 |
|
• EROS CITIES •
EROTICA
/ ZINE•
MASTHEAD
•
ADVERTISE |
|
erotica fictiongallerylifestyles fetishbdsmqueer/bi/transswingersfeatures news
briefsarticlessexy
spreadsfree speech x-presseros bits sound
offtriviasexfessionsdiva's debaucherysexual intelligence
reviewsclubs sf
archiveslondon
archiveslos
angeles archivesnew
york archiveslas
vegas archiveseros photo classified ads about eros zine
Sponsored Links
|
In one of last year's most ambitious films, John Cameron Mitchell's Shortbus chronicles the lives of a few New Yorkers whose sexual lives identify who they are. Yet, seeing as sex is so complicated, they are at a loss to define their lives through sex or any other means in the post-9/11 world, which has redefined American existentialist notions of urban alienation. At once released from and intensified with a drive for compassion and comprehension these characters come to a club called Shortbus to find themselves through polysexuality, love and rock & roll. The follow-up to his successful debut Hedwig and the Angry Inch, Mitchell's latest effort bursts with possibilities and love, along with a few more tangible phenomena. This summer I spoke with the writer-director when he was in Los Angeles.
John Cameron Mitchell: I had seen a lot of films that used real sex in them, but they were grim or not about the story. I wanted to make a film that used the language of sex. The actors helped me with the story through improvisation. Eros Zine: Which character do you identify with the most? John Cameron Mitchell: I equally identify with all the leads. They are all trying to connect in some way to, you know, not be alone. That's what we're all doing in this world: trying not to be alone. Eros Zine: The lesbians in the film seemed to be more comfortable with sex than their non-gay counterparts. Is that something you notice in general? John Cameron Mitchell: Maybe it's true. I actually wanted to have a lesbian couple as a lead in the film. But not that many women auditioned. The women in the [lesbian talk] scene were not that comfortable being sexual. Eros Zine: Why? John Cameron Mitchell: Maybe a male director was part of it. The history of lesbian sex on film hasn't been great. I wouldn't have a lot of confidence either. Usually it's just for male titillation. There's a certain sexual fluidity in the protagonists that's purposeful because people love to label themselves: I am lesbian; I am a gay male; I am a trannie; I am a top; I am a bottom. We get really caught up in that stuff. Labels are important when you're first coming out, but you've got to let go of them later. You can really limit yourself. But I understand them being uncomfortable with the sex. Eros Zine: Speaking of which, the protagonists in the story have this drive for sex, yet there is a layer of being uncomfortable actually achieving that goal. Is that something natural or something our culture is creating?
Eros Zine: What are your political intentions with the film? John Cameron Mitchell: Well, I hate Bush as much as next person [laughs]. It seems to give people hope. Even hope to create something unusual and people will be interested in it. Creativity is a true act of resistance. I also want to remind people that a roomful of one type of person is pretty dull. A room full of just gay men or just gay women can be really tense. A mixed crowd is always a better time. Loosen up a little. Get out of the gay ghetto. Get out of the lesbian ghettos. Get out of the straight ghettos. I believe in safe spaces and everything, but eventually you got to let everybody who is cool into the party.
John Cameron Mitchell: Unfortunately in our economy you have to do tons of press. The open weekend [box office sales] is very important. Word of mouth doesn't have much time to work. Eros Zine: Beyond the marketing necessity, do you think it serves the film? John Cameron Mitchell: No, but you always have to frame a film for some people before they will go and see it. John Cameron Mitchell's Shortbus will be available on DVD on March 12, 2007.
|
|
|
||
|
 |
|