Nebraska Film Currents

November 13, 2014 Leave a comment

Nebraska Film Currents 

©by Leo Adam Biga

 

Monday night’s David O. Russell-Alexander Payne cinema summit got me to thinking about past film royalty visits to Nebraska. In the annals of Neb. film history, precious few notable Hollywood figures have come here to shoot or to make public appearances or for that matter to make private appearances. I don’t claim to have an exhaustive history of these cinema drop-ins, but the ones that come to mind, include:

Much of the MGM 1938 classic film Boys Town was shot in Boys Town and greater Omaha, which brought director Norman Taurog and stars Spencer Tracy and Mickey Rooney here, and all of them, along with studio czars, came for the world premiere here; Read about it at-

https://leoadambiga.wordpress.com/…/when-boys-town-became-…/

Cecil B. DeMille, Barbara Stanwyck, Joel McCrea and other principals from the 1939 film Union Pacifc came for the world premiere here.

 

 

Robert Taylor hunted at Ducklore Lodge and may have been a guest at the Storz Mansion on Farnam Street.

James Stewart was also a guest at Storz Mansion parties.

In the mid-1950s Henry Fonda and Dorothy McGuire, both at their peak fame, came to do performances of The Country Girl as a benefit to fund construction of the new Omaha Community Playhouse – each was an OCP alum – and Henry’s daughter Jane was part of the cast as well; Henry Fonda came back many times to support the Playhouse and the Stuhr Museum.

 

Veteran stage and screen star Henry Fonda and his 17-year-old daughter, Jane, take a break during rehearsals for the Omaha Community Playhouse production of "The Country Girl," June 18, 1955, in which Fonda co-starred with Dorothy McGuire. Jane won the ingenue role in a telephone audition with Playhouse director Kendrick Wilson.
Henry Fonda and Jane Fonda

In 1965 Betty Grable starred in the national touring company production of Hello, Dolly at the Omaha Music Hall. Another national tour of Dolly starred Carol Channing at the Orpheum Theater.

In 1967 Otto Preminger was one of two guests of honor at a Creighton University film festival – the other was experimental filmmaker Stan Brackhage.
A year later Francis Ford Coppola, George Lucas, Shirley Knight, James Caan and Robert Duvall came for the last few weeks shooting on the road movie, The Rain People, which Coppola wrote and directed; Lucas was along for the ride to document the making of the film; in the ensuing years Robert Duvall returned to Neb. several times to make the documentary We’re Not the Jet Set about the rambunctious Ogallala-area ranch-rodeo family, the Petersons; Read about all this at-

https://leoadambiga.wordpress.com/…/film-connections-an-in…/

 

 

From left: Papamichael, Dern, Forte and Payne on set

 

 

Jane Fonda, who did part of her growing up in Omaha, came for the regional premiere of On Golden Pond at the Orpheum Theater; some 30 years later she sat where David O. Russell did for an interview Alexander Payne did with her at the Holland.

Marlon Brando paid a visit to his birthplace and hometown in the 1980s and did an awkward but entertaining television interview with Peter Citron.

Joan Micklin Silver (Hester Street, Crossing Delancey) came back to her home state to accept a Sheldon Film Theater tribute in Lincoln; read one of my many pieces on Joan at-

https://leoadambiga.wordpress.com/…/shattering-cinemas-gla…/

Peter Fonda, who’s been known to pass through unannounced, picked up the same award from the Sheldon.

Jack Nicholson, Shirley MacLaine, Debra Winger and Jeff Daniels were in and around Lincoln making the James Brooks film Terms of Endearment; Winger and then Neb. Governor Bob Kerrey became romantically involved and were frequently seen together in Lincoln and Omaha.

Too Wong Foo filmed here with Wesley Snipes, Patrick Swayze, and John Leguizamo in and out of drag.

Sean Penn filmed The Indian Runner in and around Plattsmouth with principal cast members Viggo Mortensen, David Morse, Patricia Arquette, Charles Bronson, Sandy Dennis, Dennis Hopper and Co.; Penn returned as an actor for The Assassination of Richard Nixon written by Omaha native Kevin Kennedy.

 

 

 

Alexander Payne has directed four of his six features here and those projects have brought a gallery of notables to Omaha and thereabouts; Citizen Ruth (Laura Dern, Kurtwood Smith, Mary Kay Place, Kelly Preston, Swoosie Kurtz, Burt Reynolds, Tippie Hedren, Kenneth Mars); Election (Matthew Broderick, Reese Witherspoon); About Schmidt (Jack Nicholson, Kathy Bates); Nebraska (Bruce Dern, Will Forte, Stacy Keach); Buy my book about Payne and his work at-

https://www.createspace.com/4001592

Payne has brought Laura Dern, Debra Winger, Steven Soderbergh, Jane Fonda, the principal cast of Nebraska and most recently David O. Russell as the special guest for the Film Streams Feature event; Read my pieces about Payne’s latest Film Streams cinema conversations at-

https://leoadambiga.wordpress.com/…/masters-david-o-russel…/

and

https://leoadambiga.wordpress.com/…/new-american-cinema-au…/

Bruce Crawford has actually hosted more cinema legends in Omaha than Payne, having brought Ray Harryhausen, Janet Leigh, Patricia Neal, John Landis,Debbie Reynolds, Shirley Jones, Patty Duke and most recently Tippi Hedren; Read some of my interviews with these legends at-https://leoadambiga.wordpress.com/…/09/06/unforgettable-patricia-n…/                                                                                                                                                              and                                                                                                                                                                                                                                             https://leoadambiga.wordpress.com/…/hollywood-legend-debbi…/

 

 

Gabrielle Union visits her hometown of Omaha now and again but never for any film function; Read two of my profiles of her at-

https://leoadambiga.wordpress.com/…/gabrielle-union-a-star…/

and

https://leoadambiga.wordpress.com/…/the-gabrielle-union-ch…/

Yolonda Ross (Go for Sisters) has been getting back more frequently to her shared hometown of Omaha for film related events; Read my profiles of her at-

https://leoadambiga.wordpress.com/…/yolonda-ross-takes-it-…/

and

https://leoadambiga.wordpress.com/…/yolonda-ross-is-a-tale…/

Nick Nolte made a surprise appearance at his Omaha Westside High School class reunion a few years ago.

