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The Whit Stillman Interviews

The Whit Stillman Interviews

In honor of our launching Metropolitan on Hulu, director Whit Stillman was kind enough to take part in a few brand-new interviews that discuss both his filmography and a few projects he’s currently working on. The interviews happened with…

Eugene Hernandez of indieWIRE:

“As a completed film, ‘Metropolitan’ was rejected everywhere, even by Sundance,” Stillman recalled this week, “Thanks to [Sundance programmer] Tony Safford, the film finally got into the festival after which, despite a great reception, it still remained bereft of distribution. If it hadn’t been for Ira Deutchman as our producer’s rep, Lindsay Law (who bought the film for American Playhouse, allowing us to pay our lab bill), Sara Risher and Bob Shaye of New Line, and supporters in the press such as Roger Ebert and Vincent Canby — all of them — the film never would have come out.”

Karina Longworth of Spout:

“Well, I don’t feel that competitively with other people. But, I’m aware of the fact that, sociologically, the subject matter of our films were unpopular, or anti-popular. And so, to attract a big audience to a sympathetic film about debutantes or a sympathetic film about yuppies being obnoxious Americans in Barcelona or about people getting into discos, there’d be a lot of resistance to identification with those characters. They’re not underdog characters, particularly. In Metropolitan, there was an underdog character, in Tom Townsend, that I think made it accessible to people, initially. And in certain ways, once they got into the cinemas, they’d stay if they came. But then, he really wasn’t the hero in his point of view and what he does.”

Stephen Saito of

“From now on, if I undertake a new project, I’m going to try to know how I can do it with almost no money. I don’t want this financing thing to stand in the way of making the movie. I’m trying to think of subjects that can be done small, in addition to a bigger version. I want to take responsibility for the financing and production of the film in some ways.”

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