Read the Jan. 6, 2008 interview in The Desert Sun.
Extended version:
Today, John Sayles will receive the American Maverick Award by the Palm Springs International Film Festival. When asked about the honor, the 57-year-old director replied, "A maverick is a young calf – I'm not that young."
With Honeydripper – a movie about one Southern town's birthing pangs with rock n' roll — Sayles delivers his 16th feature film. As is often his preference, it was independently financed.
"Getting movies made is more possible than when I stared in 1978," said Sayles. "But getting them seen is more difficult as there is more competition."
Regarding independent filmmaking, of which he is considered a central character, Sayles said, "It is difficult as each time we have to reinvent the process because it changes so quickly."
One thing that has not changed in his films is thorough character development. To better familiarize the actors with their parts, he writes up to eight pages of history. "Apparently it's fairly unusual, but I write a biography for the characters," Sayles said. The need for such development results in part from a desire to preserve his direction.
"If you don't give it to (the actors), they make up their own."
Sayles stands apart from many writers and directors in his careful attention to dialogue. "It's something I care about and take some care with," Sayles said. "Each movie is in its own world, and their dialogue has something to do with how they define themselves."
"I think each time out you feel your responsibility is to tell (a story) well and be as truthful as you can with that world of that story," he said.
Despite the guidance and attention to detail, he hires a cast and crew that he trusts to provide input. “I don't teach anybody how to write music or act or shoot," Sayles said. "I ask for choices."
Instead of conducting a read-through or rehearsals, the actors receive direction with possibilities. "Almost any scene you can name, there are a dozen different ways to play it. Sometimes I don't know...what I'll want in the editing room, so I'll get two to three versions," said Sayles. "(Actors) love that stuff."
In Honeydripper, he applied this process to the music. In the story, a group of musicians play together for the first time, so Sayles only allowed the musicians one rehearsal before filming. As with acting, there are many ways to play a song, and the soloists would ensure that no two takes were the same.
"The thing that I think is closest to actors and musicians is that you can give them a basic scene and let them improvise within it," said Sayles. "The emotion and dynamics are slightly different as they listen to each other and talk to each other. I don't direct musicians on stage, I kind of run with it."
Which was possible due to the fact that all of the music was filmed live. Only the drum track was prerecorded so that scenes could be cut together on the same tempo. Such flexibility during musical sets required equal dedication during speaking scenes.
"In this particular movie it was important that they were musicians who can act" and not vice versa, said Sayles.
Producer and frequent collaborator Maggie Renzi suggested Keb' Mo', friend and founder of the South by Southwest Festival, Louis Black, recommended Gary Clark Jr., music supervisor Tim Bernett helped the filmmakers find the other musicians, and the Honeydripper All-Star Band was formed. Since filming was completed, they (Clark Jr., Dr. Mable John, Henderson Huggins, Eddie Shaw and Arthur Lee Williams) have toured the nation from the Chicago Blues Festival to the Monterey Jazz Festival, with Sayles by their sides to promote the film.
By their sides, but not on the sideline. Sayles contributed three songs to the soundtrack. He wrote the melody and lyrics, but admitted that composer Mason Daring — another regular contributor to Sayles' films – made it musical.
"One of my favorite parts about making music is making the score," said Sayles. He enjoys attending the recording sessions and running the film as they play in order to explain the emotions of each scene. "I work with them the way you work with actors," he said.
Acting as a multi-hyphenate (writer-director-editor-actor-songwriter) fits perfectly into the independent filmmaker image. "It's fun (to write music) and a lot cheaper than buying rights," Sayles said. "You can tailor the music exactly to a moment in the movie. If you can't find something, write something."
And write he did. About "what happens when there's one of those big watershed moments" in history – in this case when the louder, portable electric guitar battled the comparatively clunky piano. A club owner is faced with a dilemma, and he can "either jump on this new thing pulling out from the station or get left behind," Sayles explained.
"As a child you just assume that the music you listen to has always been there, and as you get older, music leads you to its roots," said Sayles. "Rock n' roll leads you to the past."
And with Sayles as a guide, audiences can witness it.