Summary

  • Collider's Steve Weintraub spoke to Ira Sachs, Ben Whishaw, and Rebecca Hall about their film Peter Hujar's Day at the 2025 Sundance Film Festival.
  • In this interview, they talk about capturing a moment in time through cinematography and dialogue, despite Sachs' rule of no rehearsals.
  • They also tease future projects, including Black Doves Season 2 and a thriller with Adam Wingard.

From Passages to Love is Strange, director Ira Sachs has made his mark on indie cinema through his authentic exploration of romance and relationships, particularly queer ones. However, in Peter Hujar's Day, which premiered at the 2025 Sundance Film Festival, he shifts his direction to a more simple, yet no less evocative, premise.

The film is based on the transcripts of a tape of a real-life conversation that took place nearly 50 years ago between the photographer Peter Hujar and author Linda Rosenkrantz. Played by Ben Whishaw and Rebecca Hall, respectively, the film hones in on this mundane, like-every-other-day day and turns it into a magical, intimate experience that captures an ephemeral moment of time. Between delving into trivial details that paint the picture of 1974 New York City and reproducing Peter's existential yearning with fidelity and elegance, the film transports us to an artist's world in the past.

At the festival, Sachs, Whishaw and Hal stopped by Collider's media studio at Rendezvous Cinema Center to speak with Steve Weintraub. They talk about encapsulating the essence of that time between choosing the right camera, getting the peculiarities of Peter's speech right, and talking to Linda, who is still alive. Sachs also explains why he sees this one-day, limited-setting feature as an "action film" and why he does not do rehearsals before shooting. They also tease future projects, including Black Doves Season 2, James L. Brooks' Ella McCay, The Beauty, Man I Love, and a thriller with Adam Wingard. You can hear about the making of this unique, boundary-pushing film in the video above, or you can read the transcript below.

‘Peter Hujar’s Day’ Is Based on a Conversation in the Past

"It is a real peculiarity of a film."

Peter (Ben Whishaw) lying on a couch smoking a cigarette in Peter Hujar's Day
Image via Sundance Institute

COLLIDER: I was in this movie, hook, line, and sinker. I have so many things I want to talk about, but everyone watching won't have seen it yet, so how have you been describing it to friends and family?

IRA SACHS: It's a film called Peter Hujar’s Day. It's based on a conversation that took place in 1974 between the photographer Peter Hujar and his friend Linda Rosenkrantz. The conversation was taped; the audio was lost, but there was a transcription of the dialogue between these two friends that was found 50 years after it occurred in the Morgan Library and was published in a book called Peter Hujar’s Day. I read the book, and I thought, "Let's make a movie of these two friends talking."

For the two of you. I know you are both offered a number of scripts, so what was it about this one that said, "I need to be a part of this?"

BEN WHISHAW: It's so unlike any other film I've read, and that was exciting. I wanted to work with Ira again. And I love Peter Hujar, and I love Rebecca. So it was many wonderful things all coming together.

REBECCA HALL: Same. [Laughs] It is a real peculiarity of a film. We talk about how hard it is to find spaces to make films that are innovative or different or push the boat in any way. When a script like this arrives, and it's doing that, you think, “How are you going to make this material?” It's sort of anti-drama. Nothing happens. In fact, everything that has happened happened somewhere else. Instead, you're being asked to make the art and draw the conclusions and see the friendship from just presenting the discussion of how they live.

Also, it's about people that we know about—well, Peter Hujar, not necessarily so much Linda. But there is that sense of a time capsule of a moment in New York. But also, it's not. It’s like any time capsule. It feels like the recounting of the things that happened in the day, and wanting to have a time capsule of that moment. And then we want to have the time capsule of this art, and then we're also left with this feeling of, like, we can't hold on to anything. That's why we have film, actually, so we can hold on to something.

Very eloquent and true.

How Ben Whishaw Prepared for the "Oddity and Inarticulacy" of the Film's Dialogue

"It was so rich, and I had to find a way for it to stay in my head."

Ben Whishaw at Sundance 2025 for Peter Hujar's Day
Image by Photagonist

I really did feel like I'd been transported back in time to two people in an apartment just talking. But one of the things that struck me was just how good the set deck was and the minimalist nature of her apartment, and just how unmaterialistic people were, especially in New York City. You do feel like you're transported when you're watching, so talk a little bit about accomplishing that and making the audience feel.

SACHS: In a way, I try to think of period films as being made in the present. I don't think of it so much as the past. You want to get as much detail as you can into it. And I think the text also brings a kind of authentic detail of time because it's of that time. I worked with Stephen Phelps, who's a great production designer—he had Anora also this year. He had an empty box of an apartment. Everything is built or painted or just brought in, so there was nothing there. That being said, the space is on the top floor of Westbeth, which is an artist housing in New York City that's been around since 1971. We channeled something about Westbeth and what it is to be an artist in New York.

