BoyLovers as film producers/directors

Iván Noel has demonstrated that films can be produced very inexpensively, and that these films can carry messages counter to those which are socially acceptable (and "politically correct") about young people and their sexuality.

"Each genre in the cinema can be characterized using a few selected titles. A few years after its release – En Tu Ausencia (the independent feature film [by Ivan Noel]), earned its place among the films that first comes into one’s mind when the coming of age genre is mentioned. The film attracted a lot of attention and interest, which resulted in its becoming one of the Spanish films with notable sales in North America.

Quotes from Iván Noel

"There was no marketing campaign at all [for "En Tu Ausencia"]. Not of any sort. The reason for its relative success I guess has to do with the fact that I told a story no one would ever touch with a 10-foot barge-pole. Talking of preteen (and even teen) sexuality is wrecking your film’s chances at larger release. The odd thing is that, in actual fact, many people seek out the different, the true, the honest, and also pretty boys, though they don’t admit it. And the very few films that avoid those adult, socially correct, and moralistic filters tend to get noticed."

"…Dear God, today taking a picture of your own baby child in the bath is controversial! Silly, silly values of a society gone slightly nuts: complete loss of references: hysteria that is causing voluntary amnesia about what being young was about. Again, the predominance of morally regressive values, from a bored and overly wealthy society that has nothing other to do than point fingers just to exist, and score more socially correct points than the neighbor.

The worst of it, the most inexcusable and shocking, is that even artists these days partake of that silly game. We live in a new type of Victorian age, and as we now laugh at how they used to cover the legs of pianos, and dress horses up, we will be the laughing stock of future generations."

"If you mean by coming of age that moment in life when one ‘discovers life, sexuality, betrayal etc.’, then of course it is quite impossible for a mainstream film to portray that. Telling the truth, in some instances would have the director shipped off to some shock treatment. I mean, tell the truth about preteen’s discovery of sexuality? Impossible! There’d have to be at least five masturbation scenes daily for it to come close to any sort reality."

"When I was 11, me and all my friends would spend weekends happily playing with each other. When’s the last time you saw that in a film? To put in film what young teens ACTUALLY think, feel, and do is something probably not yet fully achieved, and will be for another country, in another age, on another planet, with another religion."

"You deal with films starring youths. Your audience is sensitive and empathetic towards such characters and stories. The complaints are always the same: there are too few movies that actually tell REAL stories. Too many ‘candy floss, peck-on-the-cheek’ stories, which in actual fact, only nuns relate to. Real films are subject to too much ridiculous censorship. My message is this: make the films anyway!

Make REAL films! To hell with the stereotype nonsense. You enjoy movies, make one yourself now. In case some have not noticed, cinema has just undergone a fabulous new complete makeover. A major event has happened, a turning of the tables. The one most important moment of history of cinema has just taken place! It’s called ‘digital’! You can make a feature, and an award-winning feature, with a simple SLR camera (I did, in all my films!). You don’t need an army to make a film, that’s nonsense invented by an industry that had too much money on its hands. I’ve never made a film with more than five people on the tech team.

No film of mine cost more than the price of a ‘Ka’ car. Brecha in fact, cost less than nothing, as I had to steal the DVD tapes to make it. Never has making films been this accessible, and with such outstanding tools at our disposal. Let’s not complain anymore, let’s not find reasons not to make it (moral reasons, finance reasons, etc.). Create a new purely 100% indie market which will, finally (since the 70’s and 80’s) offer us some REAL stories, daring ones, necessary ones. Art changes things in life more than anything else!"

Wes Anderson

Wesley Wales "Wes" Anderson (born May 1, 1969) is an American film director, film producer, screenwriter, and actor. His films are known for their distinctive visual and narrative style. There are purely speculative reasons to believe that he may be a boylover.

• He features young boys in every single one of his films. Sometimes in main roles, sometimes just appearing randomly. The only exception is the animated feature, The Fantastic Mr. Fox. However, he included a song by the London oratory School Schola (boys choir) in that film and flew to England to meet the boys in the choir while they were recording. If the film doesn't call for a lead role by a boy he often just throws in a couple cute boy actors in small roles. In The Darjeeling Limited the main characters help save a group of Indian boys from drowning. In The Life Aquatic with Steve Zissou, a young boy in lederhosen shows up in the end of the film and is given a shoulder ride by the title character. In Bottle Rocket, a boy gives a message to the main star.

