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John Whitney "Whit" Stillman (born January 25, 1952) is an American writer-director known for his 1990 film Metropolitan, which earned him a nomination for the Academy Award for Best Original Screenplay, and the 1998 romantic drama The Last Days of Disco.

Whit Stillman
Whit Stillman by Gage Skidmore.jpg
Stillman in 2017
Born John Whitney Stillman
(1952-01-25) January 25, 1952 (age 66)
Washington, D.C.
Alma mater Harvard University (BA, 1973)
Occupation Screenwriter, film director
Years active 1973–present
Notable work Metropolitan (1990)
The Last Days of Disco (1998)

Contents

Early lifeEdit

Whit Stillman was born in 1952 in Washington, D.C.,[1][2] to Margaret Drinker (née Riley), from Philadelphia, Pennsylvania, and a Democratic politician, John Sterling Stillman, an assistant secretary of commerce under President John F. Kennedy (a classmate of Stillman's father at Harvard), from Washington, D.C.[3][4] His great-grandfather was businessman James Stillman; his great-great-grandfather, Charles Stillman, founded Brownsville, Texas.[5] Stillman grew up in Cornwall, New York, and experienced depression during puberty. "I was very depressed when I was 11 or 12," he told The Wall Street Journal. "I was sent to the leading Freudian child psychologist in Washington, D.C. It was heck. The last thing I needed to talk about was guilt about sex." However, when his parents separated, he found that his depression ceased: "I actually felt healthier."[6]

Stillman's godfather was E. Digby Baltzell, a University of Pennsylvania professor and chronicler of the American upper class.[7][note 1]

He attended the Collegiate School, Potomac School and Millbrook School, and then studied history at Harvard University, where he was a member of the Fly Club and wrote for The Harvard Crimson.[8][9]

Career before filmmakingEdit

After graduating from Harvard in 1973, Stillman began working as an editorial assistant at Doubleday in New York City, followed by a stint as a junior editor at The American Spectator, a conservative magazine.[8]:41[10][11] Stillman has subsequently distanced himself from his work for the Spectator, describing himself in 2012 as "apolitical".[12][13]

He was introduced to some film producers from Madrid and persuaded them that he could sell their films to Spanish-language television in the U.S. He worked for the next few years in Madrid and Barcelona as a sales agent for directors Fernando Trueba and Fernando Colomo, and sometimes acted in their films, usually playing comic Americans, as in Trueba's film Sal Gorda.[14][15]

FilmmakingEdit

Stillman wrote and directed three comedies of manners[16] released in the 1990s: Metropolitan[17] (1990), Barcelona (1994), and The Last Days of Disco (1998); he published a novel based on the last of these films.[18] After completing his film trilogy, Stillman left independent comedy and started researching and writing a series of scripts set abroad.[18][19] In August 1998 (shortly after The Last Days of Disco was released) he left his loft conversion in Manhattan's SoHo and moved to Paris.[12] He returned to New York in 2010.[12]

A fourth film, Damsels in Distress, was released in 2011, premiering out of competition as the closing film at the 68th Venice International Film Festival.[20] The Guardian in 2012 compared Stillman to Terrence Malick, another filmmaker who has "come to owe a good part of their mystique to the very paucity of their oeuvre ... The lengthy gaps in between [films] have created expectations that are hard to fulfil, and admirers have been inclined to overestimate their achievement."[21] A reviewer at Salon opined that the reason for the long gaps between his films is that "Stillman is sometimes simply too damn smart for his own good. You can't always tell at whom he's poking fun, or why, and it becomes unfortunately easy to typecast him as the WASP answer to Woody Allen and conclude that his movies are insufferably irritating documents of privilege. He himself is aware of that possibility the whole time, and bastes his entire worldview in a rueful, ironic-romantic glaze."[22]

Stillman's effectiveness at the box-office has been mixed. He filmed Metropolitan for about $250,000, according to Stillman, with a box-office return of about $3 million. Barcelona was then filmed on a budget of under $3 million, returning just under $8 million. His third film was not a box-office success; its budget of $8 million returned about $3 million. Stillman, in an AOL interview following the 25-year anniversary of Metropolitan, refers to himself as having been put into "director's prison" for more than ten years before he made Damsels.

