I Wish You All The Best' a Non-Binary Coming of Age Film

Summary

Podcast Episode Summary: “I Wish You All The Best” - A Non-Binary Coming of Age Film
Podcast: All Of It (WNYC)
Host: Alison Stewart
Guests: Tommy Dorfman (Director/Co-writer), Corey Fogelmanis (Lead Actor)
Date: October 29, 2025

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Overview

This episode of “All Of It” dives into I Wish You All The Best, a new coming-of-age film directed by Tommy Dorfman, adapted from Mason Deaver’s acclaimed YA novel. The film centers on Ben, a non-binary teenager in the South who is forced out of their home after coming out and must negotiate identity, family, and self-acceptance in a new environment. Host Alison Stewart explores the motivations behind the film, the adaptation process, the emotional layers of the story, and the significance of non-binary representation with Dorfman and the film’s star, Corey Fogelmanis.

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Key Discussion Points & Insights

1. Why This Story, and Why Now?

[02:48] Tommy Dorfman on Initial Attraction to the Book:

• Dorfman was profoundly moved by Mason Deaver’s novel, feeling “seen and valuable and understood as a non-binary person.”
• Recognized a lack of films centered on non-binary and queer experiences for both those communities and wider audiences.
• Quote:

  "I immediately felt that we were missing a movie like this in the canon...for queer people, but also for allies and really the world at large." (Dorfman, 02:57)

2. Adapting From Novel to Screen

[05:46] The Adaptation Challenge:

• The novel's diary-like, introspective style posed difficulties for visual storytelling.
• Dorfman’s approach was to externalize Ben’s internal conflict and clarify each character’s purpose.
• Highlighted the importance of portraying even “villainized” characters like the parents with nuance and compassion.
• Quote:

  "Even the parents...could be villainized so easily... Trying to understand their motivations, even if I don't agree with them, offered a lot of compassion and grace for me...as a trans person, frankly..." (Dorfman, 05:46)

3. Ben’s Emotional Journey and Representation

[04:20] Ben’s Protective Shell:

• Alison highlights Ben’s “sad hoodies” as emblematic of their emotional state.
• Fogelmanis explains the importance of truthfulness and showing Ben’s protective tendencies as a reaction to the lack of support.

  "It's very protective." (Fogelmanis, 04:33)

[19:40] Finding Joy Amid Hardship:

• The film doesn’t dwell solely in trauma—Ben’s journey also contains friendship, love, and the gradual emergence of self-expression.
• Fogelmanis describes the importance of showing how Ben’s body language, clothing, and confidence shift over the story.

  "The shoulders kind of go back and their eyes are off the ground, and the clothes become a little bit more expressive and confident. ...It ends up being this incredible moment of expansion for them because they have people who care about them." (Fogelmanis, 19:40)

4. The Family Dynamic: Navigating Love and Alienation

[10:11] Depicting Complex Parental Relationships:

• Dorfman wanted to show the "quiet" love in Ben’s family alongside repression and a lack of freedom of expression, setting up the stakes for Ben’s coming out.
• The structure allowed the audience to see some warmth before the rupture, emphasizing Ben’s perspective and the disorientation following rejection.

[14:17] On Ben's Relationship with Sister Hannah:

• Ben and Hannah are virtually strangers at the story’s start. Accepting help and building trust is painful and slow, underscoring isolation and the tentative nature of found family.

  "It's the hardest thing for them to do in this moment. But there's really no one else for them to call." (Fogelmanis, 13:26)

Memorable Scene (Clip, 14:39–15:37):

• Ben’s parents show up at Hannah’s house, highlighting generational divides and differing responses to non-binary identity.
• The script illustrates both the cruelty and confusion from Ben's parents and Hannah’s fierce protectiveness.

5. On Coming Out, Privacy, and Support

[15:48] Why Ben Isn’t Immediately Out to His Sister:

• Dorfman stresses the exhaustion and risk repeatedly coming out entails, especially after trauma.

  "As a trans person who's come out so many times in different ways...it can be really exhausting and taxing." (Dorfman, 15:48)

• The film highlights that queer people “don’t owe” coming out to anyone if they are not ready—a nuance often missing from mainstream narratives.

