I found it to be a compelling concept, it was like My Dinner with Andre but in a bathroom. Immediately, I thought there was something really charming here. The basic concept was still there where it was a guy trapped in a rest stop bathroom with someone who was claiming to be a god. He sent it to me and was like, "Oh my god, I've got something for you," and I read it. I'd been lamenting to him that I hadn't read anything good lately, and I was really looking for something bonkers. One of my friends, Jason Goldberg, had sent it over.
RM: The original script was sent to me in like, the third week of the pandemic.
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Tell me a bit about how this movie came to be and where you got the story from. It was so nice to see it with people after months of it just being five of us watching it. Rebekah McKendry: It was packed, it was just an absolutely beautiful response. We sat down with McKendry and Kwanten to chat about their magenta-toned hellscape, after they had just watched the world premiere on the big screen at the Fantasia International Film Festival. It chucks the unsuspecting Wes into a cosmic nightmare, forcing him to face his own sins under the guise of saving the world. Glorious is a single location horrorshow in the most literal of terms. Ghat is there to torment the wide-eyed and grief-stricken Wes (Ryan Kwanten), a man reeling from the loss of his latest love who makes the mistake of popping into a rest stop stall to vomit. In director Rebekah McKendry's rest stop, there isn't just the distinct stench of human refuse floating between the bathroom walls but also a Lovecraftian nightmare that goes by Ghat. Though, not every one of those locales houses a vengeful god. There's all kinds of nasty stuff barely hidden in rest stop bathrooms.
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