James L. Brooks clearly cares deeply about the people in his stories, and it’s likely you’ve grown to love them too. Think of Mary Richards from “The Mary Tyler Moore Show,” Aurora Greenway as played by Shirley MacLaine in “Terms of Endearment,” or Holly Hunter’s anxious but relatable news producer, Jane Craig, from “Broadcast News” – you might even remember Jane having her daily morning cry.
Mel Brooks is a celebrated writer, director, and producer with a remarkable career – he’s won three Oscars and over 20 Emmys! He’s known for a uniquely heartwarming style of storytelling, where flawed characters are both funny and deeply relatable, ultimately proving to be strong and touching.
The filmmaker’s new movie, “Ella McCay,” which arrives in theaters December 12th after a 15-year hiatus, clearly showcases his distinctive style. While he deeply cares for his characters and pays close attention to every aspect of their world, he does disagree with one particular interpretation.
At 85, Brooks says he’s been thinking critically about the meaning of ‘love.’ He explains he prefers to understand people for who they truly are and be genuine with them, acknowledging that most people have imperfections.
“Ella McCay” is a political comedy taking place in an unnamed American state during 2008. The story centers on Ella (Emma Mackey), who unexpectedly becomes governor when the current governor (Albert Brooks) is appointed to a federal position. She quickly finds herself dealing with a minor scandal involving her husband (Jack Lowden), as well as the concerns of her overbearing aunt (Jamie Lee Curtis) and her brother who rarely leaves the house (Spike Fearn). The film also stars Woody Harrelson, Kumail Nanjiani, Ayo Edebiri, and Rebecca Hall.
We met with Brooks in a comfortable chair inside the charming bungalow that has been home to his production company, Gracie Films, on the Fox studio lot for many years. His office is filled with keepsakes from his films, alongside photos of classic Hollywood stars—including a signed picture from George Burns and a portrait of Clark Gable and Marilyn Monroe from the movie “The Misfits.” A side table was covered with various awards, though he keeps his Oscars at home in a closet.
Even after almost 40 years, James L. Brooks remains deeply involved with “The Simpsons,” participating in script read-throughs and providing feedback. He explains that what motivates him to continue working on the show, despite having the option to retire, is the simple joy of contributing to the comedy. He jokes that it’s more rewarding – and keeps him more grounded – than going to the gym.
Brooks’ 2010 film, “How Do You Know,” wasn’t well-received by critics or audiences initially, but it has since gained a small, loyal following. One scene, set in a hospital room with Reese Witherspoon, Paul Rudd, Jack Nicholson, and others, is a perfect example of modern screwball comedy. It’s been a considerable 15 years since the film’s release, no matter how you view it.
Brooks sounds frustrated when he says people keep telling him he hasn’t been productive. He insists he has been active and accomplished things.
He chuckles at the idea of needing to explain what he did with his time, saying, “I’ve become really good at defending myself in my music now.”
He says it took almost a year to recover from the poor reception of his movie “How Do You Know.” During that time, he produced three other films – “The Edge of Seventeen” (2016), “Icebox” (2018), and “Are You There God? It’s Me, Margaret” (2023) – and also started collecting ideas that would later become his film, “Ella McCay.”
He always starts by interviewing people – in this instance, individuals working in politics and government – and from those conversations, a screenplay eventually takes shape.
Brooks explains that the key to writing is to fully develop your story before you begin. He says, ‘You really need to obsess over the story itself.’ Starting without a clear narrative is risky. He admits to initially focusing on characters without a plot, filling pages with ideas, but eventually, the story emerged.
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As a movie fan, I’m already getting excited about the end of 2025! It looks like there’s going to be a ton of variety – everything from potential Oscar-winners like “Marty Supreme,” which stars Timothée Chalamet, to a completely new take on “Anaconda.” Seriously, there seems to be something for everyone coming out!
