For professional inquiries Tom DiCillo can be reached through his manager below. This is for business only. Personal correspondence will not be read or returned.
Jennifer Levine at Untitled Entertainment
310-601-2105
levine@untitledent.com
For professional inquiries Tom DiCillo can be reached through his manager below. This is for business only. Personal correspondence will not be read or returned.
Jennifer Levine at Untitled Entertainment
310-601-2105
levine@untitledent.com
Dear Tom,
I graduated from Old Dominion in 2008 and later moved to LA to be an actor on November 17th, 2010. I read your article in the Monarch magazine and it blew my mind! You have worked with everyone I have ever dreamed of working with. I can’t wait until I get to see “When You’re Strange” because I am a huge Doors fan. Jim Morrison was one of my inspirations to move to California with $400 and a willingness to win. I would love to hear from you!
Respectfully,
Steven Stone
smstone85@gmail.com 757-537-0857
hi Tom,
When You’re Strange beautiful beautiful beautiful… documentary !
Watching Living in Oblivion right now. Very funny sir. Keep it going.
Hey Todd. Thanks. I hope you keep it going. The film I mean. Let me know if you make it to the end.
best,
T
Vivo in Italia, ho appena visto The realer blonde, non sapevo fosse tuo, mi è piaciuto, ha quel sapore newyorkese che mi manca.. Milan, 01.24 pm, GoodNight Tom.
Hello Carlotta,
Thank you for writing. Grazie. I don’t write or speak Italian beyond a few words. But I’m glad you liked The Real Blonde and that it reminded you or your time in New York.
best,
Tom
Hi Tom,
Do you ever feel like saying “To hell with waiting several years for funding to come through for a project” and just getting a bunch of actors/friends together and making a feature-film in a simular method to how you made ‘Scene 6, Take 1′? And maybe considering the possibilities of digital technology?
Regards,
Jack
Hey Jack,
Sorry it took so long to get back to you. This is a good question. I have considered that option many times, and am considering it now. There is nothing worse than feeling like you have to wait until some other person can give you the money, or the “permission” to make a film. It is infuriating. Every single film goes the exact same route–not just mine. They all start with getting the cast. Get me Ryan Gosling and we’ll give you the money. Write a “high concept” script and we’ll give you the money.
It makes you want to slap people. Especially when you think about the fact that all these actors started out as nobody’s. And I happen to think their acting was much better then.
The best feeling is the opposite. That’s when you somehow take control of the film yourself. You write it in such a way that you can fool somebody into giving you a small amount of money. Then you cast whoever you want. You cast the best actor for the part, not the most famous actor.
The problem unfortunately is distrubution now. It is incredibly depressing to go through all that work for no money and have the film play two days in a theater or not even get distribution at all. Sadly it is how a film performs in the public arena that affects how and if a filmmaker can make another film.
But, yes. The most exciting moments of my filmmaking career were on the set of Living In Oblivion. It was a sense of complete freedom and though terrifying at times it was absolutely exhilarating.
best,
Tom
Hey Tom,
Thank you for your response. I can only try to imagine how frustrating this waiting game must be for yourself and others like you when looking to get films made.
I’ve been shooting my first feature called ‘What Happened After Macbeth’ since May 2010 and lots have asked me how I’ve financed it. I tell them that there is no funding and that I wouldn’t know how to go about doing that; I’m too impatiant and sadly there is no UK Film Council anymore (I’m from Manchester, England). I just want to get on with it and see what I can achieve with my meager set up of a mini DV camera, two small lamps and a soundman. For obvious reasons this situation reminds me of Living in Oblivion and the conditions it was made under.
Once the film is finished I have no idea how to go about marketing it as there isn’t really any indie film scene in England like America and Europe have, but I hope the film can win a small but loyal audience that ‘get it’. I can honestly say that seeing Living in Oblivion when I was 17 is what lead me to actually giving it a go about ten years later.
All said and done, I’m a big fan of all your films and will continue to see anything you make. I wont ask you when you’re next film is out as I’m sure you’re working on getting that made as we speak.
