Sean Baker at the 97th Academy Awards, where he took home a record of four awards for “Anora.” (Courtesy of Scott Kirkland)
The Associated Students Program Board hosted one of their weekly Tuesday film screenings on May 27 — with a twist. Following the screening of Sean Baker’s acclaimed 2017 film “The Florida Project,” the four-time Academy Award winning writer-director himself came out on Campbell Hall’s stage for a Q&A. Baker discussed a wide variety of topics about the film and his career before taking student questions.
“The Florida Project” follows the lives of several children who live at a run-down budget motel near Disney World. After premiering at the Cannes Film Festival, the film went on to receive an Academy Award nomination for supporting actor Willem Dafoe, as well as placement on the National Board of Review and American Film Institute’s lists of top 10 films of the year.
Hosting the Q&A was A.S. Program Board Films Coordinator Lea Vazquez, who kicked things off by asking Baker about this year’s Cannes Film Festival. Baker was there to support the premiere of “Left-Handed Girl,” the solo directorial debut of his long-time producer Tsou Shih-Ching. Baker produced, edited and helped write the film. It was shot on the iPhone 14, a full-circle moment considering that Baker’s breakout 2015 film “Tangerine” was shot on the iPhone 5s. The iPhone has the mobility and capability to get on the same height level as a child, something that’s difficult to do with a large camera.
Baker referenced a 2013 interview in which “Trainspotting” (1996) and “Slumdog Millionaire” (2008) director Danny Boyle said that “you try to make a different film every time, and often you end up making the same film again and again.” From “Starlet” (2012) to “Anora” (2024), Baker’s recent films have all explored sex work in one way or another. If not specifically sex work, his filmography is united by its interest in those on the fringes of society. His earlier work includes films like “Take Out” (2004) and “Prince of Broadway” (2008), both of which follow an immigrant attempting to make ends meet in a difficult situation. Baker explained how on “Starlet,” they shot in the house of real porn models. As a result, Baker met the types of people that “organically led to the next four films.”
One of those films is 2021’s “Red Rocket,” which follows a washed-up porn star in his attempt to convince a young girl he meets into doing porn for his own financial and professional gain. As a storyteller, Baker “didn’t go into it saying [he’s] going to judge this character.” Instead, he wanted the films to be as objective as possible so the audience can apply their own ethics to what’s depicted.
Ultimately, Baker wants viewers to “laugh, laugh, laugh, laugh and then cry.” Humor is how humans cope with pain and difficulty, so “tragedies with comedic elements” are the types of stories he’s drawn to. The night’s screening of “The Florida Project” certainly fit the bill.
One of the elements that made shooting “The Florida Project” difficult was the use of child actors in the main roles. The film explores adult themes such as substance abuse and prostitution. Baker spoke about how he recently went down to Florida and reunited with Brooklynn Prince, Valeria Cotto and Christopher Rivera, who played the main trio of kids in the movie.
“I’ll be able to see this film at 18” was Prince’s joke on set. Prince is now 15 and still hasn’t seen “The Florida Project” in its entirety. Baker emphasized the importance of shielding children on set, especially if the film deals with adult themes. For “The Florida Project,” he never told the actors what the film was truly about, only their specific roles. This was fundamental to keeping the child actors safe from potentially dangerous situations.
One hallmark of Baker’s work is his reuse of specific actors. The auteur explained how “with any team, there starts to be a shorthand.” That familiarity is why he has used performers like Mickey O’Hagan or cinematographer Drew Daniels over and over again. Baker even considers actor Karren Karagulian a “good luck charm” and has put him in every film.
At the tail end of the Q&A, Vasquez handed it off to some student questions, the first of which was about the state of independent cinema. When asked what could be done to help the struggling indie system thrive, Baker highlighted the importance of filmmakers asking for “caveats.” Studios will always try to serve the lowest common denominator, asking for ridiculous changes like removing the ending scene from “Anora” (yes, a real note Baker received). That’s why filmmakers must stand strong for what they believe in, whether it be shooting on real celluloid instead of digitally or requesting a 90-day theatrical window for their film, which is something Baker revealed he will be demanding for his own next outing. Baker believes independent cinema can return to its glory days through the will of its filmmakers.
“It might take 20 years, but cream rises,” Baker said.
When another student asked Baker how to handle uncertainty and rejection in such a turbulent industry, he talked about blind faith. Sometimes blind faith is needed so one can be their own biggest champion. Baker advised all aspiring filmmakers to never give up, and emphasized the importance of perseverance.
The night wrapped up the event with a raffle in which posters and Criterion Collection Blu-rays of Baker’s work were awarded — a fitting finale for a celebration of one of independent cinema’s strongest voices.
