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Abscnceof MalickWhy, at the height of his talent, would a highly acclaimed

director simply disappear? An investigarive biography

BY DAVID HANDELMAN

You know, uh, Jrom what I know of Tbrry, hewouldn't particularly want an articlc wittenaboul him, so, I, I probably wouldn't, uh,want to inaolue m7self. Sorry to be, I mzan, Ilwpe 1ou don't talcc ofmsc....I just knowthat - in gennal - he's . . . gone awfully far tosort oJ, uh, to stal auay Jrom all sorts oJ

ror or sex movies are made under simi-lar circumstances, often under the mis-guided hope that the trash will turn aprofit, enabling everyone involved topursue his "art." Terry Malick used the$300,000 to make his art. VincentCanby called. Badhnds 'hugely effec-tive," "always ferociously American,'and the film's moody vistas, avertedglances and deadpan narration quicklymade it a cult hit.

It took Malick five years to Droducea successor, but 1978's DaTs of Heaocn,about a trio of drifters lost among thewheat fields of 1916 Texas. won himBest Director at Cannes and evenwider acclaim . Newsweek described thefrlm as "hauntingly beautiful ...un-ashamedly poetic, brimming withsweetness and bitterness, darkness andlight," and normally cautious Varictycalled it "one of the qreat cinematicachievements of the- last decade."Clearly, Malick had become someoneto watch.

But asi.de from curious cameos inboth his films - he played an architectin Bolhnds, a farmer in Days ofHcaom-Malick has maintained abso-lutely no public profile. He hasn't evengranted Ern on-the-record interviewsince 1974. Says Brooke Adams, whomade her screen debut in Days ofHeaom: "It takes him a lot of energy toexplain himself.'In fact, after Badhnds,Malick was so drained by the experi-ence he swore he'd never direct again."On the set", it seems like the sky's thelimit," he said in one of his last'inter-views, Sut it usually comes out as ruD(-iery because when you see what you'vedone you're aware of what you coulddo if you knew how. The hardest thingto accept is that it leaves your control soquickly."

An ironic but predictable statement,to be sure. Ironic, because in the space

of five years Malick had achieved thetotal control every filmmaker covets.Predictable, because at the end of thattime Malick, as he had with football,journalism and teaching before, simplywalked away from it all.

In 1979 Terry Malick disappeared."He's the ultimate phantom,o says

Bnnl Hills Cop coproducer Don Simp-son, who was Paramount's vice presi-dent of production during Da2s ofHcaam. "Last I heard, he was in somegarret in France with no electricity andno phone. There are so many rumorsabout him*it's like Ken Kesey's fakesuicide. In fact, I wouldn't be surprisedif he were dead."

Well, not quite. In 1983 Malick didrepay Harvard for a twenty-year-oldloin, and early in 1984 he ieportedlyshowed up at a friend's wedding. Butwhat he's been living on, and whetherhe's working on movies, remains shad-owy. In 1983 Vanity Farr reported thatParamount was paying him a yearly re-tainer and had yet to see a script. But auiually garrulous Paramount executivegets cagey on the subject. uWe have anunderstanding, that's all. He's indepen-dently wealthy-oil money. There's nostory." Except that Malick's friendscontradict this claim. *Ierry's dad didwork for Phillips Petroleum," says one,"but they weren't rich. Terry just livesausterely.'

Even Malick's reason fior leaving isdisputed. Martin Sheen, who starredin Badlands, says Malick withdrew fromHollywood because "he felt he couldn'tgrow here. There are too many distrac-tions. Too many dead-end streets.o YetOrion executive vice president MikeMedavoy, Malick's first agent, says, uI

don't think Terry's encounter with Hol-

things. -Wallace Shawn

ERRENcE MALICK HAs al-ways gone awfully far to stayaway from all sorts of things.After playing high school

football in Texis 'and

miking all-conference, he dropped sports for moresober pursuits when he got to Harvardin 1961 . He won a Rhodes scholarshioto Oxford but didn't complete hisgraduate thesis. He landed a'plum as-signment for the New Yorker but neverfinished it. He lectured in philosophya1 MIT for a year but, feeling he"didn't have the sort of edge one sh-ouldhave on the students," he turned tofilmmaking. What the hell.