Nick Fackler worked with Martin Landau and Ellen Burstyn, among others, on his Lovely, Still made in his hometown of Omaha; Read two of my stories about Nick and Lovely, Still at-

https://leoadambiga.wordpress.com/…/lovely-still-that-rare…/

and

https://leoadambiga.wordpress.com/…/martin-landau-and-nik-…/

EXTRAS: I have interviewed several more film notables who have passed through Nebraska, including Robert Duvall, James Caan, Shirley Knight, Laura Dern, Bruce Dern, Bill Cosby, Mickey Rooney, Danny Glover, Swoosie Kurtz, Marg Helgenberger, Dick Cavett and Jon Jost; my inteviews with them can all be found on my blog, leoadambiga.wordpress.com, with the exception of Rooney and Helgenberger.

And I have interviewed all three living Oscar winners who reside here: Mauro Fiore, Mike Hill and Alexander Payne, whom I’ve interviewed dozens of times. My pieces about these film figures are also on my blog.

Masters David O. Russell and Alexander Payne matched wits at Film Streams Feature VI event

November 11, 2014 Leave a comment

Masters David O. Russell and Alexander Payne matched wits at Film Streams Feature VI event

©by Leo Adam Biga

NOTE: My story about the parralel careers of Payne and Russell that appeared in advance of Feature VI can be found on this blog.

 

 

 

The smart banter between David O. Russell and Alexander Payne at last night’s Film Streams Feature VI event in Omaha gave a glimpse into why these two cinema masters have enjoyed a long friendship.  They are both brilliant in their own way.  Highly educated and well-read,  yet deeply in touch with gut instincts.  They both come from ethnic American backgrounds.  The both had lengthy experiences abroad.  They’re both steeped in classic cinema.  As good as they are at creating images, the written word is everything for them.  They both extract great performances from their actors.

They are both urbane men with dry wits.  But where Payne seems a bit more guarded or stiff, at least in public settings like these, Russell seems somewhat looser. Where Payne is a very well grounded and considered person, Russell comes off as more idiosyncratic and certainly more neurotic, almost as a virile variant of the middle-aged Woody Allen.

Their nearly parallel careers give them a certain relationship by proximity since each emerged in the mid-1990s as new filmmakers to be watched and each has experienced similar fast ascents, followed by uneasy hiatuses, giving way to recent strong runs that have cemented their places in the top ranks of writer-directors.  As they discussed in their conversation last night and as is readily evident in their work, each is a humanistic storyteller.  What wasn’t discussed and what is also clearly seen in their work is that time and time again each returns to themes of people in conflict with society or their family or the group.  Their protagonists are all at war with someone or something and on a search for meaning or redemption or revenge or getting-what’s-mine.  Even with their careers on a major roll, they seem to think they’ve just figured out who they are as filmmakers and to suggest that the best is yet to come, though they also acknowledge that nothing is guaranteed in the fickle business of making films.

Of all the Film Streams Feature events (I’ve seen five of the six), this was the most spontaneous of these annual gatherings when Payne or sometimes Kurt Andersen engages a special film guest in conversation before a live audience at the Holland Performing Arts Center.  Much of the spontaneity this time had to do with the fact that Payne, as he indicated in his opening remarks, did no preparation for the event.  That’s because he and Russell go back 15 years or so and they do know each other and their work well enough to just be real and go with the flow up on stage.  Part of it was just two old friends ccomparing notes.  Payne asked probing questions about Russell’s motivations, inspirations, methodologies, and the like.  Sometimes Russell returned the favor to ask Payne questions.   Before Payne could even get to any of his questions though Russell, as he did several times about various things on his mind, went off on a riff about Omaha and Payne’s “secret tunnel to Omaha,” where he said Payne is “like a super cinema hero.”  Russell described how his appearance in Omaha came to be.  It seems that Russell was being badgered by the organizer of the Capri Film Festival in Italy to appear there.  He’d been a guest at Capri before but he neither had the time nor inclination to  go again, and so he thought Payne might be a good fill-in for him.  Russell said he broached the option with Payne but Payne said he was no more interested in Capri than Russell. Then Payne switched everything around by asking Russell to be the guest of honor at Feature VI.  One favor had been replaced by another.  Russell said upon arriving here he observed all “the levels of plaids and pastels” and “kind-faced Midwestern people,” prompting him to tell Payne, “I felt like I was in one of your movies.”  In a short but intense series of stops around the city Russell got to see the home of Omaha Steaks, which it turns out was a kick for him because he said he’s been ordering steaks from there for years for his father and now that Russell has discovered the company’s products extend well beyond steaks he’s going to ply his old man with seafood and desserts.  “I bet he won’t see that coming,” he deadpanned.  Then he went off on a weird but hilarious description of visitng the offices of husband-and-wife architects Michael and Laura Alley, the co-chairs for the event, and how at one point the Alleys and the Simons from Omaha Steaks were sitting, posed-like, in a glass booth that reminded him of sculptures in an “art installation.”

Russell also referred to Payne’s apartment at the Paxton Manor as “your very flat, very spacious prairie home.”

Last but not least he opined about his instant romance with the Jackson St. Books store in the Old Market, where he said he knew upon entering the place “I’m going to do some damage in there.”  He said he picked up several things for friends and then he turned to Payne to say, “And I got you something. I’m going to save it for the end, because that’s showmanship.”

There was an extended discussion about, as Payne put it, “How do we search for ourselves through the films we make?”  Russell, who earlier said, “I have a very childlike nature,” answered that he’s come to realize, “I’m a romantic.”  He said amidst the every day anguish and horror of life being lived he must find meaning in the journey and discover passion for the pleasures of life, whether true love or fine wine or good food or engaging conversation or interesting people.  “Existential despair is a privilege.  I’ve learned that lesson.”  He asserted his interest in making movies, not films, that touch people’s hearts.  “I’ll carry that Frank Capra banner all the way.”

