Imagine if the idea of an after-life became more concrete, and science discovered that it is in fact there—as are your deceased loved ones. Would you be in a rush to join them? In ‘Next Exit,’ director-writer Mali Elfman makes her feature debut and the story with this sci-fi drama centers on Rose (Katie Parker) and Teddy (Rahul Kohli).
After both booking their own appointments to be medically assisted into the afterlife with the help of a research scientist (played by Karen Gillan), Teddy and Rose end up on a cross-country road trip together. Along the way they meet a few interesting characters, delve into their own personal lives, witness new experiences, and essentially tap into why they both are on a path to die.
‘Next Exit’ seems like one film, but turns into a poignant, heartfelt and meaningful story that actually turns out to be all about life rather than death, despite the premise. To chat more about the inventive concept and the experience of truly diving in to his character, Rahul Kholi sat down to discuss ‘Next Exit.’
You mentioned wanting a break after shooting ‘Midnight Mass,’ but this script was brought to you by a few different people—what made you want to sign on with ‘Next Exit’?
Mike [Flanagan] sent me an email or text basically saying Mali was someone he vouched for, and she wrote a great script and was looking to film it, and he wanted me to consider the role of Teddy. I also received a similar message from Rose McIver from ‘iZombie’ who had Mali’s script, and my manager. So I got it sent three ways. I was kind of hesitant, not for any other reason other than I just didn’t want to work so soon after ‘Midnight Mass.’ This was going to shoot two weeks after we wrapped or 10 days, and I was just like, nope, not interested.
But I eventually read the script and I really, really liked the premise. I saw Teddy as a great opportunity to play something completely different from Sheriff Hassan and to be a little bit looser and freer. I asked if I could use my accent because I was currently using an American accent on ‘Mass,’ and I wanted the next [project] to not have a dialect coach so I could just be free with it. So yeah, that’s what drew me into it. And they also were willing to push production a few more weeks just so I could get a bit of a break and a bit more prep time for ‘Next Exit.’
What were some of the earlier conversations that you had with writer-director Mali Elfman?
The first thing we did once I read the script, we set up a Zoom meeting with Mali and we spoke for about an hour just about the project and how she intends to make it—which was quite unconventional. This is a road trip movie, and we were on the road physically, starting in Kansas City and working our way through to California while making stops at locations that were pre-planned. So as we drove to the next location, we were chipping off miles toward our home.
We also talked about Teddy being an American from New York—I wasn’t really interested in playing him as an American, and Mali was more than happy for him to be English. It was just where I wanted to be with the work, and with ‘Mass’ I had a dialect coach and I wasn’t willing to do that again. I knew that the big spine of the movie is really just the connection between those two characters and their banter and I didn’t want to be restricted with worrying about whether or not I was pronouncing my words correctly. I just wanted to be in the moment.
What did you discuss in terms of your character, Teddy?
We spoke about costumes actually, I think I even said to Molly: Teddy’s sort of like gluttonous and I don’t want to style my hair because what’s the point? I don’t want to shave. I want to wear the same costume, just maybe the t-shirt changes, but real bare minimum kind of stuff. And Mali loved all of those sorts of ideas, so we ran with that.
That makes sense, because if Teddy knows he’s going to die, then what is the point?
Exactly. And he’s eating like someone who hasn’t got long to live, and why would he all of a sudden have a great haircut? So in the mornings, our makeup call for me was just anti-shine powder—that was it. I was waking up, sticking on the sweats and just walking out in character.
The core of ‘Next Exit’ comes from Teddy, Rose and the road trip they take to end their lives. A lot comes out from both of them throughout the journey, what do they end up being for each other?
I think Teddy in a weird way is kind of experiencing life. It forced him to give up and put him on this journey. The weird thing is, he needed an adventure and in a morbid way, him driving to his appointment was the adventure he probably needed to make him appreciate travel and experience, and love and laughter. Teddy’s a bit of a pushover as well. I think Rose gives him strength. She’s comfortable being, I think, with the darker stuff. And she allows him to confront what he needs to confront with his past.
Overall, what do you hope people take away from the film?
There are a lot of things going on there. There’s the sci-fi element, there’s the horror element, it deals with heavy material— suicide and depression and abuse and abandonment issues and things like that. But for me, at its core, it’s just a really sweet story of two people from completely different walks of life finding a human connection with one another. It’s the most timeless, relatable story and that’s the part of it that I’m probably the most proud of.
‘Next Exit‘ is now showing in theaters and on VOD.
