His Palme d’Or may change things, but for now, he can still go to the movies in L.A.

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As I delve into the vibrant world of Sean Baker, it is evident that his journey in cinema is nothing short of a roller coaster ride – and I mean that quite literally, given his affinity for films set in amusement parks! His life’s work has been marked by an unwavering passion for storytelling, a deep appreciation for the art form, and an uncanny ability to bring raw human experiences to the forefront.

Driving along Crenshaw Boulevard in Gardena, you might catch sight of an old movie theater’s marquee. It’s often assumed that such historic sites are abandoned, a wistful symbol of a bygone era when cinema-going was a popular national pastime. However, the Gardena Cinema is anything but dormant – at least according to Sean Baker’s perspective.

At around midday in early October, a filmmaker aged 53 chose this particular theater, which was constructed back in 1946, for his interview and photoshoot with The Times. Upon his arrival, he warmly greeted Judy Kim, the owner who has been running the place since 1976 as part of her family’s business. Over time, this writer-director has developed a bond with the Gardena Cinema, becoming one of its devoted patrons, praising its robust and aged appeal.

Baker expresses his enthusiasm for small, individual theaters like mom-and-pop operations or standalone venues, as he examines the vacant 800-seat hall. During the season of eerie tales, this location will host revivals of “The Silence of the Lambs” and “The Lost Boys.

In real life, Baker appears youthful and humble, his attire being a relaxed, unassuming mix of sweatshirt and ordinary jeans – the wardrobe of this modest figure among America’s rising indie filmmakers. However, the renowned director behind movies like “Tangerine,” “The Florida Project” and “Red Rocket” is also a passionate advocate for art house cinema. He enthusiastically shares his love for cinemas such as the New Beverly or praises the latest critically-acclaimed international films, such as Catherine Breillat’s “Last Summer.” Yet, Gardena Cinema was a relatively recent find for him.

Approximately three to four years ago, I found myself here, during the late stages of the COVID-19 pandemic. Movies were being screened in the parking lot since indoor cinemas were closed. They had been trying to stay afloat amidst the pandemic and were facing difficulties. With the success of ‘Red Rocket,’ I earned a substantial amount of money, more than usual for me. To help them continue operating, I made a charitable donation from my earnings.

While settling into seats along the left passageway, Baker permits himself to daydream. “I believe this could end up as a tie with the Vista and the New Bev,” he muses. “I can envision people coming down from Hollywood – particularly if there’s 35mm screenings every night. Old-school movies? Oh my, indeed.” However, he regrets that he hasn’t had the opportunity to watch a film here recently. “It’s been so hectic,” he says. “Perhaps when things settle down with ‘Anora.'” He acknowledges that this won’t be happening any time soon.

In a natural and easy-to-understand way, the sentence could be rephrased as: “Anora,” which marks Baker’s eighth feature film and his third to debut at Cannes, serves as both an enticing introduction to his unique aesthetic – capturing intimate, nonjudgmental portrayals of characters struggling to hang on, a blend of humor and drama – and a thrilling conclusion to his previous works. Primarily set in Brighton Beach, the film follows Mikey Madison as Ani, a young sex worker at a Manhattan strip club who crosses paths with Ivan (Mark Eydelshteyn), an irresistibly immature Russian playboy with limitless funds and a lavish abode. A dance in the club leads to private house visits, and soon enough, Ani is employed by Ivan for a spontaneous Las Vegas trip, where they decide to get married on a whim.

The fairy tale-like romance between Anora and Ivan is disrupted when Ivan’s powerful father, a tycoon, learns about their impending marriage. He sends his tough advisor, Toros, to halt the wedding as quickly as possible.

In a blend of whimsical humor and wild night escapades, “Anora” earned the Palme d’Or at Cannes, marking a significant milestone in my career as the first American to win this prestigious award since Terrence Malick for “The Tree of Life.” This recognition has been a cherished dream of mine ever since I graduated from film school at New York University – an ambitious goal that ignited within me when I was just five, knowing exactly what path I wanted to take in life.

Currently seated at Gardena Cinema, Baker muses over how films and the delight they bring to movie theaters played a significant role in sparking his creativity for “Anora.