He referred to the one misstep  in his filmography, I Heart Huckabees, which has actually become a cult classic, as variously “my mid-life crisis movie” and “the train wreck movie.”  He said he made it at a time when he was too analytical in his approach to his art.  “You can overthink something.  That’s not a good thing.  I just think I overthought it.”  He said now that he’s in his 50s he’s in a better place then he had been for a while.  “I realized more who I was at 17 than when I was 40.”  He said at age 40 he was in a kind of “captivity.”  Now that he’s rediscovered himself in his 50s, he said, “I wouldn’t trade it for anything – the wisdom.”

Payne described how he was already an admirer of Russell’s work in Flirting with Disaster but then was astonished by what Russell achieved in Three Kings, when Russell moved from the intimate family comedy-dramas of his first two films to the large scale, epic masculine action of an adventure movie set amidst desert warfare.  Russell said, “There’s kind of a beauty to making a movie on location.”  Payne inquired if Russell was intimidated taking on such a big, sprawling project, and Russell replied, “I think all good endeavors are frightening.”

Payne said he was blown away again when Russell made the leap from I Heart Huckabees to The Fighter.  Payne said that at the time of The Fighter’s release he actually ran into Russell and told him, “Since when did you become a master filmmaker?” Payne spoke with admiration for the “very aggressive and sophisticated” way Russell uses hand-held cameras in-tight to create intimacy and immediacy with his characters and for the way he captures the visceral sense of movement and action in his films. Russell said it took time for him to arrive at how he wanted to use Steadicam and to achieve great depth of focus.  He acknowledged that much of his maturation as a filmmaker is because he never stops learning or striving to be better.  “It’s a great thing to learn your craft,” he said.

Russell described what he’s after in making his storytelling urgent for audiences: “I want you to be propelled and grabbed by the throat.”

He referred to going through a “ponderous period” of filmmaking when his shooting schedules were longer and his decision-making process was more protracted.  After gaining more clarity he said, “I became very lean. Thirty-three days on The Fighter.”  The same for Silver Linings Playbook and American Hustle.  Payne expressed envy at how fast and effective Russell can work.  Russell said he now has the mind set for his work as – “I approach it like a gun is at my head and that this is the last chance I have to get it right.  We must feel grateful for the privilege of what we get to do.”

Russell also spoke candidly about the diffcult period he went through in that six-year hiatus between Huckabees and The Fighter.  His personal life was full of challenges then and professionally he coulnd’t get a project off the ground.  He sort of lost himself then and had to find himself again.  His confidence, too.  His ego took a hit as he went from the top of studios’ lists to mid-way down those same lists.  “I was at my lowest time. I had been humbled.  That can happen quickly in Hollywood.  I don’t need to learn that lesson again.”  He described how Mark Wahlberg, whom he helped make a star, returned the favor when he asked Russell to direct The Fighter after Darren Aronofsky left the project.

Payne observed how much Russell loves his characters and actors.  He asked if Russell ever writes specificially for certain actors and Russell said he didn’t used to but that he increasingly does, especially as he’s come to work with a company of actors from film to film to film, acknowledging that Jennifer Lawrence, Amy Adams, Bradley Cooper, Mark Wahlberg and Christian Bale have become muses whose gifts he loves to explore and push to new levels.  “I do feel a kinship and a connection to them.”  He said the rich canvas of life these actors flesh out in his films is all around us in the people we encounter every day.  “”Simply being in love with a character is almost enough reason to make a movie.”  He said his own colorful Italian-Russian extended family of people who love each other and hate each other “is a gold mine I haven’t even begin to draw from” but that he clearly intends to mine.

Payne said, “Making a film is an extension of my life.  Once we’re shooting our raw material is human behavior.”  Truth in behavior and speech is what Payne and Russell go after and are very good at getting right.

Russell flipped it around and asked Payne, “What about you?” (meaning, does Payne write for certain actors) and Payne said, “Rarely, I write more literary characters,” adding though that he wrote with Jack Nicholson in mind for About Schmidt and George Clooney in mind for The Descendants.

In taking some questions audience members wrote out, Russell responded how he feels about remakes, saying, “I’m allergic to remakes.”  As to whether there are any films he wished he had made, he promptly answered, “The Godfather,” adding, “The best pornography to me is to watch The Godfather and pretend that I made it.”

Nesr the end of the program Russell, clearly eager to unveil to us, the audience, and to Payne, his host and friend, the surprises he had in store, asked for stagehands to bring out a newly pressed album with music from American Hustle and a phonograph to play it on.  “It’s a like the Letterman show now,” he cracked, as Payne undid the plastic sheathing around the album and placed the disc ona  turntable and set the needle on the Duke Ellington and Electic Light Orchestra tracks, respectively.  “Now it’s entertaining,” Russell observed. “Look how sexy it is,” he said, referring to the vinyl he and Payne help up at one point . Later, when the charactersitc scratches sounded, Russell said, “That’s psrt of the fun – that sound.  That’s the fun of a record.”

Then Russell presented Payne with two books, one an early edition of the Sinclair Lewis satire, Babbit, and the other a Phelps County (Neb.) History in two volumes.

The evening wrapped by Payne asking Russell what we can expect next from him and the filmmaker mentioned the project Joy, a true story to star Jennifer Lawrence that is to get underway in late 2015 and a family story he’s developing as well. ” And for you Mr. Payne?” Russell asked.  Payne confirmed what was recently reported in the media – that he is “an exploratory period for Downsizing, his big budget “science-fictiony” project with Matt Damon slated to be the lead, at least on a handshake deal, and with Alec Baldwin on board in a part as well.  But as Payne cautioned, nothing is greenlit and there are dozens of more parts to cast and much more financing to secure.  If it should come together, Payne would make Downsizing in late 2016, and the locations are yet to be finalized, too. You can bet that Payne will want to shoot at least part of it in Neb., but as he stated while he’s been ‘victorious so far” in getting the four films he wanted to make here made here “I may not be”in the future.  Russell practically chided state legislators here for not offering tax credits to make it more attractive for Hollywood to make projects here . He said in no uncertain terms that film production “does create jobs for truck drivers and for carpenters and it does provide added business for restaurants and hotels.”  It is a fight Payne has been waging for years in his home state.