6. Casting, Collaboration, and On-Set Experiences

[21:19] Building a Unique Ensemble:

• Casting mixed auditioned newcomers with established actors (Cole Sprouse, Alexandra Daddario, Lena Dunham).
• Lena Dunham filmed all her scenes as Ms. Lyons in a single day, bringing levity and spontaneity.
• Quote:

  "She would just say whatever came to mind... she just has this incredible mind, and she’s so quick and just—she's so herself." (Fogelmanis on Dunham, 24:48)

[25:28] The Challenge of Leading Roles & Debuts:

• Both Dorfman (first feature as director) and Fogelmanis (first lead in a film) discussed the exhaustion but also the authenticity that came from living through Ben’s emotional arc.
• Fogelmanis found that his own lived experience while filming enhanced his portrayal:

  "There was this beautiful blending of what was going on in life as I was filming...as long as it was truthful and honest." (Fogelmanis, 25:28)

[26:14] Dorfman on Directing:

• Describes being “pulled in a thousand different directions,” the joy of collaboration, and the director’s responsibility to serve everyone’s craft.
• Quote:

  "My job as a director...is someone who can be in service to everyone else's craft. ...Giving my actors the safest, you know, best space for them to work and be comfortable and relaxed and locked in and in the moment..." (Dorfman, 26:14)

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Memorable Quotes & Timestamps

• "I read it in one sitting. I cried, I laughed. I felt seen and valuable and understood as a non binary person..." —Tommy Dorfman (02:57)
• "It's very protective." —Corey Fogelmanis, on Ben’s “sad hoodies” (04:33)
• "I don't want to, like, traumatize people either in some of these moments. ...Making sure that everything feels like it's from Ben's perspective." —Tommy Dorfman (10:27)
• "It's the hardest thing for them to do in this moment. But there's really no one else for them to call." —Corey Fogelmanis (13:26)
• "As a trans person who's come out so many times in different ways...it can be really exhausting and taxing." —Tommy Dorfman (15:48)
• "The shoulders kind of go back and their eyes are off the ground, and the clothes become a little bit more expressive and confident." —Corey Fogelmanis (19:40)
• "My job as a director...is someone who can be in service to everyone else's craft." —Tommy Dorfman (26:14)

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Notable Moments & Timestamps

• Opening & Film Introduction: [00:37–02:40]
• Tommy Dorfman on Book and Adaptation: [02:48–08:30]
• Audition and Film Casting Process: [04:34, 21:19–24:42]
• Ben’s Relationship with Family/Hannah: [10:11–15:37]
• On Coming Out and Identity: [15:48–18:39]
• Joy, Progression, and Acting Choices: [19:40–21:19]
• Directing & Collaboration Reflections: [26:09–28:18]

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Tone & Takeaways

This episode balances honesty and hope, acknowledging the trauma non-binary youth often face, while celebrating the power of acceptance, chosen family, and self-discovery. Dorfman and Fogelmanis discuss their creative processes with warmth and candor, emphasizing the importance of nuanced, joyful, and intersectional queer representation in media.

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For Listeners: Why This Episode Matters

• Provides rare insight into adapting a beloved, voice-driven YA novel for the screen, centered on a non-binary protagonist.
• Illuminates the day-to-day realities and complexities of non-binary identity, especially regarding family dynamics and coming out.
• Demonstrates the impact of authentic queer representation through thoughtful casting, on-set collaboration, and storytelling choices.

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Film Release:
I Wish You All The Best opens in theaters Friday, November 7th.

Transcript

[A]

WNYC Studios is supported by AT and T, offering a guarantee covering both wireless and fiber Internet service that is all about having your back. Staying connected matters. That's why AT and T has connectivity you can depend on, or they'll proactively make it right. That's the AT and t Guarantee. Visit att.comguarantee to learn more. Terms and conditions apply. Visit att.comguarante for details. @ and T connecting Changes everything.

