Gas Food Lodging (1992)

R | 101 mins | Romance, Drama | 31 July 1992

Director:

Allison Anders

Writer:

Allison Anders

Cinematographer:

Dean Lent

Production Designer:

Jane Ann Stewart

Production Company:

Cineville
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HISTORY

Throughout the film, voice-over narration by Fairuza Balk reveals the observations and inner thoughts of her character, “Shade Evans.”
       The film is loosely based on the 1972 “coming of age” novel, Don’t Look and it Won’t Hurt, which marked Richard Peck’s debut as a writer of young adult fiction. Both a 15 Feb 1991 DV news brief and 19 Feb 1991 HR production chart credited writer Elizabeth Brundage as having worked on the screenplay for Gas Food Lodging. Director Allison Anders was also listed as a writer. Ultimately, however, Brundage did not receive an onscreen writing credit. In a 26 Jul 1992 NYT article, Anders indicated that when producers approached her about making the film, they gave her Peck’s novel and “a draft of the script.” She then “put a huge amount of autobiographical” material into a revised screenplay, including using her own mother as a model for the character of “Nora.” Although Anders had co-directed a full-length feature while in film school at the University of California, Los Angeles, Gas Food Lodging was her first venture as a solo director, as noted by Var’s 27 Jan 1992 review.
       Principal photography began 14 Jan 1991 and concluded one month later. End credits indicate that Gas Food Lodging was: “Filmed on location in Deming, New Mexico.” The $1.3 million picture screened at the Sundance Film Festival on 17 Jan 1992, receiving accolades from critics. The film received its “national premiere” at New York’s Film Forum on 31 Jul 1992, according to a 27 Jul 1992 Var brief. Two weeks later, the ...

