In Search Of Bill Callahan: Hanly Banks tells us how she made a film about one of music's shyest stars

Last year one of the music industry’s most notoriously shy singers became the subject of a documentary which followed him across America on tour. That artist is Bill Callahan, and the girl who made this happen is Hanly Banks. Chances are, if you traversed into puberty plugged into the likes of Leonard Cohen or Will Oldham, or tend to value lyrics above drumbeats, you will probably have heard of this man already. Known to some as that guy who dated Joanna Newsom and Cat Power (not simultaneously), Bill is, to others, a baritone-voiced poet whose matter-of-fact words placed tenderly against simple guitar strumming can transport you to ragged American hills, fields of cattle, deep rivers and vast valleys. Hanly’s film, Apocalypse, was a huge success. Screened across the world at film festivals and concert halls – sometimes followed by a short set from Bill himself – the documentary was the toast of critics and fans alike. Bill’s devotees were finally treated to some previously unseen aspects of his personality, particularly when, in one scene, Bill stops the tour van to help a baby goat who has its head stuck in some railings. So how did she do it? We wanted to find out how Hanly, a video producer for The Fader, managed to convince the normally interview-shy Bill Callahan to be shadowed, and what exactly drew her to him in the first place… How much experience did you have in filmmaking before you approached Bill? I went to film school at NYU and got the classical training. But the place where I really cut my teeth was at The Fader. I had to learn how to do everything myself, had to know how to shoot any given situation and make it look and sound good, and then figure out a way it could come together coherently. It was great practice for this movie, which was my first feature. When did you first come across Bill Callahan? Were you a fan before making the film? I filmed him playing at Other Music in New York one time for The Fader where I was working as their videographer. It was my job to film live shows, and I was already a bit jaded by the whole experience. Like my feet would hurt and I’d get all paranoid of the people standing around and would rather have been watching the concert from my couch. But not with Bill. I remember walking away from it feeling I could film that show every night. When did you decide that you wanted to tackle filming such a notoriously quiet singer? I got really into the album when it came out. I was reaching a point in New York where I was very ready to leave. I’d put Apocalypse on over my headphones and ride the subway to work and visualise scenes that I’d imagine fitting in syncopation with the music. Eventually I just couldn’t shake it and I had to approach him. Tell us about your first encounter with Bill. Where was it, and did you hit it off straight away? I showed up for soundcheck in Phoenix, Arizona. We had never met. I gave him a rock and told him to go look at the moon. Afterwards I realised I probably seemed like the biggest weirdo. But it was a full moon eclipse – somebody had to look at it! That’s great! How did that come about? I flew into Phoenix for the first leg of the tour where I immediately went to a weird trade show under a tent to people-watch and film things. It was about 100 degrees; the kind of hot where you have to wear a bandana around your neck to keep wiping the sweat off. There was this one vendor with a nice selection of rocks, and I bought a piece of amethyst for Bill that reminded me of the purplish mountain scene on the cover art for Apocalypse (you should always bring a gift). So I gave him the rock and then later I told him to go look at the moon because it was really pretty and full. He didn’t say much. Later, when I realised that I probably came off as a giant weirdo I was like: “I’m not gonna try to talk to him for the rest of the trip – because every time I open my mouth something stupid comes out.” My main goal was to not get kicked off the tour. The next day in LA, I had a similar freakout when I accompanied the band to dinner. I wasn’t sure if I should be filming it or not, so I picked up my camera and looked through the viewfinder and immediately was like “Wait, this is terrible!” Because who wants to see a movie about some guys eating Indian food? And who wants to have their dinner filmed? So I split from the table. Later Bill and I had to have a talk about what exactly I was looking to film. It was an incentive for me to proverbially grow a pair and not be afraid to ask for the things I needed in order to make what I wanted to make. Looking back, this all seems funny, but I’m not sure I could have done it any other way. Describe Bill… I felt really lucky to be with Bill and his band, because there are a lot of people in the entertainment industry that are huge jerks. He has a sense of humour like you’d never believe and a fondness for stray kitties. I think journalists mistake his succinct communication for rudeness or something, but the