Pain Hustlers: Unveiling David Yates' Journey from 'Harry Potter' to Taking on Our Ailing Healthcare System

The Big Picture

Netflix's "Pain Hustlers" is a scandal comedy in the vein of "The Wolf of Wall Street" and "Dumb Money."

Director David Yates aims to craft a modern tale delving into the opioid crisis and the profit-driven healthcare system.

Centering around Emily Blunt's morally ambiguous character, Liza Drake, the film portrays the unsettling transformation of righteous individuals in the midst of financial and moral quandaries.

Netflix’s scandalous comedy series, Pain Hustlers, draws inspiration from films like The Wolf of Wall Street and the recent Dumb Money, which premiered at the Toronto International Film Festival. The renowned director David Yates, known for his work on the Harry Potter franchise, takes the helm, while the talented Emily Blunt plays the lead role of Liza Drake. Liza, a single mother, becomes entangled in a nightmarish situation involving the pharmaceutical industry during the midst of the opioid crisis.

Adapted from Evan Hughes' book, Pain Hustlers recounts Liza's extraordinary journey. From living in her mother's garage and working as a stripper, she eventually becomes a pivotal figure in the struggling Zanna Pharmaceutical's remarkable transformation. Unable to make ends meet and forced to leave the garage, Liza seizes an opportunity presented by one of the club's clients, Pete Brenner (played by Chris Evans). Pete offers her a position at Zanna, where Liza's exceptional interpersonal skills are put to the test as she drives sales for their risky new cancer drug. As Zanna begins to experience financial success, so does Liza. However, the question remains: what is the price she must pay for her newfound prosperity?

During an interview with Our website's Steve Weintraub, Yates expresses his intention to create a contemporary narrative that contributes to ongoing discussions within the nation. He highlights the issue of a healthcare system that prioritizes profit over healing. Yates also reveals his focus on Blunt's morally ambiguous character, Liza Drake, explains the differences between working with Netflix and Warner Bros., and discusses the impact of test screenings on the storyline. Additionally, he explores the advantages and disadvantages of AI in the industry, emphasizing the importance of managing it with consideration for society's best interests rather than mere efficiency or profitability. Perhaps, we can handle AI more effectively than our healthcare system? For more details, please refer to the complete interview transcript below.

Our website: If someone hasn't seen any of your previous works, what would be your top recommendation and why?

DAVID YATES: If I had to suggest something, I would recommend watching State of Play. It's a captivating thriller centered around journalism, a subject that truly intrigues me. It's quite fascinating how journalists have to navigate through a constantly changing truth, especially in today's post-truth era. I often wonder why we don't see more films that revolve around journalists and their quest for uncovering the truth. So, yes, State of Play would be my suggestion.

Out of all your films, which one underwent the most unexpected changes during the editing process?

YATES: Deathly Hallows: Part One, the Potter film, was the most challenging. It lacked a third act and ran out of momentum halfway through. Mark and I would sit together, puzzled by this, thinking, "How do we salvage it?" It was a crazy realization that the film was incomplete.

Part One and Part Two were conceived as a two-part series. The first film was a road movie, taking the kids out of their safe school environment and testing their growth and relationship. Then, it led straight into the climactic fireworks of the final film. We painstakingly worked on Part One to create an escalating end, even though, truthfully, not much was happening in the second half. Interestingly, many people still tell me, "Hallows: Part One is my favorite. It felt like a European road movie." I laugh and reply, "Yes, but the extensive editing work we did was unbelievable."

Image via Warner Bros. 

Stepping into this endeavor, the extent to which individuals in the pharmaceutical and medical sectors in America can act with impunity astonishes me. It is indisputably an abhorrent situation. What discoveries profoundly startled you during the course of creating this movie and conducting research? The implications are truly horrifying.

YATES: It baffles me when a system that claims to care for people is driven by profit. It seems incompatible with providing genuine care for individuals. There is a risk of exploiting people when they are at their most vulnerable. Our national health system is far from perfect, and we often complain about it. Paradoxically, we also take great pride in it. [Laughs] It's very British to simultaneously criticize something while holding it dearly. However, as a European, I was both fascinated and horrified by a system solely focused on making money. It doesn't make any sense to me how taking care of people and making money can be aligned.

