Ti West is a writer, director, and occasional actor (he stole scenes in Joe Swanberg’s Drinking Buddies with Anna Kendrick and Olivia Wilde). Known for putting a unique spin on the resurrection of the horror genre, Ti (barely into his thirties) has written and directed seven feature films, including Trigger Man, House Of The Devil, The Inn Keepers, The Sacrament, and the upcoming In A Valley Of Violence, which some say could be a comeback vehicle for John Travolta. We won’t discuss the probably never-to-be-released Cabin Fever 2 , the sequel to Eli Roth’s mega grossing hit, because that experience would be better left forgotten. The Los Angeles-based director’s work has consistently straddled the line between genre kitsch and realism. I was lucky enough to sit down with West at a hip happening café in Tinseltown to discuss where he’s at emotionally and spiritually as a filmmaker today.
Describe the moment you knew you wanted to be a filmmaker.
When I got an “A” in film history class in 11th grade. It was the best grade I’d ever gotten in my life, and I learned to look at cinema from a whole new perspective. I’d always loved movies, but after that class I really started to understand what it was that made certain films so special to me. Being a director suddenly seemed like the coolest thing in the world.
What was the first movie that changed everything for you?
Bad Taste. Peter Jackson’s first film. It was this no-budget horror film that was so obviously made by just a group of friends. No “professionals,” and I loved the energy and unique point of view it had. It was so cheap and rough around the edges that I was able to see, for the first time, how a movie was actually being made. It was almost like a magician showing you how he did the trick. Suddenly I was like “Ohhh!” And immediately after that I knew I had to try it for myself.
Who have been the greatest supporters of your career?
Filmmaker Larry Fessenden is the reason I have a career. Had he not believed in me enough to produce my first film I would still be working in the mall. He personifies what I love about being a filmmaker and an artist. I can’t speak highly enough of him. I had no connection to the movie industry whatsoever, and then I met him, and he liked a short film I made and gave me 50K to make a feature. It was unreal. I remember leaving his office in 2003 like it was yesterday. One of the most special moments of my life.
What’s your favorite part of the movie making process?
The initial idea. The first time you figure it out in your head and tell it to someone and their eyes light up. That moment is so powerful that it literally fuels you with ambition and determination for however many years, and through however many challenges it takes for you to actually complete the film. It’s an amazing feeling.
Do you feel each of your films is a snapshot of where you’re at emotionally?
If I look at my films not like a career, but almost more like a lifestyle, I can see my body of work as sort of a scrapbook and each one definitely feels like chapters of where I was at in my life.
How much of what you make is about the audience’s reaction?
I tend to believe there are two kinds of filmmakers. Ones that consider themselves “artists” and ones that consider themselves “entertainers.” Neither is better than the other, it’s just a different approach. “Artist” or “personal” filmmakers are often making movies for personal reasons, and the audience comes to them as their guest. Entertainers are often making movies specifically for the enjoyment of an audience, and usually cater to what the public is currently responding to most favorably. I consider myself more of a personal filmmaker.
Why do you do what you do?
Because it makes life make more sense to me. We are only here for a short time, and there are certain emotional states that frankly are just more enjoyable to be in than others. I feel a weird need to create and be heard, and I love to be inspired. That’s when I feel like the best version of myself. For the past 10 years I have been getting those good feelings from making films, but before that it was making music, so who knows what will be next.
Is your writing based on personal experience?
Absolutely. Even though I have made mostly genre films, there is still a large percentage of personal expression that goes into them.
How do you navigate being in a relationship while working?
I find it pretty easy in pre-production and production, and almost impossible in post-production. Filmmaking is really glamorous at times. It’s a very exciting and romantic bubble to be in, but you have to go through a lot of dark times and hard work to get there. I have been fortunate to have had some really special relationships throughout it all, but probably let a few good ones get away.
How do you get out of a hopeless funk, if you encounter those at all?
Progress. For me happiness is all about progress and momentum. Anytime I’m depressed it’s always because I feel stalled. Understanding psychology is really helpful to get you out of those funks. You have to force yourself to do things you don’t want to do, but once you get progress it starts to feel normal again.
What keeps you excited about making movies?
It could be anything. A great film, a conversation, a song, a painting, a news story, or even just a random idea that pops in your head out of nowhere. All it takes is one spark to light a fire. It’s important everyone keeps their fires burning, so we can all learn from each other about what this crazy existence is all about.
Credits
Text Alexi Wasser
Photography Ben Colen