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Throughout the film, voice-over narration by Fairuza Balk reveals the observations and inner thoughts of her character, “Shade Evans.”
       The film is loosely based on the 1972 “coming of age” novel, Don’t Look and it Won’t Hurt, which marked Richard Peck’s debut as a writer of young adult fiction. Both a 15 Feb 1991 DV news brief and 19 Feb 1991 HR production chart credited writer Elizabeth Brundage as having worked on the screenplay for Gas Food Lodging. Director Allison Anders was also listed as a writer. Ultimately, however, Brundage did not receive an onscreen writing credit. In a 26 Jul 1992 NYT article, Anders indicated that when producers approached her about making the film, they gave her Peck’s novel and “a draft of the script.” She then “put a huge amount of autobiographical” material into a revised screenplay, including using her own mother as a model for the character of “Nora.” Although Anders had co-directed a full-length feature while in film school at the University of California, Los Angeles, Gas Food Lodging was her first venture as a solo director, as noted by Var’s 27 Jan 1992 review.
       Principal photography began 14 Jan 1991 and concluded one month later. End credits indicate that Gas Food Lodging was: “Filmed on location in Deming, New Mexico.” The $1.3 million picture screened at the Sundance Film Festival on 17 Jan 1992, receiving accolades from critics. The film received its “national premiere” at New York’s Film Forum on 31 Jul 1992, according to a 27 Jul 1992 Var brief. Two weeks later, the picture opened to a glowing review in Los Angeles.
       End credits include the following acknowledgments: “Special thanks: Larry Estes; Olivia Newton-John; Adam Stern; Richard Gelfand; Jim Smith; Joel Millner; Jason Smith; Moira Keelaghan; Wendy Polson; Simon & Yasmin Le Bon; Bud Smith; Dave Cash; Devon Anders; Robert Milly; Luanna Anders; Shelly Surpin; Daphna Kastner; Carolyn Brooks; Claire Willenson; Denise Mann; Paul Colichman; Henry Madrid; Lucy Baldock; Chuck Childers; Dorian Paul; Karen Wages; William Perault; Pam Rodi; Sharon Henderson; Robert Ferrone; Kay Plunkett; David & Claudia Stitz; Janina Krupa; Bill Koch; Monah Li; Zach Matz; Scott Smith; Anne Remington; Dr. George Walton; Julie Remington; Vern Walton; The Meeks Family; Kurt Voss; New Mexico Film Commission; Family Colpaert-Soens; Tony Sayre; John Strand; Issac Comacho; Richard Brooks; Ed Gabrielson; Dash Morrison; Unique Product Placement; Joe Manow; Duran Duran Productions; Elaine T. Coyne; Zippo Lighters; Ginny Stanphill; Creative Entertainment; Deming Cinema II; Glenfiddich; Primestar Satellites; Norm Marshall & Associates; Miller Beer; Rogers & Cowen; Bismarck Distillery Schonau; Geolapidary Museum; Pepsi Co.; Deming Mimbers Museum; Adobe Deli-Deming, NM; Opium Arts; Vision Sportswear; Richard Chadwick; Vans; Mute Records Ltd.; Perrier Corporation; Daniel Miller; Verity White; AGFA Corporation; Beth Bellis; Jo Cohn; Peter Bulke; Toni Robertson; Amanda Smith; Rockhound State Park; Frank Pena; Aseley ‘Ace’ Otten; Micropolis, Inc.; Deming Chamber of Commerce; Muse – J.T.; Mentor – W.W.; For Mom.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
15 Feb 1991
p. 36
Hollywood Reporter
19 Feb 1991
---
Hollywood Reporter
21 Jan 1992
p. 12, 142
Los Angeles Times
14 Aug 1992
Calendar, p. 8
New York Times
26 Jul 1992
---
New York Times
31 Jul 1992
p. 1
Variety
27 Jan 1992
p. 52
Variety
27 Jul 1992
p. 15
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
Cineville and Seth M. Willenson present
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
1st asst dir
2d asst dir
2d 2d asst dir
Addl 2d
WRITER
PHOTOGRAPHY
Dir of photog
1st asst cam
2d asst cam
Best boy
Addl elec
Still photog
Lighting and grip equip by
ART DIRECTORS
Prod des
Art dir
Art dir
Storyboard artist
FILM EDITORS
Post prod services by
1st asst ed
2d asst ed
3d asst ed
Negative cutting
SET DECORATORS
Prop master
Set dresser
Laborer
COSTUMES
Cost des
Ward asst
Prod ward
MUSIC
Mus comp
Addl orch
Mus supv
Mus supv
Mus score rec and mixed by
Violinist for Elvia Rivero films
SOUND
Prod sd mixer
ADR supv
Sd eff ed
SFX rec/Sd eff ed
SFX rec/Addl voice talent
Asst sd des
Asst sd ed
Asst sd ed
Addl voice talent
Post prod facilities
a division of LucasArts Entertainment Company
Re-rec mixer
Machine op
ADR mixer
Foley mixer
Foley rec
Foley artist
Foley artist
Dolby Stereo consultant
VISUAL EFFECTS
End titles by
Opticals by
MAKEUP
Key makeup & hair
Makeup & hair asst
PRODUCTION MISC
Casting
Casting
Casting
Scr supv
Prod coord
Prod auditor
Asst prod auditor
Loc mgr/Transportation coord
Transportation capt
Honeywagon driver
Prod van driver
Prod asst
Prod asst
Prod asst
Casting asst
New Mexico casting
New Mexico casting asst
Prod office secy
Dialect coach for Mr. Knepper
Calo consultant to Allison
Elvia Rivero poster model
Fluorescent mineral consultant
Geological consultant
Scorpion wrangler
Craft services
Craft services
Catering by
Post prod controller
Insurance provided by
Prod financing by
at First Interstate Bank
Payroll services
STAND INS
Stand-in for Ms. Skye
COLOR PERSONNEL
Timer
Col by
SOURCES
LITERARY
Based on the novel Don't Look and it Won't Hurt by Richard Peck (New York, 1972).
LITERARY SOURCE AUTHOR
SONGS
"We Get Along Just Fine," written by Mark Fosson, performed by Mark Fosson & Karen Tobin, courtesy of Big Otis Music; "Maria," written by Mickey Petralia & Carlos Adley, produced by Amos Newman & Mickey Petralia, performed by The Mitch Green Experience featuring "Carlos"; "Can't Stop My Heart," written & performed by Mark Fosson, courtesy of Big Otis Music; "Insight," written by Rich Gonne & Michael Weaver, performed by Antagonist; "Fall In Love With Me," written by David Sylvian, performed by Japan, courtesy of Victor Musical Industries; "Thunder," written & performed by Renegade Soundwave; "Lament," written by Nick Cave, performed by Nick Cave & The Bad Seeds, published by Dying Art; "Eternity," written & performed by Mark Fosson & Karen Tobin, courtesy of Big Otis Music & Snap Happy Music; "Women Respond to Bass," written & performed by Renegade Soundwave; "Macarana Cha-Cha," written by Lazare, provided by the Southern Library of Recorded Music; "Crazy Heart," written by Mark Fosson & Karen Tobin & Jan Buckingham, performed by Mark Fosson & Karen Tobin, courtesy of Big Otis Music, Snap Happy Music & Duck House; "Magic," written by John Farrar, vocals by Louise Tollson; "Cloud Chamber," written & performed by Easy, published by My Ears! My Ears!; "The Sun Before the Darkness," written & performed by Crime & The City Solution, published by Dying Art; "I'll Be Over You," written by Mark Fosson & Karen Tobin & Jeff Rea, performed by Mark Fosson & Karen Tobin, courtesy of Big Otis Music, Snap Happy Music & Log Rhythm; "Same Sweet You," written by Rachel Young; "We Call It Rock," written by Don Fleming and Broyhill, performed by The Velvet Monkeys, published by Sometimes Music, courtesy of Rough Trade; "Burial," written & performed by Mr. Boyd Rice; "Love," written & performed by Victoria Williams, courtesy of Careers-BMG Music.
PERFORMED BY
+ −
SONGWRITERS/COMPOSERS
+ −
DETAILS
Alternate Title:
Gas, Food, Lodging
Release Date:
31 July 1992
Premiere Information:
Sundance Film Festival screening: 17 Jan 1992; New York opening: 31 Jul 1992; Los Angeles opening: 14 Aug 1992
Production Date:
14 Jan--mid Feb 1991
Copyright Info
Claimant
Date
Copyright Number
Cineville Partners II, Inc.
31 July 1992
PAu001657527
Physical Properties:
Sound
Dolby Stereo® in selected theatres; This film recorded in a Lucasfilm Ltd THX® Sound System Theatre
Color
Lenses
Lenses and Arriflex camera by Panavision Hollywood
Prints
Prints by Deluxe®
Duration(in mins):
101
Length(in feet):
9,106
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
31424
SYNOPSIS

