A Film by Bastian Günther

a film by Bastian Günther

n a small southern town in the US, twenty SYNOPSIS down-on-their-luck folks compete to win a I brand new pick-up truck, a prize that might finally tip the scales of life in their favor. The annual ‘Hands On’ contest puts the vehicle literally within their reach – the winning contestant is the last one standing with their LOGLINE hands held firmly on the truck. Armed only with their dreams and determination, the participants In a small US southern town, forgo basic human needs to stand around the the annual ‘Hands On’ endurance pickup truck for days to beat out their competitors. All for the benefit of an enthusiastic contest offers the chance of a audience and the glare of the local media who lifetime to win a brand-new turn up each year for the car dealership’s popular publicity stunt. As the blisteringly hot days and pickup truck. Each contestant long nights of struggle, exhaustion, mind has their own reasons for games, hilarity, loss of control and insanity add up, only one winner can drive away with the entering, but the true cost of truck. Each contestant has their own reasons for the competition is higher than it joining the contest, and as the hours tick by, their humanity is laid bare. Who will hold on and appears. win – and at what cost? Filmography 2020 - ONE OF THESE DAYS 2015 - CALIFORNIA CITY 2013 - HOUSTON Bastian Günther, born in Hachenburg on 2007 – AUTOPILOTEN (AUTOPILOTS) September 3, 1974, graduated in 2006 2005 - ENDE EINER STRECKE (END OF A TRIP) from the German Film and Television

Academy in Berlin. After winning the First Steps Award with ENDE EINER STRECKE (END OF A TRIP), his first feature film, AUTOPILOTEN (AUTOPILOTS), premiered at the 2007 Berlinale. His second feature film, HOUSTON, premiered at the Sundance Film Festival, was screened afterwards on festivals worldwide. It won numerous awards and had its theatrical release in 2013. The essay film CALIFORNIA CITY was invited to the 2015’s Visions du Réel (Nyon) Competition. In fall 2015, it won the “National Gallery’s Price for filmart” – followed by a four month long exhibition. Bastian Günther lives in Berlin and in DIRECTOR Austin, Texas. BASTIAN GÜNTHER t first glance, ONE OF THESE DAYS is about a comic and grueling competition A associated with hope, grit and determi- DIRECTOR’S nation. But really it’s a universal story about us, about how we live, about Schadenfreude STATEMENT and voyeurism, poverty and dreams, humanity and capital. people, as well as representations of us all. It’s about how the lower class serves as Kyle Parson is the classic anti-hero who entertainment for the rest of us. What happens doesn’t stand a chance, but genuinely believes when the laws of the jungle rule? Only the something good will come of his actions. And fittest survive. And what needs to happen Joan Riley, the contest’s organizer, trying to before this can change? suppress her fear and anxiety, to convince I wanted to navigate between drama, hilarity, herself that all is well. The climactic event at hysteria, hope, the infamous 15 minutes of the end of the contest ultimately brings about fame and the calm before the storm. In its an “awakening” for Joan. She too has an iconic compact, concentrated form – and far beyond function. its pure entertainment value – I think this How far will we go to delay facing our fears, to contest has a lot to say about our world and deny facing reality? How long can we maintain ourselves. this, and what has to happen, before we do Although the film is inspired by true events, face them? Just like the contest, life can at Kyle Parson and Joan Riley are entirely fictio- times be a “circus” in which we are ringmaster, nal characters. They are both “ordinary” spectacle and audience. thing that made it fascinating is that during the contest, there are 'funny' or 'bizarre' INTERVIEW moments happening all the time. If you have 20 people standing around a with the truck for several days and nights without sleep, things are going to happen. So there is DIRECTOR for sure an element of entertainment Bastian Günther involved. But to me, there was also a strongly exploitative element that stuck out: We have people who can't afford to buy a truck themselves, participating in the How did you discover the tragic contest to win the truck, and in the process serving as entertainment for other people. true story that inspired the film, The audience is by definition made up of the and what made it compelling