“It has changed my life. It’s changed the way I look at myself, the way I speak about myself or even think about myself. I feel like I’m a much kinder person to me.” We talk to stars Jillian Bell and Lil Rel Howery, and playwright-turned-director Paul Downs Colaizzo, about his debut feature film Brittany Runs a Marathon.

Transformation stories, makeover movies, ugly duckling tales: Hollywood has long been awash in them, but usually they’re steeped in fantasy (average girl discovers she is princess! Princess reveals she is ogre!). Brittany Runs a Marathon is the very real story of a woman who is transformed not by any magic spell or deus-ex-machina, but by the words of her doctor, warning her to follow a healthier diet, get some exercise and lose some pounds.

The real-life Brittany ended up running the New York Marathon, inspiring her friend, playwright Paul Downs Colaizzo, to write and direct a feature film about her journey. It’s a great vehicle for Jillian Bell, who racked up her own running miles to prepare for the title role. Playing Brittany’s wonderfully supportive brother-in-law Demetrius, lending moral support via video-chats, is Lil Rel Howery (Get Out TSA agent Rod Williams).

While Brittany Runs a Marathon is being heavily marketed as a comedy, “there’s something deeper, more serious and heart-wrenching lying at the heart of this film” observes Letterboxd member Nina. “Sticking to regimens and coming off of setbacks is hard,” writes Michael. “It was refreshing to see growth portrayed in all its fits and starts.” “A really beautiful story of someone trying to better themselves and how that doesn’t mean you have to do so alone,” Claire agrees. “Jillian Bell is excellent and really raw as Brittany.”

We spoke to Jillian Bell, Paul Downs Colaizzo and Lil Rel Howery ahead of the film’s US theatrical opening.

Jillian Bell (Brittany)

What was the first thing in the script that you related to and made you feel that you could be Brittany?

Jillian Bell: I got the script from my manager and I was very nervous [laughs]. She said, “You’re going to be a little scared while you’re reading this because I think you’re going to relate to the character and then you gotta keep reading because the script is really beautiful and powerful.” I read it and I remember thinking the exact same thoughts: ‘This is going to be very different to take on than most things I’ve done’. It was different in a good way. Something I wanted to try and go out of my comfort zone. I just related to the characters so whole-heartedly. There were moments where I thought ‘someone is taping me right now’ because I’ve thought the exact things and now they’re in a script I’m reading.

What were some of the conversations you had with the real Brittany? How did meeting her affect your approach?

The script is inspired by her story but there were a lot of other characters in the film that were not in her actual life story. Paul and I decided to create a character together and Paul had sent me early on a video of the real Brittany when she was making a tape to raise money for the marathon. I completely got her essence from that. She is so inspiring, smart, and funny, sometimes very silly.

Paul and I worked together on creating a character based off all these other characters and it informed us about X, Y and Z. But the first time I met the real Brittany O’Neal was when we were shooting a super emotional scene. I was concerned about making sure she was okay. It’s one thing to know that your life story was about to be told; it’s another thing to see an actor trying to portray all of these things you really went through in your real life.

What were the other types of preparations you did for the role?

I decided I was going to do the actual physical journey of the character. I decided to lose 40 pounds for the shoot, 29 pounds before we shot and eleven while we were filming. I just thought it would inform me on certain approaches the script took that I didn’t quite connect to emotionally. There was so much that I did connect to with Brittany, and then there were moments in certain scenes where I thought ‘why is she acting that way? Why is that her response?’ Once I had done the physical journey I completely understood. I had never experienced what it was like to plateau, for example, and focus on a number so intensely. That was part of the script that I didn’t really understand.

You’re known more as a comedic actress and this was a fantastic opportunity to show off your dramatic talent. How did you want to subvert expectations of yourself coming into the more dramatic scenes?

