Charlie Traisman likely could not know how appropriate the title “Achiever” would be for their directorial debut when it arrived this week at SXSW as merely one of four productions that Madhouse, the production company they formed with Katherine Romans, would be bringing to the festival, along with Alyssa Lon’s “Copy, Save,” wild male enhancement surgery documentary “Manhood” and Meredith Alloway’s much anticipated debut feature “Forbidden Fruits.” However, one gets the sense that while the multihypenate’s own best laid plans often come together, they’re well aware of the torture involved when they don’t, making things especially brutal for Alexa (Romans), who wants to apply her professional diligence to her personal life as she tries to attain an orgasm.
A personal quest is one that considers all in Traisman’s frisky comedy, which employs a “When Harry Met Sally”-style sitdown survey of partners describing how they achieve sexual satisfaction, finding that everyone gets there differently, which suggests that Alexa has quite the task in front of her when obvious methodology has failed her and she has to question herself and what might turn her on. She doesn’t immediately seek out a vibrator or a new sexual partner, but rather a spreadsheet where she hopes compiling a list of activities will help her narrow down what she likes and with “grit, endurance and meticulous organization,” pleasure will finally come naturally. Yet to try and create a formula for something that should involve some passion proves frustrating and in the midst of slipping in and out of one bedroom after another, Alexa may have trouble locating a sexual connection – even in an orgy – but potentially finds a kindred spirit in Garth (David Brown), who just likes to watch, prevented by a physical issue stemming from his youth to do much more.
With traditional intercourse is off the table, it could seem like Alexa and Garth are forced into finding a deeper bond, but it’s a tribute to Traisman’s sharp instincts and Claire McFadden’s sensitive script that a connection seems to form so naturally and the film, for all the fun it has following Alexa explore the strangest outer reaches of her sexuality, ultimately feels far more revealing when it’s characters are shedding inhibitions rather than clothing. Shot with plenty of energy by Sarah Whelden, (who also has multiple films at the festival with Katie Aselton’s “Their Town” and Hugo De Sousa’s midnight short “Best Friends with the Devil”), “Achiever” lives up to its title as a standout at SXSW and Traisman graciously took the time in the midst of such a busy week to talk about finding their way behind the camera, taking on such a touchy subject in every respect and how it was actually in Austin around this time last year that the idea was initially hatched.
It seems like you could only make a film like this by starting your own production company and controlling your own destiny. How did you and Katherine come to form Madhouse in the first place?
Katherine and I met over a decade ago when we were at the British American Drama Academy in Oxford, at a summer program over 10 years ago, and instantly became really fast friends. We stayed in touch over the years and then coincidentally, we both ended up getting accepted at the now-defunct American Conservatory Theater in San Francisco. They used to have an actors MFA program. Given the landscape of this industry after the pandemic, Katherine and I were trying to audition and doing all these things, but then ultimately decided to first try making a short film. Of course, that is a lot how a lot of people start and basically put ourselves through film school, but we recognized very quickly that this was something that we could really do. We [thought], “Oh my God, we have a knack for it.” We loved meeting other talent and making their work happen, so we produced this slate of shorts that we thought really articulated our taste and allowed us to meet a lot of great writers and get known on the festival scene. Then this past year was our first time pivoting into the feature film space.
After you got the producing bug, did the directing bug come next or was it always there?
You know, it wasn’t. I actually vividly remember saying, “I’m never going to direct. It’s just not my thing.” Because I used to be an actor, I actually started recognizing that I really love actors, but I don’t know if I love acting or if that’s my artistic process of choice. As we were producing, I started to watch directors and learn by osmosis. And then I came up with the idea for “Achiever” when someone [asked], “What is your biggest regret in life?” And I just made some funny quippy joke like, “All the orgasms I haven’t had on my Lexapro,” because I’m someone who has struggled with mental health over the years and got prescribed Lexapro. It’s been a godsend and I figured everything out, so I made a little joke and then Katherine said, “That’s actually a really funny idea for a short film and we really know how to make short films now,” so then we found the writer Claire to write this. And I thought I actually really want to [direct[ it. As soon as I did it, I [realized], I love directing. It feels like the other artistic modality that I’m going to pursue alongside producing.
You’re good at it obviously. So what was it like building out a script?
I got a chuckle out of it and was so relatable to so many people and from there, I love stories that explore unlikely connections and paths to intimacy. As a queer person, I feel really impassioned to tell those types of stories, putting two people who you think would never connect or be intimate or find each other attractive, and subvert all of our norms around sex and intimacy.
