As a filmmaker who has spent countless hours outdoors, battling everything from hornets to hurricanes, I can wholeheartedly empathize with Paul and India’s struggle to shoot their masterpieces under Mother Nature’s unforgiving gaze. It’s like we’re two battle-scarred veterans of the great outdoors, sharing war stories over a campfire, swapping tales of our close encounters with bears and thunderstorms.
SPOILER ALERT: This interview contains spoilers for “Good One,” in theaters now.
Under the direction of newcomer India Donaldson, “Good One” offers a lighthearted blend of comedy and drama following the adventures of three individuals on a backpacking journey. However, things take an unexpected turn along the way.
In the second acting role for Lily Collias, she portrays 17-year-old Sam, who embarks on a camping trip with her father Chris (James Le Gros) and his less-than-competent buddy Matt (Danny McCarthy). As night falls and Chris retires to bed, Sam engages in a heartfelt conversation with Matt, a man dealing with divorce. This 13-minute campfire exchange reaches its climax when Matt proposes that Sam join him inside his tent to keep him warm.
An unexpected and clever turnaround occurs around the one-hour mark in the movie, a scene of deep treachery that leaves a devastating, yet subtle impact on Collias’ expression. The subsequent events delve into themes of family loyalty, imperfect parents, and the limits of forgiveness.
Following its debut at Sundance, “Good One” was secured by Metrograph Pictures for their initial acquisition. With New York cinema branching out into distribution, this film will make its theater premiere in Los Angeles and New York on August 9th. Further releases are anticipated in the ensuing weeks.
Donaldson shares that while some folks emphasize the necessity of watching large films in a cinema, he personally leans towards the other end. He explains that true immersion into the silence of an intimately crafted movie can only be achieved by being in a movie theater.
Donaldson held a conversation with “EbMaster” prior to the debut of “Good One’s” in cinemas, to delve into the creative process behind an independent film production, and analyze its crucial scene in detail.
What is the hardest part about making a debut film besides getting funding?
Certainly,
Does the plot of “Good One” revolve around a crucial scene involving a teenage girl and her father’s acquaintance, and was this interaction the initial spark that led to the creation of the movie?
Finding the initial seed of an idea can be challenging, as thoughts within me tend to whirl around and eventually coalesce into clusters. Specifically, I found myself drawn to a character who has been trained to prioritize others’ needs and serve them selflessly. This character, being a teenager, served as my protagonist. Furthermore, I wanted to create a moment where the audience would be deceived by a trusted character, adding an element of surprise and depth to the narrative.
I think it’s the kind of movie where, while writing the script, you aren’t certain if it will succeed. This is due to the unique narrative structure, which heavily depends on the acting skills and the ability to portray delicate emotional expressions on the actors’ faces.
In my creative journey, I’ve consistently believed that the success of a film largely depends on selecting the right talents for each role. This intuition stems from understanding people and their potential synergy, which includes myself. As we progressed, the script evolved organically, with dialogues and character interpretations by our exceptional actors playing a significant part in shaping its final form.
What did shooting that scene look like in practice?
In the script, James Le Gros noticed certain lines of dialogue didn’t seem essential, and he proposed their removal. During editing, many such lines indeed got trimmed, but he emphasized a specific line: “Let’s just have a nice day.” He explained that this moment was crucial for the scene as a whole. Indeed, it proved to be the most significant part, making clear how unnecessary some of his direct statements were. From then on, I realized the importance of subtlety over explicitness in the dialogue.
Although these films appear to have no other similarities, the outdoor comedy “Good One” brought to mind the Peacock production “Please Don’t Destroy: The Treasure of Foggy Mountain,” as they both primarily unfold in natural settings and revolve around three individuals on a hiking expedition. During my interview with Paul Briganti, the director of “Foggy Mountain,” he mentioned that filming outdoors presents numerous unexpected difficulties and that he had to manage issues such as hornet nests, ticks, snakes, and scorching 100-degree weather. Did you encounter similar challenges while making your film?
Let’s create an outdoor movie production support group for individuals who share similar challenges. We faced numerous obstacles, such as unpredictable weather and potential disruptions, leaving us with little flexibility in our schedule. The actors even threatened a strike just one day before we were set to conclude filming. Losing a day due to weather was not an option. Unfortunately, we encountered a thunderstorm on one occasion which prevented us from shooting outside. In such situations, we managed to make the best of it by capturing footage inside our Airbnb’s tents or porch area. Despite our efforts to keep progressing at all costs, we knew that we had to be adaptable and prepare for unexpected events. Thankfully, minor setbacks like rain, thunderstorms, or even bear sightings could be overcome by adjusting our approach, making the process more focused.
The plot shifts when Matt attempts to flirt with Sam after her father retires for the night, implicitly inviting his friend’s teenage daughter into his tent as a source of warmth. How did you manage to convey the subtlety of that moment? A less skillful director might have amplified the transgression for greater impact.
In a nutshell, I focus on what brings me joy, as subtle nuances unveil intricacies. A less boisterous, calmer scene offers room for multiple angles and insights, whereas an intense tone might oversimplify or exaggerate Matt’s character into a one-dimensional villain. Despite the audience’s opinions of him, I identify with his struggles. Delaying that particular scene in the movie allows the audience to become acquainted with him, build trust, then feel let down – just like Sam might be. I find this character endearing.
Following the incident, did you find yourself feeling a sense of obligation as a movie maker to keep a compassionate perspective towards Matt?
The source of my empathy towards Matt in the final part of the film, and how I portrayed his character, was through his departure. Although he was removed from the narrative in a sense, it was more like he chose to leave. He gradually faded into the background, becoming less noticeable, which is linked to his shame and the feelings that followed. This self-diminishment is symbolic of his goodbye.
Additionally, there’s a more significant breach in the movie that comes from Sam’s father’s apathy or refusal to address Matt’s situation. This could suggest his character’s reluctance to engage in conflict, but it might also hint at a broader trend: men often backing other men in similar situations.
In a universal sense, the narrative’s flow resonates with many, making it relatable. However, what deeply touches me is the intricacies of these characters, particularly their relationship. For you calling that moment a greater betrayal hits home for me too. It’s when you understand that your parent, in this instance, may be denying or avoiding a difficult truth you’re presenting, or simply lacks the self-assurance to listen – it’s a realization that stirs a universal feeling of disillusionment towards our parents at some point in life. Remember, our parents are human too, and as humans, we seldom get things right in the moment. Perhaps, in 10 years, Sam and her father might have a more productive discussion about that weekend, but it wasn’t meant to be on that day.
What does it mean when, at the end of the movie, Sam’s father pleads with her to take the wheel and gives her the car key? How should we understand this scene?
To me, there are several interpretations. He seems to be implying, “You go ahead and drive; you’re in charge.” This could be a gesture of goodwill, perhaps symbolizing, “Take this, it’s the best I can offer right now.” However, it may also appear as a self-serving act since he’s tired from walking all day and doesn’t really want to drive. It’s a peace offering that suits his convenience. Additionally, it means they will travel alone up front, with Matt in the back. It’s all these things. It’s a complex situation. He is a person who realizes he made a mistake and is unsure of how to rectify it, so he’s trying to find some sort of resolution.
She briefly confines the two men outside of the vehicle, allowing them to endure their unease without incident. However, there’s neither a physical altercation nor a major argument ensuing between them.
In the short run, it’s more comfortable to ignore and set aside troublesome issues rather than endure living in conflict. One possible scenario is that their friendship simply dwindles and dies without them addressing the cause, leaving things unsaid.
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2024-08-10 22:17