The main character, Ella, gradually came to life. She’s incredibly dedicated to her work, meticulously studying laws and becoming emotionally invested in them. For instance, she enthusiastically supports a free dental program for kids, believing a confident smile can improve a child’s chances of graduating. However, Ella dislikes the superficial networking that her previous boss excelled at. Although the story takes place in the political arena, it’s more about the character and her journey than just politics.
Brooks began exploring a career in politics, but realized it wasn’t the right fit for him. He notes that it is his partner’s profession, however.
He describes the character as a fixer, someone who naturally tries to improve things for others. Her hidden ability – and what motivates her – is making people’s lives better, which she keeps secret. He was inspired by an experience with a former governor and their partner, where a forgotten thank you in a speech, six years prior, still caused pain. That moment sparked the idea for this character’s drive.
Details within the story, like mentions of which states allowed medical marijuana during that period, help pinpoint the setting to just 12 potential locations. This includes Rhode Island, where a lot of the movie was filmed and where the state capitol building appears in many scenes.
This marks the first leading role in a major American film for 29-year-old actor Gemma Mackey, who gained recognition for her work on the Netflix series “Sex Education” and in popular films like “Barbie” and “Hot Milk.”
Mackey, speaking from the set of Greta Gerwig’s “Narnia: The Magician’s Nephew” in London, explains that she and the governor she portrays are very distinct. “We come from different backgrounds, and our ways of speaking and behaving are quite different,” she says.
I’ve always admired Jim’s ability to quickly spot weaknesses – you can’t really hide anything from him! Knowing that, I just pushed myself to be as bold and fearless as possible. He really wants you to explore every single possibility, to keep going until you’ve exhausted all options. Only then can you rest, and even then, it’s just for the night – we might revisit things tomorrow. It’s a constant push, a really demanding rhythm, but honestly, it’s amazing to be part of it. It keeps you sharp, constantly challenging and strengthening your skills.
The film’s narrator, Julie Kavner—known for her work with Mel Brooks and as the voice of Marge Simpson—plays Ella’s assistant and tells us the story takes place in 2008, which she describes as a simpler time when people were more agreeable. This was also the year Barack Obama was first elected president, a detail the film doesn’t directly address. It leaves us wondering if Brooks thinks there was genuinely more unity across political lines at the end of George W. Bush’s presidency.
He confirmed it was completely true, explaining that the forces dividing us are relatively new and actively trying to tear us apart.
One of the main storylines in the movie centers around Ella’s father, portrayed by Harrelson as a man who is both charming and clearly hiding something. He unexpectedly returns to her life after a long absence, with his own secret goals. Ella is then faced with the difficult decision of whether she can forgive him for the past hurts he caused her family.
Playing Brooks really made me think about my own dad, who wasn’t around growing up. It was a chance to explore those feelings and understand what it’s like to deal with abandonment as a kid, even through a character.
“It’s still gears shifting on it,” Brooks says of his feelings. He calls him a bad guy.
I witnessed the harm he caused everyone involved, and I admit I have a bit of a rebellious streak. Like many Hollywood endings, the idea of forgiving and moving forward resonates with me. True forgiveness requires something to forgive from – there needs to be an act that feels genuinely unforgivable for forgiveness to have meaning.
“That was really a driving thing in the writing of this,” Brooks says.
When Brooks thinks about his father, his cheerful mood noticeably changes, and he seems to fight back tears. He admits that making the film has helped him process some of his own anger towards his father, saying, “I feel like something has shifted inside me since working on this.” However, he adds that his father was a deeply flawed and selfish man who made many mistakes.
You know, a lot of filmmakers would’ve made their family drama the whole movie, like Spielberg did with “The Fabelmans.” But Brooks? He treats his own tough upbringing as more of a side story. The film really focuses on this woman’s struggles – both in her personal life and at work – and that’s where the heart of it is.
“This was plenty,” he says with a laugh, perking back up.
