Vincent Gallo - Revista AnotherMan (2018)

Vincent Gallo | AnotherMan https://www.anothermanmag.
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VINCENT
GALLO
ANOTHER MAN
MAGAZINE CONTACT ADVERTISING PRIVACY TERMS
SEPTEMBER 27, 2018
TEXT Vincent Gallo ©PHOTOGRAPHY Collier

2005 - 2021 Another Man Schorr STYLING
Publishing Ltd. Katy England
1 of 27 01/07/21 12:37
Vincent Gallo | AnotherMan https://www.anothermanmag.com/library/10525/vincent-gallo
Issue 26
WHAT YOU ARE ABOUT TO READ IS AN OPEN LETTER FROM Vincent Gallo. THESE
ARE HIS PERSONAL THOUGHTS – UNFILTERED AND UNEDITED – ON EVERYTHING
FROM NARCISSISM AND FEMINISM TO WEINSTEIN AND TRUMP, AND WHY HE
NEVER WANTS YOU TO SEE HIS WORK.
Vincent Gallo Sings by Vincent Gallo.
My name is Vincent Gallo. If you by chance know who I am, I hope that you don’t feel
any negativity towards me. I don’t like to be called Vince. Please call me Vincent, Gallo,
Vinnie Gallo, or Mister. Those are your choices. And I was not born Vincent Vito Gallo Jr.
but instead just Vincent Gallo with no middle name. I invented the middle name Vito and
used it once or twice, but that’s not my name. Somebody please correct it on Wikipedia.
Since I’m here and writing this piece, it makes sense to me to go on the record and
clarify some hearsay, lies, fantasies, and the delusions of others. To speak for myself and
to offer insight without a journalist separating you from me and the truth.
GALLERY
Vincent Gallo for Another Man Issue 26
Both my parents were hairdressers. My father could sing well, but never did so
professionally. Instead, he spent his time gambling and retired from work when I was still
a young boy. We had very little money and my father was stingy with what we had. He
controlled the small amount of money my mother made as a hairdresser. I got my first full
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time job at 12 years old. Four hours before school, five hours after school, ten hours on
Saturday and ten hours on Sunday. You see, the biggest fear of my father’s life was that
any of his children would ever need anything from him. So I made sure to take care of
myself in every way and from very early on. My mother, who is a very kind person, is also
a martyr. She worked very hard all day and night in a crippling rhythm. She is extremely
neat and fanatically clean. They say I look like her. I’m one of those people who looked
completely different as a young boy than I did as a teenager or do as an adult. The
transitions were very dramatic and happened fast. I was twelve years old when it all went
wrong. From straight blond hair to curly, greasy brown hair. From a beautiful all-American
baby face to whatever my face is now. Sort of Dracula meets an insect. I know what I
look like. It’s certainly not how I would have made myself look. Don’t blame me.
“I HAD VERY LITTLE INTEREST IN PEOPLE AS A KID AND NO

