INDIE SPOTLIGHT: ‘Sacramento’ – Theme of Communication

Rickey, an energetic and free-spirited young man with a Peter Pan complex, convinces his long-time friend Glenn to hit pause on his blissful domestic life and embark on an impromptu road trip across California.

Sacramento takes you on an emotional and sentimental journey you didn’t realize you needed in this moment and time. It’s levity doesn’t overshadow the strong dynamic and connection between the male friends, Rickey and Glenn, fantastically played by Michael Angarano and Michael Cera, and their personal journey’s. If anything, and hopefully, it opens up the doors (in the real world) for more male friendships to unapologetically let loose and openly communicate with one another.

Writer, director, and co-star Michael Angarano spoke with Script about finding the seed of the story idea with writing partner Christopher Smith, writing non-linearly, focusing on character dynamics and their emotional trajectory, and the film’s original music composed by Peter Erskine. Plus, Michael emphasizes the importance of creating a positive and collaborative environment on set and shares invaluable advice for independent filmmakers.

This interview has been edited for content and clarity.

Sadie Dean: How did you and your writing partner Christopher [Smith] initially land on this idea, and what was that writing process like?

Michael Angarano: I would venture to say that the way this script really came together was through a little bit of reverse engineering, because we did not set out to write a film about parenthood or becoming fathers. That aspect and the script didn't come until much later. We initially started writing, really as an excuse to hang out - two actors who were unemployed, we had just done a pilot that didn't get picked up, and so we were going to the batting cages one day, and we were on the five north, and one of us just said to each other, 'Hey, you want to go to Sacramento?' And basically, that's what the entire seed of the film really was based on, was that idea, was that scene, was that these two guys go on a road trip.

Sacramento, the city itself, at the time, didn't have any meaning for us. It wasn't like, ‘let's take a road trip to New York’ or ‘let's take a road trip to Alaska.’ It was really about connection and these people needing each other in this moment, whether they know it or not. And it was really, like I said, just Chris and I having fun.

Over time, we would think of scenes to put down, and we would write those scenes sort of non-linearly - we never outlined this film. It wasn't until much later, where a lot of the pieces were in place, and even once we started casting it, where the actual story was wrapped in a bow for us so to speak. But I would say, pretty key aspects of the film, like almost the entire third act didn't come until later.

Sadie: These characters are at odds with each other, yet there’s a pivotal emotional beat for when basically, we the audience, and I think maybe even for Rickey, your character, realizing that Glenn is actually the one that is in need of dire help. How did you develop those emotional beats, especially while putting this together in a non-linear fashion?

Michael: I would say you hit it on the nose. You almost answered your own question. I would say the script really matured in its own way once we realized that Glenn was the character who was in need. I think we were always writing the script from Rickey's perspective, idolizing his childhood friend, thinking like this guy has got it all together, ‘Only if I had this guy's life, or if this guy with me, then maybe I would be more together through osmosis.’

So, it wasn't until we realized, and a little with the help of Michael Cera coming on board and steering us in that direction where we realized, 'Oh, Glenn needs to go to this place, and we really need to track Glenn more.'

And so, similar to the rest of the story and the plot and narrative, we really reverse-engineered Glenn from the very beginning to realize, 'OK, how can we track Glenn's anxiety and his idea of this impending doom. What do we need to poke and prod him with so that by the time we get to where we need to go with him, it's going to be earned?' And so that was something that we realized much later on, was that Glenn was really the key story for us.

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Sadie: Rickey's character in the top of the first act is at his grief therapy group, and he says, “Anger is just sadness with nowhere to go.” It’s a nice tee-up for all the characters involved in this story. How did you track those emotional beats?

Michael: Well, that was always very much thematically at the center of what we were trying to do. Even more than the plot was we wanted this story to be about the idea that these characters need each other and really don't know how to ask or really don't even know it themselves. Rickey, in his eyes, is probably this evolved person, because he's going to therapy. He's on a very surface level, dealing with his issues, stuff with his dad, probably his own reckoning of where he's at, but as this story unfolds, he's still very much got a long way to go.

And same with Glenn. I think Glenn wants to be this person who's OK with this responsibility, this newfound accountability, and being the anchor of a family. Maybe it's the idea of what being a man is, their own idea of masculinity, what that means to them, because I feel like as evolved as they may seem on the surface, they're still withholding a lot of information from those closest to them and mainly themselves.

