New this week on IFC News:
You’ve included the credit, "Story developed with the cast." Was it always in your plan that the actors would be involved in the creation of the story?
It started with the form: How can I use sex in a new way? Okay, the actors will be nervous; why not do what I’ve always dreamed of as an actor, which is to create a script through improv? Everyone wants to work with Mike Leigh, everyone loves Robert Altman â€” actors flock to them because they give them leeway and they give them, in some ways, authorship of their own characters. I realized that this was really necessary because of the sex, so the actors could feel comfortable creating their scenes, creating their characters, so that there was a mutual agreement on everything, with me as a guide, a bit of a benevolent dictator.
Michelle Orange notes milestones in unsimulated sex on screen (not counting porn, naturally â€” that’s a list for another day indeed):
The uncut version of this Tinto Brass film included an orgy and several acts of graphic sex. Though none of the principals were engaged in said graphic sex, it’s the first film with a pedigree (written by Gore Vidal) and actual movie stars (Peter O’Toole, Malcolm McDowell) to, as the kids say, go there. Unsurprisingly, almost everyone involved with the film later disowned it, except major backer Penthouse magazine; they felt all right.
And we all put together a list of prime alternate endings available on DVD, now that the alt ending has become a standard and generally meaningless extra.