We caught up with writer and director Cory Krueckeberg from the film Getting Go, the GO Doc Project that just became available on DVD.  While chatting, Cory shared what inspired the film, the references to Warhol, and those special moments between go-go dancer Matt Camp and co-star Tanner Cohen.

What inspired the film?

The inspiration to do an off-the-radar no-budget film started with the fact that my partner and I had a number of other projects in various stages of development, but we wanted to do something that we could raise a little bit of money for and jump right into.  Our idea was to do a film for $10,000 that didn’t look cheap, so it began as a possible documentary that morphed into a mock-umentary, as I like narrative pieces and wanted this to be something that interested me.  I’ve always been fascinated with New York City nightlife, so I developed a character that wanted to make a documentary about a go-go dancer in the scene and as I began researching and speaking with Mathew Camp, I realized that aspects of his life were the perfect idea for the movie.  

The film makes a number of references to Andy Warhol, what’s the connection?

Part of my quest was to give the movie from the beginning a sense of sophistication by representing something larger with depth and layers. I knew that Matthew had a real interest in art, as he draws, paints, and makes clothes.  When thinking about what type of artist our main character Doc might encounter then, Warhol came naturally as in many ways he is the founder of reality television. Warhol threw the camera on interesting people and captured what they did as a moving portrait, which is what Doc does in the film.  Ideas of assimilation were all referenced in Warhol’s work and he became a cultural touchstone for the creation of the film and the characters as a result.

At one point, Matthew’s character, Go, says to Tanner’s character, Doc, “You wanted to see where your movie went…well here it is; it’s in my bed.” In a sense you were Doc and your movie wound up in Matthew’s life or bed so to speak. Was that intentional?

By design it was like that from the beginning. The email that Doc sends Go at the start of the movie is the email I sent to Matthew. I was more or less writing the script as I went, as it was progressing, up until I needed to stop and flesh out some specific plot points. As I said, I was going to make a documentary about New York City nightlife, but after finding Matthew, it became about his life in this world.  It was always me though putting myself in the position of Doc then writing it down.

What was your view of technology, as it plays a central role in the film?

Technology as a theme to me was always about the way it acts as a barrier between us and the real world.  My idea was everything should be organic from what Doc would have been doing in the moment.  However, stylistically, it all came out in the editing.  Putting yourself into the world, which in this case is in front of the camera, as it’s always there.

What’s the significance of the music that was used in the movie?

Music is everything when I write something. I can’t find my hook into the story until I find the music. It’s a real part of what the character is doing.  In this case, from the very beginning I began reaching out to musicians. Originally, I wanted to use all New York based queer-artists.  Many of the sequences were edited heavily to be in synch with the music.  I am very proud of the music in the film.  In fact, everyone asks where they can get the music, but much if it is not released.

Dish with the drag queen:

A “go-go” blooper moment while making the movie:

If there was one I would have put it in the film! When we shot at the bar, The Cock, the owner let us come in early and we had a few drinks before shooting. In one scene, Go gets a blow-job in the bathroom. However, the person that was going to be in the scene freaked out and didn’t show up, so I wound up doing it! We didn’t end up using it, but that was unexpected!

Surprising or awkward scene:

Getting the two guys to kiss was so difficult! We did many scenes of them kissing outside, but they were so awkward! Tanner didn’t want people to see him kissing another man in public, as he had a boyfriend and Matthew, despite his sexual persona, is shy.

What’s the central message you want people to take away?

When we took the film to a festival in Tokyo the idea of assimilation and how you retain what is unique about you as the world becomes more interconnected seemed to resonate with the crowd there a lot. I don’t know if we answer it in the movie, but we ask the question. How do we not lose the parts of us that are special?

What’s next for you?

I am looking forward to a number of projects.  We just had a screenplay at the screenwriting lab at Outfest in Los Angeles about the Harvard secret court. The next thing we are shooting though is an adaptation of a musical, which is like ten short films rolled into one that we are so looking forward to!