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On July 31, 2023, Matt Wolf sadly learned a disheartening piece of news regarding his incomplete film: The main subject, Paul Reubens, had passed away. Known to the world as Pee-wee Herman, this individual was more than just a talking head; he was a cultural icon whose eccentric personality, gray suit, and bowtie became synonymous with the 1980s. On a deeply personal level, Wolf recalls that Reubens “influenced who I am through his art.” Six years prior, it was revealed that Reubens had been battling cancer.

“Wolf stated that Paul was deeply focused on completing the film before he passed away,” reveals Wolf, who’s two-part HBO documentary, “Pee-wee as Himself“, premiered at Sundance to tremendous acclaim and airs on May 23 on both HBO and Max. Although Reubens never suggested his death was imminent or disclosed his cancer diagnosis to Wolf, it seemed that his legacy weighed heavily on him. “Each day I would wake up thinking, ‘You must seize the moment. Don’t let this opportunity slip away,'” says Wolf, who has previously documented subjects like the musician Arthur Russell and Biosphere 2.

According to Wolf, Reubens was characterized as intense, multi-layered, and one of the wittiest and intellectually sharp individuals he had ever encountered. However, Reubens displayed a certain resistance that sets apart the documentary Pee-wee as Himself from other celebrity biographies. This film not only recounts but also illustrates events. The narrative is conveyed through Wolf’s on-screen interviews, which were gathered over 40 hours of discussions with Reubens, along with friends, family, and colleagues. These interviews, combined with Reubens’ career archives, including a thousand hours of video footage and tens of thousands of images, provide a journey through Reubens’ life. From his early years as a creatively inclined child growing up near the Ringling Bros. Circus headquarters in Florida, to his time with the improv group the Groundlings, and eventually to his career milestones: the creation and starring role in the 1985 film Pee-wee’s Big Adventure, and his significant impact on children’s programming during the five-season run of the CBS show Pee-wee’s Playhouse.

In this doc, instead of just providing information, there are instances where it delves into the process behind its creation. For example, Reubens expresses his desire to be more involved in production and harbors a certain mistrust towards Wolf. The atmosphere is filled with tension. At one juncture, Reubens mentions that he only liked “one documentary out of, what—six?”. According to Wolf, there were moments when he felt angry with Paul, but acknowledged the quality of the material for the film and knew Paul was aware of it as well.

During his time at California Institute of the Arts, Reubens held a deep respect for those who lived their lives conceptually. He creatively designed Pee-wee as a character that would not only thrive in the real world but also in show business. In interviews and movies, he was commonly known as Pee-wee Herman, keeping his true identity hidden to maintain his full-time performance art project. However, Wolf aimed to lift the veil on this performance to uncover the genuine man behind it all.

2020 saw Wolf discover his ideal subject, Reubens, during the strictest phase of the pandemic lockdown. After hearing rumors that Reubens was considering a film about his life, they began a prolonged series of FaceTime and Zoom conversations, accumulating hundreds of hours together. As Wolf expresses, “With Paul, there were no brief discussions.” Skeptical at first if Wolf was the appropriate choice, Reubens gradually warmed up to the idea. However, one day, his reservations simply vanished. “He said, ‘I’m on board. Sometimes you have to take a leap of faith,'” Wolf recalls.

Despite maintaining a clear boundary between director and subject, Wolf still viewed Reubens as a partner in the creative process. However, the extent of Reubens’ contribution was uncertain, which exacerbated the tension. Before Wolf finished conducting interviews, Reubens suddenly became unreachable. “We had reached an impasse regarding post-production, and I was adamant about handling it independently,” says Wolf. “I planned to allow him opportunities to view the cut, but that wasn’t sufficient for him.

According to Cassandra Peterson, also known as Elvira, Paul was exceptionally meticulous back in the 1970s when they were both part of Groundlings. He had a strong desire to manage things and keep them just as he preferred, to an unusually high degree. This made me feel sympathetic towards the filmmakers, knowing that it would be a challenging journey for them.

