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Although now it seems like a staple of 90s cinema, Linklater recalls the trouble he had with the studio which didn’t push it as hard as he would have liked, an experience that left him feeling burned.īlack and Bernstein detail how he went on to make the Before trilogy and the fact that, unlike many directors, he actively seeks actors who want to collaborate on scripts and dialogue in order to reach something purer and more authentic. After the success of Slacker, Linklater made Dazed and Confused, a studio film that would become a cult classic. With talking heads including Julie Delpy, Jack Black and Ethan Hawke, the film presents Linklater as a talented risk-taker who is above all hard-working, and who can turn films which are apparently about nothing much at all into international hits. He moved to Austin and found like-minded friends who started a film club and would eventually become the crew and production unit behind Slacker. He made his own one-man productions, recording the sound on a Walkman. Then he decided to switch from being an aspiring novelist and playwright to making films. In high school, Linklater loved baseball and at one point attempted to write a biography of Dostoyevsky. The years which led up to him making Slacker are joyously depicted. Those wilderness years are one of the most fascinating elements of Louis Black and Karen Bernstein’s intimate portrait of the Texas film-maker. With the success of Boyhood, it’s easy to forget that before that marathon 12-year project hit screens at Sundance in 2014, Linklater was out of vogue. His screening of Slacker at the festival in 1991 put him firmly on the map and the films he has brought to the festival since have all gone on to leave an indelible mark on US indie film-makers. Richard Linklater’s influence on independent American cinema is unavoidable at Sundance.