McBride really made a name for himself with his standout debut feature, David Holzman’s Diary (1967), a film that earned widespread acclaim despite being made on an incredibly modest budget of just $2,500. McBride crafted something truly special—blending influences from the cinema verite movement and the French New Wave into a compelling narrative. The film follows David Holzman, a fictional filmmaker portrayed with striking realism, as he documents a single day in his life, driven by an almost obsessive quest to uncover “the truth” through his camera lens. It’s a meta-cinematic gem, and McBride’s direction showed early signs of his unique storytelling voice.

Throughout the 1970s, McBride continued to explore different genres, stepping away from mainstream trends with projects like the sci-fi drama Glen and Randa (1971) and the quirky comedy Hot Times (1974). These films may not have reached wide audiences, but they highlighted McBride’s willingness to take creative risks. Then came a bit of a misstep—a well-intentioned but ultimately misguided attempt to modernize Godard’s Breathless, released in 1983. Still, McBride bounced back strongly. By the mid-80s, he had transitioned into more commercial territory with The Big Easy (1986), a moody, atmospheric thriller set in New Orleans that brought him broader recognition.

McBride once again teamed up with Dennis Quaid—the star of The Big Easy—for Great Balls of Fire (1989), a biopic about rock ‘n’ roll wildman Jerry Lee Lewis. While the film didn’t achieve the same level of success as its predecessor, it still showcased McBride’s flair for dynamic characters and energetic direction. Over the years, McBride has proven himself to be a versatile filmmaker, unafraid to shift gears between indie experimentation and Hollywood storytelling—all while maintaining a distinct artistic identity.