DAY FOUR November 6, 2005

by Telly Davidson

"We didn't set out with any agenda," explains Punk Cinema co-founder and business manager Tony Bracewell, who is also Richard's brother. "What we wanted to do was explore the dynamics of straight male friendship today. We used sex providers because it was a demimonde in which you could explore the outer limits of loneliness, bonding and the need for human affection. We could address some core issues, and explore both what was different and what was 'normal' about that kind of life."

When asked what the differences were between Great Britain and the United States in terms of the film community, Tony replies, "The UK system is quite different. Most of the great British studios--like Twickenham, Pinewood and Elstree--are there for outside producers to rent their facilities. They do top-notch work, but they don't put up the money the way the American studios and networks do."

Considering those difficulties, the "Punks" quickly decided that self-financing would be the only way. "In the UK, there are always a few investors who like a 'punt,' who like playing poker a little bit," Tony explains. "We started with investors with some disposable income who loved the arts and liked the glamour of premiering on Sunset Boulevard. We did the film for around $500,000 and spoke with several people, so nobody risked an inordinate amount."

In addition to the talented newcomers, THE GIGOLOS--which World Premieres today, November 6 at 6:30 p.m. in ArcLight Theatre 14--features cameo performances by veteran British stars like Susannah York, Sian Phillips, Anna Massey and Angela Pleasence as the younger men's most notable clients. "Richard decided that because it was Sacha and Trevor's first feature, it was important to try to get strong actresses to for them to play against," explains Tony. "So they all met with each lady at a posh London hotel--much like the gigolos would have done in the same situation--and signed them up over afternoon tea."

The wooing was worth it. "They came from the era when British cinema and the BBC was at its peak, back in the 1960s and 1970s," Tony enthuses. "They worked with Hitchcock, Burton, Elizabeth Taylor, Michael Caine, Donald Pleasence, Diana Rigg, Coral Browne, Angela Lansbury--everyone who was anyone on both sides of the Atlantic. They were all very keen on the project, and put a lot of work and experience into their characters. They were quite generous."

From the movie's very conception, the filmmakers agreed that THE GIGOLOS should be largely improvised. But the team also needed to ensure that the story stayed on track--and within its tight budget and schedule. "We wrote a scene-by-scene structure, rather like a storyboard--the objective and focus, with some pointers on the dialogue, kind of like cue cards. Whoever was in that scene would meet and rehearse two or three hours before filming, like a play or sketch. And sometimes Richard wouldn't tell anyone when the camera was rolling!" Tony laughs. "He wanted to capture as much truth as possible, like CANDID CAMERA. We were prepared to take a lot of risks."

He's not kidding. "There's a scene where Sacha ends up skinny-dipping, in his underwear, in a hotel pool with Susannah," Tony continues. "We filmed that at one of the most aristocratic, respectable hotels in London. We told them we were making a documentary and they gave us all access for two hours. It was about midnight on a Sunday when we shot the scene--and then, we got the hell out of there!"

While Tony handles the business and PR for Punk Cinema, he has complete confidence in his brother's abilities on the creative end. "Richard has a great feel as a director and cinematographer," he says, "and has very much his own vision of things. One of the reasons he went the indie route was because he didn't want the spontaneity and inspiration coaxed out of him. We didn't want six execs in a suite making final cut. That might happen in the future, but to make our name we had to be able to do it ourselves."

When asked what advice he would give to young filmmakers, Tony replies, "Get a great story. Discover some new talent and develop them. If someone tells you it's not commercial, talk to someone else. If someone says they're not going to invest, talk to another investor."

"And," he adds, "don't give up until you've got an LA premiere!"

Perhaps the best summation of the philosophy behind THE GIGOLOS is the reason why the Bracewells chose to name their production company Punk Cinema. "We have pretty much a do-it-yourself attitude about things," Tony states. "If we didn't, we wouldn't be having this conversation, and we wouldn't be at AFI FEST! Punk came from the UK, and punk is also about a DIY attitude. It's about total confidence in yourself--the confidence to go up there, pick up a guitar, take your place and start a band!" Or, in this case, a film.

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