Hamm, Slattery Reunite for Absurdist Comedy "Gail Daughtry" at Sundance

In a surprising and highly anticipated reunion for fans of television drama, "Mad Men" co-stars Jon Hamm and John Slattery have joined forces once again, albeit in a drastically different, comedic landscape. The duo is set to star in David Wain's latest brainchild, "Gail Daughtry and the Celebrity Sex Pass," which will premiere at the Sundance Film Festival, marking 25 years since Wain's seminal "Wet Hot American Summer" debuted at the same event. This new film promises a signature blend of absurdist humor and a star-studded ensemble, exploring themes of celebrity and the often-unpredictable paths of life.

An Unconventional Call to Comedy

The genesis of Slattery's involvement began with a call from Hamm while Slattery was filming a post-World War II drama in Budapest. Hamm informed his former co-star that comedy filmmaker David Wain, known for his work on "Wet Hot American Summer" and "Childrens Hospital," was attempting to reach him about a role uniquely suited for him: playing a version of himself. Intrigued and battling jet lag, Slattery requested the script for "Gail Daughtry and the Celebrity Sex Pass." He recalls reading the script, finding it "funny and weird and like nothing I had done before." The film's premise involves a Midwestern bride-to-be whose fiancé has sex with his celebrity "hall pass," leading her on an eccentric journey through Los Angeles to track down her own, none other than Jon Hamm. The film's iteration of John Slattery, portrayed as having fallen on hard times since his "Mad Men" days and residing in the Valley, is enlisted to aid in this quirky endeavor.

Hamm, a long-time collaborator with Wain and his creative partner Ken Marino, was already committed to the project. Having first seen "Wet Hot American Summer" in theaters and noting the rise of its cast, including Paul Rudd, Amy Poehler, and Bradley Cooper, Hamm expressed his enthusiasm for working with the comedic duo. He described the opportunity to be "projected through the lens of Ken Marino and David Wain" as a "pretty fun experience," equating it to an offer to "come and laugh for 12 to 14 hours" for a "meager paycheck." This, he suggests, is a testament to the "goodwill" Wain and Marino have amassed, allowing them to attract top talent for projects they are passionate about, as detailed in The Hollywood Reporter.

A Stellar Ensemble and Unique Filming Experience

True to Wain's reputation, "Gail Daughtry" showcases an impressively large ensemble cast, a hallmark of his productions. Slattery remarked on the star power, stating, "You would run into people in the parking lot or in the makeup trailer, and you’re like, ‘That’s crazy.’" New to Wain's comedic troupe is Zoey Deutch, who plays the titular Gail Daughtry. Fresh off her role as Jean Seberg in Richard Linklater’s "Nouvelle Vague," Deutch embraces a markedly different character in "Gail Daughtry." When asked about her attraction to the film, she humorously stated, "I’m not gonna sit here and be like: ‘The emotional vulnerable journey she goes on.’ No, it’s just, tops to tails, a wild ride."

A notable aspect of the production was the opportunity to film at various iconic Los Angeles locations, including the Chateau Marmont, Elysian Park overlooking Dodger Stadium, and studio backlots. This was a significant achievement during a period of decline in local film production. Deutch, a Los Angeles native, even experienced Hollywood Boulevard for the first time through the lens of the film, noting how cameramen were hidden to allow the production to blend seamlessly with tourists on the Walk of Fame, going "unnoticed."

Wain's Unmistakable Comedic Signature

Jon Hamm praises Wain as a master of resourcefulness, capable of making "$100 look like $10,000." Slattery echoed this sentiment, recalling a moment when Wain noted he was shooting at his slowest pace in a while, while Slattery himself felt they were moving faster than ever. "Gail Daughtry" is replete with the distinctive humor characteristic of a Wain production, incorporating absurdist visual gags, unexpected plot points, joke-heavy dialogue, and socially awkward characters. Hamm differentiates Wain's style, suggesting that while some filmmakers evoke comparisons to Aaron Sorkin or the Coen Brothers, Wain’s work is immediately identifiable. He describes Wain as "fearless," always prioritizing the "laugh and to the joke," ensuring it "never punches down" but rather, is "just goofy for goofy’s sake," according to The Hollywood Reporter.

A Resurgence for Theatrical Comedy?

The film's independent production and search for distribution come at a time when Hollywood appears to be re-embracing releasing comedies in movie theaters, a genre that has seen a decline in theatrical presence over the past decade. Recent successes of R-rated comedies such as "One of Them Days," starring Keke Palmer, and "The Naked Gun," fronted by Liam Neeson, which garnered critical acclaim and strong box office returns, suggest a renewed appetite for theatrical comedy. Deutch reflects on this industry shift, stating, "There are so many great, funny people in Hollywood who want to make funny movies. And I feel like I hear this question in this conversation all the time, amongst so many of them, is like, ‘Why can’t we get great funny movies made anymore?’”

Hamm, recalling personal memorable comedy movie experiences, including a sold-out screening of the "South Park" movie, highlights the unique joy of collective laughter. Following its Sundance premiere, the hope is that "Gail Daughtry" will find its way into mainstream cinemas. Hamm concludes, "I don’t think, for my money, there’s nothing more gratifying than being in a room where everybody is laughing, wholehearted and full-throated," a sentiment many comedy lovers share, as reported by The Hollywood Reporter.