The following is a transcript of a meeting of development heads that took place in a boardroom of a studio, somewhere in California, sometime in 2003.
Exec 1: So, we’ve all read the script. Thoughts?
Exec 2: Funny, original, a neat concept, great, hip dialogue. Original. I liked it.
Exec 3: Whoa! Original? It’s a coast-to-coast road movie featuring diametrically opposed characters that gradually learn something from each other over the course of the trip. You saw The Mexican. You can’t do that anymore. Half the audience was in a state of open-mouthed catatonia and the other half looked like they were on barbiturates!
Exec 4: (stirring) Catatonia and Barbiturates…. Now there’s a title….. It could be Tango and Cash meets Trainspotting! (tails off into some wistful mumblings)
Exec 2: Ah yes, but this has transport hi-jinks….
Exec3: I see what you mean about originality. I’m sure no one has seen Planes, Trains and Automobiles. Shall we just greenlight any screenplay that feature a skateboard with a dodgy rear axle?
Exec 2: What about the contrasting habits and speech patterns?
Exec 3: I weep for Midnight Run.
Exec 2: Ok, what about the originality of the Ellis Island moment?
Exec 3: You’ve got me there. They go from east to west. Don’t even recall it featuring Ellis Island.
Exec 2: Every journey has an Ellis Island moment. The characters are close to the end and suddenly see a symbol of their new destination. They know they will be tested, even separated……This is what makes this screenplay a winner…..The test…The threshold…Instead of an inspection for glaucoma…..We have an exploration of genitalia!
Exec 3: Christ, give me strength
Exec 4: An exploration of genitalia…..now there’s a tagline..
Exec 2: And how many screenplays have lines mentioning “vaginal dilators”!
Exec 1: Sold! We’re doing it!
Exec 4: Vaginal dilators….. (more wistful mumblings)
Thus maybe, just maybe, was Duncan Tucker granted studio backing to direct his screenplay, Transamerica, a story based on his surprise when he discovered his female housemate had been raised as a male. We should be grateful for the enthusiasm of Exec 2 as it is a thoroughly enjoyable film with first-rate performances.
Felicity Huffman was deservedly nominated for an Oscar and received a Golden Globe for her role as Bree, a pre-op male to female transsexual living in California who is summoned to bail out her teenage son, Toby, played by Kevin Zegers, fathered, forgotten and now a suspiciously well maintained rent boy on the streets of New York.
They head back to California together, Bree to be in surgery, he to be in pornography. Toby is unaware of the pre cut gender and biological connection to his female travelling companion.
Although some of the set pieces are predictable, it remains watchable as it is witty, candid and knows when to exit the highway. It is also playful about character assumptions. The role development is gradual and confidently handled without every straying to sentimentality.
How often are you going to see an American film with a transsexual, a rent boy and an Oscar nominated song performed by Dolly Parton?
Catatonia and Barbiturates can wait.
Exec 1: So, we’ve all read the script. Thoughts?
Exec 2: Funny, original, a neat concept, great, hip dialogue. Original. I liked it.
Exec 3: Whoa! Original? It’s a coast-to-coast road movie featuring diametrically opposed characters that gradually learn something from each other over the course of the trip. You saw The Mexican. You can’t do that anymore. Half the audience was in a state of open-mouthed catatonia and the other half looked like they were on barbiturates!
Exec 4: (stirring) Catatonia and Barbiturates…. Now there’s a title….. It could be Tango and Cash meets Trainspotting! (tails off into some wistful mumblings)
Exec 2: Ah yes, but this has transport hi-jinks….
Exec3: I see what you mean about originality. I’m sure no one has seen Planes, Trains and Automobiles. Shall we just greenlight any screenplay that feature a skateboard with a dodgy rear axle?
Exec 2: What about the contrasting habits and speech patterns?
Exec 3: I weep for Midnight Run.
Exec 2: Ok, what about the originality of the Ellis Island moment?
Exec 3: You’ve got me there. They go from east to west. Don’t even recall it featuring Ellis Island.
Exec 2: Every journey has an Ellis Island moment. The characters are close to the end and suddenly see a symbol of their new destination. They know they will be tested, even separated……This is what makes this screenplay a winner…..The test…The threshold…Instead of an inspection for glaucoma…..We have an exploration of genitalia!
Exec 3: Christ, give me strength
Exec 4: An exploration of genitalia…..now there’s a tagline..
Exec 2: And how many screenplays have lines mentioning “vaginal dilators”!
Exec 1: Sold! We’re doing it!
Exec 4: Vaginal dilators….. (more wistful mumblings)
Thus maybe, just maybe, was Duncan Tucker granted studio backing to direct his screenplay, Transamerica, a story based on his surprise when he discovered his female housemate had been raised as a male. We should be grateful for the enthusiasm of Exec 2 as it is a thoroughly enjoyable film with first-rate performances.
Felicity Huffman was deservedly nominated for an Oscar and received a Golden Globe for her role as Bree, a pre-op male to female transsexual living in California who is summoned to bail out her teenage son, Toby, played by Kevin Zegers, fathered, forgotten and now a suspiciously well maintained rent boy on the streets of New York.
They head back to California together, Bree to be in surgery, he to be in pornography. Toby is unaware of the pre cut gender and biological connection to his female travelling companion.
Although some of the set pieces are predictable, it remains watchable as it is witty, candid and knows when to exit the highway. It is also playful about character assumptions. The role development is gradual and confidently handled without every straying to sentimentality.
How often are you going to see an American film with a transsexual, a rent boy and an Oscar nominated song performed by Dolly Parton?
Catatonia and Barbiturates can wait.
2 comments:
Witty analysis but as a big fan of the film, I also want to point out the fact that fictional and documentary portrayals of people going through sex change is really a story of late pubescence.
Seen in this context, of becoming the adult self, or in the case of trans people, becoming one's true self, there's a poignancy that I think resonates with everyone.
Love ya work, keep it coming.
Extremely valid insight, thanks.
Glad to read you are enjoying the postings.
J.
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