By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
By Drew Ailes
Why an interview with comedienne/actress Janeane Garofalo in Westword's music section? Plenty of reasons. For one, she entered the public consciousness largely through appearances on MTV, whose long-running animated series Daria should be subtitled Janeane at 16 (Garofalo hosted Behind the Scenes at Daria for the network last year). For another, she's an impassioned and knowledgeable music fan whose recommendations are well worth considering. Finally, she's among the few current comics whose work offers insight into life as we know it in the year 2001. In other words, she rocks.
Garofalo certainly isn't wanting for employment these days. She has three films awaiting release -- Big Trouble, a sprawling road comedy by director Barry Sonnenfeld (Men in Black) in which she plays a small role, as well as Wet Hot American Summer and The Search for John Gissing, a pair of indie flicks that give her considerably more to do -- and she'll make another movie, writer/director Sam Seder's digital opus A Bad Situationist, before summer fades. She's also involved in The Laramie Project, an HBO adaptation of an ambitious play revolving around the 1998 murder of Matthew Shepard, a gay student at the University of Wyoming, that's being partly filmed in Denver; like several of her fellow castmembers, Garofalo, who plays Catherine Connolly, a lesbian professor at the university, is donating her salary for the project to anti-hate-crime organizations. Plus, she's headlining a stand-up tour. Her main reason for doing so, she says, is because "it's creatively fulfilling. There's interaction with a live audience, and I'm responsible for the outcome of it, whether it's good or bad. I write it, I say it, and I can show up looking any way I want."
Nonetheless, Garofalo remains a cult figure, in large part because she's not interested in being anyone other than her consistently hilarious, frequently cranky, invariably honest self. And as she makes clear below, she's not expecting that status to change.
WW: A lot of us out here believe the world would be a better place if you were the biggest star in show business...
JG: Oh, you old so-and-so!
WW: Do you agree with that?
WW: So would your becoming the biggest star in show business make the world infinitely worse?
JG: I'm not saying that. But what's funny about that is, it's such a teeny-weeny segment of the population that thinks that -- and they're usually people who are so similar to me that what they're really saying is, "It would be so much better if I was the biggest star in show business..."
WW: Maybe so. But the fact is, nobody is putting up Web sites in honor of us, but there are all kinds of Janeane Garofalo worship sites on the Internet right now. Does it make you uncomfortable or self-conscious to know that there are people out there who may be looking at you as a role model?
JG: I don't see those sites, so I don't really think about them until someone says, "I saw them." I find them flattering, I suppose, but they're also so interesting to me, because I'm so filled with insecurities and self-doubt, like anybody, and self-loathing, like anybody. So when I hear about them, it seems so strange. And it almost serves to amplify my self-doubt. It's like, "I can't believe that someone out there actually likes me, because I dislike me so much."
WW: Hollywood executives obviously don't, because you're working all the time. But it's frustrating for fans, since the decision-makers don't seem to have any idea how to bring out the best in you; they just try to hammer you into pigeonholes. It's as if they're saying, "She's got something really special. Let's make her play a worn-out stereotype." Is that something you run into on a fairly regular basis?
JG: No, because I don't think mainstream entertainment perceives me as special. It probably perceives me as neither here nor there.
WW:And yet you've starred in some big-studio movies, like [1996's] The Truth About Cats & Dogs. But when fans went to see it, hoping the people making it would let you put your stamp on it, they discovered that it's a very cookie-cutter kind of film.
JG: Yeah, right. I love the woman who wrote that -- Audrey Wells, who's a good friend of mine and a talented woman. But the point is, that's a commercial, mainstream movie, and to think anything otherwise is the mistake of the ticket buyer. I mean, that's a very saccharine movie that I don't love; I'm not a big fan of The Truth About Cats & Dogs. I did the best I could to not be cookie-cutter within a cookie-cutter thing, but you know what? The studio will squish you. They'll sit on you. They will literally sit on you until you say "Uncle," and you feel like, "Fine, I'll do it your way." Because mainstream moviemaking is not an actor's medium. It's just not. It's a director's medium, it's a studio medium. If you really want to do good work, then get the fuck out of Hollywood -- it's that simple. And that's why when people complain about it, I don't really understand what they're complaining about. If you don't see that when you align yourself with something like The Truth About Cats & Dogs, which is being made by a big studio with a big budget, then you're not really opening your eyes to it.