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pushed to do is try to please everybody, and we didn’t want to have to dilute it to that. That was the basis of our production contract, that we had creative control over this. It got messy sometimes, dealing with the people who had monetary and business control. The majority of people who gave us money weren’t comfortable with the subject matter, and weren’t comfortable with the way we shot it, even though it was very clearly articulated what we were doing, and we were not going to cut things out; there was going to be male nudity, it was built into [co-star] Chad Faust’s contract, and it was all very upfront. We had these conversations over and over with everybody just to make sure. And when we got to editing there were a few people who just supposed we were going to take [those parts] away, and we were just like, “no, absolutely not.”

Q: Was there ever anything in the story that ultimately became too taboo, and you did hold back on?

Eh, nothing in regards to that. We did lose certain scenes that were tangential, stuff that didn’t work out, either because of a mess-up with the negative, or whatever. It was an independent film, so stuff happened. A lot of interesting things happened with the editing process, actually. We needed to make it a little shorter, and we used to start off the movie in a college cafeteria, so you know right off that we’re in college, and there’s a scene I had with Vanessa Ferlito that we had done together, and I really loved the scene. And we couldn’t make it fit in there. So I was like, let’s just start with that thing, and scrap everything in the cafeteria. That was really difficult to say, because we spent a few days [shooting] there, and there was a lot of stuff with Rachel Leigh Cook in it, and also Tracie Thoms. But there was just something about starting it there, you knew it was a college film, and you automatically saw signs and you were reading too much into it, and then it doesn’t ever look like that ever again. It doesn’t ever play like an obvious college movie after that. Cutting it suddenly made a big, big difference; it cut out fifteen minutes of the film and just really worked. I was so excited.

There were so many versions of this movie, and it was really fascinating because we did many, many, many screenings. And any screening that we did, despite the cuts that we had, people really responded to it. Which was great, but also really confusing. Because somebody’d be like, “We should really cut that.” And then somebody would say, “But that was my favorite scene, that was the thing that made me get it.” But we knew we were already ...

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