I think there’s always a lot of pressure when you try something that is different than people expect to see when they come to see a movie that you’re in. I was just so drawn to the script and I wanted to protect the character. I know I told Paul that I didn’t want anyone else playing her, not that anyone else couldn’t do it, but I wanted to make sure that the way I read it was the way he was going to shoot it, and he was so on the same page.

I felt like I was in really good hands. We were both taking a chance on each other. He was a first-time writer/director and this was my first time doing something that had dramatic elements, and I was playing the title character which I’d never done before. This is the first time where I was in a movie where I was in every single scene. I had no idea if I was going to enjoy doing something that was such a departure of things I had done in the past, but I truly loved it and I hope I get to do it again.

There’s a fine balance between the need for people to live healthily in order to avoid lifestyle-related illnesses, versus the need for society to accept everyone for who they are, no matter their appearance. What conversations did you, Paul, and other creatives have about this line?

We had several conversations and talked basically every day for seven months before we started shooting. We wanted to make sure that we were being honest about these conversations: what it’s like going to the doctor and have them say to you: “You need to lose weight to be healthier” because of some health concerns; and the difference between that and the friendship that you have where somebody is saying: “You’d look better if you drop a few pounds” and how unhealthy that is. And how you can have self-hate and lack of self-worth and [how some of that] is society-ingrained ideas and some of that is of your own making. I think Paul did such a beautiful job with the script. We hit on everything without being too political or too shy.

We just covered Sword of Trust and had the delight of chatting with its director, Lynn Shelton. That’s another fantastic, funny movie you’re in. Can you talk about the different pleasures you get from working from a script versus the type of freedom you have in improvisation, as you did on Sword of Trust?

I’m definitely more comfortable with things like Lynn’s film, where it’s not as scripted and you get to be extremely loose and bring whatever you want to it, and Lynn was so open to any ideas we had. I remember Michaela and I, the night before we shot, we were sitting in a hotel room together talking over who our characters were and what they wanted, what their goals were. We approached Lynn saying “this is what we’re thinking” and she said “great!”. It’s very different from doing a role like Brittany, where all I got was the script and I fell in love with that. I decided to stick more to the script than I’ve done with any other film. But I definitely wanted to make sure I was telling the story that I received and was so moved by.

Jillian Bell, Micah Stock and Michaela Watkins.

It’s awesome that in both these movies you’re opposite Michaela Watkins.

It’s wonderful for me. Michaela Watkins is one of my favorite actresses. I just think she’s so strong, and honest in her performances, and she also makes me laugh harder than most people in this world. I would really love to work with her again. I’ve worked with her twice in one year so I’ve felt very lucky.

Paul Thomas Anderson has said he’s gearing up for a comedy with Tiffany Haddish. He brought you onto The Master and Inherent Vice because he thinks you’re very funny. You must be on his speed-dial for this project, right?

I don’t know about that. [Laughs]. I may not be on speed-dial. I’m definitely a huge fan of his and I love that him and Tiffany are working together. That’s going to be amazing. If I hear nothing more than it coming out, I’ll be very excited to go see it.

Brittany has a life-changing experience and your hard work to demonstrate that really shows. How has working on the film changed your life?

It has changed my life. It’s changed the way I look at myself, the way I speak about myself or even think about myself. I feel like I’m a much kinder person to me. It made me examine what I was putting out there and how negative that can be and I think that happens, not to all women but to some, and I’m definitely one of those women.

I feel like a movie like this really inspired me to look at that and have a deeper look at how I would talk about myself. I think this is the movie that I wanted to see when I was thirteen, about a real woman who was struggling with these things and how hard it can be to make the first step, how amazing it can be to really choose yourself first over everyone. It’s a hard thing to do, making that first step.

What was the film that made you want to be in film?

Clue was the movie that made me want to be in films. I watched that when I was a young girl; it was one of the first VHS tapes we had and I watched it on repeat. It wasn’t just because I loved comedy and mystery and anything that’s a little dark and twisted; I also loved how all these funny character actors were the leads. I still love watching that movie and it’s still my favorite movie to this day.

