Welcome to POOL BOYS.
POOL BOYS is a sexy comedy set in the backyards of Dallas, Texas - selling drugs, sleeping around, stripping, and getting into porn are all part of it's universe, luring the audience into a transgender coming of age comedy.
POOL BOYS is in the tradition of BOOGIE NIGHTS, MAGIC MIKE, SHAMPOO, SATURDAY NIGHT FEVER, THE GRADUATE, and others that have had success on both the artistic and financial side of sexy coming of age comedies.
The Story - Short Summary
Welcome to the arrested development of characters in Dallas, Texas - hair styles from the 70s, landline's from the 90s, cyber bullying from today. Dallas was supposed to be a fresh start for Lance and his younger bro Max, after Max transitioned from a girl to a boy, but it hasn't worked out. And their Mom's attempt to resolve things with a new bully named Trish only leads to a twist of events. Lance lands a job working for the bully's wealthy mother, where Lance’s pool boy services go far beyond the surface, and things get dirty where they should get cleaned.
At school, Max's life takes a turn for the worse, and Lance presses Max to join him in the backyards. He tells Max “your senior year doesn’t have to suck balls like it does now.” Under his wing, as a Pool Boy after school, Lance can show Max how to be a man. But Max resists for the sake of his computer team, until he's unjustly suspended from the lab for refusing to rat on the bully Trish. Having lost his one safe haven, Max becomes an apprentice to his brother Lance, after all.
On the job, the two siblings become closer, and are forced to confront that they are on vastly different paths. Max sees Lance is selling drugs, in an open relationship with his girlfriend, sleeping with many of his clients, and even auditioning for porn. Max looks down on Lance’s life style and Trish’s mom's lifestyle too, who we come to find out is a porno producer. The single mother of Lance and Max holds the family together, until things come to a head and Max’s safety hinges on Lance’s last scheme. They're gonna throw a party at the bully Trish's house while she and her family are out of town. It'll be big enough to win over the school, and provide Max the social protection he needs to survive. But by now, Max and Lance are seriously butting heads, so instead of success, it could lead to an epic party implosion. In Lance and Max’s push and pull to manhood, the characters in POOL BOYS are forced to confront their slippery grasp on the American ideal of being anything you want - responsibilities, relationships, morals, forgiveness and plain old masculinity, are tough to obtain. It's hard to be transgender, but it's even harder being a grown ass adult.
Writer Director; David Andalman wrote and directed the comedy American Milkshake (starring Tyler Ross, Shareeka Epps, and Leo Fitzpatrick), a Sundance NEXT selection that sold for US Distribution to Kevin Smith Movie Club and Phase 4 Films. His short works have participated in the majority of top US festivals plus the Whitney Biennial. His most recent pieces starred the academy nominated Chloe Sevigny and the singer songwriter Bonnie ‘Prince’ Billy. As an editor, assistant editor, and associate editor, Andalman has worked for Barry Levinson, Jason Blum, and Jane Rosenthal, as well as cut pieces that have won both an Emmy and a Clio.
Executive Producer; Vinay Singh is a Partner at Archer Gray, a media production, financing, and venture capital company. He has overseen investments in films such as Michael Moore’s WHERE TO INVADE NEXT; and theater productions including The Elephant Man. Prior to Archer Gray, Vinay headed the consulting division of Cinetic Media, where he managed an international portfolio of clients and was actively involved in project finance and sales. Vinay has also produced movies that have premiered at Sundance, SXSW, and Tribeca. Vinay started his career at McKinsey & Company, after graduating from The University Of Pennsylvania.
Producer ; Mariko Munro’s first feature film American Milkshake premiered at the 2013 Sundance Film Festival in the NEXT program and sold for to Kevin Smith Movie Club, a division of Phase 4 Films. Munro has produced content for the Guggenheim Museum, The Dirty Projectors, Sesame Street (for which she received an Emmy Nomination), and others. Prior to her work in film Munro was director of 303 Gallery, New York. Munro continues to work in fine arts as a consultant to galleries, artists, and collectors.
Cinematographer ; Charlotte Hornsby shot Mariama Diallo's short "Hair Wolf" that won The Short Film Jury Award for U.S. Fiction at the 2018 Sundance Film Festival and "Lucia Before and After" which won The Short Film Jury Award for U.S. Fiction at the 2017 Sundance Film Festival. Her narrative, doc and music video work has been featured in The New Yorker, New York Magazine, Vogue, Rolling Stone, Pitchfork, Nylon and MTV. She's enjoyed working with the artist Solange Knowles, whose Red Bull Music Academy performance "An Ode To" she filmed at the Guggenheim, and filming her sister Beyonce for the 2015 September issue of Vogue.
Production Design; Naomi Munro most recently art directed the A24 release IT COMES AT NIGHT, and the Emmy winning show INSIDE AMY SCHUMER. As a Production Designer she has collaborated with David and Mariko on AMERICAN MILKSHAKE and FALSE TRUE LOVE. She is a member of United Scenic Artists 829 in production design and art direction, and before her career in entertainment she studied Architecture at MIT.
Editor; Kristan Sprague is indie spirit nominated for his work on the feature MANOS SUCIAS. He cut the comedies NEWLYWEEDS and MULIGNANS, both of which premiered at Sundance, and the later of which Andalman cameoed in. They've been friends since working together, and have been looking to team up since...
After my first feature AMERICAN MILKSHAKE was distributed I moved from New York to Los Angeles to be what I dreamed of. I turned down opportunities and lived in a pool house to write. I thought sacrifices were necessary to accomplish goals. The shed I called home lacked basic western amenities - like an oven. Surrounded in Los Angeles by tremendous wealth, my teen satire movie AMERICAN MILKSHAKE netted little for investors. I was broke, far from friends and family, and poured my heart and soul into a dark and twisted screenplay that needed 85 million to produce. I was no longer grounded in reality or myself. I was living my mid thirties in imaginary worlds, borrowing scraps of money from my reluctant older brother, and subsiding on peanut butter and black beans. True Hollywood story...
Hollywood is overrun with mediocre genre flicks, but occasionally one of them is incredible. Living there reminded me of a time in college I consistently revisited Aliens (not to be confused with Alien). The first time I saw it, as a child in Hattiesburg Mississippi, I snuck into the theater. I remember thinking Ripley reminds me of my mother. Looking back, the hero is a strong female leader in an action movie. Ripley fights more than Aliens, she fights corporate greed, and she fights the stereotype of what it means to be a woman. In LA I remembered my understanding and fascination with this picture, and the power of genre. I also remembered the early chapters of my life set in the deep south. The breadth of a genre's appeal give them a unique ability to enroll others in possibilities. Inserting an underrepresented character into the heart of a great genre movie can literally change the world, especially in the south, where cultural change is harder to come by.
In retrospect I recognize how lucky I was to have that time in LA to write and discover without the time consuming responsibility of making money. I also realize the responsibilities I have moving forward for myself and to the world we all share in. POOL BOYS is drawn from these realizations. In the center of a classic coming of age sexy comedy, is a transgender kid. But it’s not a story about a transformation from female to male, it’s about coming of age from boy to man. It explores how two lower-middle class brothers define what it means to be masculine among the wealthy and debauched, how stereotypes miseducate them along the way, and how they fumble to come to terms with the basic fact that we’re all different.
-David Andalman, Writer Director, POOL BOYS