MetropolitanEdit

Stillman wrote the screenplay for Metropolitan between 1984 and 1988 while running an illustration agency in New York, and financed the film by selling the insider rights to his apartment (for $50,000)[23] and with the contributions of friends and relatives.[19] Loosely based on Stillman's Manhattan days, with his divorced mother during the week of Christmas break 1969[24] during his first year at Harvard, Metropolitan tells the story of the alienated Princetonian Tom Townsend's introduction to the "Sally Fowler Rat Pack" (SFRP), a small group of preppy, Upper East Side Manhattanites making the rounds at debutante balls during Christmas break of their first year in college. Though he is a socialist deeply skeptical about the SFRP's upper-class values, Tom (Edward Clements) grows increasingly attached to the cynical Nick (Chris Eigeman) and plays an important part, of which he is largely unaware, in the life of Audrey (Carolyn Farina), a young debutante. Many of the exclusive interior locations were lent to Stillman by family friends and relatives.[19]:18

Stillman won Best First Feature at the 6th Independent Spirit Awards and was nominated for an Academy Award in 1991 for Best Original Screenplay.[25] Metropolitan was also nominated for the Grand Jury Prize (Drama) at the 1990 Sundance Film Festival. He won the 1990 New York Film Critics Circle Award for Best New Director.[26] The movie was a financial success, grossing about $3 million on a budget of $225,000.[27][28][29]

In an interview Stillman said of the film, “The material seemed pretty rich, almost rank. And perhaps it’s better approaching a subject people feel strongly about, even if that strong feeling is hatred, than something colorless and unspecific. Also, I love anachronism and this was the chance to film, essentially, a costume picture set in the present day or recent past. But a large part of the idea was to disguise our pitifully low budget by filming the most elegant subject available.”[30]

BarcelonaEdit

Barcelona, his first studio-financed film, was inspired by his own experiences in Spain during the early 1980s. Stillman has described the film as An Officer and a Gentleman, but with the title referring to two men rather than one. The men, Ted and Fred, experience the awkwardness of being in love in a foreign country culturally and politically opposed to their own.[31]

The Last Days of DiscoEdit

The Last Days of Disco was loosely based on Stillman's experiences in various Manhattan nightclubs, including Studio 54. The film concerns Ivy League and Hampshire graduates falling in and out of love in the disco scene of Manhattan in the "very early 1980s". Chloë Sevigny and Kate Beckinsale play roommates with opposite personalities who frequent disco clubs together. The Last Days of Disco concludes a trilogy loosely based on Stillman's life and contains many references to the previous two films: a character considers a move to Spain to work for American ad agencies there after meeting with the Barcelona character of Ted Boynton, and Metropolitan's heroine Audrey Rouget reappears briefly as a successful publisher, as do a few other characters from that film, as clubgoers. In 2000 Stillman published a novelization of the film, The Last Days of Disco, with Cocktails at Petrossian Afterwards.[32] The novelization won the French 2014 Prix Fitzgerald Award.[33]

Damsels in DistressEdit

After a 13-year hiatus, Stillman released his fourth film, Damsels in Distress, starring Greta Gerwig, Adam Brody, Hugo Becker and Analeigh Tipton. It premiered September 10 at the 2011 Venice Film Festival as the closing film, to favorable reviews. The film is "about three young women at an East Coast university, the transfer student that joins their group and the young men they become entangled with."[34]

Love & FriendshipEdit

A film version of one of Jane Austen's early short novels, Lady Susan, was reported by Entertainment Weekly on January 22, 2016. This followed the indication that Little, Brown and Company would be publishing the screenplay adapted by Stillman[35] The film premiered in January 2016 at the Sundance Film Festival under the title of Love & Friendship. Although the plot of the film is adapted from Lady Susan, the actual title used (Love & Friendship) is from another, unrelated early epistolary novel by Austen which was unpublished during her lifetime. It received universal acclaim from critics.

The promotional announcement by Little, Brown and Company summarized Stillman's adaptation stating; "Recently widowed, Lady Susan arrives, unannounced, at her brother-in-law's estate to wait out colorful rumors about her dalliances circulating through polite society. While there, she becomes determined to secure a new husband for herself, and one for her reluctant debutante daughter, Frederica, too. As Lady Susan embarks on a controversial relationship with a married man, seduction, deception, broken hearts, and gossip all ensue. With a pitch-perfect Austenian sensibility, Stillman breathes new life into Austen's work, making it his own by adding original narration from a character comically loyal to the story's fiendishly manipulative heroine, Lady Susan."[36]

Other projectsEdit

Stillman stated in 2006 that he was working on several unfinished scripts.[37] He had been slated to direct a film adaptation of Christopher Buckley's novel Little Green Men,[38] but in a 2009 interview, Stillman said the adaptation is "[not] happening, at least with me."[39] He was writing another film, Dancing Mood, set in Jamaica in the 1960s which did not go into production and filming.[39] In 2014 Stillman wrote and directed the pilot episode of a TV series, The Cosmopolitans, for Amazon Studios which remained in negotiation as late as January 2016.[40]

