Hal Hartley: ‘I try to juxtapose the male gaze… | Little White Lies

Interviews

Hal Hart­ley: I try to jux­ta­pose the male gaze with female independence’

19 Jun 2018

Words by Matt Thrift

A man with dark hair, staring pensively with his hand on his chin.
A man with dark hair, staring pensively with his hand on his chin.
The pro­lif­ic inde­pen­dent film­mak­er reflects on his career ahead of Hen­ry Fool’s 20th anniversary.

One of the most stead­fast­ly inde­pen­dent Amer­i­can film­mak­ers, Hal Hart­ley has built an idio­syn­crat­ic and pro­lif­ic career since his 1989 fea­ture debut, The Unbe­liev­able Truth. He was at the Amer­i­can Film Fes­ti­val in Wro­claw, Poland, col­lect­ing the Indie Star Award and pre­sent­ing his new film, Ned Rifle, the third part of a tril­o­gy which began with his Cannes-win­ning Hen­ry Fool back in 1997. We caught up with him for a long, can­did chat about his career.

LWLies: It’s been 25 years since The Unbe­liev­able Truth was released. What’s changed in the way you approach mak­ing a film in that time? What’s stayed the same?

Hart­ley: By some time in the mid-’90s, I real­ly came to under­stand what it is that I do. The craft­ing of dia­logue and phys­i­cal activ­i­ty so that they can work in con­cert with each oth­er. I wasn’t aware of that for my first two or three fea­ture films, the actors had to tell me. I was always insis­tent on them stick­ing to my lan­guage, I just didn’t know how to talk about it. I’d always just think I’d worked real­ly hard on my dia­logue and heard music in it. Actors like Mar­tin Dono­van and Adri­enne Shel­ley would tell me I heard dia­logue as a melody in my head, but couldn’t com­mu­ni­cate that. It wasn’t until I worked with Park­er Posey in 96 – 97 that it real­ly became clear to me, the way she would talk about the craft of act­ing. She’s a great vocal per­former and a great phys­i­cal come­di­an. I found a new way of talk­ing about what I want­ed that kept it alive.

Ges­ture and phys­i­cal­i­ty in your films feels as impor­tant as the dia­logue. It’s part of that musi­cal­i­ty you’re talk­ing about.

Right. In the begin­ning it was impor­tant, but I just didn’t know how to talk about it. When Mar­tin Dono­van and I first worked togeth­er on Trust, he just didn’t trust me. He only real­ly got it when we’d fin­ished the film and he looked at the scenes. When I first met Jeff Gold­blum for Fay Grim, he came in and said, I know what you do, you move peo­ple around, and I love that.’ From then on, that’s what I told actors who were new to my process, I move you around.’ I had to go through it with Aubrey Plaza in the new film. She was used to TV, where they’d have six cam­eras running.

She seems a natural.

Her first day was a lit­tle trau­mat­ic for her. She was like, You mean I have to say all of these lines? As writ­ten?’ I just told her not to wor­ry about it, that she was going to be great.

So do you rehearse?

These days, no. We’ll do table work, sit­ting around talk­ing about what the dia­logue actu­al­ly means. It can often be inter­pret­ed in dif­fer­ent ways, and some­times the actors have an inter­pre­ta­tion of what I’ve writ­ten that’s bet­ter than what I’d intend­ed. Aubrey was smart that way, she came up with things that helped me direct her lat­er, with­out chang­ing any­thing. When we get on our feet, gen­er­al­ly we’ll work for half and hour before I make a shot, or a scene.

Do you give line readings?

No, I don’t real­ly have to. It was tricky with Aubrey, because it wasn’t the kind of sit­u­a­tion where I was going to audi­tion her, but I did have to watch a lot of her stuff before­hand. She hasn’t done that many films where it’s script­ed tight­ly enough that you could hear the author’s voice, so I need­ed to see that she could do that.

Do you ever show the actors dailies?