Jillian Bell with writer/director Paul Downs Colaizzo.

Paul Downs Colaizzo (writer/director)

The film is based on your best friend and roommate Brittany. What was the moment you realized her story could be a movie, and how was she involved in shaping her own narrative and the tone of the film, if at all?

Paul Downs Colaizzo: It was after a conversation she and I had after I first moved in with her, where she decided she was going to turn her life around and take control of what she could control and find some structure in her life. So she went for a run. It was when she was out for her first run that I thought this could possibly be a movie. I outlined it without telling her I was working on a movie that was inspired by her life and then a few months later I let her know. She was surprised and flattered and excited and interested and intrigued.

The character of Brittany is different than my real-life friend Brittany in a lot of ways but her DNA is all over it. She was incredibly supportive, and now she’s at a point where she’s excited that people are going to be inspired by something that was inspired by her.

Which aspects were fictionalized for the movie?

I took some milestones from her journey and there were elements of her personality that I incorporated into the character of Brittany, but none of the characters is really based on anybody. The character Brittany is different from my friend and really none of the scenes from the movie is a recreation of anything that happened in real life.

What was it that convinced you Jillian was right for the lead? How did you identify the dramatic potential of the comedic actors you selected?

[With] Jillian, I’d always been a fan of her comedy and her comedic acting; when she was in 22 Jump Street I fell in love with her. When I met with her about the role she really had this connection to the character. She wanted to tell the story and she wanted to protect the character in the way that I did. Her brain is naturally funny so we got the opportunity to play with the comic genius that is Jillian Bell and also expose this well of untapped emotion that most people had never seen her access. She’s never done a dramatic role before, I had never directed a film. We had to place bets on each other. That drove both of us to work as hard as possible to not let the other one down.

The idea of the film is that we’d take a character who is typically a sidekick, start with the archetype of her as someone we know how to laugh at and create actually a really deep, personal pathos-filled human that we also empathize with and relate to. We wanted to do that with Brittany but also with all the other characters in the film. Luckily we got incredibly talented comedic actors who are normally playing supporting roles and also have these other elements of their personality that we were able to expose and illuminate for the world to see.

Do you feel there are films or plays that have done justice to body image issues before? What did you want to bring to the topic you felt was lacking?

I never really approached this as a body-issue film. I started working on this in 2011 and that wasn’t really part of the cultural conversation at the time, at least in the way it is now. Her relationship to her body was always a big element of the film as far as her trying to understand what her own value system was, not the value system that the world put on her. But I would consider it a story of a person coming into their own.

I think we all can relate to this idea that we’re not living the lives we want to live and that we’re maybe not taking ourselves as seriously as we could because we’re afraid that if we try we will fail. I think we’ve been ingrained to feel that failure is a bad thing. For me this was a story about a person who learns to help and dream for herself and pursue these dreams in a way that’s earnest, without losing her edge and irreverence in the process.

I like how you kind of utilized the “friend-zone” in a way most rom-coms don’t know what to do with. What were some of the genre clichés you deliberately resisted?

Again, you know, I never really looked at it that way because I come from theater. I really am just looking at the characters and their journey and the story we’re telling and how it all relates back to the theme. It’s not quite how I look at the construction of a story; I’m not starting with the genre. The one thing I was starting with here is I was starting with the archetypes we were familiar with and allowing the story to decidedly go in a different direction by deepening the characters and seeing where the story would go as we deepen the characters.

How do you feel your instincts as a playwright and experience in television informed your approach in making your first feature film? What were the different satisfactions in the process?

