By Ciara LaVelle
By Calum Marsh
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By Carolina del Busto
By Alan Scherstuhl
Return with us now to those thrilling days of yesteryear, 1992 to be exact. Gus Van Sant, the filmmaker who had just thrilled the world with his young-hustlers-in-love classic, My Own Private Idaho, was picked to direct The Mayor of Castro Street. Already six years in development, this proposed adaptation of Randy Shilts biography of Harvey Milk the openly gay San Francisco supervisor whose 1978 assassination remains a tragic watershed was shaping up to be Hollywoods First Big Gay Movie. Producers Craig Zadan and Neil Meron had initially brought powerhouse writer-director Oliver Stone on board, but after criticism leveled (by this writer) at Stones gays-conspired-to-kill-Kennedy epic JFK, he decided to step down as the projects director (while staying attached as a co-producer), allowing Van Sant to step in.
But as all too frequently happens in Hollywood, creative differences arose. Van Sant left the project to make an extremely commercial name for himself with Good Will Hunting, the 1997 film that made Matt Damon and Ben Affleck household names and won co-star Robin Williams a Best Supporting Actor Oscar. Ironically, it was Williams who was supposed to play Harvey Milk when Van Sant had been attached to Castro Street.
The project then drifted along in development hell for many years afterwardyears in which Van Sant went from a successful run at commercial filmmaking (climaxing in the Sean Connery vehicle Finding Forrester) all the way to the furthest fringes of the avant-garde (with his shot-by-shot, color remake of Psycho; Elephant, his non-star rendering of the Columbine massacre as a kind of conceptual art piece: and his skateboarder epic Paranoid Park). Now, Van Sant comes full circle with Milk, a straightforward, neoSidney Lumet docudrama, based on a script by 29-year-old screenwriter Dustin Lance Black, conceived independently of the now-dormant Castro Street project. As someone who has spent the better part of his life involved in gay activism, to say that I found Milk moving is an understatement. Genuinely political Hollywood films are rare; gay activist Hollywood films are virtually nonexistent. Milk is both. Its also a film whose emotions and ideas speak directly to every audience regardless of political commitment or sexual orientation.
L.A. WEEKLY: It looks like, after all these years, youve finally made the film you always wanted to make about Harvey Milk.
GUS VAN SANT: Well, The Mayor of Castro Street wouldnt have been like this. If Id gotten its screenplay the way Id have liked back then, it really wouldnt have resembled Lances much at all.
At the time, you said the thing that most interested you about the story was the idea of this guy who had a camera shop in the Castro and all these friends and became involved in politics. It was also about the birth of the Castro as a gay mecca.
You said youd remembered when the Castro went from hippie to gay overnight.
Did you ever read any of those other scripts?
Was that was the one I heard about with the giant Twinkie walking down the street?
Yes, that was it. It was all about the junk food that the defense claimed drove Dan White to kill. When he committed the murders, we had him go into this hallucination-possessed-blackout mode. He was dressed as the Twinkie Sheriff; he shot Moscone, who was Mayor McCheese, and Harvey was Ronald McDonald.
When Craig Zadan and Neil Meron started out, this was going to be the first big gay Hollywood movie. Rob Epstein and Jeff Friedmans The Times of Harvey Milk had won the documentary Oscar, but a narrative drama could go into the story more intimately.
Yes, but the main problem with The Mayor of Castro Street was that delving into Dan Whites psyche took away screen time for anything else youd want to do. Oliver was so monolithic in those days. Why did Dan do it? Thats what he wanted to know. Not the history of the Castro and the blossoming of Harvey Milk.
Wanting to get at the truth about the murders is all well and good, but ultimately no explanation will satisfy anyone. I was glad your film didnt try to do that, and also that you set Dan White at some remove from the homophobia of [anti-gay activists] Anita Bryant and John Briggs. He had his own demons.
One of the details we came across in researching the film was that the redistricting that made Harvey Milk a supervisor after so many failed attempts created a new board completely different from what had been before. The city didnt even have an integrated police force back then. So, when Harvey showed up, it was the first time anyone had broken though the ranks of professional conservative white straight Catholic politicians. Dan was the one straight white Catholic man witness to anarchy in the supervisor chambers, and for him it was too much.
In the film, Harvey states that he thinks Dan may be a closet case: I think hes one of us.
Thats his theory, and he says Just a theory. His friends say No, no, no. And it is just a theory.
Harvey liked to joke with people, get into a lot of back and forth, and charm them that way. Dan White seemed incapable of dealing with that. If he cant get what he wants, he doesnt know what to do. That scene where hes drunk and crying in front of Harvey makes him sympathetic to a degree. But the way things were going, even if Harvey hadnt come along, he would have had a hard time.Thats true. Politics was something Dan White wasnt good at. Politicians are strange, dont you think?
I get the impression this production came together fairly quickly.
The first time I saw the script was May, 2007. We finally started shooting on January 15, 2008. So it took awhile. We were happy, but we wanted it to be instantaneous. There was some idea of shooting it in August of 2007. We werent sure if The Mayor of Castro Street was going to start at the same time.
After you left that project, Stone moved on too, and it went back into development. When last heard from, it was going to be directed by Bryan Singer. But Singer got hung up on Valkyrie and when Milk went into production, Zadan and Meron finally pulled the plug.
It was funny, because Sean wanted us to promise him that we werent going to be shooting in City Hall or even San Francisco, while another film was being made about Harvey Milkonly for his own psyche.
Did he have any directorial input?
Sean didnt want to, because he knew it would be disastrous. Wed lose two or three hours in the morning because he had makeup to put on, and it didnt make us fall behind, but it made our shots kind of austere. Harris [Savides, Van Sants frequent cinematographer] is happy shooting from one angle, but the studio was like, How about some coverage? And we said, No were not into coverage. But Sean said, You can shoot with two cameras, because he has. I never have. Harris shoots with five cameras when hes working with Ridley Scott. But Universal offered it, and I liked it cause we were getting all this extra stuff. We had the same A.D. Sean had on Into the Wild, David Rudd, and he said, Hey, what happened to the Sean whod show up two hours before the shoot? And Sean just said, Different guy. Theres the actor guy and then theres the director.
Its a very interesting project coming off of your whole film as objet dart period, culminating in Paranoid Park. To me, the film of yoursMilk most resembles is your first,Mala Noche.
Because youre playing around with different kinds of film stocks, focal lengths.
Oh yes. The cinema!
So next is the life of Ken Kesey?
Theres a script being worked on by Dustin, but I dont know if its next. Something else may come up first. Ive learned that when it comes to movies, you never know.
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