Only if they want to. Liam Aiken want­ed to. I don’t think he’d ever played a char­ac­ter like Ned Rifle. He’s 22 and very seri­ous about his craft, he just need­ed to see that he was being both cool and sin­cere. We didn’t want to make fun of Ned’s spir­i­tu­al ori­en­ta­tion, but we want­ed him to be a good old fash­ioned Amer­i­can west­ern hero.

Ned Rifle feels like quite the fan’s movie, revis­it­ing so many char­ac­ters. Is there any cor­re­la­tion between that and its crowd-fund­ing campaign?

I wrote the script with every inten­tion of just going out and doing it. We thought there’d be more inter­est in the busi­ness to get it financed, but we were wrong. So the Kick­starter thing just is what it is. I called every­body and said I thought I could raise a tenth of what I need­ed, and asked if they were ok with being involved in anoth­er ultra-low bud­get movie, not get­ting paid any­thing more than union scale.

I noticed Julie Christie’s name in the cred­its as producer.

Yeah, she was a Kick­starter backer. She doesn’t use the inter­net, but she had her hus­band take care of it. She said, Can I send a cheque from the Bank of Lon­don?’ She doesn’t use cred­it cards.

Would you go through the Kick­starter process again?

I would use it again, but not for some­thing on that scale. For me, that was quite a large num­ber. It was hard, it was like get­ting elect­ed. They use the same word, cam­paign.’ For 30 days you need to make as many peo­ple as pos­si­ble think that you’re valu­able, which doesn’t come nat­u­ral­ly to a lot of us.

Have the vary­ing peaks of suc­cess over the course of a career had much impact on how easy it is to get your next film made?

Not real­ly. After the Cannes win for Hen­ry Fool, I decid­ed at the same time to slow down on my pro­duc­tion. I’d been work­ing for ten years straight mak­ing films, and it seemed like the right time in my life to slow down and do oth­er things. I start­ed doing the­atre and writ­ing more, so it’s hard to tell the impact that had. If I had a project ready to dive into in 1999, maybe it would have been easier.

Is there a bud­getary lev­el you feel most com­fort­able work­ing in? Is more mon­ey always better?

For me, yeah. If you don’t need to shoot as many pages each day and you have the resources, it makes things eas­i­er. I remem­ber Flirt being in a real­ly nice bud­get range. It was just over a mil­lion, but the way it was made, as three short films shot over three years, when I look at it now, I see some of my best work in the Tokyo sec­tion. Just to know that I had the tal­ent around me and the resources, it’s good to look back on. I just did my first direc­tor-for-hire job, in fact.

I saw it the oth­er day, Red Oaks?

Yeah, I did episode five. David Gor­don Green direct­ed three of them, and he kept say­ing there was noth­ing to wor­ry about, that we had $2.5m for a half hour episode. If I need­ed to track, we’d just lay one down, which is such a plea­sure. From this point on, I’m not inter­est­ed in mak­ing things with small bud­gets as a point of prin­ci­ple. That’s how I always pro­tect­ed my cre­ative free­dom, even in the old days, mak­ing films like Trust and Ama­teur with the British com­pa­ny, Zenith. They’d take care of get­ting the mon­ey togeth­er and I’d make the film. When we were in con­ver­sa­tion with poten­tial financiers, we’d be talk­ing about a $2m bud­get in which they want­ed me to change the end­ing. So I’d ask if that would still apply at $1.5m, and they’d say, Absolute­ly not.’ I can make a nice enough film for $1.5m.

Had you thought about direc­tor-for-hire jobs in the past?

I start­ed think­ing about it seri­ous­ly around 2009, after liv­ing in Berlin for five years. I just knew that the future was tele­vi­sion, or what­ev­er we call it now. I want­ed to get into that world, but a lot of the peo­ple who make deci­sions in that busi­ness don’t know who I am, I’m just anoth­er guy they’ve IMDB’d. The stars aligned for this one and there wasn’t that mis­trust. A lot of the pro­duc­ers or man­u­fac­tur­ers of that kind of enter­tain­ment would meet a guy like me and say, But can he be a com­pa­ny man? Will he he just shut up and deliv­er the prod­uct?’ I was like, sure, I love direct­ing, and I’m good at it. I’m not gonna judge your shit too much. If it were a bad script and I didn’t think I could do any­thing with it, then I wouldn’t take the job. In the case of Red Oaks, I’d seen the pilot, which was well cast, they knew what they were doing, and the script was good.

