Sam Hayes & Michael Vlamis on ‘Pools,’ and Finding Heart in the Humor and Humanity in Figuring It Out

With its sold-out premiere at TIFF Next Wave and a coveted Audience Award win at SXSW Sydney, Sam Hayes’ debut feature Pools is making more than just a splash—it’s sending ripples through the indie film world. Led by Odessa A’zion, Michael Vlamis, Mason Gooding, and Ariel Winter, the film is a rich, character-driven portrait of connection, conflict, and the quiet moments that catch you off guard. As word spreads, Pools is quickly becoming one of the year’s most talked-about discoveries.

Set over the course of a sweltering Chicago weekend, Pools follows Kennedy (Odessa A’zion), a college dropout on the verge of expulsion, and C.J. (Michael Vlamis), a blue-collar air conditioner repairman clinging to his last thread of stability. Their worlds collide in the most unexpected way: breaking into the same house. What begins as a chance encounter turns into an unlikely connection—one that forces them both to confront the versions of themselves they’ve been running from.

Pop Culturalist was lucky enough to sit down with Sam Hayes and Michael Vlamis to talk about the making of Pools—from crafting the script with specific performers in mind to building an environment on set where taking creative risks felt second nature. They reflect on the trust that defined their collaboration, the freedom to explore flawed, deeply human characters, and how the film’s emotional core came to life through instinct and connection.

PC: Sam, your background is in writing, and you crafted this story with these specific actors in mind. Was that the initial spark for this project? How did having such a clear sense of what they were capable of shape the way you approached the story and its characters?
Sam: Knowing who they are really informed the characters, which was great. When you have a specific character in mind and understand the problems they’re facing, you just have to figure out how they solve them. That’s what I really enjoyed about this story. A lot of the scripts and stories I’ve written in the past were more concept- and plot-driven—I usually had a clearer sense of the outline and the major beats. But this was completely different. It was about having fun, tapping into a real, intimate understanding of these characters, and seeing where they would go. It was a fun one to write, and I loved creating something so character-driven.

PC: Credit to you as a writer too, because every character has their own arc. Michael, you’re one of the actors Sam had in mind while writing this project. What was it about this role that initially resonated with you? And how did your preexisting friendship with Sam create the space for you to take bigger risks in your performance?
Michael: The character is so complex. He does some terrible things—like breaking into homes, and he definitely flirts with Dale’s wife. Not giving any spoilers! [laughs] But at the end of the day, he also has so many redeeming qualities. It felt really human. And I got to play an AC repairman, which I thought would be really interesting, especially coming from the Midwest. Sam and I are both from Chicago, and a lot of my buddies are blue-collar workers. I know that world pretty well just from being around them, so getting to play one of those guys was really fun. I also had some great monologues where I got to talk about things like chain-smoking cigars and keeping it gritty—that really appealed to me. And then there’s the arc he has, especially how he comes together with Odessa A’zion’s character, Kennedy. That relationship was really meaningful to play out.

When it comes to Sam and me, we’ve been buddies for so long—over a decade now. On set, it was our usual dynamic: always having fun, pitching each other new ideas and movies. It was a natural collaboration where we could be open and try different things. We know what makes each other laugh, what we each like, so there was a lot of synergy already built in. It was amazing to be in Chicago for a month, making a movie at home with your best friends. Honestly, it was the best.

Sam: It was awesome. And to echo that—knowing I’d have Michael on set was a huge comfort to me. Going into my first experience directing, having never done something on this scale before with 60 people on set, it meant everything to know Michael would be there. It gave me a real sense of security and support.

