![]() I got a sense of that when I first started producing theatre productions. You really take back the power which is everything when you can create your own work. One reason you decided to pursue writing was to bring back some creative control and quell this feeling… has it worked? ![]() You’ve spoken about the ‘exsistential dread’ that can descend on an actor between jobs. It is quite laborious and the joy of it is because it’s a solo endeavour but it’s also painful because it is solo. I wouldn’t wish writing upon too many people because it’s hard. It’s definitely not for the faint-hearted. Maybe I’ll get there, but I’m still writing because there are things I want to explore and there are things I want to see on screen that aren’t currently there. I can’t imagine necessarily writing for other people’s projects just for the sake of writing. Yes, but only when I’ve still got something to say. ![]() Now your first feature film is complete, will you continue to write? Whilst the union of Kenny and Dolly is a questionable one for Red, in the real world the meeting of these two actors is something truly something worth watching. It’s a fairly meta approach to a role but one that Webber, and the rest of the cast of impersonators, performed with nuance. This being the world of copies, as an actor Webber was not just taking the persona of Kenny Rogers but also intercepting how his character, Kenny, would mimic the performer. Coming on board the making of Seriously Red when production was in full swing meant he had roughly three weeks to study the music and physicality of Kenny Rogers. Abram’s 11.22.63, and Marvel series The Punisher. Despite the setbacks, she persevered and has succeeded in creating a buoyant and deeply camp piece of Australiana cinema that just happens to be rooted in the work of an American country music musician.įor Webber, the making of the film marked a return to home turf after spending much of the past decade overseas, acting in productions including J.J. ![]() Even with friend Rose Byrne on board as an Executive Producer, as well as playing a cameo role as an Elvis impersonator, and the blessing of Dolly Parton to use her back catalogue, it was no mean feat getting the indie film funded. Krew Boylan, who wrote the screenplay, stars as the titular Red, a property valuer turned Dolly Parton impersonator who becomes entangled with Kenny, a tribute performer deeply embedded in his own on-stage persona, played by Daniel Webber.īoylan, a seasoned theatre performer with a string of on-screen credits to her name, spent ten years developing the script. Far from the typical romantic tropes we see on screen, it’s a relationship dependant on each individual masquerading as somebody else. Whilst Dolly and Kenny mightn’t have been actual an item, this fictional relationship between two tribute acts is an original take on the dynamic between love interests. It’s a form of escapism that requires a little willingness to believe that these people really do exist, even if those people are a Dolly Parton impersonator who falls for a Kenny Rogers tribute performer, as is the case in new musical comedy Seriously Red. That intangible yet potent spark is the high stakes the audience needs to become invested in two fictional characters for roughly two hours, a time in which we trade in our own reality for whatever is unfolding onscreen. It’s not enough for a couple to just look good together how much we believe in them is dependant on how their charisma is distilled on screen and therein lies the magic of cinema. Indeed, it’s the difference between not being able to take your eyes off the screen, and nodding off by halftime. Genuine chemistry between two romantic leads can make or break a film. ![]()
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