Ethan Hawke, a name synonymous with compelling performances and thoughtful filmmaking, recently sat down to discuss his latest directorial venture, Wildcat. However, in a surprising turn during the conversation, Hawke revealed a fondness for a genre that might not immediately spring to mind when considering his diverse filmography: time travel movies. This revelation offers a fascinating glimpse into Hawke’s cinematic tastes and provides an unexpected lens through which to view his work, including his new film exploring the life of Flannery O’Connor.
In a candid interview, Hawke, the co-writer and director of Wildcat, shared his appreciation for the sci-fi thriller Predestination. When asked about lesser-known works he’d recommend, Hawke didn’t hesitate to bring up this mind-bending time travel film starring Sarah Snook. He confessed, “One of my secret favorites that a lot of people haven’t seen is a sci-fi movie called Predestination… If you’re a movie buff, it’s hard to make a good time-travel movie. I’ve spent my entire life leaving time-travel movies going, ‘Wait a second: that didn’t make sense.’ Because the math of it breaks your brain. But I really like Predestination.”
This unexpected endorsement of a time travel movie from Ethan Hawke, primarily known for dramas and character-driven pieces, is intriguing. It suggests a broader appreciation for genre cinema and perhaps even an influence that subtly permeates his own directorial style. While Wildcat is firmly rooted in biographical drama, exploring the fervent imagination of Flannery O’Connor, Hawke’s admiration for the intricate plotting of time travel narratives hints at a filmmaker who values complexity and layered storytelling.
Hawke’s comment about the difficulty of making a coherent time travel movie speaks to the genre’s inherent challenges. Crafting a narrative that deals with temporal paradoxes and alternate timelines requires meticulous planning and a keen understanding of narrative structure. His praise for Predestination implies an appreciation for films that successfully navigate these complexities, offering audiences a satisfying and intellectually stimulating experience.
Interestingly, Hawke recounted an anecdote that further underscores Predestination‘s impact. “I had a cop once pull me over,” he shared, “I said, ‘What did I do wrong?’ And he was like, ‘Eh I just recognized you driving by and I got to ask you about the end of Predestination.'” This humorous encounter highlights the film’s ability to resonate with viewers and spark conversations, even long after the credits roll. It also speaks to the film’s intricate and somewhat ambiguous ending, which invites debate and interpretation – qualities that Hawke, as a filmmaker who encourages audience participation, likely values.
While the main focus of the interview was Wildcat, a film starring his daughter Maya Hawke as Flannery O’Connor, this detour into time travel cinema offers a valuable insight into Ethan Hawke’s broader cinematic landscape. Wildcat delves into the imaginative world of a celebrated writer, exploring the intersection of faith, art, and personal struggle. The film interweaves O’Connor’s biographical reality with dramatizations of her short stories, creating a multi-layered narrative that mirrors the complex structures often found in time travel films.
Hawke explained the genesis of Wildcat, stating, “Maya discovered Flannery O’Connor on her own. She was about 15 or 16… Maya had Prayer Journal, which was this little journal of her dialogue with God… Maya was really moved by them and it created an opportunity for us to have some conversations that we hadn’t had about, ‘What do you believe in? What is it all for?’” This deeply personal connection to O’Connor’s work, sparked by his daughter’s interest, became the foundation for Wildcat.
He further elaborates on the intriguing nature of O’Connor herself, “There’s something so incongruous about the way she looks, you know? This fragile young woman in crutches and glasses and this ferocious mind. I think Maya––the actor in her––was drawn to: ‘Who is this person?'” This fascination with O’Connor’s persona and her powerful literary voice is palpable in Hawke’s approach to the film.
Hawke’s directorial choices in Wildcat, particularly his use of master shots, also reveal a filmmaker interested in engaging his audience actively. He stated, “I want it to be kind of like a fever dream that’s leading us to this event and then a fever dream takes us out… I want to invite the audience to participate with you and to not overuse the tools in your toolkit.” This philosophy of inviting audience participation, of allowing them to observe and interpret, resonates with the immersive nature of well-crafted time travel narratives that often require viewers to piece together fragmented timelines and ambiguous clues.
When discussing the film’s structure and his directorial choices, Hawke references influences from cinematic masters like John Huston and Sidney Lumet. He mentions Huston’s The Dead as a “great North Star” and reflects on Lumet’s meticulous approach to filmmaking, particularly his use of master shots and the importance of preparation. These influences, combined with his unexpected appreciation for time travel movies, paint a picture of a director who is both deeply rooted in cinematic tradition and open to exploring diverse genres and narrative techniques.
In conclusion, while Ethan Hawke’s Wildcat is not a time travel movie, his acknowledged admiration for Predestination and the time travel genre provides a surprising and insightful perspective on his filmmaking sensibilities. It reveals a director who appreciates complex narratives, intricate structures, and audience engagement – qualities that are evident not only in his praise for time travel films but also in his approach to Wildcat. Whether exploring the imaginative landscapes of Flannery O’Connor or appreciating the temporal puzzles of Predestination, Ethan Hawke continues to demonstrate his multifaceted engagement with cinema as both an actor and a director.
