{"id":79,"date":"2026-05-17T15:05:57","date_gmt":"2026-05-17T15:05:57","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=79"},"modified":"2026-05-17T15:05:57","modified_gmt":"2026-05-17T15:05:57","slug":"ron-howard-on-documentary-filmmaking-richard-avedon-and-creative-endurance","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=79","title":{"rendered":"Ron Howard on Documentary Filmmaking, Richard Avedon and \u201cCreative Endurance\u201d"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tAt one point in Avedon<\/em>,\u00a0Ron\u00a0Howard\u2019s documentary about the famed photographer Richard Avedon, the claim is made that Avedon captured much of the 20th century. It\u2019s a bold assertion, but\u00a0Howard\u2019s film, which distills a dizzying archive provided by the Richard Avedon Foundation, makes a compelling case over its 100-minute runtime.<\/p>\n

Read more Lars Eidinger: The Man Who Plays Monsters<\/a><\/p>\n

\n\tAfter becoming the preeminent photographer at the height of American fashion magazines, Avedon was the inspiration behind the Audrey Hepburn and Fred Astaire musical comedy\u00a0Funny Face<\/em>. His notoriety led him to capture the most famous faces in entertainment, politics, society and culture, from James Baldwin and Allen Ginsberg to Marilyn Monroe and Charlie Chaplin to the Reagans and Warhol\u2019s Factory. In between his portraiture and commercial work (you have Avedon to thank for Brooke Shields\u2019 seminal Calvin Klein campaign), he documented the rubble of post-War Paris, the architects of the American Civil Rights movement and the napalm victims of the Vietnam War.<\/p>\n

\n\tAll of this, as well as the photographer\u2019s personal life and more, is explored in\u00a0Avedon<\/em>, which is getting a special screening in Cannes on May 17.<\/p>\n

\n\tHoward\u00a0is no stranger to biodocs. With a focus on prolific creatives, he has directed docs about Luciano Pavarotti (2019\u2019s\u00a0Pavarotti<\/em>) and Jim Henson (2024\u2019s\u00a0Jim Henson Idea Man<\/em>), the latter of which also bowed at Cannes. He says of his choice of subjects, \u201cWe\u2019re all appreciative of their work, but maybe we didn\u2019t recognize quite what it entailed.\u201d\u00a0<\/p>\n

\n\tAhead of touching down in France,\u00a0Howard\u00a0talked to\u00a0THR<\/em>\u00a0about the origins of\u00a0Avedon<\/em>, the importance of authorship in imagery and how Avedon \u201cused his work to satisfy his own curiosity.\u201d\u00a0<\/p>\n

\nWhen did you lock the documentary?<\/strong><\/p>\n

\n\tJust a few weeks ago.<\/p>\n

\nWow.<\/strong><\/p>\n

\n\tBut it\u2019s been years of working on this, going back to our first visits to the archives. What I so love about this period of my life, creatively moving back and forth between scripted narratives and doc films is that the tempo and the pace of the documentaries is so different. It\u2019s just always with you, percolating, for a long stretch of time. It\u2019s rarely that kind of flat-out sprint. Sometimes, the very last interview you do, it\u2019s not just a few quotes you can plug into the film, it instigates a real rethink, and deepens your understanding of the subject. I really love the opportunity to explore these other worlds, and quite often with me, it\u2019s been individual biographical work.<\/p>\n

\nWhy are you drawn to biographical film?<\/strong><\/p>\n

\n\tThe only verit\u00e9 piece I did was when we followed [chef] Jos\u00e9 Andr\u00e9s around. And when we did the Paradise fire film [2022\u2019s\u00a0We Feed People<\/em>], we had no idea exactly where that would go. But it\u2019s really been about the opportunities that came my way. I\u2019m very interested in people who achieve artistic excellence. I\u2019m interested in the life and the spark, along with the dues they had to pay and the cost to the other aspects of their life. That all goes into the stew that winds up being a career with significant output.\u00a0<\/p>\n

\nHow did Richard Avedon come on your radar as a documentary subject?<\/strong><\/p>\n

\n\tSara Bernstein, the president of the documentary division at [Howard\u2019s production company] Imagine, had gotten wind that the Avedon family and the foundation were perhaps open to allowing a filmmaker to have access to the archives and be supportive of the effort of reaching out for interviews. So I went to the archive, and it happened to coincide with that [2023 retrospective] in New York. I had nothing but respect for the name Richard Avedon and the handful of images that I could ascribe to him, but no sense of the depth and reach of what he had done. You could open up every drawer and your head explodes with \u2014 who he photographed and under what circumstances. There were also these tapes that he recorded of the sessions, which weren\u2019t really right for the movie, but I could see that he wasn\u2019t just taking photos of human beings as symbols or reflections. He was actually drawing out their inner self and finding ways to let that inform the photo, even if it was his commercial, glossy magazine work or advertising. That was enough of a reason, to me, to talk about making the film.\u00a0<\/p>\n