"I'd always liked the movies in a kindof naive way," he said later. "Theyseemed no less improbable a careerthan anything else." So in 1969 Malickwent to film school and, barely threeyears later, managed to raise $300,000to finance his first feature, the coollyironic Badhnds.

The story of how this rookie efortgot made is a classic-perhaps tieclassic-Hollywood myth. Not becauseMalick ran around for funding, notbecause the crew was nonunion, dis-jointed and working for slave pay, noteven because the writer-director wasonly 29 and came out of nowhere, butbecause Badhnds, which was based onCharles Starkweathey's,1958 killingspree, is so good. Plenty ofcheapo hor-

Daaid Handclman wites ofun about Holfi-uood. This is his jrst fieuJor California.

104 NovEMBER 1985

Tlu autzur as dropout: on tlu Badlands setwith Martin Slun

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lywood was negative. He went througha deeper philosophical questioning.Sooner or later, he'll pop up, and they'llcome out of the woodwork for him.nPu, will they? Screenwriter JacobBrar kman, who went to Harvard withMalit:k and was executive producer ofDg2s of Heaaen, says, "Some people inHollywood think Terry makes'esoteric'p ictures, which is a big 'uh-oh. ' "

Out of touch with people for years,Malick still inspires a dome of silencethat is Mafra-loyal, as if investigatinghis whereabouts mieht shatter somifragile, cherished objet d'art. Adams,Sheen, Medavoy and Brackman areamong the only Malick associates whowill consent to discuss him. More com-mon is the reaction of producer BertSchneider: "Malick's a great man and agreat director. I'm sorry he isn't mak-ing fi lms. That's all I have to say." Thesame response comes from Days ofHeauen star Richard Gere. DiinevisMichael Eisner, Harvard professorStanley Cavell and Malick's'ex-wife,brother and agent. Badlands costarSissy Spacek, on the other hand, adds acautious condition: "I iust want tocheck this with Terry first. Do you knowwhere I can get in touch with him?"

To learn what became of TerrenceMalick depends on finding out firstwhere he came from. Like his protago-nists, MaIick drifted into situationswhich stirred him into action. He wasborn on November 30, 1943, in Ot-tawa, Il l inois, and grew up in Waco,Texas, which he latir said'was full oisnake handlers and hard-shelled Bao-tists. His parents moved to Bartlesville,Oklahoma, where his father helpeddevelop a food substitute made of yeastfor Phillips Petroleum. Malick at-1e1de! Saint Stephen's EpiscopalSchool in Austin and spent his'teenigesummers "in solitary," working on dilwells, driving a cement *Ler otfollowing the wheat harvest north. Hewould sleep on Greyhound buses or infields and toil alongside vagrants, ex-cons and dreamers.

Arriving at Harvard in 1961 sur-1og1d9d by overachievers, he 'felt verybehind," according to Brackman, othathe'd never even read Winnic tlu Pooh,and had to catch up." He studied in-tensely-not course work, but his ownidea of liberal arts. His keen mind andbroad humor (he often mimicked the'dumb Okies" he'd grown up around)attracted loyal friends, and they wouldspend their time sitting around theAdams House dining hall discussingWittgenstein and Heidegger overcountless cups of cofee, Still, whileMalick enjoyed this artsy bohemianenclave, he disliked Harvards authori-tarian, cobwebbed atmosphere. He readlots of trash, ate lots of Mexican food,racked up many pool games. He also

f06 NovEMBER 1985

took off at the end of his junior. year, chris, an oil speculator, and togethertraveled to Germany, met Heidegger they raised $soo,ooo.' Badtan& ex-and translated his Essence of Reason."" ..uiiu. producer paut witti.*, ...ulr,

