Seattle's Tim Noah Exudes Versatility In `Davedreamer'

``What I ultimately want to do is everything.''

For Tim Noah - singer, songwriter and, now, film actor - ``everything'' is beginning to look like an attainable goal. The 38-year-old entertainer comes a step closer to realizing his ambition Friday with the release of ``Daredreamer,'' a Seattle-made movie that will play at the Metro and King Cinemas (and a number of other GCC movie houses).

Local audiences who know Noah mostly as a children's entertainer may be surprised by ``Daredreamer.'' A rock musical, it features lavish, eye-catching production numbers in which Noah blends a ``Rocky Horror Picture Show'' garishness with a chunky techno-rock sound that recalls the early Thomas Dolby. The songs, written and performed by Noah, appeared on his 1987 album of the same name. (The film project was already under way when the album came out.)

In its portrayal of high-school life in the 1980s (the film was completed in mid-1988), ``Daredreamer'' has some of the graphic quality of ``Fast Times at Ridgemont High.'' Noah and his director, Barry Caillier, have hopes that it will attract a teen audience.

In fact, its strong language, which got it a ``PG-13'' rating, was a direct result of input from teen-agers at Shorecrest High School where much of the film was made.

Shorecrest students found the original ``G-rated'' script ``totally unreal,'' according to Caillier, and offered some R-rated suggestions as to what constituted believable teen dialogue. Caillier advised them, ``No, we can't say that, but what else would you say?'' and a compromise was reached.

The youthful Noah plays Winston, a high-school student who has been ``kept back'' a number of years. Winston may not graduate because his ``compulsive daydreaming'' keeps distracting him from his studies. To add to his worries, his eccentric style (neo-'60s vaudevillian) and his lack of confidence attract some hostile attention from unsympathetic teachers and thuggish classmates.

He only comes out of his shell when his daydreams start merging with the daydreams of his fellow ``daredreamer'' Jenny (Alyce La Tourelle). Whimsy and imagination triumph in the end.

``In some ways, I think Winston is a lot like I was in high school,'' confesses Noah, who helped Caillier and producer Pat Royce come up with the story. Caillier, who went to high school with Noah in Chehalis in the 1960s, adds that Noah was ``more extroverted'' than Winston.

Although there's a '60s element in Winston's character, Noah and Caillier both caution that ``Daredreamer'' doesn't look to a particular era. Contact with contemporary teens was important in shaping the story.

``High school isn't what it used to be,'' Noah says, ``and the kids are a lot older than we used to be. They're not as shocked by things as we were.'' But even if they're tougher on the surface and under greater peer pressure to grow up fast, it's still a tender age, Noah insists. ``You don't want to look stupid, but you've got all this passion inside, and you want to get it out, but what will people think?''

The film, which looks much more expensive than its $700,000 budget, was made in three stages. Its musical high point, ``The Cure'' - in which a maniacal Dr. Noah offers some sinister conformity-inducing remedies for social outcasts - was shot in the Georgetown Steamplant in October 1987.

High-school sequences, shot at Shorecrest during Christmas vacation, came next. In March 1988, principal photography was completed on fantasy sequences, more musical numbers and location work downtown (including Underground Seattle). All post-production was completed here except the final sound-mix, which was done at George Lucas' Lucas Ranch in Marin County, Calif.

``Every bit of money we got, we threw on the screen,'' Caillier comments. Actors deferred 80 percent of their salaries and ``the kids at Shorecrest . . . worked for basically nothing.'' On set, ``Daredreamer: Dare To Dream'' T-shirts gave way to ``Dare To Defer'' T-shirts which, Caillier says, can still be seen around town.

One of the pleasures of the film is its extensive use of Seattle dancers and performance artists. Wade Madsen choreographed the musical numbers. Robert Davidson, Kris Wheeler, Llory Wilson, Georgia Ragsdale, Patti Dobrowolski, Carlo Scandiuzzi - and, as part of a 22-member dance corps, the late David Brunton - all appear in the surreal daydream sequences that distract Winston.

Their presence is the result of Caillier's keen interest in the local performing arts scene. Caillier, calling them ``some of the most daring people I've ever seen,'' felt no need to look outside Seattle for exciting, innovative performers.

While expressing enthusiasm for Seattle's wealth of talent, Caillier finds support for homegrown film projects lacking on some fronts. ``Daredreamer,'' along with Robert McGinley's ``Shredder Orpheus,'' was turned down by the Seattle International Film Festival last year. And he says state and local governments haven't realized the revenue-generating possibilities in actively encouraging filmmakers to work in Seattle.

``They just don't get it,'' Caillier says, adding that the presence of post-production sound facilities would be essential in creating a permanent local film industry. ``The closest one is Vancouver and it's always busy. The next closest one is San Francisco.''

Even Portland, which is opening its own city film office, is ``way ahead'' of Seattle, Caillier points out.

Depending on its reception, ``Daredreamer'' may do something to change that. The film is produced by the Lensman Company, which is operated by Caillier and Pat Royce. Lensman's future projects include ``To Cross the Rubicon,'' written by Royce and Lorraine Devon and to be directed by Caillier, who describes it as ``a cross between `Mystic Pizza' and `sex, lies, and videotape.' '' Also in the works is ``The Volunteer'' - ``a metaphysical mystery thriller.''

``They're not going to just do stuff with me, I guess,'' a smiling Tim Noah mockingly laments.

But it does look like they're going to stick with Seattle for a while.