I aimed to create a contemporary story that contributes to the national conversation, and the opioid crisis certainly does. Additionally, I wanted to craft an entertaining film. I did not want to create a serious film that would alienate or feel like a chore to the audience. My goal was for viewers to engage with the characters and be drawn into the experience of watching the movie, while also leaving with a message. This message is that certain forms of capitalism, when mismanaged, can lead to negative consequences. We have seen this in the banking crisis, the farming industry, and even in the military-industrial complex. Capitalism has its merits in delivering positive outcomes, but when it veers off course or lacks proper oversight, negative outcomes arise. This is essentially what our story embodies. It highlights the importance of maintaining a well-functioning system and not allowing it to spiral out of control, as people can lose their rationality in such situations.

Many individuals, like Emily, might find themselves in a similar situation where they are aware that what they are selling has the potential to cause harm. However, the allure of immense financial gain can corrupt even the most well-intentioned person.

My hope is that audiences watching the movie will empathize with Emily's character and recognize that even good people can make questionable choices when trapped in a moral dilemma. They are constantly reassured that they are operating within the boundaries of the law, and the consequences are just a financial penalty, making everything seem acceptable.

One thing that was incredible, we conducted a recruit screening a few months ago to gauge the reception of the film. On her flight from LA to New York, Emily encountered a fellow passenger who kindly offered assistance with her luggage. He recognized her as Liza Drake and exclaimed, "Oh, you're Liza Drake, aren't you?" Perplexed, she responded, "What?" At that point, the film had not yet been released, but he enthusiastically shared, "I watched your movie last night." It happened to be a recruit screening, and he greatly admired the movie. They engaged in a conversation discussing how he would navigate the same situation as her character. Emily called me afterwards exclaiming, "You won't believe it. This guy watched the film last night and couldn't stop talking about Liza Drake and his thoughts on it." It was a thrilling moment for us as it signified that we were establishing a connection with an average viewer who could envision themselves in her shoes.

Image via Netflix

I believe that most people understand what I mean. If someone tells you that you can earn a million dollars but warns that the products you sell could be harmful, there will still be many individuals who will attribute any negative consequences to the person taking them or find some other justification. It is true that money has a corrupting influence.

YATES: Indeed, money possesses the power to corrupt.

That's why it's beneficial that the film belongs to the profitable medical industry. I'm captivated by the editing process because it's where everything comes together. Regarding this film, can you discuss what insights you gained from the initial screenings with friends and family that influenced the final product?

YATES: The most significant lesson we learned was that people genuinely cared about Liza's character and wanted to emotionally invest in her journey. When comparing the first screening to the final edited version, we focused on delving deeper into her emotional development throughout the story. In the initial cut, we explored additional perspectives and went off on tangents to provide the audience with a diverse experience, featuring multiple characters' points of view. However, as the editing process progressed, we gradually eliminated some of these extra perspectives and solely focused on telling Liza Drake's story. This made it easier for the audience to connect emotionally with the film. In the first cut, we received an overwhelmingly positive response, scoring around 90%. We knew the audience was reacting positively, so we further honed the focus on Liza.

What was the length of the cut that you were like, “It’s never getting shorter, this is it,” and then ultimately, I’m sure you cut stuff from that?

YATES: We lost seven or eight minutes.

Image via Netflix

Oh, that's not bad.

YATES: Yeah, it's nothing. To be honest, if you compare the first cut to the final one, the difference is quite subtle. It's not significant. I've been in situations where I initially thought, "This cut won't yield anything," but then after five weeks, I somehow managed to find 15 minutes of footage to cut. It's incredible how time flies. [Laughs]

Is casting Emily Blunt in a movie similar to using a cheat code in a video game, given her immense talent?