However most of his films feature boys in prominent roles. Rushmore is about a high school student who has a much younger "chapel partner" Dirk Calloway. There are all kinds of boys throughout this film including a scene of a much younger boy swimming in a speedo. The Royal Tenenbaums stars two boys who always wear matching Adidas jumpsuits. Moonrise Kingdom, features about 1000 boy actors playing the role of "khaki scouts". The film takes place in the 60's so they have that nice short shorts style uniform. It's as though he wrote the film just so he could hang out with boys in short shorts. The Grand Budapest Hotel is the story of a hotel "lobby boy" and at the end of the film all the other lobby boy's from nearby hotels appear. Anderson recast many of the same boys from Moonrise Kingdom to play these minor roles in Budapest. Also, a very cute boy is featured in the beginning of the film trying to shoot his grandfather with a rubber band gun.

• His films often include sexually taboo subjects. In Rushmore, a young student falls in love with his teacher. In The Royal Tenenbaums, a brother and sister have a prolonged romantic relationship. Moonrise Kingdom is the story of two 12 year old lovers. The film includes a scene of the two dancing,kissing and fondling each other in their underwear, which is shocking to see in a work from a modern US film maker. The Squid and the Whale, which Wes produced, features a 12 year old boy who on numerous occasions masturbates and spreads his seamen throughout his school, smearing it on the walls and on library books. The little boy also gets drunk and naked and tries to put a condom on. It falls off because the boy is still too small to wear one. It is quite clear that sexual taboo is a prevalent theme throughout Anderson's films. It's as though he can't just come out and talk about boylove, so he focuses on other sexual taboos. In The Grand Budapest Hotel, the lead character, M. Gustave, is a gerontophile (a person with the sexual preference for the elderly). He "takes care of" all the old women who visit the hotel by having sex with them.

• M. Gustave: [Of Mme. Celine] She was dynamite in the sack, by the way.
• Zero: ...She was 84, Monsieur Gustave.
• M. Gustave: Mmm, I've had older. When you're young, it's all filet steak, but as the years go by, you have to move on to the cheap cuts. Which is fine with me, because I like those. More flavorful, or so they say.

• In Moonrise Kingdom, Anderson features many songs by composer Benjamin Britten, a well known boylover. It seems like a little nod to his fellow boylovers to use Britten's music to score a film about 1960's boy scouts. The entire film is like a giant celebration of boys.

• He seems to very much enjoy spending time with the boy actors off screen.

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Filmography of Wes Anderson

Year	Title	Director	Producer	Writer	Actor	Role	Notes
1996	Bottle Rocket	yes		yes	yes	Passenger on Bus (uncredited)	Co-written with Owen Wilson
1998	Rushmore	yes	yes	yes	yes	Student (uncredited)	Co-written with Owen Wilson
2001	The Royal Tenenbaums	yes	yes	yes	yes	Tennis Match Commentator (uncredited)	Co-written with Owen Wilson
2004	The Life Aquatic with Steve Zissou	yes	yes	yes			Co-written with Noah Baumbach
2005	The Squid and the Whale		yes				Co-produced with Peter Newman, Charlie Corwin, and Clara Markowicz
2007	The Darjeeling Limited	yes	yes	yes			Co-written with Jason Schwartzman and Roman Coppola
2009	Fantastic Mr. Fox	yes	yes	yes	yes	Weasel	Co-written with Noah Baumbach
2012	Moonrise Kingdom	yes	yes	yes			Co-written with Roman Coppola
2014	The Grand Budapest Hotel	yes	yes	yes			Co-written with Hugo Guinness (story)
2015	She's Funny That Way		yes				Co-produced with Noah Baumbach
-	Untitled Stop-Motion Animated film about Dogs	yes		yes			Pre-production

See also

• Ivan Noel
• En tu Ausencia (film)
• Brecha (film)
• ¡Primaria! (film)
• Vuelve (film)
• Limbo (film)
• Ellos Volvieron (film)
• Rodillas Quemadas (film)

External links

• Exclusive Interview: Director Ivan Noel of "En Tu Ausencia"

http://www.theskykid.com/exclusive-interview-director-ivan-noel-of-en-tu-ausencia/

• More information about Iván Noel (including many quotes from him) and about the production of his films (all in Spanish) may be found here:

http://www.semanarioprimerdia.com.ar/search/label/ivan%20noel?&max-results=7

• $30 Film School: How to write, direct, produce, shoot, edit, distribute, tour with, and sell your own no-budget DIGITAL movie by Michael W. Dean (Read on-line):

http://bookre.org/reader?file=491480

• What They Don't Teach You at Film School: 161 Strategies For Making Your Own Movies No Matter What

http://dl.lux.bookfi.net/genesis/496000/bb144044c5f09200cd188ccbe8da379d/_as/What_They_Don't_Teach_You_at_Film_School.pdf