- DāOnofrio, Vincent
- (June 30, 1959ā )Ā Ā Ā Vincent Philip DāOnofrio moved from Brooklyn to Miami with his three older sisters at a young age, and he also spent some of his formative years in Hawaii. When he was 18, DāOnofrio returned to New York to study acting at the American Stanislavski Theater. After touring with that company for several years, he earned the leading role in the 1984 Broadway production of Open Admissions at the Music Box Theater. DāOnofrioās first film role was a small part in Troma Studiosā teen sex comedy The First Turn-On! (1983), but it was his haunting performance as Leonard Lawrence (āPrivate Pyleā) in STANLEY KUBRICKās FULL METAL JACKET that made him famous. Cinematographer DOUGLAS MILSOME says of Pyleās murder-suicide scene, āThat scene was very powerful; DāOnofrio flashes what people are now referring to as the āKubrick crazy stare. ā Stanley has a stare like that which is very penetrating and frightens the hell out of you sometimes. I gather heās able to inject that into his actors as well. āĀ Ā Ā DāOnofrio landed the job based on several videotaped auditions and an audio tape which he mailed to Kubrick. He originally learned of the part through his old friend and future costar MATTHEW MODINE. āI rented a home video camera, found a green stoop that resembled an Army barracks, put on an Army cap and green fatigues, and did a monologue about a rookie cop, except that I left out all of the lines about cops. I sent it off and got a call right back. ā Kubrick said of this particular bit of casting: āPyle was the hardest part to cast in the whole movie. I wanted to find new faces. We received about three or four thousand videotapes. āĀ Ā Ā To fit the part of the overweight, self-conscious Private Pyle, the normally physically fit DāOnofrio put on more than 70 pounds, of which he said, āPhysical transformation is part of being an actor. If for every role I could delve deeply into a character, I would. Thatās how I was trained, the same way as De Niro and Duvall, and the people who change themselves when they do things. The emotion can come, but the physicalness is very important. The secret is to put yourself totally in the circumstances of your character. . . . I gained weight everywhere; my thighs were tremendous, my arms were tremendous, even my nose was fat. I had a tough time tying my shoelaces, but this was the only way I could play Leonard, because I had to be weakminded in the same way. Because of the weight and the fact that he was totally out of his element, Leonardās mind became weak. He was slow to start, a country bumpkin, but I donāt think he was insane. What they did to Leonard was they made him into a very efficient killing machine. . . . Iām not fashion conscious; but during that time I had to always think about what I was wearing and what I looked like. I wore big pants and big shirts for ease of movement. āĀ Ā Ā As a result of all the excess poundage, DāOnofrio tore a ligament in his knee while shooting Full Metal Jacket. Doing the marching scenes after the injury proved to be a frustrating, painful experience for the actor, whose mental state during filming may have found expression in the more than 200 oil paintings he created during the production: āThe colors were very red, black, and gray, but as the shooting ended for me, more blue and green appeared. . . . I havenāt talked to [Kubrick] since the day I left. Heās the kind of guy I would work with again in a second, but you donāt necessarily want him as your friend, and he doesnāt necessarily want you as his friend, either. ā For a long time after Full Metal Jacket, DāOnofrio found himself typecast, seemingly inescapably bound to Private Pyle:āEveryone thought I was [that] character. . . . After Full Metal Jacket I got endless offers to play either really fat people or psychotics. But I wanted people to see me as a normal guy. I wanted to start being looked at for romantic leading man roles. ā Despite that sentiment,Vincent DāOnofrio has focused much of his career on independent films of a darker, more serious nature, including The Player (1992), Claire Dolan (1998), and The Whole Wide World (1996, in which he stars as pulp fantasy author Robert E. Howard). DāOnofrio later said, in apparent self-contradiction,āIt was always my plan to build a reputation as a character actor. I have this niche, and Iāll be working forever. I donāt look like a leading man. I look more like the guy whoāll fix your car than steal your girl. āĀ Ā Ā Leading man or not, DāOnofrioās career came to fruition as he turned out to be one of Hollywoodās busiest actors of the 1990s, starring in more than 21 new theatrical releases in that decade. Many of those were independent films, but DāOnofrio also appeared in some mainstream blockbusters, such as Men in Black (1997). He explained, āDoing a studio film fills my bank account up, so I can take some time off and produce my own films or work in new directorsā films, which donāt pay so much. So, I donāt mind doing studio films if the situation is right. ā Indeed this strategy has paid off, allowing DāOnofrio to produce or executive-produce such films as Steal This Movie (2000), The Velocity of Gary (1998), Guy (1996), and The Whole Wide World. His TV appearances include Miami Vice, The Equalizer (1985), and Homicide: Life on the Street (1993), and Law and Order: Special Victims Unit. His theater work has included Sam Shepardās The Tooth of Crime, in 1997. More recent films include The Cell (2001), Ethan Hawkeās Chelsea Walls (2001), and with Jodie Foster, The Dangerous Lives of Altar Boys (2001).Ā Ā Ā ReferencesĀ Ā Ā ā Anderson, John, āAn Actor Stretches Out,ā Newsday, August 13, 2000, p. D-21;Ā Ā Ā ā Atkinson, Michael,āHype: Man in Black,ā Movieline, May 1997, p. 14; Bennetts, Leslie, āNew Face: Vincent DāOnofrio: The Trauma of Being a Kubrick Marine,ā New York Times, July 10, 1987, p. C-16;Ā Ā Ā ā āDoing the Tango,ā New York Times, May 18, 1989, p. C-8;Ā Ā Ā ā āHollywoodās Busiest Actors,ā Variety, October 19, 1998;Ā Ā Ā ā Marks, Peter, āA Star is Found,ā New York Times, September 27, 1996, p. C-2;Ā Ā Ā ā Russell, Candice, āActing Has Its Ups and Downs,ā Daily News, September 7, 1987, p. 31;Ā Ā Ā ā Spelling, Ian, āAs Men in Blackās Bad Bug, Vincent DāOnofrio Gets Under Your Skin,ā Starlog, October 1997, pp. 80ā81;Ā Ā Ā ā Tallmer, Jerry, āTaking a Bite Out of Crime,ā Playbill 97, no. 1, (January 1997): 28;Ā Ā Ā ā āVincent Philip DāOnofrio,ā Mystic Pizza press book, ca. 1988.
The Encyclopedia of Stanley Kubrick. Gene D. Phillips Rodney Hill. 2002.
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