Payne thanked Russell for being his guest and the gracious Russell offered, “It was a gift to me.”

 

 

Milton Kleinberg: Omaha resident who survived little-known chapter of Holocaust history releases new edition of his memoir

November 7, 2014 Leave a comment

Holocaust survivor stories come in every conceivable variety, just like the people and lives behind them.  I’ve had the privilege of telling many such stories in the course of profiling survivors who settled in Nebraska after World War II or later.  Each story, each survuvor, is distinguished by elements that make them singular.  I thought I had heard and read it all when it comes to these sagas but then along came Milton Kleinberg’s story.  There may be more dramatic or traumatic tales but I can’t imagine one that covers as much time and distance as his tale.  It is epic in terms of sheer scale yet it’s also achingly intimate.  I don’t pretend to capture more than just the surface of his story in the following Omaha Magazine article, but it should give you a sense for the aamazing rc of his surivival experience.  For a full appreciation of what he endured, you must read his book Bread or Death.

 

 

 

20141001_bs_4865Milton Kleinberg

Milton Kleinberg

Omaha resident who survived little-known chapter of Holocaust history releases new edition of his memoir

Now appearing in Omaha Magazine (omahamagazine.com)
November 5, 2014 by 
Photography by Bill Sitzmann

As a child in Poland, Milton Kleinberg got caught up in a little known chapter of the Holocaust when he and his family were among Jews exiled to Soviet labor camps. The forced journey took them from occupied Poland to the siege at Stalingrad to the vast wastelands of Siberia. To be uprooted, thousands of miles from home, was awful, but it also meant being beyond the reach of death camps.

The 77-year-old native of Poland and longtime Omaha resident endured many hardships. Forced to travel on foot and by train, he was confined to warehouses, barracks, and institutions. He witnessed starvation, disease, suicides, beatings, executions. He weathered illness, injuries, predators. The epic ordeal spanned thousands of miles and many years. He experienced things no child should face. To defend himself and others he took actions no one should have to take.

His saga continued after the war in displaced person (DP) camps. After reinventing himself in Milwaukee, he went years not saying anything about his odyssey, not even to his wife and children. After moving to Omaha in his middle-years he still kept quiet. Keeping silent is not uncommon among the survivor community, for whom the trauma of loss is difficult to relive.

“When I came to America I made a pledge to myself I was going to put this behind me, that I was not going to dwell on the past, and that I was going to start a new life,” Kleinberg says. “My whole attitude was that the past was the past and I didn’t care to look back.”

Then circumstances conspired to break his silence. His grandchildren visited Holocaust sites and pestered him with questions. In applying for Social Security benefits he discovered his birthdate was different than what he thought it was. A genealogical search turned up two step-sisters, with whom he shared a father. The women posed more questions.

Always alert to anti-Semitism and to events in Israel, which he’s visited several times, he’s grown concerned by the rise of militant, extremist elements around the world. Finally, he decided, he should recount his story. In 2010 he self-published Bread or Death. He gave it to friends and relatives as well as clients of his successful business, Senior Market Sales Inc., which employs more than 170 people.

This past year he expanded the book with the help of professionals, including Institute for Holocaust Education staff who developed a teacher’s guide, a glossary, study questions, and historical background sections. IHE develops Holocaust curriculum for schools state-wide.

Released in August, the new edition is available to schools and youth-serving organizations as an educational tool. IHE executive director Liz Feldstern says Kleinberg’s made a valuable contribution to understanding the Holocaust survivor experience.

Bread or Death adds another important voice to understanding a narrative that affected millions of people in millions of different ways,” Feldstern says. “Anne Frank has become the voice of those who went into hiding. Elie Wiesel and Primo Levi are the voices of Auschwitz. Gerda Weissman Klein is the voice of the death march. Hadassah Rosensaft is the voice of the DP camps. Perhaps Milt Kleinberg will be the voice of those deported to Soviet labor camps.”

The memoir completes an obligation Milt felt to himself and his family.

“I wrote the book as a legacy for my children, grandchildren, and siblings that were born after the war,” he says. “Everyone had bits of information on what happened during the war. I was the only one with all the pieces of information. I could connect all the dots. So, I have written it all down.”

“Milt has fulfilled his responsibility admirably to share his story and break a lifetime of silence so that others can learn from that history…and hopefully not repeat it,” Feldstern says.

Milton M. Kleinberg shortly after arriving in America

Though reticent most of his life about his own experience, he’s never shied from confronting anti-Semitism. While residing in Milwaukee he actively opposed a neo-Nazi group there through the Concerned Jewish Citizens of Wisconsin, a group he helped form.

“We decided we were going to respond to the Nazis rather than stand silent or lay down. Some of us had learned hard, tragic lessons and sacrificed far too much to allow these haters to get a foothold in our city, in our neighborhood.”

It wasn’t the first time he stood up. He and his wife, Marsha, co-hosted a Milwaukee radio program. They bought the air-time for themselves in order to present and comment on Jewish news.

His book is a cautionary tale of what occurred as the world slept. It may help ensure another holocaust doesn’t happen in this new era of hate.

“After what happened to me and my family and to millions of Jews in the war, I simply would not keep silent about things I perceived to be wrong.”

Ultimately, Bread or Death is a testament to how a life well-lived is more powerful than any retribution.

