Reel Thoughts Interview: Frances Fisher's Sedona Adventure

It’s been six years since director Tommy Stovall released the gripping thriller Hate Crime, and he has been working on his follow-up film, Sedona: The Motion Picture ever since. The comic drama is a love letter to the town he and his partner Marc Sterling call home, and it shows. Their son Trevor even stars in the film as a young boy who wanders away from his two fathers (Hate Crime’s Seth Peterson and Matthew Williamson) in the Sedona woods. Frances Fisher anchors the film as Tammy, a high powered ad executive who has a run-in with a small plane on Sedona’s 89A highway, and ends up stranded in the New Age paradise. Fisher’s friend, Sordid Lives’ Beth Grant, suggested her for the role after scoring the part of the aura-reading salon owner Deb.

Fisher’s Tammy is oblivious to her beautiful surroundings and just wants to get out of town (like Bill Murray in Quick Change and Griffin Dunne in After Hours). Deb tells her that there is some reason that she’s stuck in Sedona, and Tammy finds herself flashing back to a traumatic incident that occurred on her birthday many years earlier. Coincidentally, it is Tammy’s birthday that day, and the town crazy, Claire de Loon (Lin Shaye) is running around demanding people sing “Happy Birthday” with her.

With hyper-saturated aerial shots of the gorgeous Sedona scenery and recognizable settings like the Red Planet Diner, Sedona: The Motion Picture captures the vibe of the funky and affluent town, and the cast is filled with actors you’ll recognize such as the sublime Grant, Barry Corbin from Northern Exposure, Christopher Atkins from The Blue Lagoon and Robert Shields of the mime duo Shields and Yarnell. The film’s low budget gives it a homegrown charm and Fisher is amazing, playing comedy as well as serious drama as her past catches up with her. Stovall’s son is engaging and adorably non-actorly, making you feel terrible when Peterson treats him so coldly.

The Sedona Chamber of Commerce could not have produced a better travelogue, and don’t be surprised if a certain statue prominently featured in the film gets a whole lot more people looking up its loincloth.

Frances Fisher is one of those striking red-haired actresses like Tilda Swinton who immediately imbue their characters with gravitas and integrity, be it as Deborah Saxon in the soap opera Edge of Night, Lucille Ball in Lucy and Desi: Before the Laughter or as Kate Winslet’s mother in Titanic. Despite feeling very sick, the star was gracious enough to talk to me about her role in Sedona and other work she’s done.

She was attracted to the role in Sedona when her pal Beth Grant suggested it for a few reasons. “Beth was in as Debbie and I like Sedona and I like playing someone who’s going through a transformation, because that’s what we’re all here to do on this planet, is to learn and grow.”

Fisher, who has a daughter Francesca with her conservative ex Clint Eastwood, isn’t shy about stating her support for same-sex marriage, and happiness with the recent Prop 8 ruling. “I believe that any two people who love each other should be allowed all the rights and privileges of any other two people who love each other legally and emotionally and spiritually.” Her Sedona director and his partner Marc Sterling are good examples of how conventional a same-sex marriage with children can be.

She had to hit the ground running, arriving late the night before filming commenced and wrapping up filming twenty-three days later. There were a lot of locations where they had to shoot, only allowing for one or two takes of any scene, but that contributed to her fish-out-of-water disorientation. “It was pretty intense,” she remarked.

Fisher received good notices for her performance as Lucille Ball, but she was sad that there was so little preparation time allowed. At one point when she was supposed to do Ball’s iconic comedy bit with a bass, the prop people handed her a fiddle.

She’s pleased to see Jessica Chastain, her costar from the 2008 Arizona-set film Jolene, receive such acclaim this year in The Help, The Tree of Life and The Debt. “(Jolene) was her first movie ever and I’m thrilled. She’s a great actress and she’s a good friend and I’m very, very happy for her success.”

Fisher will also soon be swept up in another Oscar-winning media frenzy when Titanic gets its star-studded 3D London premiere, which she will attend. It turns out that surviving the Titanic’s sinking onscreen was not the only disaster Fisher would escape. On Christmas day 2001, Fisher and her daughter narrowly escaped a fire that engulfed their home, with Francesca reportedly jumping from her upstairs window into her mother’s arms.

Fisher definitely brings that maternal fighting instinct to her role in Sedona, and you will love her passionate and comedic work in the film.

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts Interview: Wickedly Talented

To look at Kyle Dean Massey’s resume, you, like him, might marvel at how in 2011, he played “a dead teenager, a Winkie Prince and a tap-dancing cowboy. Now let’s start all over.” Massey is a much sought-after actor who starred as the lead singer in Altar Boyz, as the “dead son” in Next to Normal and then as an aspiring country music singing cowboy whose main rivals were drag sensation Varla Jean Merman and hilarious out comedian Leslie Jordan. The show’s title Lucky Guy didn’t prove prophetic as the show closed quickly on Broadway. The good news is that it is bringing Massey back to Arizona as Fiyero, the gorgeous “Winkie Prince” who falls for the not-so-popular Elphaba in Wicked.

I spoke with Massey,  the handsome star and strong anti-LGBT bullying advocate, while he was finishing a long stop in Los Angeles.  “It’s always different,” Massey explained, about how coming back to the show on tour compares to doing Wicked on Broadway. “The chance to get to do the show in different cities has an effect on it as well. You learn that people in different cities are going to react differently, and that makes it exciting.”

Massey came out with a moving “It Gets Better” video because the Arkansas-born actor wanted kids to know that he came from the same background and now he’s on Broadway. “It’s a disservice to the younger generation not to speak up. What motivated me to make mine was to make it for young gay theater kids.”

Having played the lead of Altar Boyz and now the romantic lead in every tween girl’s favorite musical Wicked has made Massey a teen idol. I asked him which show had the bigger groupies, and he responded that the “Altarholics” were more interested in the performers, while Wicked’s fans are more focused on the show itself. “People get very nervous at the stage door. They’ll ask to take a picture and you can literally see them shaking. That’s the great thing about theater, you can wait by the stage door and meet whoever you want, right after you’ve seen them on stage.”

Asked for the reason for Wicked’s popularity in the LGBT community, Massey replied, “Not to stereotype, but it’s based on The Wizard of Oz. What little gay boy wasn’t obsessed with that movie... I mean, come on,” he said laughing. "The music is very accessible and it’s just spectacular. It just hits on every level. Gay audience, straight audience, there’s something in there for everyone.”

“People identify very closely with one or the other girls, or even my character, who’s changed for the better. It’s just about allowing yourself to be different and how “different can be good” and how you have to look past some things in order to figure out what you think is best or good, or right or wrong.”

