"My Own Private Idaho," a 1991 American independent adventure drama, stands as a landmark in new queer cinema, recognized for its groundbreaking subject matter and avant-garde style. The film, written and directed by Gus Van Sant, follows two friends, Mike Waters and Scott Favor, on a journey of self-discovery. Its path to the screen was a complex one, drawing inspiration from diverse sources, including a 1960s novel, Shakespearean plays, and real-life
encounters. The creative process involved significant evolution, from initial script ideas to the eventual casting and financing that brought Van Sant's unique vision to life.
Early Inspirations and Script Evolution
The foundational concept for "My Own Private Idaho" emerged from John Rechy's 1963 novel "City of Night," a work that explored the lives of street hustlers who did not openly identify as gay. Gus Van Sant began writing his original screenplay in the 1970s while living in Hollywood. However, upon reading Rechy's book, Van Sant felt his own writing was considerably inferior and consequently shelved his script for several years. The inspiration for the character of Mike in "My Own Private Idaho" came later, in 1988, when Van Sant met a street kid named Michael Parker while editing his film "Mala Noche." Parker also had a friend named Scott, who was similarly a street kid. In the script, Van Sant transformed the Scott character into a rich kid, a portrayal also influenced by other street hustlers he had encountered in Portland.
Early drafts of the screenplay were initially set on Hollywood Boulevard, rather than Portland, and carried working titles such as "Blue Funk" and "Minions of the Moon." Rechy's novel played a crucial role in prompting Van Sant to shift the setting to Portland. The script originally comprised two distinct scenarios: "Modern Days," which focused on Mike's narrative, and a separate story that updated Shakespeare's "Henry IV" plays with Scott's experiences. Van Sant realized he could merge these two narratives using a technique similar to William S. Burroughs' "cut up" method, which involves blending various story fragments and ideas to create a unique whole. This idea to combine the scenarios was sparked after Van Sant saw Orson Welles's film "Chimes at Midnight." He noted that the "Henry IV" plays felt like a street story to him and that a "fat guy named Bob" he knew, who was fond of hustler boys, reminded him of Falstaff. He also saw parallels between Prince Hal in Shakespeare's plays and Scott, with Mike serving as the sidekick, leading to a restructuring of the "Henry IV" plays within his script.
Overcoming Challenges and Securing Production
Van Sant also drew inspiration for Mike's narcolepsy from a man who served as a guide while the director was researching for the film, a man who frequently appeared on the verge of falling asleep. The film's title itself was derived from "Private Idaho," a song by the B-52's, which Van Sant heard during a visit to Idaho in the early 1980s. He showed an early version of the script to a 20th Century Fox executive who appreciated Shakespeare, and Van Sant subsequently toned down the Shakespearean elements and modernized the language. He was also developing a 25-page short story titled "My Own Private Idaho" about two Latino characters in Portland searching for their parents, traveling to Spain, where one falls in love and leaves the other. Another script, "The Boys of Storytown," featured the characters of Mike, Scott, Hans, and Bob, but Van Sant considered it unfinished. Ultimately, while editing "Drugstore Cowboy," he combined elements from "Modern Days," "Storytown," and the "Idaho" short story.
Initially, no studio was willing to finance the film due to its controversial and unconventional subject matter. However, after "Drugstore Cowboy" garnered critical acclaim and awards, studios began to show interest, though they all requested revisions. Frustrated by these demands, Van Sant considered making the film on a minimal budget with actual street kids, including Michael Parker and actor Rodney Harvey, who was slated to play Scott. When casting the two lead roles, Van Sant sent the script to Keanu Reeves and River Phoenix, expecting their agents to reject it. Reeves's agent was open to the project, but Phoenix's agent initially withheld it. Van Sant then devised a plan for Reeves to personally deliver the film treatment to Phoenix at his Florida home. Reeves undertook this journey during the winter holiday season, riding his 1974 Norton Commando motorcycle from Canada to the Phoenix family ranch in Micanopy, Florida. Reeves had previously worked with Phoenix on "I Love You to Death" and with his brother Joaquin and girlfriend Martha Plimpton on "Parenthood." After reading the treatment, Phoenix agreed to play Scott, but since Reeves was already cast in that role, they persuaded Phoenix to take on the more challenging role of Mike. Van Sant assured both actors he would not ask them to do anything embarrassing. An outside investor offered $2 million, but when Van Sant delayed production for nine months so Phoenix could film "Dogfight," the investor withdrew. Producer Laurie Parker then shopped the script around, and New Line Cinema, which was expanding into arthouse film production, decided to back Van Sant's vision with a $2.5 million budget. Kiefer Sutherland later revealed he declined an offer to star in a lead role due to a skiing trip, a decision he expressed regret over.
