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Joined 08-20-12, id: 4211582, Profile Updated: 12-19-12


My internet name is SamGrape. That’s my name on all the sites I’m on. Including YouTube, so you could check out my channel if you were interested ;) I'm a 14 year old female and I love Johnny Depp plus I hope to be an actor one day (And, of course, be in movies with Johnny :D). Since I watched the movie I’ve been obsessed with Arizona Dream and have dedicated all this stuff to Axel Blackmar.

My favourite movie is ARIZONA DREAM. Amazing actors, beautiful story, hilarious, sad, gorgeous soundtrack, everything you could want in a movie. I’m not sure it’s possible to make a movie any better than that. Axel Blackmar is a gorgeous character. I love him. He’s my favourite XD

Axel Blackmar Quotes-

“But what's the point of breathing if somebody already tells you the difference between an apple and a bicycle? If I bite a bicycle and ride an apple, then I'll know the difference.”

“My dad always said that work was like a hat you put on your head. And even if you didn't have pants, you didn't have to walk down the street ashamed of your ass as long as you had a hat...”

“Whenever I try to remember my dreams, I always turn 'em into stories. But dreams are like life. You can't catch it with your hands because you can't catch something you don't really see. If you believe in your dreams, you could be sure that any force, a tornado, a volcano, or a typhoon, wouldn't be able to knock you out of love; because love exists on its own.”

“I’m not sure why I remember it, but my English teacher in high-school talked about this Russian guy who said that if you see a gun in the first half of a book, you can be sure it'll go off in the second half. Somebody was gonna have to use that gun.”

“After the storm, I couldn't say life was beautiful. But all I kept hoping for was the Eskimo boy in my dream to run out of one of these doors and hug me. And even though I no longer felt like a fish and realized I knew nothing, I was happy to be alive.”

Beautiful quotes. God I love Axel.


Axel (Johnny Depp) has a dream about an Eskimo who catches a rare halibut and brings it back to his family in an igloo. Axel's cousin Paul (Vincent Gallo) coaxes Axel from his job tagging fish in New York City to Arizona to attend his uncle Leo's (Jerry Lewis) trophy wedding to a much younger woman (Paulina Porizkova). His uncle tries to persuade him to stay permanently and take over the family business of selling Cadillacs. Axel resists at first, but he decides to give it a try. He encounters two strange women: Elaine (Faye Dunaway), a woman who always had a dream of building a flying machine, and her stepdaughter Grace (Lili Taylor), who is jealous of Elaine and dreams of killing herself and being reincarnated as a turtle. Axel starts lusting after Elaine and decides to help make her dreams come true. As he and Elaine build the machine day by day, Grace starts destroying the contraption. Axel then rebuilds. Leo and Paul arrive at Elaine and Grace's house to encourage Axel to come back, but Elaine threatens them with a shotgun. Axel and Elaine complete the machine and test it, but it crashes into a tree.

Axel then decides to put both Elaine and Grace out of their misery, but can't go through with it. Grace has the idea to play Russian Roulette with him. Axel is scared at first, but at his second turn he pulls the trigger multiple times. The gun doesn't fire. Axel, Elaine, and Grace come to Paul's talent show. He decides to play Cary Grant's role from North by Northwest with the famous crop duster scene. Paul receives the score of 1. Leo's fiancée then approaches them to say there's something wrong with Leo. Axel realizes that Leo is dying and calls an ambulance but Leo passes away. The day before Elaine's birthday a few months later, Axel and Paul finally come back to Elaine and Grace's house. Elaine is mad at Axel for not contacting her but forgives him. The next day on Elaine's birthday, Elaine is given an airplane as a present. The four celebrate Elaine's birthday by beating a piñata, but are interrupted by a storm. As the others dry off inside, Grace remains outside to free her turtles, telling them to "Go play," Axel goes upstairs with Grace to wrap the presents where she gives Axel a globe, telling him that she wants him to have the world. Axel tells Grace that Elaine has changed and that he is not in love with her anymore. He makes a promise to Grace to go to Alaska. Axel, Elaine, Grace, and Paul talk about how they want to die. Grace says she's going to sleep and walks upstairs, dressing herself in a white shift and a hat with a veil. As she walks outside, Axel and Elaine see her through the window and run outside in an attempt to stop her. Grace shoots herself, and a lightning bolt destroys Elaine's airplane. Sometime after Grace's death Axel breaks into Uncle Leo's abandoned Cadillac store at night and goes to sleep on top of a Cadillac with a cat that has just had her litter. The film ends with Axel and Uncle Leo as Eskimos in Axel's dream. They catch the halibut and discuss it. It flies from their hands into the sunrise.