[B]

This is all of it. I'm Alison Stewart live from the WNYC Studios in soho. Thank you for spending part of your day with us. I'm really grateful that you're here and thanks to everyone who came out last night for our get lit with all of it book Club event at the New York Public Library. We had a blast. Stay tuned for the announcement of our November book. On today's show, pianist Hanya Reyna performs live in WNYC Studio 5. Singer, songwriter Leticey joins us for a listening party for her latest album and the artist Uman is here to talk about two new exhibits of her work in our area. That's our plan. So let's get this started with the new film I WISH you ALL the Best. A coming of age film tells the story of Ben, a non binary teenager living in the South. It's titled I wish you all the best. It's based on Mason Deaver's young adult novel of the same name. It's a directorial debut feature from Tommy Dorfman and stars Corey Fogelmanus as Ben, who is kicked out of their home after coming out to their parents. Ben's much older sister comes to his aid, no question asked. She gets Ben settled in her home with her husband and their new baby. She even enrolls Ben at the school where her husband works as a teacher. In the film, we see Ben adjust to a new environment while still trying to figure out, well, their life. The Daily Beast said of the film, Focal Manus and Dorfman are a dynamic duo, certainly the right people to tell this story. The up and coming current generation of queer and especially non binary youth is lucky to have this movie in their back pocket as they continue to explore their identities. I WISH you ALL the BEST opens in theaters next Friday, November 7th. Joining us to discuss the film is director Dami Dorfman, who last visited the show when she joined us to talk about starring in the play Becoming Eve. Tommy, welcome back.

[C]

Hi. It's so good to be back.

[B]

And joining us is the film star sitting across from me, Corey Fogelmanis, who plays Ben Hi.

[D]

So happy to be here.

[B]

It is nice to meet you as well, Tommy. Mason Deaver published this novel in 2019. When. What fascinated you about it?

[C]

When I got the manuscript for the book, I was enthralled. I read it in one sitting. I cried, I laughed. I felt seen and valuable and understood as a non binary person at the time in ways that I couldn't imagine a teen book would do at the age of 27, 28. And I immediately felt that we were missing a movie like this in the canon, you know, both for queer people, but also for allies and really the world at large. So it became my mission from that point on to write this film, direct this film, and get it to as wide of audiences as possible to experience Ben's beautiful journey of becoming Corey.

[B]

You read the novel? Yes. What did you think about the way the characters were written?

[D]

Well, what I loved so much about Mason's book was this inner monologue and really getting to be inside Ben's head. And it was so heartbreaking, I think, for me to see this kid just not be feeling the way they want to be feeling and not get the support that they. That they need. And so when we, you know, went over to do the movie, it was really important to me that we, you know, started in that place, but then also shine some hope on their journey and where they end up.

[B]

The saddest line in the film is when he's wearing sad hoodies. Yeah, it just really gets you, like, oh, my gosh, this poor person is just wearing sad hoodies all the time, hiding themselves.

[D]

Yeah, it's very protective.

[B]

This is your first big starring film role. Tell us a little bit about the audition process.

[D]

Ooh. Well, I got a self tape and I'd been aware of the project because I'd seen Tommy post about the book like years prior. Honestly, it was like pre Covid. And I remember just being so drawn to the COVID art before I even knew anything about what the book was. I was just like, this is so beautiful and I need to engage with this. And so I bought the book. And then when the audition came around and I put it on tape, it was this beautiful melding of what Tommy had written on the page and the way it like fell to my body and it was so strangely easy. I didn't feel like I had to like push or fight its way into me. And I did, I think like we did two scenes in the second scene. I did like one take of it. I was like, this is right. Like, this feels so right. And I sent it in and I did a chemistry read and chatted with Tommy a bunch. And then a month later we were filming it.

[B]

Tommy, what goes into writing a screenplay from already existing material for you anyway?

