a film by Bastian Günther

SYN O P S I S

LO G LI N EIn a small US southern town, the annual ‘Hands On’ endurance contest offers the chance of a lifetime to win a brand-new pickup truck. Each contestant has their own reasons for entering, but the true cost of the competition is higher than it appears.

I n a small southern town in the US, twenty down-on-their-luck folks compete to win a 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 hands held firmly on the truck. Armed only with their dreams and determination, the participants forgo basic human needs to stand around the pickup truck for days to beat out their competitors. All for the benefit of an enthusiastic audience and the glare of the local media who turn up each year for the car dealership’s popular publicity stunt. As the blisteringly hot days and long nights of struggle, exhaustion, mind games, hilarity, loss of control and insanity add up, only one winner can drive away with the truck. Each contestant has their own reasons for joining the contest, and as the hours tick by, their humanity is laid bare. Who will hold on and win – and at what cost?

Bastian Günther, born in Hachenburg on September 3, 1974, graduated in 2006 from the German Film and Television Academy in Berlin.

B A STI AN G Ü NTH ERD I R EC TO R

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 Austin, Texas.

Filmography2020 - ONE OF THESE DAYS2015 - CALIFORNIA CITY 2013 - HOUSTON2007 – AUTOPILOTEN (AUTOPILOTS) 2005 - ENDE EINER STRECKE (END OF A TRIP)

STATEM ENTD I R EC TO R’ SA t first glance, ONE OF THESE DAYS is

about a comic and grueling competition associated with hope, grit and determi-

nation. But really it’s a universal story about us, about how we live, about Schadenfreude and voyeurism, poverty and dreams, humanity and capital.

It’s about how the lower class serves as entertainment for the rest of us. What happens when the laws of the jungle rule? Only the fittest survive. And what needs to happen before this can change?

I wanted to navigate between drama, hilarity, hysteria, hope, the infamous 15 minutes of fame and the calm before the storm. In its compact, concentrated form – and far beyond its pure entertainment value – I think this contest has a lot to say about our world and ourselves.

Although the film is inspired by true events, Kyle Parson and Joan Riley are entirely fictio-nal characters. They are both “ordinary”

people, as well as representations of us all. Kyle Parson is the classic anti-hero who doesn’t stand a chance, but genuinely believes something good will come of his actions. And Joan Riley, the contest’s organizer, trying to suppress her fear and anxiety, to convince herself that all is well. The climactic event at the end of the contest ultimately brings about an “awakening” for Joan. She too has an iconic function.

How far will we go to delay facing our fears, to deny facing reality? How long can we maintain this, and what has to happen, before we do face them? Just like the contest, life can at times be a “circus” in which we are ringmaster, spectacle and audience.

I NTERV I EWD I R EC TO Rw ith th e

Bastian Günther

How did you discover the tragic true story that inspired the film, and what made it compelling to you as a filmmaker?I first heard about the 'Hands On A Hardbody' competition about 10 years ago. It was a Texas thing and my wife, who had lived there, told me about it. There was also a popular documentary film that had captured the contest back in the 90’s and had played for a long time in theatres in Texas - way before the tragic incident involving a competitor's suicide took place. The first

thing that made it fascinating is that during the contest, there are 'funny' or 'bizarre' moments happening all the time.

If you have 20 people standing around a truck for several days and nights without sleep, things are going to happen. So there is for sure an element of entertainment 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 contest to win the truck, and in the process serving as entertainment for other people. The audience is by definition made up of the privileged, people who wouldn't need to submit to this kind of humiliation.

It felt like the contest managed to reflect, in a simple and startling way, something more profound about our lifestyle in the capitalist system. It illustrates the 'Darwinism' that this system entails. That was really what was so intriguing to me. And as I started to research the event further, that's when I found the old local press coverage about the tragedy from back in 2005.

I NTERV I EWD I R EC TO Rw ith th e

Bastian Günther

Filming a contest like this meant the challenge of shooting mostly in a single location, with characters who are not moving very much. How did you find the dynamic and pacing for the film within those constraints?It sounds weird to say but yes, this is in some ways a chamber piece set in a parking lot. And since you have to work with all of those limitations, in terms of locations and movement, it forces you to think about all of the characters in a deeper way. It was essential to precisely define for all of them – who they are, what they do, why do they want that truck and what are they willing to

do for it. Then you have to give them the room to work with. Each role has their moments and every one of these little side stories is very important to the film. Every character brings something to the film, and I needed to use all of them to maintain the tension and keep the story going. So although the film does have two clear main charac-ters, for much of the running time it is really an ensemble piece. That was something essential to me for the film to work. What I wanted was for Kyle to slowly evolve out of this crowd of contestants and become the main character. At first we see him as one of many, but as the film progresses he becomes its center. He becomes representative of all the contestants and their stories.

