Leigh J McCloskey
It’s very interesting, because he said to me, he goes, “You’re the only American actor I’d like to work with again.”1 And I realized, because Dario is very introverted, very shy, you can tell he has a very strong inner life. And what was very interesting is that we — because he didn’t really speak any English. Claudio, his brother would translate. But what was so interesting is we met on the visual plane. He saw me looking at how he had orchestrated the alchemical coloring of the shots. I said something and then he noticed what I was reading and then he noticed my artwork, and I had done three images from Inferno of Lacrimarum, Suspiria and Inferno, and what was very interesting was I showed him.
I ended up giving him one of the drawings as a gift, and it really was. We met on the level of visual artists, and I really do feel like that’s where he was able to really express more of that which can’t be expressed in a type of conversation, but more like you have to sense empathetically. And what was interesting about him was he — you almost read Dario that way, at least in those days, empathetically. And so, it was quite an interesting time we had together, and it was that also the real beginning of the relationship of whenever I’d work, I would draw, and where I would draw, because it was my first time in Italy and in Europe. It had an enormous effect on my art, you know, just being around it, being around that sensibility and being around of course the sets, which were quite astounding.2