They couldn’t stop talking, even before the cameras for ‘Poetic License’ were rolling

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During a group interview on Zoom, Andrew Barth Feldman visibly beams or exhibits noticeable excitement upon the appearance of actor Cooper Hoffman.

“Oh my God,” Feldman exclaims. “Look at the buzz!”

Ever since my buddy, who’s been living it up in New York City, came back from Italy after filming a part in Luca Guadagnino’s next big flick about OpenAI – that innovative AI company – I’ve missed our movie nights together. He’s got this new, sharp, dark buzz cut that suits him well, but it’s his absence I’ve noticed more.

Straightaway, they begin a lively, rapid-fire exchange, tossing around ideas playfully, making witty remarks and completing each other’s thoughts. This interaction resembles the continuous banter characteristic of their duo in the film “Poetic License,” which is having its first public showing at the Toronto International Film Festival tonight.

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The event previously recognized as “The Festival of Festivals” continues to be an essential destination on the calendar for the unveiling of international works during the award season.

Maude Apatow’s debut directorial venture is centered around a movie, famously recognized for her role on “Euphoria” TV series. In this film, Apatow’s mom, Leslie Mann, plays Liz – a lady who has relocated to a university town because her spouse (Cliff “Method Man” Smith) became part of the faculty there. As Liz attends a poetry class, she crosses paths with Ari (Hoffman) and Sam (Feldman), two peculiar but endearing characters who both vie for her affection and interest following their initial encounter.

The movie, penned by Raffi Donatich, marks Jewelbox Pictures’ first production – a company co-founded by Judd Apatow and his friend Olivia Rosenbloom. Currently, it’s showcased in the festival without a distribution deal yet. Interestingly, Apatow himself, who is also Raffi’s father, serves as a producer for this debut film.

Through an email conversation, Maude Apatow discussed the difficulty of locating two actors who weren’t just capable of portraying their individual characters, but also of encapsulating the swift and lively relationship dynamics between them.

The success of the movie largely depends on the relationship between Ari and Sam, so I placed great emphasis on finding the ideal pairing,” Apatow explained at 27. “After auditioning numerous other actors, Andrew and Cooper stood out as the top contenders… they had a spark.

22-year-old Hoffman, son of the late actor Philip Seymour Hoffman and director-producer Mimi O’Donnell, made his initial mark with his leading part in Paul Thomas Anderson’s 2021 film “Licorice Pizza.” He will also appear in the upcoming Stephen King adaptation “The Long Walk,” set to debut next week, and he takes on a role in Gregg Araki’s forthcoming production titled “I Want Your Sex.

Feldman, who was just 16 years old, took the lead role in “Dear Evan Hansen” on Broadway when he was barely older than the teenage character himself. Additionally, at 23, he shared the screen with Jennifer Lawrence in the 2023 comedy “No Hard Feelings.” His captivating performance of Hall & Oates’ hit ‘Maneater’ from the ’80s in the movie has garnered over 18 million views on YouTube.

On Labor Day, I had a chat with two performers. The next day, Feldman started his nine-week stint in the Tony Award-winning musical “Perhaps A Happy Ending.” Despite playing a robot, his casting – filling in for half-Filipino actor Darren Criss – stirred discussions and debates regarding Asian representation on Broadway.

Feldman expressed that this period, more so than any other in his life, has left him feeling particularly exposed. He has a lot he wants to share, and for now, he sees the show as his primary platform. He’s voicing everything he feels, every belief he holds, and he’s investing all his emotions into the program itself. He’s grateful for the dialogue that’s arisen, and he believes his participation in this discourse is through the show.

He mentions they’ll explore the topic further in the future, but for now, he’s eager to discuss “Poetic License” instead. Delving into this subject now might not do justice to the conversation, and he feels it’s not his role to sway opinions. Instead, his aim is to elevate this beautiful story as best as he can. Everything he wants to express at this moment is already in the show, and the production encompasses all that needs to be said for now.

Over the weekend, Feldman won’t be able to attend three show performances as he’ll be in Toronto for the initial showing of “Poetic License.

Did the two of you meet making Jason Reitman’s “Saturday Night?”

Andrew Barth Feldman: Boy, did we.

Cooper Hoffman: We also got this job [“Poetic License”] on “Saturday Night.”

Feldman: Allow me to share an interesting tale. We’ve been eagerly waiting to tell it for quite some time now. The events unfolded as follows: During our time on “Saturday Night,” we quickly formed a strong bond, which still endures today and involves many individuals who continue to play significant roles in both of our lives. However, our friendship developed immediately.

In the same project, Cooper and I were both filming, and we both adored the script. Interestingly, everyone on set was shooting for the same reasons at all times. Then, my agent contacted me to arrange a chemistry reading with Cooper, as it would be more convenient if we did it simultaneously over Zoom. As it turned out, Cooper was planning to visit me at Dylan O’Brien’s Airbnb. I had already arrived, and Cooper was on his way. So I phoned him to inform him about the chemistry reading, which he discovered through me. And that’s how we found out that we would be reading together. Both of us were hopeful, believing that our unique dynamic would secure the job for us. And indeed, that’s exactly what happened.

Indeed, it turned out that way. In our production, Dylan O’Brien was cast as Leslie Mann’s character, who went by the name Liz.

Feldman: He was really good. I was kind of hoping he would do it.

Why do you think the two of you just clicked like this?