- -Straight-A and Phi Beta Kappa, 'It was the one time in Holywood thai

Malick graduated in 1966 and, paitly you could get financing for 'difficult'to avoid the draft, pursued and was projects.o Alienation films were bis.awarded a Rhodes scholarship. But he th.anks to Easy Rider and, Fiue Edyhated Oxford and said talking to the Picces.British "was like trying to talk under- Malick shot his first feature inwater." A rift with his thesis adviser eastern colorado between August anddeveloped_which made.it impossible_to october of r972. He reporteily gavecomplete his p_hilosophy degree. He investors no g'uarantee of comple"tionthen turned to Latin American studies or distributioi, paid himself no'salaryinstead and bought some paperbacks and his actors and crew not muchon cinematog.raphy. He.was in his early more. The costumer, mechanic andnventies, and he was decidedly.unde- Malick himself all enjed up acting incided about what he wanted to do. the film.. (During.a spring.break from Oxford, As not only director but producer,he traveled P..91?i-". u,ith two friends, Malick suddenly found himseif dealingone of them Bill weld, now the u.S. at- with insurance costs, auto mainte-torney for-the District of Massachusetts. nance, unionizers, ,hotgr..r-*ieldingcrammed into a tiny Fiat, drivingend- landowners and a mutino-us crew. Hiiless miles, the three were unable to de- first cinematographer, Brian probyn,cide even what hotel to check into. ult wouldn't shooi what Malick wanr;d;wasn't a question of conflicting wills," claiming the scenes wouldn't cut to-wrld says now. "There was no will at gether.

*kobyn's assistant, Thk Fuji-

all."), ., _ moto, then iook over, but also le'ft.While at Oxford, Malick had been Some equipmenr was damaged by the

w-orking. weekends as a string.er for fi.lm's firt sequence. when-a special-Neutsweells London bureau. when he effects man

-sufiered severe 6.rnr,

finally decided . to leave _s.9hoof he Malick, unable to asord a helicopter,managed_to land a spot in Lt'lsMiami sent him to the distant hospital by-car,bureau. But he soon left and knocked andmanycrewmembersquitinprotest.around Bolivia, supposedly profiling For the last two weeks-of the shoot,Rdgis Debray for the New Yorker. In the entire crew consisted of the direc-1968 his academic background got him tor, the directorrs wife and a locat hieha lecturing position at MIT. There, he school student. Then Malick .u.n out-ofmustered $1,100, made a movie and money while editing and had to take awas accepted to the first-ever class of rewrite job to finish his movie. whenthe American Film Institute. Later, he shown to the New York Film Festivalmarried Jill Jakes, an assisrant of Ar- selection board months later, the printthur Penn, who eventually became an broke, the sound was muddy, the pic-ACLU lawyer, and the two lived for ture was out of focus. yei Badlandsr.^ugl-?l ygars in the Los Angeles home landed the prestigious closing-nightof Jill's friend, George Segal, before slot and drew raves. Warnefi piiamoving into a ranch house in Nichols $950,000 for the distribution righti.Canyon.above Hollywood. Malick soon became a celebriiy (pro-

Malick wrote and'directed one short filed in Esquire alongside spielbelg'andat AFI, and Mike Medavoy promptly Lucas), which on"ly intensifieJ hisg9t-hiT rewrite jobs: two days onJack Texas'reticence. Ai an AFI benefitNicholson's Diae, He sald, five weeks screening of Badhnd.s, confronted withyn DirtT Harry when it was M-arlon the possibility of making a speech, heBrando's. qrojecl.,He al-so completely turnid to Bili weld and"confiied, ;If Irewoted.Poc,tal Monqt, a box-ofrce flop even have to say one word, I'm gonnawith Paul Newman and Lee Marvin. die." He tord i reporter,'"Frori thislnf4i"k was. making I Sgoa living point on, I'm being watched. Thatwithout working too hard, and hii iould trip me up.' ilir bri"f stint asrepqtatiol was growing. underdog was ovir.

Then he wrote Deadhcad Mihs. The He bJgan playing the Hollywood1971 would-be oroad' film- was so awful game, beiig seen at th"e requisite parties.Paramount never released it-not even He told Wela that his

-view -of theto cable. Directed with no sense of con- goings-on coincided with Brackman'stinuity, action .or comedic timing by l-ine ibout Atlantic city in Tlu King ofone vernon Zimmerman, it inexpli- - Maruin Gardms: "I love-it. All the h-uj-cably stars New Yorkish,Alan Arkin as tling is out in the op€n." But even witha dim-witted Texas trucker. his igility in bankrolling his first film,

Unable to stomach the mess made of Mali;k wasn,t the husfiing type. Hihis screenplay, Malick 'decided he didn't like to talk about irovies andwould have to direct his own stuf, and deal memos. His next project got ofwith that intention he began writing the ground only becauie oi thJ s[ck-Badlands. He recruited his brother (continwd on pagc I2Z)

Malick(contintud Jrom pagc 106)ness of producers Bert and HaroldSchneider, whose track record withlow-budget hits induced Paramount toentnrst Malick with 92.5 mill ion.

