The IMDB site has a fan review of this film. It seems that there was a screening somewhere in New Jersey. For some reason, VDO is still not listed in the credits, but he is mentioned in the review:
" I attended the screening in NJ a couple of weeks ago and absolutely loved the film. It was three vignettes about different characters who are all tied together on Staten island. At times the film was funny and others grim but the overall effect was extremely enjoyable. Vincent D'Onofrio and Seymour Cassel were outstanding in their roles as gangster and cohort/victim. Ethan Hawke was also incredible. I was anxious to see the film because my 12 year old son and I watched a scene being filmed in our town last summer and was thoroughly surprised. I would recommend this for anyone who enjoys quirky comedy with a healthy dose of irony and drama. "
Post by annabelleleigh on Feb 17, 2009 21:43:13 GMT -5
"Dark" and "wacky" -- sounds intriguing to me.
Staten Island Review By Leslie Felperin Variety February 17, 2009
(U.S.-France) A Europa Corp. (in France) release of a Why Not U.S. (U.S.)/Europa Corp. (France) presentation of a Europa Corp., Why Not U.S. production, in association with Open City Films. (International sales: Europa Corp., Paris.) Produced by Sebastien Lemercier. Co-producers, Luc Besson, Pierre-Ange Le Pogam. Directed, written by James DeMonaco.
Sully Halverson - Ethan Hawke Parmelo Tarzo - Vincent D'Onofrio Jasper - Seymour Cassel Rosemary De Angelis - Gianina Mary Halverson - Julianne Nicholson Eddie - Jeremy Schwartz
"Auds may feel a sense of deja vu while watching the blackly comic crime thriller "Staten Island," which, given its tripartite structure and Ethan Hawke's role as a screw-up, could have been titled "Before the Devil Knows You've Changed Boroughs." Still, there's enough originality and verve in writer-helmer James DeMonaco's debut to make for compelling viewing. Although firmly embedded in Gotham's suburbs, the pic's quirky blend of striking violence and unembarrassed sentimentality betokens strong influence from French co-producer Luc Besson, whose Europa Corp. will release "Staten" in Gaul this March. Offshore, the pic could board the ferry to moderate biz.
Structurally reminiscent of, most immediately, Sidney Lumet's late masterwork "Before the Devil Knows You're Dead" -- and going further back, "Pulp Fiction," "Sin City," "Amores perros" and any number of pics with nonlinear, Venn-diagrammatic plots -- "Staten Island" pivots around a superficially inconsequential but emotionally charged scene in a deli, where the pic's three main characters all meet before the action jumps back and forth to show what happened before that moment and what will happen after it.
In the first section, local Mafia boss Parmelo "Parmy" Tarzo (Vincent D'Onofrio, creepy and comical by turns) unveils to underlings his plan to take over all the organized crime on Staten Island. But someone betrays him, and after an unsuccessful assassination attempt, Parmy takes refuge up a tree in a woodland skedded for deforestation, drawing media attention.
Second section finds septic-tank cleaner Sully (Hawke, effective), who's ashamed of his low IQ, devising a plan to rob Parmy to obtain $50,000. With the money, Sully and his missus, Mary (Julianne Nicholson), can take part in an in-vitro fertilization study that pre-selects fetuses for intelligence.
Third and last section focuses on deaf-mute deli man Jasper (a touchingly expressive Seymour Cassel, in a part that's just a bit too sappily written), a friend of Sully's, who's been forced by Parmy's gang for years to carve up the corpses of those they've whacked...
...All in all, despite a tangible sense of place stemming from the use of Staten Island and surrounding locations, the pic has a weirdly European vibe about it, by way of the Tarantino school of knowingness -- rising perhaps from the over-ironic, slightly mocking chapter titles that introduce each section.
Likewise, the perfs err a bit on the broad side. It's never quite clear whether auds are supposed to laugh at or feel sorry for the characters trapped in snares of their own devising."
Post by annabelleleigh on Aug 4, 2009 15:22:36 GMT -5
Google's translation of a French website interview with VDO. Certainly inexact and occasionally hilarious.
An Italian in New York INTERVIEW Vincent D'Onofrio
In 'Little New York' by James De Monaco, black comedy and off, Vincent D'Onofrio, actor stature disturbing embodies, for the first time in his career, a character in Italian-American mafia, the archetype of the gangster and whimsical infant. Indoor August 5
In this first film whose action takes place on Staten Island, island in the bay of New York and known for having served as a dormitory town to the mafia of the Big Apple, Vincent D'Onofrio interpretation among Tarzo a local capo. Which is determined to become famous in one way or another, to pick one to save the forests of the island is perched in the canopy of a tree which he refuses to go down as the municipality does not renounce not in his real estate project. The power of physical Onofrio, his presence, his strange eyes is wonderful once again and give his whole dimension to this improbable character gangster.
