I really thought my interview with legendary producer Christine Vachon would take longer.
Going into it, I was nervous— Vachon is the most famous (or fame-adjacent) person The Maine Playweek has interviewed, with the possible exception of Alex Ross Perry. I listened to her old interviews, rewatched her films (Safe, Far From Heaven, Past Lives), and crafted what I thought were a handful of in-depth, open-ended, thought-provoking questions— the kind that would take anyone a while to chew on.
But the whole thing was about 15 minutes.
Granted, my nerves probably made it harder to come up with follow-ups, but the brevity really came down from Vachon’s ability to speak with incredible concision and clarity about a career spanning decades and dozens of directors. Each answer was a story with a beginning, a middle, and an end. Nothing more, nothing less.
Afterwards, once my nerves came down, I realized that Christine was doing what any good producer does: she clarifies, she edits, she turns things over, she gets in, and gets out. She is there not for herself but in service of the story, the vision, and the convoluted uphill battle that is independent film production. Just like her all-black uniform, her whole manner leaves the spotlight for someone else— a Celine Song, a Todd Haynes, or a John Cameron Mitchell, while she handles the far-from-glamourous work of reworking budgets and sweet-talking investors.
But anyone who has perused her IMDB page knows that Christine Vachon is a force. Over the last 35 years she has championed some of the best independent films this country has produced— Poison, I Shot Andy Warhol, Happiness, Boys Don’t Cry, Hedwig and the Angry Inch, Carol— usually well before anyone else was willing to touch them. That she can sum it all up in 15 minutes might be the most producer-esque thing about her.
If you’ve got 15 minutes, take a listen. Just enough time to decide which of her films to rewatch tonight.
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