 

 

Milton Kleinberg Omaha Magazine Cover Story

 

 

New American Cinema auteurs, colleagues and friends David O. Russell and Alexander Payne to headline Feature VI

November 6, 2014 Leave a comment

Omaha’s film culture is richer for having Alexander Payne as a native son who cares about growing the cinema landscape in his hometown.  His commitment to this cultivation and nuturing is perhaps best evidenced by the active hand he takes with the annual Feature fundraiser for Film Streams, the Omaha art cinema he supports.  Because he can, each year he asks another world-class film figure to join him on stage as his special guest for a cinema conversation.  In the past, it’s been Laura Dern, Debra Winger, Steven Soderbergh, Jane Fonda, and the principal cast of Nebraska.  This year it’s his fellow auteur David O. Russell (Three Kings, The Fighter, Silver Linings Playbook, American Hustle).  The Nov. 10 event at the Holland Performing Arts Center will add to the string of impressive film confabs he’s made happen. This is an especially appealing event because Payne and Russell, each of whom is a writer-directos, have enjoyed parallel careers as leaders of the New American Cinema and the Indiewood movement.  Their respective bodies of work the last 15 years rank arguably as the best of any American filmmakers in that period.  Given that they’re in their early 50s and given that both feel as though they’re only just now coming into their own as complete filmmakers, they could very well continue leading the vanguard of cinema in this country for another decade or two.

 

 

 

 

New American Cinema auteurs, colleagues and friends David O. Russell and Alexander Payne to headline Feature VI

©by Leo Adam Biga

Now appearing in The Reader (www.thereader.com)
Alexander Payne is in a position to ask any world class film figure to be his guest of honor at the Film Streams Feature event, the art cinema’s annual big fund raiser. Laura Dern, Debra Winger, Steven Soderbergh, Jane Fonda and the principal cast of Nebraska have all come at his invitation to appear on stage at the Holland Performing Arts Center.

For the Monday, Nov. 10 Feature VI Payne will engage writer-director David O. Russell in conversation. As fellow auteur leaders in the vanguard of New American Cinema they make a matched set. Since emerging in the mid-1990s their careers have followed similar paths. Each is on a roll with their last several pics, all critically acclaimed and awards-laden.

Both infuse an urgent humanity in their work that revolves around the various social units people aggregate in. Each delights in distilling the emotionally-charged, seriocomic conflicts that play out among groups – where the people driving you crazy are the same people you love.

Payne and Russell were right in the mix of edgy American indie filmmakers to arrive in the 1990s. Kathryn Bigelow, Steven Soderbergh, Spike Lee and Quentin Tarantino led the way. Then a whole new wave followed in their wake, including Russell, Payne, Wes Anderson, Paul Thomas Anderson, Spike Jonze and Darren Aronofsky. Russell and Payne announced themselves as talents to be watched in close order. Russell broke first with the incest comedy Spanking the Monkey in 1994. In 1996 Russell caused a stir with Flirting with Disaster and Payne with his abortion comedy Citizen Ruth. In ’99, both garnered attention: Russell with Three Kings and Payne with Election.

The 2000s have seen each evolve into bankable independents whose work spans audiences and resists trends. Russell’s recent run of The Fighter, Silver Linings Playbook and American Hustle parallels Payne’s own run of About Schmidt, Sideways, The Descendants and Nebraska.

A repertory series of Russell works continues at Film Streams through November.

Film Streams executive director Rachel Jacobson says the Feature event gives attendees “the amazing opportunity to listen in on a conversation between two of the world’s most celebrated contemporary directors.” She adds, “It’s interesting how David and Alexander’s careers have paralleled one another. Both started out with independent films on ridiculously taboo subjects. They both premiered their first features at the Sundance Film Festival during the renaissance of American independent film.” She says Russell’s recent films “show an artist at the peak of his form.” A major difference in approach, she notes, is that unlike Payne Russell works with a consistent ensemble of actors. “I love how that consistency creates a world unto itself.”

 

 

 

In the same way Payne feels he’s just now coming into his own as a filmmaker, Russell does, too. Both had long periods in between pics: six years passed from Payne’s Sideways to Descendants and from Russell’s I Heart Huckabees to The Fighter. Each went through a divorce in that period. But where Payne was busy producing and writing, Russell got out of his head and in touch with his heart.

“I’m grateful things have become clearer to me and in some ways I feel it’s springtime for me and that’s a very beautiful thing because you know that could easily not be the case,” Russell says. “I think it’s hard in any endeavor, especially in the art of storytelling, to stay fresh. You always have to find new wells of inspiration and I understand many of the greats who have not. We can look back and say, Well, they did their great works and then they kind of couldn’t find it again. So I feel like I’ve found renewed clarity and heart for certain kinds of stories.

“It’s still very hard to do them well. I still have to try every moment like it’s my last opportunity on Earth. The only way it can come out as well as I hope it will is to act like it could very easily not come out that way every step of the way, which makes for a lot work.”

Like the best of their New Wave contemporaries Russell and Payne didn’t just make a splash and then disappear. Rather, they reestablish themselves as relevant storytellers with something to say again and again. The way they’ve asserted their strong, singular visions and voices is reminiscent of what Hal Ashby, Robert Altman, Francis Ford Coppola and Martin Scorsese did in the 1970s and 1980s.

 

 

 

Russell and Payne have mostly weathered the volatile film industry that eventually envelopes everyone. Russell’s one commercial flop, Huckabees, enjoys a cult following. The same for Payne’s Citizen Ruth and Election. Nebraska’s sure to find a growing audience as more people discover it via the home and digital markets.

All of which is to say these two filmmakers at the top of their game should have much to talk about. They’re each steeled in classic cinema from the 1970s and before. Given they are from the same generation of writer-directors and leaders of Indiewood, it’s no surprise they’ve found themselves in the same circles.

Russell says, “We’ve done Q-and-As and we’ve had a lot of fun with them,” including a CineFamily session available on Vimeo.

The two once chummed around. The new millennium had just dawned and they were identified as rising cinema stars and it only made sense they would fall in with each other.

“We started being on each other’s radars socially and professionally in 1999,” Payne says, “when he had Three Kings and I had Election. 1999 was like a debutante’s ball year of independent directors. Wes Anderson’s Rushmore had come out the end of ’98. I had Election, David had Three Kings. Kimberly Peirce had Boys Don’t Cry. It was a year when this younger crop of directors were having some degree of mainstream success. And I adored Three Kings. Wow. if he could make a jump from Flirting with Disaster, a madcap family comedy, to a very beautifully directed film like Three Kings that’s when I knew he had a depth of talent.

