Lurker Director Alex Russell on Creating the Ideal Crash Out

      “The house where we filmed has burned down in the Altadena fires,” shares writer-director Alex Russell, whose debut feature, Lurker, is out in theaters today. “I suppose we did capture something about Los Angeles, and I’m strangely glad we memorialized it.”

      Featuring a nervous Théodore Pellerin (Never Rarely Sometimes Always) and a luminous Archie Madekwe (Saltburn), Lurker is an intense exploration of the dynamics between celebrity and their audience, presenting an engaging parasocial psychodrama that recalls All About Eve and Mean Girls.

      Madekwe portrays Oliver, a rising pop star who unexpectedly wanders into the streetwear shop where Pellerin’s Matty works. When Matty fortuitously plays Oliver’s favorite track, their fateful encounter feels significant, and Matty quickly ingrains himself within the pop star’s circle of friends-turned-colleagues.

      Lurker cleverly examines the homosocial dynamics present in Los Angeles’s cutthroat music industry. With a soundtrack from noted producer Kenneth Blume, known as Kenny Beats, it stands out as one of the year’s most clever and electrifying films.

      The cast also includes Zack Fox (Abbott Elementary), Havana Rose Liu (Bottoms), Wale Onayemi, Daniel Zolghadri (Eighth Grade), and Sunny Suljic (Mid90s).

      Russell, a former music journalist, has contributed to two of the most respected shows of the 2020s, Beef and The Bear. His script for the latter's season two episode, titled “Forks,” earned him a WGA award and was submitted by actor Ebon Moss-Bachrach (Fantastic Four) to support his nomination—and subsequent win—for a Best Supporting Actor Emmy.

      Russell penned Lurker during the early phase of the COVID pandemic. The movie's production had delays; it almost started in 2021 but did not come to fruition until 2023.

      “Théodore Pellerin was always attached,” Russell tells Movie Maker. “I was a bit concerned he might age out of his role.”

      There were several modifications to the script during the process. While some were due to production limitations, they ultimately enhanced the core themes of Russell’s original vision.

      “Initially, I had envisioned more fashion shows, parties, and vibrant events to portray their daily lives,” he explains.

      However, as the filming locations were streamlined, the focus shifted to Oliver’s more personal sphere, which heightened the story’s stakes.

      “It means much more for someone like Matty to be sitting in Oliver’s bed than to be out in public with him,” Russell notes.

      Several of Lurker’s most humorous moments are credited to rapper and comedian Zack Fox (Abbott Elementary).

      “Zack and I are best friends,” Russell divulges to Movie Maker. “We’ve known each other for over a decade.”

      Russell has directed some of Fox’s music videos, but he clarifies, “At that time, he wasn’t really an actor. Casting him felt like a bigger leap for me because I knew he could perform, but the part wasn’t originally intended for him. Eventually, once I finalized the script, I realized he was ideal for it.”

      Like Pellerin, Fox’s age was a preliminary concern that ended up being advantageous. With a background as a music journalist, Russell has encountered numerous versions of the characters depicted in Lurker. “Fox’s character evolved into the slightly older guy who’s unexpectedly still around—that dynamic itself is interesting,” Russell points out.

      Having also directed videos for hip-hop group Brockhampton, Russell aimed for a cast that represented the authentic L.A. music scene. “We wanted the ensemble to feel genuine. Instead of opting for college brochure casting, we aimed for a diverse, eclectic L.A. group.”

      An aspect of this dynamic is Matty and Jamie being two white outsiders joining Oliver’s close-knit multiracial team. While Russell recognized the tension, it wasn’t a central theme in the script.

      “The script was designed for the roles to be open to anyone. It wasn’t specifically racially defined,” Russell says. “This arrangement suited the film's context, but a version could exist where Ollie and Matty were both white. I wanted to remain flexible with casting as it developed—Ollie was originally conceived as American, but upon discussing it with Archie, it made sense for the character to be British and relocating to L.A.”

      A significant component of this setup is Havana Rose Liu’s character, Shai. As the only female member of the group, she takes on the role of music manager with seriousness. Liu prepared for the part with dedication, shadowing music managers to embody Shai’s perspective.

      “I cast based on auditions, of course, but also on how the actors discussed the role,” Russell clarifies. “The challenge with Shai was balancing her evolving opinion of Mat