Initially started as a creative outlet during the pandemic, “Companion” has since become the highly praised first feature film directed by Drew Hancock.
Disillusioned with the soap opera-like trajectory of his career, Hancock confronted some tough realities during the gloomy days of 2020. As a result, the native of Omaha, Nebraska decided to break free from his current predicament by penning a screenplay that could serve as a writing sample to secure future projects in the same field. This script ultimately evolved into “Companion“. Confident in his work, he chose to share it with a mutual friend of BoulderLight Pictures’ J.D. Lifshitz.
Following the triumphant success of Zach Cregger’s film “Barbarian” as producers, Lifshitz and his partner Raphael Margules were captivated by Hancock’s script. They shared this enthusiasm with other members of the “Barbarian” team, including Roy Lee from Vertigo and Cregger himself. This sparked BoulderLight to establish a new project named “Companion” under their banner, which at that time had recently signed a first-look deal with New Line.
Initially, Companion was intended as Cregger’s next directorial project after Barbarian, but when he observed Hancock’s dedication and enthusiasm towards his script, he changed his plans. It seems plausible that Cregger, who had been trying to rejuvenate his career for over a decade, appreciated Hancock’s situation similar to what he experienced before BoulderLight and Vertigo took a chance on Barbarian. So, it appears that Cregger decided to help out in the same way he was helped.
About two weeks into our initial discussions about the project, Cregger phoned me and asked, “What would you think about taking on the role of director for this movie?” Hancock revealed to The Hollywood Reporter. Unbeknownst to me, he had secretly approached BoulderLight and Vertigo for their approval prior to our conversation. They agreed, and the decision was mine if I was willing to take on the task.
It came as a shock that Hancock didn’t jump at the chance for a career transformation he’d long desired. Instead, he paused to reflect, much like he did during the pandemic, by taking another glance in the mirror.
Hancock reflects, “It likely took me two days to understand that, which was two days too many. After hesitating back and forth, I finally acknowledged that my hesitation stemmed from fear. However, after two days, I thought to myself, ‘What am I even talking about? Opportunities like this don’t come often, you fool!’ So, I phoned Zach and said, ‘I apologize for the delay in figuring things out, but yes, please, I’d be honored to direct this film.’
This suspenseful story revolves around the tranquil duo of Iris (Sophie Thatcher) and Josh (Jack Quiad), during their weekend with his friends. However, contrary to appearances, Iris is a robot companion, and events take an unexpected turn as Josh’s hidden personality emerges.
The movie features a flashback sequence showing the day Iris, delivered by Empathix Robotics to Josh’s apartment, an event that coincides with Goo Goo Dolls’ famous song “Iris” playing. This suggests that Josh may have named his robot after this song. Although Hancock doesn’t explicitly confirm it, he acknowledges that the song is also a tribute to Meg Ryan, who starred in Quaid’s 1998 movie “City of Angels,” where “Iris” was initially composed for the soundtrack.
Similar to ‘Companion’, the movie ‘City of Angels’ is produced by Warner Bros., making it an intriguing selection with multiple layers. That’s why I prefer not to define a specific reason for her name being Iris, as there might be various reasons behind it,” Hancock explains.
Regarding the future of Companion, Hancock has no plans to continue the narrative, an exception in today’s entertainment industry. (After his interview with THR, it was disclosed that he’s been busy writing a remake of Robert Rodriguez’s 1998 sci-fi horror film The Faculty.)
Warner Bros. isn’t allowing me to write my sequel for Companion. From what I can tell, the story has already been told in the movie, and that’s as far as I plan to go with it,” says Hancock.
In their latest chat with THR, Hancock mentioned an appealing guest appearance he attempted to arrange.
***
Well, thank you for taking time away from the filmography of Willa Fitzgerald to be here today.
(Chuckles.) It seems like you’ve caught up with the latest from IndieWire. The actress in “Strange Darling” left me utterly astonished with her performance. Simply put, it was phenomenal!
Have you watched the first season of the show ‘Reacher’, featuring both Alan Ritchson, who used to act in ‘Blue Mountain State’, and another actress?
I actually have not seen Reacher yet, so I’ll add that to the list of things I need to watch.
Was there news last year about a possible spin-off of the TV show, Blue Mountain State, being pitched in Hollywood circles? Are you connected to this project in any way?
