The original post for this episode can be found here.
John August: Hello and welcome. My name is John August and you’re listening to Episode 659 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters.
Often, in film and television, our protagonists are facing economic hardship. Today on the show, what if your hero’s problem is too much money? We’ll look at three stories in the news about excessive fame and fortune and ask, how would this be a movie? This week, we have a ringer to help us answer this question. Mari Heller is a writer and director whose credits include Diary of a Teenage Girl, Can You Ever Forgive Me? and A Beautiful Day in the Neighborhood. Her new film is Nightbitch, which just debuted at Toronto. Welcome back, Mari.
Mari Heller: Yay, thanks, John. I’m so glad to be here.
John: In addition to all of your writing and directing credits, you also played MacGruber’s mom. Craig would be really upset if we did not acknowledge that you are officially canonically MacGruber’s mom.
Mari: I was expecting you were going to say Queen’s Gambit, but I like that it went to MacGruber’s mom. I appreciate it.
John: Queen’s Gambit, sure, a meaningful, dramatic role, but come on.
Mari: The most important role of my lifetime. Not the mother to my own children, but the mother to MacGruber on the MacGruber TV show on Peacock.
John: Yes, everyone can see that there today. We’re going to talk through, probably not very much MacGruber, but we’re going to talk through Nightbitch. We’re going to talk through, how would these be movies? In a bonus segment for premium members, I would love to talk film festivals because I think maybe all of your movies have gone through film festivals. Is that right?
Mari: Yes, all of them have.
John: I want to talk about film festivals, both for when you’re trying to sell a movie originally, but when you’re also trying to launch a movie into the world and what writers and directors need to think about when their movies are playing at film festivals.
Mari: That’s a good topic. I like that.
John: Yes, great. I try.
Before we get to any of that, Drew, we have actual Scriptnotes news.
Drew Marquardt: That’s right, we do. You, Craig, and I will be headed to Austin for the Austin Film Festival at the end of October. We’re going to be really busy.
John: We are going to be so, so busy. Currently, on the books, we have four official events. We have a live Scriptnotes show and a separate three-page challenge. I’m going to be doing a panel on video games and graphic novels with Jordan Mechner. Plus, there’ll be a special 25th anniversary screening of Go with a Q&A afterwards led by Matt Selman of The Simpsons fame.
Drew: Oh, that sounds great.
John: Yes, I’m really excited for all of those. If you’re going to go to Austin and you already have your festival pass, you should be able to attend all of these for free just with your pass. There’s one more thing. We are planning an afternoon event in Austin, probably on Thursday the 24th, for the launch of the next version of Highland. This one is open to everybody, but we do need you to RSVP so we can figure out the logistics and how big a space we need and other stuff. So if you are interested in coming to that, Drew, how should they get on a list?
Drew: I will put a link in the show notes for the RSVP and you can just go through there.
John: Thank you, Drew. Now, let’s get on to the other news. We’ll start with this article by Matt Belloni and Puck about Hollywood’s 10% problem. He’s referring to a study that came out a couple of weeks ago that only one-tenth of the 500-plus movies that were either released or scheduled for release by the major studios and streamers between ’22 and 2026 actually came from an internal development slate.
The movies that development executives are theoretically working on at studios, very few of those actually are the movies that they’re releasing. Often, as screenwriters, we’re thinking like, “Oh, I’m going to go off with this open writing assignment that’s at a studio,” or they have this internal idea or they’re buying a spec script. And really, very few of those movies are actually getting made.
Mari: Yes.
John: It’s funny that Disney has not created an original live-action movie franchise since National Treasure 20 years ago, so two decades for that. It feels like so much of the theoretical work that we’re doing as writers does not ever actually make it to the big screen. Did this feel true to you, Mari?
Mari: Feels true to me in my limited experience. I’m sure it does for you too. When I was starting out and had first gotten an agent based on a spec script that I wrote with a writing partner, we were constantly going out for assignment jobs. We were constantly answering every call and getting– our first paid jobs were all things that never got made. I started to see a journey where I was an employed screenwriter with nothing ever getting made, where I wrote a made-for-TV movie for Disney for YA audience.
I wrote a number of pilots that sold for the networks when it was still more of the pilot game. I was like, “Okay, this is great. I’m getting health insurance and I’m making enough money to live.” But at some point, I want actors to say these words. The purpose of writing these scripts is that I want somebody to say them out loud and for it to get recorded and maybe even somebody sees it. I started to see a situation where development hell just becomes your experience of Hollywood. That’s all you get to do is just develop, develop, develop, but nothing actually gets made.
John: Absolutely. To slice apart these numbers a little bit more. Obviously, some open writing assignments are based on studio IP. That’s probably not quite what this is here, but that it’s sense of, “I have this original idea that I’m going to take out on the town and sell as a pitch or sell as a spec script.” Very few of those are getting made, at least at the majors. Now, this study omitted A24 and Neon. Some places are also making more originals. That also probably is undercounting genre movies that are getting made. There are horror things that are at certain price points.
Mari: Horror, it’s like the exception to every rule, right?
John: Yes.
Mari: In terms of theater audiences and how they get made and how much money they make.
John: Yes. You and I were both in the same situation where, listen, I was lucky to get some movies made, but I had a lot of movies that did not get made. I know so many writers who were in the guild for years and had no credits to show for all the hard work they’ve done. I think that partially pushes people towards television where at least like, “Hey, my name is on a screen at least. The work I’m doing is being said by actors,” like you’re saying, and it’s actually out there in the world.
The other part of this study, which I thought was interesting, is there’s charts. Listen, I don’t know that we can actually verify all the data that’s in there, but they talk about how many of these movies that are greenlit really came with so many elements attached. It was almost greenlit by the time the studio bought them. They had director attachments. They had progress to production built into the thing. The studio couldn’t help but make these movies. It wasn’t that the hard work of development executives brought this thing to fruition. That’s frustrating. It also feels like it was always true in this industry that most stuff has some other aspect to it. Increasingly, everything has to be completely safe before they’ll even consider greenlighting it.
Mari: Well, I think it’s a minor miracle when anything gets made. I think it takes so many things coming together at the right time and so many pieces have to line up. Sometimes having a lot of different attachments to something, I know I do that as a filmmaker, is I try to make sure that by the time I’m trying to get something greenlit, it’s an impossible thing to say no to because everything’s already moving.
The train is already going and all of these actors have slated this into their schedule or we got this tax incentive or whatever it may be. It’s putting enough pieces together so that you feel like you can push the thing over the finish line and actually get it shot because it’s just so easy for– particularly movies is what I know more, but it’s so easy for a movie to fall apart. There’s eight million ways that it can fall apart and there’s only one way it can get made.
John: Well, let’s jump ahead, though, and talk about Nightbitch because I want to talk about this as a movie and how this came to be because this is your fourth feature film as a director?
