Ethan Hawke and Richard Linklater, two of cinema's most accomplished collaborators, sat in the plush hotel suite, discussing their latest film, Blue Moon. The conversation was as effortless as it was sprawling, touching on everything from politics to the Beatles to the late films of John Huston.
The two men have been making movies together for over 30 years, and their partnership has spawned a string of critically acclaimed films, including Before Sunrise, Before Sunset, and Before Midnight. But this latest film, set in 1940s Broadway, was a departure from their usual fare. Hawke plays the role of Lorenz Hart, a jilted lyricist who finds himself at the bar on the opening night of Oklahoma!.
The transformation required to play Hart was significant for Hawke. He shaved his head and stood in front of a mirror to appear shorter than his co-stars, a physical metamorphosis that took some getting used to. "It felt like I was hitting the wall of my talent," he admitted, recalling the challenge of playing someone who was not himself.
Linklater, ever the wit, countered that Hart's struggles were a familiar tale for many creatives. "Addiction is always the endgame," he said, nodding towards Hawke's previous roles in films like Before the Devil Knows You're Dead. The weight of addiction can be crushing, and it's often the final blow.
The conversation turned to their own careers, with Linklater noting that their success has afforded them a degree of freedom. "We don't have to worry about making enough money," he said, laughing. Hawke concurred, insisting that art was the true measure of success. "You can never equate success with money," he said, gesturing around the suite. "This is where we are โ in the major leagues."
Their partnership has been a long and winding road, marked by both triumph and struggle. They have lost friends and colleagues to addiction and depression, but their own relationship has endured. Hawke praised Linklater's ability to stay curious, even as he approaches old age. "You haven't lost that at all," he said.
Linklater acknowledged the challenge of maintaining idealism in a profession that can be brutal. "Depression is what it feels like when you lose interest in things," he said, his voice tinged with empathy. Hawke countered that Linklater's dedication to his craft was a testament to his enduring passion.
As our conversation drew to a close, the two men reflected on their partnership and its many triumphs. They were aware of the scrutiny that comes with being two of cinema's most respected collaborators, but they were also acutely aware of the value of their friendship. "It's not about status," Hawke said, his voice sincere. "It's about making good art."
In a room filled with the trappings of fame and success, Hawke and Linklater found common ground in their dedication to their craft. They sat in comfortable silence for a moment, sipping coffee and watching the world go by through the hotel suite window.
As we parted ways, I couldn't help but wonder what other conversations lay ahead between these two cinematic giants. One thing is certain: their partnership will continue to produce some of the most memorable films of our time.
The two men have been making movies together for over 30 years, and their partnership has spawned a string of critically acclaimed films, including Before Sunrise, Before Sunset, and Before Midnight. But this latest film, set in 1940s Broadway, was a departure from their usual fare. Hawke plays the role of Lorenz Hart, a jilted lyricist who finds himself at the bar on the opening night of Oklahoma!.
The transformation required to play Hart was significant for Hawke. He shaved his head and stood in front of a mirror to appear shorter than his co-stars, a physical metamorphosis that took some getting used to. "It felt like I was hitting the wall of my talent," he admitted, recalling the challenge of playing someone who was not himself.
Linklater, ever the wit, countered that Hart's struggles were a familiar tale for many creatives. "Addiction is always the endgame," he said, nodding towards Hawke's previous roles in films like Before the Devil Knows You're Dead. The weight of addiction can be crushing, and it's often the final blow.
The conversation turned to their own careers, with Linklater noting that their success has afforded them a degree of freedom. "We don't have to worry about making enough money," he said, laughing. Hawke concurred, insisting that art was the true measure of success. "You can never equate success with money," he said, gesturing around the suite. "This is where we are โ in the major leagues."
Their partnership has been a long and winding road, marked by both triumph and struggle. They have lost friends and colleagues to addiction and depression, but their own relationship has endured. Hawke praised Linklater's ability to stay curious, even as he approaches old age. "You haven't lost that at all," he said.
Linklater acknowledged the challenge of maintaining idealism in a profession that can be brutal. "Depression is what it feels like when you lose interest in things," he said, his voice tinged with empathy. Hawke countered that Linklater's dedication to his craft was a testament to his enduring passion.
As our conversation drew to a close, the two men reflected on their partnership and its many triumphs. They were aware of the scrutiny that comes with being two of cinema's most respected collaborators, but they were also acutely aware of the value of their friendship. "It's not about status," Hawke said, his voice sincere. "It's about making good art."
In a room filled with the trappings of fame and success, Hawke and Linklater found common ground in their dedication to their craft. They sat in comfortable silence for a moment, sipping coffee and watching the world go by through the hotel suite window.
As we parted ways, I couldn't help but wonder what other conversations lay ahead between these two cinematic giants. One thing is certain: their partnership will continue to produce some of the most memorable films of our time.