Chris Pine's "Poolman" Splashes into Toronto Festival, Director Absent in SAG-AFTRA Solidarity
Actor and director Chris Pine's initial foray into directing, a film titled "Poolman," is slated for its global premiere on Monday night at the Toronto Film Festival. However, Pine will not be attending the event, choosing to stay back in an act of solidarity with fellow actors currently involved in the SAG-AFTRA strike. Poolman's audiences will have its first opportunity to watch the film before it enters the market for buyers. The responsibility for domestic rights for the film is shared by CAA Media Finance and AGC, who funded the project.
Stacey Sher, the film's producer, asserts that the absence of Pine from the premiere is symbolic, mirroring the sentiments of the film's central character, Darren, portrayed by Pine himself. According to Sher, Pine, and by extension, Darren, would have stayed at the picket line during the ongoing struggle to ensure their colleagues stayed hydrated.
The plot for Poolman emerged from a lighthearted discussion over drinks with Patty Jenkins, director of Wonder Woman, who also co-produced the film with Chris. The idea for Darren, the film's protagonist, was conceived during this session and stayed afloat throughout the restraining phase of quarantine when Pine, alongside his production partner, Ian Gotler, began working on a script.
A story revolving around Darren Barrenman, a pool man dedicated to improving Los Angeles but ends up entangled with suspicious characters potentially damaging to the city, Poolman promises to be an exciting scene-setter for Pine's directorial debut. The film also draws inspiration from classics such as "Chinatown" and "The Long Goodbye," making it a fitting tribute to Los Angeles. Sher refers to the movie as "wildly optimistic" and a much-needed dose of positivity amidst challenging times like these.
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Pine has often been lauded as a dedicated craftsman, and "Poolman" appears to be an impressive display of his directorial skills. Drawing from his deep-seated appreciation for Los Angeles, Pine's offering is part homage, part love letter to his hometown. It's likely to resonate with viewers since, just like any good film, it's a reflection: and occasional critique: of its setting.
There’s an unmistakable charm in the narrative with Darren, as simple as it is complex. A man committed to improving his beloved city but finds himself entangled with the wicked - You ask me, it’s got Los Angeles written all over it. Now, this isn't just a story. This is Pine's own life force pulsating through every frame of the film, scrawled with nostalgia and odes to the city that raised him and the movies he grew up adoring.
And that subtle wit at every turn? Well, Pine might as well have written a handbook on “how to do dark comedy right.” Though, it does come as no surprise considering his creative process involved imbibing classics like "Chinatown." No wonder the writing feels as smooth as a well-aged Burgundy while remaining charmingly irreverent.
When Pine dons the director's chair, one question inevitably arises: Does the actor shine through the director, or is the other way round? It seems like Pine might have cracked the code. With “Poolman,” he manages to bring his actor's instincts and director's vision together in a harmonious marriage.
And let's be real, it’s not just about Pine. The star-studded crew behind him, Stacey Sher, and Patty Jenkins, lend their own distinctive touch to the film, which undoubtedly amplifies its charm.
As for the SAG-AFTRA strike, Pine’s solidarity with his fellow actors is a mark of his character. Sure, the film's premiere would’ve been a grander affair with him there. But hey, Darren wouldn’t have been at that premiere. Darren would’ve been at the picket lines having a laugh, throwing in an occasional wink. Like Pine said, just “follow the giggle.”