“Fiyero is a Winkie prince, and he’s always compared to JFK Jr. He’s royalty and he’s kind of a playboy. Everyone knows who he is, like the male version of a Kardashian. He’s just famous for being famous. He hasn’t done anything and isn’t motivated, he’s always had the means to make people do what he wants. He meets Elphaba and he is so intrigued that he doesn’t “work” on her, that his tricks don’t work on her, and so consequently, he listens to her and learns from her and by the end, he realizes that he wants more than just getting everything he wants, he wants to do good.”

“That show was certainly not smooth sailing,” Massey admitted about Lucky Guy, where Varla Jean Merman played a conniving country star and Leslie Jordan was her partner. “But Jeffrey (Roberson, Varla Jean's alter ego) and Leslie were serious pros. They are both so talented and they brought so much to the table. Leslie was constantly telling stories and I was thinking “You’ve got to be kidding. You’ve got to write a book!” I got to have a lot of fun scenes with Varla. She tried to seduce me, it was just campy and over-the-top and we got to have a good time.”

Xanadu, starring Cheyenne Jackson, was another highlight for Massey, who played a roller-skating muse. “That show was so fun, it was really like the little show that could. No one thought the show was going to run, and here we were getting Drama Desk and Tony Award nominations and appearing on all the morning shows. I don’t think that I’ve had more fun on a show ever.”

Tempe audiences will be the last to see Massey in Wicked, for now. Gammage is his last stop on the tour, but you can also see him on an upcoming episode of the CW show Heart of Dixie, where he plays a stripper who drives a party bus.

When told about Arizona Governor Janice Brewer’s “tiff on the tarmac” with President Obama, the photo of which has been photo-shopped to make Brewer into the Wicked Witch of the West, I asked Massey if all witches are redeemable or just Elphaba. “Well, Glinda is the one who’s redeemable, because Elphaba was always good. Some people, you can’t. Some people are too far gone, that’s for sure,” he said, laughing.

The Wicked tour is now playing through March 11 at ASU Gammage in Tempe, Arizona. For more information on these and future tour dates, visit the official Wicked website.

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts Interview: One Day in Sedona

When you attend the Q & A with esteemed director Peter Bogdanovich at this year’s Sedona Film Festival, the moderator may look familiar to TV fans. Glenn Scarpelli, the Sedona-based entrepreneur who owns the Sedona NOW station in the scenic Red Rock community, is the same guy who starred as Alex in the latter seasons of the hit sitcom, One Day at a Time (dust off your Tiger Beat magazines if you don’t believe me). He went on to play Audrey Hepburn’s son in Bogdanovich’s 1981 film They All Laughed, which will screen at the Festival. Scarpelli also famously came out of the closet in 2005 in a VH1 countdown show of Awesome Child Stars after having left acting at eighteen to avoid living a double life.

I reached Scarpelli in Los Angeles and he related his latest news, and why you shouldn’t hesitate to say hello when you see him.

NC: First things first, thank you for coming out publicly. It is so cool to learn that the kid from One Day at a Time owns a TV station with his husband in Sedona! I understand you have another business that Movie Dearest readers would like to check out. Tell me about Green Love Lube, how it came about and something funny about the journey bringing it to market.

GS: It seems it's time for a catch up. (My husband) Jude (Belanger) and I are in the process of a divorce after 14 years. We are still great friends and still own the TV station together but we have grown apart on a personal level. We were legally married in California before the whole Prop 8 debacle and now have to get legally divorced. I am still a great supporter of LGBT rights and Marriage Equality, but one thing we need to know in our community is "Marriage Equality" can also mean "Divorce Equality". All's fair in love and war. I have been the type to always remain friends with my exes and Jude is no exception. We've shared so much and no one can ever take that away from us! We will always love each other but I am embracing the single life again... and loving it!

Having said all of that, Green Love Lube has been absorbed by a larger company and is now branded as Aloe Cadabra. We loved being on the ground floor of creating an organic Aloe Vera based personal lubricant and enjoyed all the 'testing" of the product along the way... (Laughing)

NC: In They All Laughed you played Audrey Hepburn's son, were directed by Peter Bogdanovich and worked with Ben Gazzara, John Ritter and Dorothy Stratten. What was the experience like for you? How did Dorothy Stratten's tragic murder affect you and your costars on the film?

GS: I am so excited that Patrick Schweiss has invited They All Laughed to be screened at this year's Sedona International Film Festival with Peter Bogdanovich joining us as recipient of the Lifetime Achievement Award. Shooting that film was certainly one of the greatest experiences of my life. Working with the names you mentioned holds a place of deep gratitude in my heart. When we wrapped on the film, Audrey gave me a present: tapes of her favorite classical music. She really introduced me to an appreciation of such pieces. Her note said, "To my only movie son". I am thrilled to have held that title. Audrey never played a mom in any other feature film.

We also lost John a few years back, but nothing was as sad and shocking as the horrific murder of Dorothy Stratten three weeks after we wrapped. I, along with the entire company, was distraught. She was the sweetest person with such a vital and successful career to look forward to. I don't even know how Peter edited the film after that. Her death created an ominous energy to this lighthearted comedy. I wonder what this film would have been had Dorothy lived. I guess we'll never know.

NC: A lot of people grew up with One Day at a Time, It made you a Tiger Beat idol and you released an album. What was it like, and how did knowing you were gay temper your success?

GS: When I was cast on One Day at a Time it felt like I won the lottery. The show had been on the air five years (it ran a total of nine) and I was a huge fan. Being able to go to work day in and day out on the set of such a great sitcom was a dream! Yes, there were the teen mags and teen idol stuff that came with it but as girls "swooned" all I could think was: “Do any of you have cute brothers?” (Laughing)

I had never been with a guy at that point but for sure knew that day would be apparent. At 18 (shortly after the show ended) I fell madly in love with Gary Scalzo, a talent manager from New York City. I was in no way, shape or form going to lie about who I was just for my career. Back in those days (the 80's) being an "out" actor just didn't happen. So I left acting officially, moved back to New York and wet to NYU Film School. So basically I left my thriving career because I was gay. I refused to play the games. I was out in my personal life for decades before I came out publicly on VH1 in 2005. I'm so happy to live a free and honest life. If anyone out there is afraid to 'come out', don't be. Do it! It's a true expression of our self love, and we deserve it!

Lately I have been throwing my hat back in the ring regarding acting and just shot a comedy pilot for Comedy Central called The Gregory Brothers. I'll let you know if it gets picked up. I'm just so thrilled I can be out and an actor! Times are changing and I like what I see.

NC: You own Sedona Now Network and live amongst the Red Rocks. What inspires you both about the town and the people that live there? Why start a TV station? What causes are you passionate about?