I’m still on good terms with Chris Romano and Eric Falconer, the co-creators, and should they decide to make the show again, I would be thrilled to rejoin. That was my initial writing assignment, and I have a special connection to both the content and them. Therefore, I’d welcome any opportunity to contribute, whether it’s consulting, directing an episode, or even writing one as a freelancer if my schedule doesn’t permit. Frankly, I adore that show, and it would be shortsighted not to return. It was undoubtedly the most enjoyable project I’ve ever worked on in terms of camaraderie. Essentially, I spent countless hours brainstorming outrageous ideas with my friends.
You’ve created Blue Mountain State alongside other sitcoms, and although Companion is undeniably humorous, it represents a significant shift in comparison to your past projects. Was this an attempt to redefine or evolve your creative identity to some extent?
This new direction in my writing isn’t about starting anew; it’s more like discovering the style I’ve yearned to express all along. It’s about redefining my professional path. It’s about acknowledging that I wasn’t fully expressing myself in my previous work. I’ve always been deeply passionate about genres and movies, but truth be told, I haven’t been a regular TV viewer. However, I entered the television industry initially because it offered stable income. My agent at the time encouraged me to venture into TV, and I found myself living from paycheck to paycheck. Despite enjoying a comfortable life and having fun, creatively, I wasn’t satisfied, which was my own doing.
Reflection on a global pandemic prompted me to scrutinize my career progression and question, “Are you content with your current professional standing? Why aren’t you securing the job prospects that truly excite you? You keep missing out on desired opportunities. Despite persistently working in YA, sitcoms, and comedy, nobody is approaching you for genre projects, which are your true passion.” Thus, Companion emerged from this introspection. It was about me taking a seat and declaring, “Write something that appeals to you.” I dislike the term “brand representation,” as it sounds buzzworthy and slightly nauseating. However, it accurately describes the situation. At that time, I lacked any work that truly reflected me, and this was my opportunity to take action. Four years later, here we are, having this conversation.
When did the “unhinged creators” of Barbarian get involved?
(Chuckles.) They arrived quite early in the process, truth be told. I navigated through numerous rough drafts of the script and made multiple revisions. Once satisfied, I shared it with trusted individuals, eventually reaching a point where I thought, “Alright, I’m ready to present this to producers.” J.D. Lifshitz was at the forefront of my mind due to his connection as a friend of a friend. At that time, his company, BoulderLight, was gaining recognition with the film “Barbarian,” so I immediately sent it to him on the very day I penned the final “the end.” Within 24 hours, J.D. had read it, and BoulderLight agreed to produce the movie. Then they forwarded it to Roy Lee within 48 hours of my finishing the script, who joined the project. Lastly, it was sent to Zach Cregger, and in a week’s time, I had secured four producers for the film.
As a humble writer, I initially aimed for a simple writing exercise, never dreaming that it would lead us to this extraordinary conversation about the creation and unveiling of the movie. It’s absolutely mind-blowing to transition from “This is just a writing sample” to “Wow, this is going to be released, marking my directorial debut!” Such a surreal journey indeed!
Was there discussion about Zach Cregger producing a film as a sequel to Barbarian, but instead, he chose to support you for your first feature-length directorial project. Could you share how that arrangement transpired?
Initially, Zach was set to become the director of ‘Companion’, but during the refining phase, we had several discussions. I felt quite protective about the project and probed him with questions like, “How would you approach this scene? How would you handle that scene?” I believe he recognized my enthusiasm for the project and my perspective as a potential director. This led Zach to understand that perhaps he would be better off serving as a producer and guide for me throughout the process. This decision was entirely his own, without any prompting from me. Instead of suggesting him to step aside and let me direct, I simply believed such a move could negatively impact the film.
After a fortnight of getting acquainted and discussing our project, he unexpectedly phoned me with an offer that left me taken aback: “What do you think about taking the director’s chair for this film?” It turned out he had secretly discussed it with BoulderLight and Vertigo, securing their approval. With their blessing, it was now my decision to make. It took me a couple of days to grasp the situation, which I realized was two days too many. Initially, I grappled with apprehension stemming from fear, questioning whether I had the skills to see this project through. However, after some reflection, I thought to myself, “When does such an opportunity present itself? I can’t let this pass me by!” So, I called Zach back and confessed, “I apologize for my delay in decision-making, but yes, I’d be thrilled to direct this movie. Let’s make it happen.
