Interview by Kelsey Moore Johnson

Jennifer Morrison is an actress, producer, and director. Her acting credits include “Once Upon a Time,” “How I Met Your Mother,” and “House.” She’s the founder of Apartment 3C Productions. Her short film, “Warning Labels,” premiered at the 2015 Tribeca Film Festival. “Sun Dogs” is her feature directorial debut.

“Sun Dogs” premiered at the 2017 LA Film Festival and will be available to stream on Netflix starting April 6.

W&H: Describe the film for us in your own words.

JM: The actual synopsis description for the film is the following:

Intellectually limited from an accident at birth, Ned Chipley has failed time and time again at achieving his dream of “saving lives.” After a fourth thwarted attempt to join the marines, he pairs up with young runaway Tally Peterson. Together, they surveil a group of young men who they mistake as terrorists. Their misadventures and misunderstandings lead to the unexpected discovery that sometimes the greatest purpose in life can present itself in the most unlikely of places.

In addition to that, I would say that the film sheds light on the idea that every person needs a purpose.

I believe that we are all misfits in one way or another. We feel misunderstood. We fail. We struggle. We hope. It’s what makes us unique in our search for meaning.

“Sun Dogs” takes us inside the world of the outsider. In my mind, Ned Chipley is a mirror for us all. He represents every moment we feel like a failure. His journey is the miracle of everyday life. Some things are not what they seem. Some things are much more than we ever imagined. And sometimes, the simplest gesture can make the greatest impact.

My heart explodes for Ned. There is a little bit of me — a little bit of all of us — in Ned, Tally, Rose, and Bob. They are everyday people, and in the right light, they are the heroes of everyday life.

W&H: What drew you to this story?

JM: I am always drawn to “rise of the underdog” stories. Ned’s simplicity and innocence allows the audience to get a glimpse of the world through his eyes. It is an un-jaded and childlike perspective.

I am a huge fan of Hal Ashby, and the characters in “Sun Dogs” carry influences from “Being There”” and “Harold and Maude.” Whether I consciously realized it or not, I am sure that was part of my draw to tell this story as well.

W&H: What do you want people to think about when they are leaving the theater?

JM: I hope they consider the relationships in their lives. I hope they are uplifted by the idea that finding our life’s purpose is worth fighting for.

Ned’s journey demonstrates that the simplest kindnesses can go a long way, and that as different as we all might feel at times, there are simple, universal commonalities that link us all.

We all want to be loved, seen, and accepted for who we truly are.

W&H: What was the biggest challenge in making the film?

JM: We made the film in 18 days — without overtime. I had to design the film down to every last detail and shot before we ever stepped on set, and then stick to the plan completely. There was no time to diverge.

I had to trust the prep, and the whole crew had to work at an insane pace. We had 32 locations in those 18 days, so we were also loading in and out more than once a day at times. We had to be precise and efficient at every turn.

W&H: How did you get your film funded? Share some insights into how you got the film made.

JM: Producer Bert Hamelink at Caviar Entertainment was a fan of my short film, “Warning Labels,” and decided to bet on me as filmmaker. Caviar came in with a portion of the money, and then my production company, Apartment 3C Procutions, followed with another portion. Bert helped me secure Fábrica de Cine as the main financier of the film; producer Gaston Pavlovich had a strong response to the film’s message, and he was incredibly supportive throughout the whole process.

I had a very small window of time to shoot the film. I only had a three-month hiatus between Season 5 and 6 of “Once Upon a Time.” This made my options even more limited.

There were several independent financing companies who were interested, but they could not pull off the financing in that time limit. It was sheer, blind determination and passion that seemed to push things into place.

I didn’t take no for an answer, and I consistently found creative solutions to the obstacles that presented themselves. Anytime I encountered resistance, I would ask, “What is this really about?” and “How can I help?” A tremendous amount of creative problem-solving helped push this movie forward.

W&H: What does it mean for you to have your film play at the LAFF?

JM: We shot the film in LA, so the city itself feels like a part of the film. It is wonderful to have the film premiering in the town where we shot it and so near where the action is set.

The LAFF is such a prestigious and internationally respected festival, so it’s very validating to have the film recognized here. It feels like a perfect fit, and I am so excited to share the film with the world. LAFF is an incredible launch pad for independent films.

W&H: What’s the best and worst advice you’ve received?

JM: The best advice that I received was from Marlon Wayans. I ran into him at Sushi Park the night before I started filming. He told me to start every morning with a sense of what you can cut or combine, so when you have your back against the wall you have a plan.

This mentally prepared me to start editing in my mind as we went along. I was able to make educated decisions in the moment when time became an issue.

The other best advice that I received was from Joel Edgerton. He said to cut out sugar and to go for a walk every morning. I did both. Cutting out sugar kept me from having highs and lows of energy during the day. I felt very clearheaded.

The walks every morning, no matter how early, were where I always solved the day’s problems. I still can’t live without those walks. They are so productive. There is something about being in motion while you are thinking that gives you new perspective on possible solutions.

I am not sure if I officially got any bad advice. Maybe I just blocked it out. I was very lucky to be surrounded by highly creative and passionate people who were all fighting to make the film the best it could be.

W&H: What advice do you have for other female directors?

JM: Never apologize for your ideas, and never back down.

It is difficult to articulate, but there are times when I know that if I were a man I would not have to defend or explain my position on something. People don’t even realize that they do it — even people who consider themselves advocates of equality between men and women accidentally do this.

We cannot change the past or where we are in history at this moment. All we can do is start changing the future, one good decision at a time.

Take nothing personally. Stand your ground with intensity and integrity.

W&H: Name your favorite woman-directed film and why.

JM: I love Kathryn Bigelow’s “Point Break.” It is technically outstanding in every way. Her attention to detail at every level of filmmaking is so inspiring. I also love that you would never assume that a woman directed that film. It is very masculine in a certain way.

Men direct female-driven content all the time, and it’s invigorating to see a woman so successfully and accurately take on masculine content. It gives me hope that one day it will truly be 50–50, and no one will need to delineate between a male or female director. We will just all be directors.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directorsyet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

JM: I am optimistic that this is in the process of changing. Things cannot shift overnight. There needs to be enough time for women to rise through the ranks with significant experience as filmmakers.

The balance of male and female filmmakers is getting better at festivals. This gives me hope that, in the next ten years, we will start to see female independent filmmakers cross over into the studio world as well.

As soon as women start truly advocating for each other and lifting each other up when we can we will start to see this shift faster.