"Rois Schneider ’
Star of Deuce Bigalow, Male Gigalo
Rob Schneider was in danger of being known as a hilarious bit part player in Adam Sandler movies. He was the Pizza delivery guy in Big Daddy and the over supportive fan in The Waterboy. Like many American comedians he served his apprenticeship on Saturday Night Live for four years, but his career almost fell into a vacuum when he was fatally miscast in the American version of Men Behaving Badly.
’They should have called it Men Apologising Badly,’ says Schneider. 'I ended up looking like an asshole out there. It got so bad that I started walking around with a T- shirt saying “Help Me" on set. The only reason that I agreed to do the show was because I saw the originals. Can you British guys stop sending sitcoms to the States for us to ruin? Let us ruin our own.‘
When the show was finally cancelled, Schneider found it impossible to find decent roles and did not work for almost a year. 'No one else was writing me any films so I figured that I'd better do something about it, and Adam Sandler kept on telling me to write my own movie. But I didn't have any ideas, then I saw American Gigolo and I thought, “My God this is ridiculous. This is a comedy except that they don't have any jokes in it".'
Neither was Schneider put off by his girth denying him the sex appeal of Richard Gere. ‘I think that I proved that you don’t have to be good looking to be a gigolo,’ he says. 'It is ludicrous that Lauren Hutton, a super-model needs a
gigolo. I thought who are the real women that need to hire gigolos? A woman with Tourette’s syndrome, a 500 pound female and a woman who is eight feet tall.’ Thankfully, Schneider was not constrained by outside influences and has been able to let rip his talents for a global audience. His performance as Deuce Bigalow has the hallmarks of John Belushi. The film's success has led
His choice of quirky movie roles is not intended to distance himself from his sister, Neve
Star of Trick
Christian Campbell SQUirmS at the mention of his younger sister, Scream star Neve. He simply states, ’I am her brother’ when asked about her. Whilst she has had her name in lights with a series of blockbusters, he has been biding his time in a series of independent films.
His latest role playing a gay musical writer Gabriel, in Trick is the first opportunity that we have had to see his talents this side of the Atlantic. I met Campbell with his girlfriend in a hotel in London and she insisted on sitting through the interview, a clear signal that despite the gay role, he wants to distance himself from gay iconography.
‘I was attracted to Gabriel’s quirky satirical side,’ says Campbell. ’He is insecure. I liked that about him and related to that. The first day of filming was the worst day of filming, because I had to take off my shirt; the embarrassment of Gabriel in the scene
'I thought who are the real women that need to hire gigolos?’
to the Farelly Brothers optioning Schneider’s first script, entitled No More Mr Nice Guy, which is about the nicest guy in the world meeting the world’s sleaziest lawyer. Schneider has no need to worry about his job prospects for the foreseeable future. (Kaleem Aftab)
I Deuce Bigalow, Male Giga/o opens on Fri 26 May. See
was not ac ting'
He also insists that his choice of quirky mowe roles is not 'ntended to distance himself from his sister. ’Unless you have been blessed by God and do a lot of studio films straight away, the independent scene is wheie you have to go. There is no choice ’
Part of the struggle to find work has led to Christian producing llairslirr't, a film starring Neve, which they intend to distribute on a web site called 'moviestorn com’ that they are in the process of starting up.
’Producing is a nice, easy way of being in control rather than waiting for other people to line me,’ says Campbell. ‘I tiy to do as inuc h as I can on the internet, banking, shopping, reading iievtsiiant-is, etc.’
Family keeps on ciopping up in the conversation recently (anipbell took a trip up north ‘.".’llll his sistei to ‘.'|Sll his father's birth place for the lust time, londoii Road in Glasgow (Kaleem Allah)
Trick opens at liliiihi/igli's li/rii/ioirse on Fri 2 Jun. See review
FILM Film Soundtracks
Divorced from its context, the movie soundtrack can be a hollow experience, rather like having your : cake and just nibbling at the icing. } Such compilations have found their inoffensive home in elevators and supermarkets everywhere, but there are unexpected pleasures among this selection from Silva Screen.
The Essential Maurice Jarre Film ? Music Collection (****)returns : us to a bygone era when scores were grand opuses and the now banal practice of cobbling together soundtracks from the director’s vinyl collection was little more than a glint in Stanley Kubrick’s beady eye. Jarre's compositions for David Lean and Peter Weir are here as well as : some lesser-known collaborations (Fata/Attraction, Ghost). The string of gems recorded for Lean still impress most, capturing the period mood of those films and perfectly complementing the director’s epic scope and overblown romanticism.
A History of Horror (***) is notable for the omissions; where are the innovative Herrmann/Hitchcock compositions? Assembled chronologically, the collection proves how little has changed in incidental horror music in 80 years. The archetypal ’pah pah paaaahh! ! l’ of pounding strings and timpani still reigns supreme, though recent efforts like Bram Stoker’s Draccrla seem camp and cliched, partICuIarly heard in the comfortable light of a Spring afternoon.
Certain 70s efforts have dated badly (Goblin’s synth-laden Suspiria), though the deceptively simple, childish hooks like John Carpenter's Halloween and Charles Bernstein’s A Nightmare On Elm Street still have the power to chill.
Farewell My Concubine: Great Film Themes From Modern Chinese Cinema f***) is not the feared cacophony of (lacking rattles and castrath warblings but a series of innovative fusions of Western and Oriental styles and instruments some of which are as rhapsodic as the films themselves (Farewell My Concubine, Temptress Moon).
Ironically, The Silents: Composed And Conducted By Carl Davis (*ttt) proves the most satisfying collection. Yet, enthralling and evocative as they are, Davis’ new compositions succeed mainly in providing a tantalismg overture to the thrilling cinema experience of Napoleon and others. (Allan Radcliffe)
"‘~ ﬁnk-N‘v JV“: - T H E S l L E N T S - his acoelg tgﬁacgm S‘L‘I1"'I.\‘. ("NI-“Hi- kh!‘ (out) “9‘9NRL (3*
t t 2‘) May 2000 THE “ST 27