GS: My first partner died of AIDS in 1992. I nursed him until his last breath. I was 26. The week after his passing I moved to Sedona for the first time! Sedona nurtured me during a very tough time of mourning. Sedona has played a very important role in my life through the years. It offers me centering, healing, peace and rejuvenation.

I have been back and forth between LA and Sedona for two decades. I officially moved to Sedona with Jude in 1999. I wasn't sure what I would do for a career. It's not like there's a lot of TV jobs available. So I decided to create one for myself. Sedona NOW TV, Channel 18 in Sedona, first aired on April 4, 2002. We will have been on the air 10 years this April. I'm very proud of the station and the work we do. I'm also very proud to have been a Sedona Internationall Film Festival Media Sponsor for a full decade. The station has also been nominated for four Rocky Mountain Emmys for our documentary work and one for me as interviewer (interviewing Nick Nolte at a Film Festival Event).

I (and the station) have always been very supportive of Equality Arizona (I emceed their Gala a few years back) and the Southwest Center for HIV/AIDS in Phoenix (I have emceed their Night for Life gala too). Two amazing organizations that Arizona should be very proud of.

NC: I think people will be surprised to know that you started your career as a child on Broadway with Anne Bancroft and then Al Pacino before One Day at a Time, and that you have also stayed close with Bonnie Franklin, your "Mom". Who really affected your life the most among the people, Peter Bogdanovich included, with whom you worked?

GS: Working on Broadway with Anne Bancroft in Golda (directed by the late great Arthur Penn) and then with Al Pacino in Shakespeare's Richard III were beyond anything I could have dreamed of. Golda was my Broadway debut at age nine. I look back and see how the universe was putting me through acting school by giving me the opportunity to work with the industry's greats. I carry to this day lessons of professionalism I learned from these legends. No college course could ever teach me more. I also had the pleasure of working not only with Peter but Martin Scorsese as well. He directed me in an episode of an NBC anthology series called Steven Spielberg's Amazing Stories. He taught me to never underestimate your audience. He said that audiences are very smart and subtleties go a long way. I've never forgotten that.

And yes, Bonnie! She has been a close friend and adopted family member for over thirty years. The One Day at a Time creative work experience was special. Bonnie and the cast were very much a part of the writing and re-writing of each episode. Bonnie really took the lead responsibilities. She included me, even at age fourteen, to partake in these writers meetings. She said, "I want you to come in with notes about Alex" (my character). She said, "Even if you don't know what to say keep asking yourself the question: would Alex do these things and why?" I learned so much from those writers meetings. I am forever grateful to Bonnie for that. By the way, Mackenzie Phillips will be at this year's Film Festival too.

NC: How has time treated They All Laughed? I didn't know that Wes Anderson led the commentary with Peter Bogdanovich for the film's DVD release. Can you give us a sneak peek of something you'll talk about when you do the Q & A with Mr. Bogdanovich at the Festival?

GS: They All Laughed, which didn't do much box office 30 years ago, has certainly gained legs over time. Funny story: I was at the TV Land Awards back in 2006-ish and Quentin Tarantino was also a presenter. I am a huge fan so I went over to him to introduce myself. I said, "Mr. Tarantino, my name is Glenn Scarpelli". He stopped and looked at me and said, "Glenn Scarpelli from They All Laughed?" I was friggin floored. What? No way! He then explained that They All Laughed was one of the main reasons he is a director today. Peter is his idol. He studied that film and even did an homage to it in Kill Bill: Vol. 2. I was blown away.

I've been getting a lot of that lately about this film. Peter has said that it certainly is his most personal piece and favorite movie he ever made. Again I am so happy to have been a part of it. The Sedona International Film Festival will also be screening the 40th Anniversary of The Last Picture Show on Saturday, February 18th followed by Peter's Lifetime Achievement award. They All Laughed will be screened on Sunday, February 19th followed be a Bogdanovich Q & A which I will moderate. We will discuss of course Audrey Hepburn! I know it was a dream of Peter's to have directed her. We will also discuss some of the unique ways the film was shot. For instance, there is a whole sequence shot on New York's 5th Ave that involved hidden cameras and all natural background talent. No extras! How Peter pulled this off was remarkable.

NC: What was the most challenging thing about deciding to come out? Were your parents and family supportive, or did that contribute to your decision to stay in the closet? Knowing what you went through, how do you feel about what kids are going through today, trying to come out and sometimes being bullied?

GS: I have already addressed some of my "coming out stuff" but let me say in regards to bullying. We must always walk our truth and be kind and loving to ourselves. We don't need any one else's approval or opinions about who we are! It's true that when I came out to my family it certainly was a journey, specifically with my parents, but over time they came to understand and accept me. They have shown their love for me over the years and I'm grateful for that. As the campaign says, it does get better.

But I think the most important lesson in coming out is to have self acceptance, self awareness and self love. It's really not about anyone else. We, in the LGBT community, deserve happy, fulfilled and passionate lives. We are loved, no matter what books or Dogma might say. We are loved! We can be beacons of light to help wake up those around us that carry ignorance and fear, but coming out is something we do for ourselves. Remember, the truth sets us free. I am so happy to have shared my truth today with all of you! If any of you make it to the Sedona International Film Festival, make sure you find me and say "hi". Especially if you’re cute and single... (Laughing)

The Sedona International Film Festival celebrates its 18th birthday on February 18th, so it is safe to say that it is finally legal. This year features over 145 films, documentaries and animated films, some of which specifically address LGBT issues, and many others that are just amazing films that the LGBT community will also love. For more information, visit their website.

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Interview: Liza with an L

I'm not aware of any other out lesbian writer-directors who have gotten to cross over from the visual arts and short films by making a non-LGBT feature starring such acclaimed actors as Linda Cardellini (Brokeback Mountain), Michael Shannon (Take Shelter, the upcoming Superman: Man of Steel) and John Slattery (Mad Men), but Liza Johnson has done so with absorbing results. Her very good military-domestic drama Return opens this Friday in Los Angeles and New York. It will also be available on VOD and iTunes beginning February 28th.

Cardellini plays Kelli, a wife and mother of two young daughters who returns home to smalltown Ohio as the film opens following a year-long stint serving in the National Guard during an unspecified war. It isn't long before Kelli's transition back to civilian life proves less than idyllic. Those who only know Cardellini as Velma in last decade's Scooby Doo franchise will be especially impressed by her performance here and Shannon, as her conflicted husband, is excellent as usual.

Johnson, whose "day job" is as Professor of Art at Williams College, is to be commended for her matter-of-fact approach to this story of a soldier's re-entry as well as for a refreshing lack of histrionics when the process doesn't go as well as expected. She recently spoke with Reverend about her experience making Return, which made its world premiere at no less than the 2011 Cannes Film Festival.