REAL CHILDHOOD FRIENDS. UNLESS WE WERE STEALING
TOGETHER”
As a boy, I had a lot of hobbies and interests. Mostly cars and motorcycles, hi-fi gear,
guitars, records, fish and sports. I never, ever thought of making a movie, or doing
paintings, or taking photographs. I did want to be rich, though. You see, during a very
cold Buffalo winter, my kindergarten teacher read the class Hans Christian
Andersen’s The Little Match Girl and it gave me bad dreams about being poor. After
that, most of my thoughts were about survival, and I’ve always had a lot of fear about
supporting myself. I had very little interest in people as a kid and no real childhood
friends. Unless we were stealing together. I am only one year younger than my brother
and we shared a room since birth, but I don’t remember spending any time together.
Instead, I spent my free time in a section of my family’s basement where I serviced many
fish tanks. To this day, I have never read a book of fiction. I did spend many hours then
looking at and reading catalogs, brochures, pamphlets, technical journals, and parts lists
that focused on the things I liked. I drove my bicycle all over Buffalo to visit guitar, record
and hi-fi shops, and also to an aquarium shop on Hurtle Avenue. Aquatic Nature it was
called. Unfortunately, most of my interests were esoteric to my classmates. I was a
fanatic and a connoisseur and I made constant and unreasonable sacrifices for my
hobbies and interests. The sacrifices included distance from my few friends for they
would take up time away from my hobbies or time I needed to work to earn money.
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All clothing and accessories from the S/S18 and A/W18 Saint Laurent by Anthony
Vaccarello collections Photography Collier Schorr, Styling Katy England
America has gained this reputation as the land of opportunity. It has done so by trying to
destroy any and all hereditary obstacles to advancement. Instead, in America the idea is
that individual initiative alone could create social mobility. A self-made man would owe
his advancement to things like self discipline, loneliness, sobriety, the avoidance of debt,
an excessive workload, relentless effort, disregard for his likability, self denial, and self
abuse. A self-made man would live for the future and reject any self indulgences like a
holiday or even a day off. Instead, under constant pressure, he would focus on grueling
accumulation, one penny at a time. I’m a self-made man.
“THE CRITICS WHO SAY NOTHING HAPPENS IN THE BROWN
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BUNNY WHILE MY CHARACTER DRIVES ACROSS THE COUNTRY,

THOSE CRITICS HAVE THE INTELLECT OF CHILDREN. CHILDREN
NEED TO BE CONSTANTLY ENTERTAINED AND AMUSED”
I remember my family’s only vacation. It was a trip from Buffalo into Canada to a lake.
The journey would include a stay in a motel, which was described as having a large
swimming pool. I had never been to a lake and had barely seen a swimming pool. My
excitement was overwhelming. The trip was in the range of 250 miles. About a 5 hour
drive. This meant that this vacation would include the longest journey of my life. There
were three of us, the children. And my parents. I am the middle child. My parents owned
a Buick. For several days before the trip, I dreamed about and fantasized about how the
lake would be, how the water would feel, how deep it would be, if I would see fishes,
and the swimming. I would swim and swim. We would be away from home so my mother
could not cook homemade Italian food. Instead I would get to eat the things that I really
liked. If I was lucky, McDonalds. I remember the morning when we left. It was still dark.
My parents argued. My mother brought pillows and blankets and a Styrofoam cooler
filled with snacks. A five hour trip is a long trip for a five year old. I spent a lot of the time
in the car lying down in the section of the floor where your feet would go. I was small
enough to curl up there, and tried my best to sleep. I remember the trip quite well. I was
only interested in getting there. And the waiting was uncomfortable. I don’t remember
the music on the radio, which normally I would listen to. I didn’t look out the window,
which I would also normally do. Instead I sort of suspended myself, a kind of hibernation.
I was simply focused on getting there. And I wanted the trip to go by as fast as possible.
I was a child then. Only a five year old boy. The first time I traveled far as an adult, I was
seventeen. I drove a car from New York City to Los Angeles. It was an old car and not in
good shape. And I had very little money. I wanted to see California. It was so far from
my childhood in Buffalo. Every minute of the trip was beautiful and I remember well the
melodramas of the car failures and the repairs. And the music. Even familiar music
sounded new or at least different on the road. I remember the morning when I came in
from the desert and arrived in Los Angeles. It was exciting. LA was exciting. But in fact, it
was the trip I remember best, the traveling, the looking around, the changes in weather
and landscape, the very simple and subtle interactions with people along the way. I was
an adult. That’s the difference between adults and children. The critics who say nothing
happens in The Brown Bunny while my character drives across the country, those critics
have the intellect of children. Children need to be constantly entertained and amused.
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Some people wait for the blow job scene in The Brown Bunny the way I waited to get to
the lake when I was a child.
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On May 19, 2003 in southern France, in the city of Cannes, during the running days of
the most celebrated film festival in the world, the first press screening of my new film The
Brown Bunny would be seen by several thousand people. Critics, journalists, and
assorted merchants of the film industry would watch it together. There was not a single
empty seat. The film began with opening credits over black background. In white letters
they read, “Gray Daisy Films presents A Vincent Gallo Production. Written, directed,
edited and produced by Vincent Gallo.” Over these credits, which lasted about 6
seconds, a loud heckling assortment of boos, hisses, laughing, sneers and shouts of
“narcissist” drowned out the film’s opening soundtrack. Something was wrong.
Critics use the term narcissism so loosely that it retains little of its psychological content.
They confuse cause and effect. When using the word narcissism as critique, they smell
of ideology. In their loosest meaning of the word, they can also mean their own
motivated perception of selfishness or self indulgence.
A narcissist admires and identifies himself as a winner out of his fear of ever being
labeled a loser. The character I play in The Brown Bunny is in no way a winner, and by
making a film which by its very nature could have only a limited release, I allowed them to
label me a loser. By making The Brown Bunny there was in no way an opportunity to
achieve the goals of a narcissist, the goal of being labeled a winner. In any case, it was
the last thing on my mind. I was thinking about the film I wanted to make, not other
people’s perceptions of why I would make it.
The screenplay of The Brown Bunny has certain goals. In the film version, I try to achieve
the screenplay’s goals in a legitimate way. However, unlike the screenplay, the film is
dependent on viewers to tolerate my appearance in the film. The tolerance is not
towards whether I have played the part well or that I am compelling enough
photographically. Instead, the viewer must tolerate something else. The viewer must also
get over their suspicions about why the film was made.
“ THE BROWN BUNNY IS NOT AN ATTACK ON FEMINISM OR A

