Fred Rogers had no shortage of simple yet beautiful sayings pertaining to countless people and professions, including, it appears, journalists. In a nugget from the recent New York Times profile of Tom Hanks, archival documents revealed that Mr. Rogers had laid out the principles that he hoped his Esquire profiler, Tom Junod, would adhere to when writing about him. Among them were “journalists are human beings not stenographers, human beings not automatons” and “be aware of celebrating the wonders of creation.” Junod’s piece did, ultimately, become a tribute to the life-altering power of Mr. Rogers’s empathic power and serves as the inspiration for the new film A Beautiful Day in the Neighborhood.
“Wasn’t that so beautiful?” remarked the film’s director, Marielle Heller, when I broached the subject of Rogers’s journalistic pillars with her. I admitted that I could not feign the impartiality of an automaton in our conversation given how deeply the film moved me. After delivering two films where tenderness broke through the facades of more hardened characters, 2015’s The Diary of a Teenage Girl and 2018’s Can You Ever Forgive Me?, Heller’s third feature fully embraces sincerity and rejects cynicism without ever feeling cloying or corny.
Unlike Lloyd Vogel (played by Matthew Rhys), the film’s fictionalized avatar of Junod, I couldn’t pretend to be unmoved or skeptical of a creation that made me feel such profound emotion. Heller’s chronicle of how Mr. Rogers (embodied here by Tom Hanks) changed one person picks up and continues the television icon’s work by allowing his message of love and forgiveness to reach, and thus transform, more lives.
I spoke with Heller over the phone ahead of her sending A Beautiful Day in the Neighborhood out into the world, a process she claimed would be the hardest part of the film’s journey to screen. Our conversation began with how Mr. Rogers’s legacy loomed large over the shoot and led us into discussion about how far his philosophy can extend into today’s world.
I’ve read that you attached quotes from Mr. Rogers on the daily call sheet. Was there a sense that this set and production needed to be infused with his personality and grace?
Oh my gosh, totally. I think we all felt like we were so privileged getting to work on his own story, and we were filming it in his hometown of Pittsburgh on the stage where he originally filmed the program. We were walking among the ghost of Fred Rogers the whole time, and we were trying to invoke him whenever we could.
The way Tom Hanks portrays Mr. Rogers is less of an impression and more of an inhabitation, particularly when it comes to portraying his patience and stillness. Those moments must be like walking a tightrope, so how did you find the right balance, be it in directing Tom’s performance on set or finding the rhythm in the editing room?
Truthfully, we tried to get the rhythm right on set. Part of that was because Jody [Lee Lipes, the cinematographer] and I had devised a way of filming this that wasn’t really meant to be edited super quick with lots of cutting. It was meant to sit in shots for longer and let things play in two-shots or single shots that moved. We got to rehearse, which is something I always hope to do with movies, and part of the rehearsal is about trying to find the rhythms in the script and have the actors find their pacing. I tend to approach things like theater in that way where you sit around, do table work, work through the bigger emotional beats of a scene, ask questions, comment on it and really play with it. By the time we’re shooting it, we know what we need to be hitting in a bigger emotional way and can be focusing on other things as well.
But every day, I was constantly pushing Tom to go slower and stiller than he could possibly imagine because Fred really was incredibly still and listened so intently. And Tom would say, “Really? I thought I was so still and so slow! Really, still slower? Okay!” I would say, “I want you to sit and listen and wait as long as you possibly can before you respond to this question. Sit, take him in and wait so much longer than you expect to.” We were really trying to build that pace into the actual filming. Luckily, Tom loves to be directed. He’s an actor who loves the relationship with the director. He never minded that I was nitpicking him.
How did you approach the big moment of silence in the film? Was it actually a minute long like Mr. Rogers says?