to privileged, people who wouldn't need to submit to this kind of humiliation. you as a filmmaker? It felt like the contest managed to reflect, in I first heard about the 'Hands On A Hardbody' a simple and startling way, something more competition about 10 years ago. It was a profound about our lifestyle in the capitalist Texas thing and my wife, who had lived system. It illustrates the 'Darwinism' that there, told me about it. There was also a this system entails. That was really what popular documentary film that had captured was so intriguing to me. And as I started to the contest back in the 90’s and had played research the event further, that's when I for a long time in theatres in Texas - way found the old local press coverage about the before the tragic incident involving a tragedy from back in 2005. competitor's suicide took place. The first INTERVIEW do for it. Then you have to give them the those little moments in the actors. Blinking with theDIRECTOR room to work with. Each role has their eyes, sweat, fragments of dialogue, laughs Bastian Günther moments and every one of these little side or even just real signs of exhaustion. The stories is very important to the film. Every weather was hot and humid, and they were Filming a contest like this character brings something to the film, and I really there, standing around the truck for needed to use all of them to maintain the hours and hours every day. In a way, there meant the challenge of tension and keep the story going. So although was a balance for me and the crew to find. shooting mostly in a single the film does have two clear main charac- We also had to be passive to some extent, ters, for much of the running time it is really and again to have that trust in the ensemb- location, with characters who an ensemble piece. That was something le. This method of shooting was the founda- are not moving very much. How essential to me for the film to work. What I tion for the film. But creating the final wanted was for Kyle to slowly evolve out of rhythm was another process that unfolded did you find the dynamic and this crowd of contestants and become the in the editing room. It was very important pacing for the film within those main character. At first we see him as one of for me not only to find and create the right many, but as the film progresses he becomes pace for the story, but also to get the constraints? its center. He becomes representative of all balance right between all the actors and the contestants and their stories. characters. It sounds weird to say but yes, this is in some ways a chamber piece set in a parking lot. Another way we worked to bring out the And since you have to work with all of those characters, and through them the narrative, limitations, in terms of locations and was by shooting a lot of long takes. We would movement, it forces you to think about all of start with the script and the scene, and then the characters in a deeper way. It was based on that, let the ensemble improvise, essential to precisely define for all of them – try different variations, and even when a who they are, what they do, why do they scene was supposed to end and nothing was want that truck and what are they willing to happening, we always kept rolling to catch How did you assemble the LA casting agent, suggested him, I immedia- tant' character as well. Even if she's not tely liked the idea a lot. Joe is capable of competing, she is the one organizing the diverse cast capable of bringing a mix of innocence and anger to the whole thing and she is personally very carrying the film this way, table - he has a sadness but also an explosi- attached to it. Except that while it's all veness that make his performances incredib- happening, Joan's story also continues outside including a surprise turn from ly strong and gripping. of the contest as she goes on living her life. Unlike them, Joan isn't 'held hostage' at the cult singer-songwriter Bill Joe is also British, so we did have a great truck. So her story is what gives us a break dialect coach who worked with him on his Callahan? from the competition from time to time. It's Texas accent both before and during the almost a relief when we can leave the truck It was crucial to put a strong ensemble shoot. And actually Joe kept the accent on and follow her somewhere else. Even if the together. I wanted everyone to have a for the entire shoot, during all of which he encounters or experiences she has aren't southern accent and to