YATES: That's a fascinating question. I believe Emily possesses empathy, which strongly resonates with the audience. It's truly advantageous for a character like hers, as we want the audience to genuinely support and care for her, whether she's doing good or bad things.

Definitely. Emily and Chris have incredible chemistry. Naturally, you can't predict how well two talented actors like them will perform together until they're on set. So, what was it like during that initial take when you were hoping for their collaboration to be successful?

YATES: I had a hunch that they would naturally click. Even when we weren't shooting, I noticed that they would constantly be in each other's company, spending time together, and establishing a comfortable connection. This camaraderie translated seamlessly on screen, as their chemistry was evident. To be honest, I wasn't concerned at all. I had faith that everything would turn out well because both of them possess a certain level of talent.

YATES: Yes.

Image via Netflix

What do you believe would surprise people about the process of making a major Hollywood film?

YATES: That's a fantastic question. I would have to say the most surprising aspect might not be all that surprising after all. Thinking about it now, the more obvious factors come to mind, such as the unpleasantness of night shoots. [Laughs] If you ever consider pursuing a career in filmmaking or the industry, I would advise against it, unless absolutely necessary. Night shoots can be incredibly challenging. I often fantasized about exclusively shooting a film at night, but then I quickly realized it would likely take years off my life due to the immense difficulties it poses for everyone involved. It truly turns your whole life upside down.

The surprising aspect of movie sets that may come as a surprise to people is that they are remarkably ordinary places. When I visited the [Harry] Potter studio, what struck me the most about the space where we filmed was its resemblance to a typical, everyday environment. While we weren't shooting scenes with the kids, they would attend school as any regular student would. It was such a mundane setting that even the leaking roof, which remained unfixed, required buckets to catch the rainwater. The lack of glamour was beyond imagination. Thanks to the careful approach taken by David Heyman, we managed to keep everyone down-to-earth and genuine. It was only when we ventured out into the real world or attended premieres that we realized the stories' immense popularity and success. Within the confines of the set, everything felt completely ordinary. People dined in the cafeteria and socialized as if it were a college campus. It was just a completely normal environment.

One vivid memory I have of the studio is its sheer enormity. I recall walking down a corridor and noticing a stack of props piled up in a sort of caged arrangement on the right side. It was a display of discarded toys, just sitting there.

YATES: Yes. All of those things ended up in a museum at some point, I think.

Image Via Warner Bros.

Sure, let's discuss your experience working with Netflix. As someone who has worked for Warner Brothers, I'm interested to hear about your time with Netflix, including the feedback they provided and the collaboration with the streaming platform.

Yates: Working with Netflix was quite similar to my experience with Warner Brothers. They were incredibly supportive and had a well-established infrastructure to assist with any requirements. The executives I interacted with were pleasant and professional. Typically, when I presented a version of the project, they shared their feedback, and I followed a process of fully engaging with their notes. I would push back on suggestions that I believed wouldn't be beneficial or effective, while wholeheartedly embracing the ones that would. It's essential for me to be specific and clear in expressing my thoughts on what will or won't work. By actively participating in this dialogue and expressing a mix of pushback and enthusiasm, the executives usually became more relaxed. I believe that when you erect a wall and refuse to consider any changes, it becomes counterproductive. Therefore, maintaining this open dialogue was crucial. Some of the notes offered were valuable, and some were impractical or unhelpful, while others were truly excellent.

Can you provide an instance where you were pleasantly surprised by a note, thinking, "Oh, I hadn't considered that before, that's really insightful?"

YATES: That's a great question. I would need to review the specifics, but initially, they emphasized that the focus should be on Liza. This resonated with the audience, and from the very beginning of developing the screenplay, it revolved around Liza. While constructing this captivating world with its remarkable characters, one naturally inclines towards exploring Brian d’Arcy, Chris Evans, and Andy Garcia. However, they ultimately redirect you towards what initially intrigued them about the project. I would say that's a valuable perspective. It's a collaborative process that yields successful results.

