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    Houston's Boyhood Connection

    Scenes of Boyhood: How Houston played a key role in the best movie of the year

    Clifford Pugh
    Aug 21, 2014 | 10:30 am

    Acclaimed indie director Richard Linklater spent part of his boyhood in Houston, so it makes sense that he sets many of the pivotal scenes of his remarkable movie, Boyhood, in the Bayou City. If you haven't seen the film, I suggest you read no further because part of the pure enjoyment of watching it is not knowing what will happen next. But if you have seen it, here are some details about how and where key scenes were filmed in Houston.

    Rick Ferguson, executive director of the Houston Film Commission, recalls that the Houston scenes were shot between 2002 and 2005, during the early boyhood years of the movie's main character, Mason Jr. (played by Eller Coltrane). "Over four to five years, they were here anywhere from four to five days (each time)," Ferguson recalls. "It was not the stereotypical movie shot because it was so small."

    "An awful lot of times films shot here represent someplace else, so to have something by a Texan about Texas, particularly Houston, is a wonderful thing," Ferguson said.

    Ferguson estimates no more than 15 people were on the set at one time, including actors and crew.

    The movie was shot a few days each year over a 12-year period as Coltrane and Lorelei Linklater (director Linklater's daughter who portrays Coltrane's sister) grow up before our eyes. Early on, divorced mother Patricia Arquette moves from a small Texas town to Houston with the kids to be near her mother and attend the University of Houston. An extended scene takes place at the university in a classroom with students wearing UH shirts as Arquette meets her future husband.

    On an outing with their father (Ethan Hawke), the kids go to a Houston bowling alley, although the scene was actually filmed in Austin. Linklater, who is based in Austin, told the New York Times that he created the scene based on boyhood recollections in Houston. “That bowling alley would be like the one on Main Street,” he told the Times. “But in real life, we’re filming a lot of that at Dart Bowl in Austin. We put up a Houston Texans poster on the wall that we ultimately didn’t get the rights to. We had to change it.”

    One touching scene was filmed on the streets of downtown Houston, where Hawke pulls the car over to have a frank discussion with his children on how they can communicate better with him. Then they attend an Astros game at Minute Maid Park. The scene was filmed during a game against the Milwaukee Brewers, where Astros player Jason Lane hit a home run, almost on cue, in the direction of the camera during a scene.

    Hawke and the children also frolic around the sculptures on the back side of the Museum of Fine Arts, Houston, near Mecom Fountain, and at Miller Outdoor Theatre in another extended scene.

    Other scenes shot at the Astrodome and in the Museum District did not make the final cut of the movie, Ferguson says. Even so, the attention it has generated has been invaluable to tout Houston as a good place to make movies, he notes.

    "An awful lot of times films shot here represent someplace else, so to have something by a Texan about Texas, particularly Houston, is a wonderful thing," Ferguson said. "It not only puts us on the national consciousness from a general perspective, but from a filmmaker's perspective, it says that Houston's a nice place to check into."

    He adds Boyhood to the list of top-notch movies set and filmed in Houston, including Terms of Endearment, Rushmore and Reality Bites. "Unfortunately the number of special Houston films are few and far between, but the ones that have been made here are classics."

    Houston Astros and Rockets pennants dot the background of this scene from Boyhood.

    Boyhood Ethan Hawke, Eller Coltrane, Lorelei Linklater
    Courtesy photo
    Houston Astros and Rockets pennants dot the background of this scene from Boyhood.
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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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