In the world of cinema, where box office success is a crucial indicator of a film's viability, the journey of 'Good Luck, Have Fun, Don't Die' is a testament to the power of perseverance and artistic vision. This film, helmed by the acclaimed director Gore Verbinski, took eight years to transform from a concept to the big screen, and it's a story that highlights the importance of backing a filmmaker's vision, even when the odds are stacked against them. But here's where it gets controversial...
The film's journey began with a 26-page TV pilot called 'Don't Trust Anyone Under 30', written by Matthew Robinson, who co-directed 'The Invention of Lying'. The initial concept was a classroom scene where a literary major tried to connect with students over books, but it lacked the depth to sustain a TV series. So, Robinson expanded the idea, creating a 'Man of the Future' plotline with more vignettes. As time went on, the subject matter of AI became increasingly relevant and timely, and the project gained momentum.
However, it wasn't until producer Erwin Stoff thought of Verbinski that the film truly came to life. Stoff pitched Verbinski, and within two days, the filmmaker was enthusiastic about the project. Verbinski had a longstanding working relationship with producer Denise Chamian, and once Oscar winner Sam Rockwell was attached to star, the castings flowed with Juno Temple, Haley Lu Richardson, Michael Peña, and Zazie Beetz joining the crew.
Constantin bankrolled the movie for around $20M net, and the film was shot in South Africa due to lower below-the-line costs. The Norms diner was re-created in Cape Town, and once Verbinski boarded the project, it was a three-year journey to the screen. CAA Media Finance and Gersh held screenings for buyers, and it was Tom Ortenberg's Briarcliff Entertainment that stepped up to the plate, known for propelling 'The Apprentice' to two Oscar nominations.
The marketing campaign leaned into the hipster Gilliam stylings of yore, with the one-sheet of 'Good Luck, Have Fun, Don't Die' paying homage to the Monty Python alum's animation and 'Brazil'. The multi-Clio-winning AV Squad was a big partner in creating the campaign under Briarcliff marketing boss David Edwards. Key art designers Kiera Maloney, Ben Garriga, and Brian Lauzon at AV Print worked on three posters, respectively, with the chief among them being the wired headdress of Rockwell.
The film's campaign leaned into the avant-garde with myriad creative pranks and stunts, including a plane and banner flying over Silicon Valley reading 'Hire Human Beings #GoodLuckHaveFunDon’tDie'. Another entailed a 2,000-ticket giveaway to those who lost their jobs recently to AI. For the Monday night L.A. premiere, Norms was re-created with a banger party complete with klieg lights and a guest DJ set by The Crystal Method, who Verbinski once shot a music video for.
In the end, the movie, which is arguably Briarcliff's most all-in promo-wise since 'The Apprentice', could represent an opening record for the indie distributor over four days. Said Stoff, 'Thank God financiers like Constantin exist, because that's what makes it possible to make these types of films, and it takes this kind of determination to make movies like this and show theatrically.'
And this is the part most people miss... The film's journey highlights the importance of backing a filmmaker's vision, even when the odds are stacked against them. It's a reminder that in the world of cinema, where box office success is a crucial indicator of a film's viability, the power of perseverance and artistic vision can overcome even the most daunting challenges.
