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   The Year’s Most Harrowing Horror Movie Stars a Golden Retriever
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                  <p style="margin:0;margin-bottom:16px">
                   Spooky Season ‘25 kicked off with one of the most emotionally manipulative
                   <a style="text-decoration: underline; color: #000000;">
                    horror movies
                   </a>
                   we’ve seen in awhile:
                   <em>
                    Good Boy
                   </em>
                   , from first-time feature writer-director Ben Leonberg, is a haunted house story told from the perspective of an impossibly cute, increasingly stressed retriever named Indy, who gets hip to strange things happening that his owner is too preoccupied to notice. Indy is so adorable that from the minute the trailer hit, ordinarily-bloodthirsty horror fans suddenly became very concerned about whether or not the dog dies, as so many pets in the genre tend to.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Indy is played by Indy, Leonberg’s actual dog. In a conversation he and I had after I screened the film, he revealed the unique methods he used to deliver what is immediately one of the most striking canine performances in the overall pantheon, discussed the story’s overall themes of mortality, and (yes) weighed in on Indy’s fate. (Spoilers follow, but for anyone curious to read who hasn’t seen—and hasn't already Googled “does the dog die in
                   <em>
                    Good Boy
                   </em>
                   ”—we’ll add a second warning before the ending talk really starts.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    How could you do this to us, man? What a truly harrowing concept—putting a dog in danger for an hour’s worth of scares.
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I think it proves just how well horror films have trained audiences to worry. Whether you watch many [horror movies] or not, I feel like you're still aware of this trope—the family buys a house, the deal is too good to be true, the dog won't go into the basement or he's barking at the creepy neighbor. And usually in most films, that dog doesn't make it out of the first act. But for us, we tell the entire story of Indy—and the [existence of]
                   <a style="text-decoration: underline; color: #000000;">
                    doesthedogdie.com
                   </a>
                   proves the power of animals in cinema.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    I don't think I've ever seen this kind of pre-release panic or anxiety for a movie—as soon as the poster dropped, that was a trending topic, people asking if Indy dies.
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   “Does the dog die?” And then, “Hey, remember that show
                   <em>
                    Courage the Cowardly Dog
                   </em>
                   ?”
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Do
                   </strong>
                   <em>
                    <strong>
                     you
                    </strong>
                   </em>
                   <strong>
                    remember
                   </strong>
                   <em>
                    <strong>
                     Courage
                    </strong>
                   </em>
                   <strong>
                    ?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Oh, yeah. I don't think it was ever consciously front of mind when I was making the film, but it's certainly something that I thought about. It's a show I loved, certainly watched as a kid. So, maybe it was a subtle thing, one of those more psychological influences.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    So, how did you kind of come up with this concept to begin with?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I mean, to be as specific as possible. I remember watching
                   <em>
                    Poltergeist
                   </em>
                   for the millionth time, and that film opens with a golden retriever wandering through a house, clearly clued into the fact that there's a haunting about to begin before the humans have caught on. And I thought that somebody should tell a story entirely from that dog's point of view.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   And as I started writing it, to take that trope and apply it more generally. Probably everyone has wondered why their dog barks at nothing in the middle of the night or stares into an empty corner. Their senses are so much more powerful than ours, even if their comprehension is a little simpler. So, I think there's kind of a very deeply relatable core that we used as the primal DNA of this. And then it was just a challenge of figuring out, how do you actually make the movie? How do you tell the story with a character who has a different kind of intellect and can't speak?
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    it's a good script that
                   </strong>
                   <em>
                    <strong>
                     really
                    </strong>
                   </em>
                   <strong>
                    depends on finding the right canine for the job. Did you write it with Indy in mind?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I didn't set out to make the film with my own dog, and I didn't get Indy thinking he was going to be my star. As I was writing the film and figuring out how you use point of view and blocking to unfold a narrative, I started making little tests with Indy, because he was my dog. I was just shooting in my own apartment or in the back yard, to figure out things like,
                   <em>
                    How do you put a camera on a character's face and control their eye line when they don't know they're in a movie?
                   </em>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Certainly there are trained actor dogs, but I was trying to avoid the appearance of an animal who's clearly listening to a trainer off camera. So, it was a very slow decision to figure out that we were going to work with Indy and then also kind of invent this new way to make a movie entirely around him. It's definitely not the case that he's trained to be an actor. It's more that my wife and I learned how to reorganize our lives and make a movie around him. We actually lived in the house you see in the film.
                  </p>
                  <p style="margin:0">
                   Just an hour or so a day, over three years. I think it was more than 400 days of filming to get everything. And I cannot say enough: He has no idea he's in a movie. It took a lot of problem solving and creativity, most of which is very silly and not scary at all, to get what you see in the final performance.
                  </p>
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    It really doesn't seem like he's just responding to a trainer signaling him from out of frame. How did you pull that off?
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Because we were living in Indy's house, my wife's the film's producer, I directed, and co-wrote it with a fellow screenwriter… I also filmed it, did the carpentry, electric, lighting, cinematography, so because there were so few of us—as in two of us, plus Indy—the set was very calm, and it felt just like normal life to him. We obviously had to move very slowly, but that opened up the opportunity to get some really genuine moments and reactions. I'm standing in for Todd's body. I would literally roll the camera, set the lights, and then jump in front of it with Indy to pretend to be Todd.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   An actor replaced the voices after, and then when Indy weaves in between my legs, when I hop out of bed in the morning, we're able to capture that and the love and affection you see between the two characters is real because it's really happening. That's how Indy and I start our day every morning. So, there were moments like that where we could capture things that were real and genuine because the house is Indy's house and we're his real people, but then other times it's really the filmmaking that is creating the performance. To explain a bit more of what I mean, there's tons of scenes where Indy walks into a space, hears a strange noise or notices something and freezes, and then we get these point of view shots that advance the story.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   And to accomplish scenes where it certainly looks like Indy is vexed or scared, what's really happening is that Indy is being positioned just so, with his eyeline set to camera where he's looking just off-screen and my wife and I are behind the camera saying something like “ham sandwich,” which does not mean anything to him, so that he tilts his head ever so slightly. And because he is very smart and very driven, he is trying to figure out what we want. If you take that footage, edit it in sequence, light it correctly, add the ominous music, the sound design, take out the real voices, it suggests to the audience through the power of filmmaking that this is scary, and the audience does the math:
                   <em>
                    The dog must be scared
                   </em>
                   . The dog is just
                   <em>
                    interested
                   </em>
                   . The
                   <em>
                    storytelling
                   </em>
                   is making you scared, and the audience projects that onto the character. That effect is the engine that really powers so much of this movie.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Was there a specific point when you were doing those tests where it clicked and you kind of pulled something off and thought,
                   </strong>
                   <em>
                    <strong>
                     OK, we really
                    </strong>
                   </em>
                   <strong>
                    can
                   </strong>
                   <em>
                    <strong>
                     make this movie?
                    </strong>
                   </em>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Yeah, for sure. One of the shorts we made actually got reproduced in the final film. It's one of the good jump scares, I don't know if I want to spoil too much, but there's a scene involving him and going under the bed that is very dog-specific, just because it’s a space humans can't easily get into. I can attest to that, because I had to get under the bed to film, but we filmed that sequence with a really fun jump scare as a standalone short film, and it won a big online short contest, and Indy was nominated for best actor and people were responding to him so strongly, and by that time we developed this very specific way to work with him that it almost forced our hand that we're like, "Okay, he's special. We've found a way. We need to stretch it into a full feature."
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                     Marty Supreme
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