It’s a little more than a minute! [laughs] Just over a full minute. I actually held myself back from timing it when we were editing it, just because I was trying to feel it. Tom and I were just talking about that scene in a Q&A. He was saying that while we filmed it, he thought, “Are you really going to do this? Are you serious right now?” And I was like, “Yeah, that was the scene I was clearest about when I signed onto the movie.” It’s the moment that the audience becomes an active participant in the film, and that’s what Mr. Rogers does with his program. He asks the kids who’re watching the show to be active participants. He asks them, “Can you see the color green here? What do you see when you look at this picture?” And then he waits for them to respond. That’s the moment where we’re waiting for our audience to respond.
The film unfolds, to use your words, like “a big episode of Mr. Rogers for adults.” Was all of that baked in at the script level, or were there elements you added in when you boarded the project?
It was part of the script when I came on board. That was the bigger, larger conceit of A Beautiful Day in the Neighborhood, and then figuring out how to actually make that integrate and work cinematically was our job. How do you make an episode of Mr. Rogers that can feel both bigger than an episode of Mr. Rogers, because it’s a film after all, but how do you take these elements that are very small and handmade and make them integrate with a real-life world that can feel grounded in reality and emotionally resonant? How do you take this world of Mr. Rogers and Lloyd’s world of New York and find a way to travel between them that both points out the dissonance between the two of them and the ways in which they’re connected—and become more and more alike as we go through the movie. Or get more and more confused with each other, is maybe a better way to say it. That was part of the joy of it, figuring out how this bigger conceit, which is great on paper, can actually work.
How do you thread that thin needle of returning an adult audience to a state of childlike innocence without infantilizing them?
I think it’s a fine line, and we just tried to make it with every choice and tried to be as truthful as we could. Trying to portray taking you back in time to watch episodes of the original program, we tried to recreate them in such an authentic way that they didn’t feel like we were making fun of them in any way. Trying to find truth within it. Lloyd is a very helpful conduit for bringing us into that story because his cynicism steps in for all of our cynicism. Having somebody there going, “Come on, who is this guy? He can’t be real!” is sort of helpful for those of us who come into a story with a certain amount of neurotic cynicism. And I thought that was something so smart about the script, we have this guy who can speak for the part of us that’s outgrown Mr. Rogers. And as his cynicism gets chipped away, so does ours. I was also very aware that Mr. Rogers couldn’t be the protagonist of a movie because he’s just too evolved. But he makes a really good antagonist.
You wrote the script for your first film, but then have used other people’s for your next two. How do you make these screenplays your own when bringing them to the screen when the words don’t originate from your own mind?
Even when I’m directing a movie I haven’t written, because I’m a writer, I always work on the script. For Can You Ever Forgive Me?, I worked on the script for a long time. For this film, I worked together with Noah [Harpster] and Micah [Fitzerman-Blue], who are just incredible writers, to bring in the parts of it that felt personally connected for me. It’s about finding a script that you can find your way into from an emotional point of view and know inside and out. Then it’s many, many months of going through every single scene and feeling if there’s any line, word, or phrase that isn’t quite feeling like how I would have written it, and then us working through it! We went through the script pretty meticulously, and the script evolved and changed when I came on board. It was a beautiful script to begin with, and it made me cry many times when I read it the first time, which is why I signed on.
The script kicked around for many years but really began to take off in 2015 or so. Do you think that’s because the film serves as such a tonic for our troubled times?
I think it was a year or two after that, but I can’t quite remember. Whatever you believe, I think projects happen when they’re meant to happen. It’s really hard sometimes when you’re working on a project that takes ten years to come to be and believe that because you start to think it will never happen. But, ultimately, I have a similar philosophy about casting: You’ll lose an actor, and whoever is meant to play that part, it will work out. I feel that way with when projects came to be. I think this project, yeah, it could have been made ten years ago. But it was meant to be now. This is when we need it, for whatever reason.
What challenged you the most about A Beautiful Day in the Neighborhood and where did you see yourself growing as a director?
I don’t know what challenged me the most about it. The truth of the matter is that it’s been a pretty joyful experience making this movie. It’s been a gift, and I just feel really lucky that I got to make it. I feel like it gave me so much, and as you said, the reverberations of Fred’s lessons have been with me now for years. I’ve gotten to live with his voice in my head, and it changes my life. It’s been a total gift, and I feel unworthy. And the challenge is now, truthfully, putting this out into the world and deal with people [laughs]. Living up to their expectations, it’s not how they would make a movie about Fred Rogers, but up until now, it’s been a privilege and something I feel incredibly proud of. Now I just have to let it go, like a child out into the world.
