Sunday, July 11, 2004



I'll take a stab at it -- "Gallo's latest MASTERPIECE".

Ah -- just trying to provoke as I'm still insanely jealous that you got to see it.

I really enjoyed your review. Considering how much you hated B66, I was expecting something much more inflammatory. Now my desire to see the film has increased tenfold.

Regarding C Ricci in B66 -- I had no trouble accepting that she fell for him in the end. Billy is such a pathetic character -- beyond pathetic actually -- how could you not feel something for him?

I'm also not sure about Gallo's desire to antagonize his audience. However, not having seen BB yet, I'll refrain from getting into that argument for the time being. Your detailed review does make it sound like he is perhaps testing the patience of his audience. Call me a masochist, but I'd still love to see the Cannes cut.

I believe I've figured out the 'twist' -- but I won't say it. I think I know how Gallo's mind works, and based on your description of the story, I'm pretty sure I know something about Daisy.

Does Sevigny do anything else in the film? I mean -- does she even have any dialog? How is her performance? (As an actress, not a fellator.) Amazes me to think that Winona Ryder was first cast in this role.

Can't wait to see it.


I just wanted to say that Buffalo 66 is my favorite movie. I haven't seen Brown Bunny but as much as you chuckled in the cinema, I did so reading your review - especially the part where you reassure readers that you "get it".


I just wanted to say that Buffalo 66 is my favorite movie. I haven't seen Brown Bunny but as much as you chuckled in the cinema, I did so reading your review - especially the part where you reassure readers that you "get it".


Dear Monkchild:
Thanks for coming to my blog. I'm glad you enjoy it so much. I'm also glad you enjoy Buffalo 66 so much. Or rather, I'm sorry for you because it's tripe. But that's neither here nor there. I'm sorry you were so offended at how much I dislike your "favorite movie" (of all time? seriously, you need to watch WAY more), but I'm glad that you feel qualified to give any positive or negative credence to a movie of which I'm guessing you have not seen one frame. I feel especially honored that you are so concerned with whether or not I "get it" -- and I will reassure you (again) that I do -- that you had to post your comment word-for-word twice ... 7-1/2 hours apart for each other. But mostly, thanks for reading and obviously not getting my post at all since you should have noticed that no matter how much I hate what you call your favorite movie, I believe I was overall pretty tolerant of the film. At least, I was more tolerant than Roger Ebert (who also enjoys your favorite movie, but maybe less-so than you) who said The Brown Bunny was less entertaining than watching his own colonoscopy.

I hope you enjoy The Brown Bunny when it comes out at the end of August. Certainly the way to get Gallo to make even more antagonizing movies is to keep supporting his habit.

Y'all come back now, you hear?


It's not only my favorite movie, it's also my favorite thingy. I like it more than I like my brother, my girlfriend, myself - and certainly more than I like you!

PS: Send comments about the word in my post that stuck out to my e-mail.


I think Gallo is one the best artists around. He makes great sad music and is a fine actor. His masterpiece movie Buffalo 66 has beautiful texture. I think self-indulgence and narcissism are traits that a lot of great artists have. I mean, I would find it boring if I found out that Picasso only painted FOR the people...I think the best art comes from yourself without taking notice of outside influences. That's a big problem with film since it has become an ARTFORM. Film's original mandate was to "entertain". Now you have a lot of artists who don't care about the public anymore, and I think it makes for less generic, common, mainstream movies and that's great.


Alex: Obviously, I have a vastly different opinion on the quality of Gallo's "art," although I don't disagree at all with the rest of what you said. I don't believe any work of creativity can be done without some degree of self-indulgence of narcissism, but it's when that creator becomes larger and more important than his/her creation that it becomes distracting and annoying. Gallo has perfected the art of distraction and annoyance in my book, and unlike you, the only texture I discovered in Buffalo 66 was a grating one, which is present in The Brown Bunny as well, although at times, not as much.

Monkchild: I "get" Vincent Gallo and his films. I don't get you. But that's fine, and if you don't like me since you know me so well, that's OK too. You are welcome to read my blog and comment here, although if I didn't like someone, I probably wouldn't waste my time with his musings. But hey, that's just me. And we're obviously very different since I don't think I have anything that I would call my favorite "thingy." And whatever else you may or may not be alluding to, I'm just kind of ignoring.


He he - I really do trust you get Gallo, you really don't have to convince me! I believe you perfectly well, ok? HEHE!

I think persons, myths, and cultural characters are more interesting than the work they produce, anyways - so naturally i disagree that it's bad to become more important than the work you do.

it's like cassavetes. all his films suck but his biography is great, therefore i always say he's the best filmmaker in the world!

who gives a shit about the work? its bourgoise to have such hang up, such obsession about t he work. it's everything man, it's the way somebody gives interviews, their namedrops, it's the way a leaf falls - fuck the work! it's only for people who can't deal with the complexities and exuberance of life and it's characters to nail everything down to the work. it's everythng! its life nigga!!


>> who gives a shit about the work?

What kind of judo is this? You are discussing a film, it's merits (or lack), qualities, etc. The author is merely a function of the work, an implied origin, TOTALLY dependent on the work's persistent reference. A label (brand?). On the other hand, a (barely essential) link in a chain (of references). The work is the mother of the artist.
Displacing "the work" is abortive: reinscribing the author (or "life" or "everything") AS the work still leaves the (newly defined) work. The object is the work, and vice-versa.
Which is more "bourgeois," objectifying an "artifact" or objectifying a "life"? (It's a trick question.)

In any case, discussing the biography is NOT discussing the film. (This is a cliche of at least 70 years' vintage, but so be it.)

Long live difference! (Sorry, don't know any French.)


Regarding Gallo's preoccupation with the character "Daisy". Does anyone remember when Hollywood Online used to host celebrity chat sessions? Well there was one for Gallo when Palookaville and Funeral were coming out (mid 1996?) and Gallo, at about three different times during this interview, is asking (mostly the female questors) if they can help him idenitfy several girls from his school days and late teens/early twenties. One of the names was of a Wendy Balsam and the other was a girl named... yep... Daisy. I don't remember if there was a last name but he said it and since I was reading this after knowing a bit about the plot and characters in Brown Bunny, I found it somewhat enlightening as to exactly what Vincent Gallo is drawing from. I say this not in a biting way but rather with fascination and perhaps a bit of compassion for the kid who grew up into this antagonizing movie actor/auteur. Gallo has said many times that he hopes that his art will become more interesting than he is. Well, even if it does become that long after he's gone, I think that his life will perhaps also be interesting simply because his art reflects so much of his psychology. I do hope I like the film when I get a copy on DVD, but even if I don't I already I find the guy a fascinating portrait if you really look at his history and collect all the little clues in his interviews and talks and blurbs and outbursts.

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