“My lips are fucked.” Johnny Depp groans and reaches for some vitamin E cream. He’s right. His pretty-boy pout is in trouble. Dry and cracked, burnt red and raw in places. The result of another day’s work in the boiling hot 100-degree centre of Nowheresville, Arizona. Depp’s here to shoot The Arrowtooth Waltz (Now known as Arizona Dream), a magically off beat coming-of-age comedy which also stars Jerry Lewis and Faye Dunaway, and the first American film by Yugoslav director Emir Kusturica of “Time Of The Gypsies” fame. The last outpost of civilization—a one-Laundromat, two-street town called Patagonia—is an hour’s drive away. Along with his blasted lips, it’s another indication of just how far Johnny Depp will go to leave behind the heart-throb image given to him by the U.S. TV cop show 21 Jump Street.

In last year’s Cry-Baby, he let John Waters have his wicked way with him. In Tim Burton’s upcoming Edward Scissorhands, he wears a Robert Smith wig and hides his face behind white paint and scars. Yesterday, he was stuck in the hottest spot in a very hot place, on top of a ranch house in the middle of a sun-smoked stretch of prairie, doing reaction shots as a microlight biplane looped and swerved a few feet over his head. Today, he’s been repeatedly pushed at a barn door while perched on top of a bicycle with wings. There are several more weeks of surreal routines and slow dehydration to come. “Since I’ve been in Arizona, I’ve had dry lips, dry hands. Everything’s so dry. The cowboys must have been masses of flaking, chafing skin.”

It’s probably worth the pain—the film, in which Depp plays an innocent on the run from the “real world” of his uncle’s Cadillac dealership—sounds great. Anyway, he wears his battle scars pretty well. Pre-pubescent fans might disagree, but he looks even better dried up. And though the sun may have cracked his lips, it’s thankfully left his mind, or rather his temper, alone.

There have been reports that Depp has been “difficult” in the past, but there’s no sign of that today. Cooling off in his trailer, crunching a rock-hard Snickers bar straight from the freezer in between frequent cigarettes, he’s charm itself, apologizing for delays and introducing me first to his pet pig, then to Faye Dunaway. (The pig ignored me; Faye Dunaway shook my hand, offered me a sweet she’d just made, and asked me earnestly what was happening in London.)

Relaxed and thoughtful, down to earth, and possessed of a sense of humour that, like everything else, is dry, he chats affably about favourite books (The Beats, Salinger, Hunter S. Thompson, John Fante’s appropriately-named Ask the Dust), his favourite actors (Richard E. Grant rates highly), even his one go in a flotation tank (“I fell asleep, then I woke up, couldn’t find the door and panicked”). But the main topic of conversation is Edward Scissorhands, out here at the end of the month.

Arizona Dream (1992) by Emir Kusturica "In the same time, a dream and an apprenticeship. The feeling that I was discovering something new and original. With Kusturica, the possibilities are boundless. You really can take the liberty of doing anything you like. You can try and dare anything, without any barriers. With him, I discovered freedom. Freedom in the way of making a film. A very, very great experience. Strangely, the first time we met each other, Emir and I, we hated each other. Then, we met each other again, and gradually, we liked each other. The fact remains that, during all the shooting, we were unbelievably close. It was as if I had found a lost brother. Since, we have always been in touch. This morning, I had a message from him on my answering machine."

Instead of cultivating a teenage leading man image, he owes to the series "21 Jump Street,” he'd prefer shooting with "The Time of the Gypsies" director. We met the "Arizona dream" hero, a rebel with a pure heart.

When you look at him, what may seem provisory seems eternal and fragility seems solid. The 28 years old Johnny Depp kept intact this teenage allure and from his face emanates an absolute innocence. The one that belongs to great romantics and rebels pure hearted. After a cameo in "Platoon", in 1987, Johnny Depp became all of a sudden the idol of the teenage Americans thanks to the "21 Jump Street" series (at this time he used to get up to 20,000 letters a day from fans! Five years later, he changed the way of this golden destiny and after voluntary smashing down his image against John Waters' reefs ("Cry Baby"), he has build step by step his own universe as voluntary and unique as "Arizona Dream" shows us and of which he is one of the heroes. The one who once dreamed about becoming a rock guitarist, the one who in response to the American press harassment on his personal life tattooed a provocative "Winona forever" on his shoulder (Winona Ryder is his girlfriend) has turned today into one of the leaders of this young American actors generation on which Hollywood ostentation seems to have no hold over. When he arrived for the interview, he asked us the permission to play a tape he brought with him: a kind of heavy guitar music hold back by a massive rhythmic section. Turn the music on...

