Ellar Coltrane Talks Boyhood
In person, with a hooped nose ring, gelled hair and thoughtful replies, Ellar Coltrane gives off a composed and unerringly normal vibe; he has the high-intellect ambivalence of a young person who already recognizes the value of an examined life, but also realizes he’s just starting his own journey. Of course, chatting with the heretofore unknown Coltrane after the experience of watching Boyhood feels deeply unusual in and of itself—probing, and a bit like a violation of some unspoken privacy, as if you’ve stumbled across a cache of home videos.
That’s because Richard Linklater’s striking film, shot intermittently over the course of a dozen years, charts the unfolding adolescence of one boy, Mason (Coltrane), against the backdrop of various relationships, including with his sister, Samantha (Lorelei Linklater) and divorced parents, Mason Sr. (Ethan Hawke) and Olivia (Patricia Arquette). Recently, Paste had a chance to chat with the Austin-based Coltrane one-on-one about his experience making the unique film, and how his own boyhood tracked with that of the character he played. The conversation is excerpted below:
Paste: Any sort of 12-year commitment is tough, but it’s even more difficult when you’re expecting it from someone for whom that represents twice their entire life up to that point. What are your memories of first talking about the movie with Rick?
Ellar Coltrane: (laughs) I mean, my memories are pretty vague, as I think being six years old is for most people. But I’d been auditioning a lot at that point in time, and this movie was very different from any other audition because he didn’t really have a script. He knew the general arc of the story, but he wasn’t even telling me that, really. I think he was much more interested in just kind of getting to know potential actors. It was just kind of a conversation, which is the way most things are with Rick. He has his master plan, but you never know it—or more accurately, you never feel like you’re being directed or manipulated or anything. He’s just chatting with you, and in this case 12 years later you’ve made a movie. It was very casual.
Paste: I know Lorelei, his daughter, was really into making the movie when she was younger and then had a period where she didn’t want to be in it, and asked that he kill off her character. The film could have survived that or other more structured dramatic contrivances that impacted other characters, but not with you, obviously. Was there ever a point, though, where you just thought, “Man, I’m not really into this anymore?”
Coltrane: Not really. It was just great, it was always a learning experience. I mean, creating art is the only thing I’ve found I really crave in my life. The only thing that really gives me solace is to be in the thick of that sort of process of creating something. And so it was kind of therapeutic to throw myself into it year after year and always have that outlet, and to get to learn from someone like Rick, and from Ethan and Patricia too, [who] are very genuine but very experienced actors and creators. Especially with Rick’s method, I learned a lot. Plus, it was always fun. The way I was raised, I never had much of a reason to rebel. I only ever did things because I wanted to do them, and it was the same way with this. I’m sure if I ever wanted to stop Rick wouldn’t have stopped me.
Paste: Both your parents are artists as well, is that correct?
Coltrane: Yes, my mom was a dancer and a painter for a long time. And my dad’s a musician, traveling. He goes back and forth—he settles down sometimes and then wants to tear everything apart for a while.
Paste: Rick is as you describe him—very relaxed, and obviously super-bright. But a working relationship with someone spanning their formative years is different than the sort of adult relationships he must have had with Ethan and Patricia. How he directed you as a young kid would have to be slightly different than how he talked to you as a teenager, right?
Coltrane: Very much, yeah. When you’re young, you’re just kind of there and along for the ride. Rick has a great way of maintaining that, of setting the place for you to just kind of be there—with children, especially. I think it’s easy to push kids too hard and get an unnatural performance because a lot of times they feel like they need to be likable or be something that they’re not. So [his method] was … much less direct when I was young. He would glean information from me to use, to flesh out the character and write the lines so that they would be natural for me. But as I got older, I became much more of a direct part of crafting the character and writing the dialogue and just being part of the project—definitely a collaborator, I guess. It was more of a level plane. Everyone had a lot of input.