Woody Harrelson is setting his sights on the director’s chair once again. The actor, best known for his role in Now You See Me, has signaled that he’s ready to helm another live-action feature, and in a recent conversation, he didn’t hold back when praising Jason Bateman’s latest directorial effort, The Cackling of the Dodos. Harrelson went so far as to compare the film’s tone and narrative style to the work of Martin McDonagh and the Coen Brothers, a pairing that carries serious weight in the world of dark, character-driven cinema.
Harrelson’s own history behind the camera is sparse but notable. He previously directed Lost in London, a 2017 experiment that was shot in a single continuous take and broadcast live to theaters. That project was ambitious, technically demanding, and very much in line with the kind of risk-taking that defines his career. Now, with a new live film in the works, he appears eager to push those boundaries again, and Bateman’s film seems to have given him a fresh spark of inspiration.
The Bateman Connection
Bateman, who has built a reputation as a sharp comedic actor and an increasingly assured director, has been quietly carving out a niche for himself behind the camera. The Cackling of the Dodos marks his latest effort, and if Harrelson’s assessment is any indication, it’s a film that leans into the kind of morally ambiguous, offbeat storytelling that has defined McDonagh and the Coens for decades. Harrelson’s comparison suggests a movie that blends pitch-black humor with moments of genuine tension, populated by characters who are equal parts ridiculous and tragic.
The McDonagh comparison is particularly telling. McDonagh’s films, from In Bruges to Three Billboards Outside Ebbing, Missouri, often deal with violence and redemption in ways that feel both absurd and deeply human. The Coen Brothers, meanwhile, have long been the gold standard for stories that veer from the absurd to the existential, often within the same scene. For Harrelson to name both in the same breath as Bateman’s film is a clear signal that The Cackling of the Dodos is not aiming for easy laughs or straightforward drama. It’s a film that, at least in Harrelson’s eyes, operates in that tricky space where comedy and tragedy are inseparable.
Harrelson’s Directorial Ambitions
While Harrelson hasn’t revealed specific details about his upcoming project, his enthusiasm for live filmmaking is well-documented. Lost in London was a technical marvel, filmed in real time with a cast that included Owen Wilson and Willie Nelson. It was the kind of stunt that most directors would shy away from, but Harrelson embraced it, and the experience clearly left a mark. He’s spoken in the past about the adrenaline of live performance and how it translates to film, and it seems he’s ready to chase that feeling again.
That said, directing and acting are two very different muscles, and Harrelson has been selective about when he flexes the former. His return to the director’s chair suggests he’s found a story that warrants the effort, or at least a way of working that excites him enough to commit. Whether he’ll take a page from Bateman’s playbook and craft something with the same tonal complexity as The Cackling of the Dodos remains to be seen, but the comparison sets a high bar.
Why the Comparison Matters
It’s worth noting that Harrelson isn’t just tossing out names for effect. Both McDonagh and the Coens have a particular style that is difficult to replicate. Their best work feels effortless, as if the characters simply exist and the plot unfolds naturally, even when the situations are anything but natural. That’s a hard balance to strike, and praising a film in those terms suggests Bateman has pulled off something genuinely impressive.
Of course, it’s also possible that Harrelson is being generous, as actors often are when discussing their peers’ work. But given his own taste and his willingness to take creative risks, his opinion carries weight. If he sees the influence of McDonagh and the Coens in Bateman’s film, casual audiences might want to pay attention.
What’s Next
For now, details on Harrelson’s next project remain scarce. There’s no confirmed title, cast, or release date, and it’s unclear whether he’ll star in the film as well as direct. But given his track record, it’s safe to assume that whatever he brings to the screen will be anything but conventional. And with The Cackling of the Dodos serving as a reference point, it seems likely that his upcoming work will lean into the same uncomfortable, darkly funny territory that has come to define the best of modern indie-adjacent filmmaking.
Bateman, meanwhile, continues to build a body of work that is increasingly difficult to ignore. The Cackling of the Dodos may not have a confirmed release date or a set of reviews to point to yet, but if Harrelson’s praise is anything to go by, it’s a film that will be generating conversation well into the coming months. For now, audiences will have to wait for more details on both fronts - Bateman’s film and Harrelson’s return to directing - but the early signals are promising for fans of smart, edgy cinema.
Source: Variety