The Surprising Film Where Ron Howard Broke His Own Rules
Ron Howard, known for his adaptable directing, only once strayed from his usual style—using bold camera techniques for How the Grinch Stole Christmas, a move he never repeated.
When you see a director’s name splashed across a film promo, you usually know what you’re in for. Quentin Tarantino? Expect sharp banter, a bit of blood, and plenty of swearing. Guillermo del Toro? You’ll get a mix of spooky, magical, and a touch of heartbreak. The Coen brothers? Oddball characters and quirky stories are a given. But when it comes to Ron Howard, there’s not really a signature move. He’s been behind the camera for decades, picked up a couple of Oscars, and yet, there’s nothing you’d call a classic Howard touch. He’s the sort of director who blends in, not stands out.
Howard himself is well aware of this. He’s even said that his ability to stay under the radar has helped him stick around in the industry. Without a trademark style, he’s been able to jump between genres and budgets without anyone batting an eyelid. It’s worked out for him—he’s one of the top-grossing directors ever—but ask the average punter to pick a Howard film out of a line-up, and you’ll probably get a few shrugs.
One Time Only: A Shift in Approach
Despite his reputation for playing it safe, Howard did shake things up once. Not that many people noticed. If someone like Tarantino or Spielberg suddenly changed their style, you’d spot it straight away. But when Howard did it, there wasn’t much fuss. You might be guessing which film saw him throw out his usual playbook. Was it the space drama with Tom Hanks? The fantasy adventure with Val Kilmer? Maybe the gritty western or the political drama? None of those. The answer is How the Grinch Stole Christmas.
Howard explained,
“One of the things I did with this film was adopt a style I had never used, and I’ve never used it since,”
recalling how he teamed up again with Don Peterman, his old cinematographer mate from earlier projects. Peterman had a solid track record, having worked on everything from Splash to Addams Family Values.
Bold Lenses and Moving Cameras
For this family flick, Howard decided to go all in with “wide and distorting” 14mm lenses. He ditched the usual steady shots, opting instead for a camera that was always on the move. The focus was on Jim Carrey’s wild performance, with the camera swooping in for close-ups that got even more intense as the shot went on. It was a big change from Howard’s usual approach, and it gave the film a unique look—at least for him.
But let’s be honest, did anyone walk out of the cinema thinking Howard had reinvented himself? Probably not. The film was a hit, but the shift in style mostly flew under the radar. Still, it stands as the one time Howard really mixed things up, and by his own admission, he hasn’t gone back to that style since.