In the rural town of Laramie, New Mexico, teenager “Shade” Evans spends her free time at the local movie house, obsessed with melodramatic Mexican romances starring her favorite actress, Elvia Rivero. One day after a matinée, Shade meets her older sister, Trudi, at the diner where their mother, Nora, works. Nora sighs as Trudi insults the busboy, announces that she does not like diner food, and storms out. That night, Shade contemplates Nora’s numerous failed relationships. Inspired by an Elvia Rivero movie, the adolescent girl decides to play matchmaker. However, as much as Shade would like to “find a man” for her mom, she remains curious about her biological father, John Evans. She telephones him, but hangs up as soon as he answers. Nora returns from a late shift, dismayed to see Trudi’s empty bed. At 2:30 a.m., Trudi sneaks back, and Nora chastises her daughter for behaving irresponsibly. Shade covers her ears in an attempt to block out the argument. The next day, Trudi takes a job waitressing at the diner, intent on making enough money to move out. Shade goes to the movie theater for another Elvia Rivero picture, but in the middle of the movie, the screen goes blank. Shade wanders to the projection room, surprised to see Javier, the busboy from the diner, working as projectionist. He makes a biting remark about Trudi’s behavior, but Shade retorts that he should focus on his new job, rather than hold a grudge against her sister. Javier laughs, charmed by Shade’s fiery spirit. That night, Nora fends off the romantic advances of Raymond, a man with whom she had an affair years earlier. She returns his passionate kiss, ...

