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At that meeting, HBO committed to supply the remainder of the budget.” Credits Epstein, Friedman, Tomlin, and Rosenman flew to New York for a meeting with Fuchs and HBO Vice President Sheila Nevins. In May 1994, “ Lily Tomlin contacted Michael Fuchs, chairman of HBO, on behalf of the project. Įuropean television again played an important role in funding the project, when ZDF/arte signed on, but it was not until the filmmakers contacted HBO that they were able to begin production. Steve Tisch, James Hormel, and Hugh Hefner offered “significant support”, and the filmmakers began to receive foundation funding from the Paul Robeson Fund, the California Council for the Humanities, and the Chicago Resource Center. She also headlined a benefit at the Castro Theatre, which featured Robin Williams, Harvey Fierstein, and drag star Lypsinka. Lily Tomlin, the actress and comedian who narrated the film, launched a direct mail fundraising campaign in Vito Russo's honor. After his death, Channel 4 in England approached the filmmakers about the film, and offered development funding in order to write a treatment “and most importantly to determine if it would even be possible to obtain the film clips from studios.” Īfter developing the project for years, fundraising remained the biggest obstacle. However, it was not until Russo died in 1990 that Epstein and Friedman gained any traction on the project. Russo approached Epstein about making a film version of The Celluloid Closet and wrote a proposal for the film version in 1986. However, Russo had wanted the documentary to be entertaining and to reflect the positive changes that had occurred up to 1990. Some critics of the documentary noted that it was less political than the book and ended on a more positive note. Vito Russo wanted his book to be transformed into a documentary film and helped out on the project until he died in 1990.
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From the sissy characters to the censorship of the Hollywood Production Code, the coded gay characters and cruel stereotypes to the changes made in the early 1990s.
The documentary interviews various men and women connected to the Hollywood industry to comment on various film clips and their own personal experiences with the treatment of LGBT characters in film.