SEXIST COMMENT ON THE CONTEMPORARY WOMAN’S
INCREASED DEMAND FOR SEXUAL FULFILLMENT. INSTEAD IT IS
SIMPLY A REMINDER OF THE CORRUPTED NATURE OF MEN
WHEN HAVING CONTACT WITH A LESS THAN SOBER WOMAN.”
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The Brown Bunny was an attempt at maintaining illusions and simultaneously presenting

a heightened and enhanced version of reality, while hoping to result in new forms of
insight into pathological behavior.
I was also interested in a character that even during sex could not let his mind go blank
and fill up with the sex. Instead, while having sex he is rapidly thinking and his thoughts
have a range of emotions far away from pleasure. This strange behavior juxtaposed
against graphic real sex is disturbing.
The common purpose of pornography is to enhance sexual pleasure or sexual fantasy. It

is meant to be free of things like guilt, insecurity, anger or responsibility. It can also be
detached from the struggles of intimacy. I chose to use imagery common in
pornography but placed these images in the emotional context which included intense
guilt, anger, regret, anguish, and confusion. In this context, it is difficult for the images to
enhance sexual pleasure or sexual fantasy. Instead, the graphic images work better to
enhance the discomfort of intimacy.
The Brown Bunny is not an attack on feminism or a sexist comment on the contemporary
woman’s increased demand for sexual fulfillment. Instead it is simply a reminder of the
corrupted nature of men when having contact with a less than sober woman. The Daisy
character is not to blame, yet it is still sad because underneath the feeling is that the
tragedy could have been avoided. If it’s late at night just before the discotheque closes
sometimes I see a very drunken woman left alone on the dance floor. She has no control.
She’s out of her reasonable mind and unaware. She becomes hyper agreeable. She
magnetizes the ugliest characteristics of the ugliest men left in the discotheque. Doom is
in the air. Later on this can’t feel good.
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Listening to nasty remarks about me or my work doesn’t feel good. I don’t enjoy being
unpopular, however in order to think freely, I must be willing to risk being unpopular. To
think, I must risk being offensive. Anyway, most people are not listening but instead
projecting.
I am aware of being responsible for the things I make. I am aware of it when I’m making
them, especially when working with others. It often leads to conflicts. But most often
those conflicts are over values and not the work.
Journalists who disagreed with my thinking, instead of listening would distort and
simplify what I said and then restate it to make me appear cartoonish and offensive in
hopes of marginalizing my work.
Almost everyone involved in cinema and arts believes group identity is most important. I
don’t.
I hope my work is more interesting and more intelligent than I am.
Today’s liberal mainstreamers have tried hard to eliminate antagonism and instead have
cultivated a weird friendliness toward cultural radicalism. Cultural radicalism has then
become completely fashionable and it is now part of the status quo.
“TODAY’S LIBERAL MAINSTREAMERS HAVE TRIED HARD TO