What did you picture yourself in Staten Island?
I was born in Brooklyn who is just in front but I did not grow. Child, Staten Island seemed to be a place a little distant, which in any case not unfamiliar to me, another city, almost foreign , where I'm going with my sponsor, on rare occasions. And I do not keep accurate memories outside of its bad reputation that I heard from time to time.
'Little New York' Has it changed your view on this neighborhood?
No, not exactly. I think today it is a neighborhood like any other. But I found it quite fun to play with this bias that causes Staten Island dormitory for the city of the Mafia. In reality there no more than Mafia on Staten Island than there is in Queens or Brooklyn.
While you escaped folklore, 'Little New York' offers you your first role of Italo-American. What are your?
To me, it makes no difference with other roles. I still have that desire to create a character which it can be. That whenever additional experience, a new challenge. I have not touched this role in different ways. Even when interpreting an archetype, we must find the little trick that will give its ambivalence, its uniqueness, allowing him to escape the cliché. Regarding Among Tarzo, he had to find some kind of balance between sympathy that is likely to inspire his side tying one hand and on the other hand, the brutality of which he is capable, in turn intimidating, impulsive and dangerous to bound his criminal activities. It is this aspect of the character that interested me, opacity leads him to act, to take decisions.
You have played in independent films and film majors. This leads to there freedom more or less? What type of production you?
For me, I do not see any difference and I'm not never felt deprived of my freedom in a shooting. If this were the case, I could retire and break my contract. But that never happened. As for the budget, its importance is not a factor even though it is nice to be well paid! (Laughs) What counts, however, is the character's interest from a psychological its complexity, the opportunities it offers in terms of game selection, characterization. I am very attached.
You have been trained at the Actors Studio and the American Stanislavski Theater. Do you continue to approach and work your roles in the light of the teachings of the famous "method"?
Yes, this work around the construction of the character developed by Stanislavski for me of great relevance. I never cease to return to refer me. It's my way of working. I sympathize with that other players can do without it or have a different role, but in my case, it is the cornerstone of my work. I build up my characters, I think me and documents. When I arrive on set I feel ready and able to make proposals to the director, the writer incidentally. If for some reason or another, something not appropriate, I change my approach based on my perception and my understanding of the character. I feel that by doing so, things are going well in most cases. However, all scenarios exist: strong players can be technically ill while others, who have no technique, can be remarkable.
Your contribution to 'New York: criminal section' she changed the way you work? For a player of your reputation, the series represent a tempting alternative artistically?
I understand that in France the series was also very successful. In the United States, it is broadcast on five channels and I must say I am quite proud of the character that I embody the work done. It was not easy to impose Goren as a type which does not resemble anything with his look "crappy". It was all the time the impression that just getting up, he did not want to be there. With this series we have avoided the look razzle-dazzle, the thing produced and licked, makeup and so on ... When Goren goes wrong, when it is not in form, it shows. There is so much money involved that it was very difficult to impose antihero of a character like this. With Goren, it is the antithesis of the hero on his own Hollywood and disembodied. It looks like everyone else. I have not changed its method of work, quite the contrary. Instead, I imported my way to work in television and I could in the end, and not without pain, do what I wanted the character. Again, this makes me very proud. And plus, now they recognize me in the street ...
A number of players of your generation are moved behind the camera. What about you?
I have already directed several films, short films, in particular, and does not stop there. I could succeed in taking advantage of the connections that I made throughout my career. I appeal to technicians, and even actors, met on the shooting. My projects have always been well received and I have consistently received support from companies leasing equipment or development laboratories. These are invaluable boost. As for writing, I proceed in a way that I own. I am quite unable to write a screenplay. When I have an idea or project, I prefer to write text, write a real story that a friend will turn into a screenplay. I'm not a frustrated writer.
What movie are you?
I love going to the movies, whether to see a movie "popcorn" or a film auteur. I like all genres of films with the exception of sentimental comedies that always seem to be built on the same pattern. When I sometimes see, I'm bored. Lately, I loved 'The Wrestler' by Darren Aronofsky. I thought the formidable work of Mickey Rourke and am very happy to see him succeed his return.
Interview by Roland Héliée for Evene.fr Michael Ghennam thank you for the translation - August 2009