Director Daniel Raim on why he felt the need to make a film on Hollywood storyboard artists Harold and Lillian

What’s common between The Ten Commandments, The Apartment, The Birds, Who’s Afraid Of Virginia Woolf, The Graduate, Fiddler On The Roof, and the Scarface? Storyboard artists and researchers Harold and Lillian Michelson. Like many artists who unflinchingly worked behind the sheen of cinema, this couple too did, for nearly six decades. Director Daniel Raim and executive producer Danny DeVito felt they need to narrate the story of Harold and Lillian and the result is Harold and Lillian: A Hollywood Love Story, a documentary that looks at the intertwining of their personal and professional lives. The film was screened this past weekend at IFFI, Goa, and Daniel plans to screen the film in Hyderabad soon. In this interview, Daniel Raim discusses the making of the film and more.
In cinema, one often hears about the need to recognise those who work behind the scenes. What made you look deeper into the lives of Harold and Lillian?
What I find special about Harold and Lillian is the overlap of their creative and romantic partnership — a partnership that lasted nearly 60 years. That is truly remarkable and special. I wanted to tell the story of their journey through life together; which, in many respects, culminated in two brilliant Hollywood careers that were born out their love for one another. Also, Harold and Lillian were never one to seek out the spotlight. They were unsung heroes of cinema. So making this film felt like we were broadening the scope of what it means to be an artist and have a life, both in Hollywood and beyond.
How long did you know them and during what time period did you interview them and the filmmakers who had worked with them?
I’ve known Harold and Lillian since 1998 when I began making my first documentary, The Man on Lincoln’s Nose. Harold was an interview subject on that film. Both Harold and Lillian were nurturing to me as a young filmmaker, and took me under their wing.
Since I had filmed Harold for The Man on Lincoln’s Nose, I had two in-depth career spanning interviews with him. Harold passed away in 2007, and in 2013, I began filming candid interviews with Lillian. Our on-camera discussions about their work and their life together lasted nearly 18 months. During this time, I was editing and shaping the film.
(An illustration by Patrick Mate in the film)
Did you intend the film to be of academic value or reach out to a larger audience by making viewers look at their work and their love story?
I think both. The two themes of this film (the personal and professional) are intimately connected. That tension is what makes this film so special; it is what makes their story so unique.
The film had its world premiere at Cannes early this year, followed by other international festivals. What are the reactions that you’ve had outside of the film fraternity?
Audiences seem to take inspiration from this film on different levels. I’ve been told that folks have come away inspired and moved from both the love story, the longevity of Harold and Lillian’s creative and romantic partnership, and also the extraordinary work they did in the movies. Those themes seem to resonate with people outside the film industry — there’s universality to the story of their family, and the story of these two unsung heroes. Some members of the audience related to Lillian’s struggles raising an autistic child in the early 50s, before autism was understood.
After screening the film at IFFI, Goa, you are taking the film to Mumbai, Delhi and Hyderabad. What prompted you to take the film beyond IFFI in India?
I wanted to combine our India premiere at IFFI Goa with an academic tour. Fortunately, I was able to partner with my friend and colleague Raja Ramadurai, to plan the academic tour in India. Raja and I met at the American Film Institute and he currently operates a design studio in Hyderabad. We both share a passion for the work of our late professor Robert Boyle (production designer of The Birds and North by Northwest), and Harold and Lillian Michelson. I am looking forward to meeting cinema students, design students as well as educators in India.
You earlier made The Man on Lincoln’s Nose focusing on Robert Boyle and followed it up with Something’s Gonna Live.Does Harold and Lillian complete the trilogy?
Yes, this is the final leg in the trilogy.