In their roles as both colleagues and lifelong partners, David Joseph Craig and Brian William Crano, the creators of ‘I Don’t Understand You‘, faced the challenging aftermath of a difficult journey they experienced during their initial attempt to adopt a child. This distressing episode occurred prior to them becoming parents, but it was only during a global pandemic that they were able to truly process and address it. The introspective conversation they had served as therapy for them, and it influenced the creation of ‘I Don’t Understand You’. As a result, their personal struggles with adoption found their way into the narrative of their horror-comedy, which revolves around Dom (played by Nick Kroll) and Cole (Andrew Rannells), two prospective parents.
Craig shares with The Hollywood Reporter ahead of the June 6 release of ‘I Don’t Understand You’, “Neither of us truly found an emotional bond over how deeply traumatic our shared [first] experience was.” He explains, “We dealt with it in completely different ways. I chose to retreat within myself, while Brian openly discussed it with others. It wasn’t until we began writing this film and acknowledging, ‘We both went through a profoundly traumatic event that needs to be addressed,’ that we really connected.
Luckily, after three difficult years, Craig and Crano found another birth mother and welcomed a son into their family. Incidentally, this little boy appears charmingly in the movie. Yet, just as they were informed that their son was due to be born in six weeks, they had plans for a romantic Italian vacation to celebrate their tenth wedding anniversary. Unfortunately, during a rainstorm on this trip, Crano unintentionally drove their car into a ditch, which later became a significant event in the movie, as portrayed by Dom and Cole.
Craig and Crano were swiftly rescued by an elderly Italian woman in a Fiat, and despite the language barrier, she warmly invited the pair into her household, where they spent the entire evening feasting and drinking. Similarly, Dom and Cole found themselves at the residence of an older Italian lady, but unfortunately, Cole accidentally knocked her down the stairs during a blackout. She was the first of several fatalities that started to accumulate, and the shift in genre serves to underscore the dangers inherent in adoption and parenthood, as well as the extraordinary measures parents take for their children.
When Craig and Crano presented their script to prospective actors, they encountered concerns about transforming two gay characters into caricatured antagonists. However, they had grown weary of the common portrayal of gay characters in distress or as supportive friends helping straight female characters navigate their romantic troubles. Essentially, they desired to explore more complex, imperfect gay characters.
Crano mentions that during our time, most media portrayals of gay people revolved around sad coming-out tales, heartbreaking AIDS narratives, or a combination of both. It was refreshing to film scenes where queer characters were engaged in activities beyond discussing their girlfriend’s male friend’s words. Essentially, there was a kind of ‘Gay Bechdel Test’ happening.
In a recent chat with THR, Craig and Crano revealed that Joel Edgerton provided the motivation they needed to pen the movie. Additionally, they mentioned that their enduring friendships with Amanda Seyfried, Rebecca Hall, and Morgan Spector significantly impacted the film’s development.
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There are some movies that seem incredibly intimate, and “I Don’t Understand You” certainly falls into that category. How deeply personal is the story behind it?
BRIAN CRANO The film is highly personal as the initial act reflects our real-life journey. For years, we were going through the adoption process. We encountered a disappointing situation with a birth mother who seemed to be deceiving us, followed by an amazing experience that resulted in us adopting our son. Just as we connected with our actual birth mother, we were planning to travel to Italy, and it was during this journey that we found ourselves stranded, which happened right before our tenth anniversary dinner. The film deviates from reality here, as there was significantly less shouting than in the actual event.
And the pile of bodies.
DAVID JOSEPH CRAIG Legally, we can’t disclose the genuine truth about it. (Laughs.) However, the emotional release and learning process we underwent during that time helped shape the second part of the film.
When going through the adoption procedure, was it you who created your own personal video recordings, where you edited yourselves simultaneously as you filmed?
As a fan, I can tell you, thankfully, we didn’t create those videos, but navigating the adoption process required us to deeply understand our own context. Seeing others’ interpretations of similar videos made me realize how challenging it could have been for us if we had taken that route. Whew, that would have been tough!
CRAIG Primarily due to our involvement in scriptwriting and direction, we would have undoubtedly invested countless hours refining a video that portrays what it means to be human.
In a similar situation, you connected parts of your tale with Dom and Cole, who also fell victim to fraud by a birth mother. This unfortunate incident led to one of the saddest stories I’ve ever come across. As a result, they spent all night returning the baby gifts that their loved ones had given them.
