For his upcoming ‘Pit Stop,’ Texas filmmaker Yen Tan tackles another gay romance
ARNOLD WAYNE JONES | Life+Style Editor
Writing coaches often tell authors, “Write what you know.” But for Yen Tan, the more interesting assignment is, “Write what you can’t get out of your head.”
Back in 2004 — when he was still living in Dallas, Tan wrote a draft screenplay called Pit Stop, about two gay men in small-town Texas who begin a romance. It wasn’t anything he knew about from personal experience.
“It’s hard to pinpoint what drew me to the story,” he says. “I have a tendency to pick up on things that don’t register with others. Being gay and middle class in small-town America is very foreign to me — it’s odd there are gay people who choose to live in small towns. What’s the decision behind that?”
He liked the script, but he couldn’t seem to get it off the ground financially or creatively. Instead, he made Ciao, which became his biggest hit as a filmmaker (it scored an honorable mention at the AFI Dallas International Film Festival in 2008). But Pit Stop drifted around in the back of his head until 2009, when he submitted it to the OutFest L.A. screenwriting lab.
“Hearing the comments by other filmmakers, I knew I had something and had underestimated its potential,” he says. Tan immediately started in on rewrites, including making the cast more diversified.
“The big change in the script is that two major characters are Latino now. It was all-white originally, but that was not entirely accurate of the Texas landscape,” Tan says. He also consulted with colleagues to make sure he got the feel of Podunk, Texas right.
“Thankfully I’m a bit paranoid about those things,” he laughs. “I would verify and re-verify [what I wrote about small-town Texas and gay Latinos]. I’d ask my friends who know, ‘Is this right or just totally made up?’ And I usually rely on my actors to put it right — is this what an American would say or is it totally ESL [English as a Second Language]? But I am also trying to make these elements work within the framework of my ideas.”
The issue now isn’t the script — it’s getting the film made. He hopes to begin filming in the spring, either around Austin or in the DFW area, but needs to raise money first. Tan was lucky enough to snag a grant targeted to Texas filmmakers, but he also wants to raise money from individual investors. That’s why this week, he’s teaming with OutTakes Dallas and the Texas Theatre to showcase his movie and allow people to contribute via United States Artists, a high-prestige donation site that allows people to make tax-deductible contributions and comes with matching grants.
“We’ll be showing clips from Ciao and do a staged reading of some scenes from Pit Stop,” he explains. “We’re also trying to set up Internet stations so people can donate on the spot. But to me it’s not about raising all the money at one time — just to kick it off.” He’s still trying to set up his goals for the fundraising, but Tan estimates something less than $20,000 would make a huge difference. In fact, he’s learned how to do more with less ever since moving to Austin last year.
“People are doing stuff with very little resources there — they just make do. You kinda have to put less emphasis on monetary stuff because someone right next to you is doing the same for $10.”
He’s looking forward to finally getting the cameras rolling.
“After making films all these years, the most gratifying part is production itself,” he says.” Once a film is finished and you’re going to the festivals… it’s fun but it gets old quickly. I know enough by now that that’s really the part that makes me not want to make another film.”
This article appeared in the Dallas Voice print edition September 9, 2011.