I heard about
the book, Retards, Rebels & Slackers
www.jainabell.com , by Jaina Bell
as Dov and I were finishing, Won’t Anybody Listen.
www.anybodylisten.com I
had been working on another screenplay and was doing research for a
developmentally disabled character when a mutual acquaintance put me in
touch with Jaina Bell. Bell had just finished a book based on her nine
years of experience as a staff member in group homes. I was immediately
taken with Jaina’s book and its detailed and personal story. I put
everything else aside and set about obtaining the motion picture rights
for the book.
A week after completing the agreement, the book
received a mostly positive review in a psychology journal. A vicious
hate e-mail campaign that immediately followed could only have been in
response to that review. It was apparent that the letters were coming
from people who had not read the book and were merely reacting to either
the (politically incorrect) title or to incidents from the story that
had been mentioned out of context in the review itself. This was my
first warning that I had entered a truly volatile territory.
The next indication of controversy I was to face came
when I decided to create an audio version of the book. I wanted to raise
the visibility of the project, and being a big fan of audio books, I
sent a copy of the first chapter to a few voice actors I thought might
be interested. When none of them responded I was dumbstruck. I saw this
as a very unique and artistically challenging opportunity. Why weren’t
they interested? Upon investigation I found that able-bodied actors were
uneasy creating voices for the very “un-Gump-like” language and attitude
of the developmentally disabled characters in Jaina’s book.
Undeterred, I was convinced there was a great value in
telling the story as Jaina had written it. A genuine truthful glimpse
into the lives of a small group of intellectually disabled characters
that was not patronizing or absurdly unrealistic. It was hard to name a
film that had an intellectually disabled character that wasn’t
one-dimensional. What seemed to be missing from film and television was
either the wisdom or the courage to portray the intellectually disabled
as realistic characters who may misbehave, get angry, act out
frustrations, long for acceptance and companionship, feel and sometimes
act on sexual feelings - in other words, act like human beings.
In June 2004, after being alerted by a friend who had
heard of it, I attended the Perspectives International Film Forum held
at the Arclight Theater in Hollywood. The Forum featured an exciting and
diverse program of domestic and international features, documentaries
and short films that explored the lives of people with developmental
disabilities. Each screening was followed by a lively and
thought-provoking discussion between the filmmaker, a disabilities
expert, and the audience. I stood up during the first panel discussion
and asked how a producer could obtain a valid release from an actor who
was developmentally disabled. Just having seen what was involved in
obtaining “errors and omissions” insurance on Won’t Anybody Listen, I
had learned that each and every person appearing in a film must sign an
airtight release of rights. Without the proper releases the film would
be “uninsurable” and thus “un-releasable.” The “panel” explained that
under California law, if an intellectually disabled person was of legal
age, and not conserved, they could sign a legal agreement on their own
behalf. After the “panel” representatives from the Lantermen Regional
Center, Easter Seals and Downs Syndrome Association of Los Angeles
sought me out.
This gave me an opportunity to bring up issues that
were weighing heavy on my mind. I had strong feelings about wanting to
preserve the spirit of the book. Doing that would require going against
the Hollywood formula of making intellectually disabled characters a
“walking angel” that changed everyone’s lives or the “unlikely genius”
that saves the day. Making the film true to the book would require
portraying the motley group home staff with its politically “INcorrect”
language (as well as their hearts of gold), and “behaviors” by the
“clients” that included adult language, public disruptions, and physical
violence. I also wanted to use real intellectually disabled actors. I
knew the integrity of the story would prevail and that the movie would
stand on its own, however I was worried that isolated scenes or
incidents from the book could be taken out of context and misunderstood
by well meaning family and friends of the developmentally disabled.
All the representatives looked at me with knowing
smiles and handed me their cards. They assured me that what they
supported was multidimensional portrayals of intellectually disabled
characters. They were also very supportive of using intellectually
disabled actors to play the roles. They promised to help me with letters
of support. After exchanging contact information I left the forum
feeling heartened and newly energized.
Currently with the help of Jaina (the author) I have
cast the parts for the audio book. I have begun recording with
actors from Performing Arts West, Inglewood, CA and The Media Access
Office, North Hollywood. In addition able-bodied characters are
being played by non-intellectually disabled (but otherwise handicapped)
actors. After completing production on the first Chapter it will be
submitted to Audible.com for their consideration. Audible.com has
already expressed interest in the project but whatever their final
decision I will finish and find a way to make the audio version publicly
available, either through another distributor or through an online
system from the book and movie web page. That said, I will be completing
the rest of the audio book production during the months of
January/February 2005 and press releases regarding the film project will
be issued in connection with the January DVD release of Won’t Anybody
Listen by Netflix.
In the meantime, just as with the last film, the House
of Tards™ www.HouseofTards.com
web page will be developed and
used to solicit funding and support for the production of the film. You
can click on a link there to contribute any amount of money towards the
creation of this new film. All contributors will be named in the final
credits of the film (just as they were on Won’t Anybody Listen).
Just think, your name in IMDB!
GET YOUR NAME IN THE CREDITS OF THE FILM
*
BY DONATING TOWARD THE
PRODUCTION EXPENSES
HOSTED BY PAY PAL
YOU DO NOT NEED TO HAVE A PAY PAL ACCOUNT TO DONATE.
*Minimum
donation to have your name appear in the credits is $20.00
(though donations of any size are welcome).
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