"It isn't a gay movie," Johnson said, "but maybe there's a way it could be called a queer movie in that (Kelli) doesn't quite fit in and learns to live outside a traditional family." The filmmaker has been partnered for seven years and now calls Brooklyn home after her own upbringing in "Rust Belt" Ohio. "Sometimes, I am attracted to stories of people who choose to live outside the norm." Her crew on Return included Production Designer Inbal Weinberg, who worked on last year's Pariah, and Editor Affonso Goncalves, a veteran of such LGBT-interest projects as The Delta and Todd Haynes' Mildred Pierce.

Johnson interviewed numerous women and friends who had recently returned from military service in Iraq, but she couldn't immediately recall whether she had spoken with any LGBT servicemen/women. "I believe that I did," she stated, and she shared one experience in particular. "I visited a friend of mine at Quantico, and I spoke with one woman there who isn't gay and is married but she checked me into the hotel there for significant others of military personnel. They couldn't or didn't ask our relationship (prior to the repeal of the 'Don't Ask, Don't Tell' policy), which is interesting." All in all, Johnson says she "had a great experience as an openly gay filmmaker working with military personnel."

Of working with her lead actors, Johnson reflected: "It was great. I worked with Linda for a longer time and did research with her; she took it really seriously and is very hardcore." Shannon, who will next be seen on the big screen as the villainous General Zod, was the first to be cast in Return by Johnson. "He is also very hardcore and committed to his work," she raved. "(Shannon and Cardellini) are both such powerful performers, the whole crew and film benefited from their seriousness."

Other movies in recent years have explored the experience of soldiers' return home from recent overseas conflicts, notably the lesbian-themed A Marine Story as well as Brothers and Stop-Loss. Return raises what could be a hitherto unasked question: what happens when what has long been considered home no longer serves its traditionally comforting purpose? In Johnson's assured hands (she actually has a PhD in coming-home-from-war narratives), the answer proves both enlightening and heartbreaking.

Reverend's Rating: B+

Interview by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reverend's Interview: Keeping It Real in Pariah

One of the most acclaimed films from this year's Sundance Film Festival, Pariah, will finally be making it to theaters this month. The semi-autobiographical drama about the coming of age of a lesbian teenager is scheduled to open in Los Angeles and New York on December 28th and will open nationwide in January.

I first heard of Pariah two years ago. It was initially a well-received short film, and producer Nekisa Cooper was then working hard to raise the funds necessary to expand it into a feature. Cooper and writer-director Dee Rees had an impressive endorsement letter from no less than Spike Lee, for whom Rees had worked on When the Levees Broke and Inside Man. Lee serves as one of the feature's executive producers.

Their hard work has paid off. The finished film is an authentic and moving exploration of a young woman trying to integrate her identity. Confident that "God doesn't make mistakes," 17-year old Alike (pronounced "Ah-lee-kay" and sometimes referred to as "Lee" for short) has to contend with her conservative-Christian mother as well as with other teens not yet as comfortable in their own shoes as Alike. Adepero Oduye gives a breakthrough performance in the lead role, and Kim Wayans (perhaps best remembered as Benita Butrell and other wacky characters from the 1990's TV sketch series In Living Color) is a revelation as Alike's conflicted mother.

Rees recently spoke with me from New York. "It's been a labor of love," Rees said of her six-year odyssey to make Pariah, first as a short and then as a feature. "Our audience reactions have been overwhelmingly positive; (the film) has universal appeal and has been shown not only at LGBT film festivals but at mainstream festivals." LGBT-friendly Focus Features, which has also released such popular movies as Brokeback Mountain and Milk, quickly snapped up the rights to Pariah following its Sundance screening. "It's every filmmaker's dream to have their film released by a major company," according to Rees. "Focus has been incredibly supportive."

Spirituality plays a major role in Alike's journey. Both Rees and Cooper were raised in devout Christian families, and Cooper's father serves as a Catholic deacon. "If anything, it's my spirituality that got me through the past six years," Rees reflects. "My spirituality and spiritual practice have actually gotten stronger than they were before going through this." While their parents will be invited to the official premiere of Pariah, Rees isn't sure how they will respond. "Hopefully," Rees said, "they will respond well so they can witness to other parents" of LGBT children.

With her profile on the rise in the industry, Rees just finished writing a new script for a thriller and is working with HBO on developing a TV series. She speaks appreciatively of all the support she has received, especially from two-time Oscar nominee Spike Lee. Rees calls Lee her mentor and states "He's been a great guiding hand."

"I'm not running, I'm choosing," Alike says in Pariah of a life-changing, climactic decision she makes. It's a statement Rees wholeheartedly agrees with. "I think questioning and affirming your identity is a universal theme, and I definitely want gay teens to connect with the film and see that it's ok to be them."

She concluded, "If you strip away race and sexuality, we are all searching for the same things when it comes to identity. That's what this film is about."

Reverend's Rating: A-

Interview by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Reel Thoughts Interview: Showgirls Gone Wild!

If you want something done right, do it yourself. Just ask Rena Riffel, who co-starred in the priceless 1995 gay favorite Showgirls, as well as Demi Moore’s Striptease and David Lynch’s Mulholland Drive. In Showgirls, Riffel played Penny, Nomi Malone’s (Elizabeth Berkley) fellow dancer at “The Cheetah who ends up with Nomi’s pseudo-boyfriend James (Glenn Plummer). Riffel says that director Paul Verhoeven mentioned that her character Penny could star in a sequel where she goes to Hollywood, and the thought stayed with Riffel for years.

Seeing how popular Showgirls became after its inauspicious debut, Riffel decided to produce the film, titled Showgirls 2: Penny’s from Heaven, herself. As detailed in Entertainment Weekly, German director Marc Volander attempted to make a competing sequel, called Showgirls: Exposed, that has scored a laughable 1.3 rating on IMDB to date. Unlike Vorlander’s brain-crushing monstrosity, Riffel has written a loving homage/send-up of the original that includes tons of memorable quotes that will tickle Showgirls fans. Riffel also laughs about a drinking game that viewers can play, taking a swig whenever the word “whore” is uttered.

Riffel, who has been self-promoting her film and enjoying the wild responses it is getting, approached Verhoeven with her script, but “he doesn’t like to do sequels or similar films. But he gave me his blessing, so I just kept moving forward with it.”

In Showgirls, Riffel and Gina Gershon are the two actresses who most seemed to “get” the material, so that their humor is all intentional. About the original film’s success, Riffel said, “Part of me thinks it was a happy accident, like a beautiful train wreck that happened, but then another part of me thinks that Paul Verhoeven definitely veered it in a direction to make it more exciting. I think that he got the film he wanted. I don’t think that some of the actors realized that it was going to be a ‘forced motivation’ in certain scenes. That’s what gave it that special magic On Striptease, everyone was playing it for comedy and on Showgirls everyone was playing it thinking that we were making Basic Instinct. At the end of the day, Showgirls turned out to funnier than Striptease.”

