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After leaving a successful business career and high-profile position
as a production executive at Warner Brothers, writer/director Lance Young
traveled to Mexico where he wrote the script for BLISS during a self-reflective
period of his life. "I had seen so many scripts, even good ones, go
by the wayside," says Young. "So, it was a really frightening
experience to sit down and try to write a script after having been involved
in developing so many movies. As a first time director, I needed to make
a low-budget film that would be marketable, but I also wanted to write a
story about real characters I deeply believed in. With BLISS I knew I had
to push the envelope, in order to get people talking. Because it's not violent
or sensationalistic, it had to have a core of truth for the audience."
Once the script was finished, it began to circulate and attracted considerable
attention. "On a personal level, it was kind of a miracle," he
remembers. "I started out developing the story as a short, which I
planned to direct," he remembers. "Then I started thinking it
might be possible to make it as a low-budget feature. Later, when other
people read it, they saw it as a much bigger movie -- as a star vehicle.
I was offered a lot of money for the screenplay, but I would have to forego
directing. The choice was easy, as writing was a hard and personal experience
for me. I didn't want to just hand it off to someone else."
Though Lance Young and producer Allyn Stewart had both worked in production
at Warner Brothers, the two had only met once or twice and Stewart first
heard about the project from friends in the industry. Curious, she read
the script and had an immediate and powerful reaction to the story. "I
called Lance and said I would love to be involved in getting the film made,"
she remembers. "There were several producers chasing him, but I got
lucky and got a deal together first."
Stewart got an extremely positive and enthusiastic response from David Saunders,
president of Triumph Films, and Stewart and Young were ready to begin casting.
They immediately approached Terence Stamp for the critical role of Baltazar.
"Once we saw 'The Adventures of Priscilla: Queen of the Desert,' there
was no question in our minds that Terence was Baltazar," Stewart recalls.
"He has the internal power and presence on screen that Baltazar absolutely
must project."
For Joseph and Maria, they chose Craig Sheffer and Sheryl Lee because "we
felt that the audience could really identify with them," Stewart explains.
"After all, the central theme of this film -- that we all want good
relationships, and especially good marriage relationships -- is universal.
We needed to be sure that, as the characters go through all the transformations
in the screenplay, we had the kind of acting talent that would allow the
audience to experience every significant beat in the movie. We were fortunate
in getting two such fine actors."
Widely praised for his role as the wise, observant brother opposite Brad
Pitt in the critical hit "A River Runs Through It," as well as
for roles in such films as "Sleep With Me," "Wings of Courage"
and "Fire in the Sky," Craig Sheffer was ideally suited to play
the young husband who, unexpectedly, has a chance to learn the true meaning
of love when he commits himself to helping his wife overcome deeply-rooted
emotional problems. "Joseph takes that journey of love and discovery
and sacrifice in order to get to the other side," says Sheffer. "He
is willing to feel the pain with her no matter what the end result because
he believes in her and in the love they share. I was drawn to this story
because it deals with sex and sensuality in a completely new way, and how
we create roles for each other and then break out of those roles."
Sheryl Lee, who mesmerized audiences as the mysterious, doomed Laura Palmer
in the ground-breaking television series "Twin Peaks" as well
starring in numerous feature films, including the recent "Mother Night"
and "Backbeat," stars as Maria. "Aside from being very beautiful,
Sheryl Lee projects a very spiritual quality that was exactly what I was
seeking for Maria," Young recalls. "Maria also goes through several
dramatic changes that demand both immense range and great subtlety from
the actress. Sheryl was with her every step of the way in an extremely moving
and brave performance."
"Maria seems quite normal at first," Lee notes. "But as time
goes by, you begin to see little clues that something is not quite right
with her. Her reactions to things are just a little too extreme. In fact,
this is her unconscious way of expressing certain issues from her own past
that she's having a hard time dealing with. She is not the woman Joseph
thought she was and that has put a real strain on the relationship. I think
any woman would want a partner who would make the effort Joseph makes for
Maria."
Terence Stamp, who garnered critical acclaim and a Golden Globe nomination
for his performance as the aging transvestite Bernadette in "The Adventures
of Priscilla: Queen of the Desert," stars as Baltazar, the wise and
insightful sex therapist who guides Joseph toward a deeper understanding
and communication with Maria. "I was looking for a suitable follow-up
to Bernie," says Stamp. "Something out of the ordinary, but with
universal appeal. I don't want to disappoint those people who believe in
the big screen; who still cherish the moment when the lights go down."
Playing classical violin, fixing his own vintage car, giving instructions
on the intricate art of love -- the complexity of Baltazar, a man who combines
European and Oriental sensibilities, offered a perfect vehicle for Stamp's
ability to draw an audience into a character that lives outside most people's
day-to-day experience. "Once we saw Priscilla, we knew that Terence
Stamp was the perfect choice to play Baltazar," says Young, "He
gives Baltazar the dignity and depth that the story demands."