Malick watched Day of Heaoenliterally move out of his iontrbl. As theproduction dare kept being pushedback, the location shifted n6rth withthe harvest from Texas until it endedgp_in kthbridge, Canada, in August1976. The director had wanted Johntavolta and Geneviirye Bujold tdplay

his wayfaring field hands, but tavoltahad TV commitments and Buioldproved too demanding. The weekbefore shooting started, Malick, whoseemed uncomfortable with the wholeprocess of auditions, finally cast RichardGere, Sam Shepard, Brooke Adams andstreet urchin Linda Manz: four leadswho basically had never been in a moviebefore- Manz couldn't even read -andwho didn't f i t what was written.

So despite a budget nearly ten timesthat of Badlan&, the backing of a majorstudio and the services of Truffaut's ac-claimed cinematographer, Nestor Al-mendros, Malick was running blind.His nervous desire to oversee every last

detail made him openly crit ical of castand cre\\ '. "At one point,n BrookeAdams recalls, ' I told hinl, ' If you'djust trust us a l itt le more, we're a.l l reallyready to have a great t. ime.' He said,'Brooke, if we have a great t ime on this,i t ' l l be a mediocre f i lm. 'n

"During the product ion," JacobBrackman recalls, "we realized weweren't going to get the picture wethoueht. An enormous amount of foot-age began to pile up. The decision wasmade to go broad-more Tolstoy, lessDostoyevski, a big canvas in which thepeople get smaller and the performancesbecome less important.' High-pricedL.A. actors were flown in to improvise

.il

background scenes. Harold Schneider

understandably balked, reportedlv tell-

ing Malick, "^l-his isn't in the script- i f

the principals don't work out, we don't

have a picturr' " As it turned out, nearly

all these subsrrliary characters were left

on the cutting-room floor.So Dals of Heauen, which Variay

would later describe as "planned long

ago," was actually a precarious venture

tliat Malick had to salvage by doctoring

his script on location and in the edit ingroom. He developed something the ac-

tors jokingly cal led " la Mdthode deMaleek," sending them out in the

wheat and shouting direct ions: "Lookup, look behind you, look confused,iook hurt. . . ." "I t wasn't malicious at

al l ," says Adams. ' lJust that the night

before , he'd get a great idea."Many might quibble with such tac-

t ics, but Mal ick 's v is ion was generat ingphenomenal footage. He sent somewordless, strung-together scenes to

Paramount and got them to raise the

budget to $3.2 mil l ion.But did he have a story, or just pretty

pictures? He had originally written a

iragedy that was redeemed bY the

voung eir l discovering true love. ButLi"ai iv{anz looked

-too young and

acted too butch for this theme, forcingMalick to modify his ending: instead,Manz wanders off into the horizon witha female companion, saying, "Shedidn't know where she was gonna go,or what she was gonna do." Returningto Hollywood with miles of ellipticalfootage, Malick must have felt thesame.

Amid the uncertainty, he holed uP inedit ing rooms and spent six monthscreating a stereo mix, a rich soundtrack that complemented the film'sremarkable visual style-i ts framing,lighting and movement. Finally, aftermonths of indecision, Malick fell backon Manz's voice-overs to link the loosescenes, despite the fact that anotheradolescent girl's narration would inviteinstant comparison to Badhnds.

Critical reaction to Dqs of Heattmwas divided. While some exPressed

outrage at its detached, diffuse style,

others" declared that even if Malick

never directed again, his name would

endure. Yet no one could tell whether

the film's quirkiness, biblical referencesand parallels between human andnatural phenomena were intentional ormet" o.t-lo.ation by-product, becauseMalick wouldn't talk. The few times in-terviewers reached him, he scoffed atthe mention of "influences" anddismissed any suggestion of a g ryatsvnthesis of sight and sound. ForUai.t. whom his friends call hysteri-cally funny, the frlming of DaY oJHcpcn proved to be a terribly unfunnytime. Ii[ Iakes had filed divorce paPers'ana Mdiit began getting heavier, his

new beard grai-er.After Dalts oJ Heauen opened, people

began treating Malick l ike a star. "Ialways wanted to be a criminal, Iguess,n Kit Carruthers explained inBadlands. "Just not this big a one." Pro-ducers offered Malick large fees to di-rect other writers' scripts, completelymisreading where his talents lay. "Terrycouldn't make a Kojak," one colleaguesays. "He said as much himself. OnDavs of Heauen he'd lilmed the entirestory,

