Matt Dillon’s journey to Greece: voting, acting, and introspection

Traveling to Greece for the Thessaloniki Film Festival has not deterred Matt Dillon from fulfilling his civic duties. The acclaimed actor made sure to cast his vote in the upcoming U.S. election before boarding his flight. “I voted before I came because I had to vote,” Dillon shared at a press conference. “When I agreed to come to Thessaloniki, I didn’t realize it was going to be in the middle of it. But, of course, I voted, and I will just say I voted for Kamala Harris. I feel strongly that she is the best candidate for me.”

A prestigious honor and a complex role

Dillon is in Thessaloniki not just to participate, but also to receive Thessaloniki’s Golden Alexander award. He is also promoting Jessica Palud’s film, “Being Maria”, where he takes on the monumental task of portraying Marlon Brando during the filming of Bernardo Bertolucci’s iconic “Last Tango in Paris.” The opportunity to embody one of his acting heroes was irresistible. “Brando has been incredibly influential, not just on me, but on all actors. He changed the game multiple times,” Dillon remarked.

The portrayal of a legend

Addressing the complexity of playing Brando, Dillon said, “I liked the script and thought the depiction was fair and honest. Later on, I questioned my own judgment—’You idiot! Why did you choose this?’ He is probably one of the 20th century’s most fascinating figures, but I found the challenge appealing.” Dillon speaks from a place of profound respect and admiration for Brando, understanding both his genius and human flaws.

Tackling sensitive issues in film

Jessica Palud’s “Being Maria” is adapted from Vanessa Schneider’s memoir, “My Cousin Maria Schneider: A Memoir.” The film delves into the traumatic experiences of Maria Schneider during the filming of “Last Tango in Paris” and the lasting impact these events had on her life. Dillon discussed the sensitivity of the material, acknowledging the gravity of the infamous butter scene, where Brando’s character rapes Schneider’s using a stick of butter as a lubricant. “The scene wasn’t in the original script,” Schneider revealed in a past interview, adding, “I felt humiliated and a little raped, both by Marlon and by Bertolucci.”

Empathy and reflection

As an actor who began working at a young age, Dillon expressed his empathy for Schneider’s ordeal: “I can identify somewhat with being a young person, not really having agency over what you’re doing, what you can say, and setting boundaries… I was very moved by Anamaria Vartolomei’s performance and very proud to be part of this project.”

Despite acknowledging the film’s controversial history, Dillon considers “Last Tango in Paris” a masterpiece, marred by Bertolucci’s mistake. “I believe ‘Last Tango in Paris’ is a fantastic, important movie,” he noted. “What Brando did as an actor was game-changing. They were trying to make art and push boundaries but made a grave mistake.”

The role of intimacy coordinators in modern cinema

During the discussion, Dillon touched on the significance of working with an intimacy coordinator for the first time in his career while filming Palud’s drama. “The job of an intimacy coordinator likely traces back to that scene in ‘Last Tango in Paris,’” he explained. Despite some industry hesitation, Dillon sees the role as essential for creating a safe environment on set. “We have stunt coordinators, so there’s no reason an intimacy coordinator should be seen negatively.”

He acknowledged, however, that his personal experience with intimacy coordinators is still limited but recognized their importance in providing a safe space for actors. “Everyone has different concerns and fears. A coordinator makes sure those are addressed,” he said.

Reflecting on artistic and ethical responsibilities

In reflecting on the director’s role, Dillon commented, “It’s one thing for a director to have a spontaneous approach, but it’s different with sensitive scenes. A significant mistake was made, causing great trauma. I’m very sensitive to exploitation, and unfortunately, there was exploitation in this scenario.” Dillon’s thoughtful analysis underscores the broader conversation about responsibility and sensitivity in filmmaking.

A multifaceted perspective

Traveling across continents to balance his professional commitments and civic duties, Dillon’s journey to Greece is a testament to his dedication, both as an actor and as a citizen. By taking on the challenging role of Marlon Brando and addressing the sensitive historical context of “Last Tango in Paris,” Dillon continues to push boundaries and foster dialogue on critical issues within the film industry.

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