G O O D- D I C K
DIRECTOR'S STATEMENT

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© 2009 Good Dick, LLC

Before working on GOOD DICK, I went through a metamorphosis from an inactive observer and opinionated commentator to an active, courageous participant in my own artistic journey.  I realized that everybody can sing in the shower, but it’s something else to sing in front of a crowd.  The definition of courage includes fear. If there is no fear, you can’t be courageous.  So I decided that the process of going through fear was preferable to the stagnancy of staying safe and scared. Going through fear is a way for me to stay sane in my life, and this film is part of that sanity and I’m grateful for it.

With the characters in GOOD DICK, I wanted to show how love and sex can open a closed person.  I wanted to reintroduce the wonder of sexuality in film; the titillation of not seeing everything, the romance of a film about real people whose sexiness abounds because of their authenticity. Sexuality at its best is sacred in life, but in most modern cinema sexuality has somehow become associated with all things false, and I think that’s a mirage.
Characters are attractive to me when they are like real people. Therefore I had to make the film about real people, with real problems.Good Dick is a study on the daily adult life of a girl who has been sexually abused in childhood. This kind of evil stunts the natural growth of a person and shuts them down, creating a closed shell where real feeling used to be. In the beginning of the film, I wanted to show how boring the results of such concrete trauma can be. She can't have a social life, she can't speak to anyone, she can't do much except eat junk food and watch 1970s erotica on VHS. It is a miracle that she gets out of bed at all. For the lead male role I wanted to see the lover archetype illustrated in a way that is all loving, all kind, all ways. I knew the guy had to be strong and thereby protective, but not in a stereotypical sense. Definitions of masculinity often tend to be deformed in our culture, forgetting the good fight and glorifying what I like to call, "The cardboard cut out man." In Good Dick the man’s power has nothing to do with his physical strength, his appearance or his social status.  He is masculine in a way that is genuine; this masculinity stems from his lack of chauvinism. His chivalry is his depth of kindness.

The story is almost like a knight slaying a dragon to save a damsel in distress, he believes he is capable of solving all of her issues, whatever they may be. The dragon however is an illusive foe, because in fact it is a part of her.  Her limitations as a healthy person, her sexual antipathy and her depression are roadblocks for him on his quest. Eventually his courage and positivity give her the necessary tools to slay the dragon by herself, illustrating how his love for her has reverberated in her and changed her for the better. For these two, though they never have sex, they discover the definition of sexual healing.
While writing the film I asked myself: what is sexy for these two characters, what is intimacy for them, what makes positive change happen, what turns evil into good, how does one person truly help another out of darkness? By directing the film, I believe answered these questions. It is a film with a positive message, that no matter how closed or damaged you are, love has a way of breaking through the concrete.
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