Was the reason you were moved quickly into production to complete the project ahead of the potential actors’ strike, which was expected around mid-July of 2023?
The rapid success of the project was largely due to good fortune, as BoulderLight had recently inked a first-look deal with New Line, and shortly after, secured the project for Companion. With AI robot films becoming the trend following the release of M3GAN, this swiftly positioned our project as an anticipated production. Consequently, it quickly gained recognition as a go-ahead film, a fact not lost on me. I am deeply appreciative, especially considering the struggles some experience during development and the lengthy process of making a movie. However, the strike occurred halfway through production, causing us to halt shooting and resume five months later to complete it.
It was enjoyable watching Companion with no prior knowledge, but since I’m a former marketer, I comprehend the importance of trailers to create intrigue and reveal a secret. Still, if given a choice, wouldn’t it have been more impactful to unveil the robot during the actual viewing instead?
As a game enthusiast, I often ponder about immersing myself in a realm where every soul experiences movies for the first time, free from prior knowledge. Yet, I acknowledge the clamor and saturation of content today. With countless streaming options, choosing a movie could easily become a Friday night’s endless quest. Hence, revealing the film’s title is necessary to grab attention.
Reminiscing about the Beyond Fest screening where everyone entered blind, the collective excitement upon revelation was nothing short of euphoric. I wish I could capture that moment and relive it forever. Alas, that time has passed, and I can only cherish the memory.
At the eight-minute point, Iris’ reflection in the mirror sparked a thought within me. The struggle she had in smiling brought to mind the same problem Arnold’s T-800 character faced in the movie “Terminator 2.”
It hadn’t crossed my mind until just now, but there are hints of both the “Terminator” and “Terminator 2” films, fantastic movies in their own right. I made an attempt to have Linda Hamilton voice Josh’s autonomous vehicle, but it turned out to be quite a challenge. Having her would have been a delightful finishing touch. However, you are the one who first brought those connections to my attention.
Previously, Sophie Thatcher portrayed a character with a cybernetic limb on “The Book of Boba Fett”. The depiction of Iris’ robotic arm being fully revealed in your artwork bears a strong resemblance to this. Was it coincidence, or did this similarity potentially catch the attention of casting directors, propelling Sophie Thatcher further in her career?
In my initial understanding, she hadn’t portrayed that particular role, and by the time I spotted a picture of her wearing a robotic arm, we had progressed quite far in the production process. My immediate reaction was something along the lines of, “Oh dear, can we still proceed with this?” It turned out I had mistakenly believed she was an android in that part, not realizing she was actually a human with a prosthetic arm. However, Sophie’s performance could have been the subject of an interview on its own. To clarify, we auditioned approximately 300 candidates for the role of Iris, and despite conducting 10 to 12 chemistry readings with Jack, we hadn’t found a suitable fit yet.
Initially, I assumed that casting Iris would be simpler and Josh would be more challenging. I didn’t expect it would be straightforward to find an actor who’d be willing to portray such a complex masculine character with negative traits. However, Jack Quaid came across the script and expressed interest in the role. Before we even began the audition process, I met with him, and he said he was captivated by the script and wanted to play Josh. This made my decision effortless, as he embodied everything I envisioned for that part. He’s attractive yet endearing, which makes it easy to like him initially but then question your loyalties as the story progresses. It turned out to be a fascinating conundrum that we needed to solve for his character.
However, the Iris role proved to be exceptionally challenging, as I hadn’t initially grasped that it encompassed two distinct personas. In the initial segment, she portrays a timid, wilting violet type who needs to appear submissive and passive. Yet, in an unexpected twist, she transforms into a strong, assertive character, standing up against Josh, which was not convincingly delivered by many actors during that part. Conversely, there were performers who excelled at portraying the empowered badass but struggled to convincingly embody the passive, docile character during the earlier scenes.
After conducting a chemistry reading with Jack and Sophie, it was instantly clear to us. It’s like a common trope from movies, but as soon as she spoke her first line, my heart began to flutter uncontrollably. I thought, “Oh my goodness, this is Iris.” However, the thought of losing her crossed my mind immediately: “Now that we’ve finally found our ideal Iris, how on earth are we going to let her go? This feels destined.” Being a rather pessimistic person, I was relieved when everything worked out in the end. Fortunately, she agreed to be part of the movie, and she was simply remarkable on screen.
