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Film Freak Central Interviews "L.I.E." Screenwriter Stephen Ryder
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Read Film Freak Central's review of L.I.E.

continued from page 1

I know that there was a bit of dialogue deleted during the straight-razor scene; how was that scene conceptualized in your mind, and can you talk about any changes that might have occurred in its journey to the screen?
I get a kick out of all the reaction to "the shaving scene." It has already become a classic of Cinema. Rex Reed said, in his review, "The most erotically-charged scene ever filmed." He went on to say, "The sexual tension was so palpable that the woman in the seat next to me nearly fainted." I am delighted by all this, but I meant NO sexual innuendo at all, and I don't know, but I don't think the director did either.

That scene evolved in an interesting way. One day Michael Cuesta called me on the phone after reading my latest script rewrite and said. "They're not bonding enough--what would bond them--how would they bond? Meaning Howie and John. How does a man bond with a boy?" Michael's son was only about two years old at the time, mine were already in their thirties.

"He teaches him how to shave," I said. Then, in an instant, Michael knew it was true.

And it was his decision to use a straight razor. I argued against it and I was wrong. It was a stroke of genius on Michael's part. I wasn't on the set and the first time I saw the scene was in the theater.

You want to hear the dialogue that was deleted from that scene?

Yes.
Big John: "You know, there's a book, Cyrano De Bergerac, by Edmond Rostand. It's a story about a guy with an exaggerated proboscis--a real long one. That nose was a metaphor, an insignia of his inescapable 'differentness.' Isolated from society at large, he compensated for his sense of inferiority by becoming the finest swordsman in all of France. And a rapier wit, to boot!" (A beat)

You see, Howard--you and Cyrano are much alike. But since you have a cute little nose...(he tweaks Howie's nose)...that can't be it. You're different in other ways. You're like a diamond in a coal bin. (A beat) So it follows that you must become a great swordsman--so no one will trifle with you.

Brian Cox told the press that he loved that dialogue, but he and I agree that the scene works better without it. It was Michael's decision to delete the dialogue, I am told, when he watched the dailies of that scene and saw the visual power, he said--"Let's see it one time without the sound." He made the right decision and my hat is off to him on that one.

But I still had only envisioned the scene as a sacred ceremony: an intimate rite of passage between a father and a son. I never even imagined a sexual component, but I guess I'm a real square in that department. I wanted to show that Howie's father had not done the things a father should do with a son, like teaching him to drive and to shave, and that John had the instincts--all perfectly legit, to teach a boy these things. Maybe because he was a devotee of the cult of maleness as celebrated in the Marine Corps and the Police, these symbolic rites would mean a lot to Big John.
"You don't have the space and I don't have the time to say all I would like to say about the sanctimonious pinheads calling themselves the MPAA..."
Brian Cox in L.I.E.
Paul Franklin Dano as Howie in L.I.E.

I wanted to address the miscarriage of justice that has occurred in the MPAA's branding of this film as "NC-17"--thus robbing it of countless screens and advertising opportunities. A dangerous topic to be sure, the pedophilia elements in the plot of L.I.E. are handled with the utmost respect and seriousness. The film is about a pedophile, not pedophilia--a crucial distinction. I wanted to offer you the opportunity to discuss the rating if you wish, and your views about why you think the MPAA has ruled in this way.
You don't have the space and I don't have the time to say all I would like to say about the sanctimonious pinheads calling themselves the MPAA and hiding behind their sheets. But let me be crystal clear on this: I can discern no philosophical difference between these hypocritical, narrow-minded, blue-nosed religious fanatics and the Taliban. Seriously. Of course the MPAA is not psychotic enough, or bold enough to commit mass murder, but their doctrine of ignorance and repression, and the arrogance of their supposition that their values are the one size that fits all is theologically indistinguishable from any other despotic regime.

It is a sad commentary on the cowardice of this industry that they allow themselves to be dictated to by the latter-day Joseph McCarthys of the MPAA. People who meet in secret and describe themselves as "parents." "Parents?" Well THAT narrows it down! Attila, Joseph Goebbles and O.J. Simpson fit into THAT category. That's a qualification? I can't understand why someone has not filed a class-action suit against the "MPAA" under the RICO statute (Racketeer Influenced Corrupt Organization Act) for acting in Restraint of Trade in Inter-State Commerce. Great financial harm is done to corporations that have invested millions of dollars in their film products, people are put out of work, and careers are truncated by this secret organization. "Oh, but compliance is voluntary!" Replies Jack "Johnny Scissors" Valenti.

Yeah, as "voluntary" as paying a bookie.

Finally, I wanted to give you an opportunity to talk about your upcoming book, and your new film project, a retelling of Romeo & Juliet.
My book Dinner Behind The Lines from Bennington Books NY is available now at Barnes & Noble and on Amazon.com, or you can e-mail benbooks@aol.com. It's a collection of poems and stories in soft cover.

I have three film projects moving forward. I can't believe how busy I am now.

Only Perfect is a Romeo & Juliet-inspired romance set in present-day Montreal, the kids being quite young--twelve-thirteen. The girl, "Michelle Beaubien," is an upscale Francophone Quebecois, and the boy, "Coleman Hawkins," is a poor Anglophone living in the East End. The story deals with the classic family conflict exacerbated by ethnic differences and socio-economic factors. It treats young love with respect and detail, and never sinks to pubertal comedy or cheap titillation. Because this film too goes where no film has gone before--but not in the direction of sex--I have attracted the attention of one of Canada's best directors and we are conferring now on production budgeting and schedules.

Night Of The Black Mamba--a feature film--is a spy thriller told as the very personal story of a former CIA operative who is living quietly in America and trying to write a book that certain people don't want to see in print. Brian Cox and Armand Asante have both expressed interest in playing lead roles and have requested current scripts.

Revere. Can't tell you anything about this one. A feature film, the script is complete up to a shooting script. It is ready to go now. A well-known, award-winning Canadian director is negotiating with me on this one as we speak.

Kings Of The Earth. This one is a Big-Budget Whopper! A conspiracy within NASA with links to Ancient extra-terrestrial visitors to earth who have become us. They are not bugs. Our protagonist, John McCallister, has inadvertantly uncovered their grand plan, and he wants to stop them. If they don't stop him first.

At this time, I don't know which one will go into production first, but stay tuned!
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