Allison Janney stars in a new, emotionally resonant dramedy that features a remarkable 20-minute, unbroken shot. Now, the filmmakers are revealing the secrets behind creating this impressive scene.
I’m really excited about Miss You, Love You! It’s the first time Jim Rash, the director of The Way, Way Back, is directing on his own, and it looks fantastic. The movie centers around Diane Patterson, played by Janney, who’s dealing with the loss of her husband and trying to plan his funeral. Things get even more complicated when her son, who they haven’t been close to, sends his assistant, Jamie, to help. It sounds like they start off a little awkward, but as they spend time together, they begin to connect and work through some difficult things from their past. I think it’s going to be a really touching film!
In addition to Janney, the cast of Miss You, Love You features Andrew Rannells (known from Another Simple Favor), Bonnie Hunt, Suzy Nakamura, Óscar Núñez, and Lisa Schurga. The film was picked up by HBO Films at the 2026 Sundance Film Festival and has received very positive reviews, currently boasting an 88% rating on Rotten Tomatoes.
Before the release of Miss You, Love You, Ash Crossan from ScreenRant spoke with Allison Janney, Andrew Rannells, and Jim Rash about the film. When the conversation turned to the movie’s lengthy, unbroken shots, Rash explained that they only had 17 days of filming, which meant they needed to work quickly on each scene.
He highlighted that the first act is essentially a single, extended scene, running between 23 and 25 pages. To film it, Rash explained they divided it into three sections, with the middle section—lasting 13 pages—being filmed in a single day.
The way we filmed it – in one long, continuous shot – really allowed the actors to connect and build genuine chemistry. It quickly became clear how well they played off each other. It felt like watching a live theater performance. The crew essentially got to see short, repeated scenes – like 15-minute plays – over and over again.
I really loved how quickly the movie moved, especially considering it was mostly just two people talking! The director, Rash, said a huge part of that was thanks to Janney and Rannells – they just had amazing chemistry. He talked about how much he enjoys writing with a good rhythm and how fun it was to craft their back-and-forth dialogue. He also seemed to really enjoy finding that sweet spot between funny and emotional moments throughout the whole 97 minutes.
I expected the script to have a lot of long speeches and demanding scenes. As we worked on it, with my editor’s fantastic help, we built on the foundation that was already there. But ultimately, the success of the project depended on the actors, and they truly delivered – exceeding all expectations.
As a film buff, I was fascinated to hear that shooting a single take lasting 20 minutes is incredibly demanding on everyone involved – especially the sound team, who really have to be right in the thick of it, and they needed a Steadicam to pull it off. What impressed me even more was how Rash, the director, was really clever about dividing up those longer scenes into smaller, manageable pieces. Apparently, the final dinner scene was almost as long as the famous opening sequence!
Andrew Rannells praised Jim for skillfully dividing the project into three natural sections. He felt the pacing was perfect – not rushed or overly complicated – and that Jim’s organization allowed them to film in order, which was a huge benefit.
Janney described how she and the cast developed the movie’s natural flow by extensively rehearsing lines and fully memorizing the script throughout January before filming began. She also praised Rash for letting them practice in the filming location a few days early, which she felt was incredibly helpful. This allowed them to find subtle moments to pause and create the desired dramatic effect.
The two actors also bonded over their experience in theater, treating the project Miss You, Love You like a stage play and carefully planning their movements. Rannells explained that the cinematographer, Daniel Moder, observed rehearsals to see how they moved and reacted naturally, which Rannells found to be a great help.
Miss You, Love You Came From A Very Personal Place For Jim Rash
ScreenRant: What was the original emotional spark for you for this story? Where did it come from?
The idea for this project actually began after my dad’s funeral, about eight years ago. He had Parkinson’s, and I drew on that experience. My sister brought her assistant along, partly to help with work, and partly to offer extra support. It struck me as funny and insightful to see this intensely emotional and chaotic time through the eyes of someone who didn’t know anyone there – a complete outsider. That observation really stuck with me. I also enjoy writing complex, somewhat difficult characters, and I knew I wanted to create someone like that, which led me to develop the character of Diane.
ScreenRant mentioned your work on Community, and pointed out that people likely ask about it a lot. They then asked if you feel like your new movie goes against what people expect, and if that mirrors your experience when writing deeply personal and emotional stories.
Jim Rash and Nat Faxon’s screenplay for ‘The Way, Way Back’ didn’t immediately get produced, but it caught the attention of Jim Burke and Alexander Payne, which eventually led to their involvement in ‘The Descendants.’ People were surprised to learn we came from a sketch comedy background at The Groundlings, but a lot of the credit goes to Kaui Hart Hemmings, who wrote the novel, and Alexander Payne’s skill as a writer. Writing ‘The Way, Way Back’ was a great learning experience, and it really solidified my love for blending comedy and drama. I’ve always been fascinated by characters and understanding their motivations, and this type of project allows me to explore that. While I enjoy writing purely comedic pieces, I often find myself drawn to these more nuanced, character-driven stories.
ScreenRant asked about the amazing chemistry between Allison Janney and Andrew Rannells. They wanted to know what the audition process was like, or what the director’s first impression was of them together, and when they realized the pairing was perfect.