Do you have to fol­low the visu­al tem­plate set up by the pilot?

Not real­ly. There’s a DoP for the whole series, who wasn’t the guy who shot the pilot. I’d ask him what they like, if it always had to be two cam­eras, and he’d know. He was some­times shoot­ing two episodes at the same time, so we’d be set­ting some­thing up for my episode and he’d have to run off and shoot some inserts for anoth­er one.

Didn’t you work with Fran­cis Ford Cop­po­la on No Such Thing? How did that come about?

I’d met him social­ly at events over the years and he’d always been very mag­nan­i­mous and nice, he knew who I was. I think Sofia had prob­a­bly turned him on to my films. He said that if I ever need­ed any advice, con­nec­tions or any­thing, just to let him know. A cou­ple of years lat­er, I got this oppor­tu­ni­ty to make a mon­ster movie in Ice­land, and I’d always liked the make-up in his Drac­u­la movie, the way they’d done Gary Oldman’s hands and face. I knew I wasn’t going to do much more than that, so I called Fran­cis and he put me in touch with the guys who even­tu­al­ly did it. He asked what I was doing and said, You know, I’ve just been hired as exec­u­tive pro­duc­er for this group of 10 films Unit­ed Artists wants to make, which are sup­posed to be kind of indie, but in fact are all teenage slash­er films. It might be good to have you on board, so send me over the script.’ He was already sold before he read the script, and it worked out ok. It was the first time I’d worked with a bureau­cra­cy of that size. You’d get wrong infor­ma­tion a lot, where peo­ple just don’t watch the dailies or read the script, then they’d see the footage and say, What the fuck is this?’

You mean the producers?

Yeah, the ones always get­ting fired every six weeks. I appre­ci­at­ed hav­ing Fran­cis between me and them. I wasn’t hap­py with the way they dis­trib­uted it. By then the fourth gen­er­a­tion of exec­u­tives had been fired and some­one else was brought in who didn’t have an idea of what to do with any of the films. Roman, Fran­cis’ son, also made a film under that deal, and none of them ever got distributed.

Going back to your work with the actors, are there spe­cif­ic qual­i­ties that you’re look­ing for when you cast? Do you know straight away the they’re going to fit with your style?

Now I do, after this much time. They have to be able to hear the melody and rhythm of my dia­logue, so they have to be good voice actors, and they have to be able to move. They can’t be shy about phys­i­cal activ­i­ty. Park­er is prob­a­bly my best exam­ple, of some­one who comes most nat­u­ral­ly to what I do. That doesn’t mean that I don’t love work­ing with dif­fer­ent kinds of actors.

Like Helen Mir­ren in No Such Thing?

Absolute­ly. Those old­er, more expe­ri­enced actors who’ve worked on big, mass-enter­tain­ment projects where you’ve just got to shoot a lot of shit and get it done, they’re gen­er­al­ly great.

Do you shoot a lot of takes?

No. I nev­er go more than five, if I have to.

I know you don’t like chang­ing dia­logue on the day, but do you allow any room for impro­vi­sa­tion? Are there exam­ples of scenes that just haven’t been work­ing for what­ev­er rea­son that you’ve had to adjust when it came to shoot?

Some­times it will hap­pen. Envi­ron­ment will affect it. If we’ve writ­ten some­thing that works around the table, pro­duc­tion can get in the way. If we’re not shoot­ing in a café any­more, but we’re doing it on the street, then some things may not make sense.

Does dia­logue always come first when you’re writing?

