John Sheedy on H IS FOR HAPPINESS “Oh she is annoying!”
H IS FOR HAPPINESS, a feel-good film for all ages (based on a book by Barry Jonsberg) tells the genuinely honest story of two young outsiders… and a miniature horse. The film makes you see the world through the eyes of a quirky girl, in a joyous celebration of all things slightly different.
After John Sheedy’s 20 years of experience in directing theatre – mainly for family audiences – and his short film MRS MCCUTCHEON, it is no surprise that his feature film debut H IS FOR HAPPINESS tells a story about young people. Candice Phee is determined to spark happiness in the lives of others, and becomes a peacemaker in her quarrelsome, grief-ridden family. Her new schoolmate, Douglas Benson, believes that he has come from another dimension, but he turns out to be an unexpected ally. Candice’s exploits will inspire anyone who has ever faced the trials of adolescence and the heartbreak of family tragedy. You can watch the film trailer here.
In Candice’s opinion the secret of happiness seems to be in solving other people’s problems.
John Sheedy: Well, the intention to solving other people’s problems is a good one, however it doesn’t always lead to happiness. I think happiness needs to be found within ourselves first and once we have found it, we can pass it onto others which ultimately will make you even more happy because they’re happy.
Enthusiasm can sometimes be tiring. Would you define Candice’s enthusiasm as contagious or annoying?
Sheedy: Oh, she is annoying! Charmingly annoying! But we forgive her because it always comes from such a good place and her vulnerability is never too far away; it sneaks in now and then and I think that is what creates a good balance for the character and our audience to witness.
Is that why you sometimes offer the audience a few moments to sit back and let the story ooze in?
Sheedy: Absolutely, yes.
Why did you consider this the right story for your feature debut?
Sheedy: I admire the works of directors like John Hughes, Pedro Almodovar, and Wes Anderson, that hold a fine balance of humour and pathos. Save for Baz Luhrmann, we don’t really do romance on Australian screens. Nor do we have many films with a sharp and witty 12-year-old female lead. There’s something really wonderful about dipping into the world of children and their perspective. As for them, everything is slightly heightened and exaggerated. You are allowed to have a bit more fun and the imagination can go wild. I was sold on the story as it was adapted by scriptwriter Lisa Hoppe, and with producer Julie Ryan at the helm of an all-female producing team, I knew the project was in exceptional hands.
With Candice having such an honest approach towards life, her face is like an open book. Was that in Daisy Axon’s acting, or in the camera work, or maybe just in me getting carried away by this wonderful creature?
Sheedy: I think definitely in you getting carried away. But I have to say it is all down to Daisy Axon’s beautiful performance and insight into the character. Daisy is Candice Phee! It was clear from the beginning that Daisy possessed all the qualities needed to deliver a heart-warming and hilarious performance. She had read the book multiple times, with Candice Phee being one of her all-time favourite characters.
What is it exactly that Douglas sets in motion when entering Candice’s life?
Sheedy: I think Douglas distracts Candice from her goal of bringing happiness back into the family. She certainly wasn’t expecting love to enter her world, I don’t think it was ever on her mind, but how can you not fall in love with Douglas Benson from Another Dimension? He is super charming. Adding a whole new set of complications for Candice, he is definitely the catalyst for the unfolding events throughout the film. Yankee Doodle, our miniature horse might also have something to do with it.
Between the two of them, their gestures are like strictly choreographed, like a strange ballet scene.
Sheedy: This is something I was very conscious of bringing into the world. The dialogue is so particular and deliberate that I wanted the physicality of the characters to compliment it. The actors and I worked on their physicality’s quite a bit in rehearsals and on set. You will find the same physical quirks in Rich Uncle Brian and all of the extras throughout the film. It’s a deliberate inclusion to make the world a little cooky and awkward as it is all told through Candice’s eyes.
You know how to use colours to create that slightly aberrant universe. Walking through town with Candice is like entering another world. ‘How weird’ did you go?
Sheedy: We created three worlds across the film, all through the perspective of Candice. There is her home which is a house of grief and silence. Then there is her school, a heightened world of colourful characters and strange assignments. And then there is the town which is full of quirky eccentric locals that all have something special about them according to Candice. I have spent many years creating theatre for families and have always enjoyed the challenge of how to tackle tough issues in the storytelling, how to make it accessible to a young audience whilst also making them feel safe and allowing them to laugh... a lot. I drew on this experience in sensing how to grant the audience the space to sit-in on the more heart-breaking moments, to not patronise the young audience and trust that they will be able to navigate Candice’s emotional ups and downs, to be able to laugh and be entertained by entering a world that is so visually appealing.
That is why you went to the picture postcard seaside town of Albany.
Sheedy: This town was the perfect hit, projecting a sense of old-world charm in its architecture and landscape, the beautiful bay, the quirky hills and boulders. Albany has such a cinematic feel to it and no matter where I pointed the camera, I knew I was going to be able to frame the moment beautifully. I didn’t want it to be geographically specific because it had to be a setting that could be anywhere in the world. A world where children and adults alike would both feel an instant familiarity to, as though it were a seaside town not too far from home.
The story is as equally ‘placeless’ as timeless.
Sheedy: Whilst there are specific references to contemporary technology and in the vocabulary of the younger characters, it still needed to have a timeless feel to it. All this required some extra efforts from the costume department and set designers. They went above and beyond to create this colourful and quirky world and they did a pretty amazing job. Like the best of Disney, I never want H IS FOR HAPPINESS to have an ‘expiry date.’ I hope that the children who watch it now will engage in a story that doesn’t feel dated and then be able to take that memory and relive it again sometime in the future with their own children.
All this takes the film to the ‘edge of magic’. How much magic did you allow?
Sheedy: Not much, I wanted to keep the performances and the themes of the film grounded, especially as we are dealing with such things as grief. The visual world around them is heightened enough so if there is any hint of magic, it would be in the forest with our miniature horse and its disappearing acts.
The interview for the Zlín Film Festival was conducted by Gert Hermans. Thank you!