trailer: Fourth Man Out

Varie

A car mechanic in a small, working class town comes out of the closet to his unsuspecting, blue-collar best friends.

CRITICA:

Todd plays a young mechanic who comes out of the closet to a trio of straight, working-class buddies played by Parker, Overstreet and Gabrus. None of them knows anyone else who’s gay. “They want to support his coming out, but don’t know how to do it,” said producer Lauren Avinoam. “It’s kind of a comedy of errors.”
At the top of the stairs, director Andrew Nackman (who made “Paulie,” an award-winning 2012 short) turned to Young. “Hey, Parker. Could I get you to walk up? Start out here,” he said, leading the actor down the stoop and up the sidewalk, away from a bustling scrum of crewmembers.
The stuff and business of filmmaking clotted the pavement around them: crates, coolers, cameras, sound equipment, rolls of brightly colored tape. Hardware spilled out of pockets. Headphones hung around necks. Every now and then, Young touched up his hair with a run of the hand, a self-mocking joke and a spritz of product.
Later on, he gestured around the neighborhood and contrasted it with the self-contained habitat in which a lot of Hollywood output is made. “It definitely feels like a different world. You know, I’m used to being on a soundstage in L.A.,” he said. In this urban northeastern setting, “We’re creating a story in a new environment, and it becomes a character on its own.”
Although “Fourth Man Out” is being shot around here, the story isn’t set in Albany and doesn’t reflect its out and integrated gay community, Avinoam said. The filmmakers zeroed in on the region because the production designer, Maria Dirolf, is a native. “And we came here for the look of this: the row houses, and the brick, and a certain community that you don’t get on the West Coast. The houses with siding — you’d never get that.”
The shoot progressed in a repeat loop of takes and more takes, and soon it was almost 9 p.m. “Guys!” shouted Malik. “This is the martini!” — the last shot of the night. Darkness had fallen. The street lights were ablaze. The waxing moon, enfolded by clouds, hung over the Park Place row houses. In the distance, a siren howled.
The boy kept knocking and waiting, the girl kept talking about “Ghostbusters,” the pair kept walking down the stairs. Three cars roared past. Nine bells tolled from St. Anthony’s Catholic Church on the corner. Then one last take, and the cameras stopped for the night. Young threw out his arms in celebration, and all assembled hushed up for a “room tone” — a moment of silence for recording ambient sound. Everyone stood stock still. And only the crickets chattered. (Robert Bell, exclaim.ca)