PC: That’s one of the beauties of indie filmmaking. Sam, there’s so much intention behind your writing. I love how the film subtly sets things up early on and then calls back to them in such quiet ways toward the end. What was your approach to crafting those setups and that payoff while also leaving room for your cast to bring their own instincts and emotional truths to those moments?
Sam: There’s an interesting structure to this movie. The only character who’s really present in all three acts is Kennedy. With Michael, you see his arc in Act 1 and Act 3. Then the rest of the characters show up in Act 2—they’re part of Kennedy’s big journey throughout the night and at this house. Everyone has an arc, but they unfold at different times. I love the Michael character so much because he mirrors Kennedy’s story. You set it up where they’re on a similar path in Act 1—he’s about to get fired, she’s about to get kicked out of school. Then he disappears. When he comes back, hopefully it’s this amazing moment where you go, “There he is.” Now everything clicks and starts to make sense. That’s what I wanted to explore.

PC: Michael, I love how your character supports Kennedy and really pushes her to dream bigger and take more risks. They actually do that for each other. Has there been anyone who’s done that for you in your own life? Did you channel them in that dynamic on screen?
Michael: That’s a hard question. I feel like I’ve spent most of my life looking for a mentor—and that’s really hard to find. But at the end of the day, even though I come from a family with no ties to the film industry, I had parents who listened. They were happy that I was getting a business degree in college, playing baseball, and doing all these things that could set me up for the future. So when I told them in my senior year that I wanted to be an actor, they were incredibly supportive. My mom even bought me the domain MichaelVlamis.com for Christmas that year, which I still use to this day. It’s still one of the most meaningful gifts I’ve ever received.

They definitely encouraged me. She’d always say, “You still have your business job.” I was head of marketing for a watch company for years before I landed Roswell, so she was happy I had something stable. I was staying afloat, providing for myself out here in L.A. But they never told me I couldn’t chase this crazy dream. They really did encourage me to take risks and keep going. They might have thought I had a backup plan—but I never did. So I’d say my parents.

When it came to the relationship, I talked about this a bit at TIFF Next Wave when we premiered, but Sam gave me an amazing note for our final scene—when I’m talking to Odessa’s character. He said, “Try this one as if you’re talking to your sister,” which was really interesting. There’s definitely a little romance going on, so it’s not totally brother-sister, but it’s not totally romantic either. It’s more like being a figurehead in her life during this crazy moment, guiding her in a brotherly way. That one note really shaped how I spoke to her at the end of the movie—and also how I speak to my sisters, and how they speak to me. It was kind of an amalgamation of all that.

Sam: To speak to that, when these two characters come together at the end, it’s such a weird, random coincidence that they’re “robbing” the same house—as Michael puts it in the film. But they both recognize there’s something meant to be here. They’re meant to be in each other’s lives in that moment. So let’s figure out what that is.

PC: It’s one of those moments that will stay with audiences. Sam, your visual storytelling is so distinct, and it really mirrors the emotional shifts of these characters. It’s so compelling to watch. What inspired that choice? How did you go about building that relationship between visuals and emotions?
Sam: I really like Edgar Wright stylistically—he’s definitely my favorite. So I was inspired by him, but also mindful of where that style actually feels appropriate. It works really well when the scene is comedic, wacky, or goofy. You can enhance those moments by having fun with the camera, and it really makes them come to life.

But as you shift into more serious or emotional territory, you want to get closer and more intimate. That’s where handheld felt like the natural choice. I wanted to move the camera and have as much fun as possible with it—but only when it helped tell the story. If it ever felt like it was taking away from the emotion, we pulled back. It always came down to what felt true to the moment.

PC: You definitely accomplished that. Speaking of all those tonal shifts—Michael, these characters are so layered and nuanced, and they take audiences on such an unexpected journey. Your character, in particular, gets to explore both the comedic moments and the more introspective ones, especially when he’s opening up about his insecurities, how the world sees him, and what he values in life. How did you find your way into this character and explore those different emotional playgrounds? And how have your own experiences as a writer-director helped you find the balance between when to push a moment and when to pull back?
Michael: A lot of it comes down to trusting the direction—and honestly, trusting the writing. I was just there to serve the scenes and the words on the page. When you have a strong blueprint like Sam provided, it makes everything easier. I come from a comedy background in a lot of ways, but I’ve done drama too. And honestly, we all have—it’s just life. You can crack a joke one second and be talking about something serious the next. That’s the beauty of life. That’s the push and pull of this character. I’ve said this before, but I can’t say it enough: it’s all in the writing. It’s about making it grounded and real.

