India Donaldson grew up around Hollywood A-listers. Now she’s cutting her own path

As I delve into India Donaldson’s heartwarming journey from being the daughter of a renowned director to an emerging filmmaker herself, I am deeply moved by her story. Her unique perspective, shaped by growing up around Hollywood yet remaining grounded and down-to-earth, is truly captivating.

At around seven years old, India Donaldson had grown tired of acting – an experience that remains one of her earliest recollections. Her father, Roger Donaldson, a well-known director in Hollywood, requested her to appear as an extra in a diner scene for his 1994 film “The Getaway,” which featured Alec Baldwin and Kim Basinger in their newlywed roles. Unlike most children who would have been excited, she felt embarrassed instead.

“India Donaldson recalls, laughing, ‘My older brother was flourishing in that situation, but I felt a bit awkward,’ she says over Zoom from LA. ‘I remember I had a bowl of Cheerios and my dad whispered to me, ‘You don’t necessarily need to eat the Cheerios.””

She shakes her head. “I never acted in a movie ever again.”

Though acting may not be in her immediate plans, Donaldson, aged 39, has proven herself to be a talented filmmaker, echoing her father’s path by launching her debut feature, “Good One.” This film, praised at Sundance and selected for screening at the Directors’ Fortnight in Cannes, skillfully combines the strengths of previous short films. It showcases Donaldson’s knack for crafting intricate, emotional worlds inhabited by relatable, sometimes uneasy characters. The narrative revolves around a teenage daughter, Sam (Lily Collias), and her father, Chris (James Le Gros), who is divorced and remarried. They embark on a camping trip in the Catskills with Chris’ old friend Matt (Danny McCarthy). Despite their enjoyment of these nature escapes, this specific journey will leave an indelible mark on 17-year-old Sam, although she is not yet aware of it.

The process of creating “Good One,” premiering this Friday, can’t exactly be traced back to the “Getaway” diner. However, to reach the point where Donaldson felt confident enough to take on the role of writer-director, she had to tap into her own experiences as a child of a renowned filmmaker. While “Good One” isn’t an autobiography, it carries a deeply personal touch.

“She explains that it was largely shaped by my personal growth over time,” she says. “It required a significant amount of self-assurance for me to envision myself as someone who leads others – including those providing financial support – and ask them to put their trust in me.”

Over the phone, filmmaker Roger Donaldson, who kicked off his career in the late ’70s in New Zealand and Australia with films like “Sleeping Dogs,” and later moved to the U.S. to create studio pictures such as “No Way Out,” “Cocktail,” and “Species,” radiates joy when discussing India.

I’ve found myself marveling at her ability to create and innovate, as she crafted clothes, toys, and wrote captivating stories. It was evident that she possessed a unique talent for such creative pursuits. The spark of her cinematic passion first ignited when she delved into creative writing studies. Despite being an incredibly creative writer, she kept her talents under wraps until she ventured into short filmmaking.

India didn’t embody the typical rebellious teenager, instead, she deeply respected and admired both her parents. In a somewhat bashful manner, she acknowledges that Roger and her mother, Mel Clark, parted ways during her youth. “My mom is an extraordinarily creative individual,” she explains, “She’s an exceptional designer, renowned for her knitwear line when I was a child and then owning a yarn store in Santa Monica while I was in high school. She was always busy creating new things.”

Unlike some children of renowned filmmakers who might view filmmaking as an inherent right, India, reflecting her laid-back nature, didn’t feel entitled to it. She exudes a comfortable, relatable vibe, more like a nerdy best friend than a glamorous star. Despite being raised in the glitz and glamour of Hollywood, she doesn’t have an air of sophistication or coolness; instead, she carries a somewhat scholarly demeanor. India has been captivated by movies since her early years – she remembers watching dailies with her father, trying to spot subtle differences from one shot to another. However, she saw that work as something beyond her reach.

She admits her journey to where she is now was somewhat longer than usual. As a teenager, she tended to be more introverted and viewed directing as an outgoing profession. However, she no longer believes this to be accurate; it was an assumption she felt compelled to disprove through her own practical experiences.

1. Take a look at her three short films titled “Medusa”, “Hannahs”, and “If Found” (all accessible on YouTube). These provide a glimpse into the understated, perceptive approach she employs in “Good One,” which delves into the lingering male rivalry among middle-aged friends. When discussing what links her shorts to her feature, she mentions, “There’s a certain passive manner in which characters express themselves, a subtle form of passive-aggression. I think that’s always intriguing – understanding the indirect ways humans behave, the circuitous routes we take to reach our destinations.”