\n\tAnd then I had no idea how much of his life he committed to social observation, to civil rights, to exploring the lesser-known corners in service of photo journalism. People weren\u2019t always supportive. Magazine people didn\u2019t want him running away and covering Vietnam. They weren\u2019t excited about that. That\u2019s not what they wanted him to do. I\u2019m sure his business manager didn\u2019t like that. And the critics weren\u2019t always embracing it, and he had some very harsh criticism that really beat him up. And yet he persevered, and was just determined to fully apply his creativity in the ways that he understood best. To me, it just became this object lesson in creative endurance. He\u2019s using his cachet and stature to actually say something else and do more. I found that incredibly inspiring.\u00a0<\/p>\n

\n\tI wound up being really emotionally connected to Avedon. I\u2019m not anything like him, outside of the fact that I love to work and I have a lot of energy around it. It was funny, he reminded me of a couple of mentors of mine from his era who shared similar qualities. That acerbic wit, who designed to be at the center of things.<\/p>\n

Read more Cannes Hidden Gem: The Rwandan Genocide Faces an Intense Reckoning in \u2018Ben\u2019Imana\u2019<\/a><\/p>\n

\nLike who?<\/strong><\/p>\n

\n\tThe director of all the episodes of\u00a0Happy Days<\/em>, a guy named Jerry Paris. Everywhere Jerry went, he was the ring master. He had these great parties at his house. They weren\u2019t Hollywood parties \u2014 it was swimming and playing basketball, it wasn\u2019t that he was fancy or outrageous. But he was funny at all times, and he loved people. Avedon would go up and photograph people on the street. If we were with Jerry and in some city because of some promotional tour, he would just go up and talk to people in restaurants.\u00a0<\/p>\n

\nSomeone in the doc points out that you can see the arc of the 20th century in Avedon\u2019s work.<\/strong><\/p>\n

\n\tHe was prolific [and] in demand, and that\u2019s a hell of a combination, especially in that era where magazines were the social media. That was a lot of water cooler conversation. It was television and magazines during the his era, even more than cinema. He was so tireless. Despite the fact that he destroyed thousands of negatives, he just covered a lot of ground. I relate to this, too: He used his work to satisfy his own curiosity, to explore the world, not just to eat in great restaurants or stay in nice hotels.<\/p>\n

\nIn the process of making\u00a0Avedon<\/em>,did you pinpoint a personal favorite image of his?\u00a0<\/strong><\/p>\n

\n\tThere are so many that aren\u2019t even in the film. I really wanted the movie to be a movie. I really wanted it to work the way a movie works, as a journey. So, I had to make some decisions. But there is something about his straight humanistic portraiture, like a young Lou Alcindor, who later was Kareem Abdul-Jabbar, holding the basketball when he\u2019s 18 or 19 years old on a New York playground. I grew up loving the movies of John Ford, and it turned out that my favorite photograph of John Ford as an old man with an eye patch was Avedon and I didn\u2019t even know.<\/p>\n

\nAnd you, yourself, never had any run-ins with Avedon?\u00a0<\/strong><\/p>\n

\n\tYou know, I wasn\u2019t really going to be in the fashion magazine [world], nor was I a controversial, sociologically edgy or surprising subject. So I\u2019m not surprised, but I would have loved to have been in there.<\/p>\n

\nI\u2019m not sure if you saw it, but Avedon gets a shout-out in\u00a0The<\/em>\u00a0Devil Wears Prada 2<\/em>.<\/strong><\/p>\n

\n\tI saw that! I really enjoyed that\u202fmovie.<\/p>\n

\nIt\u2019s a testament to his staying power in the world of fashion, and the sentiment expressed in that movie was that his work and way of working couldn\u2019t be replicated today.<\/strong><\/p>\n

\n\tIt\u2019s hard to know. That\u2019s why we use that quote at the end [of the doc] where he says, \u201cI don\u2019t even think there\u2019ll be photographers later,\u201d and that images, wherever they exist, will just be called down. But then, conversely, he turns around and says the thing that I believe, which is for human beings to feel a kind of depth or connection with an image it needs to run through the filter of an artist to give it a soul and an intention. All an all, whatever the tools that are used to generate images or capture images, I feel like authorship is going to be something that we still appreciate.\u00a0<\/p>\n

Read more Cannes Flashback: When L\u00e9a and Ad\u00e8le Turned the Cannes Jury Blue<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Ron Howard talks Richard Avedon and documentary filmmaking.<\/p>\n","protected":false},"author":1,"featured_media":78,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[24,8,70],"class_list":["post-79","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-cannes","tag-cannes-2026","tag-ron-howard"],"yoast_head":"\nRon Howard on Documentary Filmmaking, Richard Avedon and \u201cCreative Endurance\u201d - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=79\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ron Howard on Documentary Filmmaking, Richard Avedon and \u201cCreative Endurance\u201d - 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