Riffel’s work in Mulholland Drive and a pilot called Land’s End with Bryan Cranston (Breaking Bad) gave her a break from being offered parts with nudity, but she says that if the part demands it, “you have to be a trouper” and go with it. “I don’t think you can be an actress and refuse to do nudity. You have to be uninhibited.”

“I want the audience to be in that (Showgirls) world again,” she said about Showgirls 2.”So I included what I thought were the most loved parts and lines from Showgirls, but we say them in a different way. It speaks in a secret Showgirls language.” She laughed about a scene where the women toast each other with hot dogs in honor of the infamous Spago scene where Nomi and Cristal clink tortilla chips together. “That’s what dancers do, toast each other with food.”

In Penny’s from Heaven, Riffel’s Penny leaves Las Vegas in the hopes of scoring a part on a low budget Hollywood dance program. Along the way, she runs into a crazed Marilyn Monroe impersonator and lands in a gothic love triangle right out of Sunset Boulevard. “Valley of the Dolls was probably my biggest influence. I’ve watched it a million times. I watched a lot of old movies from the 40s and 50s because I wanted it to have that melodramatic feel.”

Showgirls fans will be happy to see Glenn Plummer return as her Alvin Ailey-trained boyfriend, as well as other Showgirls alumni like Greg Travis and Dewey Weber. Ungela Brockman, who played ill-fated dancer Annie, wanted to take part but wasn’t able to. Riffel is hoping to use her in another sequel, which she is now developing pending the success of Showgirls 2.

When the movie Black Swan opened to so much acclaim, Riffel was pleased, since her film already contained a similar ballet-based rivalry between Penny and the aging prima ballerina Katya.

In closing, Riffel stressed how important her causes are to her. "I support GLAAD and the LGBT community and issues. I support the NOH8 campaign. I have lived in West Hollywood for most of my life – twenty years – and am part of the community and encourage donations to Out of the Closet (AHF) which offers the most fabulous "second-hand everything" and also offers free AIDS Testing. Also, I was honored to be a Celebrity Presenter at the We Ho Awards for three years, and look forward to more involvement. I support our US Troops. I am planning to do a USO tour, and would love to bring Showgirls 2: Penny's from Heaven to our Troops, or do a hand shake tour, or anything I can do to let all our Troops know we appreciate their service. I support the Rescue Animal Corp. Animal Rescue Corps supports the rescue of any animals who are suffering.”

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts Interview: Dreaming of a White Christmas

Let yourself go, relax. You aren’t going to have to solve math logarithms when you see Irving Berlin’s White Christmas, now on national tour. All you have to do is dream of a snowy holiday in Vermont where two Broadway hoofers woo a couple of sisters and try to save a old friend’s Inn. You won’t see Bing Crosby, but then again, why would you want to? No one can replace Bing, so the makers of this seasonal hit don’t even try. What they do try to do is recreate the 1954 classic film on stage complete with its great music like “Let Yourself Go”, “Blue Skies”, “Sisters” and of course the title song. If we are lucky, the inimitable Ruth Williamson (Nip/Tuck, La Cage Aux Folles) will recreate her Broadway role, since she is one of Broadway’s true divas.

Brandon Davidson is happy to be a part of the show for the fourth year in a row. “It’s like an old family getting together and we’re going to do this Christmas show,” he explained. The youngest of six kids, Davidson grew up in beautiful San Diego. “I’m the only one who moved away,” he laughed. He received his BFA in Musical Theatre from Boston Conservatory, which then presented an annual showcase for New York casting directors. “So the program basically dumps you right into Times Square,” he joked. He’s lived in New York City since 2005.

“The reason I love this show so much is the choreography and the music. The second show I saw in New York was 42nd Street which was choreographed by Randy Skinner, who is the choreographer for White Christmas, and his style is inspired by Gene Kelly and Fred Astaire and that old world musical theater style. I grew up listening to jazz and the show is set in the fifties, so to be able to live in that world and dance that style again... I have a real passion for that style. It’s very American and rooted in jazz.”

Since the show is set in a Broadway milieu where two friends try to save their commanding general’s inn by putting on a show, the ensemble has lots of opportunities to shine. “The opening number, “Let Yourself Go” is a blast. It’s like being shot out of a cannon. It’s about seven minutes long and it’s a tap number. My favorite number in the show is when Betty sings, “Love, You Didn’t Do Right By Me”. It’s her “eleven o’clock number” and it is set in a Broadway cabaret, so it has that mood about it. She has three dancers who partner her one-by-one, and I am one of those dancers. It’s very emotionally based because she’s just been through sort of a break-up, and I think that Randy’s work and his intuition as a choreographer really shines in this number. “

Davidson also works as a house manager for Broadway shows, including the New York Musical Theater Festival, the showcase that launched [title of show], Altar Boyz, Next To Normal, Yank! and The Great American Trailer Park Musical. The show that he expects to see share that kind of success is Kiki Baby. Starring Broadway favorite Jenn Colella as the title character, a four year old who is gifted with an angelic voice, Kiki Baby tells the story of how she is exploited by her mother and needy neighbors in 1931 Germany.

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts: Trouble in Paradise

Director Alexander Payne has been making great films since Citizen Ruth and Election, but chances are most people are more familiar with Sideways or About Schmidt due to their Oscar nominations. His new film, The Descendants, shares a tone and subtlety with those latter films, to the point where those with shorter attention spans may flee the theater for the latest Twilight saga. I prefer to think of it as playing on Hawaii time, since the film is set completely among the non-tourists of that laid-back paradise.

The Descendants is gorgeously shot and deceptively subversive in the way that it confronts non-native people's co-opting of sacred lands. It won't make you feel bad as you sip a pina colada at a Hawaiian resort, but then again, it might.

George Clooney plays Matt King, a rich lawyer who is a direct descendent of Hawaiian royalty, which makes him executor of a trust that includes hundreds of acres of pristine Hawaiian land that he must sell before the laws dissolve the agreement. Unlike his family of Jimmy Buffett-like cousins, he hasn't lived off the great wealth the trust provided, and he is more than a little conflicted about selling the land for development.
All of this is just a backdrop to what is happening in his life. His wife, Barbara, bored by his lack of attention, began "seizing life" and ended up in a coma from a speedboat accident. Now forced to be a full-time father, Matt doesn't know how to communicate with his younger daughter and has no idea that his older daughter is getting drunk at the pricey boarding school where he sent her to straighten up.