-and yet it didn't get told, He

covered up directorial lapses withvoice-overs. But he turned his vicesinto virtues. It 's something scary if youget away with it-you feel fraudulent,people are call inq you a genius. You.u.ri n...rruri lv Juplicate it."

So Terry Malick went AWOL.He supposedly told one rePorter he

was going to buy aJeep and head up toMalibu to escape the smog; anotherthat it was "time to move and start awhole new chapter." His interestpiqued by The Snow LeoPard, Malicklook off for the caves and shrines ofNepal with Bert Schneider, Schneider'swife and Schneider's secretary, aspiringdirector Michie Gleason. Always sus-ceptible to quixotic bursts of fascina-tion, Malick now sought the spirituall i fe of India.

Which, as it happened, inspired himto start work on another film. Around1980, on the salary from Paramount,he began developing a script to be setin either Texas or Paris, with a drawn-out prologue reenacting the creation ofthe universe. This prologue soon con-sumed the rest of the film and began totake on Star Wars proportions. Malickconsulted with an asrophysicist, thendispatched a crew to test l ight andlenses, record natural phenomena anddress lizards to look prehistoric. Heseemed bent on topping himself, wan-dering close to lunacy to avoid repeti-tion - or failure.

No one can pin down exactlY whathappened next. Former Paramountprisident David Picker says, 'All Iheard was that the studio had devel-oped another Malick Project theydiant tite or thought too expensive.'Chris Matick disassembled the produc-tion office, and not even Terry's ghostremained in Hollywood. Malick setdedin Paris, helping Michie Gleason withher film BroEen English, readingvoraciously and touring the homes oflegendary writers. His. hiatus from film,stange yet unsurprising to 1!r9s9 ryhoknow him, extended itself until it had tobe considered a permanent detachment'

After years of not seeing Malic.\'Martin Sheen sought him out whilemakins a movie in Paris in 1981 . Sheenhad iuit eone back to Catholicism aftera .euelatiry trip to India but found that"Terrv wai *av ahead of me. He had

been quietly pursuing the work of thespirit for years. We became likebrothers." Yet not once in their threemonths toeether did Malick mention amovie project. "I 'd ask him what he wasworking on; he'd say, 'Oh, this or that, 'brush it off with a laugh, a story or ajoke, and {hat was the end of it."

In contrast to Brooke Adams, whohasn't seen Malick since DaTs of Heaaenwrapped, and.f acob Brackman, whomVtaii it ; 'd.opped" for the past fewvears. Sheen claims that he cor-resoonds with Malick and visits him.Where? "He's not in California. He'ssomewhere in the U. S. working on sev-eral screenplays, but he's very protec-tive about it."

One rumor says that some Harvardfilm faculty recently read a Malickscript, thought it bri l l iant, but learnedthat Hollywood had rejected it. How-ever, Malick's mentor, ProfessorStanley Cavell, quietly demurs: .lNe

don't want to say anything that mightupset Terry." Days of Heaurn editor Bil ly!V.b.. says Malick "definitely wil lmake more movies. It 's just that it takeshim a long t ime."

But it may not be as simPle as that.Reverend Jim Tucker, who taughtMalick in hieh school and still seeshim, says, "Terry is deeply thoughtful,philosophically very inquiring, andwon't aicept easy or pat answers' Thismakes life troubling for him, you see.He can't take things superficially."

Malick's friends and colleagues areprotecting more than a troubled soul,ihough. In his absence, Malick hascome to represent an ideal of mythicproportions. Jack Fisk, art director onboth of Malick's f i lms, says, "Thewhole mysterv is something I love. Ilove wantins to know about him. It 'skind of woiderful. How can a guvmake two such wonderful films anddisappear in this day and age? Wheneveryone else is hungry to get his pic-ture in a magazine? Terry seems to bean old-time artist."