Mari: Yes.
John: Great. You’re a known quantity. Everyone knows you know what you’re doing here, but my understanding is like this wasn’t a thing where you went to them. Instead, they came to you. Is that accurate?
Mari: Sort of. This movie is based on an incredible novel called Nightbitch by Rachel Yoder. It was her first novel, but it was a splashy-enough novel that it got on the radar of a lot of people. It was acquired by Annapurna, Sue Naegle, who was working at Annapurna at the time. Amy Adams and her company and Stacy O’Neil together both read the book and decided to option it.
John: That’s great.
Mari: So the book was optioned before I came on board, but it hadn’t even been published yet. It was one of those situations where it was an early manuscript and it had enough buzz to it that people started reading it. Amy Adams and Sue were the ones who said, “Let’s try and send this to Mari.” I hadn’t worked with Amy before, but she knew my work. She sent it to me.
Really, nothing had been done. All that had been done is it had been optioned. It was like, “Who knows if this is a movie? If anyone could make it into a movie, we think you could.” She sent me the book and I read it and came on board really early.
John: Let’s break down some of the parts of that because I think some people outside of the industry might not know who these players are and how they all fit together. Annapurna is an independent motion picture-producing entity and Sue Naegle was running it at that point. Sue Naegle was my former TV agent. Sue Naegle is fantastic. I love her to death. And it’s not surprising that they read this book when it was in manuscript because most books that sell in Hollywood sell very early on, way before they come out. Every Friday, I get this email that has summaries of all the different agencies that are covering all the different books like, “These are the books that people are talking about.”
Mari: There’s whole departments at the agencies, literary departments who cover all the books that are coming out, especially the ones that have a lot of buzz.
John: Beyond that, there are book scouts out of New York who are looking for those things. Individual producers might have their own book scouts who are hunting those things. They have bandits who try to find, “These are the areas of literature that we’re most focused on.”
Mari: Right.
John: When Yoder’s book came out and got the buzz and attention it did, it’s maybe not so surprising because the people who are the early barometers of what’s going to be cool had already read it and said, “This is going to be interesting.”
Mari: Right. I think what’s surprising about it is that it was her first novel. I think often, it’s a novel from a known entity that comes out that gets bought up quite so early. I think it was very exciting.
John: Amy Adams had read this book. Annapurna read this book. They decided together to work together to option this book. Then they need to find a filmmaker, a writer. Ideally, a writer-director. They came to you. What are those initial conversations like? Are you both feeling each other out in terms of like, “Is this a movie?” What are those conversations like?
Mari: My first initial conversations, and I can say this in this type of situation and podcast and I wouldn’t say it necessarily to everybody, but is I’m often looking for– I don’t want to get involved in projects that are so far along that I’m just being brought on as a director for hire. I really want to be able to make something my own. I want to be able to come with a vision and make something from the ground up. The fact that the first conversation I had with Amy after I read the book and I was totally moved by the book, I found it really impressive. It spoke to me in a really emotional way. I was postpartum. I was about six months postpartum on having my second kid. It was very personal in the moment that I read it.
John: What year would this have been? Is this 2020? When is this?
Mari: 2021. My daughter was born in 2020 and it was post-pandemic-ish, but still pandemic vibes around town. I was very isolated. I had moved out of the city. I was living in the woods, raising two kids. This book really spoke to me.
John: Actually, we know that you were isolated, living in the woods, because there was an episode we did of Scriptnotes where we asked a bunch of our previous guests, “Hey, during the pandemic, what the hell are you doing?” You were generous enough to tell us about moving out of the city and being in the woods and homeschooling your kids in New York with a group of other people. You’re just making it work.
Mari: You have such a good memory. Maybe you are a robot. You remember something from so many years ago on Scriptnotes. Yes, we were in a pod with another family. We were splitting up the homeschooling duties. We were each trying to get time for our creative work, which was so difficult at the time. That’s when this book got sent to me, not too long after that, once my daughter was born, and I was really home with her. Actually, Jorma was off prepping the MacGruber TV show.
He was away and I was home alone with two kids for the first time. The book, it spoke to me on an emotional level. Then when I spoke to Amy about it, it was great that she basically said to me, “I have no idea if this can be a movie or not and I don’t really know what it should be, but I would trust you to figure it out.” That was exactly what I needed to hear to also know, “Okay, this isn’t a train that’s already moving that already has everything figured out.” I get a lot of creative latitude to make my decisions.
John: Let’s talk about the decisions you’re making here because I haven’t read the book, so I’ve just seen your movie, which is fantastic, and everyone should see. Just so we don’t forget, when does it come out?
Mari: It doesn’t come out till December 6th. We’re doing the festival circuit right now. We just did TIFF. We’ll be at festivals all over, from the Hamptons to London to Middleburg and throughout the fall, and then it’ll come out in theaters on December 6th.
John: You said the book speaks to you, but what is your initial instinct about how to adapt this thing and to find your way into it?
Mari: It’s like a big internal monologue of somebody who is living as a newly stay-at-home mom and is isolated, has moved out of the city, is living in the suburbs with her son. Her husband travels for work a lot and she’s losing her mind. It wasn’t immediately clear how I would adapt it or what the form would be exactly, but I knew that the themes were something I had been wanting to explore for a while.
I’d been wanting to write a movie about motherhood and bodies and women’s aging bodies for a while. I had been toying with a number of ideas along those same themes. This just gave me enough excitement. I don’t know. I was so excited about what the book made me feel that I just was like, “I’ll figure it out.” I embarked on my adaptation without having a totally clear plan of how I was going to adapt it.
One of the first things that I realized was the central question of the book, or at least when I read the book, in my mind was, “Oh, God, have I made a horrible decision by becoming a mother? Did I screw my whole life up?” That felt like it was the central question that I was going to explore, and then that gave me some framework for what I wanted to focus on because the book has a lot more storylines and plot that happen where there’s a pyramid scheme with all the other mothers.
There’s a number of other storylines, but it became clear like, “No, this is a story about long-term relationships and parenthood and motherhood.” My central question that I want to be exploring and thinking about is, has this woman made a huge mistake by becoming a mother? Then really early on, that gave me the ending of the movie, which is not too much of a spoiler, but there’s a birth at the ending of the movie. I thought that’s the way to answer the central question is by seeing a birth. That’s something that wasn’t in the book.
John: The character’s journey gets her to a place where the idea of being a mother is not an affront to her. She comes to embrace both what she needs as a person and motherhood and able to find a unification of these two different sides of herself.
