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I was not quite sure what to make of the film's sudden disjointed, fast-forwarded ending, however. It almost seems as though some frames containing necessary storyline are missing, although I understand the director’s intent to provide sudden enlightenment at the finale. Nonetheless, as the film ended, I was definitely left contemplating the ephemeral, fleeting nature of the truly important things in life.

The writer and director of Loggerheads is native North Carolinian Tim Kirkman. Kirkman’s 1997 documentary Dear Jesse won the San Francisco Gay and Lesbian Film Festival and was named Best Documentary (Runner-Up) by the Boston Society of Film Critics. Dear Jesse also garnered Independent Spirit, Gotham and GLAAD Award nominations, and an Emmy nomination. His second film was a performance documentary of David Drake’s The Night Larry Kramer Kissed Me.

Kirkman kindly responded in length to several interview questions I put to him recently regarding Loggerheads.

AfterElton.com: In its beautifully understated, thought-provoking and non-combative way, Loggerheads makes a great case for the conservative (largely southern) Christian right to stop or at least re-think its hatred of gays. Are you hoping or anticipating any such effect from the general public in the red states? As the film seems entirely appropriate, even by conservative Christian standards, for church groups, schools and women's groups across right-wing America. Any interesting reactions yet?
Tim Kirkman: Thanks for saying that. I hope that the film makes people feel and think. The most important thing to me is that it touches hearts and heads. I have no agenda except to tell what I believe is a compelling story of conflict in a family. That said, I do hope it challenges what some people perceive about stereotypes, whether that's stereotypes about gay people or religious people or adopted people or Southerners...The best way for the Christian Right to stop seeing stories about gay people is to support all gay rights legislation, from marriage to employment to housing to immigration laws. Right now, gay stories are compelling because there's so much conflict and drama around gay issues in society. If only they would realize that by making us as boring as they are, the issue would disappear from movies and TV. Then we could talk about some real issues.

AE: I sensed an extraordinary chemistry between actors Kip Pardue (Mark), and Michael Kelly (George) in the film. Were you able to anticipate this during casting, or did it just kind of blossom on its own during filming? Can you tell us about the two actors approach to each other and to their respective roles that contributed to this?
TK: No, you can't anticipate it, but you hope for it. And they're such great contrasts physically, that I knew it would at least be interesting to watch. Each actor works differently and I respect that. We all had terrific working relationships, and now they're both friends of mine, so it worked for me in every way. I adore both of them. As far as the chemistry, it occurred on set because we had no time to really rehearse, this being so low budget. [The actors] have a lot in common: they're both musical, athletic, they both surf. And each segment of the story was shot individually in separate blocks, so for one week we only shot the story of Mark and George. After that week, a couple of the more seasoned crew members told me that it was one of the best shoots they'd ever been on. And I give Kip and Michael Kelly much of the credit for that.

AE: Can you give us your thoughts on your directorial/editing decisions regarding the sudden, fast-forward way the film comes to an end?. It almost seems like some of the story is omitted.
TK: Each story takes place in a weekend, so the "fast-forward" is really just a couple of days later. The mothers meeting is in Grace's storyline, so it isn't really a fast forward at all. I can see how it FEELS like a fast forward because you glean from Elizabeth's and Grace's stories the length of Mark and George's relationship. But actually, if you break it down, it's only a few day's time in each story. I'm always satisfied that it feels so epic. It's a puzzle in terms of the timeline--even though I state up front that it's three different years--but I love the puzzle. I like movies that require that I pay attention.

AE: You are a native of North Carolina yourself. Did you have a personal familiarity with any of the three NC locations you used in the film? Are the locations the same as in the original true story the film is based on, and how did you come by the original story?
TK: I grew up in Wingate, North Carolina, a town not unlike the Eden of the movie. The locations were all fictionalized. I wanted to make the state a character, to utilize the distinctive three geographical regions to emphasize the separation between the stories, geographically and emotionally. My friend told me the story of how she gave up her son for adoption and then tried to reunite with him years later. It broke my heart. But I also saw a great story in there. So, that's where the story came from.

AE: Can you tell us about other current and future projects you are working on?
TK: I'm working on several things, including a film adaptation of some short stories by singer/songwriter Rosanne Cash. It's all set in New York City. I'm very excited about it. I'm also working on a big ensemble film based on the book Family Linen by the writer Lee Smith, who was in my first film, Dear Jesse, and is a friend. That's a Southern gothic story, very comedic, darkly so. It's gonna be great.

Loggerheads open this weekend in New York and L.A.
For more on the film, visit loggerheadsmovie.com