As a cinephile, I’d put it this way: There’s something deeply intriguing about our connection, as if fate brought us together. We both experienced the pain of losing parents at an early age, which might have created a unique bond of vulnerability between us that we don’t share with everyone else. Yet, the honesty and sync we share feels like a rare cosmic event – a one-of-a-kind rhythm that makes our relationship seem almost otherworldly.

Absolutely, I concur wholeheartedly. Making this film was somewhat peculiar since we had to portray best friends on screen, which involved us getting to know each other better. Andrew was an individual I found easy to open up to about various topics, and our conversations often steered away from the movie itself towards life experiences. To have worked alongside him on this project feels truly fortunate to me.

There’s a certain refreshing quality to your dynamic. In essence, the film could be described as a mature romance comedy that explores male friendships.

Hoffman: In my opinion, it surpasses anything we could describe. For me, the essence lies in a deep male friendship. A bond so strong, it’s almost as if they’re dating or even about to get married. Such a relationship, what does it yield? What unfolds when you depend on someone so profoundly?

Feldman: It seems to me that our past relationships were so close they could almost be considered romantic. While it might have been seen as taboo in the past due to societal expectations of masculinity, I believe this is less of a concern for our generation, especially for those pursuing artistic careers. In fact, I think these non-traditional male relationships, where vulnerability is welcomed, are something to be applauded. They can even serve as a healing force for young men today.

In addition to being a significant part of Sam and Ari’s relationship, it also became Cooper’s and mine. We simply couldn’t stop chatting, which is worth mentioning – we never paused our conversations, not even when action was called. We’d carry on talking until we were eventually pulled into the scene. Essentially, we aimed to portray as much reality as possible in the film, knowing that our relationship served as a foundation for the characters’ own relationships to thrive.

Hoffman: I had an idea that this conversation might turn out to be quite tedious, as it could seem like we’re merely exchanging compliments for some time. Perhaps it would have been better if we weren’t on the call together.

Feldman: This is our first interview about this.

As a cinephile diving into the world of filmmaking, I’ve always been curious about the dynamic between actors and directors. In regards to Maude, who graced both sides of the camera, I couldn’t help but ponder how her first time in the director’s chair would unfold, given her extensive background on movie sets. Having grown up surrounded by the cinematic world, one could speculate that she might bring a unique perspective to her debut as a feature director – a blend of veteran knowledge and innovative vision.

As a budding film critic: Working alongside Maude was an exhilarating experience, particularly during our improvised scenes and explorations. She played a pivotal role in pushing both of us to venture into uncharted territories that I might not have dared to explore on my own. After each take, we’d huddle together, brainstorming new ideas, bouncing thoughts off one another, and then rushing back to capture another brilliant moment. This collaborative process felt like a dynamic dance, a creative symphony that I hadn’t been given the freedom to fully immerse myself in until working with Maude. Despite our age difference being negligible, we approached this project as equals, fostering a unique and liberating environment for artistic growth.

Working with Maude was special because there was a sense of equality as we all navigated this project together. Maude’s natural talent as a director shone through, as she remained grounded and clear about her vision. However, she was also exceptionally open to suggestions, creating an environment where we could freely discuss our uncertainty and collaborate on solutions. This made for one of the most cooperative set experiences I’ve had, which was truly rewarding because Maude fostered such a conducive atmosphere for collaboration.

Hey Cooper, I was wondering if you perceived your character in this piece to be an extension of your work in “Licorice Pizza”? This character seems confident on the surface, but there’s a hidden struggle within. Did you personally feel that dynamic while playing the role?

Hoffman explains his viewpoint as follows: I disagree, and the reason being is that as an actor, there’s a genuine apprehension about repeating similar performances. I tend to instinctively react with a “no,” thinking this is a distinct individual we’re dealing with. Regarding Ari, I don’t believe he has acting skills in the traditional sense. I’ve always avoided portraying characters that way. Instead, I think Ari exudes immense self-confidence, similar to a duck gliding smoothly on the water while paddling furiously beneath the surface – which is how it feels for him.

Andrew, since you’ve got experience in musical theater and showcased your version of “Maneater” in “No Hard Feelings,” are people now frequently requesting a song from you in movies? Was there any talk about having you perform a number for this particular project?

Feldman: For a moment, there was an idea floated about me performing a song in this film. It seemed like I might have been chatting with Raffi at the beginning, and she suggested, “Wow, what if you really sang this tune?” To which I replied, “I’m afraid I can’t do another one just yet.” It’s not the right time, given it’s been too soon since “Maneater,” a piece that remains significant in my life currently. I want to let it have its moment.

What do you mean, that “Maneater” is still a big part of your life?

Feldman: People ask me to sing it all the time.

You: Could you explain yourself? I found it incredible. I saw it recently on an airplane, and it moved me to tears. Honestly, I shed tears. The scene particularly touched my heart, and the entire film is captivating for me.

Both sentences convey the same message, but the second version aims to sound more conversational and less formal, making it easier for readers to understand.

Dear Friends, I truly appreciate the time you’ve devoted. It’s hard to envision how this process would have gone if we had conducted individual interviews. Thank you!

Feldman: We wouldn’t have done it.

Instead of discussing other topics, I would’ve solely focused on Andrew during our conversation. By chance, if we had been in the same room together, this interview would have continued indefinitely. It would have been more like an engaging and lively interaction rather than just a formal discussion. It would have been quite an experience.

Feldman stated that during filming, they frequently discussed those significant moments where they would be interviewed together about the movie, as their portrayal of these two characters was a joint effort right from the start.

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2025-09-06 08:31