And his name was Buffalo Bill: interview with the legendary actor John C. Reilly

Cinema

by Oscar Sanchez and Chiara Zenzani

October 25, 2025

Hats, clowns and other related truths, on stage or elsewhere: interview with John C. Reilly who, in “Heads and Tails”, the latest film by Matteo Zoppis and Alessio Rigo de Righi presented at the Viennale, plays the role of Buffalo Bill

[T”esta o Croce?”, (Heads Or Tails?), Alessio Rigo de Righi, Matteo Zoppis, Italian/USA 2025, V'25 Features]

John C. Reilly, in the role of Buffalo Bill, is the protagonist of “Heads and Tails”: directed by Matteo Zoppis and Alessio Rigo de Righi, with Nadia Tereszkiewicz and Alessandro Borghi, the film is set at the beginning of the twentieth century, when the traveling show of the Wild West Show arrives in Italy and confronts the traditions of the cowboys, the local knights. The competition between American and Italian cowboys leads to tragedy, involving Buffalo Bill in a chase that mixes myth, history and spectacle. Reilly gives the character charisma and theatricality, portraying the legendary Buffalo Bill as a historical figure and showman. We talked about it with the actor himself, a mythical face of international cinema, on the sidelines of the film's presentation at the Vienna Film Festival 2025, currently underway.

How long have you been in Vienna?

"Not much, just a few days. It's not my first time here: I had already come for the first Paul Thomas Anderson film, in 1993 or 1994. It's been a while... The city has changed a bit, but the structure remains the same."

How did you approach the task of bringing Buffalo Bill to the screen?

"He is a very complex figure, larger than life, but profoundly human. At first I thought he was almost a fictional character. The more I read about him, the more he fascinated me. As a boy he was a courier for the Pony Express at 14 and a scout for General Custer. He really lived like a true frontiersman, but then he decided to tell exaggerated or invented stories, because that's what the public wanted.

An extraordinary thing is that his mother was a suffragette and his father an abolitionist: he came from a very educated and progressive family. She wasn't just an American icon; He knew the truth, but he chose the world of entertainment, where the truth is relative."

The film alternates drama and comedy. Does this tone remind you of some of your previous roles?

"In part, yes. The character is a showman, an emcee of a show, and this reminded me of the work I do with my show “Mr. Romantic”, where I lead the audience through different acts. But the story of this film is unique and very different from anything I've done before. It was a combination of different elements."

Music plays an important role in your career. Do you have particular influences, maybe even Mexican?

«Yes, it's interesting. I had a band for years that played mostly folk and bluegrass, and now with Mr. Romantic I do more jazz and the Great American Songbook. My main collaborator, David Garza, a Texan of Mexican descent, has a deep knowledge of Tejana music. I've always been fascinated by the connections between Mexican and American music. For example, Lydia Mendoza, a great guitarist, mutually influenced her style with the Carter family through the radio, a new invention at the time. There are many connections between blues, indigenous music and folk music: all of North America is interconnected."

Art plays a significant role in your life. Is it true that you collect clown paintings?

"Yes, although I recently lost a lot of them in a fire at my house. However, I saved about ten of my clown paintings, which shows how important they are to me. I only had 20 minutes to leave the house: I got hats and clown paintings, while my wife took care of the paperwork. For me, art is irreversible and precious."

What does the image of the clown represent for you?

"In Mexico, clowns are still an important presence in the squares, part of the street entertainment. I am fascinated by this ancient art. In the contemporary United States, clowns are often reduced to clichés in horror films, but for me they are sacred figures who tell a lot about ourselves. As a child I used to do literal clowns and even in my current show I only use a little makeup, but I stay in the world of clowning.

How do you choose your hats?

"For me it's all geometry. The shape of the hat should follow the arch of the face. The distance of the brim is crucial: if it is too wide, the head seems small; if it's too narrow, it looks big. It is important to go to a good hat shop, which can advise you. I have two incredible mariachi outfits, one customized by Vicente Fernández's tailor, a gift from Diego Luna."

If you had to describe your life with one color, what would it be?

"Blue. I don't know why, but it's the color I wear the most these days."

Heads or Tails may look like a Spaghetti Western, even if it mixes genres in an unconventional way.

"It's curious to hear it called Spaghetti westerns, but it's not. Spaghetti westerns, in fact, are set in America or Mexico, but were shot in Spain, in Almería, as for “The Sisters Brothers”. It is an Italian historical story, which tells of an important moment in which the American western was introduced in Italy, giving rise to the Spaghetti western genre».

Do you remember the first movie that made you cry?

“Born Free”, about the story of a lion adopted by a family and then freed. I saw it on TV as a child and went to cry alone in the bathroom. Another film that struck me a lot is Willy Wonka and the Chocolate Factory: it combines the innocence of Charlie Bucket with the wisdom of Mr. Wonka, and reflects who I really am."

What is the visual metaphor of Heads or Tails?

"My character flips a coin. It is a symbol of destiny: how much of our life is random and how much is the result of our choices? What matters is not which side falls, but which side we desire while it is in the air."