Regards,
Jack Doyle
Hey Jack,
It sounds like you’re doing the right thing, which is really the only thing–taking matters into your own hands. This is a crucial step. Most people in this business, from actors to writers to directors, begin with the misconception that the only way to proceed is when someone opens a door for you.
Sometimes this actually does happen for a few people. But, the reality is much different. And sometimes you get to the point where waiting for a door to open is like taking a daily dose of poison. So, you kick the fucking door down. Or you walk outside and go all the way around the block to another building. Or you build your own building.
Get your film finished. Get it in the best shape you can. I would do this before showing it to people. Most people have FIS (First Impression Syndrome) which means whatever they see the first time is what sticks in their brains.
Once you feel it is as good as you can make it start sending it to festivals. This is still a viable way to get people aware of you and your work.
And don’t freak out if you get a lot of rejections. This whole business is based on people saying NO, because it is the easiest thing for them to say. Just keep submitting. Try a whole range of festivals.
If Living In Oblivion inspired you to get into this business then all I can say please accept my apologies.
best,
Tom
Hey Tom,
Actually, your words are wonderful. Sending films to festivals is an idea that came to my mind some days ago, and when i read your words now they asserted to me my idea. For everyone to prove him/herself in film industry s/he must endure and go through big challenges. The reality is always different from dreams. It is never like what imagined. And big dreams need long breaths.
Thank you for your words of encouragement, Tom. It means a lot to me. Hey, no need to apologise.
Regards,
Jack
Hi Tom,
Something else I was also meaning to ask you: I have both the Living in Oblivion and Box of Moonlight books and I was wondering if there were any plans for future books based either each film or a bigger book covering your life and work?
Regards,
Jack
Hey Jack,
Well, I’m very flattered you have those two books. I enjoyed writing them a lot. I thought about writing books about Delirious and When You’re Strange. So much goes on behind the scenes that people just would not, perhaps should not believe. Perhaps it is best to leave them in their innocence.
I might consider writing something about film directing, from A to Z. There are some elements of my musings throughout this blog. I do feel I’ve come to understand some simple, basic things about this art/business form and I sure as hell wish someone had told me some of them.
best,
Tom
I’m a huge fan of your movies, and I just wanted to tell you that my favorite scene of any movie ever is the car scene from Box of Moonlight, when “Cuts You Up” starts playing. The first time I saw it I was dumbfounded–I couldn’t talk, and I felt like crying and fainting at the same time, mixed with a feeling of drinking a cold glass of water on a hot day. This sounds kind of awful, but it’s actually incredible. It feels like a part of me I was never aware of is taking over for a bit.
I love this movie, and your other movies, and thank you so much for making them. You are brilliant!
Hey Katherine,
Thanks for writing. Wow, that’s quite a reaction. I happen to love those flying sequences in Box of Moonlight too. They were originally scheduled to be shot at the beginning of the shoot, in Knoxville, Tennessee. But, the weather was cold, gray and rainy so we had to cancel. We had very little money so to reschedule was very difficult.
On the last day of shooting the weather cleared and we jumped in a small helicopter piloted by a local guy, a Vietnam vet. Just for chuckles he would fly straight up then down at the ground at around 200 mph. We shot all the flying stuff in about 2 hours, about an hour before the sun went down. The light was unbelievable. The shots were essentially improvised. We did have contact with the car down below and I had chosen the road to be driven on but that was it.
The camera was mounted beneath the helicopter. The only way to pan or tilt was for the pilot to turn the chopper. I was sitting in the back seat with a small monitor on my lap so I could see what the camera was filming. I would yell out instructions to the pilot and basically just sit there in awe with my mouth open watching the shot unfold in front of my eyes.
People ask me why I continue in this business. It is because of the highs (literally) of moments like this. I’m truly touched that you responded to it.
best,
Tom
Dear Tom,
Here is a story for you.
I am in the middle of trying to make my first, no-budget film; surely you can imagine how many heart (and head) aches this process entails. Tonight, as I reviewed my footage, I panicked. Why did I ever think I wanted to work with film?!! Somehow deciding to make a film puts so much responsibility on your shoulders- to work well with people, to do a good job, to…meet your own expectations and ideals! There is so much room for failure.
