Revisit nathanheller’s 2014 Profile of Richard Linklater, who “operates more like the leader of a repertory theatre than like an industry director, turning out films that find broad national audiences across a vast stylistic range.”
The city seemed like a perfect setting for an idea he’d had—a movie that, in place of a traditional plot, used pedestrian traffic as a narrative engine. Imagine: you’d be following one character, who’d bump into a friend in the street, and talk awhile, and then the camera would follow her, leaving him behind, and on and on, like the links of a chain. It could be a film about late-eighties Austin, and “the obsessiveness of that age, and the thinking at that time.
One of the film’s admirers was Tina Harrison. She had grown up in the Bay Area and moved to Austin for graduate school in art history, but “found Austin rather dreary after San Francisco and Berkeley.” The precise nature of this dreariness had been ineffable to her until she saw “Slacker,” which seemed to capture it: the movie, she recalls, conveyed the “romance of the utter boringness of Austin.
He also decided to set the film in the seventies, some fifteen years earlier. In that respect, the movie marked a narrative angle that Linklater has repeatedly returned to: the personal historical present, a kind of Polaroid of the moment developed by a man farther along in time. We’re meant to be fully immersed in the world it portrays, but that world always exists relative to an offscreen future; we know where it leads, although the characters do not.
In a bar one night, Don Phillips, who led casting for the film, met a promising-seeming U.T. student, Matthew McConaughey, who had previously been in a beer commercial. The day of his costume fitting, Linklater invited him to sit behind the wheel of a prop car and film his first scene. McConaughey was nervous. This was bad, because his character, David Wooderson, a smooth-talking deadbeat in his early twenties who hangs out with the high-school crowd, would never be nervous.
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