The majority of the film deals with Barbara's imminent death and how to prepare the family and friends, while Clooney's character must additionally deal with a shattering betrayal by his now-comatose wife. Clooney gives a terrific, nuanced performance that is especially heartbreaking when he is left alone in the hospital room with his duplicitous wife and has to make peace with her. He gradually learns through tragic and uplifting events how to reconnect with his daughters and with the great land with which he has been entrusted.

Actress Shailene Woodley, who is best known for her role in The Secret Life of the American Teenager on ABC Family, plays the a tough, wounded daughter who becomes privy to her mother's less-than-admirable behavior in The Descendants. I recently visited with the 20-year-old actress to discuss her breakout role.

About how she got into character: "I'm not one of those actors who approaches it and thinks too much about it. I don't think about ‘the character' and ‘her arc' and what her life is like. I just try to approach it and be as present and truthful in the moment. I really responded to this screenplay because it was so real and raw and truthful and human. And it's so rare, especially in scripts that I read that are geared toward my age range. They're usually glamorized and not quite truthful."

On the screenplay: "The screenplay was so brilliantly written that there was no improvising. Emotion naturally came up and I was so fortunate to work with such phenomenal actors who gave me so much to work off of."

On director Alexander Payne, who she didn't know before she auditioned, and co-star George Clooney: "Alexander Payne is one of my top five favorite human beings on a personal level, and George Clooney is a superhuman. Every positive thing that you've read about him is true and every negative thing is hilarious because that man doesn't have a mean bone in his body.

On the time she spent on location in Hawaii: "These were the four months that shaped my young adult life. It was magical. Being there on set, it was such a comfortable environment. George was never in his trailer, he was always there hanging out with us. No one was better than anyone else and Alexander is such a happy human being, he created such a happy environment, there were never any fights or any disputes."

On the films serious and funny moments: "Everyone in some way or another has to deal with death, whether it's someone close or a family member, and at the same time, this movie is very funny. Life is funny, and we as human beings are hilarious. My friends who are gay always seem more open and comfortable with life and with mistakes. I took one of my friends to see the film and he was crying through half the film and laughing through the other half. Afterwards, he said, ‘That's just like real life: you laugh, you cry and you don't realize how funny life can be until you remove yourself from the bubble and look back on it.'"

Review and interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts Interview: My Weekend Visit

Andrew Haigh is enjoying the kind of buzz over his film Weekend that most Hollywood directors would kill to receive. The low-key romance about two guys who hook up and then turn it into something more has captured the imaginations of gay and straight filmgoers alike. No one is more pleased than out British writer/director Haigh. “I’ve been completely surprised. I mean, you make something and you have no idea if anyone is going to see it, apart from my mum. The fact that it’s got a good reception and people are talking about it and the press seems interested is amazing... it’s incredible,” Haigh explained via phone.

Weekend tells the subtle love story of Russell (swarthy Tom Cullen), a fairly closeted man, and Glen (sexy Chris New), and an out-and-proud provocateur. They meet in a bar, spend the night together and then decide to spend the better part of the weekend together before Glen takes off for school in Portland, Oregon. Neither man is who they seem to each other at first, and the beauty of Weekend is the often wordless ways Haigh shows the guys dropping their guards and falling in love. Cullen is marvelous, sweet yet masculine, while the out New has more of a gym-toned appeal.

Haigh, who worked from 2000 to 2008 as an assistant editor on films like Gladiator, Black Hawk Down and Mona Lisa Smile for directors like Ridley Scott and Mike Newell, strived to be honest in his portrayal of the two men and to be honest in their depictions, flaws and all. The men do a bit of drugs together, and at first, Glen, who goads the sweet Russell into telling about himself into a recorder, is rather condescending about the seemingly closeted man he assumes Russell is. It takes a while for the men to realize how much they mean to each other, framed by the sadness that Glen is leaving soon.

“To me, that was my most important goal,” Haigh explained. “To make it feel really authentic, and you believed that these two people were into each other and were falling in love with each other, basically. And that they were seen as well-rounded, flawed characters. The characters that interest me are the ones who are flawed and have those sorts of struggles.”

“When I was writing the story, I didn’t want to ever shy away from the fact that they were gay,” he explained, but he feels that straight audiences are embracing the film because of the honest way he depicts the characters. “There’s more to these boys’ lives than just their sexuality. I’m more than just a gay person. There are lots of things in my life that define who I am, and that’s what I tried to get across.”

Haigh decided from the beginning that he would shoot the film in sequence, to capture the men’s relationship realistically, and he had nothing but praise for his two leads. “They were so committed to that way we were going to make the film, and I always tried to keep it like it was a relationship between the three of us.” The three men became close, and it helped the actors develop their characters and develop their chemistry together. “They sort of fell in love with their own characters, which I think is so important.”

Regarding the film’s frank sex scenes, Haigh explained, “I knew that I wanted it to feel real, as if you’re there watching these two guys, almost like you’re spying on them. But I knew that I didn’t want it to be really explicit. We need to feel that these two people are into each other. It’s bizarre, it was actually some of the easiest stuff we shot.”

“I don’t think Russell fits in to the gay world or the straight world, and I think that Glen’s kind of the same. They’re both just trying to find their place. That’s like a lot of us. We’re just trying to work out where we fit in and how we fit in. Russell’s problem isn’t that he’s facing discrimination every day. It’s that he’s fearful of a world that he thinks still doesn’t accept him. That’s what’s interesting to me, that you carry around homophobia with you, even if it’s perceived rather than real. I think that’s quite a pressure on a gay person’s shoulders.”

Haigh’s first film was the documentary-styled film Greek Pete, about the year in the life of a handsome London escort. The subject fascinated Haigh because it was a world he didn’t even knew existed. “What was interesting was that working in that documentary format sort of inspired a lot of things that are in Weekend. It taught me that you’ve got to have faith in the ability just to watch and listen to people.”

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts Interview: Bebe, It’s You!

Bebe Neuwirth won television audiences hearts as the stiff and repressed but always lovable Lilith Sternin on Cheers, but she had been dancing ballet and acting on Broadway for years before that. Scottsdale Center for the Performing Arts has enlisted the versatile singer/actress/dancer to open their terrific 2011/2012 Season. I had the pleasure of speaking to Ms. Neuwirth the day after 9/11; we talked about her career, and where she wants to take it in the future.

Neuwirth was honored to be one of a huge group of Broadway stars who gathered on Times Square to sing “New York, New York” as part of “Broadway Remembers 9/11”, which was a recreation of a performance done right after the attacks to help Broadway and New Yorkers gain some comfort and be able to return to normalcy. At the time, Neuwirth remembered, “I had just started rehearsing a play for Lincoln Center and when it happened, I thought, “I can’t go back to the play, I mean, what’s the point? I should be down there on the piles helping the guys and feeding people. Then, I realized through the wisdom of the people at Lincoln Center who were saying, “No this is exactly what you should be doing.” It was really (a) pretty awful (time).”

