Out Takes Dallas film festival welcomes director Del Shores

by Daniel A. Kusner of Dallas Voice

No one mixes Texas-flavored comedy, tragedy and LGBT themes better than Del Shores. Raised in Winters, Texas, the playwright turned filmmaker created Daddy's Dyin' (Who�s Got the Will),, Southern Baptist Sissies, and Sordid Lives, which became a cult film for both gays and senior citizens.

Shores' roots are firmly planted in conservative Christianity. After attending Baylor University, he moved to Los Angeles in the early '80s -- but was closeted.

He has two daughters from a previous marriage, however in 2003, Shores married actor-producer Jason Dottley.

Lately, Shores has been working on small-screen projects. His name turned up on many Queer as Folk credits, and he's back in the South as he, Leslie Jordan, Olivia-Newton John and Delta Burke are all slated to begin shooting the TV version of Sordid Lives for Logo.

Earlier this week, we caught up with Shores. On Thursday, he's back in Dallas to present a double feature of Sordid Lives and Daddy's Dyin' at the Out Takes Dallas film fest.

If you organized the ultimate gay film festival, name three elements you'd include?

1) A "Gay Cinema History" section that would include Q&As from gay filmmakers from the past and present: to see how far we've come, and to honor those who paved the way.

2) One sing-a-long, like Los Angeles' Outfest does. Some of my favorite evenings were with my daughters, my husband and gay friends all singing along to Grease, Chicago, and Moulin Rouge.

3) Saturday matinees for children and their gay parents. Outfest did this when I first came out. It was so wonderful for my little girls to see other kids with gay moms and dads.

What would you prohibit?

Shitty films. So many horrible movies get into festivals -- only because they have a gay theme. Let's be more selective and show quality gay films. By the way, low-budget films can be quality films.

Which film fest had the greatest impact on your career?

The first one that Sordid Lives screened at -- the tiny Indie Memphis Film Festival. We opened the fest, won it, and it was the first time I saw Sordid Lives with an audience. That was the moment I knew it worked.

How do you rate Texas festivals?

The USA film festival has been amazing -- twice. Daddy's Dyin' (Who's Got The Will?) opened the festival in 1990, and the place was packed. I saw college friends, high school friends and relatives in the audience. Everybody was so proud of me. MGM had me and entire cast all roll up in limos. That was the moment I knew I had a career.

Years later, Sordid Lives played to a packed house at the USA fest. I was so nervous. My parents [dad, a Southern Baptist preacher; mom, high school drama teacher) were in the audience and watched my crazy gay-themed film.

But the audience went crazy over Sordid Lives. And with Olivia Newton John and much of the cast at the screening, I knew my career had taken a drastic turn.

I also loved winning the Austin Gay & Lesbian International Film Festival with another adoring audience. Q Cinema in Fort Worth was another amazing evening. This is the first time one of my films is at Out Takes, so I'm excited that I get to participate, with my vintage material.

Have you ever been surprised by audience reactions at gay festivals?

We got spoiled. After such amazing reactions, we'd always be surprised if the audience was quiet.

If you could re-shoot either Daddy's Dyin' or Sordid Lives, what would you do differently?

I would like to have a chance to direct Daddy's Dyin'. I would re-cast a couple of the roles and -- like the play -- the comedy would work better in my hands. It was beautifully shot, but I didn't have the control I enjoy now. So I would love for people to see what my vision really was.

With Sordid Lives -- A more seasoned director of photography to give me a better look, more budget to allow for more coverage (I long for a close-up of "Brother Boy" when Sissy tells Latrelle off in the funeral scene). But you know, that film is what it is and some of those limitations actually have worked in my favor. I'm working on the series now and am excited to get another shot at being a better director.

I know you and your crews have strong ties to North Texas: While watching the Del Shores double feature, are there any elements that scream "D-FW" that the audience can watch out for?

We shot Daddy's Dyin' out in Ponder and Drop, which is right outside of Denton. My good friend's grandparents' house was the old home place. So if you've been out that way, you may see some of the locations.

As far as Sordid Lives, Texans get it better than anyone. We know these people. Many of us know how hard it has been to be gay, growing up with religion and Republicans. And seems like these days, most of my fans know all the lines better than me.

A Very Serious Person

For someone known for his campy excesses and drag persona, Charles Busch is a very serious person when it comes to his craft. But he's not nearly as serious as Jan, the male nurse he plays in this film, his directorial film debut.

Jan has been hired to tend the ailing grandmother (Polly Bergen) of a showtune-loving little boy and he expects to be treated as the professional he is. But the kid has a way of softening Jan, the first gay man he's ever been close to, and Jan's instincts (paternal? maternal? queer?) overtake him.

A Very Serious Person is unique in the gay coming-of-age genre in that it's set in the pre-sexual-awakening stage, when little boys put on their mommy's heels and lipstick and everyone subtly suggests he "butch up." In other words, the period when most gay people first understood they were different without quite knowing how.

Busch's style is direct and measured. And he delivers (and draws out of his cast) some delightful performances. It's a film full of gentle charms.

-- Arnold Wayne Jones

Grade: A-

Nov. 9 at 8 p.m.

Laughing Matters...The Men

The great thing about standup comedy as an American art form, Bob Smith observes in Laughing Matters...The Men, is that the best comics are always those who come from outside mainstream society. Whether Jews (Rodney Dangerfield, Lenny Bruce), women (Phyllis Diller, Ellen DeGeneres, Rosie O'Donnell) or gays and lesbians, no one's quite as astute at countenancing the humorous side of life as those who, due to their disenfranchisement and struggles, have the fewest reasons to laugh.

Such insight doesn't come while Smith is on stage, however. Like its predecessor about lesbian comics, Laughing Matters... is only part concert film: It's largely a documentary about the comedians with excerpts from their acts thrown in. While the analysis may take it a step beyond Comedy Central's Premium Blend, it does raise the conundrum: Is the audience those looking for jokes or those looking to understand gay comedy? By splitting the difference, it seems more like two shorter films, inter-cut for all tastes.

That turns out to be all right. Smith, Bruce Vilanch, Alec Mapa, pictured above, Scott Kennedy (the self-described "pinkneck") and other are interesting people in their own rights, and their routines can be howlingly funny. The film, like the best comedians, leaves you wanting more.

-- AWJ

Grade: B

Nov. 10 at 9 p.m.

OUT TAKES TIX

Advance single-showing tickets may be purchased directly at the Magnolia Theatre box office. Matinee shows (5 p.m. Monday through Friday) are $5. Prime-time features (Friday after 6 p.m. and Saturday) are $10. All other shows are $9. Tickets will be available online shortly before the festival -- check "Film Schedule" on the Out Takes Dallas website, and look for the "Buy Tickets" icon located on each film description.

Screenings at the Magnolia Theatre, 3699 McKinney Ave. For a complete schedule and additional information, visit OutTakesDallas.org or see the advertisements on pages 30-31 in this edition of Dallas Voice.