American Masters

Biography

Transcript

I remember him set up his little tripod with his 8mm camera and he would turn it on and run around in front of the camera and act out a scene and run back and turn it off, and then he would reach down to his waist where he had a Sony Walkman recorder and switch that off, because he'd been recording audio by himself, and he was making a film by himself. And you can't stop somebody like that - there's no way to stop them.

I needed community. I wanted community. I didn't want it to be a solo effort ultimately. I didn't want to be a writer - that's a lonely thing - I wanted to be part of an artistic troupe. I wanted to be part of a group. You know, it's just so much more fun and collaborative and just better. So the film society slowly gets born out of that desire to kind of create - have a community. And that's where the film society starts in '85. I took the film's society very seriously. We can be a non-profit - you know - I was always nurturing that - but I never really differentiated, you know. I could be work on my own parallel projects, but also showing films meant a lot to me, so it was all one. What is this? Like a little time capsule of some kind - these were the stickers we were putting up everywhere. I could practically manage a Kinkos at this point having run the film society. You know, like making flyers and everything. So yeah, we just manufactured a ton of these. We were just kind of putting them up everywhere before anyone knew what it was. Is that a band? What is it?

I think the Film Society taught me everything I needed to know to hustle. This is the kind of thing we would do for the film society - it was just weird five years later to be doing it for our own film.


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