People Magazine Article

Monday, March 20, 2006

Categories: Diary • In Print • Archives

Andrea and I were featured in the March 20th People Magazine “Oscar Secrets” issue for our work with Felicity Huffman and Transamerica. The photo turned out every bit as bad as I feared it would. Sigh.

LATimes.com: A tragedy—and unique love story

Thursday, January 23, 2003

Categories: In Print • Archives

SUNDANCE FILM FESTIVAL

A tragedy—and unique love story

Handled with skill and care, ‘Soldier’s Girl’ tells of a gay GI,
slain in 1999, and his transsexual partner.

By Kenneth Turan, Times Staff Writer

PARK CITY, Utah—Even by the relaxed standards of the Sundance Film
Festival, quite a diverse quartet had gathered in an empty hotel ballroom to
talk about a picture. But together in “Soldier’s Girl,” they helped
create a kind of magic.

At age 77, so old that he joked about deserving a prize for “directors
in their second childhood,” the senior of the group was Frank Pierson,
president of the Academy of Motion Picture Arts and Sciences and the
Oscar-winning screenwriter of “Dog Day Afternoon” (1975).



Young enough to be his grandchildren were a pair of accomplished actors whose
careers are just beginning. Troy Garity, excellent in Barry Levinson’s
“Bandits,” is still best known to the public as the son of Jane
Fonda and Tom Hayden. Lee Pace, a 23-year-old recent graduate of Juilliard,
is so new to the business he jokes that he has “about 20 minutes of life
experience under my belt.”



None of these individuals would be in the room except for the fourth person,
a demure, soft-spoken woman named Calpernia Addams. In 1999, when Addams was
a preoperative transsexual working as a nightclub performer in Nashville, her
soldier boyfriend, Pfc. Barry Winchell, was murdered for being gay. It was a
death that called into question the efficacy of the Army’s “don’t ask,
don’t tell” policy, and when Addams’ story put her on the cover of the
New York Times Sunday magazine a year later, the movie offers started coming
in.

“There were a lot of people who started calling me for a lot of
different reasons, but I was grieving, all confused, and it took me a long
time to settle on a group I felt comfortable with,” recalls Addams, who
chose producers Doro Bachrach and Linda Gottlieb. “A woman in my
situation can be so exploited. And I didn’t want Barry’s memory dishonored by
a portrayal of some flamboyant, clichéd, drag queen character. I was really
scared how it might be portrayed.”



Though her concern was understandable, Addams made the right choice. A
Showtime movie playing in the festival’s Premiers section, “Soldier’s
Girl” is a heartbreaking and touching experience. Persuasively written
by Ron Nyswaner ("Philadelphia") and acted and directed with
remarkable skill and care, the film is especially effective in making us
believe completely in the love story between Garity’s Winchell, “a
straight boy” in Addams’ eyes, and Pace’s Addams, genitally male but,
due to hormone treatment, a beautiful woman in all other respects.



Still, when Pierson was approached about directing Nyswaner’s script, he was
far from convinced. “It scared the hell out of me,” he remembers.
“It was beautifully written and so original and fresh but I didn’t know
how I could cast it. It seemed an overwhelming thing to do on a TV budget so
I reluctantly turned it down.”



But during the next two weeks, the story stayed with Pierson. “Most of
the screenplays we read we can’t remember the next day, so I asked myself,
‘Why am I not doing this?’ and I changed my mind. But I was still terrified
because there was no margin for error. It would either be an embarrassing
disaster or very much worth seeing, nowhere in between.”

Though Showtime wanted stars, Pierson decided to remain true to the youthful
age of the real characters, especially the young soldiers, “and actors
who can play that range have not been around long enough to build marquee
value.” He saw 40 to 50 actors for each of the leads (Shawn Hatosy got
the key role of the barracks Iago) before settling on Garity and Pace, who
had qualms of their own.



“I had a similar reaction to Frank, I was intimidated by the
script,” Garity says. “Given the current state of pictures, I
wasn’t sure how it would be handled, if it would be sensationalized. But I
mean, listen, as an actor you’re constantly plagued with questions about what
it all means at the end of the day—am I being a contributing member of
society. It’s so rare that a script comes across your desk that actually
lives outside of itself, that’s about something greater than you. It’s so
rare an opportunity in comparison to ‘Dude, Where’s My Car’ that you’d be
foolish not to take it.”



Pace had similar and additional worries. “I didn’t think I’d be able to
pull it off, it was so far from anything I’ve ever done, and I worried, ‘Am I
going to be pretty enough?’ “ the handsome, 6-foot-3 actor says.

Each day’s shooting started for Pace with the application of three to four
hours worth of molded-to-the-body prosthetics, including breasts and hips,
which had to be remade at one point because Pace lost more weight than he was
supposed to out of fear that he’d be too big for the part.



Before shooting started, Pace, on Pierson’s advice, went out and observed how
women behave in public places. “The first time I saw you in high heels,”
the director kids him now, “I thought you’d hurt yourself.” The
actor got more comfortable with the role as shooting progressed. “On the
first day, when someone said, ‘You look hot,’ it was like, let’s just get on
with it. But by the end of the shoot, when I’d hear that, I’d say, ‘Thanks.’
”



Pierson’s goal for the film was simple. “I wanted to make this a love
story. The only thing I remember saying to the actors is that Barry keeps
forgetting that [Addams is] a man; [Barry is] in love with a woman. Once you
show the character’s sex to the audience, you can’t take that away from their
awareness, so you don’t need to press the sexuality. I wanted to deal with
getting to the truth of the love relationship, with what it feels like to be
in that golden bubble.”



As the person who lived that relationship, Addams feels the film is
“more beautiful than I could have ever hoped, though it’s hard to wrap
my mind around it, it’s surreal. And the movie gave me a really unique chance
to go back in time, to say goodbye to Barry, to relive those good moments
again. That’s something nobody has.”

Addams is now a postoperative transsexual, writing and producing videos to
help the transgender community with makeup and beauty. The child of a
fundamentalist minister, she’s written a book about her experiences pointedly
called “Mark 947” after the biblical verse that says “if thine
eye offends thee, pluck it out.”



Consulted on specific questions of dialogue during the filming, Addams
clearly enjoys the rapport with the actors that the shoot created. When
Garity jokes with Pace that his work in commercials might dry up as a result
of “Soldier’s Girl,” Addams waits a beat and says, “There’s
always Maybelline.”