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A Fish out of Water, Stephen Frears Comes to America with “Hi-Lo”

A Fish out of Water, Stephen Frears Comes to America with "Hi-Lo"

A Fish out of Water, Stephen Frears Comes to America with

By Anthony Kaufman

It’s not the first time British director Stephen Frears has come to the
United States. In his 1990 neo-noir, “The Grifters,” he walked away
with an Oscar nomination for Best Director, proving himself quite
capable of working on western shores. It also proved that the
57-year-old director cannot be pinned down to genre or style. His
resume is eclectic to say the least; from the semiotic sexual farce
Sammy and Rosie Get Laid” to the Hollywood drama, “Dangerous Liaisons
to such UK comedies as “The Snapper” and “The Van,” his work ranges from
melodrama to comedy to character study.

In “The Hi-Lo Country,” opening wider this Friday from Gramercy, Frears
treads upon his most disparate territory yet: the western. Starring
Billy Crudup and Woody Harrelson as a pair of cowboys fighting for life
and love, the film is a return to the low-budget arena that Frears
favors. Speaking from Los Angeles, what he calls the “land of the palm
trees,” the very British Frears speaks here about shooting a Western,
studio versus independent, his producers Martin Scorsese and Barbara
deFina, and the current insecure state of British film.

indieWIRE: I read in the press notes that it was important for you that
the film remain independent from the studios. Why?

Steven Frears: I think that suits my temperament. The people who make
studio films are very clever, but I’ve discovered who I am.

iW: What has been your experience on both studio and independent films?

Frears: I found when I made big studio films, I found it much harder. I
just didn’t understand the world, really. I found it quite
bewildering. Nobody was horrid to me or anything like that.

iW: What about it did you find difficult?

Frears: Spending that sort of money — just bewildering.

iW: And what about the freedom compared with your independent films?

Frears: I had freedom making studio films. I just found the weight of
responsibility in the money very overwhelming. But it didn’t restrict
my freedom.

iW: Do you feel like there’s more intimacy on a smaller, low-budgeted

Frears: I just feel more comfortable. They’re values I sort of grew up
with — I understand why money is being spent the way it is.

iW: Tell me about your collaboration with Martin Scorsese and Barbara
deFina. This is your second. [“The Grifters” was their first.]

Frears: They send me this material that I like very much. Twice,
they’ve sent me books that were great and I had a really good time
filming. And they’re very. . . I just have an enormous respect for
him. I guess I feel kind of safe in his hands.

iW: Once you have the material, is that the end of the working
relationship or does it continue through production?

Frears: Barbara makes everything run smoothly. So she’s as attentive as
you want her to be. And Marty’s there to be talked to if you want. He’s
just there whenever you want him — which is great. He doesn’t
interfere or anything like that, but I think there’s no reason for him
to interfere, so they’re just really good friends. They’re just good
people to be talking to, because they say sensible things.

iW: There’s another collaboration that’s interesting. With Working
Title Films, can you tell me about your relationship with them?

Frears: I’ve worked with them now for 10 or 12 years. I guess more. So
again, I understand their values. I think their success has been
absolutely phenomenal. When I talk to them, I know what kind of people
they are.

iW: Does it get easier?

Frears: Making films?

iW: Yes.

Frears: No. (Laughs)

iW: Even with the relationships you’ve maintained over the years?

Frears: No, you do that because it gets harder. So you more and more
realize on how much you depend on the people around you. No, they’re
tough things to make.

iW: Can you talk about the new opportunity you had making this western?
For instance, how did you photograph this western landscape? Did you
and your cinematographer use different lenses than you were used to?

Frears: We shot anamorphic and we’d never shot anamorphic before.

iW: And what was that like? Having that extra room to work with?

Frears: The truth is, after the first few moments, I never thought about
it. All my life, I’ve worked with cameramen that I’ve trusted. And I
trust their eye. And I was able to talk to him as I normally do. It
wasn’t anything special. At first, I remember thinking about all those
anamorphic films of Clint Eastwood in the 60’s. I kept thinking, oh, is
that how I have to do it? Then I realized it was complete nonsense. And
in fact, I stopped thinking about it very, very quickly.

iW: Is there a physical or narrative territory that you feel more
comfortable in?

Frears: I trust. . . I read a script and it just grabs me. I go where
that leads me. It’s not calculated. Often, I desire to do something
different from what I’ve just done. And this utter dread of repeating
myself. I just become full of somebody else’s imagination. I find a
new imaginary world.

iW: Have you ever considered writing?

Frears: No.

iW: Why not?

Frears: I don’t have the talent. I admire writers. I work with very
good writers. Since I work with very good writers, why would I be
interested in the second rate stuff that I could come up with.

iW: Earlier in your career, could you foresee the career that you have

Frears: No. When I was in my teens, I fell in love with the theater. A
group of actors came into my town and they were so colorful and vivid,
so I guess I wanted to run away and join the theater. Except the
theater that I wanted to join was quite a serious theater. Then I
drifted into film, so I didn’t expect to be a film director. And when I
was a film director, I certainly didn’t expect to be a film director
working in American films. It’s been a constant series of shocks.

iW: What is the American industry mean to an outsider coming in?

Frears: First of all, of course, it exists in a way that the British
film industry simply doesn’t exist. It has a clear economic basis. And
it makes economic sense. And it has the economic strength and
self-confidence to allow — not just mainstream film to be made — but
also different kinds of films. I think my best work has been done in
those different kinds of films and I include “Hi-Lo” and I include “The
Grifters.” That’s really an expression of its confidence. Whereas in
my country, where the industry has no real economic basis, it’s a much
more insecure and anxious business. I guess the people who knew it
would talk about the insecurity of the American industry, but compared
with what goes on in Britain, you have no idea how confident, how firmly
establish you seem and comparatively stable compared with the British
film industry.

iW: Do you have any comment on the creation of this new British funding
entity, British Film?

Frears: In my experience, what helped me to grow was an atmosphere of
continuity and stability. And I would be very surprised, anything short
of discovering oil, would make that sort of stability. I don’t see the
government. . . . That’s all I know about, that stability, and I was
lucky enough to have it. And although I can see that there are
opportunities which exist now which didn’t exist then, I see an awful
lot of anxiety and insecurity.

iW: There is a bit of talk about the British independent film scene
right now — what is your take on it?

Frears: Has their been? I’m afraid I’m more skeptical.

iW: Are there any young British directors that you think fondly of?

Frears: There are lots of talented people. What matters is that they
should be given the continual opportunity. Not say, ‘Go out any make a
film and see if you can hit the jackpot.’ But look, I grew up, Ken
Loach grew up, making three films a year. That’s what I mean by
stability. I don’t see that being offered. Of course, if someone hits
the jackpot, they’re all right. I just don’t see anything which has a
firmer basis than that.

iW: Unless they shoot on video.

Frears: Well, yes, that, of course, gives people a sort of freedom. I
teach and I can see that my students who occasionally shoot on video
under protest, but they do it with a sort of ease which is terrific.
Their work like that has a confidence to it and it’s really nice;
there’s a pleasure to it. When they make films, they become much more

iW: More money at stake.

Frears: More money and it somehow becomes all serious and proper and
respectable. And whereas on video, they’re carefree.

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