Lurker Director Alex Russell on Executing the Ideal Crash Out

      “The house where we filmed has been destroyed in the Altadena fires,” states writer-director Alex Russell, whose feature film debut, Lurker, is released in theaters today. “I suppose we captured a piece of L.A., and strangely, I’m thankful we memorialized it.”

      Featuring a nervous Théodore Pellerin (Never Rarely Sometimes Always) and a glowing Archie Madekwe (Saltburn), Lurker delves into the dynamic between celebrity and audience, presenting an engaging parasocial psychodrama reminiscent of All About Eve and Mean Girls.

      Madekwe plays Oliver, a rising pop artist who encounters Matty, portrayed by Pellerin, in the streetwear store where Matty works. When Matty serendipitously plays Oliver’s favorite song, their chance meeting seems fated, leading Matty to quickly integrate himself into Oliver’s circle of friends-turned-associates.

      Lurker insightfully examines the homosocial dynamics within L.A.’s ruthless music industry. With a soundtrack by renowned producer Kenneth Blume, better recognized as Kenny Beats, it stands out as one of the wittiest and most thrilling films of the year.

      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 since contributed to the critically acclaimed shows of the 2020s, Beef and The Bear. The episode he penned for the second season of The Bear, “Forks,” won him a WGA award and was the episode that actor Ebon Moss-Bachrach (Fantastic Four) submitted for his nomination, which led to his win for Best Supporting Actor at the Emmys.

      Russell wrote Lurker during the early stages of Covid. The film's production was delayed; it was nearly set to begin in 2021 but didn’t actually materialize until 2023.

      “Théodore Pellerin was always attached,” Russell explains to Movie Maker. “I worried a bit about him aging out of the role.”

      A few adjustments were made to the script throughout the process. While some changes were necessary due to production limitations, they ultimately enriched the core themes of Russell’s original draft.

      “Initially, there were more fashion shows, parties, and social events in their daily lives,” he shares.

      However, as locations were streamlined, the film focused more on Oliver’s personal world, enhancing the stakes.

      “It holds more significance for someone like Matthew to be in Oliver’s bedroom than to be out with him,” Russell states.

      Many of the amusing moments in Lurker stem from rapper and comedian Zack Fox (Abbott Elementary).

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

      Russell directed several of Fox’s music videos, but he notes, “back then, he wasn’t really an actor. It would have felt like quite a leap for me to cast him because I knew he could handle it, but the role wasn’t originally intended for him. Eventually, after completing the script, I realized he was the ideal fit.”

      Similar to Pellerin, Fox’s age was an initial concern that ultimately became an advantage. As someone who has interviewed many characters resembling those he portrays in Lurker, Russell says, “Fox's character became the slightly older individual who oddly remains in the scene — that dynamic is noteworthy.”

      Having also directed videos for the hip-hop group Brockhampton, Russell aimed for a realistic portrayal of the L.A. music scene among the cast. “We wanted the ensemble to feel genuine. We weren’t looking for the typical college brochure casting; we desired a diverse, eclectic L.A. group.”

      One such dynamic is that Matty and Jamie are two white outsiders who enter Oliver’s closely-knit multiracial friend group. While Russell recognized this tension, it wasn't the primary focus of the script.

      “The script was meant to be open to anyone for the roles. It wasn’t racially defined,” Russell clarifies. “This particular configuration worked for this film, but there could have been a version where Ollie and Matty were both white. I aimed to keep casting flexible as it developed — Ollie was initially written as American, but once I started speaking to Archie, it made sense for him to be British and a transplant to L.A.”

      A key aspect of this configuration is Havana Rose Liu’s character, Shai. As the only female in the group, she takes on her role as a music manager with seriousness. Liu approached the role with diligence, shadowing music managers to fully embody Shai’s perspective.

      “I cast the roles based on auditions, but also on how the actors interpreted the character,” Russell explains. “Finding the balance for Shai involved showcasing how her view of Matty evolves