Chris Pine Dives into Directing with 'Poolman', Skips Premiere for SAG-AFTRA Strike

Chris Pine, best known for his commendable acting performances, is stepping behind the camera for the first time as a director for the film, 'Poolman'. The world premiere is set to take place on Monday at the prestigious Toronto Film Festival, however, Pine himself will not grace the event as a mark of support for his fellow actors amid the ongoing SAG-AFTRA strike. Poolman's producer, Stacey Sher, interestingly adds, Pine's decision to back the strike is something even the lead character of his film, Darren, would have done.

The film, set to screen for festival-goers prior to entering the market for buyers is a love letter from Pine to his city of Los Angeles, and is a product of the Covid-19 quarantine period. Pine, in a previous interview, claimed that the journey of Poolman began over drinks with Patty Jenkins, director of 'Wonder Woman' (who also co-produced Poolman), her husband, and with Pine's co-producer, Ian Gotler.

Poolman operates as a quintessential Los Angeles story, centering on Darren Barrenman, a pool man who finds himself interacting with suspicious characters while trying to improve his beloved city. The film pays tribute to classics like 'Chinatown' and 'The Long Goodbye' while maintaining the irreverence of 'The Big Lebowski' and the charm of 'Bottle Rocket'.

Pine's directorial debut has been seen as a significant development by Sher who has previously helped actors like Zach Braff and Ben Stiller transition into the world of directing. Sher praised Pine's exactness in execution of his vision and his immersive approach to all aspects of the filmmaking process.

Finally, Sher notes that while the film contains little tributes to other cinematic works that inspired Pine like 'Chinatown' and 'Big Lebowski', it primarily operates as Pine's heartfelt ode to Los Angeles, a city which, despite its many faults, he passionately loves.

Transitioning now to personal commentary, let's just say that Poolman's splash isn't a belly flop into the realm of directorial debuts. Pine's dive behind the camera promises a well-executed and thoughtful plunge. And interestingly, his strike-led absence from the film's premiere doesn't dilute the excitement: it rather amplifies it with a touch of rebellious gravitas.

Pine's decision to create a love letter to L.A., his quarantine-born brainchild, signals the commitment of an artist to his city: especially one that cinema loves to celebrate and critique in equal parts. This intimate relationship flawlessly embedded in Poolman transforms the film from a mere noir comedy into a local folklore.

Sher's excitement regarding Pine's directorial debut is infectious. She ushers in an era where actors flex their creative muscles beyond performance, showcasing their understanding of their craft from various perspectives.

Poolman rejoices in unique spirit animals: Erin Brockovich and Bruce Lee: a fascinating pairing, encapsulating a peculiar sentimental nostalgia, something Pine himself (not just his protagonist, Darren) is guilty of according to Sher. This slice-of-life tale doesn't exclusively belong to L.A.; it could be any town's story, an ode to the unsung hard work of dreamers not always blessed with a fairytale ending.

In conclusion, keep your swimwear ready, Poolman promises to be a journey worth diving into: and a credit to Pine's evolution from an actor to a filmmaker. And for those of us who are smitten with this city of angels, it feels as though we've just received a heartfelt postcard from Chris Pine. Now that's a Hollywood collectible waiting to be cherished.