With roles in more than 40 films and a career spanning 25 years, Matt Dillon is a natural pick as a Gotham Awards feature tribute recipient. He's a true-blue New Yorker (born in New Rochelle) who has successfully bounced between edgy independents like 1989's "Drugstore Cowboy" and mainstream hits like 1998's "There's Something About Mary," playing tough guys and schmucks with ease. Not content to rest on his acting laurels, Dillon added director and screenwriter to his resume with the 2003 U.S. release "City of Ghosts." But 2005 could prove to be his banner year thanks to his nuanced portrayal of a racist cop in Lions Gate's "Crash" and an expected hit in Picturehouse's upcoming drama "Factotum," a standout at May's Festival de Cannes. Speaking from the set of Universal's upcoming "You, Me and Dupree," Dillon spoke recently with The Hollywood Reporter's Trisha Tucker about the Gotham tribute, his longevity and some Big Apple memories.

The Hollywood Reporter: Congratulations on your Gotham Awards tribute. With past honorees including Robert De Niro and Meryl Streep, you're in pretty good company.
Matt Dillon: Yeah, it's great. I feel like I'm kind of young to be winning an achievement award. But when I look at everything I've done, it spans quite a period of time. And I'm a New York guy, you know. That's what's really nice about (receiving the Gotham Award) -- I really am a New Yorker.

THR: What are your favorite New York filmmaking memories?
Dillon: Well, I feel like I haven't made enough movies in New York. A real eye-opener for me was doing "The Saint of Fort Washington" back in (1993) when we were working in a homeless shelter in the Fort Washington Armory. There were like 900 men in this one large football field-sized room. That really was a different time in New York, and it wasn't that long ago. (And) the crews are great in New York. When we did (1984's) "The Flamingo Kid," we had to shoot in the fall. Right after Thanksgiving, we were doing this summer beach movie out in Rockaway (New York). I remember the first (assistant director) yelling out with a bullhorn, "Hot day in Rockaway!" trying to convince the extras to get back in the water. (Laughs) It was freezing.

THR: What's the most important element you look for when picking a project?
Dillon: As an actor, the best thing you can hope for is to work with directors who have a vision, who are trying to do something different. I've been fortunate to work with directors like (Francis Ford) Coppola (on 1983's "The Outsiders"), (Gus) Van Sant (on "Cowboy") and Cameron Crowe (on 1992's "Singles"), who have a very specific vision as filmmakers. I had a great experience working with Bent Hamer on "Factotum." It brought me back to the independent filmmaking I was doing in the '80s.

THR: You've been quoted as saying that the filmmaking process nowadays doesn't allow for much preparation or rehearsal time for actors. Do independent films allow you more of that time?
Dillon: That's an interesting question because independent filmmaking often seems more virtuous. It seems there's more passion, energy and resourcefulness put into independent films, but often, they come together overnight. Sometimes, the manner is very fly-by-night, so you're going by the seat of your pants. I kind of miss that. When I went off and directed my own film ("City"), it didn't financially make sense for me to do it. It wasn't a career move. It was just something that I had to do. And sometimes it's great to be on a film that feels like it has to be made. I wouldn't trade that for anything in the world.