{"id":5571,"date":"2026-08-05T17:35:57","date_gmt":"2026-08-05T17:35:57","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=5571"},"modified":"2026-08-05T17:35:57","modified_gmt":"2026-08-05T17:35:57","slug":"willem-dafoe-on-playing-a-poet-in-late-fame-and-working-with-robert-eggers-and-yorgos-lanthimos-if-i-give-myself-to-a-director-i-want-it-to-burn-hot","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=5571","title":{"rendered":"Willem Dafoe on Playing a Poet in \u2018Late Fame\u2019 and Working With Robert Eggers and Yorgos Lanthimos: \u2018If I Give Myself to a Director, I Want It to Burn Hot\u2019"},"content":{"rendered":"
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\nWillem Dafoe is in the midst of a massive year \u2014 and he\u2019s playing a character whose life is small by design.<\/p>\n

Read more What Is David Ellison\u2019s Breaking Point?<\/a><\/p>\n

\n\tIn director Kent Jones\u2019 \u201cLate Fame\u201d (out Aug. 7 in New York and Aug. 19 in Los Angeles and other cities), Dafoe plays Ed Saxberger, a postal employee who, in his youth, had been a published poet and edged up to real success. Whether by choice or circumstance, Ed has faded into utter obscurity, and seems to like it that way \u2014 until Meyers (Edmund Donovan), the leader of a group of self-styled intellectuals that also includes a glamorous but fading actress (Greta Lee), introduces himself to the man he calls an artistic forebear. Suddenly, Ed is at the center of a social whirl that destabilizes him, and makes him wonder if fame isn\u2019t actually so bad.<\/p>\n

\n\tDafoe is hardly chasing notoriety, but Saxberger\u2019s impulse to put down his pen and walk away from work is very unlike him. His five other 2026 projects include \u201cTenzing,\u201d in which Dafoe plays the commander who led the first successful attempt to surmount Everest, and \u201cWerwulf,\u201d the latest Robert Eggers gothic-horror freakout, this time set in the 13th century.<\/p>\n

\n\tSince beginning his career in New York\u2019s experimental theater scene in the 1970s, Dafoe has ranged from indie cinema \u2014 with his two most recent Oscar nominations coming from Sean Baker\u2019s \u201cThe Florida Project\u201d and Julian Schnabel\u2019s \u201cAt Eternity\u2019s Gate\u201d \u2014 to major productions. Of late, his collaborations with Eggers (\u201cNosferatu,\u201d \u201cThe Lighthouse,\u201d \u201cThe Northman\u201d) and with Yorgos Lanthimos (\u201cPoor Things,\u201d \u201cKinds of Kindness\u201d) have been particularly fruitful. But those performances tend toward the grander-scale; in \u201cLate Fame,\u201d Dafoe is muted and interior, conjuring both the cerebral quality of a poet and the stoicism of someone who had believed he had made the choice to live a quiet life.<\/p>\n

\nVariety <\/em>spoke with Dafoe about the film, and about lessons he\u2019s learned over a long career.<\/p>\n

\n\t\tYour character has left his art behind and seems not to reflect upon it much \u2014 it\u2019s a chapter of his life that is now over. For you, the act of making art seems so fundamental. Did you find it challenging to relate to his decision to walk away?\t<\/h5>\n

\n\tNo, only because there were so many models for me. When I went to New York City, there was a scene there. At least it felt that way as a young man. I wasn\u2019t part of it \u2014 I was basically locked in a theater, trying to make theater pieces. But I was aware of a scene, and, as part of that scene, there were poetry readings and loft performances. A lot of those people that I knew, they burned hot, they were making interesting things, they did what they did with passion, and they weren\u2019t thinking of career. They were in freefall.\u00a0<\/p>\n

\n\tThe scene went away. Things changed, and they didn\u2019t have the community to sustain them. And then people get practical. So I had lots of models of people who did beautiful work as young people and weren\u2019t thinking of career, and then one day they came to peace with another way of living. I don\u2019t have judgment \u2014 when we first see Saxberger, he\u2019s not a sadsack.\u00a0<\/p>\n

\n\t\tYou may have been on the outskirts of a scene, but I know how involved you were with experimental theater, as a founder of the Wooster Group in the 1970s. \u201cLate Fame\u201d is all about the interplay between youthful passion and the wisdom of experience; looking back at that time in your life, do you recognize the spark you brought to your work?\u00a0\t<\/h5>\n

\n\tSure! Because I\u2019m self-deluded enough to think I\u2019m still a young man. I seek out people that are turned on like that. It becomes infectious. Because of the eclectic choices I\u2019ve made sometimes, I like going back and tapping into that younger energy, which you can find from younger people.\u00a0<\/p>\n

