Michael Harrington (writer and director of The Old Man and The Mountain Lion) has worked on dozens of films, in a dozen capacities, for a dozen years. His experiences have included large-scale-huge-budget Hollywood films, no-budget-guerrilla-style independent films, independent education-based films in small communities and independent film based in cities. His varied experiences have led him to the conclusion that there is not one way to make a film, and that it is only through honest ardor, dynamic collaboration, passionate endeavor and a rather devil-may-care disregard for convention that this important film will come to fruition.
Michael studied film and american studies at Marlboro College in Vermont, graduating with honors in 2003. He also taught at a youth art institute, Fledgling Films in the Northeast Kingdom of Vermont from 2000 – 2004.
After college, Michael worked on films in the north east, and then returned to the west coast to work in Seattle, San Francisco, and L
Four years ago, Michael moved to Big Sur for the solitude and inspiration that many of people search for here. Not one to sit idly by, he quickly became an integral part of the team behind the Big Sur International Film Screening Series hosted by the Henry Miller Memorial Library as a member of the selection committee and as the technician/projectionist for the 12-week screening series two years running. Michael also developed an historical film curriculum for an independent weekly winter course also hosted at the Henry Miller Library, as well as the creation of a curriculum for the local charter high school catered towards teenage coming-of-age films (which he studied extensively in his undergraduate career).
Michael’s most recent project brought him back to his alma mater, to work on Director Jay Craven’s newest film adaptation of a novel by Howard Frank Mosher, Northern Borders. This production brought him back to his filmmaking roots, which are directly related to education.
His experience with introducing filmmaking to young people is an important aspect of his unique way of attacking each new project. Michael takes what works and disregards what doesn’t, creating an organic and dynamic method of filmmaking and production well suited to his community and environment.
When asked about his influences, Michael responded simply: “Terrence Malick, Cassavettes, the Maysles, D.A. Pennebaker, P.T. Anderson, Dogma 95. But that’s kind of limiting.”