We chat with Andrew Barth Feldman about his new interactive murder mystery series FoulPlay, his upcoming movie NoHardFeelings, and recruiting Dimension20's Brennan Lee Mulligan:
Foul Play is created by Andrew Barth Feldman, Alex Boniello, and Matthew Barth Tinkelman. Foul Play is a five-part improvisational murder mystery series that takes viewers across multiple genres, including an Agatha Christie-inspired whodunnit, high fantasy, and reality television. However, the cutting-edge series allows the viewer to step into the role of detective, investigating each crime by following suspects and sniffing out clues to uncover the identity of the killer.
And so then when the pandemic hit, I was so saddened that I wouldn't be able to do one for a while, but I knew I had to pivot and figure out how to do it on Zoom. And I did! We did a few of them on Zoom and not only were they incredibly successful, but the thing of being totally in your own world and clicking between the zooms, you miss certain things. And that's really exciting to then find them out later. As opposed to everybody being in one space and yelling at each other.
Andrew Bath Feldman: Good. That's okay. That's the whole idea of this thing is that there are gonna be people who are taking notes trying to figure out what happens and then there are gonna be people who are doing exactly that. Why are Sis and Garrett Clayton dancing in that room? What's happening in there? That's exactly the point of Foul Play. I think that this first case, Vanguard Mansion does a really good job at training you for how to consume it.
So we got on a zoom with Brennan, and he was like, "Hey, I'm really, really busy. I'm doing Dimension 20, but why don't you tell me what the project is anyway And let's just chat." We told him what it is. And he's like, "I will make time to work on this." We just had the greatest time writing it together and Arti Gollapudi, who's also from the UCB comedy space.
Andrew Barth Feldman: Basically, this is the craziest thing ever, we had four rooms in this warehouse in Brooklyn, that were like 1, 2, 3, 4, that we could just walk between. Open a door, see who was in there, and see if we can complete our objectives in there. We filmed every one of these in a day. Basically, we shot the first half, before the murder, went to lunch, came back and shot after the murder.
Andrew Barth Feldman: The only thing that came out was a need to do these murder mystery parties. I missed them so much, because they were so fun. This isn't the thing that I'm like, "Oh, my whole career. I just want to be doing murder mystery parties, or I'm ambitious about murder mystery parties." I just love them and I want to make them accessible. I want to play them for fun forever.
But I also think what was especially cool about each individual genre, is the difficulty and complexity of the mystery matches the genre every time. So this Vanguard Mansion is classic Agatha Christie, you've got to really look at this evidence and really be careful. Reality TV episode, it's complicated, but it's also like dumb. It's also it also is stupid, the answer is gonna be dumb.
I think also what's great about that first half is the murderer doesn't know they're the murderer yet. So you have everybody laying all the seeds, and they don't even know what it's for. The players are not going to find out until the second half when they open their second set of objectives what all those seeds were leading up to. So it gives a lot of time to manipulate the actors to set themselves up in all kinds of really sticky situations for the second half.
The first one I fully was following was [Celia Rose Gooding]. I thought it was very cool, how organic it felt because people would leave the room the second you clicked on it. Which was very funny to me, because I think that happened to me 12 times. To be on that set, learning from these people in real time, was really a remarkable education that I provided for myself. Going into No Hard Feelings, that kind of freedom, especially [with] something that we can cut later. Foul Play, we can't cut, we can't go back. [On] No Hard Feelings we could. So, there was no excuse to not try everything and improvise a bunch and just seeing stuff in the movie now.
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