Did Jack’s villainous role in Scream 2022 remind you at all of Sophie and Boba Fett, causing you to wonder about their characters as well?
Indeed, there was a touch of uncertainty initially. You desired the character to be novel and distinct, something he hadn’t played before. Entering our initial meeting, I anticipated things wouldn’t pan out, but his exceptional aptitude for portraying Josh is exactly why he landed the role. It’s because he brought this endearing boyish charm to the table, and from that moment on, I couldn’t help but envision him as Josh. Regrettably, “Scream 5” had already introduced the concept of a villainous role for Jack, denying Josh the opportunity to be his first taste of such a character.
When Iris arrives at Josh’s house, he is playing the song “Iris” by Goo Goo Dolls on his speakers. Is it possible that he named her after this song, his favorite from the band? Or did he choose a pre-named robot and decide to greet her in the most cheesy manner imaginable?
I’d rather not provide the solution directly. Instead, I encourage others to think creatively and share their own ideas. However, if pressed, there is indeed a clear-cut response.
It seems likely that Josh was the one who gave Iris her name, as Woody Fu had to check it on his tablet since he didn’t remember it by heart.
I like that theory. It’s a good theory.
I thought this question would be a big hit. I wasn’t expecting a coy answer.
The reason for this is that it’s an enjoyable hidden detail, or “Easter egg.” Many may not realize that the song’s name is “Iris,” and I find it fascinating that it shares a link with Jack’s mother, Meg Ryan.
As a child, I watched the movie “City of Angels” in the cinema, and it’s hard to believe I didn’t make the connection earlier. The song “Iris” was actually written for the soundtrack of “City of Angels.
Indeed, for those unaware, Jack Quaid’s mother, Meg Ryan, was featured in the film “City of Angels,” similar to the movie “Companion.” Notably, both are productions by Warner Bros., making this selection somewhat symbolic and multifaceted. Consequently, I’m hesitant to provide a single explanation for her character being named Iris, as there could be several reasons behind it that add depth and significance to the choice.
In the midst of Iris’ impassioned plea, Josh unexpectedly tells her to sleep. Later, she is awakened and picks up right where she left off. Did Sophie’s skill on that particular day leave quite an impression on you?
I found the scene truly impactful, and it seemed like Sophie felt the same way. She was particularly troubled by this scene due to its numerous emotional transitions, to the point where she nearly decided against taking part in the movie because of it. The script might have been simple to write, but executing it on screen proved challenging. However, the most heartening praise came from Sophie herself, as she not only enjoys the film but adores her performance in that specific scene. I had doubts about whether she could pull it off, yet I was confident in her abilities. Despite her reservations, she doubted her own talent for the role. But she knocked it out of the park, and despite various issues with lighting that day – including a major rainstorm causing ruined takes due to sudden darkness – she consistently managed to find the necessary energy when we had to revisit the scene.
You thanked her Boogeyman director Rob Savage. What contribution did he make?
Rob Savage was in the midst of the casting process when I spoke with him via Zoom for a potential collaboration. He shared his experience from working on ‘Boogeyman’, where an actor dropped out at the last minute, which he initially thought could only be replaced by that specific actor. However, Sophie ended up doing a superior job and filled the role perfectly. Savage used this story to reassure me about casting choices, saying “You never know who the right person is going to be.” This comment, along with his positive feedback during a friends-and-family screening, played a significant role in our project, as I ended up suggesting Sophie to many others following our conversation. Thus, we acknowledge Rob Savage’s contribution for introducing us to Sophie.
Is Josh capable of managing Iris through an app on his phone, which also has a smartness gauge? According to the trailer, Iris reaches 100 percent in this meter. Are you suggesting that you equated 100 percent with Ivy League education level merely because it would be challenging to depict or achieve maximum intelligence in writing and acting?
I tried to maintain a similar structure and flow while making the sentence easier to read and understand.
I didn’t prefer the role of the 2014 film character Lucy. The story wasn’t about a robot gaining immense power only to learn kung fu and defeat everyone. Instead, Iris’s journey is designed for audiences to connect with on a human level, focusing on her self-empowerment. The portrayal of Ivy League-level intelligence was intended to signal that she wouldn’t transform into Lucy; rather, she would simply become the smartest version of herself. More crucially, she would perceive the world differently, not as an automaton or someone always considering Josh’s desires first. At full capacity, she could start seeing the world from a human perspective, acknowledging her role in it.