"Our actors all brought great talent to their roles" says Stewart.
"They also gave us their emotional commitment to the story. With a
project like BLISS, that is essential because so much of what is happening
is happening inside the characters. You have to work with actors who have
the courage to go into those places within themselves."
Casting was paramount for other roles as well. The selection of Spalding
Gray as Alfred (the psychiatrist) is typical of the effort to see that each
role brings out those little moments that give this film it's strength and
authenticity.
The next hurdle was the nuts and bolts of production. Because the set for
Baltazar's loft (his home and office) was central to the film and had to
have a sumptuous look, Stewart and Young were concerned that they get the
maximum impact out of every set construction dollar. With the Canadian exchange
rate, there was a clear budget bonus to be had by filming in Canada, so
Stewart and Young visited Vancouver. "We came here because of our modest
budget. We found great beauty plus the opportunity to stretch the dollars,"
says Stewart, "We found locations that really enrich the film."
Remaining on the fine line of Young's delicately-balanced script made demands
on actors and crew to ensure that each shot would carry an audience along
on the lead characters' emotional journey. Many of the shots were similar
to carefully-choreographed dances between the actors. In others, the camera
moved at a near-imperceptible speed on dolly tracks as it closed in on a
character's evolving emotional responses. At other times, Young mounted
his camera on a crane, letting it rise and sweep over the scene, carrying
the audience on the scene's waves of emotional content. These techniques,
coupled with cinematographer Mike Molloy's evocative lighting, help immerse
the audience in the emotional journey that brings Joseph and Maria within
reach of marital BLISS, then cruelly thrusts them onto the edge of disaster.
"It is a love story," says Molloy. "That kind of lighting
feels right for it. It was especially important for the love scenes. We
wanted them to have a surreal quality. They can't be too literal, so we
lit them to be a bit abstract and yet retain a sensuality."
"The most difficult part," says Young, "was to keep the emotional
journey on track. In each scene, in each shot, the audience has to be able
to read where the characters are in the film's emotional landscape. That
is much more difficult than letting the audience know, in a plot sense,
what is happening. It requires great subtlety from the actors, but it also
needs to be reinforced by things like the right quality of lighting and
the right camera position, lens and moves. Then you have to rely on instinct
to tell you if the scene you are shooting now will follow, emotionally,
from the one that went before and also lead the audience on to the one that
follows."
Young wanted the camerawork to continually reflect Joseph's point of view.
"It's about his journey," says Young, "It's not about Maria
-- although she does have her own very dramatic journey -- and it's not
about Baltazar. It's about Joseph's experience. So it was important to shoot
and cut the film so that the audience will stay with Joseph."
"BLISS has certainly been unlike any project I have worked on in the
past," notes executive producer Matthew O'Connor. "The subject
required very precise handling and that was time-consuming and frequently
stressful for all of us. But, when you screen the footage, you can see that
it was worth all the effort."
When BLISS went into production for Triumph Films, Young became the first
Hollywood film executive to direct since the 1930s. "I don't think
you can look at BLISS like a traditional Hollywood narrative such as 'Jerry
Maguire' or even 'sex, lies and videotape.' Yes, it has characters you hopefully
root for and grow to love, but we were trying to connect to an audience
on a more personal level; to provoke an audience to face their own intimacy.
In a sense, we wanted the movie screen to be a huge mirror, but instead
of being alone in the mirror, there's a large audience behind you, heightening
and provoking your feelings. We set out from the beginning to stimulate,
challenge and even incense; as well as move and entertain. We took a lot
of chances with the tone of the film, trying to invite an audience on an
unsafe journey by mixing comedy with serious drama. Dysfunction in relationships
can be funny one minute and tragic the next, so the tonal shifts of the
film are necessarily sudden and brutal. In a 'Brechtian' sense, we wanted
the audience to be jolted by this and constantly aware of their own feelings."
How people respond is of great concern to the filmmakers, as audiences have
rarely been exposed to films that challenge their own feelings and relationships.
"Seeing BLISS without an audience is a completely different experience
than seeing it with one," Young continues. "In the scenes where
two men discuss the intimate details of their sexuality, the comedy comes
not so much from the words, but from the uncomfortable nature of discussing
intimacy. A lot of the impact of the film lies in the range of response
from the audience that each person witnesses. A serious moment for one can
bring uncomfortable laughter from another."
Music Composer Jan A.P. Kaczmarek contributed enormously to the deeply emotional
feel of the film. Kaczmarek created a haunting and lyrical score for BLISS
which features several variations on the film's main theme. "We really
sought out people who were willing to get involved because of their powerful
reaction to the screenplay," says Stewart, "That lead us to approach
composer Jan A.P. Kaczmarek. We were very fortunate to get him involved
because music plays such an important role in this film. His score is an
absolutely integral part of BLISS."
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