Bryce Dallas Howard, known for her roles in blockbuster hits like Jurassic World, recently opened up about a striking and somewhat surreal experience she had early in her career with the Danish filmmaker Lars von Trier. In an interview with The Times U.K., conducted to promote her upcoming film Deep Cover on Prime Video, Howard recounted her first encounter with von Trier on the set of his 2005 film Manderlay, a sequel to the acclaimed Dogville.
Manderlay, a film set in 1930s rural Alabama, explores the harrowing conditions of a plantation still operating under slavery. Directed by von Trier and starring Willem Dafoe and Danny Glover alongside Howard, the film is emblematic of the director's bold and often provocative style. Yet, it was behind the scenes where Howard experienced what she described as her "introduction to the Lars von Trier experience."
Upon arriving on set, Howard was met with an unexpected and confrontational greeting. Von Trier immediately launched into an insult, telling her, "Your father's a terrible filmmaker." This was no small jab, considering Howard's father, Ron Howard, is a celebrated director responsible for films such as Apollo 13, A Beautiful Mind, Rush, and Cinderella Man. The comment was startling, but Howard quickly responded with a question: "Lars, what are you trying to see?" To which von Trier replied, "Your angry face. I don't know what it looks like."
The exchange didn’t stop there. In a dramatic and unusual turn, von Trier threw a glass of water in Howard's face. Rather than recoiling or retreating, Howard threw a glass of water back at him. "He goes, ‘Why did you do that?’ and got up and left," she recalled. Far from being upset by this bizarre encounter, Howard said she was "sort of delighted by it," embracing the chaos as part of the unique atmosphere von Trier cultivates on his sets.
This anecdote sheds light on von Trier's infamous reputation for being a challenging and controversial figure in the film industry. He has long courted controversy, not just for his provocative filmmaking but also for his off-screen behavior. Past allegations of sexual harassment by prominent figures like Björk and the departure of actor John C. Reilly from Manderlay over the killing of an animal on set have only heightened his notoriety.
Moreover, von Trier’s provocative nature extends to his public statements. He has sparked outrage over comments seen as sympathetic to Nazis, reflecting his German heritage, and his films often stir debate for their treatment of women and disturbing themes. Despite these controversies, his work remains influential and is noted for its avant-garde style and bold storytelling.
Adding a layer of personal challenge, von Trier was diagnosed with Parkinson’s Disease in 2022, and as of February 2025, he has been admitted to a care center. This development marks a significant moment in the life of a filmmaker whose career has been marked by both brilliance and infamy.
Howard’s reflections reveal the complex dynamics at play when working with von Trier. Growing up on film sets herself, thanks to her father’s storied career, she has witnessed a spectrum of directorial styles. Yet, her encounter with von Trier stands out for its intensity and unpredictability. Instead of feeling intimidated or distressed, she found the experience oddly thrilling, a testament to her resilience and perhaps a glimpse into the unique creative environment von Trier fosters.
The story also highlights the intersection of personal and professional realms in Hollywood, where familial legacies and reputations can become fodder for artistic provocation. Von Trier’s choice to insult Howard’s father appears to be a calculated move to unsettle the actress and elicit a raw emotional performance, a technique consistent with his reputation for pushing actors to their limits.
Despite the tension, Howard’s anecdote is told with a sense of humor and perspective. She did not retreat into victimhood but embraced the moment as part of the theatricality surrounding von Trier. This attitude underscores the often unpredictable nature of filmmaking, especially under directors who blur the lines between reality and performance.
As Manderlay continues to be revisited in discussions about von Trier’s oeuvre, Howard’s story adds a personal dimension to the film’s legacy. It reminds audiences that behind the camera, the creative process can be just as dramatic and fraught as the stories portrayed on screen.
In the end, Bryce Dallas Howard’s encounter with Lars von Trier on the set of Manderlay is more than just a quirky behind-the-scenes tale. It is a window into the challenging, sometimes chaotic world of auteur filmmaking, where boundaries are tested, and conventional norms are often upended in the pursuit of art.
