Ron Howard Reflects on JD Vance and “Hillbilly Elegy”
During a discussion about “Hillbilly Elegy,” director Ron Howard shared some interesting insights regarding JD Vance, the film’s subject and vice president. Howard revealed he hadn’t ever considered Vance’s rhetoric to be “schizophrenic” before. He seemed to find Vance’s public persona a bit perplexing.
In conversation with film critic Bilge Ebili for Vulture, Howard expressed surprise at the contradictions he observed in Vance’s statements. “That remains a bit of a surprise to me,” he noted. “I’d never seen it come, and I wouldn’t have expected his rhetoric to break up from time to time.” While he didn’t follow Vance closely or catch every word he said, the unpredictability of his comments caught Howard off guard.
Howard mentioned a recent interaction he had with Vance over text after the election, saying it was a simple “God Speed.” It’s clear that the connection between them has been somewhat strained, as Howard described Vance’s reaction to the film as one of irritation.
On the Impact of “Hillbilly Elegy”
“Hillbilly Elegy,” released in 2020, is based on Vance’s memoir published in 2016. Howard has mixed feelings about the film’s legacy. “I know it’s a mixed bag and is probably very culturally divided,” he admitted. Reflecting on the reception, he acknowledged that while the reviews were often negative, audience feedback was better than expected.
There was a moment in the conversation where Ebili pointed out that Vance appeared shocked by the film’s reception. Howard agreed, noting, “He was frustrated by it. He loved Glenn Close’s and Amy Adams’ performances and liked the film itself. But, as criticism of the film turned, his involvement somehow changed the way it was viewed, and he resented that.” This reveals the complex feelings Vance has about the film and its portrayal of his story.
It seems both Howard and Vance have experienced a mix of emotions surrounding the project and its interpretations. There’s an undeniable tension between how Vance views his own narrative and how it’s perceived publicly. The dialogue between them—and indeed, how audiences handle such complicated narratives—remains a point of interest in this discussion.
