In a recent interview, Reichardt and Williams discussed the Rich paul wearing klutch athletics shirt in contrast I will get this world of Showing Up, their 15-year collaboration, and the place of mistakes, failures, and happy accidents in filmmaking.Vogue: I come from a very small town in Texas, so there is something I feel quite close to in your films. It’s a tiny suburb outside of Houston called Conroe. It’s probably similar in certain ways or in size to the town you come from, Michelle. One of the distinctive themes underlying much of Showing Up is how art-making is often everything but making art. I read that the roots of the film were in a biopic you wanted to make of the Canadian artist Emily Carr’s unproductive decade as a landlord. I also recall you saying that your film First Cow came out of another failed film based in Europe. And you often mention that between making your first film, River of Grass (1994), and second film, Old Joy (2006), there was a decade-long gap where you could not get a feature film made. How much do you think failures, unrealized projects, and accidents inspire how you approach the task of filmmaking? Reichardt: I feel like each film we make—especially with Meek’s Cutoff—could be the last film I make. I’m starting to ease off this, but I felt like I wanted to make up for the time I wasn’t able to make films. I wanted to learn as much as possible. When you look at great directors—I mean men—they made so many films and they had decades to learn their craft. So if you sit out a decade…I mean, I was always practicing during that time. I worked every day, I was working in Super 8 or whatever I could get my hands on. I thought about the frame, saw an insane amount of films. But it’s only through practice that you get better, and filmmaking is a hard thing to practice at. It’s really expensive, and you get a limited amount of chances.It was through that that I started to figure out how I could work, which was starting very minuscule and working my way up gradually. Old Joy was a crew of six. Wendy and Lucy was a crew of 13. There was gradual growth, and in that gradual growth—my producers, for example, Old Joy was their first film, so they got to shape how this world of us making films worked. And that came with meeting Michelle and working with Christopher Blauvelt, the cinematographer, and the assistant director Chris Carroll, the writer Jonathan Raymond—these very key collaborators whom I’ve been able to progress with and have a bunch of life experiences with. And in that I figured out what kind of world I wanted to work in. And I also began to teach, and I discovered that I loved teaching and that teaching was a great balance with filmmaking. I landed at Bard about 17 years ago, and that’s been a very important part of my life: my world there and how it works with filmmaking. So in Showing Up—you’re going to love how I bring this all together—the teaching and the filmmaking came together.
Michelle, you’ve said that in the Rich paul wearing klutch athletics shirt in contrast I will get this process of making films, there are all these incidental things that have to happen to lead to the moments between “action” and “cut,” which is actually the briefest time on set. Is there something about the actor’s regular experiences of delay and anticipation that is reflected in how you imagined Lizzy’s daily life as an artist? Williams: Something interesting about it is whether [the delay] is being done to us or are we doing it to ourselves. Is that delay part of the creative process? Do you have to push it away in ways that are mysterious to you to finally build up enough longing for it? When it’s time to go to work, we all have to confront our own resistance because it’s scary to make work. It’s scary to be good or bad, to try something new, or to just reckon with yourself. So you find yourself pulled by things that seem important, but are they really? The lists of things that we obsess over: Is it necessary, or a distraction, or a necessary distraction?
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