You hope for things that are evocative. It's like Passages in some ways; Passages is an unrealistic film, but it feels realistic. You aren't avoiding things that actually make a mark. So, like, what is the piece of furniture? What is the couch? What is the rug? What is the bedspread? Each of these things makes its own mark.

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Ben, I am truly a really big fan of your work, and on this project, particularly, I believe 55 of the 58 pages is you talking. What the hell is it like for you in the weeks leading up to filming? Please tell me about what your process is to learn all of this dialogue and to enter that headspace, so when you step on set on that Monday, you're able to become this other character.

WHISHAW: It was just work. You just have to put your head down and learn it. I found it's such a fascinating task, precisely because it's not written, because it's actually someone's words with all of the kind of oddity and inarticulacy, but also articulacy and peculiar details and strange rhythms and repetitions. It was so rich, and I had to find a way for it to stay in my head. I had to find patterns within it and little marks that would cement it into my brain. I found that whole thing actually very interesting. I would just carry it everywhere with me. If I was in a restaurant, I'd get it out, and I'd just add another few lines in, and then I'd put it away.

SACHS: What's interesting, as you describe it, I realize it's something you did solo, like Hujar with the photographs. This was something you did alone. I didn't help him in any way except hand it to him. Then there was this task. So it's just interesting how it was an artistic, isolated action.

WHISHAW: Yeah, it was nice.

'Peter Hujar's Day' Paints a Version of New York City Lost to Time

"I always had a romantic notion of it that was built off of that time period."

The cast of Peter Hujar's Day at Sundance 2025
Image by Photagonist

In their conversation, they're talking about a New York City that is just long gone—the Lower East Side, and the way artists could survive on almost no money. There's no place in New York City that you can do no money now. Can you talk about what you learned about that period and what surprised you or what you romanticized?

SACHS: That's very true. I think all artists' lives are formed by their relationship to the economy. That's true with every artist of any sort. Specifically, what I notice in the text and in the conversation is, in the course of one day, Hujar has like five or six people stop by his house unannounced, knocking on the door and having some interaction, taking a shower, eating pizza or coming back for a negative. There's this physicality that we don't have so much anymore. And he's on the telephone with, like, seven other friends. I feel like that was just normal daily life. I think to be aware of that is not to be nostalgic but to understand what we've lost and maybe how we make up for that in some way. I think about how we also lost the Cedar Tavern, a place where people would spend time together not once every six months but once every couple of days. I think for artists that really was meaningful, along with the drinking.

Is there anything you'd like to add?

HALL: No, I was really interested in what Ira was saying because I do think the sense of community among artists is important. I moved to New York City a long time ago now, and I always had a romantic notion of it that was built off of that time period. I have fascinations with many artists, filmmakers, conceptual artists from that period, and musicians. It's different. I don't know how it's sustained.

SACHS: Can I ask if that's something you grew up with in your father and your mother's life? Did you feel like you grew up with a physical community of artists, and is there a desire to return?

HALL: With my father, yes, because he was working in theater, and I think theater people do still have that. It's disparate, but I think the act of rehearsal and the act of coming together and working on something without the performance piece yet, for like a month or something, fosters that sort of community. There were always those people around. But not really with my mother so much. I don't know. It's an interesting question. I think I picked this is as the New York of that world, and that kind of idea of being an artist was very much something that I became enamored with, for whatever reason.

Ira Sachs Describes 'Peter Hujar's Day' As an "Action Film"

"The film was going to be whatever it should and could sustain."

The cast of Peter Hujar's Day at Sundance 2025
Image by Photagonist

You guys shot on 16mm. What was it about that format?

SACHS: I would always shoot on film if I could or if I had the economic possibility because of the quality of the image. Not that it's a retro image, but it's an image which captures light in a very beautiful way. There's something about it. It's humanity. I guess that's why I chose it.

The movie is 75 minutes. Was there a producer or someone saying, “How do we get it to 90 minutes?” Or was it like, “This is the art, and it's going to be this length?"

SACHS: The latter. The film was going to be whatever it should and could sustain. I think that was something I was trying to discover. I like to make an entertaining movie, and this film, in a surprising way, doesn't push the questions of duration. It's not a durational film, and you're actually forced to sit in things. It's an action film.

It's interesting that you call it an action film. I think of some of the work that they've done would qualify more as action, but if you want to, I'll say it's an action film if you want me to.

WHISHAW: But you’re right, Ira, it's not a durational film. It's not like you're asking us to feel like we've sat through those hours with them. It feels poetic, more than that.

SACHS: It's a film that's based on movement.

