..Gary Dretzka
..Noah Forrest
..Leonard Klady
..R.J. Matson
..David Poland
..Douglas Pratt
..Ray Pride
..Michael Wilmington

Endurance

One of the most critically acclaimed films of the year, and now a certifiable threat to upset Brokeback Mountain for the Best Picture Oscar, Crash has exemplified a level of fortitude rarely seen during film awards season. Since its world premiere at the Toronto International Film Festival in September of 2004, the film had surprising box office figures following a May 2005 release and then found itself dotting the critical top ten landscape throughout much of the past two months. Now it boasts a tally of six nominations, including a Best Supporting Actor mention for actor Matt Dillon.

Dillion is an actor whose career has been surprisingly healthy, much like Crash, since his screen debut in 1979's Over the Edge. His road has been written on the pages of Tiger Beat, moved the eccentricities of the independent film world, and now embraced into the annals of the AMPAS.

Exhausted and jet-lagged after a long stint of campaigning for Paul Haggis' heralded film, the actor still exudes a passion for discussing the film and his role in the making of it.

"I liked the script and I liked the character. He had a great arc, although there weren't a lot of scenes. But it was a strong arc. It explained the more personal nature of the character."

In the film, Dillon portrays a crooked Los Angeles police officer representative of authoritative and corrupted power that, he candidly observes, is certainly present within the LAPD.

"The script was accurate to its depiction of the LAPD to certain types of aggressors. I don't worry about whether a character is likeable, as long as the character is believable. I remember doing ride-arounds with cops and feeling this excessive vulnerability. With this character, it was all about controlling that. But the rest of his life is a mess."

Much has been written about Crash's position as a socially conscious piece of filmmaking. The film uses race relations to ignite a spark that details civilization's wariness of itself and suspicion of one another, as the urban sprawl of Los Angeles plays host.

"Everyone can identity with the characters on the screen, whether they admit it or not. We're living in difficult times now, obviously. So I think Crash, although it's a topic that hasn't been entirely ignored, it's not something that was being talked about."

On the point of the film's setting, Dillon notes the inherent role it plays in the film.

"Race is always a part of our consciousness. And the segregation is inherent in the landscape. People are so spread out. L.A. is a strange place. You feel like you're breaking the law just going for a walk. There's a fear of interacting with people…if you haven't set up a meeting with them."

Crash was just writer/director Paul Haggis' second directorial effort, so the experience could easily have been expected to be much different from much of Dillon's past directors, Francis Ford Coppola, Arthur Penn and Anthony Minghella among them. But the level of comfort on the set was top notch in the actor's eyes.

"Paul has a really good attitude on the set. He is very focused and passionate about what he's doing. His background is really writing, so I wasn't sure how he would add up as a visual filmmaker. But he created a great atmosphere and atmosphere is one of the most important things in a film."

Given his eloquent description of the working situation with Haggis, I took the opportunity to press the actor on some of his past collaborators.

On director Francis Ford Coppola:

"He's a genius. I get the feeling he can accomplish anything"

On actor Gene Hackman (whom Dillon has noted as his favorite actor):

"Very intense. Most focused guy I've ever worked with. He was good at making suggestions to me, some of which didn't make sense until years later."

On director Cameron Crowe:

"He really loves the characters he creates, and he wants those characters to connect to each other."

On directors Bobby and Peter Farrelly:

"A lot of fun. Very spontaneous, unorthodox, loyal and inventive."

On actor and director Kevin Spacey:

"Extremely well prepared actor's director."

On director Anthony Minghella:

"He's got a strong romantic streak in him."

On director Arthur Penn:

"He's a real artist. Specific direction. Not a lot of wasted energy."

A director in his own right (2002's City of Ghosts), Dillon plays his cards closer to the vest when pressed about possible future directorial endeavors. However, it's obvious he's ready and willing to jump behind the camera should the right material come his way.

"I'm developing some stuff. I love directing. Making a film is partly the celebration of writing the film. And it's a tough job. But I'm not interested in being a director for hire."

And what of the recent awards attention? Though he has enjoyed a healthy, nearly 30 year career, the level of awards acclaim Dillon has received for Crash has eluded him until now. But the modesty of his reaction is what truly clues one in to the notion that he is a man in love with the process more so than the reaction.

"It's really nice to get recognized. I think it's great for the film. But this year there's loads of great work and great actors that aren't getting recognized. There just aren't enough slots. I've been in that boat too."

And with that, the actor will look ahead to March 5 and the Kodak Theater where he will vie for the Best Supporting Actor Oscar along with George Clooney, Paul Giamatti, Jake Gyllenhaal and William Hurt. But Matt Dillon would just as soon discuss the philosophy of his job than speculate on Oscar trophies.

"The whole nature of drama is getting your character to say outrageous things and getting others to respond to that is conflict, and that gives you drama. And what I ultimately learned making this film is that you can never underestimate the power a truly emotional scene can have on a film. Crash is a movie with a lot of heart."

February 15, 2006

Previous Oscartown Columns
02.07.06 - A Civil Year
01.31.06 - Veni, Vidi, Vhatever
01.24.06 - For Your Consideration
01.17.06 - Acquiescence
01.10.06 - What A Difference A Day Makes
01.03.06 - Head First
12.27.05 - Access
12.20.05 - Leaning
12.13.05 - Father Christmas
12.06.05 - National Boring Review
11.29.05 - Breakthrough Gents
11.22.05 - Money Talks
11.15.05 - Where Have All The Cowgirls Gone?
11.08.05 - Imitation of Life
11.01.05 - Suggestion Card
10.25.05 - Youthful Digression
10.18.05 - Nothing New, Nothing Old... A Whole Lot of Nothing
09.01.05 - A Brave New 'Wood?

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