Barry Munday (Patrick Wilson) is a man on the move with a reputation for hitting on any female within a two foot radius, regardless of age. After being attacked by a young girl’s father in a movie theatre, he wakes up in a hospital bed and to his horror, his balls have been smashed and removed. To make matters worse, he learns that he’s facing a paternity lawsuit filed by a woman he can’t even remember sleeping with, Ginger (Judy Greer), a nerd and a lunatic. Based on the novel and both adapted and directed by Chris D’arienzo this bizarre romantic comedy is currently in select theaters nationwide. We recently had the opportunity to sit down with Greer and Wilson to chat about their involvement with the film.
Check out the interviews below..
What drew you both to the project?
Judy Greer: Money! All the money I got paid! Ha..I got paid nothing. I read the script and loved the character, the story. Chris and I were supposed to have coffee but we ended eating too. It was super fun, and I remember thinking I didn’t pitch myself enough!
Patrick Wilson: I got the script sent to me and I thought it was really bizarre and weird, but I felt like I’d seen every attempt at a romantic comedy and I’d never read anything quite like that. Immediately I was both terrified and excited, because I thought, “Do I need to do a movie about a guy who gets his testicles removed?” Then about five minutes on the phone with Chris and we hit it off, I thought there was really an opportunity – not just selfishly to do a comedy because I don’t get to do a lot of those, but to make a real character and have fun. To stretch out and do things you don’t normally get to do.
Both Barry and Ginger are outrageous characters – I imagine they were very fun to play…
PW: You sort of feel like, “Where do these characters come from!?” They started in a book, Chris takes it from there, and they’re always sort of growing. That’s sort of the fun, actually. When you’re around creative people who want to keep mining the field. With a comedy you have to be so specific, you have to find out what works for you – luckily, we (Greer and I) had chemistry together. We had fun playing.
JG: I think Patrick formed my character so much – playing Ginger against another actor would’ve made her SO different. Our chemistry and what we each found funny.
At the same time, though, they both have very tragic sides to them..
PW: Yeah, Barry hit on all these ladies before he got in this accident, hitting on a young girl – all that doesn’t seem funny to me at all. It’s creepy and weird. He was really lonely.
JG: I think what I learned about Ginger while playing her is that she pushed people away to such an extreme. She couldn’t get anyone to pay attention to her, she didn’t feel like she deserved anyone until she had a real reason – a baby. You can’t argue with a baby. That part was heartbreaking. But try as she might, she couldn’t get rid of Barry Munday – it was the trust and devotion that made her fall in love with him. He didn’t ever ask her to change.
You both have a vast amount of theatre training – did it come in handy on set? Especially, for intense character acting?
JG: When I first started in this business coming out of theatre school all I did was TV and film. To train really intensely for four years and then you’re, like, “You guys spend millions of dollars on a movie and you don’t rehearse or do a read through?” I think that the rehearsal that you get before you do a play is so important. It’s training that gets you through a hard day on set – like in your personal life when something is going wrong and you have to go to work for happy comedy day. I’ve worked with a lot of people who haven’t gone through training at all, and when it’s great it’s great – but there are days when they don’t know how to recreate something, they don’t know why their good. There are tools you can fall back on if you can’t feel it emotionally that day.
PW: With theatre it’s a process – about the work that’s right here, it’s very present. You should use more of what you train in theatre school for in film than you actually do. Those exercises you do in theatre school should be used by every actor on a set. In film you really have to think, “Where am I? What am I doing?” – that’s your freshmen year acting class.
Catch these two in Barry Munday, playing in select theaters now!