“It was a lot of empathizing. I would do long phone calls with Abel (Tesfaye, aka the Weeknd) after we had met, just basically talking to him and finding out more of his history, where he was at in different phases of his life, where he’s at today, and using those to create a character. And part of creating that character is I’ll find my own personal stuff to attach to it… Portions of his life I can relate to very much. And past all of that, I think this is the deepest I’ve gone with my therapy background and my mom and stepdad being therapists. I tried to make the movie work to where if you just want to watch the movie at surface value and go on a ride with it and experience it and not think about it again, hopefully it works on that level. But also if you want to look at it and interpret it on a whole deeper, hopefully richer level, there’s a lot going on,” says Trey Edward Shults, director and co-writer of the new film Hurry Up Tomorrow on how he took Able “the Weeknd” Tesfaye’s story and made it personal to him. 

On today’s episode, we sit down with writer/director Trey Edward Shults to discuss his new film Hurry Up Tomorrow that stars the Weeknd, Jenna Ortega and Barry Keoghan, about a rock star who goes on an existential odyssey after losing his voice on stage. 

Shults shares his journey to becoming a filmmaker, working with visionary director Terrence Malick, making the highly biographical film Krisha (2014), and the shockingly ominous horror film It Comes at Night (2017). 

He also shares this advice for writing your first film:

“It has to be something you are so hungry to tell. And it has to be something you would die to make. You know what I mean? At least to me, my approach was I like to make stuff personal and they always say like, write what you know, write the personal thing. But I just think it needs to be something you’re crazy hungry to do no matter what,” says Shults.

 

To hear more, listen to the podcast.