It’s not like there was a blowjob scene in Notting Hill. I think it is because I was consciously writing a romantic comedy in the Richard Curtis mold. The vibe I was always going for was inspired by Notting Hill, Four Weddings and a Funeral, and Love, Actually. It’s very strongly inspired by the kinds of comedy that I remember being exposed to in late 1990s and early 2000s. You ask yourself, “Who would have a reputation?”-then you get to rock star parents, and then you get estranged father. As for Luc’s dad, occasionally I look back over my canon, as it were, and, I say to myself, “Wow, I do bad dads a lot.” A lot evolved out of this domino effect, where you start with a trope.
Romantic love isn’t the only thing that matters. It’s important to emphasize the value of non-romantic loving relationships-which is why the friends and Luc’s mother are so important. The notion of having someone you can feel that strongly about and that close to is important to me, particularly in romance and romantic comedy. I really wanted to give Luc a strong relationship with his mother, because I don’t want my single-parent families to be shit. How did you approach the familial subplots? Luc is estranged from his father, but his scenes with his mother are poignant. The story came from the trope rather than the trope from the story. At the time I started working on the material, there were several fake boyfriend things out there, and I like to do queer takes on things that are big.
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