So, just like my experience with Warner Brothers, I had a similar experience working with Netflix. The collaboration was incredibly positive and fruitful. However, there are notable differences between the two. Warner Brothers tends to have a packed schedule with around 15 or 16 projects in the works at any given time. This makes everything feel exceptionally valuable and precious. On the other hand, Netflix has a smaller number of projects each year. Despite that, they have shown great care for us and have prioritized our work. It's just a slightly different approach and mindset when you compare a studio with a handful of projects to those with dozens or even hundreds.

Image via Netflix

When you worked with Warner Brothers, these were the films that needed to succeed.

YATES: Definitely. We also worked with highly popular brands. So, for them, it was a significant undertaking. However, we value the significance of every film and greatly appreciate the attention and support Netflix has given us for this project. The experience has been fantastic. It has been positive.

Netflix has unparalleled access to extensive data on how people watch movies. This means that if something goes unnoticed for 10 minutes, Netflix can analyze why and delve into the details. I'm curious to know if this extensive data is used to guide decisions, such as determining when to make specific changes during a film to keep viewers more engaged. Have you seen this approach implemented?

YATES: While this does play a role, it is not a rigid approach based on data models. Netflix is more inclined to say, "We have noticed that viewers remain engaged if we..." It's not a complex concept, really. We have known for years that keeping viewers engaged results in prolonged viewing. The algorithm essentially reinforces this principle. However, common sense tells us that creating high-quality content will naturally captivate audiences, and you don't need an algorithm to tell you that.

Currently, amidst the widespread discussion on AI, I am eager to hear your perspective. When considering AI's role in the entertainment industry, does it instill fear in you? Or do you see it as a tool that can assist us in achieving our goals? How do you approach it in terms of apprehension?

YATES: I have two perspectives on this matter. The first is the Cassandra viewpoint, where I assess the potential impact not only on our film industry but on all industries. We would inevitably face a significant displacement issue, with millions of people rendered unemployed. It is well-established that employment and having a sense of purpose are vital for overall well-being. It is documented that individuals without employment or a sense of purpose often struggle with mental and physical health problems and have shorter lifespans. The notion that a technological advancement could swiftly eliminate countless jobs is deeply unsettling. Therefore, it is imperative that we manage this development, considering what is best for society rather than solely focusing on efficiency or profit. Our approach should be linked to the overall welfare and security of society. This is one aspect. On the contrary, and in complete contrast, I also believe that AI will eventually reach a point where it poses a threat to many aspects of our lives that we currently take for granted. However, presently, I am not entirely convinced that it has reached that stage.

Image via Netflix

Oh no, it's definitely not there yet, but it's fast approaching.

YATES: It's rapidly approaching, especially in the realm of politics, and it's quite daunting how it can influence and shape things. There are numerous concerns to be had, but also a lot to be optimistic about – its application in healthcare, diagnostics, drug development, and even the management of resources during a climate crisis. It has immense potential for good, but also the potential for tremendous harm. The regulation of it is something we haven't quite caught up with yet, and that's the issue at hand.

I'm running out of time, so I'll end with one final question. As a fan of your work, do you have any plans for your next endeavor?

YATES: I'm going to just take a break with the SAG strike and the writers’ strike.

I say no this.

YATES: [Laughs] The duration will be brief, but it will provide a delightful opportunity to contemplate and ponder stories. Currently, there are several enjoyable tasks awaiting me, yet at present, I rarely find a moment to rest. However, I am truly savoring this temporary pause, as we navigate the complexities of the industry and its optimal functioning. It seems like an opportune moment to take a break.

Pain Hustlers is currently available for streaming on Netflix.

The Agony Entrepreneurs

Following her termination, a woman grappling with the challenges of single-handedly raising her daughter resorts to accepting a job out of sheer desperation. Little does she expect the perilous web of illegal activities and extortionate schemes that await her in the floundering realm of a pharmaceutical startup.

Release Date October 27, 2023Director David YatesCast Chris Evans, Emily Blunt, Chloe Coleman, Catherine O'HaraRuntime 2 Hours and 2 MinutesMain Genre DramaGenres Drama, CrimeWhere to watch Netflix