Finally, Aziz Ansari has a little bit of ‘Good Fortune,’ thanks to Keanu Reeves

by

TORONTO – At the Saturday night premiere of his first feature film as a writer-director, “Good Fortune,” comedian Aziz Ansari reassured the audience with these words: Original theatrical comedy might be frightening in Hollywood today, but there’s one name that always instills confidence – Keanu.

Standing on the stage at the Roy Thomson Hall during the festival, Ansari reminisced about how actor Keanu Reeves suffered a broken kneecap during filming’s early stages.

“I found out he broke his kneecap and I didn’t know what was going to happen,” Ansari continued, Reeves himself standing onstage just a few feet away. “It was like, ‘Oh, my God, what is Keanu going to say? Is he going to need some time off? Is he going to drop out of the movie?’”

Ansari pointed out that Keanu didn’t say much, but instead consistently showed up to work without ever uttering a complaint. Despite enduring what seemed to be intense discomfort, he managed to give a performance that was both amusing and heartwarming, and he is the essence of this film.

Review

Canadian pride booms, dual Hamlets duel and Rian Johnson’s knives are out (again) at a 50th TIFF

At the onset of TIFF, an array of potential Academy Award contenders and thrilling genres took center stage: “Wake Up Dead Man” directed by Rian Johnson, Chloé Zhao’s “Hamnet,” and Potsy Ponciroli’s “Motor City.”

Or:

The initial days of TIFF showcased several movies in the running for Oscars and exciting genre films: Rian Johnson’s “Wake Up Dead Man,” Chloé Zhao’s “Hamnet” and Potsy Ponciroli’s “Motor City.”

Or:

The initial days of TIFF featured several movies vying for Oscars, as well as thrilling genre films like “Wake Up Dead Man,” directed by Rian Johnson, Chloé Zhao’s “Hamnet” and Potsy Ponciroli’s “Motor City.”

Or:

During the opening days of TIFF, we had a number of movies competing for Oscars, along with genre films that kept audiences on the edge of their seats. The lineup included Rian Johnson’s “Wake Up Dead Man,” Chloé Zhao’s “Hamnet” and Potsy Ponciroli’s “Motor City.

The movie begins by showing Keanu Reeves, adorned with tiny wing-like accessories, atop the famous Griffith Observatory in Los Angeles. Deviating from his recent action roles in the “John Wick” series, Reeves portrays Gabriel, a lesser angel assigned to prevent people from texting while driving. However, he is moved when he encounters Arj (Ansari), a man juggling multiple jobs at a large hardware store and as a food delivery driver, who’s also guilty of texting behind the wheel.

In an attempt to prove that things aren’t always better on the other side, Gabriel decides to exchange Arj’s life with Jeff (Seth Rogen)’s, a mega-rich tech investor who spends most of his time shuttling between his sauna and cold plunge.

It’s hardly a shock that Arj strongly favors Jeff’s life over his own and is hesitant to return to his former state. However, things become increasingly intricate for Gabriel when he gets fired from his angelic position, forcing him to navigate both the struggles and pleasures of being human. Simultaneously, he strives to resolve the issue between Arj and Jeff.

Despite its light-hearted humor and understated compassion, the movie “Good Fortune” carries a strong undercurrent of frustration with the widening wealth gap it portrays. It’s a harsh criticism of the modern world where robots are taking over human jobs, and where the lavish lifestyles of some appear to be built upon the struggles of many.

Following the unveiling of my film, I find myself beaming with enthusiasm and impeccably dressed in a stylish gray plaid coat, black turtleneck, and black trousers. Sitting down for an interview in Toronto, I can’t help but reflect on the journey that led to this moment. After wrapping up my Emmy-winning series “Master of None” in 2021, I embarked on a feature film project titled “Being Mortal.” Unfortunately, production was halted in 2022 due to misconduct allegations against its lead actor, Bill Murray. Then, the release of my subsequent project, “Good Fortune,” was delayed due to the Hollywood labor strikes in 2023. At last, my debut film finally hits theaters on Oct. 17th.

When “Being Mortal” got shut down, did you feel like, “Am I ever going to get to make a movie?”

Instead of feeling that way, Steven Spielberg experienced something similar when his film “1941” didn’t perform well. He quickly moved on to another project, and I did the same with my film “Good Fortune.” Initially, there were a couple of days where I felt discouraged, and it was quite shocking. However, my mind didn’t fully comprehend the situation at first because it wasn’t fully sinking in. It’s still disappointing, but part of me believes this was necessary, and “Good Fortune” should be our debut film.

“Being Mortal,” it’s funny, but it’s heavy. The Atul Gawande book, it’s about end-of-life issues. So it’s like, “Oh, OK. It’s another heavy drama thing.” People may have just gotten pissed, like, “What’s this guy doing?” So “Good Fortune” is definitely, to me, if you like those first two seasons of “Master of None,” I feel like what you’d hope I’d do is kind of evolve that style into a feature film and raise the level of it by having Seth and Keanu and Keke [Palmer] and Sandra [Oh], and as a feature film rather than a show.

As sweet and funny as the movie is, there also is a real righteous anger behind it. Where does that come from?

During my interviews with various individuals regarding the topic depicted in the movie, while conducting research to develop the Arj character, I picked up that particular approach or mindset. It seems to have permeated my work.

During the opening credits of the movie, you say the line “The American Dream is dead.”

But that’s a frustration a lot of people like that guy Arj feel.

But then, you are a very successful entertainer —

Oh, yeah. Me and Seth are Jeff, no question.

