John Hillcoat [Director]

By: Julian Chavez | June 25, 2010 | Ten by Ten

John Hillcoat is an Australian director, writer and artist best known for his award winning 2009 film The Road, based on Cormac McCarthy’s Pulitzer Prize winning novel of the same name. Hillcoat’s breathtaking 2005 film The Proposition, written by longtime collaborator Nick Cave, received accolades across the globe and landed Hillcoat on a short list of directors to watch. Cut from the same cloth as the Coen brothers, Paul Thomas Anderson and Sam Peckinpah, Hillcoat is a first-rate auteur with a propensity to accentuate the darker side of humanity.

What inspired you to work in the entertainment business?
I grew up watching films in America from the ’70s that took me on these incredible journeys into quite remarkable extreme other worlds from my own life. I’m not talking about escapism, more a journey into other aspects of, you know, the world and humanity.

In one or two sentences, how would you describe the current state of the industry?
Well two words would be “in crisis.” It’s currently in a crisis likely over the largest technological revolution to hit the business. I would also say I love the Chinese translation of the word crisis, which is “dangerous opportunity,” in relation to our industry.

In your opinion what constitutes great storytelling?
To me it’s drawing you into [many] layers of meaning. A multidimensional aspect that’s kind of hidden within the ride we’re taking on.

What contemporary artists do you admire and why?
The two McCarthy’s: First, artist Paul for being so ahead of his time and so outrageous and bold, and second, writer Cormac, for his poetic power and unflinching look at human behavior; photographer Polly Borland for her ability to keep pushing the boundaries and producing better work; Tony Clark’s paintings for beautiful blend of classical and modern; Nick Cave for Grinderman and for being an original.

Please list your top five films of the decade and why?
Oh gosh! Really. Top five ... well, I’d say that it varies for me. Actually, it’s probably easier just to go this year, if that’s OK. Let the Right One In, is beautifully made and an original take on such a popular genre, and refreshing. Un Prophet was completely authentic and risky and brilliant. The performances were astounding.  I can’t qualify The White Ribbon because I haven’t seen it yet, but I love Michael Haneke’s work. Hurt Locker was great in terms of showing the paranoia and understanding the paranoia and fear of being on the front line. A Serious Man, the Coen brothers — it’s got humor, but, you know, they’re just brilliant filmmakers. I was pleased. I wouldn’t say it’d be my No. 1, but it would certainly be in my top 10 of the decade. Mulholland Drive, David Lynch, simply because he is one of the most original American filmmakers of the past 30 years.

What do you consider your greatest career achievement?
Well, it would be to be able to tackle material like The Proposition and The Road, but ultimately it was to satisfy an author such as McCarthy, having hit his seal of approval and his enthusiasm was probably my highlight. To have that material and have his enthusiastic approval was probably it so far.

What do you consider your greatest career failure?
Well I’m a director, so if you get me going down that road, we’ll never get off the phone. It’s certain genres. I think melodrama is a genre that is very difficult to tackle.

What do you believe is the biggest problem currently facing the entertainment business?
Right now I would say it’s the digital downloads. The way they’re dealing with the new technology and where that’s leading isn’t the greatest.

What new technology currently having an impact on your industry are you most excited about and why? What technology are you most afraid of and why?
Digital grade. For me, it’s the Digital Intermediate Base process of shooting on 35mm film, scanning the film and having full control to manipulate the image digitally, then to be exported back to 35mm film. To grade in that kind of detail is the plus of digital. [In the previous question,] I mentioned the negative of analog and piracy. But the plus is being able to take 35 mm and do DIs. I’ve got very mixed feelings on digital. The inevitable phasing out of 35 mm film, well, it’s not just fear, I’m also sad about it.

What is the best career advice you’ve ever received, and who gave it to you?
I think it was Peter Weir who told me, in terms of hiring certain crew, “You throw away the CV, and just go by the spirit of the person.”

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