Willem dafoe young movie#
Fox, Anderson’s animated film adaptation of Roald Dahl’s children’s book, and he appeared as a vampire hunter in the horror movie Daybreakers (2009).ĭafoe’s subsequent roles included a mercenary in pursuit of a Tasmanian tiger in the Australian thriller The Hunter (2011) and an animated Martian warrior, portrayed through the motion-capture technique, in the sci-fi adventure John Carter (2012). Later that year he provided the voice of a rat in Fantastic Mr. In 2009 Dafoe starred in von Trier’s controversial Antichrist, which centers on a couple who struggle to cope with the death of a child. On a smaller scale, he portrayed stern fathers in Lars von Trier’s historical allegory Manderlay (2005) and in the family drama Fireflies in the Garden (2008).
Dafoe received his second Academy Award nomination for his role as Max Schreck in Shadow of the Vampire (2000), a fictionalized account of the making of the classic vampire film Nosferatu, Eine Symphonie des Grauens (1922 “Nosferatu, a Symphony of Horror”).ĭafoe flourished as an actor in such big-budget mainstream films as Spider-Man (2002) and its two sequels (20), in which he played the comic villain the Green Goblin the animated Finding Nemo (2003) and its sequel, Finding Dory (2016), for which he provided the voice of a fish and The Life Aquatic with Steve Zissou (2004), Wes Anderson’s comedy about an idiosyncratic marine documentary crew. In the cult film The Boondock Saints (1999), he portrayed a detective tracking down two renegade killers who believe their actions to be righteous. Eliot coping with his wife’s emotional disintegration in Tom and Viv (1994) and appeared in The English Patient (1996), an adaptation of the novel by Michael Ondaatje. Throughout the 1990s Dafoe continued to appear in roles that allowed him to explore moral ambiguity in characters. He played Christ in Martin Scorsese’s The Last Temptation of Christ (1988) - a film based on Níkos Kazantzákis’s revisionist novel of Christ’s life and relationship with Mary Magdalene - and starred as an FBI agent investigating the disappearance of civil rights activists in the 1960s in Mississippi Burning (1988). Dafoe was critically lauded for his performances in a number of controversial films released in the late 1980s. Elias Grodin in Oliver Stone’s Platoon (1986), which earned Dafoe his first Academy Award nomination.
(1985), in which he played a counterfeiter attempting to elude capture by the police. He gained prominence for his role in To Live and Die in L.A. He got a role in an independent film The Loveless in 1982 which is about a motorcycle gang.
Dafoe's next stopover was Manhattan, where in 1977 he landed a promising role in a production with the Performance Group.ĭafoe made his film debut in Heaven’s Gate (1980) and appeared in numerous other movies in the early 1980s. The only constant companions on this psychic trek are a handful of sled dogs, beautiful and remote.Two years of touring with the company showed Dafoe the greater part of the United States and Europe. These include an angry ex-wife (Dounia Sichov), a neglected young son (played by Ferrara’s daughter Anna), and a mournful mother (Trish Osmond), whose love Clint once pushed away. His visitors include a grizzled Inuit hunter (Laurent Arnatsiaq), an elderly Russian woman (Valentina Rozumenko), and a pregnant beauty (Cristina Chiriac, the director’s wife) who cryptically offers herself to Clint.įrom there, “Siberia” lifts off into a gnomic journey across the tundra, into caves, and through desert sands, Clint crossing paths with mysterious characters - the always welcome Simon McBurney as “the Magician,” for one - and figures from his past. Dafoe is once again cast as the filmmaker’s stand-in, here called Clint and tending a remote roadhouse high above the Arctic Circle. While the late-life crisis of “Tommaso” was rendered as urban realism, “Siberia” seems to take place entirely in the landscapes of its maker’s mind - a dream journey with moments of real power and just as many pretensions. It’s a better movie, too, if much more aggressively surreal.
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