“After humanity confirms the existence of an afterlife, a research scientist launches a study in which volunteers commit painless suicide,” reads the film’s synopsis. “Travelling from New York to San Francisco, two strangers share a rental car as they go to end their lives.”
I’ve been fortunate enough to have jobs where that’s been kind of what I’ve been asked to do, which is flipping between tragedy and comedy in the same role. My first real big break, my first job was, and that was sort of similar in that respect too, where at one minute we’re making jokes and mucking around in the morgue, and then the next minute we’re dealing with some real-world apocalypse-type stuff.
It’s super rewarding. I don’t know. I tend to not … the job’s always going to get done, one way or another, for me. Whether I get along with my co-star or not, whether we have instant chemistry or it has to be manufactured on camera, the job gets done regardless. But with Parker, it was one of those ones where it was effortless.
Yeah, absolutely. Mali never once felt like someone who was directing their first feature. Mali was a producer, so she already kind of knew how to do the things that really stump other directors sometimes, which is like time management and moving with pace and making our days. I think Mali was already accustomed to that. But on the creative side, Mali had that perfect balance of knowing what she wanted and having a very clear sense of what she wanted and where the characters were at.
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