In order to take a break from looking at my own work, I decided to watch Delirious. I must thank you, because your film shook me and brought me back to my senses, giving me courage and truly reminding me to…go with the flow! The dynamics that you expose through Steve Buscemi’s character reflect sides of myself that I don’t like considering, that scare me, that get in the way of a serene creative process and an empowering interaction with others. Having them so plainly and almost brutally presented to my eyes forced me to accept them and overcome them. This epiphany comes at the right time, as a real gift.
I wanted to let you know that your work is furthering human inspiration and creativity. Thank you.
hugs,
-bruna
Hello Bruna,
I’ve been out of town for a few weeks. I saw your comment and appreciated it very much but was unable to reply until now.
Your comments about Les (Steve Buscemi’s character) were a pleasure to read. I must say you are one of the few people to see the conflict in his character. I believe there are elements of his desperation and need in all of us; myself included.
I’m very interested in these intensely human elements. Most of the time we deny them. They are difficult to look at. They are even more difficult for audiences to look at when watching a character in a film. But, for me they make the character much more meaningful and emotional. No one is either all good, or all bad.
A furious woman cornered me after a screening once and demanded to know why I did not have Les shoot Toby at the end of the film. I tried to explain that Les’ acceptance of Toby was actually an acceptance of himself but I could see that my words were doing nothing to satisfy her thirst for a more “filmic” finale.
I wish you the best with your film.
Tom
tom
love your work. if you’re ever in rome (italy of course) the wine’s on me.
al
Hey Al, thanks for your note. I’d love to come to Rome. If I do I’ll take you up on your offer.
best,
T
Hi Tom
Just finished watching “Blonde” again. I was curious if it was destined for Blu-Ray and during my internet search I found your website.
It’s hard to believe that was 15 plus years ago. You probably don’t remember, but my name is on the film too. I lost contact with Frank over the years but I’m sure the two of you have kept in touch. You were a great pair to work with.
Hey Chris,
Great to hear from you. I don’t think The Real Blonde is getting to Blu-ray any time soon. I see Frank occasionally. Very talented guy.
I hope you’re well.
best,
Tom
Hi Tom -
I’ve seen most of your movies. I was blown away by Living in Oblivion, etc… But I wanted to let you know that I think that Delirious is a work of genius. I can’t think of any movie (ever) that has sucked me in and taken me on a ride like that movie did…it put me through the full range of emotions. Also, I thought all of your actors were incredible, and I loved the music.
Hey Jerome,
Thanks very much for writing. I appreciate your comment.
I’m glad you liked Delirious. I put a lot into it and I was very pleased with some of the things that were discovered in it. I’m glad you mentioned the actors because I would agree with you; they all brought something spectacular to their parts.
I especially enjoyed working with Callie Thorne and David Wain, as K’harma’s manager and publicist. Mostly I just sat back and watched in delight. I was also deeply impressed with Gina Gershon. And Elvis Costello was a joy, because he wanted to play a kind of self-centered blow-up of himself.
And of course everyone knows how I felt about Buscemi’s performance.
Adding music to a film is one of the most exciting parts of editing. There is still something incredibly magical about laying a piece of music next to a series of images. You never know what’s going to happen. And, if it happens to work then the moment is very powerful.
I’ve been known to jump out of my chair.
best,
Tom
April 6, 2012
Hello Mr. DeCillo,
My name is Tim Skoglund and I live in Salt Lake City.
“Living in Oblivion” is one of my favorite films and my most favorite film about film. It is such a gem. I saw it when it was released and I have seen it since with the clip of you, Steve Buscemi and Zhenya Kiperman discussing the film with a group of students. “Living in Oblivion” is an inspiration and caution to aspiring artists everywhere.
Last year I accepted an invitation to participate in a CERT training course. CERT is an acronym for “Community Emergency Response Team”. The program was established after September 2001 to prepare ordinary people to deal with disasters such as floods, earthquakes, wildfire, hurricanes, social mayhem and an assortment of other hazards. The training was worthwhile but I wonderded how I could convert the information into a story.
