It was years and years and years and years ago, just past the turn of the twentieth century. 2001, to be precise, January, only a few months before, well, you know. That single day. When everything supposedly changed.
We’re in Park City, Utah, at the largest of the Sundance Film Festival venues, the 989-seat Eccles Center. The latest film by Richard Linklater is about to debut, and there are whispers that afternoon that this showing will be a tightrope act. Two hard drives had arrived too late to test, only just in time to show, from a then-pioneering video effects company in Europe called Swiss Effects. There’s a primary and a backup of Linklater’s first animated feature, a movie about all time set in no time at all, “Waking Life.” A deep breath: this is new technology, made on computers in Austin, finished in Switzerland. It might not work at all. There’s no time left.
Of course, it worked. (So did “Waking Life,” the film.) No one in the audience knew the difference unless they’d heard the chatter. The illusion of onrushing narrative in continuous time swept us all away, as it has a way of doing. Not too long after that, Linklater shot the first portion of contained annual bursts of what was eventually entitled “Boyhood.” He hoped to trace the rituals of childhood, with a soulful-eyed, pout-lipped little casting find named Ellar Coltrane trusted with holding the center of the narrative for the twelve years to come. His character, Mason, would grow from the age of six or so to eighteen, from 2002 to September 2013, from pouty little boy to willowy, pillow-lipped man. Read the rest of this entry »