Where is joe dallesandro now

It was here that his magnificent physique caught the attention of mens' mags like Physical Pictorial and Bob Mizer's Athletic Model Guild. Through shoots like these and other low budget pornography flicks Joe saved the money to return to New York, got married, settled down next door to a methadone clinic and eventually found his way to The Factory.

By the age of nineteen Joe was anything but innocent, yet amongst the screaming divas attached to Warhol's magic circus he offered something pure. As a young hustler in Flesh and sequels Trash and Heat both directed by Paul Morrissey rather than Warhol , Joe became the first ever-male nude on film, and enraptured men and women alike.

Like sculpted marble, Joe's gift was his angular, asexual perfection and enigmatic smile. This made him a perfect icon of the silver screen, someone the audience, regardless of age, sex or sexual preference could project a million fantasies on to.

Having once been such a seductive symbol of youthful beauty it's difficult to imagine him getting old. However Joe's pushing sixty now, and when you talk to him, much about the man today can catch you off guard. My Favorite Actors. Least Talented Actors. See all related lists ». Do you have a demo reel? Add it to your IMDb page. Find out more at IMDbPro ».

How Much Have You Seen? How much of Joe Dallesandro's work have you seen? See more awards ». Known For. The Limey Uncle John. Cry-Baby Milton's Father. Black Moon Brother Lily. Show all Hide all Show by Hide Show Actor 54 credits. And the fact is, these movies have had a long walk. How did you first come to the attention of Warhol and Paul Morrissey?

I think everybody knows this story. I loved that soup. They told me this guy was shooting a movie down there. When I got down there and watched what they were doing I thought it was a home movie. This was not a real movie. It looked like a home movie to me. That was a 24 hour movie that Andy was shooting but it was cut down into a shorter film before it was released in the 24 hour film.

It was shown only once in its entirety. When they cut it down it was a film called The Loves of Ondine and that was my first movie with the Warhol people. When Paul approached me at the end of the shot, he said I need you to sign this release. I started laughing. I turned out to be wrong about it all, but the soup I got burned on. Was there any discussion while making Flesh and Trash that they were groundbreaking?

It was mentioned. I had to believe what they told me. When I went to Europe and did Frankenstein and Dracula , which were the last two I did with the Warhol people, I decided those would be the last movies I would do with them. I did a lot of those silly films in Italy. My manager at the time reminded me that since people expected me to do those kind of films I needed to continue so France was my place to work with art directors. I got to work with a lot of great directors.

Paul suggested he write a song about the people in the Factory. He went to a couple of the films we were in. He saw Flesh and from that he wrote lyrics that are supposed to identify who I am. It had nothing to do with who I am. For me. You were one of the last people with Holly Woodlawn before she passed away in December. What were your final moments with her like? I recognized it right away.

This casual attitude may surprise those familiar with the epochal Warhol-produced, Paul Morrissey-directed movies of the late s and early s in which Dallesandro appeared: These were films that made censors and audiences nervous with depictions of intravenous drug use, comedic violence and various types of sexual activity.

Featuring such Warhol "superstars" as Holly Woodlawn and Candy Darling in addition to Dallesandro, the early films, including "Flesh" , "Trash" and "Heat" , were sparsely distributed, but the movies known in the U.

Released almost 20 years ago, The Criterion Collection DVDs of the "Dracula" and "Frankenstein" movies now fetch high prices on the collectors' market. But I always plugged him as the leader of the band. He had a really good eye for finding people and putting them in his films.

I listened to him about not believing in the good things people said about me because then I'd have to take to heart the bad things they said about me, too. Whatever the fate of the movies, Dallesandro probably is better known to the general public for his associations with rock and roll than for his film work.

For years, the identity of the model in the photo was a mystery because "there was nothing identifiable about me in that picture," Dallesandro said, somewhat modestly — but he eventually took credit for the crotch. A photograph of Dallesandro also was used by The Smiths for the cover of the band's self-titled debut album in Dallesandro had a challenging childhood.