ELIMINATE ANTAGONISM AND INSTEAD HAVE CULTIVATED A
WEIRD FRIENDLINESS TOWARD CULTURAL RADICALISM.
CULTURAL RADICALISM HAS THEN BECOME COMPLETELY
FASHIONABLE AND IT IS NOW PART OF THE STATUS QUO”
I am not a provocateur.
I believe in fairness but I do not believe in equality. I believe in fairness but I do not
believe in equality. I reject the bastards who try to force equality and force outcome.
13 of 27 01/07/21 12:37
I don’t believe any activist has the right to speak for entire communities.
If I had the chance to control all the systems of the world, the bureaucracies, the city
plans, the government programs, the circulation programs, architecture, and charity,
after my careful studies, my impulse would be towards elimination to creating perfection
– to remove things, take them away, or reduce them. I feel the same way about people.
There’s a part of me that thinks and believes every single person is great, amazing, vital
and likable. However, I’m torn between wanting to help each and every person in every
possible way. Torn between that and wanting to erase 6 billion of them, or even more.
I believe art in its most radical form is done completely without purpose. Earlier in my
work, I would create things in that way – without any purpose whatsoever. Later though,
I would trade this work for ways to survive and ways to have access. I noticed then that
there was some purpose driving me which felt dependent on the public. That all became
uncomfortable. There is no purpose to my work now and the public has no part in it.
I am not, in my own mind, part of the tradition of the avant-garde. I do not, like the avant-
garde artists, try to create poetic prophecy. I always think my understanding of what is
beautiful is common and I am surprised when people find my work strange or weird or
hard to sit through.
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Roger Ebert claimed that the re-editing of The Brown Bunny after Cannes allowed him a
difference of opinion so vast that he first called it the worst film in history and eventually
gave it a thumbs up. This is both far fetched and an outright lie. The truth is, unlike the
many claims that the unfinished film that showed at Cannes was 24 minutes shorter than
the finished film, it was only 8 minutes shorter. The running time I filled out on the
Cannes submission form was arbitrary. The running time I chose was just a number I
liked. I had no idea where in the process I would actually be when I needed to stop
cutting to meet the screening deadline. So whatever running time was printed in the
program, I promise you, was not the actual running time. And the cuts I made to finish
the film after Cannes were not many. I shortened the opening race scene once I was
able to do so digitally. After rewatching the last 4 minutes of the film over and over
again, somewhere within those 4 minutes, I froze the picture and just ended the film
there, cutting out everything after that point, which was about 3 minutes. Originally in the
salt flats scene, the motorcycle returned from the white. I removed the return portion of
that shot, which seemed too literal. And I cut a scene of me putting on a sweater. That’s
pretty much it. Plus the usual frame here, frame there, final tweaks. If you didn’t like the
unfinished film at Cannes, you didn’t like the finished film, and vice versa. Roger Ebert
made up his story and his premise because after calling my film literally the worst film
ever made, he eventually realized it was not in his best interest to be stuck with that
mantra. Stuck with a brutal, dismissive review of a film that other, more serious critics
eventually felt differently about. He also took attention away from what he actually did at
the press screening. It is outrageous that a single critic disrupted a press screening for a
film chosen in main competition at such a high profile festival and even more outrageous
that Ebert was ever allowed into another screening at Cannes. His ranting, moaning and
eventual loud singing happened within the first 20 minutes, completely disrupting and
manipulating the press screening of my film. Afterwards, at the first public screening,
booing, laughing and hissing started during the open credits, even before the first scene
of the film. The public, who had heard and read rumors about the Ebert incident and
about me personally, heckled from frame one and never stopped. To make things
weirder, I got a record-setting standing ovation from the supporters of the film who were
trying to show up the distractors who had been disrupting the film. It was not the cut nor
the film itself that drew blood. It was something suspicious about me. Something
offensive to certain ideologues.
“A YEAR LATER, SEAN PENN, WHO WAS AT CANNES IN 2003,