As someone who wrote and directed my first feature, Crossword—which Sam also produced—we’ve all helped each other grow in our little friend circle. I’d say that understanding a movie from pre-production through post gives you a closer connection to the character’s arc. You start to anticipate what’s going to be necessary in the edit.

I’m an actor who, and Sam can attest to this, never does two takes the same way. That’s just not my style. I can match certain things if I need to jump back into a moment, but it might come out with a slightly different twirl. I like to give options. Because how do you ever know what something is supposed to be in life? Sometimes those takes are definitely not it—but other times, there’s one where someone goes, “Whoa, I didn’t even see it that way. That might work.” And because Sam gave me the freedom to explore, I felt safe. I knew he’d have plenty of material to work with in the edit.

Sam: I love that too. It’s so valuable. Why do it the same way every time? You already have that version. And you never really know how the edit is going to go, so the more options you have, the better. But I also think Michael and Odessa had such incredible chemistry. They really cultivated that. They’re both amazing actors—so present and real—and they brought so much life to every scene.

Michael: Odessa is phenomenal. I can’t say enough good things about her. There are certain people you work with where just one change in your expression, and they’re right there with you—mirroring you, fully listening. It made it so much fun to play opposite her. I can’t wait to work with her again.

PC: You feel that as an audience member, too—where the cast is elevating each other’s performances throughout. And what a cast you brought together for your directorial debut, Sam. What was the most surprising part of this experience? How did you know this was the right story to mark this milestone? And what did you learn that you’ll carry into the next project?
Sam: This was a story I very much wrote to direct. There was never a moment when I didn’t want to direct it—it’s deeply personal. It’s my own coming-of-age story, told over many years but compressed into just a couple of nights. It felt like the perfect project to cut my teeth on and figure out how to do this.

I’ve learned so much—honestly, too much to sum up here—but I’m really excited to do it again. And I’m excited to get this film out into the world so I can fully focus on what’s next.

PC: There’s so much buzz around this film—and it’s well deserved. Michael, you’ve worked on projects of all sizes. What is it about independent filmmaking that fuels your artistic soul?
Michael: It really comes down to the crew, the cast, and everyone involved. When you’re working on an indie, you’re basically going to war together every single day. On bigger productions, people are usually still in it for the passion—but sometimes a job becomes just that: a job. It’s a payday, or you’re doing it for other reasons.

But on an indie, if you’re there, it’s because you believe in the project. You’re not getting paid what you normally would, your hours are going to be a little different, and you’re definitely not getting the same kind of trailer. You might be sharing a room with a buddy or crashing at Sam’s mom’s house—which I did, and I loved that. You’re just in it. That’s the only way to put it. You’re a team, every single day.

And that feeling stuck with me. I had just come off Christopher Nolan’s film, The Odyssey—and what’s incredible is that even on a $250 million production, he’s able to cultivate that same kind of energy. There’s a reason one of the greatest to ever do it works that way. It makes everything feel more special, more connected, and more earned. It becomes a family. And that’s what you build on an indie set.

PC: And those connections lead to the performances we see on screen. What’s next for this film—and for each of you?
Sam: We’re bringing this to theaters this summer. From there, we’ll see where it ends up.

Michael: Sam and I are also working on Crossword, this psychological thriller that I directed and he produced. It’s a similar situation—we’re ready to get it out into the world this year, and we’re figuring out the right timing. We’ve got another festival coming up in June, and hopefully after that, we can release it.

But beyond that, we’re always spitballing ideas. We’ve got everything from comedies to horror to emotional dramas—even a few TV shows—ready to go. So, time will tell what happens next.

To keep up with Pools, follow the film’s official Instagram page. Make sure to also follow Sam (Instagram) and Michael (Instagram).