VOD Spotlight On Parker Posey For THE LOVE GUIDEJune 15, 2012

VOD Spotlight On Parker Posey For THE LOVE GUIDE

Phase 4 Films

On Demand Weekly's Editor-in-Chief, Britt Bensen spoke with actress Parker Posey about her new movie, THE LOVE GUIDE  (Phase 4 films), now on demand.



On Demand Weekly (ODW): You’ve had so many iconic independent film roles (PARTY GIRL, HOUSE OF YES, BASQUIAT, WAITING FOR GUFFMAN). What are your feelings on being so closely associated with independent film?
Parker Posey (PP):
Independent film blossomed in the 90’s writers and directors were able to get financing to fund their vision. That was really exciting. I loved it. It wasn’t the star system. That changed in the ought’s.

There was a collection of artists and writers who could share their stories. There was a human element. Everyone worked with everyone else. They could be a part of something. It all changed. It became more of a business about making money. I think there will be a resurgence to grassroots (filmmaking).

THE LOVE GUIDE is almost like an experiment. Christy Scott Cashman wrote and financed it. I read it and thought ‘This could be fun.’

ODW: You play Angelica Lovecraft, the vegan, personal growth guru of THE LOVE GUIDE. How did you prepare for the role? Do you practice yoga and or meditation yourself?
I really like women who do yoga. This character takes it a little too far. She thinks she can disappear. She’s striving to do a handstand using no hands (laughs). She thinks she’s a time-traveler. There’s something fun playing a character like that.


Parker Posey / THE LOVE GUIDE (Phase 4 Films)

I am part of the yoga community here in New York. It’s a growing community of special people. I love and adore anyone who goes searching for a peace of mind, who might drop out of mainstream to follow a counter-culture.

ODW: Tell us about shooting a movie about the fictional show “Cut the Crap”?
: We had a lot of fun shooting. We shot it outside of Boston. It comes from a good place.


Parker Posey / THE LOVE GUIDE (Phase 4 Films)

ODW: There is a lot about chicken farming in the movie. What did you learn about chickens?
I got to hold a lot of chickens. There are so many different breeds. They’re sweet.

ODW: I have to ask, what comes first, the chicken or the egg?

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VOD Spotlight: Anne HecheOctober 17, 2012

VOD Spotlight: Anne Heche

Anne Heche

Kate Asche Wilson (@KateDoesLife) spoke to actress Anne Heche (DONNIE BRASCO, WAG THE DOG "Men In Trees") of the new comedy THAT'S WHAT SHE SAID now on demand.


Kate Asche Wilson (KAW): Your character in THAT’S WHAT SHE SAID, Dee Dee, is a cynical chain-smoking fabulous mess. How did you prepare for such a hilariously fantastic role?
Anne Heche (AH):
Oh my gosh can you just follow me around, and say that about Dee Dee all the time?

KAW: Yes definitely!
That was a great review. A fabulous mess. I’m glad there’s fabulous in there. The great thing about Dee Dee is that she is a fabulous mess, and having that be a contradiction the entire time was really what I worked on. How do you make her funny, and how do you make her dark? How do you make her likable and hate able at the same time? In terms of everything she’s got going on with her problems because she’s an addict, she’s a disaster, she’s mean, she’s self absorbed, and she’s a drunk.

KAW: Oh my god I love her.
: I love that you love her. I really wanted people to love her. For me people really liked Dee Dee because they felt like they were like her on their worst day.

KAW: I was obsessed with her when I watched it. I was like this is the greatest woman I’ve ever seen in my life.
Don’t tell your mother that! That’s really funny I’m really grateful that you enjoyed it.

KAW: It was so fun to watch. I loved it! So moving on when did you come on board with THAT’S WHAT SHE SAID, and what interested you in the project?
I came on board because...
Alec Baldwin called me and said
“Heche there’s a script you need to do 
and I think you could really pull it off”.
...Which of course intrigued me to know end. I was dying to see what it was and within five minutes I think the doorbell rang, and there was the script. It was like they were standing outside, and rang the doorbell as soon as they got the go ahead. Alec and I were in the play Twentieth Century on Broadway with Kellie Overbey, the screenwriter of THAT’S WHAT SHE SAID, and at the time I did not know she was a writer. When I got the script I tore open the envelope.

The second I saw that Dee Dee smokes and brushes her teeth at the same time I was like I got to do that. I got to figure out how to pull this one off. I read the whole script on the way to do a David Letterman appearance and I had a half an hour after the appearance before I needed to get in the car to go to the airport back home to LA. I said let me meet Kellie and Carrie Preston, the director, in the hotel before I take off. I sat down with them and it was basically a love fest in terms of what they wanted to do with it and how they saw it happening.

Carrie was working on “True Blood” and I was on “Hung”. Both shows are on HBO and we both had the month of October off. All three of us looked at each other and said let’s make it happen. It was really that fast. I’m a huge fan of Alia Shawkat from CEDAR RAPIDS, and thought she could really handle an equally as complicated character as Dee Dee on her end, and I told Carrie and Kellie we would be a really great pairing. They agreed and by the time I landed in LA Alia was on board too. So it really did kind of magically evolve.

KAW: Speaking of Alia you guys had the greatest chemistry, and I loved watching you both and Marcia DeBonis interact. What was your favorite part about working with them?
Oh goodness I think we cracked each other up daily. To do a movie that’s this low budget, this much pressure, and this much work you have to be doing that. It’s great when you spend each day anticipating how much fun the next day is going to be. I think that really kept us going because it was such long hours, a difficult shooting schedule, and difficult shooting circumstances. We all shared a dressing room, if we even had a dressing room. Usually we were sharing the bathroom of a pizza joint that was open while we were shooting in the other room.
This was down and dirty. Hiding cameras under coats, sneaking onto subway stations, throwing a coat over Alia’s head while she changed in the middle of the subway. Yet at the end of each day we would really look at each other and go “God that was so much fun. What is tomorrow going to be like?”. That’s what kept us going. We wanted so badly to get to that final scene, and not blow it for anybody. It’s so intense, so physical, and so emotional that each piece of the puzzle had to build to earn that ending. You build a lot of faith and a lot of friendship. That’s of course what the film is about, and I think it really shows our bond, and our belief in each other.

KAW: Carrie Preston calls THAT’S WHAT SHE SAID a “wo-mance”, the woman’s answer to the “bro-mance” genre. With films such as THAT’S WHAT SHE SAID and BACHELORETTE coming out On Demand now, do you think that this is the age of the “Womance”?
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