When Julian Schnabel � painter, filmmaker, visual-field agitator (have you seen his deep pink, 17-story building in Greenwich Village?) � came through town a few weeks ago to promote his new film, The Diving Bell and the Butterfly, his boisterous reputation of course preceded him. �Larger than life� is how the film�s star,
Mathieu Amalric (Munich), describes him. �Julian is a man of large appetites. He never sleeps � he is always eating, drinking, talking, inventing � .�
So Schnabel isn�t asleep when his assistant escorts me into his quarters at the Four Seasons, but he is clearly tired. Too tired, it seems, to do this interview anywhere but where he is � in bed, under the covers, with sunglasses on. He lifts a large paw and motions to me to sit down beside him on the high mattress, where, unable to keep one foot on the ground, I struggle to maintain professional poise.
Then the Texas-born artist, clothed in the same plaid shirt he wore at roundtable press interviews two hours earlier � where he arrived straight from pool, with wet hair, flip-flops, and sarong (somewhat of a trademark for him these days) � removes his shades, rolls over to face me, and hugs a pillow like a teddy bear.
�Would you like a drink?� he asks. �What do you like? Scotch?�
Two minutes later, the assistant returns with a tray bearing three glasses of extra fine scotch on the rocks � one for her, him, and me. She leaves, we clink, and another of Amalric�s observations rings through my head: �Julian always tries to break professional habits.�
In the context of The Diving Bell and the Butterfly, for which Schnabel received Best Director honors this year at Cannes, such iconoclasm ranged from making the film in French � over the protests of bottom-liners who had planned it to be in English � to assembling his cast without auditions
Source link: http://www.lacitybeat.com/article.php?id=6571&IssueNum=234
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