Mari: Exactly, a unification of the rage and all of the untethered parts of her that have felt like motherhood broke her apart and is able to bring them back together. If you think about that time in the world coming right out of the pandemic and I was pregnant during the pandemic and I remember I had one of my really good friends said to me, “Having a baby is the ultimate act of optimism,” and I thought, “God, that’s true.” I wasn’t feeling very optimistic about the world in that moment, and yet I was embarking on this journey of optimism by having another child. Yes, the end of the movie speaks to that choice and how you make that choice even when it doesn’t always feel like the clearest answer.
John: I want to go back to the question of, “Is this even a movie?” Because if you think about the internal monologue aspect of the book and you’re able to stage some of this as voiceover that’s directed to the audience, it could be a stage monologue. It could be what the Constitution means to me. It could be a thing where it’s ready to deliver to the audience, except that then you wouldn’t have the actual child in front of you.
I think one of the things I need to ask you a question about is, “How the hell did you get this performance out of the twins, I guess?” I’ve never seen young people on screen so much like such young people who have to actually do the thing you need them to do so that the scene could happen. As a writer who knew that they needed to direct this movie, I would never have put such young people in so many scenes, and you did. Talk to me about both the decision as a writer to, “I’m going to try this,” and as the director who actually had to pull this off. What was that process?
Mari: Well, first, I’ll say, thinking about whether this should just be a stage monologue or whether this was something that I wanted to be more of an experiential film where you get to put yourself in the shoes of a parent of a very young child and really feel what it feels like to be that person, I thought a lot about Diary and that this piece feels like a companion piece to The Diary of a Teenage Girl because it is a very subjective movie.
The attempt is to really place you squarely in the shoes of a person who’s in the middle of a major life transformation and she’s sleep-deprived. Every day feels like the same as the day before. Things are blending into each other. She doesn’t remember when she last changed her shirt or when she last took a shower or when she ate anything but Mac and cheese and fried hash browns.
That got exciting for me to think about creating a totally subjective world, where we’re trying to give an audience an experience of what it feels like because I realized, “Oh, friends of mine who haven’t had kids or family members who haven’t had kids, they have no idea how insane I felt and how this experience of being a first-time parent with a very little kid stuck at home, how much you do lose your mind.”
That became the fun thing about thinking about it as a film and why it is more than just a monologue. Then, yes, I have a big pet peeve about kids in movies who look like little Hollywood actor kids who don’t act like kids because I feel like it’s so deceiving. I don’t know about your kid, but my kids are wild. I had a little boy first. He always had so much energy.
He was up at 5:00 in the morning running crazy right away, even from the time he was really little. Just not a kid that you would have seen on screen. Not a kid who’s just quietly sitting in the corner while the grownups have conversations. Somebody who’s climbing on your head and it’s a very interactive physical life that I embarked on with him. So I really wanted to find kids who weren’t really actors and were really kids who would play.
John: Well, how old are these twins? Because when you say they’re not really actors, to what degree are they even aware of what they’re doing or they’re just having fun?
Mari: They were two when I cast them. They turned three on our camera test day. We found them through a twin forum on Facebook. We were out plastering with twin forums to find twins who could come. Then the way that I cast them was I just hung out for days at parks. I had twins come in batches basically to come and meet with me and I just played with them for hours on end until I found the twins who I felt really could play and pretend and were down to play these different games with me, and yet were also good listeners in their own way even if they had a lot of energy and wildness and spunk and humor, but also could listen and take direction and understand pretend.
These two boys, Arleigh and Emmett, they were just the perfect twins. I feel so lucky that I cast them because it could have gone really poorly. They gave one of the best toddler performances in a movie, as you said. They really are very realistic. We made the environment really fun for them, I think. They loved coming to set. They knew everybody’s names. They knew where to put the microphone. They got really into the mechanics of filmmaking. We let them check out the camera. We let them check out the props. They understood everything about what we were doing and what everyone’s job was. We made everything a game. So I think they had a really good time.
John: I’m doing this animated movie right now. One of the first conversations I had with the director was, “To what degree is this camera looking into a world versus the world that’s being projected onto the screen?” They’re really fundamentally different aspects. One of the things I think you do so nicely is that balance between the camera feels like it’s just documenting a thing that’s happening in front of you.
You feel like the kid is just actually a natural kid and Amy Adams is a good actor. She’s just rolling with it, which totally works. Also, the subjective reality is you’re pushing things at the screen that are not necessarily just the camera documenting a moment. When we’re in her point of view, it is a subjective experience. We’re shoving things at the audience rather than we’re supposed to believe that this is really what’s happening in front of the lens.
Mari: Right. It’s that tricky balance of having it feel not staged. You do want to feel like the kid is just a kid who’s acting like a kid. Between the editing and the framing and the ways in which there’s repetition, you realize it’s actually all very carefully planned. There was the trick of needing the kid to be able to say certain lines that scenes needed in order for the scene to actually progress the way I had written it.
There were certain scenes I wrote very much knowing we will improv whatever the kid ends up saying. They’re walking down the street hand-in-hand. “What do you want to talk about? That leaf up there or a truck rolling by or whatever it is? It doesn’t matter what you say. We’ll find something great in whatever your conversation is as long as it’s not about the cameraman.”
Then there were other scenes where I knew, “No, I need a really specific thing. I need you to ride on your mom’s back, tell her to play horsey with you, and then tell her that she’s got fuzzy hair coming out of her back.” We figured out games for how to do this. A lot of times, it was call and response. I would do a game of like, “Ready. Repeat after me. Say poo.” “Poo.” “Go.” “Go.” “Moo.” “Moo.” “Ruff.” “Ruff.” “Ah.” “Ah,” or get rhythmic games going, and then you say, “Mama fuzzy.” “Mama fuzzy.” “Louder. Mama fuzzy,” or whatever.
However it was, it was getting this to be something that was fun and playful for them, but sometimes it was trickier than others. I’d have a plan for how we were going to make something into a game for the kid. They would not be in the mood to do that thing that I was thinking of, or I’m thinking of this one scene where Amy thinks she’s lost her son at the playground. When she finds him, she runs for him. We had him sitting on this grass. I think this was day one or two, so he had just met Amy.
I had him sitting on the grass and I said, “Okay, and then she’s going to run up to you.” Well, he didn’t know as soon as I said action, she was going to be screaming, crying, running up to him. He turned around and saw this woman who he had just met really the day before screaming at him. He stood up and started running away, a very natural response. We realized, “Oh right, we need to figure out a way to make this game. Okay, you’re playing hide-and-go-seek. You count to 10. Even when she screams and runs for you, you can’t get up until you get to 10,” something like that.
John: In addition to all the challenges of these very young actors, you put a bunch of dogs in your movie. These are another classic rookie mistake, putting dogs in your movie. Dogs at this point, there are trainers. There’s ways to do it. How much of the dog action we’re seeing are, “This is what the lens saw,” versus you had to go in and post and move dogs around to make this all work?