The first time Paul Rudd, Jason Segel, and I read the script together, there was an immediate spark. They’d probably met casually before, but that’s when their real friendship started. I had a feeling right away that they would become close.
ScreenRant: Correct me if I’m wrong, but is this your first solo?
This is the first time I’ve directed a film on my own. Nat [Faxon] and I have collaborated on projects like ‘The Way, Way Back’ and ‘Downhill,’ and we plan to continue working together. He was kind enough to serve as a producer on this film, as I wrote it while isolated during the pandemic. It was important to me to have this solo directing experience, and I hope he gets the same opportunity if he wants it. I really enjoy working with Nat, but I also wanted to prove myself – both succeed and learn from any failures – based on my own decisions.
ScreenRant: What did you learn about yourself as a filmmaker through this experience?
My biggest accomplishment is simply staying sane through it all! I’m a lifelong learner, and I’ve been lucky enough to learn a lot as an actor, observing the amazing work of others – the actors, directors, and writers around me. I’m always trying to absorb what makes their work so good and apply it to my own. This experience has reinforced my passion for acting and writing, even though it can be stressful. It also reminds me that filmmaking is a team effort. It’s not about one person; it’s about the whole crew working together in a small space. It’s easy to isolate yourself, but this work highlights the importance of collaboration and connection.
ScreenRant: I have to keep asking about the Community movie.
It’s understandable why people are asking about a continuation – we definitely want to keep the show going. Honestly, all we can do is hope and put it out there, and I’m optimistic. It really comes down to everyone’s availability, but it’s not because we don’t want to. We’re aiming for six seasons and a movie total.
ScreenRant: Do you have a favorite Dean-ism?
Okay, so Jim Rash said something hilarious – he basically suggested we ‘Tina Turner’ our clocks back, as in, dramatically roll them back like she used to on stage! But seriously, he was talking about a specific episode – I think it was ‘Modern Family’ – and said all the entrances in that episode were just pure comedic gold. He meant they were fantastic, effortless gifts to the audience. As a movie and TV buff, I totally get what he means – sometimes those perfect moments just happen and are a joy to watch.
ScreenRant asked if I had any other movie ideas in development and if I was currently working on a script.
I’m currently working on a couple of writing projects, both individually and with Nat. I’ve always wanted to write a romantic comedy, but I think calling it that sets the bar too high since I also enjoy incorporating dramatic elements. So, I’m aiming for something that blends romance and drama. Nat and I are also collaborating on a screenplay in the style of a ‘True Story’ narrative.
Rannells & Janney Want To Team Up For A Stage Play
ScreenRant: What would be another thing you want to do together?
Allison Janney: I’d love to do a play.
Andrew Rannells: To do a play, eight times a week. A special event.
I’m happy to work with you, which isn’t something I often say. But this is a one-time offer – just for tonight.
You know, as a movie lover, I’m always looking for those moments that really stay with you after the credits roll. ScreenRant asked me if anything in the film did that – if there was a particular theme, line of dialogue, or even just a scene that really resonated with me on a deeper level. It’s that lasting impact that separates a good movie from a truly great one, and they wanted to know if this film achieved that.
That opening scene, with the plant being thrust forward, really captured the feeling we were going for. It’s so relatable – almost everyone has accidentally killed a succulent, and it’s surprisingly embarrassing. You expect them to be easy to care for, and when you fail, it’s just…humiliating. And the way my character reacted, trying to understand what was happening, made it a really great start to the story.
ScreenRant: How did you two meet? Did you meet through this, or did you know each other before?
Andrew Rannells: Tinder!
Allison Janney: Stop it. We met at The Book of Mormon.
I met Allison through Ellen Barkin after doing The Book of Mormon. I was a big fan of hers and really tried to become friends. We’d run into each other at events over the years, but we never actually worked together until we filmed a very intense movie in Albuquerque for just 17 days. Immediately after that, we flew to Rome to make Another Simple Favor, and spent almost three weeks there. It felt like a weird contrast – this intense shoot followed by a lighthearted movie and a lot of downtime in Rome, almost like a complete cycle.
I was so glad to have known him, even just as a friend, because he was such a charming and funny person. When Jim suggested Andrew for the role, I immediately thought it was perfect. I couldn’t picture anyone better playing Jamie – he’s just naturally charming.
ScreenRant asked about their mutual admiration, and wanted to know what projects each of them enjoyed from the other’s work.
I’ve seen him in a few things – Hamilton, The Book of Mormon, and the show ‘Girls’ – and I’ve really enjoyed his work in all of them. I just consistently love what he does.
As a film and theater lover, a few things immediately spring to mind when I think of your work. Of course, The West Wing is iconic, and I absolutely adore Drop Dead Gorgeous. I, Tonya and The Ice Storm were both fantastic – seriously, you were amazing in The Ice Storm! But what I really admire is your dedication to the stage. You consistently return to Broadway and make time for theater, and that’s something I always strive for in my own career.
Allison Janney believes live performances are something AI can’t replicate. She feels confident that theater will always exist, regardless of technological advancements.
ScreenRant: Everything you say in 10 Things I Hate About You is a vocal stim for me.
Allison Janney: “What’s another word for engorged?”
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2026-05-30 01:48