Examiner.com was on the scene for a special Tribeca Film Festival pre-reception celebrating the film "Match," which premiered later that evening at BMCC. The intimate event was held at Supper Suite by STK and was presented by FIJI Water, Murvidedro Bodegas and Maestro Dobel Tequila. The film was written and directed by Stephen Belber and stars Matthew Lillard, Carla Gugino and Patrick Stewart, all of whom attended the party. It is an adaptation of Belber's play of the same name, which audiences enjoyed on Broadway.
Film Synopsis: Seattle couple (Matthew Lillard and Carla Gugino) travel to New York to interview colorful former dancer Tobi (played with remarkable dexterity by Patrick Stewart) for research on a dissertation about dance. But soon, common niceties and social graces erode when the questions turn personal and the true nature of the interview is called into question. Based on the Tony Award-winning play of the same name, Match moves effortlessly between riotous wit and delicate poignancy in this story of responsibility, artistic commitment, and love.
Carla looked fabulous in a Dolce&Gabbana dress and Cascadai shoes. She graciously took some time to give us an exclusive interview. Read it below:
How did you get involved with the film?
My manager Jason Weinberg called me ... what's funny in fact is that I had read the screenplay maybe a year before and there was an incarnation where it was going to go, and as you know with these tiny beautiful films, they are so hard to get financed and oftentimes they come through many incarnations, and I had loved it the first incarnation. And then I went off to do something and the movie never ended up getting made and then he called me and said "This movie is being made again and they're really interested in you playing the role" and Patrick Stewart is attached and Matthew Lillard. I just thought it was such a beautiful boon and great timing, because I was able to do it and that's really how it came about.
Tell us about your character, who is she?
I am married to Matthew Lillard's character, we're husband and wife, and they are going through a really tough marriage which we don't reveal the nuances of until later in the film, but we go to New York to interview this teacher at Juilliard, because I'm doing a thesis, or so we think, on dance and the history of dance. Ultimately what you find out is that there are other reasons that we're there, and the three of us actually end up actually opening the doors for each other unwittingly to some real discoveries of our lives that will change the course of our future. What I really love about it is that it all predominantly takes place in a diner and in Patrick's character's (Toby's) apartment, and so all of the roller coaster nature of it, all of the compulsive action oriented nature of it is emotion, and there's no big car explosions, no big fancy stuff to distract you, it's sort of these tumultuous emotional lives of these characters and how when they come together its really combusts.
What was it like collaborating with the legendary Patrick Stewart?
It was an exceptional and very organic experience is all I can say. I have to say I think that when I get to work with people who are masterful in their profession, oddly there is something that feels, I guess that's why I use the word organic. It's like I think always the greatest actors are the ones who are really doing what all good actors are doing which is trying to find their character and trying to make the best piece they can and all ego is thrown aside. It was just a really amazing experience and Matt and Patrick and I just became this little family very quickly and somehow, we were able to implicitly trust each other from the start. So I feel like I always learn from working with people that I admire and respect and certainly I learned many things from him, as an actor, but more than anything, we got to play together and that's such a gift.
Speak about collaborating with the director Stephen?
There's always something wonderful about working with a writer/director and I've worked with many, is that they have a sense of the character that is deeper than a lot of directors do, oftentimes a director just comes onto a project, they're looking to you to bring an incarnation of this character to life and then they'll figure out how to adjust that. In this particular case, what was great is that Stephen had lived with it in the writing of it, in the incarnation of it as a play and then I think all of us have brought very different takes that had ever been done in these characters before, so there was a lot of freedom allowed, but anytime you had a question, a very specific question about the history of the character, he always had really interesting smart answers.