Mari: Most of it is totally practical. There’s a tiny bit of adjustment in post when it comes to, “Oh, this one dog was misbehaving,” so we moved them over here or whatever. Actually, what we really did was we worked with really great trainers who spent a lot of time casting and training the dogs for the very specific behavior that we wanted in the movie. I wrote scenes and action for dogs having no real basis on how dogs behave.
Because the dogs are supposed to be a little bit magical and non-realistic in the movie, the things that I needed them to do were not necessarily things that dogs would do. Things like bowing to another dog. I had read things about wolves and how they’ll sometimes show their neck to another dog, so I would take things from research like that and put them into the script, but then we had to actually get dogs to do those things. Sometimes it worked and sometimes it didn’t work.
John: In Charlie and the Chocolate Factory, we had to train hundreds of squirrels to pick up nuts and shake them and then put them in the right places. Each time you see a squirrel, they’re trained for that one specific thing, and then you’ll never see that squirrel again. It’s all unique stuff.
Mari: We needed a squirrel to just run up a tree for this. I remember as I was going through my budget at one point, it was going to be $13,000 to train a squirrel. I was like, “But the squirrel doesn’t do something that a squirrel wouldn’t do. It just needs to run up a tree.” I was like, “No, we’re not doing this. I can’t pay $13,000 to train a squirrel.” We took that out of the budget and we just wandered around the park until we found a squirrel and filmed a squirrel.
John: I want to wrap up by talking about tone because you mentioned that the dogs were somewhat magical. One of the things that is so fascinating about your film but also unsettling is it always feels like it’s just about to tip into a different genre. Music-wise, we’re often getting close to horror moments at times. It feels like it’s a horror movie that doesn’t ever fully get to the horror thing.
Obviously, there’s a whole tradition of body horror that’s part of this. The experience of being a woman of that age and motherhood is a body horror story, and yet it’s also a comedy. There’s funny moments. There’s moments of marital strife that are appropriate in other movies. How did you think about the tonal shifts and how did you communicate them? Were there discussions both on the script stage and on the set about, “Where are we at here?”
Mari: Well, a lot of what I thought about was when reading the book, the mother does turn into a dog, but it’s not like The Fly or other transformation movies where that metamorphosis is painful or horrifying. If anything, it’s cathartic and euphoric. There was this whole element of body horror and the metaphor being as you enter into perimenopause and you go to look in the mirror and, “Oh, God, what’s that weird hair sprouting out here? What new wrinkles do I have?” and all the ways in which we look at our own bodies as we age and we think, “Who is that? I don’t even recognize myself,” taking that to a sort of extreme level.
That has a level of horror to it and just gore and grossness. We get some really great groans when we see this movie in big theaters as you can imagine. There’s some really nasty stuff. When it came to the actual transformation, it was really important that the transformation itself didn’t feel painful or horrible, but it felt euphoric. That was our guiding force. We did always want to be dancing on that edge.
I definitely think there’s a misconception if anybody goes into this movie thinking it’s a horror movie. I think it’s more of a psychological drama with a lot of comedy, more than anything in the horror realm. We played with horror tricks. We played with visual styles that tip their hat to the more horror genre, whether it’s like she’s walking down a hallway and we’re doing the push-pull visual styles or music as well. Ultimately, it’s really a story about motherhood and transformation. I don’t know. The things I got more interested in were less of the full horror parts of it and the more parts that made me laugh.
John: Well, let’s put Nightbitch to the side for a second because everyone will get a chance to see that and they should and think about some other movies down the road. Someone might be coming to you, Mari Heller, to say, “Hey, how about this article to adapt into your next thing?”
You have three choices here. We’re going to start with one that’s not even an article. This is the first time on Scriptnotes where we’re actually just going to a Threads post. Not even a Twitter post, a Threads post.
This is a post by Bo Predko. I have no idea who Bo Predko is, if it’s a real person or if it’s some other corporate entity. This is so short. We’ll actually just read this all aloud. Let me read the setup and then you can read the bullet points here.
All right, so it starts, “You’re 23 years old dating Leonardo DiCaprio in LA. Private parties, yachts, jets, signing NDAs every month. You’re 100% sure Leo loves you because he let you touch his Oscar. Let’s be real. You’ll be forgotten in two years. Here’s what to do when you’re dating a celebrity.” All right, help us out.
Mari: Number one, keep the contacts you make in a separate list. Number two, network like a shark at high-end parties. Number three, leverage the relationship to collaborate with luxury brands. Number four, save and invest the money from the lifestyle perks. Number five, eyes will be on you. Grow your social media following. Number six, read every paper you sign. Number seven, learn from Leo’s work ethic and use it to fuel your own goals. Number eight, stay out of unnecessary drama and keep things private.
John: All right. Mari, you and I both know famous people. This is not unfamiliar territory to us and it’s not unfamiliar as a setup for a movie in a way. We’ve seen other stories like a normie dating a celebrity and what that looks like and feels like, and yet I like that it’s an inversion of what we normally expect where the wide-eyed, young, doe-eyed girl falls in love with this guy and has her heart broken and learns a valuable lesson. Assuming that you know this going in and here’s how you’re going to plan for it.
Mari: Right, and not just plan for it, here’s how you’re going to abuse the system that would abuse you.
John: Yes, which I thought was exciting. Let’s think about this as, how would this be a movie? If this came towards you, what is your instinct? Where do you start? Are you thinking about who this young woman is? Are you thinking about the situation? What’s interesting about this to you?
Mari: I guess what’s interesting is the way that younger generations are approaching everything with a savviness that maybe I didn’t grow up with and playing the game. Everything about this scares me a little bit, to be honest. The idea of using a romantic relationship for your personal gain, it’s just so dirty and gross, but I also see the humor in it, especially using somebody like Leonardo DiCaprio because he so famously dates young women and drops them quickly.
I think in all of the comments below, so many people were commenting on how young this person would be, who he’s dating. It’s a funny subverting, I guess, a subversion of the expectation, like you’re saying, especially if it could be a misdirect, maybe. Maybe there’s a way that you start off really believing that this person is a bit of a dupe and that they’re in this situation having no idea what they’re doing. Then you start to realize, you could uncover it like The Usual Suspects or whatever and realize that they’ve been manipulating it the entire way.
John: Absolutely.
Mari: Everything’s been a plan.
John: There’s a Taylor Swift song, Mastermind, where she reveals like, “Oh no, you thought this was an accidental thing, but actually, I planned this whole thing the whole time through.” It also made me think about All About Eve because in that, you have the young assistant who, of course, takes over the role. What’s different is that in something like All About Eve, the assumption is like, “Oh, I want to be an actress. I want to be you. I have this other skill, which I’m going to be able to manifest by getting close to you.”
