Willem defoe hes gay

boondock saints

Willem Dafoe "He's Gay, But He Has A Special Connection To Classical Music" is a catchphrase taken from a clip of actor Willem Dafoe discussing his character Paul Smecker in the movie The Boondock Saints during an interview in early Unlike some of his peers, Dafoe has not openly identified as gay, nor has he explicitly labeled his sexual orientation in interviews or public statements.

In fact, the actor has consistently emphasized that his sexual orientation is a matter of personal privacy. Free to use Green Screen Meme Template of Willem Dafoe explaining his character from the Boondock Saints• Download in HD: Contrary to some rumors, Willem Dafoe is not gay. The speculation likely stems from his iconic gay roles in movies including “The Boondock Saints" () and "Pasolini" (). As to his sexual preference, Willem Dafoe is not gay.

He is straight and, as we all know, had a son with Elizabeth LeCompte and is still happily married to Giada Colagrande. One talking fish per film festival, you'd think, would be plenty — and I got one in Matteo Garrone's Pinochhio. Imagine my surprise when a second such creature landed up in Abel Ferrara's Siberia. And this is no fairy tale, either. It's a real-world story, but with… a talking fish.

Though truth be told, the fish may exist only as a vision in Clint's Willem Dafoe addled head.

Along with the overweight and naked woman who's performing an exotic dance to an audience of nobody. And the men who are stripped and shot in a death camp. And the stairs to the basement that transform into a steep cliff. Or the cave, the womb-like amber cave that contains a "conscience"…. By now you know the kind of mindfuck this movie is. The question, therefore, becomes: Is it the good kind of mindfuck?

Is it going to be Tarkovsky? Or is this going to be Terrence Malick, in his Knight of Cups phase? Alas, it's the latter. The film revolves around Clint's attempts to dive into his soul or subconscious or whatever, and there are times you get a line so inexplicably banal, so plucked out of the pages of a doleful teenager-poet's diary, that the only option is to giggle.

In Siberia , this is that line: "There is no beginning. There is no end. That is not the language of the soul. Is Siberia less a mindfuck than Ferrara impishly fucking around with our minds, daring us to call him out, instead of saying, "Well, he is an auteur, so there may be something to all this weirdness…"? Perhaps that's why Siberia has got a Competition slot, because it both mimics and mocks a particularly pretentious strain of "art-house festival-type movie".

Being wanted makes an actor feel alive. If you take that away, it will kill him more than any disease. The distraught woman speaking these words is Lisa Nina Hoss. The actor she's speaking about is her twin brother, Sven Lars Eidinger , who is wasting away from leukemia. And the man she's speaking to is a theatre director who made many hits with Sven, but is now reluctant to mount a production with him.

What if Sven collapses on stage? The director cares about Sven, but he's just being practical. Lisa, meanwhile, is being emotional. Understandably so. But this is really a study of Lisa, and how one big event can make one's entire life unravel. Lisa is settled in Switzerland, having given up her dreams of being a playwright in Berlin. Her husband runs a posh international school there.