern in New Mexico and shot the whole film with the complete absence of light.

John Travolta in Shane Florian's Darker Than Black

And Shane was right; the critics adored his film. It made every 10 Best List in the country, consistently nesting around the 7 or 8 position. Praise for Travolta was equally strong. His performance was heralded as one of his most understated, brooding and mysterious.

Shane sent me copies of every review; that’s how close we were then. Here are a few samples I saved.

“Visually stunning. Florian discovers new shades of shadow. A cinematic achievement no less astonishing than the total eclipse of the sun.”  NY TIMES

“Thrillingly audacious. Florian flirts on the edge of the Seen and the Unseen with the skill of a master gymnast.” WASHINGTON POST

“The darkness of Florian’s vision is chilling in its absoluteness, yet mesmerizing in its emotional power. I saw the film with my father who is partially blind. The experience left us both shattered.” Clive Levender, THE MIAMI HERALD

But the one that affected me the most was this from Menorra Kimble at the LA Times.

“Brilliantly, boldly, joyously–New. Any director who attempts to make a film using light after this cannot be considered anything more than hopelessly obsolete.”

Propelled by these reviews Darker Than Black became a minor hit. Shane quickly got the money to make his next film, Beyond The Pale, with a cast that included Bruce Willis, Meg Ryan, Muhammad Ali and Dustin Hoffman. This time Shane took the entire production to the Arctic and shot on the frozen ice cap only between noon and 2pm on sunny days, using the most light sensitive film stock ever invented.

Some people thought this bold reversal was to counter some of the gentle criticism that his previous film might have lingered too lovingly in the realm of shadow. But Shane told me at the premiere of Beyond The Pale that his sole intent was to make a film “for the audiences.”

Again, his foresight astonished me. Audiences flocked to the film. And, critics loved it too. Beyond The Pale made all the 10 Best lists, this time always bubbling near the 2 or 3 position. Praise for the performances was unanimous, particularly for Meg Ryan.

“Her character is drawn with such clarity and brilliance you can almost see right through her.” HOLLYWOOD REPORTER

Meg Ryan & Dustin Hoffman in Shane Florian's Beyond The Pale

Praise for the film was equally rapturous.

“Luminous, almost blinding in its daring and beauty. A cinematic experience so starkly compelling it almost requires emotional sunglasses.” CHICAGO SUN TIMES

“Dazzlingly original. Painstakingly detailed, with a searing emotional power that is both profoundly simple and simply profound.” VARIETY

“Florian’s film shimmers before the eyes in a stunning visual dance, dominated but not overwhelmed by every conceivable variation of white visible to the human eye.” NEWSWEEK

Those were indeed the Champagne Days. Shane was flying high and moving at the speed of light. We became even closer. He offered to completely finance my next film, Double Whammy. But first he wanted to make what he knew was going to be his masterpiece. Late one night, at the end of the 10 thousandth party, he leaned into my ear in glorious, drunken exhaustion and whispered, “This one I’m going to make for myself.”

He had no trouble getting an A-List cast lead by Will Smith, Kate Winslet, Ryan Gosling and Natalie Portman. They all agreed to let Shane temporarily insert tiny hi-def cameras inside their chests. Shane felt this was the most intimate way to record the raw intensity of pure emotion. “Inside the human heart,” he said to me, “everything is real. A heartbeat cannot be faked.”

This third film was titled Crimson Tears. Its opening weekend broke every box office record in NY and LA. Initial critical response was thunderously positive.

“Rich in texture; blood stirring. Cinema at its purest.” NY OBSERVER

“Shane Florian’s most personal yet rapturously accessible film. The pounding emotional pulse will blow you away.” TIME OUT

In anticipation of a huge national release the studio struck thousands of extra prints. Everything was set for Crimson Tears to be a massive critical and box office smash.

Natalie Portman & Ryan Gosling in Shane Dorian's Crimson Tears

And then the rumors started.

Someone, no one knows exactly who, suggested that the co-chief film critic for the NY Times visit the projection booths at several NY theaters. When he did, he claimed to have seen no film running through the projectors. Nervous projectionists confessed they’d been instructed to simply turn on their empty machines after placing a red filter in front of the bulb.

Needless to say, this revelation had an impact on attendance which dropped by almost a quarter in the second week.  Concerned critics took the opportunity to re-assess Crimson Tears and the first serious negative reviews began to appear.

“Florian no longer trusts his own vision. His use of color is overstated at best and at worst reeks of gimmickry.” LA TIMES

“Gone is the hidden meaning, the subtle nuance of his previous master works. Instead we have the sad spectacle of a once-brilliant filmmaker either unable or unwilling to accept the obvious limitations of his talent.” ENTERTAINMENT WEEKLY

“Shane Florian has sold out.” NY POST

Attendance fell by another quarter. Shane laughed it off and told me he wasn’t worried. He said the studio was still behind him and in two days Crimson Tears was set to open on 8,000 screens.

Then, somehow a frame from Darker Than Black was sent to the LA Times. Apparently, there was nothing on it. Closer inspection with an electron microscope revealed it was indeed completely black. Film journalists around the country began to speculate that Shane Florian’s acclaimed first film was really nothing more than 103 minutes of black leader.

No one could believe it. Many refused to. Clive Levender from The Miami Herald wrote;

“I know what I saw. I can still feel my father’s tears falling on my shoulder as we sobbed together during the press screening of Darker Than Black.”

But, when similar investigation into prints of Beyond The Pale showed nothing but clear, completely transparent celluloid the awful truth could no longer be denied. Critics and audiences turned on Shane with a vengeance. In its 4th week box office for Crimson Tears fell by half. In a sad, ironic twist Beyond The Pale was nominated for an Oscar, for Best Editing which everyone admitted was seamless.

But that did nothing to stop the sharp downward spiral of Shane’s career. For the first time one of his films did not make a single Top 10 list. Shane was devastated. I knew how much when he shaved his goatee.

Tracey Gorlich at the Chicago Sun Times did include Crimson Tears in a list of 5 films she placed at the end of her Top Ten. These lonely five were presented in a smaller typeface with the explanation they’d ”almost made the list.” But, that didn’t do Shane any good. What was he going to say, “I was on an Almost Made The Top Ten list?” No, he wasn’t. There’s no almost in this business.

I lost touch with Shane after that. Of course he never helped me finance Double Whammy but I don’t hold that against him. We had some good times together. Last I heard he was making promotional films for the Romney campaign.

Here’s a paragraph I came across today. The words are David Lynch’s. They had a lot of resonance for me so I thought I’d share them.

“Negativity is the enemy to creativity. So, if you want more ideas flowing then find happiness in the doing–happiness in the doing. I love, literally LOVE building a thing that ultimately has to feel correct before it’s finished, and that feeling correct is like a drug. It’s like a thing that just kicks you and makes you feel so good. You almost pass out. You fall off your feet.”
David Lynch

There is a very simple, and very profound truth in these words. You can’t create out of pain and bitterness. Pain of course can inspire you, like many other life experiences. But the transformation of that experience into a work of art is the richest when the actual doing of it brings immense, intense pleasure.

This is something I know but too frequently keep forgetting.