Dafoe on Boxing, Survival and Career

“I must admit, there’s a part of me that does a project to confront certain fantasies I have.”

Willem Dafoe was talking about his role of boxer Salamo Arouch in “Triumph of the Spirit.”

“I’m not a hard-core boxing fan, but to me it’s an attractive sport because it’s almost philosophical.

“It’s the ultimate sporting event--man against man. And, it’s dangerous.”

Dafoe was intrigued by the notion of a boxer in a concentration camp: “Though I realize it could raise snickers, it’s rooted in fact--which takes some of the curse off.”

He added: “This is a story about survival. And boxing is all about survival--making sure you’re the guy who’s standing and not the other guy. It’s a simple parallel.

“Our story is also rooted very simply in actions and family and kind of an ambiguous morality. I’m attracted to that because it raises questions.”

Interviewed at his hotel in the coal mining town of Katowice, Dafoe said he liked the fact that “Triumph” put him through a physical regimen.

Before filming began, he spent two months working out at Gleason’s Gym in Brooklyn, with trainer/consultant Teddy Atlas. On location, he and Atlas have spent hours sparring and choreographing the film’s bouts.

“I may be wrong, maybe it’s a conceit, but I think our fight scenes are being done a bit differently.

“We’re boxing--we’re really hitting each other. And the fights are shot in big shots. So it’s not like a lot of other movies--I won’t mention any names--where they move the camera and choreograph the fight with a lot of optical magic.

“This is more of a documentary style. I’m not sure whether it’s better or worse, yet. But it’s certainly an interesting way to go.”

Pointing out that the role provides him with a love interest--opposite Wendy Gazelle as Allegra--he said, “The romance is nice too. I’ve never done anything this conventionally romantic. I mean,” he smiled, “I’ve done my share of boys’ films--so I’m interested in playing across from women a little more.”

Dafoe has also done his share of controversial films.

The last, “Mississippi Burning,” was accused of not reflecting the black point of view.

“When people start judging films on what they should be, rather than what they are, then we’re in trouble,” Dafoe declared. “In an odd way, the same thing happened with ‘The Last Temptation (of Christ).’ People didn’t address what it was, they addressed what they wanted it to be.

“That kind of defeats the whole purpose or art, or of anyone telling a story or making something.”

Is he concerned about the fact that “Triumph of the Spirit” is being made independently--without a domestic distribution deal?

He smiled, then declared: “Movies that nobody will touch are becoming my specialty.”