[C]

Yeah, I think it's different for everyone. My approach with this book, because to Corey's point, it almost reads like a diary. Like, you're really introspective. You're in this, you know, single POV with Ben, going through this experience of being kicked out of their parents house, reconnecting with their sister, falling in love, an immense amount of, like, internal conflict that can be hard to translate to screen. So my job at the start is bringing that internal world into a visual medium and for me, concentrating characters so that there's a lot of clarity about, like, why each person is in each scene and what are they doing to move the story forward. So there's sort of just like a pragmatic approach that I have. Ultimately, it was a gift because I got to kind of play all of these characters in the process of writing it and really, like, put myself in their shoes, embrace their circumstances. Even the parents, who I think could be villainized so easily, you know, if you're not thinking about them on a deeper level, trying to understand their motivations, even if I don't agree with them, offered a lot of compassion and grace for me, you know, just out in the world as a trans person, frankly, and people who don't understand me. So, yeah, but the process was really. I spent many years breaking the film version of it because I think, you know, they're two very, very different mediums. And I had a lot of liberties given to me from Mason, the author of the source material. And I tried, you know, the first draft is always the dream draft. It's the fantasy version of, like, all the things I could stretch and possibly change from the book. And then it's a matter of corseting and focusing and honing in on specificity and, you know, just beat by beat, how are we moving the story forward in a way that audiences can engage with and won't get bored of and won't be confused. And I have, like, a deep responsibility, of course, to Mason, but also I feel to trans people and queer people in my community to do right by Ben's story. And the goal with this film was to make it as accessible as possible for those who might not understand the trans experience, the non binary experience, and maybe see themselves, if not in Ben, in, you know, Alexandra Daddario's character, Hannah, or Lena Dunham's character, Ms. Lyons. Like these people who come in to support and buoy a kid who is really struggling with their own safety and sense of self worth and focus and artistry and body and autonomy and all of those things.

[B]

A new coming of age film follows a non binary teenager who moves in with their sister after they're kicked out of their par. It's titled I Wish youh all the Best. It's in theaters Friday, November 7th. Director Tommy Dorfman is joining us who co wrote the film as well. He's also alongside star Corey Fogle Manus. In the beginning of the film, Ben is preparing to talk to their parents and we see his notes written. Not a lot is said initially about that, about what's going to happen with them. How did you and Tommy decide to play these moments, Corey?

[D]

I think just as truthful as possible. When we shot these, these. That sequence, we kind of played out the whole thing. And when Tommy cut the film together, she kind of chopped it up and used it for flashbacks and stuff. But when we were shooting it on the day we. We were running around the house, we were working with Amy and Judson who play my parents to really kind of find what each beat was. And it was really inspiring. I remember a moment where Amy was saying that she felt like from her perspective of things, like she needed something else to happen to really get to this point where she does what she does by kicking me out. And so we added. We added this moment where I say something that is just the worst thing I could have said to her and she retaliates. And so it was really just kind of like us in that kitchen and me with this thing that I need to say and feeling like it's the hardest thing that I could ever say and. And then just kind of living it out.

[B]

Yeah, yeah. Tommy, when you set up the family like very. At the beginning, there's sort of like a perfect family. It's near Christmas, they're watching a movie together on the couch. What did you want us to understand about the family before everything goes down?

[C]

I felt like it was important to acknowledge that there's love there. And I think love can come in quietness and also. But you know, the score and the way in which I think we shot it, it's clear that something is going to happen and probably happen quickly. It boils over quite expediently at the top. But I wanted to just like ground ourselves for the only time really in what Ben's life looked like before, which is repression, which is a Little bit of which is silence, which isn't freedom of expression, which is cold. And the parents are sort of talking more than the child. And the child is, you know, taking different directions in that space. And it felt to me like we needed to see some of that connection before we lose them until they come back later in the film. Um, and, you know, we played out, to Corey's point, every single moment of what that coming out sequence into the rage of mom and dad, into kicking their child out of the home, slamming the door, locking it, and been lost on the streets. Um, and to me, that offered a lot of internal clarity for all of our actors for all of their other scenes. So that even if the audience doesn't. Isn't privy to every single moment that happens, because I don't think we need to be. To understand what's going on. I think audiences are smart. I don't want to, like, traumatize people either in some of these moments. And we come back to certain beats that feel really integral to the story that we're telling throughout the film, but making sure that everything feels like it's from Ben's perspective. And so I played a lot with the memories, you know, in the way that Ben might remember them. So, you know, we see, like, in that, like, we, like, Ben's memory is really spotty. And then more pieces of the puzzle come together by the end of the film, more clarity comes through, questions from other people as Ben starts to feel safer. And so Ben might not remember anything beyond the door slam or the slap or the physical altercation that comes between them and their mother. But eventually we sort of build those pieces back out. But it also gave our actors, I think, a lot of room to build up into more intensity and gave Corey a lot to think about internally. In some of the quieter moments, alone at home or moments of emotional regression or stasis in which there, you know, Ben's not able to engage with other people in the same. With the same amount of, like, comfortability and ease because of what happened to them.

