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To get to the place where Richard Linklater was shooting his new film, you had to travel a short distance that seemed far: past the Barton Creek Greenbelt, a preserve on the edge of downtown Austin; past an R. The trees crop up more densely on the sides of Route In the spring, along the highway, there are wildflowers, but in August the grass bakes and leaves droop drowsily from the surrounding branches.
It was a hundred degrees, dry. He had arrived in a dirt-brown Toyota Tundra pickup, dressed like a PTA dad on a fishing trip: red short-sleeve shirt, New Balance sneakers, big shorts, white athletic socks pulled up as far as they would go. At fifty-three, Linklater looks much as he did when he made his first films. He is squarely built, with sandy-brown hair cropped into a grown-man version of a bowl cut.
He went to college on a baseball scholarship, and, even now, he has the aspect of a man continually on the verge of stealing third. At a time when independent cinema is often thought to be the Hollywood farm leagues, Linklater has claimed it as a bright alternative to studio production. Working with a team of actors, a few funders, and his own production lot, he operates more like the leader of a repertory theatre than like an industry director, turning out films that find broad national audiences across a vast stylistic range.
This brand of naturalism brings its own imperatives. As Linklater entered his forties, he kept returning to the idea of making a movie about growing up. They have no single, representative dramatic stretch. They gain meaning across years and disparate moments. Viewers watch Mason find his way through childhood and head to college. As a teen-ager, Linklater was the guy with the eight-hundred-dollar stereo and a junker for a car.