The good news about theater is that it’s an all-hands-on-deck situation. You’re making things work, you’re solving problems because there are limitations in the space in which you’re telling the story. In an indie film, there are also a lot of limitations. So getting creative with your surroundings and figuring out how to multi-purpose environments so they can be several different settings so your film can have a feeling of scope and a change of scenery, but also be filmed in a certain amount of time, was a technical thing I brought over from theater. But beyond that, it’s all storytelling and it goes back to Aristotle and the poetic and finding heroes with flaws that we can relate to. It’s just, in this movie, I’m just asking that the sidekick is the hero because she deserves to be one too.

You filmed at the New York City Marathon. That sounds very challenging. Can you talk about your experience filming there? Did it go smoothly?

It was incredible. There were six of us from the crew permitted to be there. We had three units in the race. It was a monster of a day. And also, the action you see in the marathon is easily one of the most emotional days of the city in the year because everybody is so supportive and lovely and kind to their fellow man. We could feel it that day, and I think you ultimately feel that energy in the film. It’s a magical day to experience in real life and we did our best to honor that.

What was the importance for you of depicting an LGBTQIA+ family in the film?

I’m a gay man. I think this story is about giving depth and relatability and asking for empathy for all of the people in the film, many of whom are “others” in our society. I wanted to subvert the idea of the gay best friend as a trope, which is usually in a lot of ways the comic relief or kind of a hot mess, sort of the character Brittany would be in a typical big comedy. I wanted him to have a full life that honored where our culture is headed and made the gay storyline as relatable as any other storyline.

What are the types of films you’d like to make moving forward? Do you see yourself making more personal projects/dramedies like this or maybe adapting your own plays?

I’m gonna go wherever the inspiration takes me. One thing a friend of mine observed about my work recently: I tend to like to unfreakify people we freakify. My guess is that thread will remain in my work but I’m going to do it in a whole bunch of different ways I hope. I’m working on something right now that’s a historical thriller but I’m not done with it yet. I’ll let you know.

What was the film that made you want to be a filmmaker?

The first film that made me realize that films had the amazing potential to break through to people all through the country in all sorts of situations and make them feel excited by the idea of insight was American Beauty. I grew up in Georgia in a conservative area in a religious home and the idea that my life could be subverted in a way that movie depicted made me excited to understand more about myself and the world about me and the lies we tell ourselves.

Great choice, it was formative for me too, I resent this backlash it’s been getting.

American Beauty? Fuck that! It’s great!

Lil Rel Howery as TSA agent Rod Williams in ‘Get Out’.

Lil Rel Howery (Demetrius)



What did you connect with most about the script? What was it that stood out to you?

Lil Rel Howery: How honest it was and how Paul did a good job of writing the human experience on an aspect of you know, “you lose weight, everything becomes peaches and cream” but you have to get your mental health together too. I thought it was dope. Brittany’s character really showed all the different processes of getting it together. She would be running and losing weight and it’s like “everything’s going great now” but then here comes an obstacle. It’s not about the weight, it’s more than that, and I thought that was very deep. I love how, also, he wrote all these stereotypical characters in such a human way without a political agenda to it. He made these beautiful families look like real people.

Most of your scenes you’re acting in front of a computer. What were the challenges of acting without your co-star present? How did your scenes work?

I always joke with people, like, “I’ve done more than Get Out”, and they’re like, “Have you ever acted with people before?” I’m joking. It was acting, man. I think one of the things I love about what Paul did a good job of was each of us got our one-on-one with Jillian. And not just one-on-one, especially for us funny people, very dramatic one-on-ones. It wasn’t hard, it was a beautiful well-written movie and for me, that scene with me and Jillian was one of the coolest things I’ve ever filmed because it was filmed with honesty and emotion and I think we did a good job of filling that.

Do you feel eager to show that dramatic side of yourself? How will you reconcile that after establishing yourself as a comic relief?

