MATT DILLON
From hro t zero
Kaleem Afiab, who’s usually immune from being starstruck, meets his lifetime hero MATT DILLON, currently starring as Charles Bukowski’s alter-ego.
t was the moment I‘d been waiting for all my
life. I was so excited I hadn‘t spoken ahotit
anything else for a month. I was going to interview Matt Dillon. ()stensihly‘ we were going to talk ahout his performance as Charles Bukowski’s alter—ego llenry‘ (‘hinaski in Bent IIainer’s adaptation of l-ku'mlum. It‘s the first role in which Dillon carries a movie playing a middle—aged man. hut for me this was the chance to get to grips with a lifetime of adoration.
When I grew up I wanted to he Matt Dillon. I was I} when I first saw I‘rancis I‘ord ('oppola‘s adaptation of Sli Ilinton's 'l'lu' ()III.\'I(/(‘I‘.\'. I watched it 37 times in that first year alone. mesmerised hy Dillon's performance as Dallas ‘Dally’ Winston. The other nights I spent
24 THE LIST M’ Na. 1 Def; III/r“
catching up with all the other Dillon films that were ay'ailahle on Video.
When the hig moment comes I can’t help myself. The first thing I say to the 4l—year-old New Yorker ls ‘I'm part of that generation that grew tip wanting to he Matt Dillon.’ Ile replies. "I'hat’s funny. How you doing. man‘." Oh my (iod. Dillon is actually talking to me.
He was only l4 when he acted in his first film. (her [/It’ lit/gin It came otit in l‘)7‘) when I was fiy'c. hut when l ey‘entually saw it. I was 14 too. I wanted to he him. I‘rom my perspective. a teenager wanting to he a rehel. Dillon was hrilliant in all the films I saw at that time: Lil/Iv Dar/fires. .Ily' limly'gmml. ’li’t and l.iur's .Ilmm. I was frustrated when I knew there was Dillon
‘I CAN RECITE EVERY LINE YOU SAID IN
THE OUTSIDERS,’
I TELL DILLON. ‘PLEASE DON'T,’ HE SAYS
Matt Dillon is outstanding in his new film, Factotum (left), but his film career is more interesting than he is often given credit for. The Outsiders (top) and To Die For (above).
product like the TV film The (irm! xlnu'rit‘un l‘iHH‘I/I (ill/lily and Other I)i.y'ust<’r.y‘ that I couldn’t get my hands on. Looking back I can see that he was far cooler as Rusty James in Rumble I’I'sli. hut for me the quintessential Dillon moment is and remains The ()tlrsidt'rs.
My adoration of all things Dillon even went as far as mimicry. I dropped dialogue from his films into conversation at school. It's all very“ well copying Dally when you‘re l-I. but it could be classed as very sad when you‘re still doing it aged 33. But it was during the summer of 1998 at Iidinhurgh L'niy'ersity‘ that I finally got to use the line that had first made me fall in love with Dillon. It should be embarrassing to admit htit as far as Dillon is concerned I have no shame. She was a beautiful (‘anadian exchange student with red hair. The scene from The ()utsidcrs iny'oly'ed Dillon and Diane Lane at an open-air cinema. I smiled at the (‘anadian and used the opening saly'o: 'Ilow do I know that the hair on your head is the same colour as the hair |then I looked down her body] . . . on your eyehrows'." A week later. right after we‘d swapped body fluids. all I could talk ahout was Dillon. The man never failed me.
It is fate that I speak to Dillon when I do. A new version of The ()llI.\'f(/(’l'.\‘. complete with 22 minutes of extra footage and a new rock’n’roll soundtrack. has just come out Stateside on DVD and is also showing theatrically in a New York cinema. l ptit it to Dillon straight: ‘I can still recite every line you said in The ()uls'it/vrs.‘ His response surprises me: ‘I’lease don‘t. Sometimes I wish I was in the editing room on The ()uisirlt'rs.