Lars Von Trier’s Blunt Critique of Ron Howard’s Films

It’s hard to imagine anyone harbouring a genuine dislike for Ron Howard. His career, stretching back to his childhood days on screen, has been marked by a sort of geniality that’s almost become his trademark. He’s spent decades in the public eye, first as a familiar face on television, then as a director with a string of box office successes. Yet, for all his achievements, Howard’s reputation remains curiously unblemished—at least, that’s the general perception.

Of course, not everyone is a fan. While some may grumble about the lack of a distinctive directorial stamp in his work, or the fact that he seems content to play it safe, few would go so far as to call him out publicly. Enter Lars Von Trier, a director who’s never been one to hold his tongue or shy away from controversy. If there’s a polar opposite to Howard’s wholesome image, it’s probably Von Trier, whose films and public persona are anything but conventional.

Clashing Worlds: Hollywood Politeness Meets European Provocation

The contrast between the two could hardly be starker. Howard, with his affable manner and mainstream appeal, has built a career on being the reliable choice for studios. Von Trier, meanwhile, has made a name for himself by pushing boundaries and courting outrage. It’s little wonder, then, that their paths have rarely crossed—at least, not directly.

Yet, the worlds of these two directors did collide, albeit in an unexpected fashion. The connection came through Howard’s daughter, Bryce Dallas Howard, who found herself cast in Von Trier’s film ‘Manderlay’. She was well aware that working with the Danish auteur would be anything but ordinary, but even she was caught off guard by his approach.

On-Set Antagonism: A Director’s Unfiltered Opinion

Von Trier wasted no time in making his feelings known.

“He started insulting me,”

Bryce recalled.

“‘Your father’s a terrible filmmaker’. I went, ‘Lars, what are you trying to see?’ And he said, ‘Your angry face. I don’t know what it looks like.’”

It was a typically provocative move from Von Trier, who seems to delight in unsettling those around him. Not content with verbal jabs, he reportedly went so far as to throw a glass of water in her face, all in the name of eliciting a reaction.

One can only speculate whether Von Trier’s decision to cast Howard was motivated by a desire to needle her about her father’s work. The two directors, after all, represent such different philosophies that it’s difficult to picture them sharing a civil conversation, let alone collaborating on a project.

Reputation and Reception: A Matter of Taste

Howard’s films may not be the most daring or innovative, but to label him as “terrible” seems rather harsh. His body of work, while perhaps lacking in auteur flourishes, has resonated with audiences and brought in substantial box office returns. He’s managed to remain a fixture in the industry without courting scandal or controversy—a feat in itself.

As for Von Trier, he’s unlikely to change his ways or soften his opinions any time soon. Marching to the beat of his own drum, he continues to provoke, challenge, and, occasionally, offend. The episode with Bryce Dallas Howard is just another example of his singular approach to filmmaking—and to people.