be so believable that also stayed more or less in character. necessarily pleasant. I think she represents the audience could forget they were actors. Bill Callahan lives in Austin, where I'm also the part of us that is not worried, or has Most of them are actually from the South or based part time. So I just contacted him and decided to push our worries away for as long have lived there for a long time. Tracy Kilpat- asked him if he would be interested in being a as possible. rick, who was in charge of the local casting, part of our project. He read the script and gave us amazing support here. She knows Maria's character also exists in a separate then we met for coffee, and just like that he every actor in the South and she had a great reality from the contest. She is on the other was in. It sounds too easy or uncomplicated feeling for the characters, what the story side – she sees Kyle's choices and actions but that's how it was! And he is the perfect needed and what I wanted. We did several from a different perspective. She almost voice for the truck. casting sessions and took the time to represents an alternative to the madness. I assemble our group of actors. And sometimes There are also the characters who aren't chose to end the film on Maria because she is one choice would affect another one. It was a officially participating in the competition, in going to be the person who has to deal with puzzle - one we had fun putting together. particular Joan (Carrie Preston) and Maria the loss most. She is the one who will carry INTERVIEW (Callie Hernandez). Even if she isn't standing the weight of what has happened forever. Her I had seen Joe in 'Peaky Blinders' and in 'A with the at the truck, I actually see Joan as a 'contes- story goes on. DIRECTOR Prayer Before Dawn' so when Jen Smith, our Bastian Günther Related to this, can you shed days and moments; a “happy scene” after Kyle is selected to participate in the contest. some light on the choice to But since we know Kyle’s fate, these scenes move away from the 'chamber take on a different feeling. We also get to see Kyle's life with Maria before the contest piece' structure for the end of entered their world, and we see that for sure the film? their lives weren’t perfect. But maybe not so bad after all. Competitions like “Hands On”, as well as Also I wanted to show Kyle – his environ- certain reality TV shows, are playing with the ment, his daily routine, his struggles and contestants’ hopes and needs. They want the also some positive moments, without participants and the audience to make believe exaggeration or manipulation – so we see that if you just win this one game, then him as a person. A “normal” human being, everything will be good. But I would say there but with this “normality” soon to be destroy- is no winner – even when there is one. Just ed. It draws us into his world and brings him like the character Kevin says in the film: closer to us. And like I mentioned above, “Even if you do win this truck, you’re still Kyle stands for all of the contestants, he is gonna be the idiot who had to stand around a their voice. Everybody has a story. truck for days because he couldn’t afford to buy one for himself.” It’s always kind of bittersweet. The truth is, the contestants are there for others’ entertainment. People watch and what they are really feasting on is their suffering. I wanted the ending for the film to INTERVIEW work in a similar way. We see Kyle's last with theDIRECTOR Bastian Günther As a German director based between Berlin and Austin, what perspective do you bring Do you think an event like this to a story of the American could ever take place in South? Germany or in Europe? I do think I definitely bring a different point There was actually a realty TV show in the of view. I am an “outsider” and I see things UK that was about a very similar kind of – or things catch my eye – that people who contest. So yes, I think it’s something that have lived there for a long time wouldn’t can happen everywhere. America is more notice or find interesting. I think it’s just prone to this kind of thing, but the problem normal that one gets used to their environ- the contest really reflects is universal. It ment, and in an unfamiliar environment you doesn’t really matter if people are standing have a different kind of perception. around a truck, sitting on a pole, or if they

