Movies

Benny Safdie on Playing the Villain in Happy Gilmore 2—And  Christopher Nolan Telling Him to Get in Shape for The Odyssey

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Approximately three decades ago, Christopher McDonald made a lasting impact on popular culture by portraying the arrogant and foolish character Shooter McGavin in the iconic 1996 sports comedy film “Happy Gilmore”. In this movie, opposite Adam Sandler’s character, Happy – an angry hockey player turned unexpected golf prodigy, McDonald played Shooter as a condescending, finger-gun-wielding, self-referential jerk.

Currently, Benny Safdie is stepping into the role of the antagonist in the world of Happy Gilmore as Frank Manatee. Frank is the odor-challenged inventor of Maxi Golf, an upstart golf league featuring stunts that aims to compete with the Tour Championship league in the sequel to Happy Gilmore. As per Safdie, if he can spark just a fraction of the loathing Shooter did, he’ll deem his character a triumph.

Following his successful collaboration with Adam Sandler on the critically acclaimed 2019 crime thriller “Uncut Gems,” which marked a significant milestone in Sandler’s award-winning career, Safdie quickly agreed to take on the role of Manatee when Sandler offered him the part in the much-anticipated “Happy Gilmore” sequel, set to premiere on Netflix on July 25.

I recently had a fascinating chat with the brilliant mind behind “Happy Gilmore 2”, the movie everyone’s buzzing about! We also delved into his upcoming masterpiece, “The Smashing Machine”, and discussed his incredible collaborations with some of today’s most influential filmmakers. As a cinephile, it was an absolute joy to learn from him directly.

TIME: What was your relationship to the original Happy Gilmore prior to taking on this role?

Safdie exclaimed, “Wow! This is one of my all-time favorite movies. I can visualize the entire film just by closing my eyes. It’s filled with memorable lines from Shooter McGavin and Sandler. I must have watched it countless times. Shooter is truly despicable yet so well-developed, while Happy seems like a parable of a flawed individual who loves his grandmother deeply. Sandler is simply exceptional. It’s hard to believe I’m even part of this project because the movie holds such a special place in my heart, being a big part of my childhood.

What did you most want to bring to the character of Frank Manatee?

When Sandler asked me to take on this role, he mentioned that one of my stand-up personas seemed perfect for it. Immediately, I visualized exactly how the character should appear. I aimed to create someone you’d quickly scroll past on Instagram and think, “I recognize him.” He delivers vague advice about success. He’s a disruptor in the energy drink industry. I wanted to make him as genuine as possible because I believe authenticity is key to Shooter’s success. Furthermore, I connected with Chris [McDonald] over our shared understanding that these characters don’t see themselves as villains; they just believe they’re doing what’s necessary. Therefore, my goal was to bring a sense of realness and coherence to the character.

How would you describe your creative relationship with Sandler?

There’s an intimate bond between us, one where when I see him, I can’t help but think, “Here comes the Sandman.” Our relationship carries a genuine warmth and understanding. It’s intriguing because for years we had dreamed of sharing a screen together, but it never materialized. Working with him as a director was one thing, but to share a scene, look into his eyes, and perform is extraordinary. He’s meticulous in every detail, striving for perfection in all he does. There was one particular line we focused on intensely: “Stop with the shoe! We’re done with the shoe!” That was a point he was determined to emphasize. The experience was incredible because we kept repeating it over and over. He had a unique rhythm in his delivery. So, both he and I are united in our pursuit of making each moment as hilarious and excellent as possible.

What is it about Sandler’s acting style that you feel allows him to play both these slapstick, over-the-top comedic characters and more nuanced, thoughtful dramatic roles?

It seems to me that he’s considering both roles equally carefully. Watching him portray Happy Gilmore was astounding because I couldn’t help but think, “Wow, that’s not Adam Sandler, it’s Happy Gilmore.” It was impressive because Happy is one of his characters. It’s similar to Charlie Chaplin and the Little Tramp. He invests as much thought and care into these roles as he does in others. I believe he doesn’t see a distinction between them. Moreover, he’s a very sensitive individual, and this sensitivity permeates his work. Even in the film Gems, it was remarkable because he always strived to give Howard a softer side. He really advocated for that, and upon reflection, it’s crucial that it was included in the movie. He wants audiences to identify with him on a personal level.

