"In 1999 Todd Haynes went into a creative funk after Velvet Goldmine. He’d spent six months living in London making a beautiful, difficult, risky film about glam rock only to come back and find out nobody cared about it nearly as much as we did. Not Miramax, who halfheartedly distributed it, not the critics, who called it “overambitious” and “maddening,” and not audiences. We spent $9 million—then the biggest budget in Killer’s history—on huge sets in Brixton, Ewan McGregor’s paycheck, and about five hundred pairs of platform shoes. Velvet Goldmine made $1.5 million. That’s not great math. So in the fall of 1998, Todd returned to his apartment in Williamsburg, where everybody is twenty-six and always will be. His landlord was about to kick him out. And he sank into a depression. Here he was, staring forty in the face, not where he wanted to be emotionally, and he thought, This is my life? So he moved to a Craftsman bungalow in Portland, where his sister lives, and Todd started to grow younger. Really. There’s an element of living in New York that’s about measuring up against your peers. Todd didn’t even have an agent; he didn’t want one. Competitiveness is not in Todd’s makeup. He’d rather sit around with his friends and read Foucault. In Portland, that’s exactly what he did. I miss him, but he’s so much happier there."
-Christine Vachon. "A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond." The producer behind many great American independent films such as Mary Harron's "I Shot Andy Warhol", most of Todd Haynes' work ("Far From Heaven", "I'm Not There", "Velvet Goldmine"), "Hedwig and the Angry Inch", and Todd Solodnz's "Happiness".