SAID TO ME THAT IF THE FILM’S CREDITS READ, ‘WRITTEN AND
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DIRECTED BY CHLOE SEVIGNY,’ IT WOULD HAVE LIKELY WON

THE PALM D’OR”
A year later, Sean Penn, who was at Cannes in 2003, said to me that if the film’s credits
read, “Written and Directed by Chloe Sevigny,” it would have likely won the Palm D’Or.
Meaning those judgmental judges would have felt the film was a feminist triumph and
Chloe so brave.
Chloe Sevigny was never my girlfriend and for several years before filming The Brown
Bunny we were less than friends and had no contact whatsoever. After filming The Brown
Bunny I did not see her or talk to her until Cannes 2003 and then not again until the New
York premiere in 2004. I’ve only seen her a couple of times since 2004. Recently I saw her
at the Hotel Crillon in Paris. We sat together for a snack at a food bar there. I still feel
something strong for her. Chloe is very special, beautiful. I was lucky she was open to
me and that project because I could imagine only us in the film together and I likely
would not have made the film with someone else.
Contrary to what was written at the time and printed in Screen International and then
reprinted many times after, I did not apologize for making The Brown Bunny. I am not
sorry that I made the film. “Hey, if people don’t like the film, I’m sorry for them,” is a far
cry from, “I am sorry that I made the film.” or “I apologize for it”. Fuck Screen
International and their lies.
17 of 27 01/07/21 12:37
All clothing and accessories from the S/S18 and A/W18 Saint Laurent by Anthony
Vaccarello collections Photography Collier Schorr, Styling Katy England
Thankfully, these days Donald Trump has at least created some doubts about everything
related to the press. In 2003 I was the Donald Trump of Cannes and anything I said or
did was twisted and filtered through the righteous tabloid barbarians posing as
journalists and critics.
Today, young people in the big cities in New York and California are all part of a similar
social ideological consensus and all think alike. They are highly motivated in their
ideological reasoning and are intolerant.
By the way, tolerance is tolerance is tolerance. Period, you assholes. Today’s intolerant,
young, liberal California/New Yorkers are only comfortable within their own shared
18 of 27 01/07/21 12:37
consensus. Friends must think alike and believe the same things now. They must vote the
same and defend the same ideology like zombies. Anyone who disagrees can only be
evil, stupid, and wrong.
Friends Jasper Johns and Robert Rauschenberg were quite different from one another in
many ways. However, through competing and collaborating and sharing and respecting
one another’s vocabulary and differences, they were able to reach their highest level.
They were two men with an IQ of 160 each and together they equaled 320. In today’s
world of overwhelming consensus one plus one equals one.
Buffalo 66.
“I HOLD GRUDGES SOMETIMES AND I HAD THAT A LITTLE BIT