[B]

Corey, Ben decides to call his sister sort of out of.

[C]

Their sister.

[B]

Their sister, thank you. Out of desperation. What role does Hannah play in Ben's life up until this point?

[D]

Oh, up until this point, Hannah is very much just a stranger. I think it's the hardest thing for them to do in this moment. But there's really no one else for them to call. And in watching the movie, it's really beautiful to see those first couple of scenes between Hannah and Ben where she's really Trying so hard to engage and make contact and it's just not easy. And there's so much distance between them. And seeing her continue to push through that is so beautiful.

[B]

It's wild. They don't even know the baby's name.

[D]

Yeah, right.

[B]

They've never met the baby before. Let's listen to a scene. Well, first of all, Hannah doesn't know that much what's gone on with Ben.

[D]

No, right. No.

[B]

Why is that?

[D]

Well, because it was so bad the last time. I don't. I don't know what's gonna happen. I don't feel safe sharing this information, you know.

[B]

Well, let's listen to this clip from. I wish you all the best. In this scene, Ben's parents search for them at their sister's house. Hannah's house. Let's listen and we can talk about it on the other side.

[C]

The actual are the two of you.

[D]

Doing here right now? Hannah, we're not looking to start a fight.

[C]

Good to see you, sweetie.

[B]

That doesn't answer my question.

[C]

We just came to see if Venus here.

[D]

Samma, Is that my grandson?

[B]

No, it's not.

[D]

And I don't know where Ben is.

[B]

I haven't seen him in a decade.

[D]

Hey, don't you lie to me, girl. Why, did you kick him out or something?

[B]

Ben had a choice.

[C]

Ben chose wrong.

[D]

You mean because he's gay? Is that what he said? That's not even half of it. Ben.

[B]

Benjamin.

[C]

Son.

[D]

Benjamin.

[B]

Get off my property. Ben.

[C]

Yeah, you know what?

[D]

We might have to call the police. Cause I would like to hear what they have to say about you kidnapping your brother. Kidnapping my brother? You kicked him out of the house.

[B]

You abandoned him.

[C]

Come on, Kathy.

[B]

That is from the film. I wish you all the best. Tommy. Why is Cory keeping the details about what happened to him them from her?

[C]

I think to me there's a lot of fear about, you know, what if Hannah reacts? Hannah and Thomas, their sister and brother in law, react in a similar way of misunderstanding as. As their parents did. And you know, as a trans person who's come out so many times in different ways with different people, you feel like you're constantly having to clarify identity, correct pronouns, do this stuff. It can be really exhausting and taxing. And so for a kid like Ben, whose first time resulted in a full ostracization and being cut off from their biological parents, they've just landed in a place of safety for a couple of weeks up until this moment. And you know, I think it's important for us to know as People and people who are in community with queer and trans people that they, that they don't owe us coming out necessarily. We have this idea that it's like this big secret that's being kept. And I think obviously in this moment I'm exploring what that feels like in a family dynamic with two different generations and two different thought processes, processes around gender and identity. You know, the parents are so binary in their approach. Of course, you know, this is wrong, this is wrong. It has to, to be fixed. And I think Hannah and Thomas, we learn shortly after this when Ben does open up about their identity and it isn't, you know, they're not just gay, like they don't even know if they're gay as much as they know that their gender is not, is neither male nor female. It exists in that beautiful space of fluidity in between. And I think what I wanted to offer is just sort of different people's, different people's perspectives of a kid's coming out and how they choose to handle it based on, you know, their circumstances, whether you're a teacher, the boyfriend, the sibling slash parent, guardian or the actual parents. And so I think Ben keeps it not to hide that from their family, but just because they're not ready to share it yet. They're just finding some stability in stasis. They're just meeting some friends, they're just, they're just getting clothes and they're understanding what even clothes feel like that aren't picked out by their mom. So I think it's like, you know, obviously the parents coming brings this out. I think really it's Kathy that drives force, that again forces Ben to come out in a different way. And what we get after this is a beautiful moment of how Hannah and Thomas choose to support Ben as a non binary person living in their home. And you know, you can see the movie and see how that goes.

