How We Created Loves Company: It’s Beneficial to Be Amazingly Unrealistic

      Jason Laurits is the director of *Loves Company*, featuring Rachel Dratch, which premieres this month at Dances With Films. Below, he explains how delusion aided his journey as a filmmaker. —M.M.

      Despite being an outsider in the film industry, I boldly embarked on making my first feature, *Loves Company* (a fusion of *Misery* and *Ruthless People*, which serves as a reminder not to meet your heroes). I had no clear plan on how to achieve this; I simply went along with the delusion that I could somehow succeed. I had come to realize as an artist that starting off with delusions is part of the process, and that's perfectly fine.

      In a matter of six months, I found myself "scouting locations" in Florida and Louisiana while connecting with line producers. Had I secured funding? No. I wasn’t even certain about the amount I needed. I was instructed to create a budget. Alright, I could do that. Then came the pitch deck. Fine. A proof of concept teaser. Now, a lawyer? Wow.

      Somehow, I managed to tackle everything, keeping all rational thoughts at bay from my misguided decision-making. I set a production date for that October in Louisiana and charged ahead. At times, it felt like I was orchestrating a Ponzi scheme.

      Yes, we’re filming in October 2024!

      Filming what? Filming how? I wasn’t entirely sure, but I kept repeating it until I believed it myself. I had saved a modest amount of money, enough perhaps for catering and portable toilets, but nowhere near what *Loves Company* needed, even as a low-budget indie. I started a crowdfunding campaign and found myself approaching every acquaintance I had ever met, asking for $50 in exchange for a video of me dressed in a gator costume thanking them for their support of the film.

      What had I become?

      Yet, I successfully reached the crowdfunding target. People were incredibly generous, but it still wasn't sufficient to bring this project to fruition.

      October!

      The situation began to feel precarious. Crowdfunding meant I had exposed myself to EVERYONE. Classmates from high school, filmmakers I had met briefly at festivals, friends’ parents who were curious about my life choices. How would it look if I accepted all their kind (but tax-deductible!) contributions only to fail to finish the project? For the first time, I started to come to terms with my delusions and panicked.

      But then, the same universe to which I had pitched this wild idea a year earlier, responded positively and sent me a miraculous ally. A wonderful person, Sarah Davie, an executive producer who had been with the script from the onset, stepped in to help with funding for *Loves Company*. This was enough to greenlight the project. My delusion was starting to morph into reality.

      Recruiting Rachel Dratch for *Loves Company*

      Now I was energized. October was truly on the horizon (and fast approaching). I leveraged one of my very few Hollywood contacts and connected with a reputable casting agent (Josh Ropiequet). Together, we created a casting wishlist. Then, I reached out to one of my limited New York contacts and got my script to someone on that list, Rachel Dratch. Before I knew it, I was Zooming with Rachel!

      Yes, Rachel, it looks like October. Are you in or out? (Okay, I wasn't that smooth).

      I suppose I again willed it into the universe, because before long, Rachel agreed, and we had assembled a fantastic cast, including Jack Plotnick, Sarah Baker, Dustin Ingram, Bryan Batt, Tristen J. Winger, and Rex Wheeler (aka Lady Camden). Now, we were just weeks away from October!

      I selected a cinematographer (Joshua Bagnall), an art director (Sara Nyquist), and an assistant director (Liana Cockfield). Our amazing producer, Laura Singleterry, organized travel for the cast, booked the crew, and secured SAG approval. The main set began construction on a soundstage at New Orleans’ Fishpot Studios. I had a prop person (Kaley Daniel) who could fulfill any request I made (Can I get a toilet seat with stirrups, please?).

      Securing exterior locations proved to be more challenging. It was hard to find an old, eerie house on a sizable piece of land on the outskirts of New Orleans; most had been rebuilt after Hurricane Katrina. I did find one that was perfect… located next to a busy train track. I was so enamored with it that I was prepared to risk halting filming for a 50-car train.

      Thank goodness I was dissuaded from that choice. Additionally, we needed a Walmart-like store. I drove all over New Orleans desperately searching, but found nothing. Then, I stumbled upon a charming yet small grocery store