Since 1985, independent film producer Christine Vachon has produced over 45 films. Garnering seven Oscar nominations, her films can be described as some of the most acclaimed and controversial independent films of our time. She has produced a wide range of directors, including Todd Haynes ( Poison, Safe, Far From Heaven ) , Mary Harron ( I Shot Andy Warhol, The Notorious Bettie Page ) John Cameron Mitchell ( Hedwig and the Angry Inch ) Rose Troche ( Go Fish ) and Kimberley Peirce, director of the Academy Award-winning Boys Don't Cry.
In 2006, the prolific producer's production slate included Tom Kalin's second feature, Savage Grace; Helen Hunt's directorial debut, Then She Found Me; and I'm Not There, a Bob Dylan-themed film by Todd Haynes. Her recent releases include Infamous, The Notorious Bettie Page, Mrs. Harris and her new book, A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond.
Essential reading for independent film lovers and filmmakers, A Killer Life is both a memoir and a how-to guide. It is also a very enjoyable read. Vachon shares stories and strategies from the front line of independent filmmaking. Director John Waters described the book as 'glamorously adventurous but sometimes scarily truthful.'
In A Killer Life, Vachon offers the reader incredible access to the inner workings of the independent film world. Her in-depth case studies range from recent career highlights to an overview of one production that most producers would want to forget. The book is loaded with contributions from industry collaborators, included a forward written by independent film guru John Pierson, who considers A Killer Life, along with her first book, Shooting to Kill, the best texts by a working producer.
Vachon recently visited the Windy City for the IFP Chicago's Midwest Filmmakers Summit, where she was interviewed by Hank Sartin of Time Out Chicago. Vachon also sold dozens of autographed copies of her book. She later spoke by phone from the office of her New York-based company, Killer Films, and shared her thoughts on a number of topics.
On producing: 'With Poison, I had no idea of how hard producing was. I didn't know it was such a Sisyphean effort. Every single movie has its set of war stories. None of them are easy; they are all hard. I keep producing because I get to make a movie and the end result may be an extraordinary life-changing experience. I would say we ( Killer Films ) make more great movies than not. And every time a great movie makes it to the screen, I think it's a victory. And when it becomes part of the cultural canon, I believe these movies will live long after we will.'
Encouragement for first-time producers: 'I get asked that question all the time. I'd say that if you don't feel like you have the stamina and stomach for it, then you probably shouldn't do it. It's like there is no real word of encouragement. It's a very discouraging business. So, if you need some kind of encouragement to keep going, then it probably isn't the business for you.'
On queer cinema: 'I think since Poison, there have certainly been a lot more sophisticated representations of all kinds, certainly on television and I think the whole notion of a separate cinema for just gay and lesbian people has kind of disappeared. It's been a while since a film has come out and marketed itself only to a gay and lesbian audience. There was a homemade quality to some of the films that were part of early queer cinema. Audiences aren't as accepting of that anymore. They are a lot more resistant to sitting through something that isn't slick or doesn't have great sound, etc. I don't really know where queer cinema is going. I just make the movies that I want to make and sometimes they fit into that box and sometimes they don't.'
Why there are so few queer films: 'I have found a lot of the queer filmmakers who insist to me that their scripts are not being produced because the world is homophobic. I read those scripts, and I can tell you that is not why they are not being produced. I haven't read anything that has blown me away. You can scream that Hollywood is homophobic all you want. But money is not homophobic. The fact is that if gay people really supported queer cinema, it would be enormously successful. But you got to make a film that will get people into the movies.'
What she looks for in a director: ' [ I look for ] someone who is able to succinctly articulate his or her vision in a way that inspires other people to act on it. A great director has to know what he or she wants and has to be able to make that clear from a pragmatic point of view. That is the most important thing.'
On recent business partnerships: 'John Wells ( ER, West Wing, Third Watch, China Beach ) has been financing our overhead for some time and it has given us an enormous amount of freedom He wanted to get involved with our company because he felt some kind of creative kinship. Our relationship with CAA has certainly improved our relationship with talent and access to talent.'
On family life: 'You have to prioritize things. My partner [ Marlene ] is an artist. She sometimes works in the film industry. I try to spend as much time with our daughter [ seven-year-old Gurthie ) ] as I can, which means saying no to some things—which I regret. But that is the way it is. The payoff is certainly enormous. But, you know, I also have to earn a living, which means I have to be away a lot. And that is just our life.
What's next?: 'We want to make children's films. As soon as you have kids you realize how little there is out there that you like watching together. I'm grateful every time we get a movie green-lighted. I'm grateful every time one of them comes out on television or in theaters or where ever it is going to go. I just want to keep doing it. That is all I see in the future. Hopefully, I will continue to have years as productive as this one.'