CRANO I was eager to take that shot, but everyone said, “Oh no, it’s not possible.” (Laughs.) But I argued, “It’s an amazing opportunity! We’ll get them into the biggest trouble imaginable.
Please tell me you didn’t have to do that in real life.
CRAIG In our current situation, people usually have their items delivered by Amazon, which means we didn’t need to go around giving gifts back as a gesture. However, we had informed many people about being paired with a birth mother, receiving emotional support from them throughout the process. So when we found out that we were no longer pregnant, we had to inform those same people. This was much more difficult for us than it was for those we were informing. The detail of our experience comes from this challenging moment.
CRANO When we ultimately decided to make the movie, our real emotional motivation came from this. Our birth mother is incredible and central to our lives as well as our family’s story. However, we struggled to find a film or TV show where a birth mother was portrayed positively. Therefore, it was crucial for us to create a movie that featured such a character as the hero. Although she isn’t the main character in the movie, it was essential to us to focus on this narrative aspect.
In other words, do you employ genre as a means of depicting the complexity and challenges involved in the adoption process? Does this description accurately convey your intention?
CRAIG I believe it’s essentially about parenthood. How would you act for your child? What measures would you take to become a parent? Our journey through the adoption process was challenging. It spanned approximately three years, from the moment we decided to have a child to how we wanted to adopt one. The actual acquisition and arrival of our son were always at the forefront of our thoughts throughout this period. Since we weren’t blessed with a natural birth, we had to carefully consider every aspect. It’s not that those who have a natural birth are in a more challenging position, but our circumstances were unique.
One of the main topics Brian and I often discuss is that the physical pregnancy wasn’t part of our reality, so neither of us truly empathized with each other about how distressing that initial experience was for both of us until we started writing this movie. We responded to it in different ways. I retreated inward, while Brian shared his feelings openly with others. Therefore, we didn’t fully understand each other’s emotions until we began working on the script and realized, “We both went through a very traumatic experience that we need to address.” This theme is reflected in our movie.
As a lover of all things gaming and absurdity, I found myself drawn to the genre of horror. My friend and I share a knack for silliness, so we thought, “Why not create a terrifying tale with our own brand of humor?” And boy, did the jokes flow like a river! When we brought on Nick and Andrew for the project, their natural comedic timing elevated our production to a whole new level of enjoyment.
How did you arrive at Nick Kroll and Andrew Rannells as your central couple, Dom and Cole?
CRAIG Essentially, we’ve had Andrew on our radar for quite some time due to his hilarious comedy and acting skills. We noticed that he hadn’t taken on a project like this before, so we decided to reach out to him with the idea. Luckily, we hit it off immediately. We knew Nick through social circles, but we were also impressed by an interview he had recently given about his experiences as a new father, which mirrored our own. During our conversation with Andrew, we suggested the project to him on a Friday, and by Monday, he had already passed the script along to Nick without us even asking. Nick was eager to be involved, and it felt like they truly understood the characters we were creating.
Do these characters reflect types of gay individuals underrepresented in cinema so far?
CRANO Totally! Holy shit.
CRAIG Thank you for asking that.
Yes, during our time, most media portrayals about individuals identifying as gay were often centered around sad tales of coming out, struggles with AIDS, or a combination of both – typically ending in tragedy.
CRAIG Most of it involved the characters having to talk about their sexuality as a thing.
Our everyday lives don’t follow that pattern. They aren’t like that at all. We seldom find ourselves thinking, “My identity as a LGBTQ+ person determines my meal choice.
CRAIG But we do order lots of soup.
CRANO Indeed, we did. However, the film served as a platform to highlight two characters yearning for parenthood, which sparked a mix of validation and frustration among heterosexual executives who commented, “This could easily be a man and woman, or two women.” While I appreciate their sentiment that the script is universally relatable, it’s crucial for us as creators, not just us but also as a business, to address diversity beyond heterosexual white individuals. Thus, it was empowering to film scenes featuring queer characters in roles other than questioning their partner about someone else’s words. Essentially, we were passing the Gay Bechdel Test.
CRAIG We’re definitely fond of those films, but they aren’t our style. Instead, we enjoy offering a unique perspective within that genre.
As a dedicated fan, I’ve noticed a significant shift in the discourse surrounding who can play whom in our beloved industry over the past five years. This topic has taken a backseat due to various existential threats that have arisen and tested the very foundation of our community. While the question remains relevant, it’s crucial to remember that its validity depends on the continued existence of this vibrant industry.