He shares a chuckle, recalling his teenage summer job applications at McDonald’s and Burger King in New Jersey were unsuccessful. Instead, he landed a position at a struggling single-screen theater in Manville. Despite being smaller than the Gardena Cinema, it wasn’t too dissimilar. In just a week, they started training him to be a projectionist. By the third week, he was promoted to manager. At only 17 years old, he was both managing the theater and serving as its projectionist – quite an unusual situation. The staff at this theater were quite diverse, reminiscent of the Jersey Shore crowd.

In the late ’80s, my opportunities to explore independent cinema were quite limited. Spike Lee’s movies were everywhere in the multiplexes, but if I wanted to catch something offbeat like “Mystery Train,” I had to make a trip to an art house theater instead.

In the context of his NYU application, he envisioned himself producing popular films. During this process, he penned a heartfelt and overly sentimental personal essay that now brings him shame.

He stated that the essay seemed more like a dream or vision coming to life,” he says, expressing disbelief with a shake of his head. “I never thought I’d be accepted. The piece was about my hypothetical Oscar acceptance speech and the creation of the new blockbuster ‘Die Hard.’ However, over the next four years, everything transformed drastically – by the time I graduated, my focus had shifted entirely to world cinema and independent films. Cannes became the ultimate goal, the pinnacle of success.

During his college years, he encountered Pedro Almodóvar, Eric Rohmer, and Hal Hartley’s “The Unbelievable Truth.” However, during his late teens, his friends felt he needed a taste of reality as well. At 18, he was taken unwillingly to the infamous Frank’s Chicken House in Jersey. As Baker remembers, it was a popular spot Howard Stern often talked about and was the only full-nude strip club in the surrounding region.

For many straight males, their first visit to a strip club is considered a traditional milestone, but for Baker, this experience was particularly challenging. “I appeared so incredibly young,” he admits. “Suddenly, I was everyone’s younger brother in high school.” Gesturing towards his chest, he confides, “I had no body hair at the time – I didn’t even begin to ponder girls or sexual matters until I was 17. My initiation into Frank’s Chicken House was that experience.

As a fan, I must admit that one fateful evening didn’t transform me – a man who exudes a soft, casual demeanor – into a regular patron of strip clubs. Instead, I found myself surrounded by a scene that was as captivating as it was unexpected. The memories I hold are of the dancer’s face, which seemed to question my presence in that place, asking, “Is he even old enough to be here?

Initially, he might have considered visiting other nightspots, but his discernment quickly revealed the superficiality, he explains. He never succumbed to the illusion. Instead, he always found it intriguing that his friends would be captivated, shelling out large sums of money, believing that the dancer genuinely cared for them.

Baker’s fascination with the complexities of the industry, coupled with his respect for its authentic workings, led him to create a collection of films that delve into various aspects of the field. His portrayal of sex workers is characterized by respect and dignity, refraining from portraying these characters as stereotypical, idealized figures. In “Anora,” Ani is not the typical character with a heart of gold; instead, she’s portrayed as genuine, humorous, and multidimensional. She’s not going to fade away quietly when her fairy-tale romance ends and Ivan decides to leave.

Madison shares during a separate phone conversation that she believes he is deeply passionate about narrating tales centered around underserved groups. Moreover, he is committed to eliminating the stigma associated with this kind of work. He holds immense affection and regard for this community, and his focus on telling these stories seems to be inexplicably drawn towards it.

In a thoughtful contemplation, actor Simon Rex, known for his role as the self-involved ex-porn star Mikey in Baker’s 2021 film “Red Rocket,” ponders if the director’s exploration of sex work might be driven by a desire to challenge societal taboos.

Rex comments on the phone, ‘I believe he appreciates confronting America’s hypocrisy.’ He points out how preoccupied we seem to be with sexual matters, and finds it refreshing that he’s making ordinary things seem less significant. If you travel to other regions like South America or Europe, you’ll find that sex is not a major concern.

Similar to Madison showcasing multiple dance routines in “Anora,” Rex exposed not just his emotional self but also his physical form for “Red Rocket.” This included a scene where he sprinted down the street, albeit with a prosthetic penis concealed. The actors who work with Baker are prepared to take such risks because they understand and resonate with his approach, which involves finding the sensitivity and the humor in these characters – sometimes leaving viewers startled by their actions.