I’m a sucker for a good Mr. Rogers quote, but I did come across a provocative perspective from The Atlantic suggesting a “fetishization” of some of his aphorisms. It got me wondering if there’s a point where relying on advice designed for children prevents us from fulfilling more adult responsibilities. I think we’re both true believers here, but as someone who’s been much more steeped in his philosophy and teachings, I’m curious if you have a perspective on the potential limitations of Mr. Rogers’s advice.
I don’t think there are limitations to his advice. I think he knew that you had to give children bite-sized versions of the truth. You had to give them the amount of the truth they could handle. But I think he had that wisdom for adults, and there was a period of time when he did a series for adults. The thing about him is that he didn’t shy away from the harder stuff. He did an episode on assassination after RFK was shot. He did a whole episode on divorce when people weren’t really talking about it on television. The darkest things, fear of death…
Fear of going down the drain!
Or going down the drain, which is apparently a very real fear! My kid was afraid of that.
Yes, it’s a very common fear! But I know what you mean. I think it’s taken out of context if someone is letting people off the hook with one of his quotes. The truth is, Fred was doing the tough work of being a person part of our global community. He was connecting with humanity in a deep way. He was present with people and helping people truly. It wasn’t just phrases.
I do truly feel like the film has encouraged me to be more empathetic, understanding, and present—and the effects have lasted far longer than I anticipated. Yet I do still struggle with the idea that I’m barely making a dent in the world’s problems given the magnitude of what we’re facing.
I think we all do, and I think Fred struggled with that too. There’s something that was touched on in the documentary [2018’s Won’t You Be My Neighbor?], where he was asked to come back and do a special after 9/11, and he thought, “Could it possibly be enough? How could I possibly do enough to help in this moment? Why would anyone need to hear from me right now?” I don’t think that feeling like you can’t do enough is a bad thing to be connected with.
I was talking about this in our Q&A today where I was in prep for this movie and went to hear a talk at Brooklyn Buddhist Zen Center. I think I was thinking of Fred as a Buddha-like figure. I had something in my head that the Buddha must be at peace at all times, that somehow if you reach that level of enlightenment or come to a point that far along in your emotional journey, you would feel happiness all the time. This woman who was giving this talk said, “No, you’d feel all the pain of the world. You’d actually feel it more. You’d feel everyone’s suffering. And the goal is not to not feel the suffering. The goal is to feel it even more deeply.” And it made me think about Fred because I think that’s what he did. I don’t think he was walking around with a smile on his face all the time. I think he was feeling the pain of the world.
It’s my understanding that you weren’t filming in Pittsburgh at the time of the Tree of Life synagogue massacre in Squirrel Hill, where Mr. Rogers lived, but did come back and do some pick-ups in town as they were still grieving and processing.
We had just left. We had left three days earlier to do our last days of filming in New York. We were in Pittsburgh for five months and left three days before the shooting happened. Actually, we wrapped principal photography in New York at four in the morning at Port Authority and then the shooting happened in the morning. It was so right on the heels, and then we returned to Pittsburgh two weeks later to do our miniatures shoot, which was always planned.
Did that weigh on the film at all?
Oh my gosh, are you kidding? It was so present for all of us. We felt so embraced and loved by the Pittsburgh community. Being in Pittsburgh making a movie about Mr. Rogers, we were like the most famous people in town. Everyone knew who we were and where were filming and come by to say hi to us and making sure we did Fred proud. My kid was going to school at a JCC in Squirrel Hill while we were there. That was our community. Bill Isler [former president and CEO of the Fred Rogers Company] lives there. It felt so, so close to home. When we returned to do our miniatures shoot, Tom Hanks came back too, and we all went to the city’s unity celebration. We spent a lot of time mourning together.
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