CRANO (Laughs.)
Since Nick was cast as a gay character, does it mean you’re fine with straight actors portraying these roles? Or is it more about ensuring that gay actors too get the chance to play diverse characters?
CRANO It’s spot-on. Many friends of ours are actors who happen to be gay, and they often don’t make the lists they deserve because they’re open about their sexuality. To me, it’s absurd to restrict casting based on personal factors. Everything should be up for grabs. The focus should solely be on who is most suited for the role.
CRAIG And who truly resonated with the content. Upon distributing this work, there were several LGBTQ+ readers who questioned our portrayal of villainous queer characters. However, from the start, Nick completely grasped the satire and flamboyance embedded in the material, sparking enthusiasm within us. We thought, “He’s ideal for this role.” Moreover, they share a strong bond off-screen, which proved incredibly beneficial for the film. They appear together in approximately 98% of the movie, and we needed two actors who genuinely care for each other as deeply as they do.
I’ve had discussions with several directors who have launched horror-comedies this year, and they both concurred that this genre can be quite challenging to produce. The studios seem reluctant to greenlight it at every opportunity.
CRAIG It’s comedy in general.
That’s true. Did you also have a heck of a time getting I Don’t Understand You made?
CRANO We’ve had an unusual encounter, but it appears this is becoming increasingly common, originating from marketing teams who seem either hesitant or unsure about promoting these films. This movie developed quite naturally during the pandemic, making its outcome uncertain for everyone involved. Kara Durrett, our producer, is remarkable, and Jessamine Burgum, head of Pinky Promise, swiftly recognized the script’s potential value. As a result, we were ready to go. The process was straightforward, but it all seemed to lead back to the same group of individuals. Why are these casting and genre restrictions being imposed? It feels like they’re the same clique deciding what ventures to take on, and I understand their apprehension. After all, it involves substantial investment and significant risk. A mistake could cost you your job. However, I urge these decision-makers to take more risks. If you examine the successful films from recent years, they defy genre boundaries and feature diverse casts. They’re humorous, disturbing, peculiar, and the audience is eager for them. All that’s needed is to convey that these stories are accessible to them and that they desire to see them. No one appreciates being patronized, and it’s the films that offer multiple forms of enjoyment that are resonating with viewers.
CRAIG It wasn’t as if we were required to alter it, an issue that might have arisen long back. Instead, they would suggest, “You could effortlessly produce this film with both male and female leads at any studio within moments.
CRANO In hindsight, we could’ve produced the film featuring a male and female cast in a studio setting for a higher budget. It’s an undeniable fact. I understand that the industry operates based on market demands, but still, there is a moral obligation to challenge this norm.
Were the brothers Edgerton, Joel and Nash, involved in these productions due to their work on “The Gift” and “Boy Erased”?
CRAIG Previously, I had collaborated with Joel for nearly ten years. Together we produced films like “The Gift” and “Boy Erased“. Working alongside Joel and Nash was essentially my film education. It taught me how to create a movie and conduct myself professionally in this industry. When it came time to make a movie with all these daring stunts, we realized that we needed Nash. He’s not just a skilled stunt coordinator, but also an exceptional comedic director. Having him on set was essential, truth be told.
In actuality, it was Joel who inspired us to script the film initially. After our harrowing encounter with being stranded in a ditch, we shared the story with him. He exclaimed, “This is a horror story! You two need to write it!”
CRAIG “And if you don’t, I will.”
CRANO & CRAIG (Laugh.)
In the movie “The Gift,” David worked alongside Rebecca Hall. The two of them go back a long way, as Brian is acquainted with Rebecca. It’s possible that Morgan Spector, who played her husband in the film, was cast because of this pre-existing relationship. Additionally, David has a history with Amanda Seyfried, who portrayed the birth mother. Can you clarify how these collaborations came about?
I first encountered Rebecca when I turned 18. At the time, we were both new graduates from a drama school in England. While I was working on my debut play reading, she was part of the cast. After lunch together, we instantly connected, which led us to a long-lasting friendship that has spanned over 20 years. Now, it’s hard to believe we have children of our own! We had discussed these future events, and amazingly, they’ve unfolded just as we anticipated. It’s truly special to cherish friendships that have endured through the passing of time.