Here, and I think this is a generational difference that you’re pointing to, is that it’s not just about, “This is how I’m going to become the famous actor or whatever.” It’s like because we have this role of influencer and just like a person who’s able to monetize their fame, the goal is, “I need to become famous and get the brand deals, and that’s what I’m going to do. I want to become like Kylie Jenner. I don’t need to be Charlize Theron.”
Mari: Right. It could be fun if you did a movie like this that has the Being John Malkovich thing where the celebrity is in on it, in on the joke of it all, enough that they’re willing to use their own real name like if Leonardo DiCaprio would do this movie, let’s say it was a movie, as himself, right? It could be poking fun at his own celebrity and expectations of him as a celebrity. There could be something fun about that.
John: Well, if you think about Seth Rogen’s This Is the End, and you look at that as an example. They’re all playing themselves like highly characterized versions of themselves. There’s something really interesting and clever about that.
Let’s talk about the inversions of this because right now, this is a young woman dating Leonardo DiCaprio. What is the version of this where she’s famous and he’s the guy who gets swept up in there?
Mari: It’s not as fun.
John: It’s not as fun.
Mari: It’s just not as fun.
John: No.
Mari: It’s the person you always assume is going to be the victim, which in a scenario like this where the man has all the power and the age and all the influence and the fame and all the money and the woman is in the more subversive role and then she turns out to be the one who’s actually controlling everything, that could be really fun.
John: I guess because of the setup and because it’s supposed to be Leonardo DiCaprio and there’s this history of him dating for two years at most and then discarding, the idea that there’s an expiration date on the relationship is built in, but it doesn’t always happen that way. Matt Damon’s wife was a normie and I think that’s still going fine. There are famous people who marry normal people and it’s not always a Ben Affleck or a J.Lo.
Mari: I just love how comfortable you are with saying “normie.” That’s really making me laugh.
John: We know other people who aren’t Leonardo DiCaprio level but who work in the industry and who are comparatively famous, who are married to non-famous people. That can work. It’s just it has to be–
Mari: In fact, I think I see those relationships and I tend to believe in them the most, especially people who’ve been together since before they got anything. Often, if somebody has a really cool spouse, it can make me like them more.
John: 100%. Someone who does have a cool spouse, at least a very devoted spouse, is Palmer Luckey. This is an article by Jeremy Stern writing for Tablet Magazine. He’s talking about Palmer Luckey, who is an inventor, clearly brilliant, clearly some things about him that are challenging for people around him. He created Oculus Rift. He sold that to Facebook for $2.7 billion, then got fired by Mark Zuckerberg after he made this $10,000 donation to this pro-Trump troll group that was dedicated to “shitposting” in real life.
He tried to build this nonprofit that was about prisons. Ultimately, he founded Anduril Industries, this defense technology startup. It makes autonomous weapon systems. It’s now valued at $14 billion. It’s not just Mark Zuckerberg creating Facebook. There’s a two-step thing here. He’s able to rise and fall and rise again in ways that are really interesting. He’s married to or still with his high school sweetheart.
Mari: Except for they didn’t go to high school, they were both homeschooled.
John: Exactly right. The homeschool of it all feels relevant and appropriate. This comes in your direction. What parts of this are interesting to you? Where do you think a movie exists here? What are even the boundaries or the edges of the story you might want to tell on this?
Mari: Well, that’s the issue. The story is fascinating. Fascinating and overwhelming. I got tired just reading this story because there are so many twists and turns. I think the question comes down to, what type of story are we telling? What are we meant to feel about this person? Are they a hero in this story? Are they a tragic character? Are they somebody that we’re rooting for or are they somebody who we’re vilifying? Also, what are you saying? I couldn’t even feel through reading this article what the takeaway is.
What am I meant to feel about this person and what he’s done in the world? Yes, his brain is impressive. Yes, what he’s accomplished is impressive. I love somebody who’s been in this long relationship with somebody for so long through all these ups and downs. He has a thing in the article where he talks about how other people in the tech industry are all trying to keep all options open at the same time. He likes to pick a path and stick with it. There’s something about that ethos, which is really fascinating. But god, I would not know where to begin with this. What did you feel?
John: Listen, you could do the cradle to present day with him and rise up through the homeschool, but that’s going to be too much. It’s not going to be interesting. I think the instinct of, do a Social Network, where you’re focusing on one aspect of that person’s career and take that and you’re fictionalizing and fudging what you need to fudge to create the version of the character who makes sense for the course of your two-hour movie feels right, but it actually just misses so much.
Because if you’re talking about the sale of Oculus to Facebook, eh, that’s actually not– he’s getting fired is interesting. Maybe he’s getting fired from Facebook is the starting point and then having to build back up. It feels like that second founder story and the revenge story. Again, like you, I don’t know if he’s the hero of the story or if he’s an anti-hero that we’re following through the story. I don’t know where we want the audience to sit with our relationship with him.
Mari: No, and I don’t know what the ending is. I don’t know where you’re taking it to because Social Network, it’s all around the court case, right?
John: Yes.
Mari: What would be the framework that you were taking this person’s life through? It feels like the story is not over yet.
John: That’s really a part of the problem is that because of the court case, you could have a resolution of the court case. Even though Zuckerberg is still making a new story, it feels like that’s the resolution here. I don’t know what the resolution is at this point. We also need to talk about how challenging it is to make a movie about a living person. You’ve made two biopics.
Mari: Sort of three.
John: All right, so can you ever forgive me? Are those people alive at this point?
Mari: No, everybody’s dead.
John: Great, so that’s helpful for you.
Mari: Ooh. That’s the best-case scenario. I hate to say that.
John: A Beautiful Day in the Neighborhood. Fred Rogers was still alive as you were making this?
Mari: No, he passed away. His wife was still alive. A lot of the people who we were putting on screen were still alive, but he was not alive.
John: What’s the third biopic?
Mari: Well, it’s not exactly a biopic, but The Diary of a Teenage Girl is based on Phoebe, who wrote the book. It’s based on her real life and real people in her life, including her mom and her mom’s boyfriend. It wasn’t a biopic, but it was still based on people’s real lives. I actually cringe at the idea of calling any of the movies biopics because they aren’t cradle-to-grave stories and I don’t love biopics in general, but they are based on real people.
John: Yes. Where I come out with Palmer Luckey and Tell Me How You’re Feeling is that I think there’s so many things that are fascinating here, but I don’t think this article or any story about him specifically right now at this moment makes sense to do.
Mari: No.
John: If you could make this with his permission, I don’t see that working out very well. If you make this without his permission, he feels like a person who could be litigious and you could be in for some real situations there.
Mari: I could see like an organization on the right, somebody within the Trump world wanting to make a biopic of him as a hero for the right because the contribution he made was to a Trump troll account. Then eventually so many of the other people in the tech world ended up coming out for Trump and he feels like he was the one who started that. I don’t know. I wonder, it would almost be like a propaganda film.