On 11 July 2016, Tom Grater reported that Stillman was commissioned by Amazon to write six new scripts to continue his original pilot film for The Cosmopolitans.[41]

Criterion retrospectiveEdit

In April 2016, the Criterion Collection released a retrospective box set edition of Metropolitan, Barcelona, and The Last Days of Disco, available on Blu-ray and DVD. Stillman himself oversaw the digital transfers of the films and recorded audio commentaries along with members of the casts and crews.[42]

NovelistEdit

Stillman wrote a novelization of The Last Days of Disco published by Farrar, Straus and Giroux under the same title, with the added subtitle "...With Cocktails at Petrossian Afterwards". It won the French 2014 Prix Fitzgerald Award.[33] Stillman also wrote the novelization of his 2016 film Love & Friendship.

25-Year Wexner Center film retrospectiveEdit

The Wexner Center for the Arts at the Ohio State University held a 25-year retrospective of the career and films of Stillman including his film titled Love & Friendship. At the time of the retrospective, Stillman was asked: "Your films all have a sort of costume drama sensibility, but without the costumes, and now you’ve made a costume drama, period dress and all." Stillman responded by stating that: "Love & Friendship doesn’t loom as a costume drama, because it’s a pretty funny comedy, so it’s really not what you might anticipate. It’s not Downton Abbey in any way, shape or form. There are a lot of very good English comic actors who have done the supporting parts and really shine. I love Jane Austen. I sort of wanted something of my own to work on between paid script writing assignments. It’s good that I had so much time with no producer or studio executive wanting delivery quickly because it’s an incredibly funny novella she wrote, but hard to read and hard to dramatize. It’s an epistolary form from the 18th century and there are all these very funny ideas and lines buried within. It’s kind of an inaccessible format and it was a long process of adaptation."[43]

BibliographyEdit

Books
Articles

NotesEdit

  1. ^ Stillman had a photo taken of Taylor Nichols and E. Digby Baltzell. Stillman wanted to have the inventors of the terms UHB (Urban Haute Bourgeois) and WASP on record.