It’s char­ac­ter that comes first. Once I can visu­alise char­ac­ters in my head, then I can hear how they talk. I don’t wor­ry too much in the writ­ing stage about what amounts to loca­tions. With the kind of movies I make, when you’re talk­ing about the visu­al­i­sa­tion of the movie, you’re talk­ing about loca­tion scout­ing, where you’re going to place the scenes. When it’s writ­ten and when it’s cast though, I’ll spend a lot more time than most film­mak­ers on loca­tion scout­ing. I do it myself, from the very first day, and will prob­a­bly spend a month on that. Main­ly because it inter­ests me. I’m not inter­est­ed in manip­u­lat­ing it too much.

Your dia­logue tends to for­go nat­u­ral­ism for a much more height­ened qual­i­ty, more so in some films than oth­ers. How do you decide how far you’re going to take the idio­syn­crasies of your style?

With the short films, I’ll just always be pre­co­cious. Peo­ple have a dif­fer­ent kind of atten­tion span if they think a film is only going to be 13 min­utes long, they’ll put up with a lot more art­sy-fart­sy man­ner­ism. With The­o­ry of Achieve­ment for exam­ple, we had a lot of fun with being man­nered, but the sub­ject mat­ter is so down to earth. With the longer ones, I’m not inter­est­ed in nat­u­ral­ism, but I am inter­est­ed in real­i­ty. I think I stop short of being man­nered, but I like to feel the artic­u­la­tion. I always go back to Kubrick, about want­i­ng to feel the inten­tion every step of he way, even if it’s hav­oc, it’s so beau­ti­ful­ly built and articulated.

You write such great female char­ac­ters. How do you rec­on­cile the ten­sion between cre­at­ing a female voice when you’re writ­ing and a male gaze when you’re direct­ing? You’ve spo­ken pre­vi­ous­ly of ide­al­is­ing your female characters.

I prob­a­bly did it less con­scious­ly at the begin­ning of my career. I try to jux­ta­pose the male gaze with female inde­pen­dence, an inde­pen­dent female intel­lect and sen­su­al­i­ty. I like to play the fric­tion between me look­ing at her while demon­strat­ing my respect for her. I don’t want to make them eye-can­dy, but I still want to enjoy watch­ing them.

Is there a char­ac­ter in your work that you feel best rep­re­sents your­self, your world view?

Back in those ear­ly films, like Trust, peo­ple used to ask if Mar­tin Dono­van was my alter-ego. I’d nev­er real­ly thought about it in those terms, but I began talk­ing about it. In Trust, Maria and Matthew rep­re­sent me best. If there’s a Hal Hart­ley in my films, it’s an amal­gam of those two.

More than Simon Grim and Hen­ry Fool?

My broth­er Pat, when he saw Hen­ry Fool in a rough-cut, he told me Simon was me. I’ve known you for­ev­er,’ he said, And that’s you’. When I went back to my ear­li­est notes on Hen­ry Fool, before I’d even con­ceived what it became, I want­ed to tell a sto­ry about what it was like to come from where I came from, dis­cov­er­ing that I was a cre­ative per­son. I knew I was going to make it big­ger, more oper­at­ic than my very pro­sa­ic expe­ri­ence. There were things that peo­ple I love the most prob­a­bly need­ed to be told, that they wouldn’t have known. What it was like to be the only per­son from there who’d gone to col­lege at that point, to make music and films. Then I just amped it up to eleven and made him into a garbage man.

I hear you’re a big Howard Hawks fan?

Yeah man, I show Red Riv­er to every­body I can.

I’ve been watch­ing Hatari! a lot recently.

So good. Of course, I love the come­dies too.

And Sturges was quite an influ­ence, right?

Absolute­ly. It’s all about the dia­logue and action, with both of them. The rhythm of the dia­logue and the rhythm of the phys­i­cal activ­i­ty. It’s not action so much, it’s phys­i­cal activ­i­ty. I’m sure they worked on that stuff, the right moment to say the line as they reach for the gun. It’s like a pin­ball machine. I always liked that, before I even knew what it was I was very excit­ed by it.

Hawks would rehearse that dia­logue faster and faster until it was incomprehensible.

