I think the job of an actor is to try and understand that character personally. He never wavered from that, even when life was clearly pointing in the opposite direction. And Lee’s childhood was sort of this bottomless pit of unfulfillment, which led to this desire to be great, this belief that he is great. He’s got all of the same traits that she had, only heightened–she was grandiose, she was controlling. I realized he ends up being a projection of his mother. I think one of the things that I realized early on that I wanted to do was understand his childhood, and him from an earlier age. Just learning about him, and learning a lot about his mother. How Lee got involved, and what all his aspirations and dreams were, what he was trying to achieve. Khrushchev and Kennedy, and all these big players and where Lee was placed in among all of that. But then aside from that I looked into the political context of the 60s, the forces that were at play, and the Cold War. Originally I started with Stephen King’s book. Dolly, apparently, was quite beguiled by Seriously Red, and you may well be too it may well be a rich man’s game, no matter what they call it, so rather than spend your life putting money in their wallet, Seriously Red is well worth a purchase.What kind of things did you research? What kind of conclusions did you come to? If you’re in any doubt at all, the sight of Bobby Cannavale as a Neil Diamond impersonator knocking seven bells out of I Am I Said should clinch the deal, and producer Rose Byrne makes a pretty good Elvis too this is a deft comedy drama that never stoops to easy narrative targets like fake talent-show uplift, but makes a convincing case for why you should always aspire to be yourself, even when such pre-packaged and successful skins as Dolly Parton are around. But Seriously Red goes a little more deeply and seriously into the lookalike business than might be expected it’s not surprising that an ersatz Kenny Rogers is suffering from the same sense of displacement as Red, but Red’s crisis of confidence in discovering that her glamorous escape route may well be a dead end is well observed and amounts to a full-on existential crisis, well played by both director and star. There’s obvious comedy potential here, as when Red accidentally sets fire to the gimungo wig she’s wearing seconds before a big-money Hong Kong duet of Islands in the Stream. ‘You might as well be yourself, everyone else is already taken’ Oscar Wilde’s take-away forms the motif for Red’s journey, sharply observed from a sensitive script by Boylan herself. But can Red ever taste that cup of ambition and find happiness without calling on her alter ego? For all of these reasons, it’s obvious in Gracie Otto’s film why a shy redhead like Red would prefer life in a wig and cowboy boots. She’s an inspiring figure, someone who overcame prejudice, outsmarted and outlasted her critics, and now enjoys sky-high credentials as a veteran feminist first responder, tackling four decades of misogyny at source. Seriously Red has certainly got a certain novelty value if you’re a fan of all things Dolly she’s a sainted figure around these parts, and I’ve written before about my experience of being caged at a Dolly concert and watching her belt out Jolene from behind bars. Fired from her realty job, which she mainly used to promote herself anyway rather than sell property, Red finds that Dolly is both the lifeboat and the iceberg in her life will her newfound romance with Kenny (Daniel Webber), who is known by reputation as ‘the world’s best Kenny Rogers impersonation’ help Red drive out her demons, or is he just one more person who can’t stand the pressure of being himself? Played by Krew Boylan, Red is a young Australian woman who knows the sharp end of being Dolly Parton she’s increasingly finding it easier to be Dolly than be herself. It’s a tough life out there for a Dolly Parton impersonator as the song goes, it’s enough to drive you crazy if you let it.
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