According to Rex’s memory, “When ‘Red Rocket’ was produced, he predicted, ‘The academy will avoid this film due to its explicit content such as male frontal nudity and a scene involving a teenage girl. His prediction proved accurate.

Baker clarifies, “I didn’t plan on making five movies centered around sex workers,” he explains when questioned about his recurring focus on this setting. “It wasn’t premeditated. The next film just happened to be in the works.” With “Anora”, the initial concept was to depict the Russian mafia community in Brighton Beach and a young woman who unwillingly marries into the underworld. “However, sex work became integrated as I recognized there was a symbolic connection, and it offered aspects I hadn’t explored in my previous films. It all seemed fitting.” Each film has developed naturally for him.

During the conclusion of the awards ceremony at Cannes, Baker triumphantly received the Palme d’Or. In his acceptance speech, he honored “every sex worker, from the past, present, and future.” However, the euphoria of winning this prestigious award, a dream he had nurtured for over three decades, lasted only about two days. As he recounted, “I was soaking it all in, feeling like I no longer needed to worry about anything else. From now on, everything else would be an added bonus.” But as he boarded the plane back home, he turned on his Wi-Fi, and a barrage of notifications began to flood in: Ding, ding, ding, ding, ding, ding.

The barrage of congratulatory messages left him both elated and apprehensive. Many were offering their warm wishes, but most of them were also suggesting he prepare for the Oscars, urging a political campaign, or warning that he wouldn’t be getting much sleep in the coming months. This realization on the flight almost triggered a panic attack, as it was something he had never even considered with this film.

In a typical fashion, Baker often finds himself surrounded by discussions about awards – for instance, Willem Dafoe was nominated for an Oscar in the Best Supporting Actor category for “The Florida Project.” However, rather than basking in the limelight himself, he usually prefers to shine it on his team and cast. As he puts it, “To be honest, I don’t really consider my films from a commercial perspective. Perhaps I should.

I’m passionate about movies, from the big blockbusters to the smallest indies, foreign productions, and domestic films. You can see this enthusiasm when I discuss movies on YouTube in places like the Criterion Closet or Paris’ Video Club. Instead of coming off as a know-it-all, I approach conversations about cinema with a welcoming camaraderie. (I believe I could excel as a film critic.) Furthermore, I cherish and nurture this love for movies by maintaining friendships with directors, which has led to ongoing discussions about the art of cinema.

14-year-old Brooklynn Prince, who portrayed the silently perceptive motel child Moonee in “The Florida Project,” shares over the phone: “On our family movie nights, I often ask, ‘What should we watch?’ and they reply, ‘Ask Sean.’ Sean always has unique, intriguing, and unexpected movies to suggest. And following the movie, we exchange lengthy voice messages discussing our thoughts.

Over the summer, Prince produced a brief film herself, seeking counsel from Baker, whom she regards as both a friend and mentor throughout the process. “We were constantly in touch,” she shares. “He advised me on the benefits and drawbacks of using an iPhone for filming, suggested optimal sound solutions, and recommended ideal lenses. He even provided guidance on various aspects.” At just 6 years old when working on “The Florida Project”, she marvels at the faith Baker placed in her as a partner. “He appreciates experimentation and communicating with actors – he’s simply extraordinary at it,” she says, adding playfully, “However, don’t forget to give him coffee first thing in the morning.

He’s already begun contemplating the next movie he intends to create. Yes, this one will delve into the world of sex work. However, despite the fact that his upcoming production, focusing on a brothel, might lead him back to familiar grounds, it could take a completely different turn in another aspect.

Baker expresses that he likely won’t create films as unrefined as his earlier works due to having greater resources and finances. Instead, he is drawn to narrative-focused projects at the moment, adding that mainstream Hollywood seems to have moved away from this approach.

That’s all he’ll say about this new film. “It’s just making me smile when I think about it,” he adds. “The last thing I want people to do is roll their eyes going, ‘Oh, OK, here comes another one — we’re sick of Sean telling these stories.’”

However, another idea pops into his head. “Suppose I’m creating an exceptional film that keeps audiences engaged, would they not pardon me for revisiting the same topic?

A great roller coaster — like a great movie theater — never gets old.

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2024-10-16 13:32