“I’m always in favor of someone who wants to do comic human films. His films are always intelligent, entertaining – a wonderful combination of humanity and comic showmanship. We became friends and I’ve always supported his work. I admire him and I’m just so proud and thrilled to be hosting him at Film Streams.”

And Russell’s returned the favor.

“Yes, and it’s been really been fun, I think we’ve both enjoyed that,” Russell says. “When Alexander had The Descendants come out I was really happy to sit by his side at a couple events, chat with him, have a glass of wine, cheer him on and tell him how much I love the picture. And he was very kind to me likewise about the last three pictures.”

 

 

 

 

But it was when the two men first came to the fore, they were particularly close.

“We sort of hung out a bit together in that time around 2000,” Russell confirms. “I remember the Museum of Modern Art began this series for filmmakers of our generation and I felt very squeamish about doing it. I said I’ll only do it if you name the series Works in Progress because I consider myself a work in progress and they said OK and they started this series where I talked about my films with my actors and stuff.”

That inaugural 2002 event was called Work in Progress: An Evening with David O. Russell.

“Alexander came, Wes Anderson came, Kimberly Peirce came, Sofia Coppola came. A lot of actors came. I’m probably forgetting some other filmmakers who were there. There we were all together and it was a great feeling of camaraderie.

“And then the next years I ended up helping tap them (other filmmakers) to do it, so the next year Alexander Payne did it (that 2003 event was called A Work in Progress; The Films of Alexander Payne). And then Sofia did it and it kind of went from there.”

Russell, who as a young man waited tables at MOMA events, grew up in Larchmont, New York in a Russian-Italian American household. His father worked for publishing giant Simon and Schuster. His mother was a homemaker and political activist.

Much like Payne he was steeped in movies and literature.

“I grew up watching movies. I would go to my local movie theater in the next town and I’d watch a movie with movie stars and so I am interested in movies and movie stars that kind of grab me and don’t let me go and leave me indelibly moved. It’s like a wonderful record I can go back and play again in part or in whole.”

Asked whose work principally influenced him then and he rattles off the names Frank Capra, Coppola and Scorsese, adding with a laugh, “There, I named every Italian-American.”

Like Payne he initially went to college not to study film but to broaden his mind, At Amherst College in Mass, he studied English under novelist Robert Stone and religion under professor Robert Thurman, father of actress Uma Thurman.

“I always wanted to be a writer – a novelist or a short fiction writer – since I was about 10 years old because my dad worked at Simon and Schuster. I actually kept doing it into my 20s, you know, and I found it very hard. Meanwhile, I would memorize sections of movies as sort of a way of learning narrative and telling stories.”

He committed to memory sections of It’s a Wonderful Life and Chinatown, for example.

Again, like Payne, he went abroad as a young man, in his case to teach English in Nicaragua. Once back in the States he moved to Boston, where he did social justice work.

“I worked in low income areas, working for tenants rights, also teaching English as a second language.”

 

 

Unlike Payne, Russell never went to film school. His film immersion came haunting video stores and revival houses and learning the rudiments of the medium as a production assistant on the PBS television series Smithsonian World in Washington, D.C. Ever more feeling the pull of film, he made a documentary short. Boston to Panama (1985), that examined the lives of immigrant workers.

“Then I started to crossover thinking maybe I wanted to become a (narrative) filmmaker, which seemed like kind of a nutty idea because I’d never thought of that before as much as I loved movies.”

His narrative debut, the comedy short Bingo Inferno (1987) showed at the Sundance Film Festival. His next, the short Hairway to the Stars (1991), played Sundance and festivals in Seattle and London.

His feature debut, Spanking the Monkey, was a micro-budget production financed with private funding and grants. The dark humored Oedipal story concerns a young man marooned at home with his convalescing mother and the awkward longings they express. So, from the start, the family dynamic, dysfunctional and all, took precedence.

“I very much find community or family to be sort of an engine, a rocket engine, that leads to all avenues of humanity. All I know is that I think it works and it gets really intense and personal and complicated and funny and heartbreaking very quickly, so I love all of that. You know, I also love romance as I’ve discovered in my last three films.”

Family though is where it’s at for him. It may be a mother and son breaking taboos (Monkey), an extended family letting it all hang out (Flirting), U.S, Army soldiers searching for a fortune (Three Kings), a boxing clan’s ups and downs (The Fighter), a mentally ill son reconnecting with his father (Silver Linings) or a motley crew pulling a sting operation (American Hustle).

“In terms of my interests I know that I’m interested in romance and I know it includes a great intensity of predicaments that carries from one moment of the film to the next, meaning that it has an intensity to it and a propulsiveness to it that feels enveloping. And you have to maybe go back and watch it again or parts of it again to regather, but there’s never a moment where we are intentionally crafting the story that way.

“I mean, it’s nice to know what kind of movies you want to make and what kind of characters you want to render and what kind of actors you want to work with. And then I have a great love of music, a great love of camera movement that’s become a particular way of doing things that I’m still trying to learn how to make better. But at least it’s very clear when you know what path your on.”

 

 

 

Payne admires that Russell has “kept his own voice throughout them all,” adding, “Some of the same elements you see in Flirting with Disaster you see also in The Fighter, Silver Linings and American Hustle. His sense of dialogue and how he gets the camera in very close so that you’re standing with those characters or talking with them somehow. None of that has changed.”

Payne also likes how Russell balances the “larger circumstances” his characters find themselves in yet remains focused on the “eccentric details” of those situations and the personalities involved.

Russell says his own family’s strong personalities and rich heritage form a great template for him to overlay on the stories he tells.

“There’s a whole human opera of mine that extends back to Italy and Russia, to the Bronx and Brooklyn. There’s this tapestry of people. It’s a goldmine to me of rhythm, of music, of life, of romance, of food, of terrible things happening, of wonderful things happening, of traditions being passed, traditions being broken. All the things I care very deeply about in telling stories and as a person.