Read more Ted Sarandos Meets Prime Minister Narendra Modi, Unveils Netflix India Storytelling Initiative<\/a><\/p>\n

\n\t\tYou\u2019re on a career run that has included multiple films with both Yorgos Lanthimos and Wes Anderson. What qualities do you seek out in a director?\u00a0\t<\/h5>\n

\n\tPassion, I need. When they\u2019re turned on. If I give myself to a director, I don\u2019t want them to be doing the job. I want it to burn hot. I want it to be a life experience \u2014 and maybe that\u2019s too much to ask. But in the best situations, you\u2019re changed. It wakes you up out of habit, and that\u2019s important.\u00a0<\/p>\n

\n\t\tYou\u2019ve been a fixture both of indie cinema and of the \u201cSpider-Man\u201d and \u201cFinding Nemo\u201d films. Are you as able to find the excitement you describe in a big-budget studio project as you are in a small story?\t<\/h5>\n

\n\tI have been. It is possible. With smaller films, they have challenges, but they do have a certain kind of flexibility, too. The challenges are different. But on a big movie, things have to be a little more planned, a little more sure, a little more measured, and there\u2019s more cooks in the kitchen. On smaller movies, sometimes there are more opportunities \u2014 sometimes out of poverty, sometimes out of inexperience. But having to find solutions, it always turns me on. The bigger movies have to be charted out clearly, because there\u2019s such a financial stake. That\u2019s not totally bad, because, with that kind of clarity, you can put your efforts to the very clear tasks you have to do. In [smaller movies], they may lean on you more to collaborate.<\/p>\n

\n\tOne of the tricks of being an actor is, when you enter a movie, you\u2019ve got to identify what we\u2019re trying to do. You don\u2019t have to have an absolute answer, but you\u2019ve got to say, What is the world? How can I contribute something? What room is it? What is my function? What needs to be done? Where can I push? Where can I hold back?\u00a0<\/em><\/p>\n

\n\t\tA collaborator of yours who splits the difference for me \u2014 where he makes grand-scale entertainments that have a scrappiness to them \u2014 is Robert Eggers. There\u2019s a real sense of play to his work. You\u2019re in his next film, \u201cWerwulf\u201d: What has the experience of working with him over time been like?\u00a0\t<\/h5>\n

\n\tOh, I adore working with him, because everything\u2019s clear. He gives me fun things to do. It\u2019s like Lanthimos, and other directors I work with: They make the world, and they don\u2019t defer. It\u2019s his <\/em>world. He has collaborators that help him a great deal, but they\u2019re so in sync that it\u2019s so specific, it\u2019s so strong.<\/p>\n

\n\tHe puts you in a world that\u2019s very challenging. So you\u2019ve got to step up, and that\u2019s your contribution. He gives you not only fun things but very difficult things; he designs shots very specifically, and you have to bend yourself to the shot, serve the shot, but also play the scene. That is a kind of combination, because you have a clear plan that you have to submit to. But inside <\/em>of that, there\u2019s lots of space to kick it up.\u00a0<\/p>\n

\n\t\tI want to close by talking about the scene in which your character stands onstage and reads a poem he\u2019d written decades before. The poem seems to chart the character\u2019s emotional journey, but does so in a very enigmatic, elliptical way \u2014 kind of like how poetry works. As a non-poet, how did you prepare to play that scene?\t<\/h5>\n

\n\tWe struggled a lot to find the right tone for that poem. Kent has some poet friends. I have some poet friends. Ultimately, Kent wrote it, and then I had some details that I really required to personalize it. He came up with a poem that was, in the end, a combination of me and Saxberger. I was quite happy reading that poem. It meant something to me.\u00a0<\/p>\n

Read more ABC News Digital Workers Unionize With WGA East in Unanimous Vote<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Willem Dafoe discusses his new film and collaborations with iconic modern directors<\/p>\n","protected":false},"author":1,"featured_media":5570,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[4358],"class_list":["post-5571","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-willem-dafoe"],"yoast_head":"\nWillem Dafoe on Playing a Poet in \u2018Late Fame\u2019 and Working With Robert Eggers and Yorgos Lanthimos: \u2018If I Give Myself to a Director, I Want It to Burn Hot\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=5571\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Willem Dafoe on Playing a Poet in \u2018Late Fame\u2019 and Working With Robert Eggers and Yorgos Lanthimos: \u2018If I Give Myself to a Director, I Want It to Burn Hot\u2019 - 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