“The Happy Sad” Explores the Dual Emotions Inherit within the Complexities of Relationships. Now Available for Download

"The Happy Sad"

One of the best films from San Francisco’s LGBT Frameline Film Festival, “The Happy Sad” finished its successful World Premiere screening in San Francisco, but we caught up with director Rodney Evans and stars LeRoy McClain and Cameron Scoggins as they were packing up to leave the city.
 
Director, Rodney Evans

Director, Rodney Evans

The film has screened at Frameline, Outfest and Quest in Philadelphia. “The Happy Sad” has also enjoyed a run in theaters in New York and Los Angeles. It is now available for download on iTunes. Click our link above or below.

 

Director Evans tells Progressive Pulse about how he discovered the film when it was first a play and explains to us what

LeRoy McClain

LeRoy McClain

the title means to him.

 
The film intertwines two couples of various sexual identities as they decide where they are in their relationships and where they imagine their futures to be. Are they gay? Are they straight? Or are they bi? Is their relationship monogamous or open? The movie explores all of the possibilities and we learn with the great ensemble cast, as they try to figure out where they are in life, love and the pursuit of a relationship, and sexual identification.
 

We also got a little more insight into the film from actor McClain, and learn that Scoggins actually performs his own songs. No he isn’t just a talented actor whose music was dubbed. In fact, the music from McClain’s band, Whiskey Collection, is prominent in the film and their songs can be purchased on iTunes.

 
To learn more about “The Happy Sad,” go to www.rodneyevansfilm.com. For more on Whiskey Collection, click on www.thewhiskeycollection.bandcamp.com. Or seek them both on Facebook.
 
You can download “The Happy Sad” on iTunes below.

2 Responses to ““The Happy Sad” Explores the Dual Emotions Inherit within the Complexities of Relationships. Now Available for Download”

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  1. What The ?? Interior. Leather Bar. (Sunday, June 23, 9:15pm, Castro Theatre) The premise is that filmmakers Travis Matthews and James Franco have set out to reconstruct the “lost” footage cut from William Friedkin’s 1980 thriller Cruising. The story of a straight cop, played by Al Pacino, who goes undercover in New York’s gay leather scene to catch a serial killer, the film sparked controversy both for its explicit subject matter and its nightmarish depiction of gay sexuality. However, Matthews and Franco suffer from an elusive, non-rigorous approach to the subject. Is the film they have made (notably listed in the festival’s fiction category) a phony document of their attempt to recreate the infamous footage? Or is it an elaborate episode of Punk’d (literally), the point of which is to film straight actors watching gay men have sex? The film is provocative, but infuriating; its makers don’t bother to do any research into the nature of the lost footage, failing to interview either Friedkin or Pacino or to document any attempt to unearth the footage in question from the studio’s vaults. Indeed, they decide to not even use existing footage to recreate the sets or the original scenes. It’s as though they came up with an interesting premise and then got too stoned to make the movie. There is some interesting discussion about why the gay actors wanted to be involved in the project and the various levels of discomfort straight actors have in playing gay characters. Who cares? Franco is repeatedly asked to provide a rationale for what is referred to as “Franco’s Faggot Film” and is unable to come up with a coherent response.

  2. The quirky sensibility of THE HAPPY SAD is similar in style to recent films like 500 DAYS OF SUMMER by Marc Webb, ETERNAL SUNSHINE OF THE SPOTLESS MIND by Michel Gondry andME AND YOU AND EVERYONE WE KNOW by Miranda July, three independent films that explored the inner workings of relationships. But what sets THE HAPPY SAD apart from those films is how gay and bisexual characters are not at the periphery or absent, but taken seriously while forming the center of the narrative. The goal was to create gay and bisexual characters that are as richly examined as the straight protagonists in those films. The overwhelmingly positive response and sold-out audiences for the stage production demonstrated the need and desire for a seriocomic exploration of contemporary relationships. Thinking about recent micro-budget features like TINY FURNITURE, HUMPDAY and MEDICINE FOR MELANCHOLY we began strategizing about how to make the film with a similar production model for under $100,000 by using personal connections to actors and in-kind resources available to me in New York. Mr. Urban has completed several drafts of the screenplay that reimagines the story of the four principal characters for the screen. He will revise the screenplay based on feedback from the producers and myself, with the aim to begin an 18 day shoot using the RED camera in July 2011 in New York.