“I think I learned a great deal from my family before I even realized it. It’s sort of a great gift that you don’t realize, that I didn’t realize I had until much later in my career. Although it was obvious right at the beginning because I wrote that claustrophobic kind of quasi-horror $80,000 dollar trapped-in-the-house-with-your-mother movie (Monkey), which is almost like a horror movie, but it’s also funny, and that was all based on personal experiences I embroidered in great detail. There was a summer where my mother had trouble with her health. She had a car crash, And so that gave birth to that story.”

 

 

 

Flirting is another film where his real life resonated with his invention.

“There were moments when I saw my family the way we see the family in it, going through those chapters.”

He says Three Kings was “a departure” from the biological family thread and instead subverts the band of brothers conceit. He says Huckabees was “an attempt to create a parallel society little family of people but I don’t think my focus was where it ought to be in there,” adding, “Yet I never cease to be surprised by the young people, including Jennifer Lawrence (Silver Linings, Hustle)), who name that among their favorites of mine, which is baffling to me.

“And then the last three (films) are very much family-centered.”

The most personal of these to him is Silver Linings. Adapted from a novel, Russell emotionally connected with the characters because like the protagonist his own son Matt has bipolar disorder. Matt, who’s also had learning issues, has attended the Devereux Glenholme School in Conn., which serves young adults with special needs. Russell has been “very involved” at the school,” serving on a board. “I’m very invested in helping that school, plus the next experience for those kids who need to find pathways into work or higher education.”

Another educational institution he’s involved with is Ghetto Film School, a New York City public high school whose curriculum is cinema-based.

“It’s a very strong school in the Bronx. It became a crown jewel of Mayor Mike Bloomberg’s public school system in New York, It’s exciting that people are learning how to tell narrative and to tell stories. I always like to go talk to the students and teachers about what they’re doing. I’ve been on the board for 12 years. I’ve helped bring a lot of filmmakers and actors to go talk to them: Spike Jonze, Catherine Hardwick, Amy Adams. We have to get Alexander to go see them.”

Russell says 20th Century Fox co-COO James Murdoch “was so smitten by the project” he helped open an L.A. branch this past summer. Russell was there for its launch.

 

The filmmaker would be happy if a future script he wants to direct comes from a graduate. The same would be true of Alexander Payne. But the fact is each director usually writes his own scripts. Payne often says writing is the most onerous part of his creative process. Russell agrees but like Payne he sees it as a necessary chore to produce raw material for his films.

“I’m just coming out of a very intense writing period where I’ve been writing 15 hours a day for the last six months. I literally become a shut in. I went to some event for my younger son’s school and I just really felt like a-fish-out-of-water. I’d almost forgotten how to be out and about because your world becomes very narrow. It’s a very strange way to live because you’re basically living 15 hours a day in this narrative. You’re living in a movie all day, and that’s the only way I can do it to get it done. I have to make myself sit there all that time.

“So like Alexander it’s also my least favorite part of the process but you have to do it. You know you can’t get the iron ore or the diamonds out of the ground unless you do the back breaking work of digging into the ground, which is really difficult.”

Both filmmakers are weighing what their next projects will be. While Payne is reportedly trying to revive Downsizing, the project he abandoned after the financial crisis hit in 2008, Russell says, “There’s two stories we may be going into preproduction on soon. Those are the two things I’ve been working feverishly on for the last eight nine months. One is a large original story I don’t want to get into too much detail about but it involves family.”

The other, titled Joy, is based on the true story of Joy Mangano. The storyline reads something like Erin Brockovich: a struggling single mother of three surprises everyone when she finds success as an inventor and entrepreneur. Jennifer Lawrence is tabbed to star.

Russell says he’s eager for his visit here. “I can’t wait to come to Omaha. I’ve been reading about all the famous cinema people who are from Nebraska.” He hopes to find sites commemorating Marlon Brando and Fred Astaire, for example, but outside a street sign named for the former and a ballroom named for the latter, he’ll be disappointed.

He’ll be searching, too, for a local fix to feed his passion for video stores, which he feels should be preserved as cultural “hubs and meccas.” He helped create a nonprofit foundation for Santa Monica’s iconic Vidiots. “I’m trying to get the studios – and I’ve reached out to Alexander as well – to turn it into a place where they can feature the libraries of each studio and people can learn about cinema.”

The Feature event with Russell and Payne is at 7 p.m. For tickets and rep series details, visit http://www.filmstreams.org.

Leo Adam Biga’s Blog hits 400,000 views & The Many Faces of Leo Adam Biga’s Blog Version 2.0

November 3, 2014 Leave a comment



 

Leo Adam Biga’s Blog hits 400,000 views & The Many Faces of Leo Adam Biga’s Blog Version 2.0

And the hits just keep on coming.  My blog, leoadambiga.wordpress.com, has now surpassed 400,000 views and in celebration of this milestone here is a new mosaic of images from the site. Diversity rules when it comes to my work and the images associated with the people, passions and magnificent obsessions I write about certainly reflect that.

 

 

 

metroMAGAZINE/mQUARTERLY

 

 

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2nd District Congressional race gives voters two distinct styles in incumbent Lee Terry and challenger Brad Ashford

October 31, 2014 Leave a comment

I rarely write about politics.  Here is an exception.  It’s a cover story for The Reader (www.thereader.com) about the two men vying for Nebraska’s 2nd Congressional seat in the U.S. House of Representatives: Republican incumbent Lee Terry and Democratic challenger Brad Ashford.

 

2nd District Congressional race gives voters two distinct styles in incumbent Lee Terry and challenger Brad Ashford

©by Leo Adam Biga

Now appearing in The Reader (www.thereader.com)

 

 

At the end of the day, voters want a choice. If nothing else, the tight Nebraska 2nd Congressional District race pitting incumbent Lee Terry against challenger Brad Ashford gives voters a distinct option.

Pre-election surveys indicate a neck-and-neck battle between these local boys made good from high profile Omaha families. Politicos have long viewed Terry as a vulnerable target. He nearly lost to John Ewing in 2012. The GOP poured millions into his campaign and even though the national Democratic Party declined to support Ewing, the challenger lost by only two percent of the popular vote. Ashford is getting some support from his national party headquarters in this race but his campaign’s still being outspent thanks to the Terry camp’s deep coffers and the GOP sinking big money into the race.