I, too, began cherishing Malick'smystery and had trouble finishing this

".ii"I..'It sat around for months. Then

I heard new rumors: that Malick wasin Nova Scotia and/or that he was do-ing anonymous script doctoring to earna liti.rg.'J halfheartedly called my re-_mainin? contacts to try to verify any ofthis. One person said, "I think the bestthing would be for You to ask TerrYhimJelf. Hold on, let me see if I havehis number around.'

Before I knew it, I was dialing aTexas phone number' A child an-swered.- Is Mr. Malick home? "Yes,hold on one second." Malick got on theline. speakine soft and slow. I ex-plained who I was and asked what he'db.en up to. There was a long, longsilence.

CelrroRNIA MAGAzINE 129

,,ll; ' ' lol;,1',,:n' l"tu"" I don't wanr

. I tolcl hirn w.har a l 'an I was, and thenh(' \ropprd and askcd i f

" , . *; ; ;eJ-inr ,r f l ' thc record. I said, whlte;; ; ; :

\^, i i rr ted. So the rest cannor U" , .po.i"albtr r 1ls;s'5 not much to report: tenrnirrutes of abort ive , .nt .n. . r , in

" ,h ichhe real i l rrned his discomfor, " i

f , iul [-lng.ro srrangers. Al l he'd sav about thevanous rumors was that I could rel lwhat, was si l lv and whar wasn,r . Heasxco, \1h) l was doine the art ic le; I:a 'y

I ( l :uCht. u mighr improve hisc.acher-. He iaid he wisnt f.!ilrg i..that., He seemed rruly sorry tha"t hewasn t berng more communicative, andtrulv concerned rhat I mieht publ jshhis r thereabouts. Af ter , t . p"rr i , * . .*more prormcred. I thanked him andsaid eoodbr.c.

_ lVlalick once said thar he,d wrirtenBadlands abou t an ua,rt.r*.,t

- ' ni.ibecause he "nanted ,n rt-,"url u t ina".ri

openness, a vulnerabi l i tv rhat disap-pears .later when you ger a l it i lesavvrer.- Ar rhe hearr o f Diy, of H*,)r 'too. is L inda \ lanz's nn. ide- i re i urr i rn i_lation of rhe worjd's spectacle , h.. ;; i i_l1gl..:, , ro so w herer.e r fatc le ads.lv lalrct i has apparentlv reVerted to asrmrlar l r ' . nei l srare. br jnqine hisJou.r lgl ' l iorn Texas ro the Irv L"."er.to Hollvrood ful i circlc. H.

"; ;- ; iJMartin Sheen of his deep utl".t ion io.the "simple . eood people; he hud onc"mlmlcked.

^,11o9". . r Don Simpson predicts rhat

rvralrcx s nexr movie ,wi l . l probablv take

ten !.ears, win an Oscar and make mil_l ions. of dol lars." I f that 's *tu, Hoi i i l -y:g,i : erpecring, ir's no u,ond.. if,u,.vrancl i has swen.ed ofl the pavementfor rhe prair ics Caught ,p i ; . ; ; ; ;_plcase,rs and par melodramas cal ledarr . Dccause thev don.t contain car

crashcs. Hol lvnood is running.f , " i , " r rIn\ cnt t \ e - t l rmperfect _ v is ionar ie s.

, "o:o f lrckennq mornent. i t seemed

thar lern' l r lal ick would f i l l that bi l l .

I^ulwrrh onlr. (wo f i lms under his belt ,

ne now,seems trapped between detrac-

i""i::j: tanarics, unsur€ of his.footing.

Friends say he has slimmi';ffi;secms happier and has recenrty b.gunserlous scrrpt work, but a new Matickntm may be as unlikejy as a new Sal_rnger novel.

. . Whatever became of Terrence Mal_ick? Bill Weld tells a srory rhat mavprovide the best answer. In the mid'_seventies, Weld r,,,as living on LoneIsland, about 60 miles froir Mun-t#tan. M_alick and his wife were in N;;Yrrk City, so Weld invited th;n 1;clnve our and visit. Malick cailed andl?id, "l can't lace coming ouf i; ;;;kind of traffic. If you *.?r;ir;;; iaway at 70 miles an hour the wholeway, okay- But one-and-a-half hours intrafl it -I just can't do it."

- ;

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130 NovEMBER t9g5