Actress, writer, and now director Molly Gordon is on an impressive creative ascent, at a pivotal point in her creative trajectory and quickly emerging as a formidable multi-hyphenate actor/ filmmaker. Best known for her roles in “Booksmart,” “Shiva Baby,” and FX’s “The Bear,” Gordon has stepped confidently behind the camera with co-directing and co-writing credits on “Theater Camp” and now as a producer and writer on the hilarious and tremendously charming new romantic comedy “Oh, Hi!”
Directed by Sophie Brooks and co-written by Gordon, “Oh, Hi!” stars Gordon and Logan Lerman as a pair of 20-something lovers enjoying their first romantic getaway—seemingly a turning point in a flirtatious relationship about to turn serious. Of course, nothing goes as planned, it all goes awry, and Gordon’s neurotic and complicated Iris character has to call in friends (Geraldine Viswanathan, John Reynolds), to help her reckon with and navigate the dark and potentially illegal kidnapping situation she’s gotten herself into in a fit of anger (David Cross and Polly Draper also have minor roles).
Charismatic and delightfully humorous, “Oh Hi” is an emotionally sharp and darkly entertaining riff on the collapse of modern dating, men’s unwillingness to communicate and commit, the illusion of closure, and the wish-fulfillment chaos that can follow heartbreak (read our review).
With the romantic comedy imminently in theaters, we caught up with Gordon to talk about emotionally ghosted breakups, navigating the industry as a multi-hyphenate, “The Bear,” and her upcoming in-the-works directorial debut that she will also star in.
How did “Oh, Hi!” originate?
Sophie brought me the idea during COVID. Like a lot of friends do, we sat around helping each other crack story ideas. She asked if I wanted to write it with her, and it just grew from there. We spent an afternoon helping her, and she asked, “Do you want to do this together?” And it was such a gift. She’s like, “Can I write it for you, and can we figure this out together?” So it happened very seamlessly in COVID, when we were both feeling very lonely and could draw upon a lot of dark dating experiences, and then it took five years to get made. So it’s been quite a journey, but I love being involved in different parts of the filmmaking process.
You’re credited as co-writer. Was that always the plan?
We both had experiences dating people who couldn’t have a conversation with us and left—people we really loved. And Sophie said, “What if I trapped that guy and finally got to have that conversation?” And I said, “That’s a really funny movie.” I would never do that, but the impulse was so real. We’d meet up and talk about it, and then Sophie would go away and write something, and I’d give feedback. It felt like a real collaboration.
You’re from a filmmaking family. Has that influenced how you move through the industry?
Yes. My family always told me to spin as many plates as possible because everything takes so long. While trying to break in as an actor, I was also writing a web series, producing friends’ projects—doing whatever I could. I didn’t want to wait for someone to give me permission to be creative. That mindset has stuck with me. Acting has been the best film school, but directing lets me zoom out and think beyond myself.
So I assume “Oh, Hi!” was based on the kind of nightmare nature of dating apps and how difficult modern dating is these days.
Oh no, I’ve only had really positive dating experiences [laughs hysterically]!
[Ha] Yes. The hardest part of going through something like that is that the people aren’t bad. There’s so much love. I still love that person. I think Sophie still loves her person. That makes it more confusing. It’s easy when someone cheats on you or something really horrible happens. But when they just leave and there’s still love there, you think, “Did I make it up?” There’s no closure. And then you feel even crazier because everyone’s like, “That’s not a big deal. You didn’t even date him.” But you did. We were crying every day. It’s deeply painful.
It’s very much about that sense of unreality around dating and apps.
I think it’s so hard to connect right now. Dating is terrifying. People are so scared of being rejected that they don’t even try. It’s easier to disappear. And this movie is a wish fulfillment of what you’d do in your darkest moment. These characters are not okay. They’re unwell. But I hope that’s what makes it funny. She’s doing something you’d never do—but you’d want to.
Why are men so unwilling to connect emotionally or commit?
There’s an illusion that there’s always something better around the corner. And everything’s so hard right now—financially, emotionally. No one can buy a house. The economic system is collapsing. So many people are in therapy, and so many people need better therapists. There’s so much fear that we’ll end up alone, and that fear drives people to act really badly. They don’t want to face discomfort. And then you’re on your phone, avoiding everything. I’ve done it too. It’s so much easier to disappear.
So much of your work is with friends. Sophie, Rachel Sennott, Geraldine Viswanathan…
That’s the dream. The filmmakers I love—John Cassavetes, Robert Altman, Judd Apatow—they work with the same people. And you grow together. This career is so lonely. You never see your friends. So, do we get to make stuff with them? That’s the dream. And it makes the work better. You trust each other. It’s safer. And it’s more fun. I’ll be so happy if I can keep working with my friends forever.
You also made “Theater Camp” with a group of friends.
Yes, [co-director/co-writer] Nick [Lieberman] and I have known each other since we were five. That was our film school. We had 18 days. No money. Everyone is doing 17 jobs a day. Nothing will ever be that hard again. But we were surrounded by people we loved. That gave me the confidence to direct solo. It felt like I could do it, even when I was scared.
You’re directing your own film next?
Yes, I co-wrote it with Ali Levitan, who’s brilliant. It’s a high school reunion comedy. And I’m acting in it too. I have the most amazing producers who make it feel possible. And when you’re acting and directing, you feel it in your body. You can sense if it’s working. It’s very intuitive.
Comedy seems to be having a moment again.
It was so hard to get “Oh, Hi!” made. No one wanted it. People don’t want to finance comedy. But we just had a screening in New York, and the laughter was so loud. It felt like being at church. Everyone was together. It reminded me of why I want to do this. We’re not going to the movies as much anymore, but part of that is because there aren’t enough great Friday-night comedies. On the plane, I watched “He’s Just Not That Into You,” and I thought, “This was a big movie. This used to be cool.” I want that back.
Has directing changed how you approach acting?
Completely. In theater, your performance is yours. But in film, it’s everyone’s. The editor shapes it. The director. The sound mixer. You’re part of a larger vision. I want to serve the director’s vision now. It’s not about me. Being on “The Bear” last year, I just wanted to support [showrunner/creator] Chris Storer’s vision. And I got to go home at the end of the day. That was great. Actors have the easiest job. You come in, do your thing, and leave. And you get credit for everything.
Has a lack of acting opportunities driven this shift?
Yes. I don’t get offered a lot. There are five girls who get everything, and they’re amazing. But there are not many roles written for people like me or my friends. So I started writing for us. That’s where it began—from necessity.
Are you returning to “The Bear” next season?
You’ll see… I don’t know what I’m allowed to say. But getting to be a part of that show in any capacity has been incredible. You’ll see… I can’t say much. But I’m really excited.
What’s next for you, acting-wise?
At the moment, I’m focused on my own film. Beyond that, we’ll see. I hope something interesting comes along, but I’m excited to make my thing for now.
“Oh, Hi!” opens in select theaters this Friday, July 25, via Sony Pictures Classic.
Rodrigo Perez is the founder and editor-in-chief of The Playlist, which he launched in 2008. He has worked in entertainment journalism since 2000, including at MTV, and has written for SPIN, IndieWire, Pitchfork, Complex, Magnet, and various music, film, and entertainment publications over the past two decades.