John: Yes. I could also see if someone tried to do that, I could see him pushing it back against that too because I think he believes himself to be outside of those systems completely.
What I do think is maybe useful about this is to think about this as a kind of character and think about it as a template for sort of like an interesting character to build a new fictional character off of.
Mari: I think you’re right. He’s like an archetype that we don’t see very often and it makes you realize, my husband always says he finds it interesting when I adapt books because things don’t follow a certain way that they’re meant to go. Books take narrative in different directions or characters are more complex than they would be otherwise.
I think there’s something about him that’s sort of contradictory, like the fact that he is in this long-term marriage and has chosen to become a parent. It’s not what you would expect, but it gives you permission to look at a character and think, oh, you can make weird choices.
John: Yes. Agreed. I think he’s fascinating. I think people should read the article and think about him as a character, but I don’t feel like people are going to rush out and like, I want to make the Palmer Luckey movie. I just don’t see that working out well.
Mari: I can’t tell. Somebody might. It would not be me.
John: Look at Succession. You’re not going to make a movie or a series about the Murdochs, but what you can do is take some of the framework and some of the area around them and make a fictionalized story, and that may be the best approach here.
Mari: I miss Succession so much.
John: I miss it so much. It’s so good.
Mari: It’s so good.
John: It’s so good. All right, let’s wrap this up with sort of the opposite of Succession, which is How to Give Away a Fortune. This is by Joshua Jaffa writing for the New Yorker.
This is really fascinating. I’d sort of heard about little pieces of this before, but this is the first encapsulation where this is all together. It centers around Marlene Englehorn, who’s this Austrian heiress. Her family is incredibly wealthy because of a pharmaceutical fortune and her focus is like, I don’t believe I should have this fortune. I want to give away this fortune, but I want to give it away in a way that actually most benefits society.
And so to do this, I’m going to recruit a bunch of Austrians, 50 Austrians who are representative of our country and have them come together over the course of weekends to make decisions about how this $500 billion, this big chunk of money is going to be distributed to the world. I thought it was cool and ambitious and felt naive at times. There were lots of things that were interesting about it. I was trying to think like, could this be a movie? Would this be a movie? If this were a movie, who would you even center it on?
Obviously Marlene Englehorn is one choice, but the story actually puts a lot of its time in Emma, who’s this 80-year-old retiree who gets this letter recruiting her, which sort of feels like the Golden Ticket in Charlie and the Chocolate Factory, come to this thing and we’re going to do this thing. She doesn’t even believe it at first, but then she participates in it. Marielle, what’s your instinct here? Is there a movie here? If so, how would you start?
Mari: What I think is so interesting about it is it plays on something culturally that we as Americans, I think, feel is very foreign to us, which is this idea that we’re such a capitalist society. I didn’t even really realize how much that’s baked into our everyday life until I spent time in Berlin. I was talking to an American acquaintance who had moved to Berlin, and he was somebody I knew from my days of making theater, and he was working as a theater artist in Berlin.
He was saying, yeah, the thing about having a job here or about Berlin in general is nobody’s going to get very rich, but nobody’s going to be very poor. We’re all working and making a good living wage, and doctors and theater artists make somewhere around the same amount of money. We all have jobs, and we all have health care, and education is free, and the quality of life is really good, and nobody’s going to be too rich, but nobody’s going to be hurting too much, or not nobody, but in general, it’s just much more socialistic in that way. We’re operating from a very different perspective.
Then he pointed something out to me, which was he was like, have you noticed that when you talk to people here in Berlin, the first question is never, what do you do? It made me realize how much we’re focused on just wealth and career and what we do and how we make money and all of these things in our country. That I found it really liberating and beautiful to think about a society that was really thinking about wealth distribution in different ways. Berlin had capped rental increases at that point as a city because they just didn’t want housing to become unaffordable.
All of these things that the society in itself was supporting a more socialist view of the world, and somewhere it jived with me from an ethical point of view where I just thought, “God, we’re an unethical country.” That makes so much sense. Even just reading this, I felt the same feeling of like, “Could you do this? Could you change the whole way we perceive money and capitalism in such a jarring way?” There’s something fun about it.
John: There’s something fun about it. I like that. You could look at Marlene Englehorn as being sort of the antithesis of an Ayn Rand character, basically, not believing that any individual is worth more than society, therefore, she should not be worth more than everybody else around her. There’s something really noble about that. One thing that the article has to do a lot of work to explain is that, well, how did this family become so wealthy in a country that is not to have such great disparities? It’s because of sort of inherited wealth and sort of the way that inherited wealth becomes this perpetual cycle that’s very hard to break out of.
As a story purpose, I’m not sure who the antagonist is in a way, I’m not sure like what the–
Mari: I wonder if from a story point of view, if it’s the type of story that starts out with this great idea and great intentions, and then as soon as you get into the nitty gritty of it, things go really wrong and you can’t– she sort of, like you said, has a little bit of a naivete about what this would do for people’s lives that is probably coming from a privileged position where she actually really doesn’t understand what people who haven’t grown up how she did need or want, the sort of rich person, “I’m the hero of my own story” narrative vibe. Then maybe she could actually come to a point where she actually has to grow and change also in some other way, I don’t know.
John: Yes, we were talking about Succession before, it feels like she’s almost like the Siobhan’s character in Succession if she actually believed the things she sort of professed to believe in Succession, and then she sort of keeps getting pulled back in. The other thing that reminded me of was The Good Place and that it was a chance for have characters wrestling about like what is good and right in society, like how do we do this thing?
Because the probably most interesting parts of the story, which I think is probably a better documentary than a feature film, is about sort of like, well, how are we going to prioritize these choices that we’re making as a society and as a subset of society who gets to make some of these choices? It comes down to at the end, I’ll spoil a little bit, is that they have a slush fund at the end where they have like these stickers, they can just apply their stickers that are each worth like $50,000 to different projects and it’s like they’re putting my posters around.
Mari: Very Succession.
John: Yes, which is absurd, but also you get it. There’s a certain point you’re throwing money at things.
Mari: Yes, it does feel like it’s a fun way to explore some bigger ethical questions, and you would almost want like economists and ethicists to come in and weigh in on all of the like pitfalls that you couldn’t anticipate. If you were fictionalizing this and narrativizing it, like what’s the most extreme thing that could happen in this situation?
John: Let’s do a recap of our three How Would this Would Be a Movies.
I think the surprise for me is like the one that’s probably closest to a movie is the Thread thread of Dating a Celebrity because How To Give Away A Fortune is so interesting, but it’s probably a documentary, it’s probably not really suited for a two-hour theatrical experience. Palmer Luckey, I don’t think we want to tell his specific story over the course of this time. We’d like him as a template, but I could imagine several different kinds of movies that are based on essentially this list of advice for dating a celebrity.
