Christine Vachon discusses children, materialism, Todd Haynes, and Killer Films.

      Christine Vachon possesses one of the most impressive track records in the film industry. With over 80 credits as a producer or executive producer, her work includes notable titles such as Kids, I Shot Andy Warhol, Boys Don’t Cry, One Hour Photo, Party Monster, The Notorious Bettie Page, Vox Lux, First Reformed, Zola, as well as the recent films Past Lives and A Different Man.

      Her filmography does not even encompass those directed by her long-time creative collaborator, Todd Haynes. Vachon has produced all 11 of his feature films, beginning with his low-budget 1987 breakout Superstar—a poignant tale of The Carpenters depicted through Barbie dolls—and extending to the 2023 release May December.

      However, even Vachon encounters challenges, particularly as film financiers have become increasingly cautious in recent years, especially regarding adult dramas. She recalls a recent experience where she pitched a script to financiers who acknowledged it as outstanding. Yet, they ultimately chose not to invest because they were unsure of the target audience.

      “And I thought, ‘Goodness, folks: You love it, believe the casting is remarkable, think it’s entirely original, and yet you won’t buy it? That’s disheartening,’” Vachon reflects.

      Despite the setbacks, her successes outweigh the failures. During the early summer weekend when we interviewed her at the Provincetown International Film Festival, her latest film Materialists—her second project with Past Lives director Celine Song—achieved the third-best opening weekend in A24's history, and the highest for a non-genre A24 film.

      Vachon, who co-runs Killer Films with fellow New York producer Pamela Koffler, has co-authored three books on independent filmmaking and frequently addresses film schools globally, in addition to her role as the artistic director of the MFA Program at Stony Brook Manhattan. It’s important to note that her insights on Lessons Learned as a Moviemaker are far from exhaustive. –M.M.

      1. Many young individuals ask me, “What’s the path? How do I reach your level?” My response often is, “Be born in the ’60s. Grow up in New York City in the ’80s.” It's not the same journey, folks. I can’t provide a definitive answer. However, when reflecting on what helped me, I realize that my initial ignorance about the industry when I told Todd Haynes I wanted to produce his first feature lent me a certain fearlessness, which was advantageous. I was unaware of how challenging it truly was.

      2. I also believe that many young people today become overly preoccupied with the notion of following a specific path, feeling pressured to check off boxes to become a writer, director, or producer. I strongly advocate for simply pursuing the opportunities that present themselves.

      If you believe you want to focus on documentaries but an opportunity arises in publicity, give it a shot. When I invite speakers to my class—be they costume designers, DPs, or directors—my first question to them is always, “How did you end up here? What led you to choose this path?” In 90% of cases, the response is, “Funny you should ask; I thought I wanted to do this, but then I encountered this other opportunity…”

      Christine Vachon on Nepotism vs. Working Your Way Up

      Christine Vachon’s recent production credits include A Different Man, directed by Aaron Schimberg and featuring Renate Reinsve and Adam Pearson, as highlighted above. – Credit: A24

      3. Film is rightly criticized for being an industry heavily driven by relationships. I observe film sets where everyone carries a familiar surname that has been honored in some way. This can be intimidating for newcomers. I won’t deny that nepotism is very much alive; however, it’s also true that hard work can allow someone to rise through the ranks from the bottom up.

      4. I have a 25-year-old daughter who enjoys going to the movies regularly, but she often lament that there isn't enough to watch. We find ourselves in a strange situation: there’s a lack of variety, yet we aren’t producing a significant amount of new content—except for superhero films.

      5. Right now, we are experiencing a rather pessimistic phase. However, the nature of this industry is such that something unexpected often surprises us. A movie can suddenly emerge, and audiences flock to it. You find yourself thinking, “I didn’t see that coming—I didn’t even realize there was a market for that.”

      Yet, that film managed to resonate in a way that no other had, and such instances continue to occur. We must strive for originality; that’s what keeps us going.

      Christine Vachon on Producer Credits

      Christine Vachon was involved as a producer for Celine Song’s Materialists, starring Dakota Johnson, shown above. Courtesy of A24 –