WITH CHRISTINA FOR REASONS THAT I MAY HAVE
EXAGGERATED. I INSULTED HER JOKINGLY ONE DAY TO A
FRIEND AND A SNEAKY GOSSIP WRITER OVERHEARD ME.
CHRISTINA AND I HAVE NOT SPOKEN SINCE. THERE ARE A LOT
OF PEOPLE I DON’T LIKE AND HAVE NO PROBLEM CALLING
OUT. CHRISTINA IS NOT ONE OF THEM”
I had a strong, special reaction to Christina Ricci the first moment I saw her on film. That
reaction pushed me to want to make my own film so I could work with her. I still smile
when I see a picture of her and when she insults me in the press it reminds me that we
are connected in some way, and for that I am grateful. Christina Ricci was my friend
during the filming of Buffalo 66 and working with her made sense and felt natural. I don’t
think she likes the finished film much. During the film’s release she didn’t do much to
support it. Instead, she pushed another film of hers called Opposite of Sex which was
released around the same time. Without Christina’s strong support, things were much
harder regarding the release of Buffalo 66 and it forced me to generate interest in the
film on my own. I hold grudges sometimes and I had that a little bit with Christina for
reasons that I may have exaggerated. I insulted her jokingly one day to a friend and a
sneaky gossip writer overheard me. Christina and I have not spoken since. There are a
lot of people I don’t like and have no problem calling out. Christina is not one of them.
19 of 27 01/07/21 12:37
I made two films titled Promises Written in Water and The Agent. I have not released
either film. For my close friend Sage Stallone, who appears in both, I agreed to show the
films twice at the 2010 Venice Film Festival followed by a screening of each at the
Toronto Film Festival. Then Sage didn’t show up to Venice or Toronto and so neither of
us attended any of those screenings. The world could spin for a trillion more years but
there will never be another like Sage Stallone. He was the most original, funny, nutty,
brilliant person I have ever met and I miss him so much.
Making a film with no plan to show it was more transforming than otherwise. The
possibilities of what a film could be, could never be realized with the public so in mind.
The public has no productive purpose for me now. If no one ever sees or hears anything
I make again, it doesn’t change what I’ve made but instead changes the possibilities of
what I could make later on. A relationship with the public creates expectations that make
it difficult for that public to look at any new work naturally and without bias. Promises
Written in Water and The Agent are highly conceptual, stripped down films that may not
entertain many. But the exercise of making them felt far beyond where I went
with Buffalo 66 and even The Brown Bunny. The rumors of how both were made and why
I have not released them are all 100% complete mistruths and fake quotes. 100%
complete mistruths and fake quotes.
A long time ago, Richard Avedon included me in a series of ads for a Calvin Klein
fragrance. Also featured was Kate Moss. I remember meeting her then and thinking how
wild and incredible she was. And so beautiful. She was dating my friend Johnny and I
thought how lucky he was. This last fall we both appeared in the new Saint Laurent ads
and so we sat together at the show in Paris. It was the first time I’d seen her since Calvin
Klein in 1995. Later that night I watched her a bit at a party and talked to her briefly. In a
room filled with people, Kate stands out. There is really something amazing about Kate
that I could go on and on about.
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I am not really in Goodfellas. I’m a glorified extra in that film. Anytime a writer writing
about me includes Goodfellas in my list of credits I know they are lazy, disinterested, and
don’t like films.
I was close to Asia Argento, but we were never engaged. I do remember though
threatening Harvey Weinstein for what Asia claimed he did to her. That created a real
enemy in Harvey who certainly went out of his way to marginalize my work and my
opportunities as much as he could. By calling him out then I was his enemy and no one
from the press would repeat any of my claims against him. My clash with him was costly
to me in a real way. Naturally, it felt bad when, instead of speaking out along with me,
Asia then denied and changed her story and went on to work with him, carry on a
personal relationship with him, and repeat additional things I said about him to further
enrage him against me. Her appearance in recent press regarding Harvey is very
uncomfortable for me.
What if, instead of taking a $100,000 payoff to remain silent, Rose McGowan filed
charges against Harvey Weinstein at the time of her incident? How many future incidents
would she have prevented?
Harvey Weinstein is a brutal pig, yes, but I really wish it wasn’t those two particular girls
getting glorified for now saying so.
The feminist tribe chooses odd heroes. Hillary Clinton. Feminism should be a fight for
fairness. Instead the fight is only to control outcome. And when feminists don’t like
outcome, they assume something’s unfair. Like fools. Most of the left is the same way.
I never dated Corey Kennedy, never kissed her, never touched her. I didn’t even like her
much and she smelled funny. I barely knew her. She and her boyfriend approached me
once and asked me to take a picture with her. He was a blogger and they were both
opportunists.
Chris Habib is an asshole.
River Phoenix is by far the best and most beautiful of his generation.
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“HARVEY WEINSTEIN IS A BRUTAL PIG, YES, BUT I REALLY WISH

