The Ascendancy of Sean Baker: From Capturing Shots Without Permission to Claiming Best Picture for Anora

      Sean Baker’s Oscar success with Anora demonstrates that independent filmmakers can navigate the Hollywood landscape to achieve mainstream acclaim without sacrificing their creative integrity. However, it took him twenty years to reach this point.

      On Sunday, Baker won Oscars for original screenplay, editing, directing, and Best Picture, tying Walt Disney for the most Oscar wins by an individual in one night. Additionally, Mikey Madison, the remarkable lead of Anora, received the award for Best Actress.

      “Long live independent film,” Baker declared while accepting the Best Picture award.

      In his 2004 co-directorial debut, Take Out, Baker navigated the streets of New York, sometimes capturing footage without proper permits, to portray a micro-budget tale of a struggling immigrant. Two decades later, with Anora, he and his team once again moved quickly through New York, often fearing police intervention, while delivering another vivid, passionate immigrant narrative.

      The film represents two decades of resourceful DIY filmmaking within budgets of a few million or less, with Anora budgeted at $6 million.

      Baker gained recognition in 2015 with the impressive and humorous film Tangerine, which utilized iPhone 5s to depict the lives of transgender sex workers in West Hollywood. This film continued Baker’s cinematic interest in the lives of sex workers, portraying them and all of his characters with candid, straightforward honesty, striving for authenticity rather than judgment. He neither criticizes nor glorifies.

      “I want to thank the sex worker community,” he stated while accepting the Oscar for screenwriting. “I have the utmost respect for you. I share this with you.”

      Baker used his acceptance speech for Best Director to advocate for the importance of the theatrical experience.

      “Where did we fall in love with movies? At the movie theater. Watching a movie in a theater with an audience is an experience where we can… laugh together, cry together, scream and fight together, perhaps sit in devastated silence together. In a time when the world can feel very divided, this is more vital than ever,” he remarked. “It’s a communal experience that simply isn’t replicated at home, and right now, the theater-going experience is under threat. Movie theaters, especially those that are independently owned, are struggling, and we must support them.”

      Anora, a compelling narrative about an exotic dancer and escort (Madison) who marries the son of a Russian oligarch (Mark Eydelshteyn), has finally granted Baker the widespread acknowledgment he has long deserved, starting with a Palme d’Or win at Cannes and concluding with five Oscars at the 97th Academy Awards on Sunday.

      Baker’s earlier work was characterized by its raw energy and commitment to authentically representing marginalized communities. Tangerine (2015), with its vibrant visuals and unflinching portrayals, marked a pivotal moment for independent cinema.

      Shooting on iPhones was not merely a stylistic choice; it was a necessity due to budget limitations. However, these constraints became advantages. The compact size of the iPhone allowed Baker and co-cinematographer Radium Cheung to maneuver swiftly and discreetly, capturing the gritty essence of their environment without attracting undue attention. They resorted to guerilla-style filming, embraced improvisation, and created a film infused with immediacy and intimacy.

      The success of Tangerine opened new avenues for Baker, yet he remained dedicated to his vision of telling intimate stories. For his subsequent film, The Florida Project (2017), he transitioned to 35mm film, significantly elevating the production quality.

      This film poignantly examines childhood poverty under the shadow of Disney World, further establishing Baker’s reputation as a filmmaker with a distinctive voice for social commentary. In making the film, he stealthily captured some footage on Disney property.

      When Baker began collaborating with cinematographer Drew Daniels on Red Rocket (2021), his style became even more pronounced, merging documentary-like realism with carefully crafted visuals. Shot on 16mm, Red Rocket tells the story of a washed-up porn star played by Simon Rex, returning to his Texas hometown. It continued Baker's tradition of casting inexperienced actors in prominent roles, allowing them to shine.

      In 2020, Baker filmed Red Rocket near the refineries of Texas City, Texas, and again had to sometimes shoot without permits due to difficulties arising from pandemic lockdowns. The movie's climactic scene — a character's naked run through the city — faced an interruption when police arrived.

      “That’s pure guerilla filmmaking: a van pulls up, a door opens, a naked guy jumps out. Then, ‘Get back in the van, let’s get out of here!’” Baker recounted in a 2023 interview with MovieMaker.

      “There was a moment when the Texas City police suddenly appeared and surrounded us, and we said, ‘Oh, we’re that independent film crew that approached the department about this,’” Baker continued. “And they were like, ‘Oh, it’s you