I have written a teleplay ( 3rd. draft, 42pp.) that explores how a family prepares for a natural disaster. An established writer has told me that I ‘have a movie’ and I have not yet shown the entire script to anyone. So, the script itself has a backstory and I think it has commercial potential as well as the potential to do some good in the world.
So thanks for opening my eyes to the possibilities and pitfalls of film.
Best,
Tim Skoglund
Hi Tom,
Just a couple of questions aboe ‘The Real Blonde’.
Is there likely to be a DVD reissue with a commentry track? It’s just that there isn’t that much written about the film out there and your commentry tracks are always very insightful.
Aside from the above, I was also wondering how you feel about the film today?
Thanks.
Jack
Hey Jack,
Thanks for your comment. I thought I’d done a commentary on the Real Blonde DVD. Maybe not. No, there is no likelihood of a reissue of the film coming out.
I feel good about the film. I think there are some very strong performances in it and I like what the film is about. Of course there are some things that I’d wish I’d done differently but I imagine that is something every director feels. It was great working with Dave Chappelle. And Daryl Hannah was a blast; completely willing to go as far with her character as she could.
best,
Tom
Hello Tom!
I have one question that I want to ask you: was Steve Buscemi acting during the filming of SB “Leak”? I mean, he was definately aware he was taped, but was it a play, a part of Delirios movie, or an interview that went naturally and wasn’t planned, at least at his part? I think you are megatalented, thank you for your work.
Thank you for Living in Oblivion and Delirious! Awesome movies, really! As well as your sense of humour
E.
Hey Eli,
Thanks for writing. I’m glad you liked some of the films. I’m also glad you asked that question about the Steve Buscemi Leak.
The whole thing was planned but not scripted. We both were acting. I’d told Steve a few days earlier my idea of trying to do a series of videos to help promote Delirious because the distributor wasn’t spending anything. Steve’s film Interview was being released that week so he suggested I come by the hotel where he was having his big day of publicity for the film. So, I walked in, with the cameraman, and we just started winging it.
Neither of us knew where the thing was going. It was actually a lot of fun. I am deeply indebted to Steve for being so open and willing.
best,
T
thank you for your kind reply:) I think all the Leaks were great especially because they appear so realistic, but i’m glad you were all acting and no one broke up :p Are you planning to make another movie with Steve? You two seem to form such a nice tandem working together. I haven’t watched all of your movies, but I’m getting there. Wishing you luck and good promotions for the upcoming movies! Anyway, the idea of promotion Delirios in such a way was awesome!))
Hi Tom,
First, I want to tell you how much I appreciate and enjoy your work. I’m not so good with the blogging thing, so I only recently discovered this site! I really enjoyed the music videos and music you have up on here as well. Really cool.
A little background on me and why I’m writing you here: after I graduated from NYUGFTV (’84), I moved to L. A. in 1987. Although I set out to make narrative films, I ended up making some documentaries and working in feature animation (a guy’s gotta make a living, right?). At any rate, my journey has now led me to teaching film history at the Art Institute in Hollywood. I show various classic and contemporary films in my class to increase their awareness of sub and combined genres, as well as, to give the students some practical knowledge about the filmmaking process. I want very much to show your film, “Living In Oblivion” in the class (not only because it’s one of my favorite films, but because it’s an incredibly brilliant account of what happens on almost every film set.) My school has attempted to purchase the appropriate licensing for me to screen the film in the class, but has had trouble figuring out who to contact for this. I’m wondering if you could steer me in the right direction or help me figure this out in any way?
Sorry to bother you about this here, but I want to expose as many of my students to your work as possible. I hope “Oblivion” will, at least, inspire them and help them appreciate what filmmakers go through to make their vision a reality.
At the very least, I got the opportunity to finally tell you how much I love your work! Thanks for your time and for making such great films.
Cheers,
Michael
Hey Michael, great to hear from another alumni who survived NYU. Thanks for your interest in screening Living In Oblivion. You should probably start directly with Sony Classics here in NYC. Their main number is 212-833-8835. You’d want to talk to someone in their licensing department. You can mention that we spoke.
