Director John Lavin Travels From "Hollywood To Dollywood"

Cover and fashion models are carefully chosen so as to create a compelling "look," one that entices readers in to buying the clothes they wear or to pick up the media they grace. They are a sort of lead in-an introduction-a doorway to bring you the target audience into a world that offers more. The exterior that belies the profundity possessed inside.

This month's cover model has similar qualities, initially compelling because of his pleasant appearance and yet, that is just a preamble to his story. In a world that is drawn to beautiful faces and often dismissed as just that, John Lavin shows us that good looks aren't just skin deep. Not unlike the music icon sought in the docu-movie, Hollywood to Dollywood, which Lavin directed, he shows us what courage is when pursuing one's true passion and shows us a depth of character that could not be missed. Interestingly enough Dolly Parton teaches us not to judge a book by its cover when she says,"It takes a whole lot of money to look this cheap, "because under that "bleached, tucked, nipped and sucked" exterior, lies one of the most successful country singers in history-not to mention one of the shrewdest businesswomen around.

This movie is also about journeys and being true to yourself, which twin brothers Gary and Larry Lane share so beautifully in their pursuit of the inimitable Dolly Parton. It's a story that integrates beautifully the lesson "that in life you have to walk the walk and talk the talk." John Lavin proves he is doing just that, as he illustrates in our chat with him in between photo sets for The Rage Monthly.

So John, what inspires you to make films?

I want to leave something behind when I'm gone, and since I probably won't have kids, I hope a body of meaningful films will be my legacy.

Anything interesting in the works with Bloodrush Films, your production company?

My next feature deals with darker shades of the human experience and I want to continue to explore this gray area where documentary and narrative collide. In my head it's a black comedy told docu-style, but with a strong narrative arc. We'll see how it actually comes out.

I read that you prefer the documentary genre, why?

Because audiences crave authenticity, and true, honest moments are found more readily in docs than in scripted. Too much of our daily life is fake and processed and audiences are rejecting that in their entertainment. So you almost unfailingly get more genuine human nuance in a cable reality show than you do in a $100 million studio blockbuster. I'm all for small crews, real people (not actors), using real life, especially if it's more engaging than the script-and it almost always is.

Hollywood to Dollywood, how did you get involved in this project?

I'd met the twins, Gary and Larry Lane, when we all first moved to L.A. about ten years ago. We bonded on the set of a beer commercial over our shared affection for Ms. Parton. In early 2010 they asked if I'd want to make a film about them driving cross-country in an RV to try to meet her in Dollywood-I said, when do we leave?

I can't imagine what the trip must have been like, can you share some of the highlights?

In all truthfulness, the twins weren't going to be out (about their personal life) in the film. I let them know that it just wouldn't work without their deeply personal story of courage and acceptance. A day into the trip, they called their friend Chad Allen back in L.A. and he encouraged them to go for it. That was a highlight because without it, we'd have had a 15-minute short. Additionally, meeting gay men and women in some pretty inhospitable areas and hearing their stories. They are my heroes, the people living openly in conservative areas. It's way easier to be gay in Southern California.

How long did the trip actually take? I'm curious how many miles it ended up being.

2,200 miles in each direction, across I40- I'm not sure that I'll need to do that again.

What's the message y'all (as close to country as I'm able to get) were hoping to communicate with the film?

If there is an over-arching theme of the film, it's courage: the courage the guys had in taking this trip and making the documentary; the courage to be oneself that Dolly seems to inspire in everyone we met; and the courage the guys have to live their lives honestly.

I read that you are from the foothills of the Appalachians, not far from Dollywood-have you been there?

I shot the documentary there, but that was actually my first time. I think making my parents take me as a closeted little hillbilly child would've outed me at an early age.

You must have listened to a lot of bluegrass/country music, who are some of your favorites (besides Dolly of course!)?

Emmylou Harris. Doesn't get much better than that. And I'm loving the Avett Brothers, Mumford and Sons, Old Crow Medicine Show, Brandi Carlile-the younger generation sometimes called "newgrass" or "alt country." Again, real instruments, not processed-soulful.

It's pretty amazing that you received permission to use her music, was that difficult?

I give all credit to the dogged tenacity of the twins for achieving that. It's nothing short of a small miracle, but Dolly's a smart lady, and she saw the potential for maybe reaching a new audience, as well as getting some of her lesser known music out there. She gave us the rights to all 15 songs I put in the film, including "Jolene" and "Coat of Many Colors." But I also used a lot from what I consider her three best albums: The Grass is Blue, Little Sparrow and Halos & Horns-the bluegrass albums fit the mood of the film the best.

When was the last time you went to Dollywood?

Last May when we shot there, though I'm itchin'to get back.

Did you get to meet her? What surprised you the most about her?

You don't expect me to give away the climax of the movie, do you? (And, yes, she's as gracious and genuine in person as you've always imagined).

It must have been quite a journey for you to come to California, what was the impetus?

Look, if you want to tell your stories, be it in film, in TV or music, it's almost a necessity to be in L.A. For my medium, L.A. is where I need to be. And I actually really love it. I live downtown in a loft that I use as a production space, and the neighborhood is awesome.

Do you get back to Tennessee often?

At least for Christmas every year, but this year I had a shoot in Nashville, so I went to see my mom in Chattanooga then. Wish it were more often.

Keep an eye out for Hollywood to Dollywood, which is making the OutFilm circuit right now. Check out the website for details at hollywood2dollywood.com