I found myself at odds with Paul Reubens over a work-related matter, an incident I choose not to disclose in detail. This disagreement occurred around the time of the 1986 premiere of “Pee-wee’s Playhouse,” and persisted for several years before we crossed paths again during an award presentation. “It was wonderful to be friends with Paul,” I remark. “He was hilarious, exceptionally talented, and a truly exceptional friend. However, maintaining a clear boundary between our professional and personal lives was crucial.” I hold him in high regard for his ability to retain his childhood creativity. As Peterson, I say, “One of Paul’s greatest strengths was his capacity to recall his past as a child. He managed to cling onto that childlike spirit that everyone yearns to keep. The freedom and creativity he never lost, Paul never let go.

At first, Wolf hesitated to feature himself in the movie, but he and Reubens eventually agreed to examine their relationship on-screen. Control was a recurring issue both off-camera and on, with Reubens often questioning if he should be the one directing the film. Wolf tried capturing unscripted footage of Reubens to add to the interview segments, but it didn’t pan out. As Wolf remembers, “Anything unexpected that happened, he wouldn’t be pleased.”

Regarding Reubens’ need for control, Wolf offers some insights. “Many outstanding artists are extremely controlling,” Wolf notes. Yet, he also suggests: “He needed control because he lost control over his personal story in the media.

In 1991, Paul Reubens (known for Pee-wee Herman) faced an incident at an adult movie theater in Florida that led to indecent exposure charges. This event indirectly ended Pee-wee’s Playhouse. He pleaded no contest and claimed the accusations were untrue. In 2002, Reubens was charged with possessing child pornography but later accepted a lesser charge of obscenity, insisting that his collection of vintage gay erotica did not involve child sexual abuse material. However, during the filmmaking process, Wolf couldn’t delve deeply into these arrests due to unresolved issues. The movie primarily covers these events through the accounts of Reubens’ friends and relatives.

Just say, ‘I’m gay.'” With the cameras rolling again, Wolf directly asked, “Are you gay?” Reubens initially joked but later opened up about his sexuality without reservation. “It was extraordinary,” said Wolf, feeling proud of Reubens for his courage.

By July 2023, Wolf and Reubens rekindled their conversation and decided to move forward with the filming. However, the intended interview between them unfortunately did not happen – two weeks later, Reubens passed away at the age of 70. Peterson claims she was informed about his cancer from the very beginning; Reubens had called her in tears upon receiving his lung cancer diagnosis. Despite this, he battled it and showed a full recovery until he was later discovered to have a brain tumor. Treatments for that appeared successful as well. “He never wallowed in it,” Peterson remembers. “He never discussed it. He adopted a healthy lifestyle. He truly transformed his life.” However, just before his passing, Reubens shared with her that he wasn’t feeling well. “He had experienced a few instances of feeling unwell, and I was growing concerned,” she says.

According to the documentary, it was revealed that Reubens had a significant other when he passed away. Peterson wasn’t sure how long they had been together prior to his death, but she emphasized their connection was strong. “It was unusual for Paul to speak so fondly of someone,” she remarked. “I was glad to know that Paul had someone special at the end, a wonderful person who genuinely cared about Paul. I felt truly happy to witness this.

One day before his passing, Reubens made a voice recording expressing thoughts about his 2002 arrest. He shared this recording with his publicist, Kelly Bush Novak, who then sent it to Wolf. Toward the end of the movie, a weakened Reubens can be heard saying, “The main reason I wanted to create a documentary was to allow people to see the true me and understand how agonizing and challenging it was to be misrepresented as something I wasn’t. The moment someone referred to me, let me clarify, as a pedophile, I knew it would alter everything, both in the past and future.

Reuben’s passing left Wolf in a precarious situation, but he suppressed his sorrow to complete his movie project. The importance of success couldn’t have been more immense. “Never before have I felt so entrusted with such a significant task,” Wolf admits. Peterson appreciates the final product. “I truly believe Matt captured Paul,” she says.

The documentary presents a truthful depiction of an innovative craftsman, showcasing his motivation, methodology, and the manner in which he navigated life under public scrutiny. The film raises a significant question that has resonated on both conscious and unconscious levels in today’s era of social media and disdain for conventional media: Who is entitled to share people’s stories? If Reubens had been in charge, we may not have witnessed the glimpses of his vulnerability that, despite their occasional unflattering nature, make “Pee-wee as Himself” so captivating. These insights, while perhaps not what Reubens desired, are a testament to Wolf’s deep respect and appreciation for his subject. “I was resolute on creating meaning from this,” says Wolf. “I told Paul, ‘I will honor you.’ I meant it.

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2025-05-23 15:08

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