Mari: Yes. When I first read it, I didn’t think it would be a movie, but as we talked about it, I got convinced.
John: As we drop this podcast, you and I both be racing to get our versions of this story down and get them sold off there.
Mari: I’m going to call Leonardo DiCaprio right now.
John: Right now. Appian Way, we’re going to get in there and make that movie.
Let’s do our One Cool Things. My One Cool Thing is a blog post by Teresa Justino called, You Get To Be Fulfilled Now. She’s talking about how as writers, often we need day jobs to sort of get through and pay our bills and pay our rent. Often we think of those as survival jobs and she wants to recast those as what she calls thrival jobs, which are jobs you can thrive in even while you’re making a living to do your thing.
She says, “I love thrival because I believe it’s possible to find a job outside your chosen field that nonetheless contributes to your ultimate goals, supports you financially, and provides some sort of joy, fulfillment, and purpose. In other words, a job that allows you to thrive rather than just survive.” She talks about what that was like for her, but I think that’s a nice framework for us to be thinking about what we’re doing in terms of the work we do that is not the work we aspire to do. It applies to writers, directors, actors, everybody.
Mari: It reminds me of some advice you guys gave on the podcast a few weeks ago, I think, to somebody who was asking whether they should take a certain job within the industry even though they felt, I can’t remember what their hesitation was, and I loved that both of you were like, take the job, make the money, do the thing you need to do, and we need to all, not that you’re saying, “Oh, you just have to pay dues and we all have to pay dues,” but there is this sort of, I think, thing within Hollywood where people sort of believe somehow they’re just going to get handed their dream job out of the blue.
It just never has happened from what I can tell in the world. I agree, I feel like working in restaurants for 15 years and all of the different jobs I’ve done where I was a hard worker and I was good at multitasking and I learned lots of skills that helped me be a director and that everybody who I worked with recognized that I was a hard worker. There were times that I felt like that would be what I did for the rest of my life, and oh no, I want to do something else. But I was still going to give my all to jobs. I was still going to work hard and be the person I want to be in the world.
John: I think I always talk about with my early jobs, my sort of survivaly thrival jobs, is it was helpful for me to have a job that I didn’t hate, but I didn’t love, and that I could leave with enough brainpower left in me that I could still go home and write. That’s the balance, and there’s some, I do see sometimes people who will take a job that is so overwhelming that they don’t have anything left in the tank, and that’s not going to be the right choice. It made more sense to take a job, like waiting tables is physically exhausting, but it’s not using that same creative spark that you would otherwise be spending.
Mari: It’s true. My main thrival jobs of my life were all waiting tables and working as a camp counselor or for a daycare and taking care of children. That was much more exhausting on an emotional level than was waiting tables.
John: Yes, I can see it. What do you have to recommend for our listeners?
Mari: My one cool thing is a book that I just started reading that’s beautiful by my friend Priyanka Mattoo, and it’s called Bird Milk and Mosquito Bones. It’s a memoir, and it’s funny and relatable and just gorgeously written, and I recommend everybody reading it. She’s just a beautiful writer, and it’s a series of essays, and I think it will just warm your heart and make you feel less alone, which is what I think the goal of all art is.
John: Fantastic, Bird Milk and Mosquito Bones.
Mari: Bird Milk and Mosquito Bones, which is also just such a great title, right?
John: I love it. That is our show for this week. Scriptnotes is produced by Drew Marquardt, it’s edited by Matthew Chilelli. Our outro this week is by Spencer Lackey. If you have an outro, you can send us a link to ask@johnaugust.com. That’s also the place where you can send questions. You’ll find the show notes for this episode and all episodes at johnaugust.com.
It’s also where you find the transcripts and sign up for our weekly newsletter called Interesting, which has lots of links to things about writing. We have t-shirts and hoodies and drinkware now. They’re all great. You’ll find them at Cotton Bureau. You can sign up to become our premium member at scriptnotes.net, where you get all those back episodes and bonus segments like the one we’re about to record on film festivals. Mari Heller, an absolute damn delight having you back on the show.
Mari: It’s so nice to be back, like coming home.
John: Check out Nightbitch, which is going to be coming out in December and many festivals before then, right?
Mari: Yes, please come and see it.
[Bonus Segment]
John: All right, we just mentioned film festivals. Let’s talk about film festivals. Nightbitch debuted at TIFF, but this was not your first experience at film festivals. Was the first time you were there with a movie, was that Diary of a Teenage Girl?
Mari: Yes, so Diary premiered at Sundance and that was a very specific and special experience because the movie had been supported by the Sundance Labs, a place you and I both know and love. Sundance had been, sort of my creative home in that way because I had developed both at the Writer’s Lab and the Director’s Lab. Then I got to premiere the movie at the Sundance Film Festival.
John: That’s amazing. So in that case, you want people to see your movie, but you want them to buy your movie, right? Because it hadn’t been sold yet?
Mari: Absolutely, it had not been sold yet.
John: There’s a lot of pressure there.
Mari: It sold at Sundance back when that still happened, which from what I can understand, movies don’t really sell at film festivals the way they used to.
Mari: Probably a topic for a bigger discussion, but like a lot of times, there’s been a lot of screenings ahead of time so people know what they’re going to buy or they premiere there and it’s weeks or months later that the actual sale happens.
Mari: That seems like it happens more often now, yes.
John: The case of, Diary of a Teenage Girl, there was that excitement of like, oh my gosh, there’s like two in the morning and the offers are going back and forth. That’s so cool and exciting.
Mari: That’s exactly what happened, which blew my mind that it played out in that way. What we did at the time was I took a lot of meetings before the movie premiered with a number of companies. I got to know the players and sort of people who were maybe going to be interested in the movie before they had seen the movie.
Then once the movie premiered, we were in that exact game of trying to sell the movie. Then three weeks later, I went to Berlinale with the movie to try to sell it to foreign markets. We had our foreign sales agent and I did a million meetings there and worked on basically selling off different territories to the movie too.
John: Good. I had two Sundance experiences. My first one was with Go and Go was a premiere at Sundance, but we already were sold. Columbia owned the movie everywhere in the world. This was just a happy premiere situation, like getting hype for the story and it was great. The second time was with The Nines and The Nines was not sold anywhere. We had that, the big screening, but really the purpose there was to find a buyer for the movie.
Like you, we had some conversations ahead of time. They hadn’t seen the movie, but they’d sort of knew who we were. We enlisted both a film sales agent and a film publicity agent who were there to make sure all the right people were coming to the screening. Of course, they don’t actually come to the screening because they’re getting busy with other stuff, so they have to come to a later screening or we’re burning a DVD for them so they can watch it in their hotel room. It’s so stressful to try to sell a movie at a film festival.