You’re definitely flexing your comedy muscles in Happy Gilmore 2. What appeals to you about comedy versus more dramatic roles?

In my approach, I give equal effort to all roles, including comedic ones, as I strive to make them appear genuine. Yet, I have a soft spot for comedy, and finding humor in situations is something I truly enjoy. On set, there’s this unique energy where you aim to break the seriousness with laughter. Hearing people chuckle at the monitors or witnessing their excitement as they lose themselves in the moment, that’s the thrill I chase. Being a stand-up comedian myself, I appreciate the adrenaline rush of unscripted performances. However, such opportunities don’t come often.

Your next directorial effort is The Smashing Machine, which stars Dwayne Johnson as UFC champion Mark Kerr and is already generating Oscar buzz. What was it like working with the Rock on his first big awards-contender role?

The project was truly remarkable for us, as we found ourselves deeply resonating with Mark’s narrative in a way that transcended words. His passion was palpable, and I found myself feeling similarly engaged. It was almost like we were exploring our own selves through this character. I felt like I could ask him to accomplish anything, and he did so effortlessly. Being part of it all was truly unique and memorable. We held Mark and Dawn in high regard, and our aim was to be as authentic as possible in portraying their story. In essence, we took the UFC’s tagline “As real as it gets” and made it even more genuine.

How do you decide where to focus your energy when it comes to acting versus directing?

Instead of relying solely on good fortune, I’ve found a way to make things happen if there’s something I truly desire. For instance, during the filming of “Happy Gilmore,” I would work on editing “Smashing Machine” in my trailer when not working on scenes. Reflecting back, I often wonder, “How did I manage that?” The answer remains a mystery. You see, I was able to separate tasks effectively. This multitasking also applied while editing “The Odyssey.” Just as Chris [Nolan] called me and inquired about my physical condition, asking, “How’s your body?” I had to be in better shape for the role he offered. So, I began exercising, considering my diet, visiting extreme locations, and then returning to complete the editing of “Smashing Machine” – all while sporting the Frank character’s look with that distinctive hair and goatee.

As a director, do you take notes from the directing greats like Christopher Nolan, Claire Denis, and Paul Thomas Anderson who have directed you as an actor?

Completely so, there are specific actions they perform that spark something inside me, making me think, “Ah, that’s their secret.” I then attempt to dissect those actions and utilize them for my benefit. It seems crucial to be open to stepping out of your comfort zone. There’s an element of risk, like when I adopted a Hungarian accent in the movie Oppenheimer, Chris’ faith in me boosted my courage. Similarly, Paul subtly encourages competition, pushing you to strive for your best self. Claire, on the other hand, is always seeking the extraordinary. She might even stand up during a scene to infuse excitement when everyone else is sitting down. It’s fascinating to observe the bond between them, as when someone is performing exceptionally well, there appears to be a common thread.

You did an as-told-by essay with Vulture about how much you loved the 2024 animated film Flow. Would you ever consider making your own kids movie?

Absolutely, I’d love to watch a film we created together with my children, engaging in conversation as spectators. There’s a unique charm in such shared experiences.

Is there anything you can say about the possibility of another season of you and Nathan Fielder’s TV series The Curse? Would you want to make more?

We initially thought about creating a second season, but the first one turned out so well on its own that it doesn’t really need one. Still, we have a hilarious idea for a follow-up and I think it could be great, though I’m not sure. Interestingly enough, Nathan and I never intended to collaborate on a show together. Instead, the idea just sort of came to us, and it turned into something fun to discuss between friends. I admire his acting style and enjoyed challenging him to explore new territories. I recall telling him, “When you’re angry, it’s not funny, but there is something amusing about that.” He has a unique obsession with realism that differs from mine. He’s all about making an audience question what they’re seeing, while I aim to make them believe in the artificiality of it all. Fortunately, our approaches complement each other nicely.

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2025-07-25 17:06

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