My Creative Hero: Todd Haynes
Bill Benz is an LA-based comedy director who got his start editing and then directing on Portlandia and Kroll Show before going on to direct multiple episodes of At Home With Amy Sedaris, Man Seeking Woman, Son of Zorn, Lady Dynamite, Detroiters, and three specials for Adult Swim, as well as New Warriors, a pilot for Marvel TV.
He’s also directed branded content for companies like Cadillac with Awkwafina, John Mullaney and Nick Kroll.
His feature directorial debut, The Nowhere Inn, written by Carrie Brownstein and Annie Clark (St. Vincent), premiered at Sundance in 2020. He spends his free time making Instagram stories that he almost posts but never does and recently memorized the names of every country in the world instead of working on his screenplay.
LBB> Who would you say is your creative hero?
Bill> Time and time again, I am drawn to the work of the filmmaker Todd Haynes.
LBB> How long has he been important to you and what are your first memories of meeting him or coming across his work?
Bill> I came across the work of Todd Haynes on three different occasions before it occurred to me they were by the same guy. First, I saw his David Bowie sendup ‘Velvet Goldmine’ on an aimless high school weekend hanging out in a friend's garage. I loved it, especially for its style and that it felt ‘cool’; the sort of things a high schooler tends to be drawn to. I saw ‘Far From Heaven’ because it was in a 'Staff Picks' section of the local video store (Epic Video r.i.p.) and, again, loved it. Later, a TA showed us 'Safe' in college, and I was riveted. It's still among my favourite films. This was when I put the pieces together that all three movies were by the same author.
LBB> If it's someone you personally know, how did you get to know him, and how has your relationship evolved over the years? If you don't know him, how did you go about finding to learn more about him and his work?
Bill> After I saw ‘Safe,’ I had to seek out a bootleg copy of his banned Karen Carpenter biopic, ‘Superstar.’ This was before streaming video, so I ended up with a burnt DVD-R of the film. The A/V quality was a disaster, but the film's content – concerning the pressures of fame and anorexia re-enacted with Barbie dolls – left a permanent impression.
LBB> Why is he such an inspiration to you?
Bill> I'm drawn to the consistency and quality of his films. His films walk a tonal line between winking playfulness and a sincere gooey heart. He's definitively a Gen-X filmmaker in that much of his work is wrapped in irony, but it's clear that he cares about his stories. ‘Far From Heaven’ isn't just a satiric Douglas Sirk melodrama; ‘Velvet Goldmine’ isn't just a freewheeling Nicolas Roeg odyssey. His films use these aesthetic frameworks to root out something deeper. It's this combination of purpose and pastiche that I find so inspiring. Get a personal story across, but have fun doing it.
LBB> How does he influence you in your approach to your creative work?
Bill> Todd’s work reminds me that there are many different styles of filmmaking; and I don't want to feel boxed in by my own style. I love starting with a reference point and leaning into that. When creating a project (be it a movie, tv show, commercial, music video, etc.), I'll often imagine it through the lens of other filmmakers. How would so-and-so handle this script? It doesn't have to be outright mimicry, but it's always fun for me to try new things and give myself a framework to work within. When there are too many options that I'm into, it's better to limit myself, even if the constraints are self-imposed.
LBB> What piece or pieces of his work do you keep coming back to and why?
Bill> The bootleg copy of ‘Superstar.’ Film and TV are all about compromise. You never get the budget and scope you dream of, but there's always a way to make the intention work. If a standard definition black and white biopic staged with Barbie dolls can be so so so compelling, I have to remind myself to find what's interesting about a scene and present it in the best way possible.