Studio: When we look back at your three last movies, John Waters "Cry Baby", Tim Burton "Edward Scissorhands" and the upcoming "Arizona dream", it gives us a wide range of different genres... Johnny Depp: I waited quite a lot between every film because I only fall for scripts that move me deep inside. It's true at first, these three movies may seem absolutely different but they do have something in common: a "sentimental link". They happen to be three movies I deeply wanted to play in. It's true too that John Waters, Tim Burton and Emir Kusturica have very different personalities but the three of them love extremes, they do not fear the risks. They also share a common kind of inner peace which happen to disturb you when it has to and you can feel it through their movies. A subtle scene by Emir or Tim can, without accepting, move the audience deeply. John, in a let's say more obvious way, has also his own way to provoke this kind of effect on the audience.

"With the "21 Jump street" series, they gave a wrong image of who I really was. That created a big confusion."

Studio: Working with Emir Kusturica turns to be your first steps with a European director... Johnny Depp: Yes, and I'm so damn lucky. Emir is someone so special. He is so clever and so complicate at the same time, he has this so natural behaviour, very human you know. When you meet someone like him and you work with, the process which happens to be very difficult at the beginning is that at the end of it you become part of a genuine family. Emir and I get along pretty well. We met several times since the shooting ended and we plan to do another movie together.

You find in him a truth and an honesty I admire more than anything else in the world. Especially when I happen to shoot with someone like Emir Kusturica, he gives his actors a freedom I never knew before. Some directors are so much into discussing every scene or details that they end killing any mystery or freedom about the movie. Emir, on the contrary, leaves you all the empty space you need. You go for it without thinking, we shoot and after seeing what it's like, either it works and it's good enough to keep it or else we do it again. I believe as an actor it's very important to surprise yourself.

Johnny: That was such a great experience working with him - because it wasn't like... it wasn't like work, first of all, it was just this, em, kind of long drawn out creative collaborative effort. You know, he's a guy you can go to - I went to him in the scene where I'm seducing, em Faye Dunaway; it's right before we make love for the first time, and I'm supposed to seduce her and I - it wasn't in the script, you know, but I saw this guy as a kind of rooster, you know, becoming a rooster, you know, so I went to Emir and said, hey, you know, I think that maybe he should make some 'cluck,’ like a chicken, and he said (affecting Kusturica's voice and accent) 'Dis is good idea, yes, let's trry'. And boom, it was there, you know. But there's no other director I like that - there's no - there's no other - I've never had that kind of freedom. That's ... that's very very rare. So I - yeah, anything... Chiara (interrupting): You have to find a way to have an idea and... and convince, in a tricky way, convince the director that the idea comes from him. Sometimes it's a... (Johnny, in between: Yeah, you can do that but...) Chiara: ...it's complicated, it takes energy, but sometimes it's the only way to get your won ideas on the screen. Johnny: Yeah, I mean, there's that kind of manipulation, but, I mean, to go to a guy and say I wanna cluck like a chicken and... (Chiara: ...and the guy says yes) Johnny: ...yes - that's pretty rare. Well, I mean, if he'd say I'd like to try something, no matter how far out it is, he's fine with it! And Gilliam, Terry Gilliam. Gilliam was even -he would bring things to me and say 'Why don't we try this?' and it was so sick! Such an insane idea! You know, you feed off one another, and you feed each other... Chiara (interrupting): But in a way you got very lucky to have - I mean - to have such good relationships with those directors and... I guess it makes you more, hm, exigent? You know exigent? Hm, more demanding on a relationship with other directors when you have such a good experience with someone, non? Johnny: Yeah, it definitely makes it hard to go to work with other guys, for sure. Because you're used to a certain, hm, well, a relationship which is collaborative and not every director is collaborative. They don't always want to - it's strange, because, I mean, you have this sort of history of characters you've done, I've played and stuff, I'm not a very good puppet, you know, and I like to bring things to the project, ideas and stuff. And when a guy hires you and he doesn't want you to do that stuff and you wonder, well, why did he hire me? Why did he want me for the job? He should have given it to somebody who could be a good puppet, you know.

Soundtrack album by Goran Bregović

Released: 1993

Genre: Soundtrack

Length: 46:08

Label: Mercury Records

Soundtrack from Emir Kusturica's Arizona Dream by Goran Bregović featuring the vocals and lyrics of Iggy Pop on tracks 1, 4 & 6 and the lyrics of Emir Kusturica as well as the vocals of Iggy Pop on track 10. In the film, apart from the music on soundtrack, there are also three songs of Django Reinhardt.

All music composed by Goran Bregović.

1. "In the Deathcar" - Iggy Pop - 5:13

2. "Dreams" - 3:34

3. "Old Home Movie" - 5:04

4. "TV Screen" - Iggy Pop - 5:19

5. "7/8 & 11/8" - 4:52

6. "Get the Money" - Iggy Pop - 4:52

7. "Gunpowder" - 4:46

8. "Gypsy Reggae" - 3:03

9. "Death" - 5:13

10. "This Is a Film" - Emir Kusturica - 4:14

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