Double Play: James Benning and Richard Linklater

Linklater, then a former oil rig worker, wanted to showcase classic art-house and experimental films to a growing community of film enthusiasts and aspiring filmmakers in Austin. The goal was to foster a local community around independent and experimental cinema, which eventually evolved into the nonprofit Austin Film Society.

His interest in alternative cinema foreshadows his later diverse filmography, which would include everything from mainstream narrative films to experimental projects.

Benning first visited Austin after the Austin Film Society raised enough funds to invite him as a guest speaker. This was their first meeting, and they immediately connected both personally and intellectually, laying the groundwork for their enduring friendship.

This initial meeting in Austin would eventually lead to the documentary itself, which was filmed decades later.

Benning was invited as the first guest filmmaker because the society had raised sufficient funds to bring in prominent filmmakers. Being from Milwaukee but living in New York at the time, Benning was an established figure in experimental cinema, making him an ideal first guest to introduce Austin audiences to art-house films.

Inviting an established experimental filmmaker like Benning set the tone for the society's commitment to showcasing non-mainstream cinema.

Despite their immediate connection, their philosophies about cinema differed significantly. Linklater achieved commercial success with Slacker in 1991, leading to bigger-budget narrative films. Benning chose to remain true to his modest artistic roots, continuing to create structural non-narrative films largely independently. Their friendship endured despite these diverging paths, demonstrating that artistic compatibility doesn't require similar career trajectories.

This divergence is central to the documentary's exploration of contrasting approaches to filmmaking.

The title Double Play refers to the dual focus of the documentary - examining both the profound friendship between Benning and Linklater while also exploring the contrasts between their respective filmmaking approaches and careers. The title suggests the interplay between two filmmakers whose paths crossed and influenced each other despite taking very different routes in cinema.

The documentary itself is a 'double play' in that it presents both new footage and archival material.

Benning has been creating structural non-narrative films since the late 1960s, focusing on experimental techniques and often working in solitude. Linklater, particularly after his breakthrough with Slacker, became known for his unique narrative style in mainstream cinema. The documentary explores how one filmmaker embraced experimental, minimalist cinema while the other achieved commercial success with narrative films, yet both maintained mutual respect.

These differences make their friendship particularly interesting - it's a meeting of opposites who share a deep appreciation for cinema.

The documentary was filmed over several days in Austin and Bastrop, Texas. Key locations include the Austin Film Society where Benning's works were presented, Linklater's residence where they played baseball, significant filming locations from their past, and various settings for meals and hikes where they shared personal stories and conversations.

Revisiting old shooting locations adds nostalgic weight to their reflections on their careers.

The documentary was directed by film studies professor Gabe Klinger and produced in collaboration with Andre S. Labarthe, who is known for co-producing the French television series Cinema de notre temps (Cinema of Our Time). The film was made with the cooperation of both Benning and Linklater.

Klinger's academic background shapes the documentary's analytical approach to examining their friendship.

The documentary combines newly filmed content with comprehensive archival material. This includes footage from Benning's earlier structural films, Linklater's early 8mm and 16mm shorts, and historical material from the Austin Film Society's early years. The blend of past and present footage creates a comprehensive portrait of their friendship and artistic evolution.

The archival material provides context for understanding who they were when they first met.

Their friendship is significant because it bridges the divide between experimental and mainstream cinema. Despite Benning's commitment to obscure, structurally experimental films and Linklater's success in narrative filmmaking, they maintained a genuine intellectual bond. This friendship demonstrates that different approaches to cinema can coexist respectfully and that the independent film community can embrace diverse artistic philosophies.

The documentary itself argues that such cross-pollination between different cinematic traditions enriches the broader film landscape.