Pop-Culturalist.com

Award-winning storyteller Matt Dallas has gained recognition for his exceptional portrayals in projects such as Kyle Xy, The Indian, and Painted Woman. His skill in immersing himself into characters and showcasing their nuanced intricacies has cemented his place as one of the most exciting artists of his generation.

In his most recent venture, Shoulder Dance unfolds the narrative of two couples—one gay, one straight—navigating the precarious boundaries between friendship, romance, and partnership. Over a captivating weekend filled with seductive games, unabashed indulgence, and revealing revelations, this award-winning, witty, and enchanting summertime romance explores the intricate dynamics between the characters.

Pop Culturalist was lucky enough to speak with Matt about Shoulder Dance, delving into his approach to undertaking a more mature role, embracing the creative process, and establishing trust with the cast and crew.

PC: Shoulder Dance came to you when you were itching to get back to work after spending a bit of time focusing on your family. What was it about this particular character and Jay Arnold’s script that resonated with you?
Matt: When I first read Shoulder Dance, there was something about Ira’s story and where he was in his life, starting to question all the choices that brought him to where he was. There was something about that journey that I really connected with as somebody who kind of stepped away from the industry. I never fully stepped away, but I did take a step back to focus on my family.

Entering my forties, there was a moment when I was starting to question, “Did I do the right thing? Should I have focused more on my career?” There were a lot of midlife questions that were starting to bubble up. Even though Ira took a very different path than I did, I related to a lot of those life themes on a deep human level. I felt like this was a story that I could really connect to.

It was definitely a more mature role than a lot that I’ve played in the past, especially coming out of Kyle Xy. I was in my early to mid-twenties when I was a part of that series, and all the roles following that felt very similar in where they were in their lives.

So to now go away and bring all these life experiences from the decade in between, I was able to approach, discover, and explore a more mature role that I hadn’t gotten to do. I felt like it was the right opportunity for me to come back into it.

PC: When your character’s childhood friend reemerges, it opens up a lot of old wounds and many unanswered questions, which you brought so much nuance to. As an actor, how did you create the space for yourself to dive into that vulnerability and emotional journey?
Matt: I was super fortunate that I had an amazing cast to play with. We were all really able to immerse ourselves in this story. There are four main cast members, and we have some great supporting characters too, but between Taylor Frey, Maggie Geha, Rick Cosnett, and I, it was the four of us. We were always on set together. We had a couple of dinners and rehearsals where we got to go deep and explore all the dynamics between the four characters. That allowed us to create a safe space where we could get messy, try things and fail, and try things and succeed.

It was that environment that Jay created, and Jay was the same way. He was all about, “Let’s see what happens. Let’s explore, and maybe there’s something on the page, but what we find in actually doing it might be even better.” That environment was created from the beginning, and it allowed us all to connect and form a chemistry that allowed us to have that space.

PC: So often in filmmaking, you’re shooting things out of order, but with Shoulder Dance, you shot this linearly, allowing for that intimacy to be created on screen. How different is that filming experience, and how did that allow you to build those different dynamics with your castmates, all of whom your character has different relationships with?
Matt: We shot this right after everyone was coming out of COVID. A lot of productions were still trying to figure out how we can keep this as contained as possible because COVID restrictions were super tight. We had one set. We shot it in a house. There were a couple of other things that took place in different locations, but everything was primarily in this house, so we were able to shoot in order. We might have rehearsed out of order or discussed a scene that was happening later, but we really were able to live that experience in order. It’s almost similar to a play where our bodies experienced this story in chronological order.

It was crazy because we got shut down because of COVID too. That was quite the experience. But even that added to it because that was a really traumatizing thing that happened. I might be being dramatic, but we were on such a journey, and we had so much momentum. Then Maggie and I got COVID, and we were the only two people in the entire production. No one else got it. It was this emotional rollercoaster because we were responsible for shutting it down. Are we going to come back? Are we not going to be able to? We destroyed production. Are we going to be recast? There’s all sorts of things that creep in after you’ve already invested so much. But coming through that together, I feel like when we came back to it, it added so much more of an emotional electricity to the story because we felt like we’ve been through something and we had so much more on the line to tell this story.

PC: You’ve worked on projects of all sizes. What is it about independent filmmaking that excites you as a storyteller and an artist?
Matt: I love independent filmmaking because in a way there’s more creative input than on some bigger productions. When your director is also the writer, you have time to explore the scenes, relationships, and dynamics between the characters. In independent filmmaking, it’s also nice because you shoot faster. There’s a lot less sitting around and downtime. There’s a lot fewer takes. A lot of the time what’s captured on camera is a real experience. It’s not something that you’re having to remanufacture every time you go again and go again and go again. You’re trying to emotionally exist in this place for eight hours.

On an independent film, you shoot that scene, you have this human experience, and you move on just like you do in life. You’re still turning around and doing other takes and stuff, but it happens so much faster. I feel like your body experiences the story in such a more spontaneous and exciting way because you really don’t know what’s going to happen. It forces everybody involved to work in a way that does create a feeling that everybody has ownership.

