Steve Buscemi’s favourite arthouse films of the 1990s
One of the most unique actors in modern film, Steve Buscemi has had some of the most notorious roles in arthouse cinematic history.
From Reservoir Dogs’ Mr Pink to The Big Lebowski‘s Donny, Buscemi is one hell of a performer, making every role distinctly his own. He even provides an utterly charming voice-over to the most wholesome video on YouTube, Saturday in the Park.
His uniqueness always brings a human element to the world he inhabits; you get the depth-giving feeling that the “kinda funny looking” fella has a life beyond the screenplay, and that’s a vital facet of his acting.
With a varied filmography that includes the aforementioned titles alongside Pulp Fiction, Fargo, Billy Madison and Con Air, it’s fair to say Buscemi may know his way around a good flick or two. Coupling that with the actor’s known love affair with the craft of both acting and the filmmaking process, and you’ve yourself a singular star perfectly primed for a good recommendation or two.
While Buscemi’s filmography might stretch right back to 1985, when he first appeared on screens as a character called Willy in The Way It Is, his breakthrough is synonymous with the 1990s. That’s telling when it comes to the tale of how he first saw the first film he picked out as a prime arthouse cut from the era for Criterion.
The Reservoir Dogs actor picked up one film he watched with the Dogs director himself, picking Man Bites Dog, he says: “I saw it at the Toronto Film Festival with Quentin Tarantino. It’s a hilariously dark, fake documentary about a serial killer and his concerned friends and family.”
As the documentary crew steadily lose grip of their objectivity, the whole caper becomes more dark and dastardly as it moves along. “It’s not for everybody, but it genuinely shocked me while I laughed my ass off,” Buscemi said. It’s part of an engaging list that really shows off the actor’s love of high-quality film.
He also picks out My Private Idaho, citing the director as one of his heroes. “It’s hard to pick a favourite Gus Van Sant film,” Buscemi acknowledged, “but this one has my favorite River Phoenix performance. It took me a while to warm up to the story while watching it, but by the end, I was loving it. I like it when movies sneak up on you that way.”
The two selections so far are a measure of Buscemi’s adoration for both subtlety and set-plays. Little wonder he is a master of himself. Alas, few have paired the two more seamlessly than the write Raymand Carver. In fact, you feel as though you could hear Buscemi deliver the line, “Honey, no offence, but sometimes I think I could shoot you and watch you kick”, just as much as you could hear him say, “I am a cigarette with a body attached to it”.
So, when one of his favourite directors took on Carver’s work, Buscemi was always going to be a fan. “Robert Altman interprets Raymond Carver with an amazing cast of characters,” he said, praising Short Cuts. “Look at any of Altman’s films and you’ll find they are among the finest examples of collaborative efforts, yet unmistakably and uniquely his own.”
He continued, “I was lucky enough to get to work with him on Kansas City, and briefly on Tanner on Tanner, and will always be inspired by his vision, independence, and generosity of spirit. About Kansas City he once said to me, ‘I don’t care if this film makes a nickel – I want it to be successful on my terms’. Then gesturing toward himself and me, he added, ‘Our terms’. We’ll miss you forever, Bob.”
Steve Buscemi picks his favourite 1990s films:
- Man Bites Dog – Belvaux, Nozel, Poelvoorde
- My Own Private Idaho – Gus Van Sant
- Short Cuts – Robert Altman
