Part two of a three part interview w/ SAN FRANCISCO writer Carlos Treviño:
Q. How did you make this story your own?
A. I changed the mother-and-son dynamic to wife-and-husband to intensify the relationship a bit more: to twang the triangle. There's more at stake for all three characters when two of them are married, and seemingly somewhat happily. The story can then act as a window into the couple's relationship. The wife is the primary caretaker and calls Aliya on behalf of her husband. I didn't make too much of this in the script, and you played it off with even less exposition in the cut. Though Aliya is the main character, questions about the couple are still around: What is their marriage like? How did they get to this point? I also wanted to create the feeling that this was the first time the husband had ever asked for this. If the wife had been somewhat blasé about the whole thing, the story would be about something else entirely. Though willing, the wife is clearly nervous about the situation.
Q. What are your views on marriage?
A. Are you proposing?
Q. We live in Texas, sweetie. I don't think it would do us much good.
A. Presents!
Q. Presents!!!!
A. Right, marriage. Like anything, it can be great in the right hands. Intimacy, trust, and love may be more important than any idea of security or sanctity that marriage usually connotes. I think it makes sense if you're bringing up children, but then, successful, loving families can exist outside the institution of marriage, so... Each couple has to make its own meaning. When the participants stop making meaning, they endanger the marriage.
Q. Is our sex worker a marital aid?
A. Maybe. Presumably, the husband's paraplegic condition changed the marriage a lot already; we hint that it was caused by some accident. Maybe the wife was tired of being nursemaid and sex toy; like--what, I have to wipe your ass AND kiss your feet? Fuck this, let's hire a tranny!
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