I’ve never put myself in that box. Unfortunately people just love to do that, I guess. With Get Out, as funny as I was in that, I was only funny to people because it was so intense. It wasn’t like I was just telling jokes. I wasn’t doing anything silly. My character Rod was just being honest: “This is what I think is going on.” It’s just funny the way I was saying it because the rest of the movie is insane. I even look at Bird Box, that character, I threw in a couple of jokes in there just because I felt like it, but that was a dramatic character.

Even the scenes in Get Out, most of those things were dramatic. Even doing Uncle Drew, I made sure they didn’t make me the funniest person in that movie, especially with a movie with everyone running around with prosthetics. I thought that was crazy. I made sure I was the one who brought the heart into the movie. I’m very specific about what I pick. So I think with my next few films, the ones coming out this year, along with Brittany Runs a Marathon and the stuff I’m filming now, I just think you’re not going to put me in a box. You’re just going to have to call me good at one point.

You are good!

[Laughs, generously.]

What are the different pleasures for you working in a scripted format compared to the freedoms you might have on other projects where you can improvise jokes?

The crazy thing is, when people hire you they want to hire the best of you, right? I can improv drama. When I met with Paul it was about playing a love interest. We had a conversation of how I loved the script so much and I was talking to him about how I wish the father figure would be aggressive with her and he ended up making me that character where I played the father figure. He created this character based on our conversations. This character didn’t even exist at first.

I’ve worked with directors so far that trust me, and I trust them along with the creative process. I’m one of those dudes who’s a control improv-er. Maybe some comedians go off the rails. I know what the story is, I know what the moment is, I never go off what we’re supposed to get. My only thing I like to do is make a scene real. Even if the scene is funny, I don’t like to do nothing funny if it ain’t real. If it’s too silly, I don’t want to do it. I’m very big on keeping it real.

The same goes for my standup. My standup always comes from a real place. I try to make sure, everything I do, every project, every role, even the stuff now, I’m working with some great directors and I’m like, “can we get on the phone today because some of these lines are too stupid. Let’s think of something better and dramatic and I’ll make it funny” [laughs].

Get Out is a bonafide classic. It must have been exciting two years ago when it was being lauded and discovered, but in hindsight, it’s a key part of a movement that’s defining Hollywood right now. How does that feel to be part of?

It feels great, man. I feel like I’m a part of so many different versions of that. I’ve been lucky, I’ve been able to do some cool stuff, man. I think with Get Out and what that did. I think about even Bird Box, you can do whatever you want, that was a fun time and I loved the script. After that, Netflix said they were breaking all these records. “This is a record-breaking movie.” There are a lot of interesting things I’ve been able to do, which I’m not done with.

I think for me, Brittany Runs a Marathon falls under that category with Get Out where I don’t think people know what they’re about to get into. I remember telling people that about Get Out and they were like, “Oh, okay”, and I was like, “Naw, you have no idea what this is about to be”. I think Brittany Runs a Marathon is like that too, I don’t think people have any idea how special this movie really is until they see. That’s why I think it’ll do well word-of-mouth more than anything.

Did you get to keep the hoodies for your character’s birthday? That’s the best piece of costume in a film for 2019.

[Laughs]. Naw, I didn’t. It’s so funny you say that. I don’t know why I didn’t keep a t-shirt. Damn, I should’ve. I’d keep anything.

What movie made you want to be in movies?

Let me tell you something funny. It’s not a film that made me want to take this on at first. It was an episode of Family Ties. It’s the episode where his friend got killed by a drunk driver [season 5, episodes 23 and 24; a two-parter titled A, My Name is Alex which won the Emmy for Outstanding Writing for a Comedy Series in 1987]. Michael J. Fox performed in a way, you know, you watch things to be entertained at first? But that was the first time I watched an actor and I was like, “Yo, this is crazy good”. Then he did like a one-man show in the second part, like a play where he was walking on different parts of the set and it was different parts of his life. Man, I thought that was brilliant. I thought, ‘Whatever job this is, this is what I want to do!’ [laughs].

‘Brittany Runs a Marathon’ is in US cinemas now.