I thought that shit was hilar­i­ous. Orson Welles used to keep a metronome going, to keep the shoot­ing at the same pace as the rehearsals.

Godard has been a huge influ­ence on your work too. Tell me about meet­ing him back in the 90s.

I refused to do it at first. Scott Macaulay, the edi­tor of Film­mak­er Mag­a­zine, called me at my office say­ing that Godard’s going to be in town for three days, the Muse­um of Mod­ern Art was doing a ret­ro­spec­tive of his video work from the 80s and ear­ly 90s. He’s been giv­en a short list of peo­ple to talk to, and you’re on it. He said he’d just talk to me because he’d heard of me. I said no. Every­body in my office was stand­ing around star­ing at me. I said, He’s so impor­tant to me, I don’t want to mar that, and I hear that he can be dif­fi­cult and an ass­hole. I don’t need him per­son­al­ly in my life.’

Scott had the wis­dom to tell me to think about before he hung up. Every­body gave me shit, all over town, so I final­ly said okay. It was set for two days lat­er, and I hadn’t seen Histoire(s) du Cin­e­ma, which was real­ly hard to see in the States at that point. So the muse­um put on a VHS screen­ing of half of it, and I brought Mar­tin Dono­van with me. I took notes and got ready, and that same day, my father was hav­ing open-heart surgery in a hos­pi­tal in New York. I had to be at the hos­pi­tal from 5am until the doc­tors had time for him to go into surgery, then I said, Dad, I got­ta go!’

Was he okay?

He said, You go see Mr Godard’. So I walk across town, and Godard was great. It was about 10am, he came in and sat down, with a huge unlit cig­ar, and let me do all the talk­ing for about ten min­utes. He just took my mea­sure. He didn’t real­ly know me, he hadn’t seen any of my films, he just knew that peo­ple had talked about me in rela­tion to him. At a cer­tain point he decid­ed that I was an ok guy to talk to, so he lit his cig­ar and then did all the talk­ing. It went every­where, a real­ly long con­ver­sa­tion and one of the most inspir­ing I’ve had. Final­ly I was able to put away all this non­sense you hear about him being an ass­hole. He’s very poet­ic, very philo­soph­i­cal. I knew from oth­er people’s books that I’d read that he can almost be psy­chot­ic, but I found him very gen­er­ous, very real­is­tic. Its seemed like he was say­ing, I’m 65, how old are you? I know more, let me talk.’

That 80s peri­od of his work real­ly seems to feed into yours. Films like Helas pour moi and Hail Mary especially.

That one real­ly hit me hard. When I was in my twen­ties, I saw most of the stuff from the 60s, but it was only in the 80s, when I was active­ly mak­ing my own films in New York City and read­ing a lot more, that I became more cog­nisant of 20th cen­tu­ry his­to­ry. I just got those films, they hit me at the right time. Also, just graph­i­cal­ly, he was mak­ing the kind of pic­tures that I want­ed to make. It was like Bres­son said, Don’t go show­ing every side of the thing. It’s the fresh­ness of the par­tic­u­lar angle that you see, that’s going to bring the thing to life.’ I think Godard real­ly did that. He’d indi­cate a depart­ment store with one shot, a girl look­ing through the glass­es and per­fumes, with all the right sound. It was per­fect. The kind of econ­o­my which is also real­ly deep and expansive.

The way you work with actors seems to share some kin­ship with Bresson.

When I was in col­lege and after­wards, I real­ly came to under­stand and appre­ci­ate what Bres­son was doing. I wouldn’t go as far as only using non-pro­fes­sion­al actors though. I like work­ing with pro­fes­sion­al actors because I need their skills. I think what he did with ama­teurs is absolute­ly great. He was doing some­thing very, very spe­cif­ic, a bit like the way Bruno Dumont works now.

Are you a Jacques Riv­ette fan? Fay Grim reminds me of his stuff in many ways. Ama­teur too.