In a studio film or a bigger budget, everybody has their role. You do that role, and you do your part and you stay out of the way. Whereas in independent film, everybody has such ownership. Everybody is there to produce the best project possible. Everybody is willing to chip in because they want to make something great because they’re not there for the money. You’re there to tell a story.

PC: Is there an added sense of pressure knowing that you’re only going to get a few takes or does that give you more freedom as an actor?
Matt: It can be both. There’s added pressure because maybe you get two takes. You do them, and the director is like, “Moving on,” and you’re like, “Wait.” There’s sort of an insecurity of like, “Was that it? Did we actually capture it? Or did I feel like I did that better in rehearsal?” Ultimately, you have to give over to the experience and you can’t dwell on it because you’ll just make yourself crazy. You have to trust in your process. You have to trust in your castmates. You have to trust your director and everybody else on the crew. If you have the right group of people, you feel safe to do that. Everybody has the film’s best interest at heart. Everybody wants it to be good. So if something is not quite right, we’re going to go again. You just don’t have the security that you can do it fifteen more times. Sometimes that’s for the better. Even in big budget films, they talk about how they’ll do fifteen takes, but it was the first take that they went with. You have to trust the process and your instrument.

PC: You’ve gone on to collaborate with Jay on another film. What made this experience so special that you wanted to work on another project?
Matt: The environment that Jay created was so special and magical. It was really like lightning in a bottle. I felt safe to do another project with him because I felt like, “This is the landscape that he’s going to create.” Then I’ll be able to come into this with my point of view and add whatever it is I can bring to the table, and that’ll be respected, embraced, and celebrated. We can all come together and try and create something meaningful.

The project that I did with him after this film was a documentary. I’m working as a producer on this one, and that was a really cool experience too because I’d never worked on a documentary. But again, I got to work with somebody that I know. Our personalities worked well together. I knew that we had a good chemistry.

PC: As you were saying earlier, this is a more mature role for you. Was there a scene in particular that you’re really excited for audiences to see? What was the most challenging one to film?
Matt: I don’t know if there’s any one particular scene. In general, it’s a very relatable story, especially for a lot of people who grew up exploring their sexuality in that way or questioning what these feelings are. I can tell you growing up as a gay theater kid in high school, there was a lot of that like having crushes on the straight kids or other kids in the theater department and not understanding what it is. A lot of us go through that. I feel like it’s a really relatable and authentic story, and I’m excited for audiences to get to see experience it.

PC: Like you were just saying, you recently got into producing as well. Have you found that the work that you’ve now done behind the camera has influenced the way that you approach your work on screen or vice versa?
Matt: 100%. I also recently produced a passion project of mine called Sheepdog with Steven Grayhm. I did that before I did the documentary film. But to view things from that side of the camera was very eye-opening.

It’s funny. As actors, our job is to show up and have an emotional experience and bring characters to life. But it’s hard to understand all of the chaos that’s happening behind the scenes. A lot of the time, they try to protect the actors from that experience because they want the actors to be focused on what their responsibility is. That can be distracting for an actor if they sense that vibe.

But having acted and produced in the same film, you gain such an appreciation for how much work goes into making a film, especially now, independent cinema is challenging because there are so many movies and the market is so strange. What used to go to festivals is not going to festivals. It’s challenging to try and raise money and figure out what can make money. It’s such a crazy landscape, and it’s so hard to get a movie made.

Thank God during this whole strike, SAG did give out interim agreements because I feel like independent filmmakers cannot afford to be shut down. People invest their life savings into getting a film made. They’re such a labor of love. I have so much respect for filmmakers because you really have to have a passion and a love for storytelling and filmmaking.

PC: You’ve also said in previous interviews that you’re excited for this next chapter in your career. What’s next for you and what’s left on that bucket list?
Matt: We’ve locked picture on Sheepdog. We’ve gone through most of the post-production, and the film’s ready to go. I’m excited to share that film because that’s also a very different role for me. I’m a combat veteran returning home, and it’s about his struggles reaccumulating into civilian life. That’s definitely a much more mature role. I’m excited to keep exploring things like that. Hopefully, do some more producing. But right now Sheepdog and the documentary are what’s next.

PC: Both you and your husband are creatives in this space and have two wonderful children. If they wanted to follow in your footsteps, what advice would you give them?
Matt: Continue creating, doing what you love, and honing your craft. Those are the big things. I wish I heard more of that when I was younger. When I was younger and I started having success, I got so caught up in the distractions of Hollywood because I thought that was part of the game. I didn’t know better. I was like, “Going to red carpets and parties is part of the job.” Instead, I wish I had spent that energy focused on continuing to hone my craft. I would say, “Don’t get distracted, keep creating, do what you love, and work hard.”

I feel like Blue [Hamilton], my husband, wouldn’t love it if my kids went into the industry. But I would love it. It’s a really tough industry, but it’s also super rewarding. I love that it’s a non-conventional creative lifestyle. I wouldn’t be mad if they did, but we’ll see; they’re young.

To keep up with Matt, follow him on Twitter and Instagram. Watch Shoulder Dance wherever you stream movies.

Photo Credit: Manfred Baumann