And then what makes their dynamics so funny is they really take it out on each other, and they're at times, the most honest with each other, and also they lie to each other. So, their dynamic is each other's foil. And sort of what Glenn, at least, for sure, is what Glenn is trying to avoid, and also what he needs the most.

So, it's this great point of tension. It's just something that we always kept in mind as we were writing: how do we bring this theme of communication to the forefront of every scene? What is being withheld here? What is being communicated here? And are they being honest? Are they not being honest? Do they know that they're not being honest? That was always something, whenever we would sit and write something, we would always go back with a fine-tooth comb and say, 'Track their communication, progress. What's being revealed here or what's being withheld?'

Sadie: I'd be remiss if I didn't mention the music in this film, especially the drum tracks that you have in here. You have one of the greatest living drummers at your fingertips here, but the music is so poignant and emotionally drives that tension, especially between the guys, and especially for Glenn’s anxiety. The drum composition by Peter Erskine is so intentional. What were those creative conversations like with him to get to the emotional core of what you were looking for?

Michael: First of all, thank you, thank you, thank you so much. You're the first person who has actually asked me about the music in the film, and specifically about Peter, because that to me, was one of the great moments of...this movie really has this beautiful, cosmic energy around it, and exactly what you just said, realizing that I had one of the greatest living drummers at our disposal, at our fingertips, and willing to help and be a part of this was something that I was so honored by and excited by. Peter has this incredible knowledge of music, and he's a pro - he's played on so many amazing soundtracks.

So, me articulating what I needed from him was the most basic, primitive version, like 'I think I need this.'  I would almost blush when I would try and articulate music to him, because I'm basically a fan talking to an amazing, musical genius prodigy. I think, the way in which we worked, and I would really be interested to hear what he says, because I would definitely just tell Peter emotionally what was happening in the scene and would just let him go.

The third act climax is a very long drum solo - I think it spans around seven or eight minutes, and he did it in like two takes. I was in the studio watching him do it, and I was freaking out, basically I’m watching this happen in real time. I was just honored that he said yes to do it, because what he brings - it's so rich and elevates the film in such a huge way.

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Sadie: How much of your acting background has that influenced your directing style and approach, especially with communication with your cast and crew?

Michael: It's an interesting question, because it's one I feel like I can answer, and also one that I feel like it's so unconscious to me in how I'm relating to them, and how much influence I'm taking from other people I've worked with. In so many ways, one of the most important things to me were when I started Sacramento, and the first film I made is called Avenues - I've had the opportunity to be on a lot of sets in my life. Some that are great, and I've been really lucky to be a part of a lot of great sets. And some that are really stressful, kind of negatively impacting the people and a little toxic.

And so more than anything, I felt a responsibility as the director and as the person who's responsible for creating this, to really protect the crew and the cast and make this, no matter what, at the end of the day, to make this a positive, collaborative, artistic experience. It's so existential to me that if I had anxiety about everything, like directing is just a stressful job, it's so much more of a job than acting is - that aside, I was just mostly wanting this experience to be a positive one for everyone involved. Because if it wasn't, then truly, I don't know what the point of it would be to set out on an endeavor like this. It's not like we're making money, and also people want to work. But also, why are we doing what we do? And when people feel included, feel like they're being heard, feel like they're a part of something, and then it makes it so fun, and it makes it positive.

So, for me, that was just what I really wanted for myself as well. I wanted to create that kind of experience for me, because I remember being a teenager and being on set once, and having a really tough time on a shoot and feeling like, 'It doesn't need to be like this, and really it shouldn't be like this.' That was why initially I wanted to direct in the first place.

Sadie: Any advice you may have for writer-directors who may be taking on their first feature film in the independent space?

Michael: At the end of the day, I think especially with writing, you just have to give it the time. You just have to sit in front of your computer or your typewriter or your pad, and you just have to give it the time. And if you change punctuation, it's a productive day. And you have to go easy on yourself. And you also have to hold yourself accountable, because it's just too easy for it to go away. You're the only one that's going to make it happen.

Very often, especially on an independent film, you get the sense of people are wearing multiple hats - not just the writers or the directors or the producers - but the crew, like people are doing many things at once, and that's because if they don't, nobody else is going to do it. And I think that's the thing I realized. If it weren't for Chris and I, there would be no Sacramento. You just can't wait for the things that you want to make - you have to go make it.

Sacramento releases in Theaters on April 11, 2025.