[B]

But, but yeah, we're talking about I wish you all the best. We'll have more after a quick break. This is all of It. You're listening to all of it on wnyc. I'm Alison Stewart. A new coming of age film follows a non binary teen who moves in with their sister after being kicked out of their parents house. It's titled I wish you all the best. It'll be in theaters this Friday, November 7th. Joining me is director Tommy Dorfman who co wrote the film and star Corey Fogelmanus. I want to talk about how much joy there is in this film, Corey. We see Ben go through love, friendship, emotional Breakdown, teenage angst. How did you talk with Tommy about the choices you made as an actor to show this full range of Ben's emotions?

[D]

Yeah, I mean, it was something that we talked a lot about in terms of just, like, what this natural progression of opening yourself up to the world is. And so when you see Ben in the beginning of the movie, there's so much that they're hiding. They're hiding themselves with their sad hoodies, the baggy clothes, you know, and they're not speaking as much. And there's very little joy that you see them having, like, with other people, except for maybe their lovely dog. And as the movie goes on and you see them held by, whether it's a boyfriend or their sister or their art teacher. You know, the shoulders kind of go back and their eyes are off the ground, and the clothes become a little bit more expressive and confident. And it was. It was one of my favorite parts about the movie is that, like, yes, this thing at the beginning happens that changes the course of their life forever, but it ends up being this incredible moment of expansion for them because they have people who care about them.

[B]

It's interesting. So you. To get Ben's physicality, you had to change a little bit over the course of the movie.

[D]

Yeah, yeah, for sure. And we shot it all out of order, so it was really interesting.

[B]

Oh, that's interesting. That's hard.

[D]

Yeah. And I didn't really realize it until, like, I watched the movie back, and I feel like that was just such a testament to Tommy's conversations with me and helping keep me on track and, you know, making sure I was in the right place at the right time. Yeah.

[B]

Tom, you have an amazing cast in this film who was a person that you really wanted to make sure was a part of this film. Not to play favorites, but.

[C]

Listen, there are no favorites. I think everything is. Everything about this movie and how it came together was really destined to be what it is. Someone asked me how I got this cast, and it was truly like. We put it together so quickly once we got the financing, that it was a combination of who was most interested and who was available and who was right for the role. So we auditioned all of the kids, but then on the more adult side, I wanted to take some bigger swings and see what we could do. When I was writing it, I had Cole in mind, and I knew. And then I sent the script to Cole, and he agreed to do it because he loved the script and he loved me, and he could help get the movie made.

[B]

Cole sprouse by the way.

[C]

Cole Sprouse. Yes. And then Corey Folkomanis, obviously, who's here with us today, came through auditions, and around that same time, looking at Corey and reading Corey. I had just watched Alexandra Daddario and White Lotus, and I thought, well, we should try. They kind of look alike. And I think I've. You know, I've never seen Alexandra play a sort of maternal character like this who's, you know. You know, just dressed in a very normal, Southern, kind of comfortable mom way. I'm curious, you know, how she would feel about a role like this. And I think that instinct of, like, oh, she wanted to do something different after White Lotus. And the work that she'd done before paid off. And then for Lena Dunham, you know, she was my mentor for a long time. She helped me with writing this film. She gave me a little, like, kind of artist residency to incubate and create in. And I'd shadowed her on Catherine Called Birdie as a director and spent a lot of time with her. So she. She came to mind. But she was living in London. And so we had a different actor who was supposed to play that role, who then ended up going on tour. And it just happened to be. While we were shooting, Lena was going to be in town for two days. And one of those days, she very graciously gave to our film. And we shot all of her scenes in that day.

