A psychological thriller explores the subculture of people who “wannabe” disabled.
By Amy Meisner Threet, MSW
Quid Pro Quo, a new film that opens in select cities this summer, explores a dark side of the disabled world. It’s not a true story, exactly, but it’s not totally fiction, either. In writer-director Carlos Brooks’ debut feature, the fetish world of “wannabes” is exposed. These are non-disabled people who are obsessed with disability to the point, in extreme cases, where they look on the internet for surgeons to perform elective amputations. Less severe physically, yet as injurious psychologically, perhaps, are those who choose to be in wheelchairs, use braces, crutches, breathing apparatuses, etc., when they don’t really need them.
Twisting Plot
The film follows a news reporter for National Public Radio (NPR), Isaac Knott, played by Nick Stahl (Sin City, Terminator 3). Isaac has been a paraplegic since he was a young boy as the result of a car crash that also left him an orphan. This incident is played throughout the film as a dream sequence.
Isaac goes on assignment, based on mysterious e-mails he receives, to look into a group of people who meet to share their secret desire to experience disability. Isaac attends an eerie meeting of these “wannabes” in a darkened basement. He is shocked by what he witnesses. When he lets the other group members know who he is and what his mission is, they all scatter for fear of exposure.
Through this underworld, Isaac meets Fiona, adeptly played by Vera Farmiga (The Departed, Running Scared), who he learns may have been involved with the car accident that affected Isaac’s life. There is an immediate attraction between them, which leads to an intimate relationship.
Isaac has previously been in a relationship with a woman in a wheelchair. The role of his ex-fiancée Raine, is played by Paralympic skier (and wheelchair user) Aimee Mullins. She has a brief scene with Isaac while he and Fiona are in a restaurant as Fiona is experiencing being out in her wheelchair with her braces in public. Raine now has an able-bodied boyfriend.
Confused yet? Hang in there! It’s worth it!
I won’t reveal more so you can enjoy the twists if you decide to go. But I will say that Fiona makes a statement that resonated with me. “Even without the chair and the braces,” she says, “I am already disabled.”
To quote a friend of mine with cerebral palsy, “If we live long enough, we’ll all be disabled in some way.”
Behind the Scenes
I had the opportunity to speak with Nick Stahl and Carlos Brooks via telephone. I mentioned to Nick that I am a disabled person, a member of Screen Actor’s Guild and AFTRA, as well as being a wheelchair user with multiple sclerosis.
AMT: You did a great job. How did you prepare for the role?
NS: I met with a guy in LA a few times who was a real paraplegic [Mitch Longley] who helped me to work with the chair. Once I got to New York, I had a few weeks to use the chair as much as I could.
AMT: Was there anyone close to you who had been disabled? You gave a very sensitive portrayal.
NS: Thanks. No, I just really tried to focus on the character. He had been confined to a wheelchair most of his life, but did not want to live in self-pity. It hurt when Isaacs’ blind date saw him and walked away, but he was used to that reaction.
AMT: What did you know about the “wannabes” before doing the film?
NS: I didn’t know much about this subculture. I had seen a documentary once. There seemed to be a metaphor of tragedy and overcoming that. I really didn’t want to know too much. I wanted to experience it.
Carlos Brooks surprised me by how jovial and pleasant he sounded, considering the dark subject of his movie.
AMT: You stated on line that “disabled people were involved in many facets of the making of the film.” Can you elaborate on that?
CB: Sure. Mitch Longley, a paraplegic working actor, was an advisor from the script stage. I had wanted to write about a main character in a wheelchair for a while, I just couldn’t find the right story. Also, I approached casting directors who worked with disabled actors to find the role of the disabled fiancée. There were many auditions before Aimee was cast.AMT: Two questions: how did you find this story, and why was the lead role not cast with a disabled actor?
CB: Actually, one night at about 2 A.M., I found this chat line of what I would find out were “wannabes” and I knew I had found my story after “listening in” for a while. As far as the actor, Nick had a great audition, and seemed to understand the material, and he has name recognition. It’s not that I wasn’t open to using a disabled actor.AMT: Did the “wannabes” know you were listening? What did you hear?
CB: I did not want them to know. It would have changed what they were saying. It was so provocative. These are tormented souls. They spoke about lost relationships and isolation. There was also the falling into the “victim role,” and a “release of responsibility.” They felt if anyone knew about them, they would be exploited.
AMT: The love scene was wonderful. It reminded me of the movie Coming Home [with Jane Fonda and Jon Voight] from the 1970s. Was that an influence?
CB: I am glad you picked that up. I watched the film many times.AMT: What was your goal for the film?
CB: I was going for a detective story/ psychological thriller. I didn’t want the audience to know what the limitations were, or where the film was going. I wanted to evoke real conversation, and have people talking about the film when they leave the theater.
AMT: You also mention on line that “Hollywood is horrible at showing people with disabilities.” Are you planning on exploring this more in future projects?
CB: Yes, I am shooting a movie in Florida about a girl who works on a animal preserve. She gets caught in a natural disaster taking cover with an autistic boy and a Bengal tiger. It’s called Burning Bright.AMT: Would you consider using an autistic child? There are some that are quite high functioning.
CB: The role isn’t cast yet. I’ll keep it in mind.
Points of View
I complimented Brooks on the POV (point of view) shots of Nick on the street as they captured the need to look up at the world, getting pushed and ignored like most people in wheelchairs are on busy cities. The movie did take place and was shot in NYC.
This film had an advance screening for members of the disabled community in NYC. After the film, there was a question and answer period. Having spoken to two of the attendees, they lent some interesting insights. Carr Massey and Michael Costello, both wheelchair users, disability activists, and New Yorkers, stated that the film was fascinating due to the subject matter, however real disability issues were ignored.
There really aren’t as many comfortable entrances and exits for people in wheelchairs in businesses or homes, as portrayed in the film. This was a general response. As for me, I say go see the fi lm. It’s defi nitely thought provoking and titillating, as the director hopes. Carlos Brooks seems to want to focus on disability issues. Let’s see where he goes from here.
Amy Meisner Threet, MSW, is a regular contributor to Action.