One of the brilliant elements of the film is the pacing where it moves quite fast at the start, as if it’s hot and heavy itself, and then slows down to find intimacy. Was that in mind from the start?
That was entirely intentional because I wanted the first half to just feel like you were shot out of a cannon and then mimics also the way that our brains can be overactive [with] this perfectionist mindset that really can get us and then [show] what happens when you slow down and once again just truly see what’s presently in front of you and engage with the person across from you in a real way and how can we reach new levels of intimacy or find new entry points. My DP Sarah [Whelden], who’s incredible, really helped me and and my whole design team. We switched more to handheld at the end and I wanted it to feel a lot more intimate, sweet and tender.
I just spoke to Sarah and Kelly Wilcox, the production designer, who worked on “The Plan” together which you helped produce — what was it like it like bringing them into the fold for this to create the look?
I just think they’re a power couple. They’re such a good team and they’re so generous and lovely. I’m so indebted to Sarah. This being my first time directing, she was just the best sounding board and creative partner in this. She listens and visualizes alongside me and in the moment, if we’re really short on time, she helps make really economic [choices] but still there’s creative integrity in the decisions that she’s making, so she’s the best. And she has such a producer mind, and so does Kelly. I just love her production design and the way that she was able to bring such vibrancy and color into this piece. The two of them are such a grounding presence on set.
Was Katherine planning to star in this from the start?
Yeah, she was also a creative partner in this in the sense that what we’ve learned a lot as a producing duo is being mindful of the edit while you’re shooting, so she had her brain on that while we were shooting too. Then of course, she’s a very talented actor and it was such a blessing to get to direct my best friend and business partner. I actually think everything about her really fits this character when you also witness her journey and she’s really been in the muck with me.
I noticed a lot of the crew also ended up in front of the camera when you need a lot of extras for the orgy scene, for instance, or the brief bits testifying to their (fictional) sexual experience. What was the energy like on set when everyone has those dual roles and you had these ridiculous situations?
It was so much fun. It was ambitious. We had a lot to do in three days, so we were moving at the speed of light, but at the same time, it was really fun. We had an incredible intimacy coordinator, Chelsea Pace, who was on set and created this really lovely, safe, playful environment for all of the intimacy. It was also a very queer, very femme set and I think that also offers space and levity. There was kooky, kooky stuff happening all the time. You’d turn around and you’re like, why is there this Mormon or Mennonite couple? And then why is there an old woman? And some of the crew was [in the film], but we also were blessed with some very willing extras and friends of ours who were willing to come and play around. But I could not have done it without Chelsea, who was our TPC coordinator and became a producer on this as well. She made it very doable.
Was there anything that may not have been planned, but ended up being a part of the film that you could really embrace?
What’s actually really funny is that because we had no time and we were really ambitious, we had this whole idea that [the lead] goes through the phases of the different things she’s trying to achieve an orgasm and we originally had this entire sequence we were going to do with Katherine on a stationary bike, making a smoothie and all these [small segments] and we realized unfortunately we do not have the time. But that’s actually how we ended up doing all of the animation and title cards and [had her putting together an] Excel spreadsheet in the middle of the film [about all the various sex acts] because we couldn’t shoot it. Ultimately, I think it gave everyone a little bit of a reprieve and seeing her Excel sheet to understand the nature of her mind was really helpful, like, “Okay, now I’m understanding she’s mathematical and this is how she’s seeing it, checking off [different sex acts]. So I actually think it helped the storytelling.
What’s it like to get to this place with the movie and getting ready to share it with audiences?
I’m really excited. I truly can’t believe [the film] going to South By, and there’s such a great audience, specifically for shorts. I feel honored and humbled by it and I’m just excited to laugh with an audience. Every time I watch it with someone, I I love hearing them laugh through it with me and I’m so curious to see who ends up being moved by it at the end. And then in the same shorts block that “Achiever” is in, [Madhouse] has another short, “Copy Save” too. We also have [Meredith Alloway’s debut feature] “Forbidden Fruits” and a documentary feature called “Manhood,” So it’s a lot of projects, but I’m totally thrilled. It’s going to be non-stop, but I’m ready.
“Achiever” will screen at SXSW as part of Narrative Short Program 3 at the Rollins Theatre at the Long Center on March 16th at 6:15 pm.