The Story of THE LIFE OF REILLY

In the Chicago office of Civilian Pictures, the phone rang just like any other time. It was after hours, but the small staff was still hard at work, trying desperately to raise six million dollars for an independent film. John Murphy picked up. “What do you think about doing a film about Charles Nelson Reilly?”, said the voice on the other end.

“That’s the best idea I’ve heard in at least three years,” responded Murphy. After a few other calls like that one, Barry Poltermann, the voice on the other end, was convinced—The Life of Reilly had to be made. Poltermann then recruited a highly-skilled team, including co-director Frank Anderson, unit production manager Adrian Selkowitz, and producers Robert Fagan and Wrye Martin. At the same time, he was attempting to gain the go-ahead from Charles Nelson Reilly himself, not only to okay doing a
film about him, but also to agree to perform his since-retired one man show one more time. Charles was won over by The Life of Reilly team’s conviction and respect for the material, and agreed to put on, one more time, the show that had been referred to by critics as Charles’ performance of a lifetime.

With Charles now on board, and the support of Civilian’s Peter McDonnell, the team at Civilian put together the funds to make the film. Financing in place, the team now began preparations to put on the show as well as preparations to film the show.

The El Portal Theatre in North Hollywood, California, agreed happily to host the show. A venue where Charles had played before, the management of the El Portal knew they would have brisk ticket sales and a satisfied audience at the end of the night.

The play was staged to be as close as possible if not exactly the same as it had been a few years prior when Charles unofficially retired it. The play’s stage manager, David Mangrino, and director, Paul Linke, were kind enough to lend their services to the cause. The movie was shot on High Definition video, lit by accomplished cinematographer Anthony Balderrama.

The house was packed with audience members, famous friends of Charles’, rock bands with an affinity for Mr. Reilly, and a few lucky friends of the production team. We even managed to squeeze several HD Cameras, sound equipment, dollies, and lights into the El Portal.

Once the movie was in the can, the task remained to form a reasonably lengthed film from the 3-plus hour performance of the one-man show.

Switching hats now, Poltermann cut away at the film, balancing practical considerations with creative vision, and after many months of cutting and recutting, holding screenings for friends and colleagues, and living inside the film, he got the “right” cut done.

The film, beginning its theatrical run in November 2007, clocks in at just under 90 minutes. The production team believes the film to be tight, gripping, sad, and ultimately extremely funny. It is a labour of love; it is layered, complex, and full of humor and heart. Just like the late great Mr. Charles Nelson Reilly.