Another way we worked to bring out the characters, and through them the narrative, was by shooting a lot of long takes. We would start with the script and the scene, and then based on that, let the ensemble improvise, try different variations, and even when a scene was supposed to end and nothing was happening, we always kept rolling to catch

those little moments in the actors. Blinking eyes, sweat, fragments of dialogue, laughs or even just real signs of exhaustion. The weather was hot and humid, and they were really there, standing around the truck for hours and hours every day. In a way, there was a balance for me and the crew to find. We also had to be passive to some extent, and again to have that trust in the ensemb-le. This method of shooting was the founda-tion for the film. But creating the final rhythm was another process that unfolded in the editing room. It was very important for me not only to find and create the right pace for the story, but also to get the balance right between all the actors and characters.

How did you assemble the diverse cast capable of carrying the film this way, including a surprise turn from cult singer-songwriter Bill Callahan?It was crucial to put a strong ensemble together. I wanted everyone to have a southern accent and to be so believable that the audience could forget they were actors. Most of them are actually from the South or have lived there for a long time. Tracy Kilpat-rick, who was in charge of the local casting, gave us amazing support here. She knows every actor in the South and she had a great feeling for the characters, what the story needed and what I wanted. We did several casting sessions and took the time to assemble our group of actors. And sometimes one choice would affect another one. It was a puzzle - one we had fun putting together.

I had seen Joe in 'Peaky Blinders' and in 'A Prayer Before Dawn' so when Jen Smith, our

LA casting agent, suggested him, I immedia-tely liked the idea a lot. Joe is capable of bringing a mix of innocence and anger to the table - he has a sadness but also an explosi-veness that make his performances incredib-ly strong and gripping.

Joe is also British, so we did have a great dialect coach who worked with him on his Texas accent both before and during the shoot. And actually Joe kept the accent on for the entire shoot, during all of which he also stayed more or less in character.

Bill Callahan lives in Austin, where I'm also based part time. So I just contacted him and asked him if he would be interested in being a part of our project. He read the script and then we met for coffee, and just like that he was in. It sounds too easy or uncomplicated but that's how it was! And he is the perfect voice for the truck.

There are also the characters who aren't officially participating in the competition, in particular Joan (Carrie Preston) and Maria (Callie Hernandez). Even if she isn't standing at the truck, I actually see Joan as a 'contes-

tant' character as well. Even if she's not competing, she is the one organizing the whole thing and she is personally very attached to it. Except that while it's all happening, Joan's story also continues outside of the contest as she goes on living her life. Unlike them, Joan isn't 'held hostage' at the truck. So her story is what gives us a break from the competition from time to time. It's almost a relief when we can leave the truck and follow her somewhere else. Even if the encounters or experiences she has aren't necessarily pleasant. I think she represents the part of us that is not worried, or has decided to push our worries away for as long as possible.

Maria's character also exists in a separate reality from the contest. She is on the other side – she sees Kyle's choices and actions from a different perspective. She almost represents an alternative to the madness. I chose to end the film on Maria because she is going to be the person who has to deal with the loss most. She is the one who will carry the weight of what has happened forever. Her story goes on.

I NTERV I EWD I R EC TO Rw ith th e

Bastian Günther

Related to this, can you shed some light on the choice to move away from the 'chamber piece' structure for the end of the film?Competitions like “Hands On”, as well as certain reality TV shows, are playing with the contestants’ hopes and needs. They want the participants and the audience to make believe that if you just win this one game, then everything will be good. But I would say there is no winner – even when there is one. Just like the character Kevin says in the film: “Even if you do win this truck, you’re still gonna be the idiot who had to stand around a 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 work in a similar way. We see Kyle's last

days and moments; a “happy scene” after Kyle is selected to participate in the contest. But since we know Kyle’s fate, these scenes take on a different feeling. We also get to see Kyle's life with Maria before the contest entered their world, and we see that for sure their lives weren’t perfect. But maybe not so bad after all.

Also I wanted to show Kyle – his environ-ment, his daily routine, his struggles and also some positive moments, without exaggeration or manipulation – so we see him as a person. A “normal” human being, but with this “normality” soon to be destroy-ed. It draws us into his world and brings him closer to us. And like I mentioned above, Kyle stands for all of the contestants, he is their voice. Everybody has a story.

