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1. #WILLEM DAFOE VAN GOGH HOW TO#
2. #WILLEM DAFOE VAN GOGH MOVIE#
3. #WILLEM DAFOE VAN GOGH FULL#
4. #WILLEM DAFOE VAN GOGH FREE#

He sees the painting in nature and he just has to free it. Yes, he talks about how he doesn’t invent things, he just paints what he sees.

You see that yellow, paint in all the yellows.” He started to make me see things in terms of marks, marks in relationship to each other and colours in relationship to each other, which kind of explodes your way of looking at things.ĭoes van Gogh speak about that experience in his letters? See that dark spot, paint in all the dark spots. We’d be painting a cypress tree, and I’d rush to paint a good likeness of it and he’d say, “No, hold on, hold on. There is a temptation when you look at something to try to account for it, to try to capture it, and there is something about looking beyond that or behind that. But the most important part was that he changed how I see.

#WILLEM DAFOE VAN GOGH HOW TO#

I had been in the studio with him before he’s painted my portrait, but he started me out very simply, getting me familiar with the materials, how to hold a brush, how to mix paints, how to look at things. It’s practical and it’s key to what he writes about in his letters, what his challenges were, what he is trying to express. So clearly just from a practical standpoint I had to paint, because we were filming lots of coverage, long takes.

#WILLEM DAFOE VAN GOGH MOVIE#

We didn’t have a stunt painter and this movie is about painting. All those connecting pieces, they are really at the heart of the film, and link the encounters with people outside himself. Our way of making the film was very organic, we had a very strong script but also often we would finish work early and then we’d invent things: the painting sequences, some of the nature sequences. I read his letters, not in an academic way but just to put me in the right direction. How did you prepare for the role of van Gogh? The Globe and Mail’s Kate Taylor spoke with the actor about art and the fine line between genius and madness. Dafoe, who has no formal training as a painter, did all his own painting in the film. In his new movie At Eternity’s Gate, visual artist and filmmaker Julian Schnabel casts Willem Dafoe as Vincent van Gogh, passionately painting and fighting society during his troubled but highly productive months in the south of France in 1888-89. I loved this film.Please log in to bookmark this story. For the very few moments Schnabel over-reaches, there are a dozen others where he will drop your jaw in wonder. Dafoe has an odd gift for making overwhelming intensity look like a somehow completely natural state of mind, and in van Gogh – he's already been Jesus Christ for Martin Scorsese – I reckon Dafoe has taken on one of the all-time great male roles and reset the bar on just how beautifully it can be brought to life.Īt Eternity's Gate, in its best moments, is an intoxicating experience. It is a stunning piece of work in a career littered with wonderful performances.

And without any artifice or much disguise, carries us along, happy to believe that van Gogh looked and sounded exactly like this. He inhabits the character down to the marrow. Neither you or I really know what van Gogh was like, but I didn't doubt a single moment of Dafoe's portrayal. In a very strong year of films, an Oscar nod for cinematographer Benoît Delhomme ( The Theory of Everything) wouldn't be any surprise at all.Īs van Gogh, Willem Dafoe is pretty much beyond criticism.

As with Butterfly, we travel behind the eyes of our lead and see the world as Schnabel imagines it must have appeared from that nettlesome perch.Īt Eternity's Gate also stars Oscar Isaac and Emmanuelle Seigner. But he also has a mad and mostly wonderful swing at visualising van Gogh's internal and psychological life. Schnabel does all of that, and better than has ever been done before. Other films have done a pretty decent job of bringing to life van Gogh's canvases and the landscapes that inspired them. Or, to put all that another way, Eternity's Gate – visually and sonically – is an absolute feast of bold decisions and dizzyingly beautiful filmmaking.

#WILLEM DAFOE VAN GOGH FULL#

In full flight – as he is for most of Eternity's Gate – Schnabel works his cameras and his frame compositions in a way that butts right up against the unappealing shores of "experimental" filmmaking, but always pulls back in time to keep the narrative comprehensible and the characters true to their purpose. * Loving Vincent: Inside the world's first fully-painted animated featureĪnd it was Diving Bell that I was most reminded of while watching At Eternity's Gate. Schnabel has an artist's gift for controlling the tone and palette of his films, conveying the innermost parts of his characters' lives in wordless moments. * Taika Waititi helps award Venice Film Festival prize to Alfonso Cuaron's Roma In At Eternity's Gate, Willem Dafoe inhabits the character of Vincent van Gogh down to the marrow.