Alternately you could screen the DVD. I know that kind of violates my credo about films being projected but in this case there might be some benefits from it. I know that most of the real film prints that still exist are in pretty bad shape. The last time I saw one there was a massive 5 minute gap chopped out of one reel where the print had been damaged. With the DVD you’d get what is most probably the best visual representation of the film available.
Plus, there is an extra on the DVD your class might enjoy. It is an interview with me and Steve Buscemi in front of an audience right after a screening of Living In Oblivion. It is informative, especially when I yell at a guy in a wheelchair.
Let me know how you make out. Your class sounds great.
best,
Tom
Thanks so much, Tom. I think the DVD is probably the best bet as the school is emersed in the digital realm (no film projectors as far as I can see!). It’s a different world from those 16mm cameras and film stock we tinkered with on East 7th street (okay, so sometimes I get a little sentimental for the olden days!). At any rate, I’ll let you know what Sony Classics says. Also, thanks for the tip on showing the DVD extra to the class. I’m sure they will enjoy that!
Dear Tom,
Next Filmfest München is coming soon, and by noticing it I remember your retrospective last year. It was fantastic and I only wished, there would be such a retrospective again, or much better, a new film by Tom DiCillo.
Did you see the little film we made about you for the University of Film and Television in Munich? Thanks again for your time, patience and your generous way.
It would be great to have you some day here again, maybe for a Master Class?
Best regards from Germany,
Nuria
Hey Tom,
I have only seen 3 of your films so far (Living in Oblivion, The Real Blonde, and Delirious), but I have you on my list as one of my favorite directors. Your films are so funny! I am actually 18 and studying to be a filmmaker myself. One of my films has even accumulated 3,000 views on youtube (baby steps, baby steps, haha). I just wanted to say that your success has given me much hope that I will be at least somewhat successful.
Also, one more thing: Any plans to release any new fiction pieces soon? Maybe another one with Alison Lohman (drools)? haha. Anyway, have a good day, sir and keep up the good work.
Regards,
Philip Merrick
Hi Tom:
I spent Christmas with “Johnny Suede” + “Living in Oblivion”.
Thanks for your films!
Here my 100% independent film:
http://vimeo.com/49963803
Regards,
Tom,
I think often of the great time I had working together back in the 1980′s on the film, “The Beat”. I am very proud of all your work that has followed.
Whenever you are in LA please reach out to me if you have the time? I would love to see & chat with you again.
peace, david
Hey David,
Great to hear from you. I remember our times together on The Beat well: long hours, short pay, a crew that went on strike, horrible food and a kid who took a header stage-diving at a Cro-Mags concert. But, you and the cast were great and I seriously recollect those moments with pleasure.
I do get out to LA occasionally. Next time I’ll get in touch. How are things with you these days?
best,
Tom
Just watched Johnny Suede for the first time recently, and loved it!
Tom DiCillo’s Work Rocks!
In Carlsbad NM, I work as dishwasher. Other than NPR, The New Yorker, & books, sundry DVDs are my escape to more exotic philosophical climes.
Among recent films I’ve seen are “The Avengers” (ghastly boring), “Guns, Girls, & Gambling” (nice eye-candy, but hokily contrived, & thus soulless), “Living In Oblivion” (loved & purchased it), and “Delirious” (splendid! — fixin to purchase).
I’m appalled to think that “Avengers” is huge, “G,G,&G” is profitable, and DiCillo’s work languishes unwatched.
If I like a film, I try to encapsulate it in a limerick. Odd hobby. It’s not art, of course. But it’s sort of a divining rod for art. Artless flicks fail to inspire even a limerick outta me.
For what it’s worth, here are two:
“Living In Oblivion” (6/13/2013) –
An indie film stumbling forth;
Buscemi adapts as scenes morph.
They make a rum go.
But stealing the show
is Dinklage as one pissed-off dwarf.
“Delirious” (6/13/2013) –
Paparazzo Buscemi commands
homeless Michael Pitt’s Toby, who stands
for much sweeter feeling,
but the climactic healing
comes when sniper and target join hands.
Keep on filming! Out here, some working stiffs depend on your art!
–Michael Bromka
Sent from my iPhone