BRUCE WEBER FILM
When I started making films in the late 1980s, people would say to me, “You can’t make films, Bruce. You’re a photographer.” “Yes,” I’d respond, always with a smile. “But I want to make films like a photographer. Like who I am.” And so I did. I started out making home movies, just like my dad used to do, starring my friends and members of my family. Eventually, they got bigger and longer, until one day I realized I might be on to something. Like most of my long-term projects, I wasn’t sure if I wanted to let it out into the world. It’s like when you don’t want your kids to go off to college yet. You want them to stay home with you forever. I’m that kind of a parent, I guess. I like knowing they’re safe and happy in the back yard.
When I’m working on a film, I always take pictures of the crew, the people I’m making the film about, and the location. When I go back to being a photographer, I like to think I’m bringing some of their magic back into the studio. In terms of my aesthetic, I always liked the parts in movies when people hardly move and don’t even talk. They just kind of stare at each other and you go, “Is this a movie or a photograph?” It may sound counterintuitive, but film, for me, is a way to make time stand still.
We’re like a repertoire company, my team and I, picking up players as we go, and casting on the fly. In each of the four films discussed on the following pages, characters overlap and change roles, both onscreen and off. They were not released chronologically, and were never intended to be. That was very much the case for Broken Noses and Let’s Get Lost. When I met Andy Minsker, the star of Broken Noses, I was making Let’s Get Lost starring Chet Baker. Chet recorded a song for Broken Noses, which came out a year earlier, because he loved boxing and he really liked Andy. I dedicated Broken Noses to Chet because I wanted to pay homage.
When we finished filming A Letter To True, my golden retriever, True, got depressed. Like most committed actors, he loved being on set, close to the action. After A Letter To True, I made another short home movie for him called True, The Dog Of A Million Kisses, to cheer him up. Like all cinephiles, he was hooked on the magic. Just like his dad. — Bruce Weber, 2014
LET'S GET LOST
My Film Family over 20 years
Producers: Nan Bush, Itaka Schlubach-Hicks, Emie Amemiya, Karen Arikian, Eva Lindemann
Cinematographers: Jeff Preiss, Jim Fealy, Evan Estern, Lance Acord, Douglas Cooper, Theo Stanley, Frank Stanley, Pete Zuccarini, Shane Sigler, Joseph DiGiovanna
Composer: John Leftwich
Art Director: Sam Shahid
Set Designer: Dimitri Levas
Editors: Phyllis Famiglietti, Angelo Corrao, Marty Levenstein, Chad Sipkin
Production: Chris and Terry Lawrence, Jeannette Shaheen
Personal Barber of the Mount Scott Boxing Club: Didier Malige