The story opens on a blind date between Zoe and Josh, two New Yorkers stumbling through a monotonous and lonely existence. While it’s Josh’s first real attempt at Internet dating, Zoe intends for this to be her last. Having had a long and disappointing history with dating, Zoe is defeatist from the start. Since she already resolved to make her date with Josh her last Internet date ever, she figures she might as well make it a “perfect” one. Throughout the story we cut back and forth between the present and “The Date.”
In the present Josh is lost and jobless. He goes from one disappointing interview to another until, following some advice Zoe shared, he simply walks through a door that catches his eye. Fortunately, the friendly receptionist, Rosie, mistakes him for a new Walcom employee and ushers him into his “office.”
Across town, Zoe is lonely. Unnoticed. She’s spent two years working as a temp at a company where no one knows her name. One morning on her way to work she witnesses a woman fainting in Grand Central Station, which attracts the attention of several bystanders. Zoe tries her hand at pretending to faint at work but of course, no one pays attention. Later she stops at a dating service and actually faints for real. She finds herself in the hospital, and to her surprise, her co-workers are there with flowers.
Meanwhile, we revisit The Date. Zoe takes Josh to her special place in the city, telling him that he needs to find his own place. Zoe gives Josh a notebook and a mix tape and takes him to eat hotdogs at Gray’s Papaya, all the while reminding Josh that she shouldn’t be doing all this with him. Zoe confesses the details of her worst date ever. She met Mr. Perfect, and they had a perfectly wonderful time, but he never called. She’s using her date with Josh, her last Internet date ever, to live out a fantasy.
When their date comes to an end she begs Josh not to give her the “pity hug”. He hugs her anyway--a strong, genuine hug. She briefly kisses him before asking him to leave and finally shutting him out. It was the perfect date, and he is the perfect guy, but she won’t risk getting hurt again.
As time passes Josh’s memory of Zoe starts to fade and Zoe, herself, becomes a ball of misery. She thinks about that date and the way she let it end. She returns to work but soon has a nervous breakdown and ends up in the hospital. After some much-needed rest and understanding from the nurse, Zoe goes through a turning point and is ready to reclaim her life.
Across town, Josh is fitting in at his office. More comfortable in his own skin, Josh finally shows up to a company softball game. Since they always lose, no one takes the game seriously; they’re all there for the picnic. Josh asks if he can hit one and to everyone’s astonishment he hits it out of the park. Walcom scores their first point ever. Phil reveals that Josh is a Vice President of the company, and Josh confesses he doesn’t really work for the company. Phil shrugs; he knows.
Zoe is now physically strong and mentally healthy. She no longer pines for a boyfriend that never existed. Josh and Zoe don’t need each other anymore which means they‘re finally ready to find one another again. While on two different subways, Josh spots Zoe on the opposite train. Through a crowded train, they make their way toward one another and embrace.
I was captivated by EVERYTHING’S GOING TO BE ALRIGHT because it speaks to themes of loneliness, isolation and a need for connection that permeate every moment of the script and the visual language of the film will illuminate that. The soulful writing speaks for itself by combining a unique tone of humor, pathos and poignancy. It is relatable and endearing while the camera will be an unobtrusive witness to the struggles and triumphs of our characters.
At its heart, the script is about two people who are isolated but longing for connection, however, this film is not necessarily driven by plot. It is a character study from beginning to end, made up of moments, the looks and silences between words that are just as important, if not more, than the words themselves. So much is communicated in what is not being said. Our characters emotions constantly betray them. It is these kernels of truth, the authentic human behavior, that give the film its legs and breathe. The humor in the script comes organically from the characters, their pain and suffering. The approach will be subtle and real. We laugh because we “get it.”
Visually, we will create two very distinct looks, one for the date and another for present day. It is crucial the audience knows immediately where they are in time. The date will feel very lyrical, rich with color and movement, handheld and fluid, with each shot filling the frame. While the present day will feel cold, hard, grays and muted tones, filled with concrete and glass to reflect their world. Present day will have a lot of negative space, always framing Josh or Zoe apart, while their co-workers will always be grouped together.
I envision my task as one in being smart enough to step aside and let the actors live through these characters in order to capture genuine moments, much as I do as a documentarian with my real people.
We are intensely passionate and will stop at nothing to see this film brought to life.
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