I NTERV I EWD I R EC TO Rw ith th e

Bastian Günther

As a German director based between Berlin and Austin, what perspective do you bring to a story of the American South?I do think I definitely bring a different point of view. I am an “outsider” and I see things – or things catch my eye – that people who have lived there for a long time wouldn’t notice or find interesting. I think it’s just normal that one gets used to their environ-ment, and in an unfamiliar environment you have a different kind of perception. On the other hand I’ve been living in the South long enough by now that I also know it well. And in every stage of the filmmaking process I am careful to stay away from exaggerations or clichés. My wife, who grew up in the South herself is also a big help when it comes to Southern mannerisms and language. She gives me valuable advice on “keeping it real”.

Do you think an event like this could ever take place in Germany or in Europe? There was actually a realty TV show in the UK that was about a very similar kind of contest. So yes, I think it’s something that can happen everywhere. America is more prone to this kind of thing, but the problem the contest really reflects is universal. It doesn’t really matter if people are standing around a truck, sitting on a pole, or if they are candidates in a reality TV show set in the jungle or an enclosed container. It’s about exploiting the underprivileged, about entertainment and Schadenfreude – it is unfortunately all very human. And in a way this kind of competition also serves to reveal one of our biggest problems. The unequal distribution of wealth and opportunity, and its consequences.

I NTERV I EWD I R EC TO Rw ith th e

Bastian Günther

J O E CO LEC AR R I E

PR E STO NEmmy-winner, Carrie Preston, is currently filming the third season of the hit TNT series CLAWS. For seven seasons, Carrie starred as ARLENE, the sassy red-headed waitress on the hit HBO series TRUE BLOOD. She was a fan favorite on the CBS award-winning series THE GOOD WIFE for which her performance as Elsbeth Tascioni garnered an Emmy. Carrie has built a large body of work in film ranging from Woody Allen’s VICKY CRISTINA BARCELONA to Alan Ball’s TOWELHEAD to Tony Gilroy’s DUPLICITY. Other film credits include TO THE BONE opposite Keanu Reeves and Lilly Collins, indie darling DAISY WINTERS opposite Brooke Shields and Dustin Lance Black’s VIRGINA starring with Jennifer Connelly and Ed Harris. In addition to acting, Carrie is also an accomplished director and producer with her production company, Daisy 3 Pictures.

Joe Cole received tremendous acclaim for his performance in Jean-Stephane Sauvaire’s A PRAYER BEFORE DAWN, winning the 2018 BIFA Best Actor. Joe was also nominated for the 2018 BAFTA for his work on BLACK MIRROR. He recently wrapped shooting GANGS OF LONDON for Cinemax & Sky as well as Bastian Günther’s ONE OF THESE DAYS. He starred in Dreamworks’ THANK YOU FOR YOUR SERVICE and A24’s WOODSHOCK. Joe’s previous work includes Jeremy Saulnier’s GREEN ROOM and Billy Ray’s THE SECRET IN THEIR EYES. On the TV side, Joe is well-known for his roles in PEAKY BLINDERS and SKINS.

M AI N C A ST

TECH N I C AL D ETAI L S

M AI N CR EWWriter & Director: Bastian GüntherDOP: Michael KotschiEditor: Anne FabiniProduction Designer: Angela Gail SchroederCostume Designer: Chelsea DeScennaMake Up: Ashley Kent BolotteMusic: The NotwistCasting: Jennifer SmithLocal Casting: Tracy KilpatrickUPM: Kenneth Yu1st AD: Blake BrewerScript Supervisor: Debbie Estay

Duration: 120 minAspect Ratio: 2.39:1Format: 2KSound: 5.1Year: 2020Original Language: EnglishCountry of Production: GermanyFlare Film GmbH

Carrie Preston: JoanJoe Cole: KyleCallie Hernandez: Maria

Production Executive: Maxim JuretzkaLine Producer: Ruth ErsfeldPost Production Supervisor: Katharina WürthnerVFX Supervisor: Markus FrankProduction Sound Mixer: Robert BigelowSound Design: Alexandros TopalisSupervising Sound Designer: Sebastian TeschRe-Recording Mixer: Ansgar Frerich, Valentin FinkeExecutive Producer: Jeanine Rohn, p.g.aProducer: Martin Heisler, Peter Veverka

A FLARE FILM production • in co-production with GREEN ELEPHANT FILMS, ARTE, HESSISCHER RUNDFUNK, SAARLÄNDISCHER RUNDFUNK with the support of DIE BEAUFTRAGTE DER BUNDESREGIERUNG 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 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

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