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In the rural town of Laramie, New Mexico, teenager “Shade” Evans spends her free time at the local movie house, obsessed with melodramatic Mexican romances starring her favorite actress, Elvia Rivero. One day after a matinée, Shade meets her older sister, Trudi, at the diner where their mother, Nora, works. Nora sighs as Trudi insults the busboy, announces that she does not like diner food, and storms out. That night, Shade contemplates Nora’s numerous failed relationships. Inspired by an Elvia Rivero movie, the adolescent girl decides to play matchmaker. However, as much as Shade would like to “find a man” for her mom, she remains curious about her biological father, John Evans. She telephones him, but hangs up as soon as he answers. Nora returns from a late shift, dismayed to see Trudi’s empty bed. At 2:30 a.m., Trudi sneaks back, and Nora chastises her daughter for behaving irresponsibly. Shade covers her ears in an attempt to block out the argument. The next day, Trudi takes a job waitressing at the diner, intent on making enough money to move out. Shade goes to the movie theater for another Elvia Rivero picture, but in the middle of the movie, the screen goes blank. Shade wanders to the projection room, surprised to see Javier, the busboy from the diner, working as projectionist. He makes a biting remark about Trudi’s behavior, but Shade retorts that he should focus on his new job, rather than hold a grudge against her sister. Javier laughs, charmed by Shade’s fiery spirit. That night, Nora fends off the romantic advances of Raymond, a man with whom she had an affair years earlier. She returns his passionate kiss, but warns him that she has no intention of getting involved with a married man. Elsewhere in Laramie, Shade hangs out with her moody friend, Darius. Her eyes widen as he interprets the lyrics to an Olivia Newton-John song. Meanwhile, Trudi sits alone in the diner after being rejected by the boy she has been dating. Her sniffling draws the attention of an English geologist named Dank, who offers to give her a ride home. En route, she makes scornful remarks about men, unaware that Dank finds her tirade amusing. The next day at the laundromat, Shade borrows change from a man named John, oblivious to his sidelong glances at Nora. Later, Trudi joins Dank as he explores desert caves looking for phosphorescent rocks. After an intimate evening together, she confides she was gang raped the first time she had sex. Afraid to report the crime, she decided to take a carefree attitude toward sex, becoming involved with any boy who showed interest. Trudi confesses that she never had a meaningful sexual experience until she met Dank. Later, the geologist announces that he needs to leave town for a few days. He assures the suspicious Trudi that she is special to him. When Trudi returns home, she and Nora get into another argument. As Nora storms away, Hamlet Humphrey, the local satellite dish installer, offers to listen to her problems, but she dismisses him. Meanwhile, Shade tells Trudi about her friend Darius, uncertain if she should reciprocate his “crush” on her. When Trudi advises making a bold move, Shade dresses up like Olivia Newton-John and attempts to seduce Darius, but he reveals that he is not attracted to her. Feeling foolish, Shade leaves and runs into Javier, who teases her about her appearance. That night, Shade arranges a blind date between Nora and Raymond. The two adults do not let on that they know each other, and struggle to keep from laughing during the awkward dinner. The teenager goes to bed disappointed in her day. A few weeks later, Trudi realizes that Dank is not coming back. She learns that she is pregnant, and Nora advises her to get an abortion. Outraged at her mother’s insensitivity, Trudi decides to move to Dallas, Texas, and give the baby up for adoption. Sometime later, in an attempt to cheer up Shade, Nora suggests they get cable television. Hamlet Humphrey comes over to talk about the installation, but Nora changes her mind when she hears what it will cost. He flirts with her, and they make love. Meanwhile, Shade attends a party at her friend Tanya’s house. A disc jockey musician visiting from Los Angeles, California, pressures Tanya to make out with him. Shade breaks up the tryst, but the boy and his friends refuse to leave. Meanwhile, the man from the laundromat drives past and notices the altercation. He stops and threatens the musicians, before offering to escort Shade home. On the way, he reveals that he is John Evans, her father. Shade is stunned, and in the morning confronts Nora with the news. A few days later, the girl locates her father at his house outside of town, and asks for money. The request provokes an outburst from John’s girl friend, and Shade leaves, embarrassed. John follows and presses a roll of cash into her hand. Shade stops by Javier’s house, curious to meet his family. Javier welcomes her with a few good-natured jokes, and later whispers passionately in her ear in Spanish. They kiss. In the ensuing weeks, Shade and Javier spend long afternoons together in the desert. As the teenagers fall in love, so do Nora and Hamlet. Shade is unimpressed with her mother’s boyfriend until he reveals an admiration for Elvia Rivero. Several months later, Nora, Hamlet, and Shade go to Dallas to support Trudi through the delivery of her baby. Shade wants her sister to return to Laramie, but Trudi says she is looking forward to starting a new life in Dallas. Driving home, Shade notices a roadside business selling phosphorescent rocks. She asks Hamlet to drop her off. Confronting the vendors, she learns that they acquired the rocks from Dank, who died in a mine while collecting specimens. Shade walks back to Laramie through the desert, reflecting on the relationships between lovers, mothers, and daughters.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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