Mari: It is so stressful. At the time, I had just had a kid. He was five weeks old. I was at the film festival with a five week old baby and trying to understand the sort of ins and outs of selling this movie. UTA was representing the movie and having all of these meetings. It was, yes, it was very stressful and exciting. I’m glad I had that experience, but man, it was stressful. None of my other film festival experiences have been like that.
John: Let’s talk about the happier situation generally of a film festival where you are there to premiere your film, to debut it, to talk about it, but you don’t have to actually sell it. Something like A Beautiful Day in the Neighborhood or Nightbitch, what do you go in with? Who has seen it before? Let’s talk about Nightbitch. Who had seen the movie before it debuted at TIFF? The programmers at TIFF, somebody had seen it, right?
Mari: Yes, so we had actually shown the movie to the programmers at TIFF the year before, before the strikes happened, because the plan was to premiere then. They were so passionate about loving the movie that they basically said, if you need to hold it for a year, we’ll hold a spot for you for next year, which was so kind and wonderful. So yes, programmers see the movie early. We had tested the movie. We had shown the movie to test audiences.
We had done some sort of tastemaker screen, or no, not tastemakers, not the right– toe-dip screenings, as they call them, where you sort of show them to journalists who will never cover the movie, but you get a sort of sense of how people might review the movie. We had done all of those preliminary screenings, and then, of course, I had shown the movie to everybody I had, no, in my house or living room or screening room or whatever, and done a million friends and family screenings. Because we weren’t selling the movie, the movie was already with Searchlight. It wasn’t the same situation where we needed to meet with people ahead of time in order to have them see the movie.
John: Let’s talk about the actual experience, then, of the premiere screenings. Was it at nighttime? Was it 7 PM, were you at one of the sort of marches?
Mari: It was 9.30 on Saturday night, which was a pretty key time, but late for me.
John: As a parent, yes.
Mari: Yes, I started that day at 8 AM doing my tech check of the DCP and checking all the theater stuff and showing up to make sure everything was going to sound and look great, and then I got into my glam, which is a wonderful thing, but, exhausting, too, and did pictures and press all day, and then the movie didn’t play until 9:30 at night.
It was really fun, though, because we were in a huge theater, this gorgeous theater that sat almost 2,000 people, and it felt like it was the hot ticket, Everybody wanted to see the movie, and I was getting calls and texts from everyone, “I can’t get into your movie, do you have any extra tickets, blah, blah, blah.” It just had this feeling, this energy, which I think that’s the best part about film festivals, is this energy of being together communally, watching movies, and people getting excited about something and hearing about something.
John: Because it’s in a big theater they’re not on their phone doing anything else, they’re actually just focused on the screen for once.
Mari: People are there because they love movies. People are geeking out over movies which is such a fun place to be, it’s always scary to show your movie to an audience no matter what but you feel like you’re watching with a ton of people who love movies and love watching movies and there’s just an energy that you can’t replicate. I remember Jorma talking about MacGruber premiered at South by Southwest and he was like, I’ll never have a better screening than that in my life. That was the most exciting, best audience reaction I could ever have.
John: Yes, Go’s premiere was also, it was at nighttime at Sundance. It was a great big party. My movie, The Nines, we had like the great big premiere, but like it went well, but like that’s by far the biggest house that’s ever going to see the movie. That probably is true for Nightbitch as well. You’re going to have a theatrical release, but this is the only one time you’re going to have that many people looking at their eyeballs directed towards your film at one place.
Mari: I sit in the audience and watch the movie at these film festivals because of that exact reason, because it’s so satisfying and fun to watch that many people watch your movie. I know a lot of filmmakers who can’t, who can’t sit there while it plays, and it just feels too much or actors who feel like it’s just too much to sit there while everybody watches the movie.
I think even when I was sitting there, this was only now two weekends ago, sitting there with the audience watching Nightbitch premiere, I was, as it was happening, doing that thing of being like, remember this, remember this feeling, remember that laugh, this feels so good, it’s never going to feel like this again.
John: It’s not your last festival, so let’s talk about that, because it’s not just, because this is really the start of awards season, and TIFF sort of kicks off awards season, part of the goal of doing this is to sort of get that first initial buzz started about sort of the things people might say like, “Oh, this should be on our list for picture, for screenplay, for Amy Adams, for other things.” All those things, those conversations are going to start happening, and you keep those conversations happening by going to different festivals. What does the runway look like ahead of you?
Mari: Yes, I’m so lucky that I can talk about this with as much experience as I’ve already had, because I had two years in a row, 2018 and 2019, where for Can you Ever Forgive Me, and A Beautiful Day, I did a very similar trajectory of film festival to film festival to film festival and press. An awards campaign, essentially. I am a little more prepared, I guess, this time around for all of that. I will be going to the London Film Festival, the Middleburg Film Festival, the Savannah Film Festival, the Chicago Film Festival, Hampton’s Film Festival.
I would be doing even more if my husband wasn’t off making a movie in Finland right now, and I wasn’t also solo parenting. I’m going to do as many as I can, and I have called on all the grandparents to help because it’s going to be quite a fall. Once you do the initial film festival, the rest of them don’t feel nearly as terrifying. They are a little bit more fun. You start to get your talking points down.
We all went to TIFF, the cast, me, the author of the book, the producers. Often what then ends up happening is we sort of split up and we each cover different territories when it comes to the film festivals. you become less– you’re more alone doing the next sections of it, so a few of us will go to London but I think like when I go I don’t know to Middleburg it may just be me I might be the only one really there representing the film, there to answer questions and do the press around it so it doesn’t have the same energy as the first time when everybody comes together and gets to celebrate.
John: The Nines went to Venice Film Festival it was like, “Oh what movies did at Venice?” I’m like, I saw nothing. I was there. That’s the other irony.
Mari: I saw nothing at Toronto either, no. I’ve never seen anything at a film festival when I’m there for a film. You’re working the whole time. Going to Sundance when I haven’t had a movie there is one of my favorite experiences because getting to see three movies a day or whatever you might be able to sneak your way into is such a cool experience. No, when you’re there with your own movie, you don’t see anything.
John: Yes, you’re in work mode. Mari, congratulations on the film you’ve made so far, on the festival so far, and all the festivals ahead.
Mari: Thank you.
John: Thank you for talking us through this.
Mari: My pleasure.
Links:
- Nightbitch | Official Trailer
- Marielle Heller
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- MacGruber on Peacock
- Hollywood’s 10 Percent Problem by Matt Belloni at Puck
- Dating a Celebrity – Thread by bo.predko
- American Vulcan by Jeremy Stern for Tablet
- How to Give Away a Fortune by Joshua Yaffa for The New Yorker
- You Get to Be Fulfilled Now by Teresa Jusino
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