Ethan Hawke and Richard Linklater on ‘Blue Moon’ and the Tension Between Art and Profit

At the Berlinale press conference for Richard Linklater’s latest project, Blue Moon, Ethan Hawke and the filmmaker engaged in a candid discussion about the current state of the film industry, the importance of creating bold, “offensive” art, and the tension between artistic integrity and commercial pressures. The film, which is competing for top honors at the festival, explores the tumultuous final days of songwriter Lorenz Hart, portrayed by Hawke, and is set against the backdrop of the 1943 opening night of Oklahoma!.

Hawke, a longtime collaborator of Linklater’s, emphasized the need for audiences to actively support and demand the production of challenging art in an industry that often prioritizes profit over creativity. “You guys, the community, has to make it important for offensive art to have a place in our conversation.

It has to be cared about,” Hawke stated. He argued that when money takes precedence in the filmmaking process, the result is a flood of generic content designed to appeal to the broadest possible audience. “When we prioritize money at all costs, what we get is generic material that appeals to the most people, and we’re told that’s the best,” he continued.

Linklater, known for his ability to balance art with commercial success, echoed Hawke’s sentiments, noting that movies have increasingly become an escape from the harsh realities of the world. He pointed out that offensive art—works that challenge the status quo—becomes more crucial during times of political or social unrest. “Offensive times conjure up offensive art. But arts, I mean, movies particularly, have always been escapism,” Linklater reflected. Despite this, he suggested that there is currently less “offensive art” being made than in previous eras.

In an industry often criticized for its commercialization, Linklater remarked on his own experiences, noting that he has been fortunate to create films largely free from the pressures of commercial demands. “It’s a low-budget film — we do whatever we want,” said Linklater of Blue Moon, underscoring the creative freedom he has enjoyed throughout his career.

For Hawke, the opportunity to once again work with Linklater, along with Blue Moon co-stars Margaret Qualley, Andrew Scott, and Bobby Cannavale, proved to be an exciting challenge. Reflecting on his decades-long collaboration with Linklater, Hawke admitted that his artistic journey has remained largely uncompromised. “I haven’t compromised much at all over the years,” he said, highlighting how both he and Linklater have navigated Hollywood without sacrificing their vision.

Qualley, who joined the Blue Moon cast, expressed her admiration for Hawke and Linklater’s past work, citing their previous collaborations, including the Before trilogy, as influential during her formative years. “When I was like 16 or 17, trying to figure out who I was, I turned a lot to Richard Linklater and Ethan Hawke movies,” she recalled, noting how surreal it was to work with the duo after growing up watching their films.

As the conversation shifted to the specifics of Blue Moon, which had its world premiere at the Berlinale, Hawke and his co-stars discussed their roles and the film’s exploration of Hart’s battle with addiction and depression. Hawke’s portrayal of the troubled songwriter offers a raw and vulnerable glimpse into the challenges faced by one half of the iconic Rodgers and Hart songwriting duo.

Linklater, whose Boyhood won the Silver Bear at the Berlinale in 2014, remains a key figure in the independent film scene, with Blue Moon continuing his tradition of low-budget, high-creative-content cinema. The film’s premise is rooted in real history, offering a nuanced portrayal of the personal struggles that shaped Hart’s artistic legacy.

As the festival continues through February 23, Blue Moon stands as a testament to both Hawke and Linklater’s commitment to art that challenges and resonates, regardless of commercial trends. For both men, the intersection of passion and commerce is a delicate one, but it’s clear from their discussion that they remain devoted to making films that push boundaries and spark conversation.