CRAIG It seems that everyone involved in this collaboration were friends prior to it, friendships not solely based on work. Rebecca, Morgan, and Amanda are essentially like godparents to our son. Therefore, having Amanda portray the birth mother felt incredibly authentic and organic. This role held personal significance for us beyond the scope of the project. It was heartwarming to have her hand over the baby to our characters, and we were able to pay tribute to our own experiences with someone who is deeply important to us.
Amanda is fantastic at what she does, and we’ve actually known Morgan for quite some time, starting from his first date with Rebecca. We understand just how hilarious he is personally, as well as the depth of his darker side. However, he often gets cast as a serious leading man instead.
I didn’t recognize him at first.
When requesting Morgan for the part, I playfully told him, “Morgan, your character must be imposing. Could you gain some mass for this role?” However, it was all in good fun.
CRANO It was an obvious joke.
CRAIG However, when he arrived at the set, the wardrobe they had prepared for him didn’t fit because he had been working out to become even larger over the past four to five months. Fortunately, it turned out okay, but it was quite amusing. He joked, “You asked me to bulk up.” I replied, “You were already quite intimidating before you bulked up even more.”
Or:
CRAIG But when he turned up for filming, the clothes they’d picked out were too small due to his recent muscle-building efforts. Thankfully, it all worked out in the end, but it was quite a funny situation. He quipped, “You asked me to bulk up,” and I retorted, “You were already very intimidating before you got even bigger.
CRANO Yet, he was overjoyed to take on the task. His desire to try something unusual and amusing was strong. One advantage of having gifted friends is being aware of what they’re accustomed to reading. We discuss a multitude of topics frequently. It’s no different with Joel. I suspect he’d appreciate a comedic role. Thus, it’s an honor to create something for a friend and say, “Here’s a character that embodies him. This is the funny guy I know.
I’ve got a good grasp on the style of Lowell Meyer, especially his close, handheld work with Celine Held and Logan George. While some elements of that style were present in his collaborations with M. Night Shyamalan on “Knock at the Cabin” and “Servant,” they were generally more controlled and precise. What specific aspects of his style did you have in mind when you decided to bring him on board?
CRAIG It’s unique since we share a personal bond with him, as his wife is our producer, Kara Durrett. Therefore, the team we assembled was incredibly familial. The fact that we all had kids of similar ages during our time in Italy made it even more special – like an American-run Italian movie production company! We’ve long admired Lowell, and when he and Kara started dating, our desire to work with him only grew. We knew Kara beforehand, and her handheld cinematography is something we’ve always been impressed by. Moreover, Lowell is a true ‘colorist’ – he’s incredibly focused on crafting the visual story, which resonates deeply with us. Our goal was to make the action stand out, and Lowell excels at that, demonstrating his mastery of technique as an artist.
We have a special bond with Lowell because Kara, our producer, is married to him. This made our team feel like family, especially since we all had kids around the same age during filming in Italy. We’ve always admired Lowell for his unique handheld camera work and artistic vision, which is perfect for making action pop out of the frame.
Often, comedies are overly bright and filmed in a flat, static manner using the shot-reverse technique, which doesn’t resonate with us. Filming our movie in Italy allowed us to explore the question, “What if this stunning artwork sprang to life in an ugly, grotesque manner?” We were drawn to many violent frescoes and aimed to portray that violence and fear in a beautiful yet terrifying cinematic style. Lowell was an exceptional collaborator during this process.
CRAIG He brought a massive comedic influence to the table, and because he has an exceptional talent for capturing stunning visuals, he was able to contrast these two elements effectively. This is likely why Knock at the Cabin turned out as successfully as it did for M. Night. Lowell filmed his breathtaking cinematography alongside the real-life events unfolding, which elevated the production beyond what it might have been otherwise.
By the way, I’m curious if any particular concept has taken the lead in your discussions about future projects?
Hey there! As a gamer, I’m excited to tell you about our unique take on a holiday-themed movie. It explores the idea of turning the emotional turmoil often experienced during family gatherings into something physical. If you imagine “I Don’t Understand You” with an expanded cast, that’s where we’re heading. So, if “The Family Stone” was reimagined as a high-stakes thriller, that’s the vibe we’re going for! We’re working on this project with Scott Free [Productions] and Kara, and we’re currently in the process of casting, which is really exciting.
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I Don’t Understand You opens June 6 in movie theaters nationwide.
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2025-06-05 02:26