Ron Howard Talks Directing Hillbilly Elegy and Remote Post
By Iain Blair
Oscar-winner Ron Howard is one of Hollywood’s most beloved and versatile directors and producers. Since his directorial debut in 1977 with Grand Theft Auto, he’s made an eclectic group of films about boxers, astronauts, mermaids, politicians, mathematicians and more, so it was probably only a matter of time before he directed his attention to hillbillies.
Based on the J.D. Vance memoir of the same name, Howard’s latest film, Hillbilly Elegy, is a modern exploration of the American dream — and the nightmare of poverty and opioid addiction. A former Marine and current Yale Law student, J.D. (Gabriel Basso) is on the verge of landing his dream job when a family crisis forces him to return home to Appalachia. He has to contend with his volatile mother (Amy Adams) who’s struggling with addiction, while being fueled by the memories of his grandmother Mamaw (Glenn Close), the whip-smart woman who raised him.
Howard, who assembled a crew that included DP Maryse Alberti; editor James Wilcox, ACE; and composers Hans Zimmer and David Fleming, recently talked with me about directing the Netflix film and his love of post.
Can you talk about the look you and your DP went for?
We wanted a very naturalistic look with a vibrant palette and an unselfconscious approach. Maryse is very fast. We did a lot of setups every day and covered a lot of emotional territory, and I think her documentary background was important.
How did you and the editor work together, and what were the main editing challenges?
James, who’s done a lot of TV, cut Genius for me. My longtime editors Dan Hanley and Mike Hill had decided to retire, so James came back for this, and he’s a great fit. He’s also going to cut my next film.
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