David Lowery: I aspire to a certain degree of what Soderbergh does. I’d never try to shoot my own movie. Not my skill set. I love editing. It’s my comfort zone. On a small film like “A Ghost Story,” it’s easier for me to do it all myself. I did learn that it’s possible to make an indie film on my own terms, but I wouldn’t do it the same way again. I don’t want to repeat myself. I’m applying the model on my wife’s [Augustine Frizzell] feature film “Never Going Back,” based on a short film at SXSW a couple of years ago. I learned I can help other filmmakers use that model as well.
Keeping your own voice
Jeff Nichols: Since I started making films in 2004, on the independent film circuit everyone searched for a definition of what independent film means. The broadest definition: there’s some unique voice behind the work. That begs another question: when and how do you find your voice in the first place?
Some filmmakers make one film, and go to make a studio film. How do they maintain something that is still developing? There has to be a point of view that is undeniable, even if it is your second film. The way you put these stories together is such a complex thing in the film industry. That point of view — it can’t be dampened by big budgets or small budgets. Look at people we consider big filmmakers like Christopher Nolan; there’s a point of view there in his early work.
I wish the “Alien Nation” genre was more defined: Sci-fi isn’t a genre, it’s a storytelling technique. The original was a detective film. But the way I build narrative is weird and strange and awkward. I’m less interested in that type of genre structure and a hook that brings the audience into the story. Can I keep my method of storytelling that I’m accustomed to? Can I have my cake and eat it too? Or am I even that kind of writer?
Reaching an audience
Jeff Nichols: I sit awake at night staring at the ceiling worrying about this. It’s easy to eat your own tail. I went to see “Patti Cake$” with Geremy Jasper, and we had this exact conversation. How’s this going to work and connect? It’s a crowd-pleasing film, but sometimes it gets knocked for striving to be too crowd-pleasing.
David Lowery: You have to collaborate on any movie, whether it’s a studio or indie film. The studios do listen. On “Pete’s Dragon,” I was very firm. I did what I wanted to do, but I tested it out. You listen to the spirit, if not the letter, of what they’re saying.
I can see how a film can become diluted and lose its voice. Any time I saw the potential of that on “Pete’s Dragon,” I was on red alert. I was very careful to keep it on track without jeopardizing my relationship with the studio. I made sure they were happy, while making sure the movie didn’t become a film by committee. A film can go astray. It’s not a quick switch, a binary thing; it’s death by a thousand cuts.
Jeff Nichols: There is a zeitgeist. I believe in it. Richard Linklater, he’s been able to touch it at least twice in his career. There’s some breath of your film in the culture… that, to me, is the ultimate success. We want these things to exist in 10 years. Quentin Tarantino, he wants legacy. To be one of the greats. I don’t care so much about that. I just want to touch people with the work.
I’d love to have a populist film that’s smart and affecting. “Mud” connected the most, and had the most famous people [Matthew McConaughey and Reese Witherspoon]. It totally helps. And it had a happy ending. That’s the special sauce: how these things affect people. That’s the only thing that can cause resonance in the zeitgeist.
Writing your own movies
Jeff Nichols: Being a writer is really necessary. Not to knock critics, but it’s easy to forget how hard it is to make a damn movie. That’s what makes directors who make multiple good films really special. Money helps, but it doesn’t cure everything. Sometimes you do a lot of things right and it doesn’t connect.
David Lowery: Because I start at the script stage, my movies are always entirely mine. If it’s a studio movie or a tiny indie film, it doesn’t matter. Starting at page one writing the first word allows me to maintain my voice. “Pete’s Dragon” is also reflective of my taste. I was satisfying the audience member in me who grew up watching Disney movies.
David Lowery: The film industry is doing pretty well, thanks to Netflix and Amazon. I prefer the big-screen experience, but I can’t fault Netflix for financing movies that would otherwise not get financed. It’s a gift to the film industry and to filmmakers. Studios are leaning toward releasing movies on iTunes. Once that happens, the theatrical window will go away. I don’t want it to go away.