IT’S TAKEN FOREVER for mainstream Hollywood to figure out what Christine Vachon could have told them decades ago if they’d hung out in the same bars: that you have to know how to pivot, that niches matter, that vision matters, that ticket buyers want to see themselves onscreen almost as much as they want to see stars. The Manhattan-born producer remembers Todd Haynes’s movie Poison bringing LGBTQ+ people in droves to the theater in 1991 simply because they hadn’t been represented anywhere near enough yet. “Half of them walked out of the theater going, ‘What the fuck was that?’ And some of those guys were like, ‘I just wanted to see some boys kiss,’ ” Vachon says. “But I realized that, if you made a movie targeted specifically to that audience, it didn’t have to cross over if you made it for the right amount of money. That was an incredibly liberating feeling— the true collision of art and commerce.”
Esta historia es de la edición December 2023 - January 2024 de Vanity Fair US.
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Esta historia es de la edición December 2023 - January 2024 de Vanity Fair US.
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