The Wilderness shines a light on the dark, unregulated world of so-called “wilderness therapy” programs. The film follows a group of teenage boys who are forcibly removed from their homes and taken deep into the unforgiving Utah desert, where they are subjected to a brutal and manipulative regimen under the guise of rehabilitation. It’s a harrowing story that explores the fine line between therapy and abuse, and the bonds that can form in the most desperate of circumstances.
The film comes from the personal vision of writer/director Spencer King, who has his own history with such programs. The story is brought to life by a powerful ensemble cast led by Hunter Doohan (Wednesday), who also steps behind the camera as a producer. We at FandomWire had the opportunity to speak with King and Doohan about the authentic origins of the film, the challenges of filming in such a stark landscape, and the important message they hope audiences take away.
Hunter Doohan and Spencer King: The Wilderness Interview
FandomWire: Spencer, to start with you as the writer and director, what was the genesis of this story? Was it a specific moment or a story you heard?
Spencer King: I went through one of these programs, actually, so I was able to pull from that. I’ve been a part of the community of people who have been through this, and I hear stories. It was important for me, and I felt like I had the opportunity to tell a story that could bring a little bit of light to this. So that was the driving factor.
FW: Hunter, you’re also a producer on this. How did wearing both of those hats change your process? Did your responsibilities as a producer influence your performance as Ed, or vice versa?
Hunter Doohan: I was just really happy and lucky to get to be a part of it in that way. I just love film, and I want to make films. I write a lot, and I want to direct, so getting to produce this was my first real entry into being on this side of the camera, outside of just doing short films with my friends for no money.
I just loved being part of the storytelling process, from start to finish, including working with Spencer on scripts, helping with casting, and getting to sit in the editing bay with him. I learned so much. However, when it comes to acting, it doesn’t change how I approach the role. It was just having more information to pull from because I got to be so close to Spencer.
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FW: I want to talk about the location, because the Utah desert is a character in itself. How did you both work with that vast, unforgiving landscape to create the challenge for these boys?
King: Yeah, you don’t really have to do much out there to have it be vast and unforgiving; it kind of does that on its own. Finding the right location was the biggest hurdle. We scouted and found this part of southern Utah, in between Escalante and Torrey. The topography there changes really quickly, so it kind of feels like you’re covering hundreds of miles in less than that. We had the opportunity to show the passage of time by changing the environment. It’s absolutely beautiful out there, but you can also feel very claustrophobic, like these kids do, when you’re not just exploring but you’re stuck out there. It’s a prison of its own and very unforgiving.
Doohan: And that’s where most of these wilderness programs are, in Utah, so it was really nice to have that layer of authenticity. You and Sean [the cinematographer] have just found perfect locations, as you’re saying, where the change in topography provides us with a great visual story.
FW: Hunter, your character in The Wilderness, Ed, is under this enormous psychological strain. He’s going through this brutal treatment while being told he should be grateful for it. How did you create that interesting internal conflict as an actor?
Doohan: Yeah, it was just knowing the whole scope of the story and then getting to work with these amazing actors. You have scenes with someone like Sam Jaeger, and they’re kind of saying, “You’re bad. These kids who are around you are bad. This one might even be worse. Don’t trust them.”
And then Ed slowly starts to build friendships with them; the friendship with Miles is really the heart of the movie. They’re slowly learning to trust each other and realizing they’re being lied to by the people in charge, who claim to be helping them. When you get to work with actors who are as good as Sam and Lamar and the other boys at the camp, it just makes it really easy on the day to find and navigate those moments.
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FW: Spencer, the film features some really brutal moments, but they are juxtaposed with peaceful, reflective scenes that evoke a coming-of-age story. How did you find that contrast?
King: Well, being out there comes with a lot of highs and lows, and time stretches on. Within this dark reality that many of these kids are a part of lies a beauty in the relationships and the bonds formed when you’re going through something tough with people who are in the same situation as you. It came naturally. The film is about boys bonding as much as it’s about these wilderness therapy camps; it’s about the relationships that these guys form with each other.
FW: Hunter, on that topic of bonding, you lead an incredible ensemble of young actors. How did you build that camaraderie off set so it felt real on-screen?
Doohan: So naturally, at the camp, we were all staying together. Three of us were in a house, and then Lamar was in the house right next door, so we’re all just having dinner together. I also had relationships with many of them already. Lamar Johnson was in the show Your Honor with me, and I immediately recognized him as an amazing actor, so it was great to get him on board.
Aaron Holiday is my best friend in real life. And then Matt Gomez-Hidaka sent this brilliant tape, so he was the obvious choice for that role. It ended up mirroring the on-screen relationship, allowing us to simply hang out with these guys and be so vulnerable with each other. It was one of my favorite filming experiences ever.
FW: To wrap up, for both of you, beyond the advocacy of showing how dangerous these camps can be, what do you hope people take away when they watch The Wilderness?
King: The main hope for this film for me is that parents who see this film think twice before sending their kids into these programs. Stretching beyond that, I hope that people feel a sense of attachment to the relationships they have in their lives. And for someone like you, that’s a young filmmaker just like I am, go and tell your stories, man. That’s what I hope to inspire a little bit more, because I think we do need that.
Doohan: It’s so hard to get anything made, and I’m just so proud that we went out there and got it done. Having a movie of this size end up in theaters feels like such a win in this day and age. I’m cautiously optimistic about the future, where more indie films of this size can simply get out there.
The Wilderness is in theaters on October 17.