In the absence of the pandemic, I believe “Good One” might never have seen the light of day from the mind of Donaldson. Having predominantly grown up in L.A., I recall her days at Santa Monica High School. She later attended Vassar College and spent a decade living in the bustling city of New York. In March 2020, just before the world shifted dramatically, she and her spouse secured a job opportunity in a writers’ room for a series that unfortunately never materialized. However, as the lockdown unfolded, they made an impromptu decision to move in with Roger, his wife Marliese, and their two teenage step-siblings Will and Octavia. The proximity to family, particularly the teens, sparked the early ideas that would eventually form the script she wrote.

She recalls, “For a while, I’d been developing these characters and their interactions subconsciously. Reflecting on my relationship with my half-siblings during my youth, I found myself revisiting the past. The specific setting for these characters was shaped by the circumstances of the world during that period.”

The title “Good One” is inspired by the notion that Sam, portrayed as a golden child or the well-behaved one, mirrors this description. Unlike most kids her age, she enjoys spending time with her father and can effortlessly converse with both men. However, it also hints at Donaldson’s complex emotions about her role in the blended family, where she too carries the title of ‘the good one.’

She remarks, “Everyone in my family might perceive themselves as the peacemaker, since that seems to be a common goal among us. However, I can recollect instances where my role was different, such as when I’d say, ‘Sure, I’ll go out with you and learn about photography from you, Dad.’ By adapting to their interests, I believe our personalities are shaped in numerous ways to foster closeness.”

In their many camping adventures, both Donaldson and her father emphasize that “Good One” is not based on real events. Although it might seem redundant during most of the movie, which focuses on hiking and socializing among three characters, a subtle, unsettling tension builds up, culminating in a startling moment that leaves viewers questioning whether they accurately perceived what happened. This event significantly alters the audience’s perspective on Sam and these individuals.

In the process of creating this captivating tale, I stumbled upon an unexpected yet profound jolt quite early on during its development phase. (Donaldson’s idea)

As a devoted cinephile, I share a deeply personal perspective: “I aimed to delve into the thought that, regrettably, our parents may fall short of our expectations.” Being a mother of a three-year-old son, I understand the irony – we parents will inevitably disappoint our children in ways we could never predict, despite our best efforts. Navigating through this complexity becomes crucial, as one must strive to preserve and nurture the bond between us.

In her journey as a parent and film director, her bond with her father has grown even stronger. Regarding her filmmaking career, Roger has shared valuable insights with his daughter via emails. For instance, one piece of advice he gave was, “If you haven’t completed the scene and the sun has set and the DP says, ‘That’s it, I can’t shoot anymore,’ just say, ‘No, we keep on shooting.'” However, he is reluctant to accept any praise for the success of her movie, “Good One.”

As a devoted admirer, I shared my perspective on the challenges faced by a film director, and she seemed genuinely thankful for it, which I humbly acknowledge. Yet, I understand that success is ultimately in your own hands – you must rise to the occasion and prove yourself worthy. It’s fascinating to witness India’s growth; this didn’t occur suddenly but has been cultivated over time. As a youngster, she was …

“He pauses, searching for the perfect words to describe his daughter. ‘Reserved’ might not quite capture it. Instead, she was diligent and focused, always putting in effort. She didn’t crave the spotlight or seek attention, but her work spoke for itself. It was of such high quality that she could never go unnoticed.”

India Donaldson acknowledges Kelly Reichardt as a significant influence, and it’s evident that “Good One” mirrors the subtle, bone-structured drama found in Reichardt’s film “Old Joy.” While “Good One” portrays a challenging vacation, Donaldson fondly recalls her peaceful childhood camping trips. She expresses positive sentiments about these experiences, stating, “My father enjoyed escaping, and that feeling is what sparked this movie. He cherished the freedom to let thoughts roam and gain distance from daily life. Many of my formative years were spent having such experiences with him, which I believe were essential in creating space for personal growth outside of the industry.”

Donaldson’s debut movie carries an unusual depth, echoing profoundly on themes of masculinity, family, and discarding childhood stories that define oneself and one’s parents. It doesn’t function as a traditional confession, but the more you learn about its creator, the more it becomes evident how much it discloses about her, particularly as she explores the striking parallels between parenting and filmmaking.

She smiles and remarks, “You can’t dictate how others may perceive it or what its journey will be once it’s out there on its own.” This sentiment applies equally to a movie and a child. “Simply do your utmost and pray that you’ve equipped it with the necessary resources to flourish,” she concludes.

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2024-08-06 23:32