For a diehard fan of Donnie Darko, meeting director and screenwriter Richard Kelly is a thrill in itself. But to first encounter him as a silhouette in a darkened movie theater is to feel almost like a character in one of his films—unmoored by indefinite space and physics, questioning your altered perception.
It’s a hot Friday in mid-August when I sit down with Kelly, 51, at Santa Monica’s Aero Theatre, a beloved repertory venue that makes a key appearance in Donnie Darko, his remarkable debut feature. Released in October 2001 with virtually no marketing due to the tragic events of 9/11 weeks prior (the plot hinges on a plane accident), it couldn’t get a toehold at the box office. But in the months and years that followed, the film became a hit on the home video market and gained a fervent cult fandom thanks to its unique supernatural mystery.
To mark its 25th anniversary, the movie will enjoy another limited theatrical run, beginning on October 2, the date that launches mentally disturbed suburban teenager Donnie Darko (Jake Gyllenhaal) on a surreal journey that may or may not lead to the end of the world. Kelly has just finished recording an intro for the new 4K restoration, and snippets of it play without sound on the big screen as we talk.
“My memories of this film run the entire spectrum from fear to love,” Kelly jokes, alluding to the corny pop psychology peddled by Patrick Swayze’s self-help guru in the film. This occasion, Kelly says, is all about the “love,” as he couldn’t be more grateful to “all the people who have continued to support” his work.
That camp should be pleased to hear that on December 15, Kelly will publish his mammoth first novel, The Philosophy of Time Travel, available for preorder now. The 800-page volume picks up right where the movie left off and is intended to set the stage for a film sequel as well. “It’s been very inspiring for me to remain focused on continuing the journey that began 25 years ago, on my own creative terms,” Kelly says. “This film has defined my entire career, but at the same time, it’s set a benchmark in the sense of the movies that I want to continue to make.”
Here, the auteur revisits the unforgettable dreamscape that put him on the map, and considers the artistic possibilities still ahead.
On when he realized Donnie Darko was becoming a cult hit:
There was one specific moment, I think in March of 2002, when I was in New York City. I was walking through the East Village, and I walked past a pizza restaurant called Two Boots, and my poster for Donnie Darko was hanging in their window. I saw the poster and I was like, “What’s going on? This is bizarre. Why does a pizza restaurant have a movie poster?” I went inside and I asked the manager, and he said, “Well, we have a little theater in the back, the Pioneer, and we’re playing your movie every Saturday night at midnight—and it’s selling out.”
I showed up the next Saturday night at about two in the morning, when the movie was finishing. I expected there’d be maybe 10 people there, and he wasn’t joking, it was sold out, and there were people with camcorders and lights in my face, and Michael Musto from the Village Voice was there. I was just completely bowled over by the fact that there were people who cared, who were really, really connecting with the movie. That was the moment I knew that it wasn’t over, that the movie was going to have a second wind.