are candidates in a reality TV show set in the On the other hand I’ve been living in the jungle or an enclosed container. It’s about South long enough by now that I also know exploiting the underprivileged, about it well. And in every stage of the filmmaking entertainment and Schadenfreude – it is process I am careful to stay away from unfortunately all very human. And in a way exaggerations or clichés. My wife, who this kind of competition also serves to reveal grew up in the South herself is also a big one of our biggest problems. The unequal help when it comes to Southern distribution of wealth and opportunity, and mannerisms and language. She gives me INTERVIEW its consequences. with the valuable advice on “keeping it real”. DIRECTOR Bastian Günther CARRIE PRESTON JOE COLE Emmy-winner, Carrie Preston, is currently Joe Cole received tremendous filming the third season of the hit TNT series acclaim for his performance in CLAWS. For seven seasons, Carrie starred as Jean-Stephane Sauvaire’s A PRAYER ARLENE, the sassy red-headed waitress on the BEFORE DAWN, winning the 2018 hit HBO series TRUE BLOOD. She was a fan BIFA Best Actor. Joe was also favorite on the CBS award-winning series THE nominated for the 2018 BAFTA for his GOOD WIFE for which her performance as work on BLACK MIRROR. He recently Elsbeth Tascioni garnered an Emmy. Carrie has wrapped shooting GANGS OF built a large body of work in film ranging from LONDON for Cinemax & Sky as well Woody Allen’s VICKY CRISTINA BARCELONA to as Bastian Günther’s ONE OF THESE Alan Ball’s TOWELHEAD to Tony Gilroy’s DAYS. He starred in Dreamworks’ DUPLICITY. Other film credits include TO THE THANK YOU FOR YOUR SERVICE and BONE opposite Keanu Reeves and Lilly Collins, A24’s WOODSHOCK. Joe’s previous indie darling DAISY WINTERS opposite Brooke work includes Jeremy Saulnier’s Shields and Dustin Lance Black’s VIRGINA GREEN ROOM and Billy Ray’s THE starring with Jennifer Connelly and Ed Harris. SECRET IN THEIR EYES. On the TV In addition to acting, Carrie is also an side, Joe is well-known for his roles accomplished director and producer with her in PEAKY BLINDERS and SKINS. production company, Daisy 3 Pictures. MAIN CAST MAIN CREW Carrie Preston: Joan Writer & Director: Bastian Günther Production Executive: Maxim Juretzka DOP: Michael Kotschi Line Producer: Ruth Ersfeld Joe Cole: Kyle Editor: Anne Fabini Post Production Supervisor: Katharina Würthner Callie Hernandez: Maria Production Designer: Angela Gail Schroeder VFX Supervisor: Markus Frank Costume Designer: Chelsea DeScenna Production Sound Mixer: Robert Bigelow Make Up: Ashley Kent Bolotte Sound Design: Alexandros Topalis Music: The Notwist Supervising Sound Designer: Sebastian Tesch TECHNICAL DETAILS Casting: Jennifer Smith Re-Recording Mixer: Ansgar Frerich, Valentin Finke Local Casting: Tracy Kilpatrick Executive Producer: Jeanine Rohn, p.g.a Duration: 120 min UPM: Kenneth Yu Producer: Martin Heisler, Peter Veverka Aspect Ratio: 2.39:1 1st AD: Blake Brewer Format: 2K Script Supervisor: Debbie Estay Sound: 5.1 Year: 2020

Original Language: English A FLARE FILM production • in co-production with GREEN ELEPHANT FILMS, ARTE, HESSISCHER RUNDFUNK, SAARLÄNDISCHER RUNDFUNK with the support of DIE BEAUFTRAGTE DER BUNDESREGIERUNG Country of Production: Germany FÜR KULTUR UND MEDIEN, MEDIENBOARD BERLIN BRANDENBURG, FILM UND MEDIENSTIFTUNG NRW, FILMFÖRDERUNGSANSTALT, DEUTSCHER FILMFÖRDERFONDS and LOUISIANA TAX INCENTIVE A film by BASTIAN GÜNTHER “ONE OF THESE DAYS” CARRIE PRESTON, JOE COLE, CALLIE HERNANDEZ and featuring BILL CALLAHAN Casting by JENNIFER SMITH Local casting by TRACY KILPATRICK Flare Film GmbH Music by THE NOTWIST Costume designer CHELSEA DESCENNA Makeup ASHLEY KENT BOLOTTE Production designer ANGELA GAIL SCHROEDER Film editor ANNE FABINI Director of photography MICHAEL KOTSCHI, BVK Executive producers MARCUS BÖRNER, DIRK BRETTSCHNEIDER, JÖRG GERBIG, BASTIAN GÜNTHER, STEPHAN HELLER, DR. TOBIAS JOHANN, MORITZ KREPPEL, OLIVER OSTER, DR. BENJAMIN PFEIFER, BENJAMIN PRAGER, DOMINIK RICHTER, FRANK SALOMON, CHRISTOPH STEPAN, CHRISTOPH UNGER Executive producer JEANINE ROHN, P.G.A Producer PETER VEVERKA Produced by MARTIN HEISLER Written and directed by BASTIAN GÜNTHER International sales THE MATCH FACTORY Poster by Miro Denck © 2020 Flare Film / Green Elephant Films / ARTE / HR / SR INTERNATIONAL WORLD SALES PRESS WOLF Consultants The Match Factory GmbH [email protected] Domstrasse 60 phone +49 157 7474 9724 50668 Cologne/Germany Press materials available at phone +49 221 539 709-0 www.wolf-con.com/download [email protected] www.the-match-factory.com