Never Goin' Back
With the existing footage she had, she ended up making a short film, aptly titled Minor Setback. Then she rewrote the film, this time "trying not to cave into fear," and shot it with a completely different script and cast.
Never Goin' Back
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While the film is largely based on Frizzell's own life, revealing her personal story wasn't what she found frightening. "The personal stuff was fine," Frizzell said. "I never minded that. It was the more risque stuff like an hour-long running poop joke... and the gross-out humor. It's not for everyone, but it makes me laugh."
"We didn't have parents, we'd been kicked out, we didn't have any money, we worked at the IHOP, making it day-by-day, had to drop out of school. It was just a heavy situation, and so it makes sense there aren't any comedies about that, because it's dark," Frizell said. "But I thought, that was my teen experience, and I look back fondly on so many of these things, and I want a teen comedy from my teen experience."
Jessie is depressed by her dead-end life and upcoming birthday, so Angela surprises her by buying them a weekend trip in the Gulf of Mexico town of Galveston. However, the problem is, she wasted their rent money on the trip. So, Jessie and Angela only have a week to work a bunch of shifts at the restaurant to make back the cash.
Written and directed by Augustine Frizzell, it follows Angela (Maia Mitchell) and Jessie (Camila Marrone). They are messy, chaotic and barely 17 and the film begins with Angela using their rent money to buy Jessie a birthday trip to the beach. They plan to work every shift possible at their boring diner jobs for the next week to make up the money, but as they face one insane setback after another, their fantasy vacation seems more and more impossible.
Over a two day span, the girls scramble to get their jobs back, struggle to launder their waitress uniforms to get those jobs back, accidentally imbibe the wrong brownies at the house of the dude who lets them use his washer, all while Jessie fails to evacuate her shy colon.
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For Tory Johnson, weight was always an issue; although she felt ashamed of how she looked, Tory could never find the will to change. When a network executive warned her that if she didn't lose weight her television career could be in jeopardy, Tory experienced something profound: A Shift. She knew she didn't just want to change, she needed to change. The Shift begins with this eye-opening incident and follows Tory on her weight-loss journey.
That's basically all the plot there is, but the movie itself is a blast, propelled by a high-energy soundtrack (Zhora's "Lights" serves as a signature motif for our heroes), a down-market cinematography that never makes the strip malls, sad apartments and dingy diner milieu pretty, and most of all by the remarkable chemistry of its adorable leads, who ought to be teamed together whenever possible. (Netflix, are you listening? Give these women -- and I'm including first-time writer-director Augustine Frizzell -- a half-hour series. The world needs more Jessie and Angela.)
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