Matt Dillon, a true icon of contemporary American cinema, acclaimed guest of the 65th Thessaloniki International Film Festival, was bestowed with the Festival’s honorary Golden Alexander award on Monday November 4th, at Olympion, prior to the screening of the film City of Ghosts (2002), which marked his debut as both director and scriptwriter. Amidst a deafening ovation from the crowd, the multifarious and beloved actor received the Golden Alexander Award from legendary Greek actress and member of the TIFF’s Board of Directors, Themis Bazaka.
The Festival’s Artistic Director, Orestis Andreadakis, welcomed the audience. “Allow me to call to the stage a great actress, the most important actress of contemporary Greek cinema, a long-standing and faithful friend of the Thessaloniki Film Festival, who in recent years also serves as a member in the Board of Directors. Please welcome Themis Bazaka.”
Immediately afterwards, Themis Bazaka introduced the evening’s esteemed guest. “Tonight, we will honor an exceptional actor who has moved us, fascinated us, transfixed us. A truly prolific actor. Matt Dillon has embodied a series of impressive roles throughout his long career, which he elevated to the height of landmarks. Early on in his career, he collaborated with one of the holy behemoths of the seventh art, Francis Ford Coppola, in the films The Outsiders, Rumble Fish, become identified with one of the most time-honored traditions of American fiction, that of the nonconforming and uncompromising hero going through life at full speed. It is impossible, of course, to forget his performance in Gus Van Sant’s masterful film Drugstore Cowboy, a benchmark for independent American cinema. This film was the reason he consolidated his place in the pantheon of the most phenomenal actors,” Themis Bazaka initially said.
“Equally unforgettable roles followed in a number of captivating films, through which Dillon showcased his dashing performing range. For example, the Farrelly brothers’ legendary comedy There's Something About Mary, Paul Haggis’ Crash, for which he gained an Academy Award nomination for his astonishing performance, Factotum, where he embodied Charles Bukowski in a truly unique manner, Lars von Trier’s The House That Jack Built, as well as Yorgos Lanthimos’ short film Nimic. In 2002, City of Ghosts, his first directorial endeavor, proved his status as a pioneering filmmaker, having worked alongside some of the most important directors in the history of cinema. Dillon, as we all know, is a well-rounded artist, behind and in front of the camera, as he is also starring in his film. Tonight, we honor you Matt Dillon for all the breathtaking and astounding things you have contributed to the art we love so dearly. We also thank you, from the bottom of our heart, for the wonderful journeys, and the magical dreams you have imparted to us with your fiery talent,” the renowned Greek actress concluded.
Next, a short video was screened showcasing some of the most memorable moments in the great actor’s career, just before Themis Bazaka and Orestis Andreadakis invited Matt Dillon to the stage, amidst a warm applause from the audience. “Thank you so much for this invaluable award. Thank you for all your kind words. I’m grateful to be here, in this truly beautiful festival. In this stunning city. And you know, a word comes to mind, the only Greek word I learned in Greece; ‘philoxenia,’ which I truly experienced here in Greece. In any case, receiving this award is a great honor, and thank you for the invitation. I’m as good as the great filmmakers with whom I worked. I was blessed to have a great career, and I am profoundly grateful,” the American star stated.
Following the end of the screening, Matt Dillon once again took the floor: “I want to thank all of you for staying throughout the entire film, I absolutely appreciate it. It’s a great honor, sharing this particular film with you. It was a deeply personal vision of mine, which needed years to be completed, and I am touched that it is finally making its Greek debut in Thessaloniki. It had not been screened in Greece in its release.”
Referring to the shooting in Cambodia, he said that “it was an unforgettable experience. Last year, it was the 20th anniversary of the film’s completion. The country has changed radically since then and we are proud that our film was one of the first feature-length film productions there. It’s very encouraging to see the development of the film industry in Cambodia, as is seeing previous members of our team from this country, continuing to work hard in the film industry.”
“The creation of this film was an adventure filled with both happy, and sad moments. You know, I may be standing here by myself, but there were so many great people participating in this process and journey. I’d like to commemorate the memory of James Caan and Kem Sereyvuth, two exceptional people I collaborated with, and appreciated very much, who unfortunately are not with us any longer. I love the people I work with. The ties forged with the actors while working as a director, hold a very special place in your heart,” he added.
In response to an audience question about the relationship between film noir and American cinematic storytelling, as well as the way this relationship affects the creative process of a filmmaker and/or actor, Matt Dillon answered: “Film noir has certainly left an indelible mark in American cinema. Its dark atmosphere, the exploration of the depth of the human soul, and the search for truth in a world filled with dilemmas are the elements that always enthralled me. As an actor, I find acting to be a continuous search for the truth. I try to comprehend my characters profoundly, delving into their dark sides, and unearthing their most human aspects. Through these lenses, acting is a form of mediation, an inner search leading to deeper states of consciousness. The visual installation Interfears is an exhilarating opportunity to explore this process in a scientific manner. It’s like cracking open a window and peeking into an actor’s brain, and thus exposing the mysteries of the creative process. I believe this study can aid us in gaining a better understanding of not only acting, but also of human nature in general.”
Then, touching upon the experience of directing, he initially expressed the belief that filmmakers must start out with short films, highlighting that his fully-rounded experience as an actor provided him with a strong foundation of knowledge and skills. Furthermore, he claimed that collaborating with great filmmakers such as Francis Coppola and Gus Van Sant, as well as participating in a wide gamut of productions, allowed him to gain a comprehensive understanding of a film’s process. Concluding, he stated that his first endeavor as a director is the result of all these experiences and knowledge he acquired throughout his career.