Stories With Piano is the name of the show that Neuwirth is bringing to Scottsdale with pianist Scott Cady, which she hesitates to call a cabaret performance. “It’s sort of hard to describe, because some of the songs are from Broadway shows, but some of them are from Tom Waits and there’s a Beatles song in there and there’s an Edith Piaf song in there. It’s such a broad range that I don’t really know what category it falls into. They are a group of songs that either tell a story in a narrative way or they are a moment in a person’s life that is so compelling or so emotional or so deep that you know there’s a big story behind it,” she explained.

“It’s an interesting thing to stand on stage as yourself and not be a character like Jenny in Threepenny Opera or (Chicago’s) Velma or Morticia (from The Addams Family), I’m just me. I don’t want to stand onstage and tell you all about myself because I just think that’s far too narcissistic and boring an exercise for me. There are some people I want to go and hear exactly who they are. I want to hear Elaine Stritch’s show, I want to hear those stories, but it’s not for me to do. I do think that there’s a reason that I choose the songs that I choose. There’s something about them that I can relate to, so there is something that you might know about me (after the show)… maybe,” she said, laughing.

Born in the country outside Princeton, New Jersey, Neuwirth developed a love of ballet at an early age. “I’ve been in ballet classes since I was five and been on stage since I was seven (in ballet), so it’s really when I’m dancing that I feel most comfortable and most at home. I enjoy television and film a lot and I enjoy being in a play or singing in these concerts that I do immensely, but there’s something a little bit different when I am dancing onstage. It’s been the one constant in my life.  It’s the one thing that I’ve always done, and I mean always!”

Her first Broadway role was quite a coup, playing Sheila in A Chorus Line at age nineteen in 1978. The show was a phenomenon in the pre-Phantom of the Opera days. “The show was only three years old at the time.  Picture a Broadway without helicopters landing onstage or chandeliers rising up or people dressed up as cats so much that you don’t even see the person anymore. It was a different time, maybe a more human time on Broadway. It was just thrilling beyond words. I got to work with (creator) Michael Bennett a lot.” Neuwirth started in the tour, then graduated to the Broadway production, where she got to work with more experienced dancers who had done shows with legendary choreographers like Gower Champion and Bob Fosse. “They had amazing stories and if I paid attention to what they were doing and how they worked, I could learn a lot. It was a gift. It was a real blessing in my life.”

Neuwirth went on to work with Fosse, winning Tony Awards for revivals of Sweet Charity and Chicago. With two Emmys for Cheers and a new album called Porcelain coming out in October, can a Grammy be far behind?  The title refers not to Neuwirth’s ivory complexion, but rather to porcelain’s strength and fragility. “It has an interesting duality,” she concluded, referring to both the ceramic and her CD.

Her biggest Broadway triumph was the result of a concert version of Kander & Ebb’s 1975 Chicago at Encores! At City Center. No one thought it would go further, but the audience response “blew the roof off of the theater. It was like seeing an old friend that you just love so much when we gave the audiences Chicago again.” Ten years after blowing audiences away as merry murderess Velma Kelly in the sleek Chicago revival that followed and after hip replacement surgery in 2006, Neuwirth returned to Chicago playing the other killer, foxy Roxie Hart. It was a great experience, both because she got to see the show from a different angle, but also because it set aside any worries that she wouldn’t dance again.

“There were two things going on,” she explained. “One was the absolute exalting feeling of being able to dance again after excruciating pain and going through an operation and all the physical therapy and being able to dance on Broadway again. I can’t come up with words to tell you how happy that made me. And the other thing was being able to experience the show from a different perspective made me appreciate it all the more.”

“I’m so grateful and humbled by that,” Neuwirth responded when reminded of her iconic status in the GLBT community, from playing so many strong and empowering women. “That’s inspiring to me.” She is very happy about New York approving marriage equality. “Sometimes, when (same sex) couples come and tell me that they just got married and that they wanted to come see me in a show, I find that extremely moving, because marriage for anyone is a big deal. To be included in the celebration of that means a lot to me.”

One of Neuwirth’s favorite causes is animal rights. “I love animals and they can’t speak for themselves, they can’t do anything for themselves. It’s like children, you have to stand up for people and creatures who can’t speak for themselves. There are people who do so much more greater work than I do, but I help out when I can.” Before coming to Scottsdale, she will be doing a benefit for Equine Advocates and the Henry Street Settlement. “They have an equine sanctuary in upstate New York and they bring kids and women (who’ve been abused) up to the farm to visit with the horses. Horses are mystical creatures and if you’re in the presence of a horse, something happens to you. Some of these city folks are a little scared at first by this big animal and then something just opens up inside of them and there is this healing that takes place. They learn the stories of these horses that had suffered abuse in their past but were rescued and brought to this farm. It’s a really interesting link between the two groups and they’re helping each other right now.” She also praised Bernadette Peters and Mary Tyler Moore for a huge pet adoption event called Broadway Barks. “They’re a couple of heroes, and I help them out when I can.”

When asked what she’d tell aspiring GLBT youth who want to follow in her footsteps. “When kids want to be what they want to be, it might feel unattainable,” she responded. “I got bullied by a girl in school also, not to compare myself to anyone, and everyone has their own story to tell. Bullying is lousy no matter the degree, but there was a girl who made my life hell in the fifth grade, really horrible, and you know, I hate her to this day. I think to myself, if I ever saw her on the street at the age of fifty-two, what would I say to her? Here’s what I think, and I don’t know that I have any qualification to give out any advice on this because I understand that the bullying that you’re talking about is really profound and ultimately sometimes tragic. I would say, be yourself and believe in yourself. You are a gift to the world and acknowledge that because that is the truth. It used to be upsetting to me that I wasn’t like ‘that person’ or ‘that person’ and maybe I should change. It took me a while to realize, “No, exactly who I am is exactly who I should be. That’s the best I can do.”

Bebe Neuwirth: Stories With Piano will be performed at the Scottsdale Center for the Performing Arts this Saturday, October 15. Click here for more information and tickets.

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reel Thoughts Interview: West Side Stephen

“You are speaking indeed to the legend himself!”

With an introduction like that, you know that you are in for a great interview. Stephen DeRosa, a talented Broadway veteran and television actor, did not disappoint. The New York City native will be coming to a town near you in the West Side Story tour in the role of Gladhand, the male authority figure who tries to pacify the warring student gangs at the high school dance. “If you blink, you’ll miss me,” DeRosa joked. “I’m on for three minutes but I try to chew as much scenery as I possibly can.”

