He explains his involvement with Fireflies simply enough: "I did some comedies, and I wanted to do something kind of small," he says. He was also a founding member of an avant-garde theatre troupe named the Wooster Group, and remains deeply committed to the theatre. Now 53, he has forged a career as a bold and diverse actor, and the roles and films with which he is most associated have been strong, undiluted creations - Platoon, Mississippi Burning, To Live and Die in LA he played Jesus in Martin Scorsese's The Last Temptation of Christ, TS Eliot in Tom & Viv, the Green Goblin in the Spider-Man movies.
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It is rare for Dafoe to be attached to a movie that is in any way generic. and then you see what people do to each other." "If anything, it's a kind of nostalgic, wholesome family. His voice is low and muttery and comes out kind of sideways, as if every thought is delivered from a barstool, chewing over the ballgame. "But the script was like nothing that I felt I'd ever done before this was not front-loaded dysfunction," he says. "Basically, when I hear the words 'family drama' I run in the opposite direction," Dafoe tells me. Variety described the film as a "clumsy melodrama, which looks and sounds no better than an average made-for-cabler". This film has not, it should be said, garnered particularly favourable reviews either, though for entirely opposite reasons many felt Fireflies lacked the boldness required to distinguish it from any common-or-garden family drama. This must be a particularly strange week for Dafoe, because while the furore rages over Antichrist, he will simultaneously be seen in another movie, Fireflies in the Garden, in which he stars alongside Julia Roberts and Ryan Reynolds in a tale that spans 20 years, takes in father-son relationships, untimely death and the poetry of Robert Frost. If nothing else, Cannes certainly gave the actor his exchange of ideas. "There's no way Antichrist isn't a major career embarassment for co-stars Willem Dafoe and Charlotte Gainsbourg, and a possible career stopper for Von Trier," wrote one particularly shocked American reviewer.
"This was great." Unfortunately the critics did not concur, and the film has been greeted largely by revulsion and confusion. "This was very full-on," says Dafoe of the filming process. Pegged as a psychological horror movie, Antichrist casts Dafoe and Charlotte Gainsbourg as newly bereaved parents whose grief propels the film from graphically shot sex scenes to graphically shot torture scenes (leg-boring, genital mutilation, you know the drill). So for me it's important." It is shortly before Cannes, and Willem Dafoe is sitting in a London hotel discussing his prospective trip to the festival to promote Antichrist, the latest film by Lars von Trier, who won the Palme d'Or in 2000 for Dancer in the Dark. 'T ruth is, generally I like film festivals somewhere at some level there's an exchange of ideas.
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