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Ramos’ original prognostication about Matt’s star quality was confirmed in the next movie, , a low-budget Disney production based off a novel by S. Pauline Kael praised his “mysteriously effortless charm . On a damp Saturday in October, Andy Warhol and I were engaged in making coffee and watching TV in a friend’s townhouse in New York when Matt ambled through the back door in a tweed coat, hair modeled in a 1963 flat-top for his role. MOYNIHAN: They disappointed me because I don’t think the way they’ve politicized their music is particularly sincere. In politics there are so many holes, so many contradictions, you don’t know what’s happening. DILLON: Oh yeah, I was at the Reggae Lounge—WARHOL: What’s the Reggae Lounge?

He was perfectly at home in the kitchen, slouched in a chair, his feet tapping the floor with a rhythmic pace. DILLON: Some really good band, but I forget the name.

Cutting class at Hommock Junior High School in Larchmont, New York, one afternoon in 1979 occasioned an auspicious meeting with some talent scouts who were combing the neighborhood in search of young talent for the film . MOYNIHAN: For a novice starting late in life I would recommend the guitar. It’s got to be new, it’s got to be good and written for the scenes.

On his taut physique clothing falls in loose disorder. He is blessed with dramatic Gaelic coloring: glossy black hair, luminous skin with flushed cheeks and enormous liquid eyes. MOYNIHAN: Would you like some orange juice or spring water?

His attention is elusive but, once captured, focuses with great intensity.

Matt has adjusted with remarkable ease and has accomplished a rare feat: he has earned the respect of the serious film establishment without alienating his adoring teen audience. He loves rock music and speaks with jargon comprehensible to any teenager. He has an older brother, played by Mickey Rourke, who is the legend in the neighborhood: really tough, but really intelligent and the leader of everything. DILLON: When I was 14 I didn’t even think about it. I was supposed to be in class and I was cutting, and these two men approached me and asked me if I wanted to do an audition. I saw the scene they were audition people for, and I said, “This is me.” I went home and I told my mother.

He is very close to his family and faithful to his old school friends. My character looks up to his older brother; he’s following in his footsteps, but he can’t cut it. Cause you work so hard on a film, and if it doesn’t work out the way you were hoping it to or the way you expected to, it’s a heavy shock. I didn’t even say, “Mom, I tried out for this movie today.” I said, “Mom, I’m going to be in this movie.” I said it like that. It was sort of a ridiculous statement, saying it out of the blue like that. MOYNIHAN: Of all the films you’ve made, do you have a particular favorite?

The projects that followed, (an American Playhouse PBS special) were all quality films, and Matt’s work was singled out by almost every reviewer. to create a wholly believable vulnerability.” The Hinton/Dillon collaboration proved such a success that the writer and actor teamed up for two more films: , a period romance set in 1963. MOYNIHAN: I’ll never stop listening to rock and roll. DILLON: The first music I was ever exposed to was Irish folk music, like the Clancy Brothers.

Critics commended his acting and acknowledged his remarkable screen presence and charisma. Hinton was one of Dillon’s favorite writers long before he ever imaged he’s being the moody protagonists of her novels to life on screen., his portrayal of a troubled, neglected kid coming of age in the South ranked him as an important young actor in contemporary cinema. a gift for expressing confused and submerged shifts of feeling.” Richard Schickel wrote: No one has more accurately captured the mercurial quality of adolescence than he has . Ramos likes the project because it’s a comedy and will give Matt a chance to expand his range. DILLON: No, I just follow it with an objective eye.

Throughout the conversation he chain-smoked, eyes darting around the room, interjecting bits of rock lyrics into his conversation. I was just basically checking out the breakdancers. DILLON: Yeah, it’s all kind of coming together, There’s this rap tune about Jean-Michel (Basquiat) that the Clash wrote the music for, and Mick Jones produced it.

WARHOL: They haven’t made a movie of breaking yet—DILLON: Yeah, I know, it may just be too on the nose to make a movie about it.

Regarded as the James Dean of the ’80s, New York State native Matt Dillon made being bad look so good. DILLON: I’m not living at home now, but I had been up until now.

Priding himself as an actor who values quality over monetary pursuits, Matt Dillon’s selective nature has kept him out of the tabloids over the past two decades.

He explores his thoughts more with instinct than intellect; often his movements convey his meaning more effectively than his words.

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