DeRosa, a graduate of the Yale School of Drama, was born and raised in Queens. “Don’t say it,” he exclaimed. “The joke’s already built in!” He went to school at Georgetown for politics, “but it involved too much acting.” Recently, DeRosa became an indelible part of the hit HBO series Boardwalk Empire, playing the role of comedian Eddie Cantor for director Martin Scorcese and Sopranos writer Terry Winter. He feels very fortunate to have parlayed a one-time role into three appearances, since the real Eddie Cantor was a friend of lead character Nucky Thompson, played by Steve Buscemi.

West Side Story is celebrating more than fifty years of exciting audiences with the battle between the white Jets and the Puerto Rican Sharks in New York’s Upper East Side. Most of the songs have become standards that everyone knows, such as “Tonight”, “I Feel Pretty” and the satirical immigrant anthem “America”. This latest revival directed by David Saint, based on Tony Winner Arthur Laurents’ original work, is innovative in that the Spanish-speaking characters do speak in Spanish much of the time. DeRosa loves the production, and says that you will not have any trouble understanding the scenes where this happens. “That’s part of the fun of my character, he tries to speak Spanish.”

“(Stephen) Sondheim and Laurents always hoped that the show could be a little more authentic. You need to read the book Original Story by Arthur Laurents, because it’s delicious. It’s his autobiography. It is such a good read for anyone who’s gay and anyone who loves the theater. You will devour it. It’s about being gay in the 40s and 50s, it’s about the creative process, it’s about trying to have integrity in Hollywood and all of the crazy backstage drama that happened on Broadway.” DeRosa explained that Laurents and Sondheim got the chance to tinker with the show’s book and lyrics, and that audiences will enjoy it. “It’s a very timely piece, and Arthur wanted it to be even more timeless. He wanted it to be about “Us vs. Them”. There’s always an “Us vs. Them” mentality and usually one of the main things that gets in the way is language, communication. “

“David (Saint) has given the show a real pace, he’s really infused the show with younger actors who have more passion and more energy. And there’s a playfulness, too. The “Officer Krupke” number’s just going to blow your mind, it’s so much fun. And it’s surprisingly homoerotic, which came from the text and from giving the actors the freedom to be as stupid as they wanted to be. It’s amazing how when you get a bunch of (mostly straight) boys together to fool around, inevitably, weird gayish, fratty kind of shit comes up. It’s very interesting.”

Based on the immortal story of Shakespeare’s Romeo and Juliet, Leonard Bernstein, Sondheim and Laurents moved the action to the disaffected youth in the Big Apple, where rival gangs of immigrants and those who used to be immigrants battle each other for turf, and a boy and a girl from opposite sides have little chance of finding love. Tony and Maria give it their best shot, even as all of their friends and relatives try to tear them apart.

DeRosa made his first big Off-Broadway splash in a historic revival of Charles Ludlam’s The Mystery of Irma Vep, playing opposite Everett Quinton (Devil Boys from Beyond) in the multiple roles that Quinton had originated. DeRosa also played opposite Vanessa Williams as the Baker in the revival of Sondheim’s Into the Woods.

“It’s a great job, this job,” DeRosa exclaimed. “I got to work with the late, great Arthur Laurents who was so loving and generous and who rewrote some of my role, to try and bring a little more humor. It’s a great show and audiences love it. Plus, you get to go to work and be surrounded by gorgeous men in various states of undress. It’s a good job, I’m lucky. I’ll take it,” he said laughing.

“The bottom line is, it’s West Side Story. The score just blows your mind how beautiful it is, and the dancing... these kids are doing the original choreography and they’re all in their early twenties and strong enough and agile enough to (do it). It’s really exciting.”

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

Reverend's Interview: A Weekend to Remember

Weekend, which won the 2011 Outfest Grand Jury Award for Outstanding International Dramatic Feature, is getting a great reception among gay men wherever it shows. Interestingly, this unapologetic queer romance is also being embraced by straight viewers, who bestowed Audience Awards upon it at the hetero-dominated South by Southwest and Nashville film festivals. Weekend will be gradually released in theaters in NYC and throughout the U.S. beginning September 23.

Written, directed and even edited by British filmmaker Andrew Haigh (Greek Pete), Weekend follows two gay men over the course of 48 hours following their initial, Friday night meeting. Insightful and sexy, I don't think we've seen a gay-themed film this purely romantic and ultimately affecting since Brokeback Mountain. Lead actors Tom Cullen and Chris New have undeniable chemistry and give great, vulnerable performances.

Haigh called recently from "across the pond" to speak about Weekend. "More than anything," Haigh said, "I just wanted to tell a story about two people falling in love with each other. I wanted to make it as realistic and honest as possible. I've seen a lot of gay films but none of them really reflected my life."

The filmmaker started out as an editor on such popular mainstream movies as Gladiator, Black Hawk Down and Mona Lisa Smile. In 2008, he was named as one of Screen International's "Stars of Tomorrow." Haigh shared: "I've always wanted to direct; I didn't necessarily set out to be a writer-director but it just kind of happened." He counts Ridley Scott (Alien, Gladiator) as a mentor and independent American directors including Joe Swannberg (Autoerotic, Blackmail Boys) as inspirations.

Haigh is thrilled by the awards and positive reactions Weekend has been receiving in the US since his film has yet to open in the UK "It's been fascinating to me, especially now that with the Internet and Twitter you can get people's immediate reaction. Not just gay people but lots of straight people have said (my movie) really resonates with them."

He has a theory as to why Weekend is finding more universal acceptance than most gay-themed films. "I've always felt that if you're honest with your story, people will go along with it." Haigh also believes his movie's take on the challenge of finding and keeping Mister or Miss Right is striking a chord. "It's hard!" he laughed. "Finding someone you connect with is very difficult; It's a bit of a battle."

Haigh has nothing but praise for his lead actors, especially when it comes to the film's graphic sex scenes. "Tom and Chris made the whole process surprisingly easy, although it is always daunting filming such scenes. We just tried to make things as comfortable as possible by shooting with minimal crew and doing only a couple of takes. Alcohol helps too."

I have to admit I was put off by the characters' considerable drug use in the film. While getting high on marijuana and cocaine during the early stages of courting seems to me a far from healthy foundation for a long-lasting relationship, I can respect Haigh's choice in this regard to the degree it reflects his observations. This is the only aspect in which Weekend felt false to me in light of my life experience.

So what can we expect next from this talented gay filmmaker? "I'm trying to write," Haigh said, "which is very difficult while you're going to festivals and traveling around. Writing takes a long, long time." I expect his next project will be worth the wait.

Reverend's Rating: B+

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.