My film editor friend files the same complaint every time I see him.
I’m not wrong. The “Slice of Life” genre doesn’t necessarily cram in such a way that it will be adapted for horror, superhero movies (for now) and video games. That’s why “little prayers” came as a great relief and quiet revelation at Sundance in January 2023.
Angus McLachlan delivered one of the most thoughtful and definitive indie films of the year (the same filmmaker helped the screenplay “Junebug” catapult Amy Adams to household name status 20 years ago). “Little Prayer” is set in Winston Salem, North Carolina. There, the humble patriarch (David Strathean) argues that adult children are serious shortcomings (Will Pullen, Anna Camp). As his friendly wife (Celia Weston) carves the days with her trusty stepdaughter (Jane Levy), her husband fights for his son’s mistress (Daska Polanco) and the choice that leads him to inevitable emotional calculations.
The film touches on a variety of topics, from abortion to veteran PTSD, but feels timeless and honest in the way that the best indie can do. The film catches up to the filmmakers and stars, and their film marks the second weekend with a limited release.
Angus, how did this premise come to you?
Angus McLachlan: I started nine years ago. Looking back, I started this when my daughter was 15 and now she is 24 years old. I knew what it was doing. A lot of this was about my daughter growing up and becoming a human. I still want to protect her and tell her what to do, and I can’t do it anymore. This script has many elements from other things I’ve written. I don’t sit down and say, “I’m going to write about an adult child living with my parents again.” This is the same as “Junbug.” Or again about the loss of a child. I don’t think even the political aspects of this film’s “hot button” are going to write a film about it, such as PTSD or women’s choices. I’m interested in people. That’s my intention.
David Strathairn: I love qualifying this film about how people live. I think it’s essential for a culture where we’ve broken bones and are separated from our neighbors and communities. It’s gone for people to come together and share what’s going on. Post offices, grocery stores, all these communities compromised by modern technology. For me, the film removed the roof from above the house from the top of the road and said, “Yeah, these people are going through the same thing.” People try their best to move throughout life. There is a simple element of compassion in this film.
Angus, this film feels very timely, given the issues you mentioned, such as abortion and PTSD. How do you manage that element and still make it timeless?
AM: These issues are very different when they go home to roost in their own family. When you have to say that I oppose someone I love, or against difficulties or have difficulties. That’s appealing to me. I was old enough to remember what happened during the AIDS crisis, people had strong opinions, and people they knew got sick and changed the idea that extrapolates it from the human mind.
This cast has a very natural dynamic. Talk about putting them all together.
AM: As someone who was an actor, I really don’t like auditioning people. I work with the great casting director, Mark Bennett. Mark Bennett cast “Junebug” and brought Amy Adams with him. I approached David about being in the previous film “Abundant Area Available”, but he couldn’t do that. He was nice enough to stay in touch with me. I needed an actor with great gravity and honor. Celia Weston has appeared in two other films in my other and I love her. She is incredible in it, and she has this ability to have such emotional truthfulness and then turn lines in comedy with dimes.
Mark brought Will Pullen and Jane Levy. And with Jane, after I cast her, they sent me a clip from her TV series “Zoe’s Extraordinary Playlist.” I saw her singing, dancing and doing physical comedy so she was so talented. Dasha Polanco, I knew her and thought she was amazing. Another interesting thing is Ashley Shelton, who plays Bethany, and Anna Camp, who has appeared in two of my films.
I would definitely like to break down the most important scenes in the film. This is the exchange between David and Jane Levy at the end of the film. David, you have such a special dynamic with Jane. Do you feel your father’s instinct towards her, as happens in the film?
DS: That scene smacks me hard, when I think about it, I still do. It’s a moment in my character’s trajectory and he has to get out of his shell. He is not the most relaxed person. His family had mines and they all navigated through those minefields in some way. But he has to be clean and open. The way Angus wrote and photographed this, it was calm, but sharp. I think I admire Jane’s performance very much. I have this kind of paternal side. It’s weird because he plays an old man for her. And I’m an actor watching this actress.
AM: I just want to add that I filmed this scene on the fourth day of 19. Jane tells David they are “kind spirit.” My amazing DP Scott Miller was kneeling in front of them. The camera starts with Jane, then moves to David, then returns to Jane. When I saw it on the monitor, I thought, “If I hadn’t fucked anything else, I’d got it.” That scene is the confluence of everything.
David, you also have an incredible conflict with the character of Duska. You discover that she has a baby son and that Jane played the role of an affair he had hidden from his wife.
DS: That’s pretty much, my character talks about his adult child. He probably didn’t feel that way for most of his life, and boom, here’s the realization he’s considering now. I think it’s becoming a brave man so he can speak it out. On a universal scale, it’s great to see a man speak his mind.