I didn’t come to Riv­ette until very late, in my thir­ties. That might be because his films are so much hard­er. You can call Godard an art film­mak­er, but Riv­ette is out there.

The Girl From Mon­day feels like one of your most explic­it homages to Godard.

Yeah, it’s a con­ver­sa­tion with Alphaville.

It’s one of your most for­mal­ly exper­i­men­tal. How did you decide on that’s film’s par­tic­u­lar aes­thet­ic qualities?

As it was writ­ten, it could have been filmed on 35mm, but that didn’t come togeth­er. So final­ly we decid­ed to make it as a lit­tle movie that we could put on a web­site, which peo­ple could pay to stream. No one even used the word stream­ing back then, but we were absolute­ly con­fi­dent that this tech­nol­o­gy would be exis­tent at the time, which we were com­plete­ly wrong about. The idea was to make a lit­tle movie with our own mon­ey, mak­ing it as extreme as I felt it need­ed to be. I was shoot­ing it in stan­dard def­i­n­i­tion dig­i­tal, which was a real in-between medi­um. I hat­ed dig­i­tal movies that tried to look like 35mm, because it nev­er did, it was always between two stools, nei­ther a good film image nor a good video image. Which made me think, what is a good video image? The slow shut­ter speed but­ton, dis­tor­tion. I made The Book of Life in the same spir­it. To deal with an elec­tron­ic sig­nal in the same way that my rock­er friends dealt with an audio sig­nal. Dis­tort it, over-process it.

These lat­er films feel a lot less reliant on dia­logue than the ear­li­er ones.

I’m always look­ing to play around, to exper­i­ment. In the ear­ly 90s when I was mak­ing films on 35mm, I was also mak­ing video any­way. They were all exper­i­men­tal, but still pret­ty nar­ra­tive. I just want­ed to play with dif­fer­ent ways of telling stories.

Do you find it dif­fi­cult tying togeth­er this for­mal exper­i­men­ta­tion to some of your larg­er con­cep­tu­al schemes, as well as to nar­ra­tive? Do you go through a lot of drafts?

The nuts and bolts of it is that you just start writ­ing. If I want a Greek cho­rus to come in, like in Flirt, to explain things or ques­tion things, then why not? I nev­er start a project on a con­cep­tu­al lev­el, it’s always with char­ac­ter and sit­u­a­tion. I read lots which inspires me to try to work out how I can bring new things in. The Greek cho­rus in the Berlin sec­tion of Flirt is in many ways the same ges­ture as in Sim­ple Men, where they bust out into dance. Some­times the fourth wall just needs to be knocked down for a moment.

Speak­ing of the dance sequence in Sim­ple Men, you used a sim­i­lar device in Sur­viv­ing Desire, which I love. I under­stand you’re not too hap­py with that film though?

I want­ed to shoot it on 35mm, but the TV peo­ple we were mak­ing it for insist­ed on 16, which placed cer­tain lim­i­ta­tions on it. It’s real­ly just the image, I don’t have a prob­lem any of the writ­ing or the cast­ing. I was learn­ing things too. There’s a par­tic­u­lar scene, where Mar­tin and Mary are in the bar and she kiss­es him for the first time, before he goes out and does his dance. When I was writ­ing it, I knew that I want­ed them way over there, shoot­ing with a long lens, all in one shot. I just wasn’t con­fi­dent enough with per­form­ers at that time to insist on cer­tain things though. Now, when Aubrey Plaza comes in on her first day and says things don’t make sense, I can just say, Trust me’. I didn’t have that then, or the knowl­edge to feel com­fort­able shoot­ing day-for-night. I just think it lacks a life.

Is there a film that you think best rep­re­sents your ini­tial con­cept, that you think is your most successful?

I think Flirt, espe­cial­ly the Japan­ese sec­tion. From begin­ning to end, I wouldn’t change a thing in that. The Berlin sec­tion, I got into some trou­ble with some of the inte­ri­ors towards the end, and the New York sec­tion is just stuff thrown at the wall to see what would stick. We had no idea at the New York stage that it would turn into a feature.