I didn't read the text, so I don't know if that was all recorded on a couch one day, but the film that you have made, you have other locations where they're on the roof, and you're breaking the wall, especially the way the movie starts. I don't know if you want to tell people about that, but where and when did you decide, "I can go to a different location, or I want to move the camera?"

SACHS: Well, two things. One, I would say, in the middle of the night, I discovered that I could do that. I woke up with a series of images that suddenly seemed to say, this is the film. And I say that because I was very concerned. Could I jump? Could I make those leaps? Could there be ellipses of time and space? I kept doubting it and doubting it. And then, in the middle of the night, I woke up, and I was like, "I can do that."

I would say part of that came out of watching films made around the time, which were very personal films that were done in single locations with individuals—films like Andy Warhol’s Poor Little Rich Girl that he makes with Edie Sedgwick, films like Portrait of Jason, that were made in the Chelsea Hotel overnight, and a wonderful film by Jim McBride called My Girlfriend's Wedding. These are films that were a camera, a person, space, but also cuts. Cuts are being used. So that really gave me freedom or trust or permission.

'Peter Hujar's Day's Cast Didn't Rehearse Before Filming

"What a camera does is record a moment that should not be able to be reproduced."

The cast of Peter Hujar's Day at Sundance 2025
Image by Photagonist

I read that there were no rehearsals on this. Do you enjoy not rehearsing or do you want rehearsal? And what was the benefit of not rehearsing for this?

WHISHAW: Ira never rehearses. It's not what you want to do. But you still have to find it. And that was limited somewhat because we were working with film, but it's still a process. It's just that you're starting to shoot it rather than rehearsing to nothing.

SACHS: In a way, the experience of the film of this text is really about understanding what is precious in the moment—in this moment or any moment. For me, what a camera does is record a moment that should not be able to be reproduced, which doesn't mean that there isn't a process to get there. But it was a real risk. I thought on day one, to be honest, that I'd made a mistake. Really. I don't know if I told you that.

WHISHAW: No, you did tell us that. [Laughs] Because we reshot the first day. We were very aware of it.

SACHS: Because we had not rehearsed. I thought that was really a great idea. That was maybe a terrible one. But we found a way in order to prepare the text, which didn't lose the fact that it would not... There are so many things in the movie that would never have happened if we had rehearsed it—thousands in the movie. There are just moments that are discovered between the two of them that have to do with the instant.

One of the characters in this movie is still alive. Talk a little bit about what it was like talking to Linda and what you gleaned from those conversations. It's a huge luxury.

HALL: Yes, it is. I've played quite a few real people in my career, and not that many who were alive that I could use as a resource, so it was really interesting. You feel a responsibility, regardless, when you're playing someone who exists, whether they're alive or not. But I definitely felt a responsibility to do her a service, not so much in doing a precise impression of her as just doing something that she would not feel embarrassed by. I think that it was helpful I was able to talk to her. I didn't want to ask her things about that day or specific things. In a way, I wanted to not hem myself in. But I did want to get a feel for her, so we just talked. We talked about life. Then I would ask her to send me audio clips of some stuff, words, and this and that. I recorded a teeny-weeny bit of one of our phone conversations, as well, which had its own kind of meta-irony. So, I had her voice with me, as it were.

SACHS: I was going to add that, in a way, something happened between Rebecca and Linda, who were going to meet in about 20 minutes for the first time. I've met her before, but Rebecca has never met her in person.

HALL: No, I've only ever spoken to her on the phone.

Has she seen the film yet?

SACHS: She loves the film. She’s very happy. I put the two actors together; they go out and spend time together, but I really don't want to be the third wheel. I think something happened between you and Linda that was very significant and that you bring to the film that I was not witness to.

HALL: I can't really tell you what it was. We connected, and that's really all it takes. A lot of acting is just acting off of that kind of connection.

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Ira Sachs’ film centers on the friendship between photographer Peter Hujar and writer Linda Rosenkrantz over one conversation in 1974.

I am a big James L. Brooks fan. He has not made a movie in 15 years, and you are in Ella McCay.

HALL: I am.

What the hell was it like being with James L. Brooks? What can you say about the movie?

HALL: It was really dreamy. I'm a big fan of his. Broadcast News is the film that's been with me for a long time that I love and enjoy for many reasons, as well as many of his other films. It was a real trip. It was sort of everything I wanted it to be. I had a great time. Great other actors, as well—Woody Harrelson and Jamie Lee Curtis. Emma Mackey is fantastic. I had a really good time.

SACHS: Christine is like the antithesis of Broadcast News.

HALL: It is. It's like the opposite on the color wheel.

What can you say about the character you play? What it's about? I'm not sure how much is known.

HALL: I am not either. You’ve blindsided me, and I'm not sure how much I'm allowed to say at this point.