[B]

Oh, in one day.

[D]

Holy cow.

[C]

All of Ms. Lyon.

[D]

It was a long one.

[C]

Was done in one day. And that was so powerful and beautiful. Because, you know, she's such a. It was a. I mean, for me, it's like, outside of working with Corey and Miles, which I think were the two hardest roles to cast and find and make sure that they were gonna be exactly right. Obviously Corey's in every single scene, every single frame. And Miles was such a big discovery for us to find somebody to play Nathan. Miles Gutierrez Riley, having someone like Lena come in. And, you know, I was really nervous about directing her. Cause we've known each other for so long, and she's directed me before. But it was just such a gift to watch her work. And also, the movie's quite intense. Corey spent a lot of time alone, has been shooting a lot of stuff on, you know, on their own. And it's like in these moments in the bedroom and other places, and when Lena came in, we really needed this, like, breath of fresh air and somebody who could just like, break the ice immediately and riff off of the world that we were building together. And I Think we all needed that levity in those moments, even when it does obviously turn more dramatic in some of those scenes.

[B]

She's a riot. She is so good in this film.

[C]

She's incredible.

[A]

Yeah.

[B]

What did you learn from her?

[D]

Oh, my gosh, just the spontaneity there was. Like, Tommy would let the camera roll for a couple of minutes at the end of takes, and she would just say whatever came to mind. And it was just these film references. And, you know, she. She just has this incredible mind, and she's so quick and just. She's so herself. And I feel like that I was really drawn to that. Yeah.

[B]

This is the first. Sort of a. First time for both of you. Tommy, for you, directing, for you. Being at the top of the call sheet. What did you expect? Being at the top of the call sheet? And what was something you didn't expect?

[D]

You know, I think I expected it to be really exhausting, and it was, but it was perfect because this journey that Ben is on is exhausting in its own way. And so I think what I didn't expect to happen that did happen was that there was this beautiful blending of what was going on in life as I was filming it and just kind of trusting that where I was at at any given moment was working as long as it was truthful and honest. And Tommy was really great at helping me trust that. Yeah.

[B]

Tommy, what do you now know as a director that maybe you didn't know before?

[C]

Everything. I had never even made a short film before this. I had been on the other side of the camera. I had observed directors at work on TV shows and in films. I think the thing that I was. I knew was gonna happen, but I didn't know what the experience would be like until I was in. It was being pulled in a thousand different directions at once, and a responsibility I have to the hundreds of people who are devoting their time, energy, and creative resources to bringing this story to life. But coming from a theater background, I love collaboration. I love every single department that's involved. I love the magic that can happen when we're all focused in on one goal. And, you know, I think what I learned the most is, like, my job as a director, the kind of director I want to be, is someone who can be in service to everyone else's craft. So giving my DP the most support possible to shoot the best version of each scene and the film as a whole, giving my actors the safest, you know, best space for them to work and be comfortable and relaxed and locked in and in the moment and then also offering a lot of clarity. You know, we're shooting out of order, which is most common for most projects. It's rare, I think, that you get to shoot anything consecutively, especially on an indie film. So it was my job to really just track all of that for my performers, especially to make sure they knew, like, where they had just come from and where they're going and why we're here in this moment today, especially if we're moving from a scene that's early in the film right into something that's right at the end of the film and just tuning in general. And I start shooting my second film tomorrow. I'm in Canada right now as we're having this conversation, so I'm really like, it's been nice and refreshing to have this movie release right at the same time as I start shooting my second film because I'm reminded of all of the things I think I did well and all of the things I think I could do better.

[B]

I wish you all the best. Opens in theaters next Friday, November 7th. I've been speaking with director Tommy Dorfman and Corey Fogelmanis. I hope you'll both come back on your next projects. Thank you for being with us.

[A]

Thank you.

[C]

Thank you so much. Have a good day.

[A]

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