What do you think it was about the Japan­ese sec­tion that enabled you to get your ideas on screen so suc­cess­ful­ly? Was it a ques­tion of more mon­ey? Bet­ter preparation?

Expe­ri­ence, an work­ing with large­ly the same crew for so many years. I’d just shot so much film between 1988 and 1995, when we shot that sec­tion. It was just a ques­tion of con­fi­dence, really.

You worked with Michael Spiller on near­ly everything.

Yeah, but he’s no longer a DoP now, he’s a very suc­cess­ful tele­vi­sion direc­tor. The last thing he shot as a DoP was No Such Thing. I still talk to him, though. I’ve been talk­ing to him about this TV show, and he’s giv­en me some advice about the busi­ness, which is total­ly dif­fer­ent. Back then, we were taught by the same teach­ers, and the kind of edu­ca­tion where all of us had to do every­thing. I had to shoot someone’s film and Michael had to assis­tant-direct some­one else’s, so we all knew each other’s jobs. The great thing when I start­ed mak­ing fea­tures though, was that Michael had been out work­ing with crews as a sec­ond or third assis­tant, so he had a lot more knowl­edge. It was real­ly on that first $60,000 film that I start­ed real­ly learn­ing the grammar.

Have you ever been tempt­ed to write a nov­el? Lit­er­a­ture is such a big part of your films.

Yeah, I think about it a lot. I’ve worked real­ly hard on it. I’ve writ­ten two, fake prac­tice nov­els. I’d ask my friend, the nov­el­ist Paul Auster, How do you do it? All these, words, words, words.’ If I can’t just stick to dia­logue and have all that white space on the page, then I’d be lost. It’s a total­ly dif­fer­ent way of think­ing, but I’ve always writ­ten sto­ries. I float­ed to Paul the idea of writ­ing a prac­tice nov­el, that I was going to take one of my sto­ries that was already writ­ten as a script and turn it into a nov­el. He said, A nov­el is 60,000 words. Don’t get involved in any oth­er non­sense, just tell the sto­ry in 60,000 words, then you have a nov­el. It may not be a good nov­el, but it’ll be a nov­el.’ So I start­ed doing that. I’ve got­ten through two, and one is bet­ter than the other.

So are we going to see one of these soon?

Ha! No, not soon. I’d have to change my whole work­ing life. I’m very pro­duc­tive, I have a real old-fash­ioned work eth­ic, and I pro­duce a lot of work. It wouldn’t be hard for to sit down and get some­thing writ­ten, but some­thing of the breadth and depth that I admire in oth­er people’s work? I’d need to take some time off and go some­where. It’s much hard­er to make a liv­ing as an inde­pen­dent film­mak­er now, which is one of the rea­sons I’m lucky to have the oppor­tu­ni­ty to skew towards episod­ic TV now, which I’m real­ly inter­est­ed in. You real­ly can’t make a liv­ing any more, mak­ing the kinds off films that I make. They’re not obscure, but they’re also not main­stream. I’m lucky to have done it long enough that I have some mon­ey, some sav­ings, but look­ing for­ward I know that I have to do dif­fer­ent kinds of work. I don’t think I’ll make any more fea­tures at that lev­el. Maybe if the sit­u­a­tion presents itself and I can get the kind of mon­ey that some­one like Paul Thomas Ander­son does to make some­thing, but it has to be on that level.

What do you love about movies?

It’s move­ment, I think. It took me many years of my own film­mak­ing to dis­cov­er that. Phys­i­cal humour does it for me, and dia­logue of course. When I first start­ed mak­ing movies, I was watch­ing a lot of Wern­er Herzog’s films from the 1970s. So back then I was fas­ci­nat­ed by the idea of time. The time things take. When I show young peo­ple a movie like Kas­par Hauser or Nos­fer­atu today, they’re always impressed by how will­ing he is to hold a shot for as long as he does. That was always real­ly excit­ing to me.

Hal Hartley’s films are avail­able direct­ly from his web­site at hal​hart​ley​.com

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