The Global Search for Education: Terry deRoy Gruber on Martin Scorsese, Creativity, and Not Just Any Flower

Posted By C. M. Rubin on Jan 16, 2025

This month, audiences can stream Not Just Any Flower on the Planet Classroom Network, curated as part of the new Masters of Film playlist.

Celebrating acclaimed filmmakers from their earliest beginnings to their rise as creative pioneers, the series launches with Terry deRoy Gruber’s surreal comedy Not Just Any Flower. Created under the mentorship of Martin Scorsese, this 1987 short film takes viewers on a whimsical journey into the unpredictable world of art and inspiration. The story follows a clumsy suitor’s chaotic adventure in an eccentric art collector’s home, where his missteps lead to accidental brilliance and an unexpected Vogue ad campaign. Preserved in MoMA’s permanent collection and a Student Emmy Award winner, the film is a testament to how creativity often emerges from chaos.

The Global Search for Education is pleased to welcome Terry deRoy Gruber.

Terry, as a filmmaker mentored by Martin Scorsese, how did his guidance shape your approach to storytelling, especially in creating the unique tone and humor of Not Just Any Flower?

Scorsese’s influence began even before I met him. His film After Hours was a black comedy that became an instant favorite. It showcased how escalating chaos, anchored by a hapless protagonist, could lead to a rewarding payoff. That narrative style greatly influenced me.

As my thesis advisor at Columbia Film School, Marty was a whirlwind of knowledge, sharing theories and film recommendations at lightning speed. During our weekly meetings, he emphasized the importance of pacing and suspense, even advising me to trim sections that slowed the film. One memorable lesson came during editing. He marked and removed 30 seconds of my film, transforming the scene’s rhythm. The humor and tone were mine, but his guidance sharpened the film’s flow.

Your film blends surreal humor with visual storytelling in a way that feels both whimsical and profound. How did your artistic background and experiences influence the creation of such a distinctive narrative?

My artistic roots trace back to my mother, Aaronel deRoy Gruber, a celebrated artist. Growing up, we bonded over art, which shaped my love for creativity. At college, I delved into Dada and surrealism, drawn to art that provokes laughter and thought, like Meret Oppenheim’s fur-lined teacup Luncheon in Fur.

I was also inspired by absurdist comedy from the Marx Brothers, Charlie Chaplin, and Robert Downey Sr. The character of June was based on an ex-partner who worked at Artforum. Her boldness and art collection inspired me to imagine a character consumed by her own eccentricity, blending satire with heartfelt humor.

The vibrant visual style of Not Just Any Flower is a hallmark of its charm. How did you approach the cinematography and design to reflect the themes of inspiration and unpredictability?

Cinematography and production design were crucial. I chose Bobby Bukowski as the cinematographer because of his fresh perspective and ability to collaborate effectively. For the production design, I needed someone who could bring June’s 1980s loft to life. Initially, I hired a designer with great credentials, but they didn’t deliver the vision I needed. Trusting my instincts, I brought on Claudia Mohr, who immediately understood the world I wanted to create.

Claudia’s contributions—sketches, paintings, and creative ideas—brought June’s whimsical and chaotic world to life. It was a true collaboration that made the film’s visual style unforgettable.

Not Just Any Flower has been preserved in MoMA’s permanent collection and continues to resonate with audiences. What about the film’s message gives it such lasting appeal, even decades later?

The 1980s art world, which was both celebrated and critiqued in the film, has evolved. What was once revered as groundbreaking is often seen today as excessive or even ridiculous. This shift has expanded the audience for Not Just Any Flower, allowing viewers to appreciate its satire and humor even more.

While the film wasn’t intended to deliver a specific message, it does capture the idea that creativity often emerges from chaos. If there’s a takeaway, it might be: “When life gives you lemons, make lemonade.” Ultimately, the film is an entertaining romp, filled with visual gags and awkward moments that continue to delight audiences.

Thank you, Terry.