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PEOPLE & ARTSThursday 17 March 2016
In ‘Midnight Special,’ Nichols
lights sci-fi with sincerity
This March 6, 2016 photo shows director Jeff Nichols posing for JAKE COYLE spurred on by the lack of esque coming-of-age tale
a portrait in New York to promote his film, “Midnight Special.” AP Film Writer those things.”
NEW YORK (AP) — Jeff Nich- In “Midnight Special,” Mi- set along the Mississippi
Associated Press ols’ “Midnight Special” — a chael Shannon (who has
sci-fi mystery that plays out appeared in every movie and co-starring Matthew
in a clandestine, nocturnal by Nichols, beginning with
chase from Texas to Florida his debut, “Shotgun Sto- McConaughey, was very
— began with an idea of ries”) stars as the father to
light in the writer-director’s 8-year-old Alton (Jaeden well received and selected
mind, and a desire to re- Lieberher), a boy who pos-
capture the cryptic thrill sesses a mysterious spe- for the Cannes Film Festival.
of science-fiction films like cial power. Alton, who
“Starman” and “Close En- wears goggles to cover But it struggled to find a dis-
counters of the Third Kind.” eyes that can illuminate
But it wasn’t until after Nich- in searing beams of light, tributor and wasn’t much
ols, the 37-year-old writer- has attracted the pursuit
director of “Mud” and of the government (Adam promoted. Nichols grants
“Take Shelter,” was driving Driver plays a sensitive NSA
to his writing office in Aus- agent) and the religious that the experience “shook
tin, Texas, one day when sect from which his father is my confidence.”
he knew what “Midnight trying to rescue him. But “Mud” inspired the
Special” would be about. The film, patient but explo- interest of Warner Bros.,
That was when he heard sive, metes out exposition which gave Nichols final
the news of Sandy Hook. slowly and leaves some cut on “Midnight Special.”
“This movie, it’s a silly sci- questions unanswered. Speaking positively about
fi chase movie, but at its It opens with a Chevelle his studio experience, Nich-
heart is me trying to deal throttling through the night, ols feels emboldened to try
with that: Pulling over to headlights off, with the fa- a $100 million film, should
the side of the road and ther and his accomplice the right opportunity pres-
hearing about children (Edgerton) driving with ent itself.
being shot and pictur- night-vision goggles. Their “The reason I’m more in-
ing my son being afraid in mission is vague and uncer- terested in it now is: I know
his final moments and just tain, but Shannon’s father is what to ask for,” says Nich-
being devastated,” says compelled by a faith in his ols, whose crew is popu-
Nichols. “Does the movie son and a determination to lated by regular collabora-
reach those heights? Prob- shepherd Alton where he tors like cinematographer
ably not. Is it good that it needs to go. Adam Stone, editor Julie
doesn’t? Maybe. But this is “That’s parenthood,” Nich- Monroe and production
what I was feeling.” ols, who has a 5-year-old designer Chad Keith. “I
“Midnight Special,” which son with his wife, said in know what I need to make
Warner Bros. will release Fri- an interview over lunch in a film my way.”
day, is the first studio film for Greenwich Village. “Just Nichols next film, currently
Nichols whose films — per- because you believe in being edited, is “Loving,”
sonal tales rooted in clas- something doesn’t mean about the interracial cou-
sically American movie- you understand it. In fact, ple Richard (Edgerton) and
making — have made the usually you don’t.” Mildred Loving (Ruth Neg-
Arkansas native one of the “Midnight Special” is a kind ga) whose marriage made
most exciting voices in in- of companion to Nichols’ them criminals in Virginia in
dependent film. “Midnight “Take Shelter” (2011), which the 1950s. Focus Features
Special” finds him develop- grew out of his anxiety in will release it in Novem-
ing his command of special becoming a parent. Shan- ber, placing it the heart of
effects in a bigger budget non played a paranoid fa- awards season.
production than he’s done ther who sees literal storm “Jeff’s very comfortable
in the past, yet remaining clouds on the horizon. around me, but sometimes
a steadfastly sincere story- “Fear has been the basis of being comfortable is not
teller. all of my movies, almost,’” the best thing for art,” says
“The thing that Jeff possess- says Nichols. “’Shotgun Sto- Shannon, who has a small
es in spades is if you carved ries’ was about the fear of part in “Loving.” ‘’It’s not
his heart out, I’m sure it losing my brother. ‘Take such a bad thing for him
would be heavier than Shelter’ was the fear of the to work with somebody like
most people,” says Joel entire world falling apart Ruth. It’s a different kind of
Edgerton, a co-star in the and the fear of becoming story for him and it’s good
film. “He feels things very a parent. ‘Midnight Spe- for him to branch out.”
deeply. His films are infused cial’ was the fear of losing For the ever-progressing
with an emotion that gen- my child. But fear in and filmmaker, “Loving” may
erally trends toward family of itself is not a story. It’s a be yet another evolution.
and love and protection catalyst that creates some- At the film’s mention, Nich-
and care. Even if there’s thing.” ols cups his hands over this
violence, it’s because it’s “Mud,” a Mark Twain- reporter’s voice recorder
and whispers: “It’s the best
movie I’ve ever made.”
“It’s very quiet. It’s very si-
lent. It’s very painful. It’s
very beautiful,” he says. “In
a time where the political
debates around marriage
equality and around race
are so heated, this film
just cuts through it. It’s just
about these two people.”