In the following sequence, we see her standing on the brink of a cliff, pondering her way out, demonstrating human-like decision-making skills instead of processing countless possibilities at an astronomical rate like a quantum computer. This is to make her character more relatable and mirror someone exiting a harmful relationship, which is essentially the central theme of this movie. Her newfound intelligence signifies her self-awareness that she’s in a toxic relationship and needs to break free from it. This realization serves as the most crucial learning moment for her in the film.
How deep did you dive into Iris’ maker, Empathix?
I didn’t delve too deeply into the research. It’s common for writers to become overly fascinated with the research process and end up explaining unnecessary details. I compared Empathix to Apple, a tech company that ventured into robotics. The actor who portrayed the robot deliverer, Mateo, was Woody Fu, and he stood out because his audition was unlike those of other candidates. They played the character as creepy, almost like a pimp, and it was overtly sexual, which I found uncomfortable. This is not how I see that character; to me, he’s more like a salesperson who feels embarrassed when his family mocks him for selling emotional support robots on Thanksgiving. So, I had to keep reminding Woody, “It’s more about the Verizon store energy. He goes home for Thanksgiving and his family makes fun of him, but he defends the robots, saying they do more than just have sex. They provide emotional support and enrich people’s lives.” This is as much of the backstory I wanted to develop for Empathix, and it was interesting to think about this perspective.
This technology currently exists in its early stages, destined to integrate into our society at some point. My intention has never been to pass judgment on anyone who relies on robots for emotional comfort. I don’t want to criticize those who view robots like Josh does, as merely a source of pleasure or toy, but the movie also highlights the beneficial aspects this technology could offer.
Or:
Although still in its infantile stages, this technology will eventually become part of our societal fabric. I’ve always been mindful not to judge those who seek emotional solace from robots. Characters like Josh may perceive robots such as Iris as mere playthings or sex bots, but the film presents a more positive perspective on what this technology could achieve.
Or:
This technology is currently in its early stages and will eventually become part of our society. I’ve never wanted to judge those who rely on robots for emotional support, including characters like Josh who view robots like Iris as sex toys or playthings. However, the movie also shows us a more positive side of this technology that could potentially be beneficial.
In social media, there’s a plethora of screenwriting advice, and one piece I came across lately discussed captivating readers from the get-go, using Knives Out as an illustration. Did you manage to include the “day I killed him” line from the trailer on your opening page?
Social media is brimming with screenwriting guidance, and one tip I recently encountered emphasized hooking the reader within the first page. Was it possible for you to incorporate the “day I killed him” line from the trailer in your initial page?
Lastly:
There’s a lot of screenwriting advice on social media, and one piece that caught my attention talked about grabbing readers’ attention right off the bat, using Knives Out as a reference. Could you fit the “day I killed him” line from the trailer onto your opening page?
On page two, I intentionally placed it there because I wanted to set the stage for approximately 20 pages of background information and build-up. I knew the story would begin gradually, but once the climactic reveal occurs, it’s full steam ahead. However, you never know if your script might get discarded. With countless screenplays to go through, there are numerous possibilities for yours to end up in the trash. To entice readers, I wanted to offer a tantalizing glimpse into what’s to come. It’s an engaging way to introduce the movie and its eerie, unsettling alternate reality. Additionally, it hints at the violence that lies ahead. So, hang in there – it will be worth your time. In essence, I structured it this way to keep readers engaged and eager to continue.
[The answer below contains spoilers for the end of Companion.]
If you were asked, could you pitch a sequel tomorrow?
Warner Bros. seems hesitant about me writing my sequel, which would depict Iris hitching a ride on the side of the road and removing her tracking device. The story then unfolds with her purchasing a farm anonymously and living a peaceful life filled with gardening and sunset watching. This doesn’t seem to be the direction Warner Bros. wishes to take for the sequel. However, I’m willing to incorporate elements of films like “Terminator 2” or “Aliens,” where the world is developed and expanded upon, but I believe the essence of the “Companion” story lies in this movie alone, and that’s as far as I wish to extend it.
It’s refreshing to hear a director say that for a change.
Heading to a future article in The Hollywood Reporter: “Drew Hancock Joins the Cast of ‘Companion 2’ for a whopping $5 Million” (Chuckles).
***
Companion is now playing in movie theaters.
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2025-01-31 01:57