While this film marks a significant Hollywood debut for rising star Jermaine Fowler, it also benefits from excellent performances by Jamie Lee Curtis and Albert Brooks. Interestingly, James L. Brooks and Albert Brooks have a unique working relationship – they’ve directed each other in past projects, which is quite uncommon.
James L. Brooks had minor roles in several films directed by his brother, Albert Brooks, including “Real Life,” “Modern Romance,” and “Lost in America.” Albert Brooks received an Academy Award nomination for his acting in “Broadcast News” and later appeared in a film directed by James L. Brooks, “I’ll Do Anything.” That film originally featured music by Prince, but the songs were removed after early previews received negative feedback.
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Huddled with one of his film’s co-stars before shooting a big scene, James L.
James and Albert have stayed friends over the years, so when James offered Albert a new role, the decision was quick. Albert will play a departing governor – a humorous portrayal of a power-hungry politician who hides his ambition behind charm, and who has complicated feelings for Ella due to his genuine, though limited, affection for her. James and Albert were eager to collaborate again.
You know, when Steven Spielberg calls, you just say yes. That’s what I always tell people! I need to feel like I can really do something with a role, that it’s a challenge worth sinking my teeth into. Spielberg promised me this part would let me do that, and honestly, that was enough. I was on a plane to Rhode Island before you could say ‘action!’
The actor explained that he was drawn to the role because it was something new for him. He hadn’t played a character like this before – a typical government employee, specifically a state governor. Speaking from Los Angeles, he said the director simply told him it was a fantastic part, which is a common way to describe a good role.
James L. Brooks explained that finding the right actress for the role of Ella was a challenge, and they considered many candidates before discovering Mackey.
Brooks explains he intentionally aimed to capture the spirit of classic film comedies, particularly those starring Katharine Hepburn and Audrey Hepburn. He wanted to bring that same energy to his work, blending the fast-paced humor of screwball comedies with genuine emotion and relatable human experiences. He specifically cites ‘The Philadelphia Story’ as a major inspiration, a film he’s watched countless times.
Brooks felt Mackey was well-suited to play a role similar to the one in ‘The Philadelphia Story’.
Mackey explains that the key to portraying Ella was making her feel genuinely strong and believable, embodying the traits of a classic Brooksian heroine. This meant showing her as both brave and vulnerable – capable of making mistakes, but always intelligent, quick-witted, and clear-thinking.
Despite having won three Oscars, Mel Brooks insists making a movie is just as challenging for him now as it is for any other filmmaker.
He explains it like tackling a difficult climb, playfully turning a hard-earned lesson into a quick joke: ‘People will try to discourage you, telling you to turn back.’
Making a movie for theaters is challenging right now. It’s even harder when there aren’t clear examples of recent successes to build on. Because of this, everyone really valued being able to complete the film, and that positive attitude helped the entire production process.
Despite recently marrying his third wife, Jennifer Brooks (who also produced his new film), and already starting work on his next project, Brooks is optimistic about the future, even though the movie industry is changing dramatically.
You know, I’m a firm believer that passion can’t be crushed. As someone who lives and breathes movies, I truly think that even when things seem impossible, there’s always someone, somewhere, hustling to bring a story to life. Right now, as we’re talking, I bet there’s someone typing away at a script, battling all the odds, and eventually, they will get their movie made. It’s happening right now, I just know it!
Brooks masterfully blends a realistic outlook with hopeful optimism, which is the foundation of his unique style – creating comedies that are both heartfelt and tinged with sadness. Despite the challenges Ella McCay faces, the movie ultimately leaves you with a feeling of hope and a sense that things can improve.
He argues that people do want to laugh, even though Hollywood seems to think otherwise. He also believes a movie can still be funny and deal with serious, difficult topics – and this film aims to do both, leaving room for both humor and genuine emotional depth.
I’m definitely aiming to make people laugh. It’s a difficult subject to discuss, and I want to be realistic, which means acknowledging that life isn’t always pleasant.
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2025-11-24 14:03