ReferencesEdit

  1. ^ Whit Stillman on IMDb
  2. ^ "Whit Stillman profile". AlloCiné (in French). 
  3. ^ Sherrill, Martha (1990-09-14). "Director Whit Stillman's (Upper) Class Consciousness". The Washington Post. 
  4. ^ "Miss Margaret Riley Married". The New York Times. September 13, 1944. Retrieved 2012-04-20. 
  5. ^ "The Whit Stillman Rat Pack". The New York Times. 31 May 1998. 
  6. ^ "Whit Stillman". Wall Street Journal. 13 April 2012. 
  7. ^ Stanley, Alessandra (July 29, 1990). "'Metropolitan' Chronicles Preppy Angst". The New York Times. 
  8. ^ a b McGee, Celia (1994-08-01). "A Wasp's Buzz". New York Magazine. 27 (30). pp. 38‒41. ISSN 0028-7369. Retrieved 2013-04-25. 
  9. ^ "Articles by Whit Stillman". The Harvard Crimson. Retrieved 2012-04-20. 
  10. ^ Samuelson, Couper (2001-07-15). "Last Rewrites". The Harvard Independent. Retrieved 2012-04-20. 
  11. ^ Mara Altman (December 2010). "Whit Stillman is Running Late". First Things. Retrieved 2013-04-25. 
  12. ^ a b c Brown, Chip (March 18, 2012). "Whit Stillman and the Song of the Preppy". The New York Times. p. 30. 
  13. ^ Haglund, David (2012-04-05). "Brow Beat: The Whit Stillman Short Story That Foreshadows Damsels in Distress" (Weblog). Slate.com. Retrieved 2013-05-26. 
  14. ^ Christopher, Noam (Summer 1994). "Sketches of spain: Noam Christopher visits Whit Stillman's Barcelona". Filmmaker. 2. 
  15. ^ Trueba, Fernando (Director) (1984). Sal gorda [Coarse Salt] (Motion picture) (in Spanish). Madrid, Spain: Opera Film Produzione. Retrieved 2013-04-25. 
  16. ^ Lopez, John (2012-03-29). "Director Whit Stillman on His Upcoming Damsels in Distress, Influencing Wes Anderson, and the Healing Power of Soap". Grantland.com. Retrieved 2013-05-26. 
  17. ^ Stephen Holden (1990-08-03). "New Face; Crashing A Socialite's Cozy World". The New York Times. Retrieved 2012-04-06. 
  18. ^ a b Stillman, Whit (2006-05-11). "Confessions of a serial drifter". The Guardian. ISSN 0261-3077. Retrieved 2013-04-25. 
  19. ^ a b c Mottram, James (May 15, 2007). The Sundance Kids: How the Mavericks Took Back Hollywood. Faber & Faber. pp. 17–20. ISBN 978-0-86547-967-8. Retrieved April 25, 2013. 
  20. ^ "Damsels in Distress: Venice Film Review", The Hollywood Reporter
  21. ^ French, Philip (2012-04-28). "Damsels in Distress – review". The Guardian. Retrieved January 17, 2013. 
  22. ^ "Pick of the week: Delirious college comedy "Damsels in Distress"". Salon. April 6, 2012. Retrieved September 1, 2013. 
  23. ^ Bernstein, Paula (August 6, 2015). "Whit Stillman's 'Metropolitan' 25 Years Later: How it Become a Surprise Indie Hit". Indiewire.com. Retrieved March 19, 2018. 
  24. ^ Sherrill, Martha (1990-09-14). "Director Whit Stillman's (Upper) Class Consciousness". The Washington Post. ISSN 0190-8286. Retrieved 2015-12-04. 
  25. ^ List of 1991 Academy Award Nominees from IMDb
  26. ^ List of Awards & Nominations for Metropolitan (1990) profile at IMDb
  27. ^ "Rich, Beautiful and Surprisingly Virtuous: A Whit Stillman Primer". Splitsider. Retrieved 2015-12-04. 
  28. ^ "'Metropolitan' Star Carolyn Farina Says She Stopped Getting Film Offers Because She Wasn't Blond". The Huffington Post. Retrieved 2015-12-04. 
  29. ^ "In Metropolitan, Whit Stillman Lovingly Unwraps High Society". People.com. Retrieved 2015-12-04. 
  30. ^ Stillman, Whit (Winter 1991). "Interview". BOMB Magazine. Interviewed by Betsy Sussler. Retrieved May 31, 2013. 
  31. ^ Levy, Emanuel (1999). Cinema of outsiders: the rise of American independent film. NYU Press. pp. 200–201. ISBN 9780814751244. Retrieved 2013-04-25. 
  32. ^ Stillman, Whit (August 2000). The Last Days of Disco, With Cocktails at Petrossian Afterwards (1st ed.). Farrar Straus Giroux. ISBN 0374183392. 
  33. ^ a b Stillman, Whit (2016). "Promotional material". Love and Friendship. 
  34. ^ Cox, Gordon (March 29, 2011). "Sony Classics picks up Stillman pic". Variety. Retrieved 2012-04-20. 
  35. ^ Lee, Stephan (January 22, 2016). "[Unknown title]". Entertainment Weekly. pp. 56–57. 
  36. ^ Elan, Priya (2014-09-15). "Whit Stillman: 'I find it remarkable that people hate my work'". The Guardian. Retrieved 2014-09-15. 
  37. ^ Buder, Emily (August 13, 2015). "Whit Stillman and the Cast of 'Metropolitan' on the Legacy of One of the First True Indies". IndieWire. 
  38. ^ Saito, Stephen. "Interview: Whit Stillman on "Metropolitan"". IFC.com. Retrieved 2008-12-20. 
  39. ^ a b Merwin, Hugh (2009-08-26). "Whit Stillman, Filmmaker". Gothamist. Archived from the original on 2015-04-04. Retrieved 2013-04-25. 
  40. ^ "The Cosmopolitans". IMDb.com. 
  41. ^ Grater, Tom (11 July 2016). "Jerusalem: Whit Stillman updates on Amazon TV series". Screendaily.com. Retrieved March 19, 2018. 
  42. ^ "A Whit Stillman Trilogy: Metropolitan, Barcelona, The Last Days of Disco". The Criterion Collection. Retrieved 2016-03-28. 
  43. ^ Brandt, Alyssa (March 4, 2016). "Indie Film Director Whit Stillman Talks Austen, Adaptations, and Why Cinema Still Matters". Cincinnati Magazine. 

Further readingEdit

  • Doomed Bourgeois in Love : Essays on the Films of Whit Stillman. Mark C. Henrie (ed.). Wilmington, Del.: Intercollegiate Studies Institute. 2001. ISBN 1882926706. 
  • Catholic Sensibility from a WASP Woody Allen. Julian O'Dea. The Oriens Foundation Incorporated (ABN 38 052 527 982).: Oriens Journal. 2013. 

External linksEdit