IT WASN’T THOSE TWO PARTICULAR GIRLS GETTING
GLORIFIED FOR NOW SAYING SO”
Laird Hamilton is the greatest of them all. And by far
I still wonder about this girl Ada Marie Monaco that I met at Villa Roma Resort around
1974. I think her father’s name was Santo. I think they were from Staten Island.
Hey, Mark Zuckerberg, Sheryl Sandberg and David Wehner, please lie down and die.
Viv Albertine, what really happened was that when we finally met I wasn’t attracted to
you and was only being polite by not making that clear. Your story of us is just a story
you made up in your head. And fuck you for the betrayal of my privacy for your own self-
glorification.
Quentin Tarantino, I’m sorry for goofing on you all these years. You’re one of a kind.
You’re great. Peace.
I like Donald Trump a lot and am extremely proud he is the American President. And I’m
sorry if that offends you.
The reasons why I do things are difficult for me to understand and difficult for me to
explain.
This has been uncomfortable and embarrassing and I do not feel anything productive will
come of it.
The S/S18 ‘Psychodrama’ issue of Another Man is out now. Buy a copy here.
HAIR Holli Smith at Art Partner MAKE UP Hiromi Ueda at Julian Watson Agency using
Dermalogica SET DESIGN Alex Bock at Streeters PHOTOGRAPHIC ASSISTANTS PJ
Spaniol, Max Dworkin, Paul Jedwab DIGITAL TECHNICIAN Stefano Poli STYLING
ASSISTANT James Campbell MAKE UP ASSISTANT Miki Matsunaga RETOUCHING
24 of 27 01/07/21 12:37
Two Three Two PRODUCTION Sylvia Farago LTD
MORE LIBRARY
25 of 27 01/07/21 12:37

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STYLE & GROOMING LIFE & CULTURE LIBRARY PURCHASE

MAGAZINE CONTACT ADVERTISING PRIVACY TERMS

SEPTEMBER 27, 2018

TEXT Vincent Gallo ©PHOTOGRAPHY Collier

Vincent Gallo Sings by Vincent Gallo.

Vincent Gallo for Another Man Issue 26

“I HAD VERY LITTLE INTEREST IN PEOPLE AS A KID AND NO

“THE CRITICS WHO SAY NOTHING HAPPENS IN THE BROWN

BUNNY WHILE MY CHARACTER DRIVES ACROSS THE COUNTRY,

“ THE BROWN BUNNY IS NOT AN ATTACK ON FEMINISM OR A

The Brown Bunny was an attempt at maintaining illusions and simultaneously presenting

The common purpose of pornography is to enhance sexual pleasure or sexual fantasy. It

I hope my work is more interesting and more intelligent than I am.

“TODAY’S LIBERAL MAINSTREAMERS HAVE TRIED HARD TO

“A YEAR LATER, SEAN PENN, WHO WAS AT CANNES IN 2003,

DIRECTED BY CHLOE SEVIGNY,’ IT WOULD HAVE LIKELY WON

“I HOLD GRUDGES SOMETIMES AND I HAD THAT A LITTLE BIT

Chris Habib is an asshole.

“HARVEY WEINSTEIN IS A BRUTAL PIG, YES, BUT I REALLY WISH

Laird Hamilton is the greatest of them all. And by far

The S/S18 ‘Psychodrama’ issue of Another Man is out now. Buy a copy here.

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