Cain and Hargrove make a strong case that Dallas had more cultural influence than is usually acknowledged, especially when it came to the new wave music that was played at the club. “The Starck Club” is likely to please those who lived through the era - and prove eye-opening for those who did not. Starck, as evident in the film, felt his vision was compromised by the club’s investors, who insisted that he scale back costs. “He started reliving his frustrations from that time,” Hargrove said.
![popular gay bars in dallas popular gay bars in dallas](https://cdn.vox-cdn.com/thumbor/yx98XetZk2D08NIZHX36aDbf6RI=/0x113:1000x637/fit-in/1200x630/cdn.vox-cdn.com/uploads/chorus_asset/file/10116289/o.jpg)
(Woodall works for his family’s Richardson, Tex.-based company, which makes oven range hoods.) It took nearly two years of interviewing former club denizens before someone was able to put the filmmakers in touch with the club’s Paris-based designer and namesake, Philippe Starck. Many, including the founder Blake Woodall, have gone on to more traditional careers. Part of the challenge of making “The Starck Club,” the filmmakers said, was persuading the club’s principals to revisit the era. After his documentary “TV Junkie” premiered at Sundance in 2006, he returned to the idea of a documentary about the club, with Hampton as a producer and music supervisor, and Hargrove, a cinematographer and editor, as co-director. Neither project came to fruition, but Cain remained fascinated with the subject. At the Sundance Film Festival in the 1997, he learned that Hampton was shopping a script based on the Starck. He first tried to tell the story of the Starck Club in a fictional film, which he wrote in the mid-1990s.