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Houston Voice, No. 1006, February 4, 2000
File 023
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Houston Voice, No. 1006, February 4, 2000 - File 023. 2000-02-04. University of Houston Libraries. University of Houston Digital Library. Web. November 26, 2020. https://digital.lib.uh.edu/collection/montrose/item/3337/show/3326.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

(2000-02-04). Houston Voice, No. 1006, February 4, 2000 - File 023. Montrose Voice. University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/montrose/item/3337/show/3326

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

Houston Voice, No. 1006, February 4, 2000 - File 023, 2000-02-04, Montrose Voice, University of Houston Libraries, accessed November 26, 2020, https://digital.lib.uh.edu/collection/montrose/item/3337/show/3326.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title Houston Voice, No. 1006, February 4, 2000
Contributor
  • Hennie, Matthew A.
Publisher Window Media
Date February 4, 2000
Language English
Subject
  • LGBTQ community
  • LGBTQ people
  • Gay liberation movement
Place
  • Houston, Texas
Genre
  • newspapers
Type
  • Text
Identifier OCLC: 31485329
Collection
  • University of Houston Libraries Special Collections
  • LGBT Research Collection
  • Montrose Voice
Rights In Copyright
Note This item was digitized from materials loaned by the Gulf Coast Archive and Museum (GCAM).
Item Description
Title File 023
Transcript 22 OUT ON THE BAYOU FEBRUARY 4, 2000 » HOUSTON VOICE BlGhair . bigOREAMS > Continued from page 17 executive produced (with Gervasi and Kevin Allen). Allen also directs. Houston Voice interviewed Ferguson recently when his publicity tour stopped in Atlanta last month. In the movie, Ferguson plays Crawford Mackenzie, a gay hairstylist in Scotland who receives what he believes is an invitation to come to Los Angeles as a contestant in the World Freestyle Hairdressing Championship. Crawford gets a royal send-off from his lover, family and friends. Such big news is his invitation that a documentary filmmaker (Chris Langham) and camera crew come along to memorialize his pending triumph for the BBC. But soon after he checks into his posh suite, Crawford teams the horrible truth: His precious invitation was simply a form letter inviting him to watch the hair-doings from the audience. A lesser man might have headed home (thus making a very short movie), but not Crawford. He meets a high-powered Hollywood type Candy (Frances Fisher), saves her hair (which had been treated to within an inch of its life) and sets about snip- . ping away at the red tape that's keeping him from standing centerstage on the big night. Ferguson's own experiences in the City of Angels gave him the ideas for Crawford's adventures. "We didn't take any license with our stuff. Pretty much everything that happened, I based on some kind of reality—even the world of competitive hairdressing. There are a lot of desperate people in L.A., so it heightens things. There are a lot of people chasing stuff." But while Crawford gets shot at and encounters plenty of typical Hollyweird characters direct from central casting, he also moves with an almost child-like innocence through the urban jungle. "We kept trying to get into the movie that although, per square yard, there are more dip- shite in L.A. than you meet anywhere else in the world, there are also nice people there as well. I've met some great people in L.A" Questions about Crawford's sexuality don't throw Ferguson—though his answers may raise more questions with some viewers. What's his own relationship with the gay community? "I don't know, really. I don't know that I have one." So why is Crawford gay? "Because he would be. Because it would be homophobic for him not to be gay." Because he's a hairdresser? "No. Because he's based on a real human being. And because the real human being he's based on is gay. You notice that none of the other hairdressers are gay in the movie. That's on purpose, because we didn't want to say hairdressers are gay. But a lot are—duh! "We wanted to make a movie where the lead guy from the movie was gay, but it really wasn't an issue. Whether that becomes an issue or not depends on you guys—the press—and the gay community. I hope it doesn't. "The only thing I was asked about was what about a straight man playing a gay character. I don't really get that. Tony Hopkins ['Silence of the Lambs') isn't really a serial killer. You don't really have to be what you portray." Ferguson said his inspiration for Crawford was "a guy I used to share an apartment with in Glasgow years and years ago." He described the man, whom he would identify only as Robby, as "a fabulous human being... fearless... He had a strange mixture we tried to get with Crawford. He was arrogant, but he was also innocent. It's an odd combination in a character like that." After seeing the movie, Ferguson said, Robby sent him a one-sentence letter: "It's me, isn't it?" In one scene, morning finds Crawford and Candy waking up in bed together after a long night of partying. Both are shocked and can't remember if they did more than cuddle up and snore. Did they? "My belief is that they didn't," Ferguson said. "That's because Crawford is a character [for whom] from the waist down ain't nothing happening for that particular set-up. It's just not his inclination." He speculated that strong friendships sometimes grow between gay men and straight women because gay men bring "listening without an agenda, which is not what a straight man brings to a relationship with a woman. It just isn't." A punk rock band first brought the young Ferguson to the stage in Scotland. He gradually made the transition to stand-up comedy and acting in some of Glasgow's "brainy European theaters." Mee-ow! Crawford confronts rival beauty operator Stig Ludwiggssen (David Rose he). "I wanted to be involved in a profession that was very forgiving toward erratic behavior," Ferguson said, though he noted he lives quite a different life these days. "Now I'm sipping cocoa and in bed by 10 o'clock. But I was a bit wilder then." Ferguson and his wife married right after he shot "The Big Tease." They live in Hollywood Hills. You wonder if Ferguson drew on his memories of those "wilder" days when he wrote his second film, which is also due out this year. In "Saving Grace," an English country gentlewoman on hard rimes decides with her gardener to bring in extra money by "growing really strong ganja in her greenhouse." Ferguson didn't go gay to prepare for his role as Crawford, but he did have to leam to cut hair. "I'm not very good at it. I can fake it. I learned to cut on nylon wigs. No one would actually let me cut human hair. If your hair was nylon, I could give you a real nice bob and weave." NOW SHOWING! Lets Kill The Boss COMING SOON 2£**.;\\-e.fT KaraoKe r Twenty Hundred a One A Space Oddity ~b C0^e Celebrating 25 Jean in the Community \N°X SM> vN*^ ?VV \D^ Catholic Mass Celebrated Saturdays at 7:30pm 1307-MyaCe • 713-880-2872 IS IN THE AIR... 'Bring ^our (Sweetheart to the Sfldam's 9*lark 'Jiotel and enjoy a Valentine's evening you'll remember for a lifetime! Spend Saturday, February 12th in the luxury of Houston's premier hotel. 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