How do you reconcile that? Are you concerned some people might dismiss the movie out of hand for that simple reason?

To create compelling writing, it’s essential to step outside your personal experiences, particularly when depicting stories like Arj’s who may not have a platform to share them. In my work on “Master of None,” we crafted an episode titled “New York, I Love You.” This episode featured segments on taxi drivers, doormen, and a deaf woman. Through this experience, I learned the art of interviewing individuals and discerning how to authentically portray stories not directly from my own experiences. In Season 3, we produced an episode about a woman undergoing IVF – a situation that was unfamiliar to me. By speaking with numerous people and gathering feedback, we managed to accurately represent the story. Applying these lessons, I approached this project with the same sensitivity and diligence.

In a surprising twist for a film produced by a Hollywood studio, Seth delivers an endearing speech that leans toward the politically progressive, suggesting that wealth accumulation without consideration for others might lead to resentment.

It’s quite remarkable, some of the things hidden within it. When I see parts of it, I find myself exclaiming, “Wow, we somehow pulled this off!” Certain aspects, which the trailer subtly masks, might leave people saying, “Oh my goodness!” or even “Oh, dear me!

At the premiere, there was big applause for the line, “F— AI.” Is that your feeling as well?

I’d rather say that I’m pro-human. I’m pro-people.

The movie is very ambitious in combining the character stories and the attention to the notion of income inequality. Was it hard for you in balancing the characters and that theme? Was the work of that more when you were writing it or when you were editing what you’d shot?

In a nutshell, crafting a TV series versus a movie presents unique challenges, as each offers a distinct creative canvas. The task was demanding, particularly since it was my inaugural attempt. During the editing process, I wrote an additional episode, which proved invaluable as it allowed me to anticipate moves and correct mistakes earlier due to accumulated experience. This experience has ignited my desire to embark on another project, eager to apply the lessons learned.

Stand-up comedy and filmmaking both hold unique appeals, but stand-up offers more immediate accessibility. You can easily “hit the gym,” as they say, for stand-up if you wish – just head out tonight to a comedy club in Toronto and perform onstage. On the other hand, getting into filmmaking requires a longer, more involved journey to build experience, making opportunities for practice less frequent.

Has the process of filming a movie in Los Angeles turned into an economic and political matter for the city? Did this factor play a role in deciding to make the film in L.A.?

As a cinephile, I couldn’t envision any other setting for this film but Los Angeles. The city itself is an integral part of the narrative, and there’s no denying that Jeff wouldn’t be residing anywhere that offers tax incentives. LA provides the ideal canvas for our story, and although it poses challenges, it’s worth it for the opportunity to collaborate with some of the world’s foremost film technicians. Furthermore, being a part of the rich cinematic legacy of Los Angeles-based films is an honor that I embrace wholeheartedly. Watching “Los Angeles Plays Itself” only solidified my admiration for the city, as every movie seems to have its unique interpretation of LA – whether it’s “Heat,” “Tangerine,” or “Chinatown.

As a film enthusiast, there’s something thrilling about setting my story, “Good Fortune,” in Los Angeles-a city that’s integral to the narrative itself. I can’t help but be enthused at the prospect of unveiling the unique charm of neighborhoods like Eagle Rock and Los Feliz, watching people’s reactions as they recognize these landmarks.

While penning the script, my mind constantly drifted back to that iconic taco joint in Hollywood, nestled right beside Jitlada-a location that seemed destined for the silver screen but proved challenging to secure. Our tenacious location manager, Jay Traynor, miraculously managed to make it happen.

Finding the perfect residence for our protagonist, Jeff, was no easy feat, but piece by piece, everything fell into place. I took great pleasure in showcasing the vibrant energy of Koreatown and having Gabriel work at a Korean barbecue restaurant, adding authentic layers to the heart of Los Angeles that I couldn’t help but fall in love with.

Movies

In a low-key manner, Oliver Laxe’s ecstatic, stunning film, which unfolds towards the end times, is gaining favor among critics and spectators, offering an encouraging signal for daring films.

I’d like to verify if we can discuss your experience working with Keanu Reeves, as the audience seems to be quite drawn to this character. I’m finding it difficult to pinpoint exactly why that is.

As a moviegoer, I must confess, this film has resonated deeply with me ever since its initial release. From the very beginning, I sensed that audiences would take a liking to it, but the impact it’s making now transcends my original expectations. The main character is captivating in a way that goes beyond simple appeal – it’s striking a chord on a more profound level.

Why do you think that is? What is the alchemy of Keanu in that role?

While enjoying my lunch, the thought occurred to me about Keanu Reeves’ roles, specifically his comedic ones such as in “Bill & Ted” and “Parenthood.” There’s a certain innocence, sweetness, and kindness present. In my opinion, Gabriel embodies the evolution of that trait. Additionally, it was intriguing to work with Keanu at 61, someone whose real-life persona I found captivating in a way I hadn’t seen portrayed on screen before. I believe he can bring some of that authenticity to the character of Gabriel.

He possessed all his comedic abilities at their peak, and let me tell you, the laughter just flowed! It felt like we were simply enjoying ourselves. We kept brainstorming ideas: Imagine if he’d never used the internet before. How would a first-time internet scene play out? What could he possibly do? Perhaps he’d look at pictures of baby elephants online. This idea turned into a treasure trove of humor. You could put him in any situation, and it was always amusing! He was such an entertaining character to write for. Just watching him take a bite of a taco and exclaim “Wow!” was hilarious beyond belief. It’s been one of the most enjoyable characters I’ve ever created.

Read More

2025-09-10 18:03