I won't get you in trouble. I'll just say you had a good time and let’s leave it at that.

Ben Whishaw Teases Netflix's 'Black Doves' Season 2

"It hasn't been written."

Ben, I watched all of Black Doves. It's a fun TV series on Netflix. What can you say about Season 2?

WHISHAW: It hasn't been written, so I actually can say nothing. I know nothing about it. That's boring, isn't it? You're not interested in that, but it’s the truth.

I think for fans of the show, they'd rather know, okay, it's not written yet.

WHISHAW: It's not written. It's six months, or seven months away, or something.

It was a big hit for Netflix. When you were making it, did you realize, “Oh, this might be something?”

WHISHAW: No. Honestly, no. Because actually it wasn't very written when we did the first season. I was quite terrified because there were not really scripts. There were scripts, but this was particularly sailing close to the wire. So, somehow, it came together.

Do you know what else you're filming this year? This is for both of you.

SACHS: We’re going to make a film.

WHISHAW: We're going to make a film together.

Now we're talking. This year?

SACHS: Yeah.

Have you written it yet?

SACHS: Unlike these things, we actually do write a script. These things that they make for other forms of media.

Oh, I have to do a follow-up. Can you tell us the title?

SACHS: It’s called The Man I Love.

You want to tell anyone what it's about?

SACHS: It's a film set in the late ‘80s in New York City.

Everything I'm hearing is good. Do you know when you're filming?

SACHS: Well, we have to shoot before Black Doves.

WHISHAW: The summer. We're going to do it in the summer.

I won't pressure you anymore. What are you possibly filming this year?

HALL: I’ve just wrapped on an Adam Wingard film that he's made that’s a kind of thriller thing that he's made that's not Godzilla/Kong.

Dr. Ilene Andrews (Rebecca Hall) looking at person offscreen in Godzilla x Kong: The New Empire
Image via Warner Bros.

I know what this is. I saw pictures. Oren [Soffer] shot this.

HALL: Yeah.

Yeah, I saw pictures.

HALL: I'm probably not allowed to talk about it. It hasn't been announced. Whoops. It's being announced tomorrow. I forgot I've got my days mixed up. And then I'm also working on this Ryan Murphy TV show called The Beauty.

I've heard about that.

HALL: What else am I doing? I'm doing other things. I can't remember. There are other things going on. There's a lot going on. I'm angling for a walk-on part in this movie, but I don't know.

What about directing again?

HALL: I'm hoping to do that. I don't know when that's coming together yet. I'm still working on it.

Do you have a script?

HALL: Oh yeah, I have three scripts that I’m trying to get made. Ira’s read it.

SACHS: It's so great and beautiful.

That's good praise. I definitely want to ask you one other thing.

WHISHAW: Is it about Cloud Atlas?

No, but do we all want to agree that it's a masterpiece? Because I feel it's a masterpiece. Have we all watched it?

HALL: I’ve never watched it.

You have not watched Cloud Atlas? So the first 10 minutes is a little dense because it's setting up a lot of storylines, but it's fucking incredible. That's my review.

SACHS: We’re going to go watch it this weekend.

Have you not seen it either? Ben, these are not your friends.

SACHS: I didn't even know you were in it. [Laughs]

He plays more than one role.

WHISHAW: It is actually quite a wonderful film. It’s so unusual.

It is incredible. And you're friends with Lilly [Wachowski]?

SACHS: Yes. I work with Lilly in an organization called Queer|Art. Lilly is a mentor for queer mentorship, which is a program I started.

Can I ask you a favor?

SACHS: Yes.

After Sundance. Give me your word. You're going to watch it.

SACHS: I give you my word.

HALL: Absolutely. I feel ashamed I haven't.

I'm teasing you guys. There's a million things to watch.

SACHS: I’ve never seen Jeanne Dielman.

Yeah, but that's okay. But Cloud Atlas is not. I’m just teasing. I am a fan of your work. Are you the type of person who has a lot of scripts in the desk, or do you finish something and then start writing the next?

SACHS: I do that in general, but this thing that we're going to make this summer, I've been working on for a couple of years, and then made Peter Hujar’s Day right in the middle of that.

Special thanks to our 2025 partners at Sundance including presenting partner Rendezvous Capital and supporting partners Sommsation, The Wine Company, Hendrick’s Gin, neaū water, and Roxstar Entertainment.

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Your Rating

Peter Hujar's Day
Release Date
January 27, 2025
Runtime
76 Minutes
Director
Ira Sachs
Writers
Ira Sachs
Producers
Sol Bondy, Lucas Joaquin, Adam Kersh, Martín Kalina, Corin Taylor, Alfredo Pérez Veiga, Inés Massa, Jordan Drake, Jonah Disend, Nadine Rothschild