Terry is the 52-year-old hard-line Republican whose eight terms in the U.S. House of Representatives give voters a 16-year resume to consider. This Boomer weaned on the right wing philosophies of his father, former Omaha television anchor and commentator, Lee Terry Sr., and shaped by the doctrine of his political hero, Ronald Reagan, tows the traditional Republican Party line.

“I have a basic pro business, job creation conservative view and I’ve always stayed pretty loyal to that philosophy,” says Terry, who worked as a private practice attorney and served on the Omaha City Council before entering Congress in 1998.

Terry, with endorsements from law enforcement and veterans groups, is a staunch law and order guy and big military advocate. Given his father’s strong GOP leanings, Terry doesn’t have to look far for influences.

“My father’s a huge influence. But for my father I wouldn’t be in Congress or probably even care about politics,” he says. “As a kid my parents were very active in political work. I remember handing our fliers at polling places probably in the first grade and getting political lectures from my dad about how Ted Kennedy was going to hurt small businesses with his whatever legislation. That was our dinner table talk,”

“My dad knows his stuff, he does his research and he develops very strong opinions. When I was growing up he would tape his Sunday morning political show on Saturday and I would always go down to the station when they would film it.”

At one taping Terry met Sen. Roman Hruska, R-Neb. Hruska’s autograph went up next to Evil Knievel’s on his bedroom door at home.

Meeting Hruska, under whom Ashford served as an intern, was big but Terry says “someone that is legendary to me is Ronald Reagan.” Though he never met the two-term President he says the 1984 Reagan presidential campaign offered him a job but he turned it down to pursue a law degree at Creighton University.

 

 

Like Terry, the 64-year-old Ashford is a CU law grad. His wife, Omaha attorney and businesswoman Ann Ferlic Ashford, was a law classmate of Terry’s. The two men go back and they once shared the same party in common, though in sharp contrast to Terry, Ashford’s unbound by party affiliation. For this race though he’s a Democrat after previous forays as a Republican and Independent.

Where Terry was steeped in conservative Republican values, Ashford was immersed in his Republican family’s’ progressive social views. His grandfather Otto Swanson started the now defunct family business, Nebraska Clothing Company, and co-founded the National Conference of Christians and Jews (now known as Inclusive Communities) to counteract a boycott of local Jewish businesses. This social justice legacy became more than an anecdote for Ashford.

“It was a big part of how we were brought up,” he says. “We were tutored on how to watch for discrimination and intolerance. We didn’t live it in the sense that we suffered from it but we certainly were schooled in it and told that was a high value proposition – that when you see it you should try to find out what’s causing it and try to eradicate it.”

He grew up in Augustana Lutheran Church, which moved from conservative to liberal in the aftermath of the documentary A Time for Burning that focused on the rupture within the congregation when its new pastor attempted interracial fellowship there.

Ashford’s rising-tide-lifts-all-ships attitude formed from his family’s principles and business practices.

“For everybody to do well everybody has to have a bite at the apple. The economic growth of the country after World War II did pervade in society and today it’s not the case. You have very few people gaining economic power and most everybody else kind of struggling along. That’s really what’s happening. People have to have a better shot at success and there’s all sorts of obstacles to that, like student loans that are higher than mortgages and the banks getting bailed out while the middle class didn’t.

“Government has a role in evening out the inequality a little bit, making sure the middle class isn’t left out. If they’re left out than you can’t buy a tie and shirt from the clothing store and then the clothing store goes out of business and all the people that work there are unemployed.”

 

 

His 16-year record in the nonpartisan Nebraska Unicameral includes building coalitions that created tax credits for corporations when Omaha was at-risk of losing big business, advocating for intervention resources to help at-risk youth and crafting juvenile justice reforms.

Ashford’s prison reform work, including expansion of mental health programs and vocational training and finding community-based alternatives for nonviolent offenders, has been a target of Terry and his supporters. Pro-Terry ads by the National Republican Congressional Committee have raised ire for linking Ashford’s support of the good time law with the murders Nikko Jenkins was convicted of committing shortly after his early prison release in 2013. The tattooed face of Jenkins, an African-American, and blunt references to his horrific crimes strike many as exploitative. The ad’s been sharply criticized as being in poor taste, even by some prominent Republicans.

Terry’s own campaign is running ads with Jenkins’ image that suggest Ashford’s prison reform actions lead to “assault, robbery and murder.” Ashford is deeply offended the Terry camp has taken a reactionary approach playing on people’s emotions.

“I don’t understand how he cannot disavow such racially-charged ads,” Ashford says. “I mean, he’s really taken us back to the Bush-Dukakis race and the Willie Horton ads. In a town like Omaha that’s trying so hard to overcome decades of racial issues, he’s trying to mine the fears of people. That’s a hard one for me to accept. Why would we want to revisit those days? And that’s what he’s doing.

“I can’t imagine ever doing an ad that would cause people to be fearful
or I would never stand for such a thing.”

Terry says he does disapprove of the NRCC ad: “That’s a horrible ad, I hate it, I wouldn’t have done that. I totally disown that Nikko Jenkins ad.” Despite calls from outside his campaign for it to be removed, it’s kept running. Terry offers no apology for his own ads that use similar loaded images and language that blame Ashford for violent crime.

“Everything I’ve brought up in my commercials has been about his record. We’ve used good time but if you go back and look at my ads that I paid to produce and put on the air, we never mention Jenkins’ name and we never talk about that crime, and that’s out of respect for the victims’ families as well as the fact I didn’t want to glorify a mass murderer.

“But we always talk about how he (Ashford) bottled up good time and bad consequences occurred. That’s fair to talk about.”

Ashford believes it’s a crass strategy to distract voters.

“He’s trying to divert attention away from his lack of productiveness into trying to create fear among the electorate with his ads. He’s trying to convey that the laws of Neb. allow violent criminals to walk out willy nilly, which is absolutely not true. That’s a complex issue. It’s hard to answer that in a 30-second ad, so what we’re trying to say is we do have a good record on public safety.”

Ashford, who often uses “we’ to mean “I,” defends his own record.

“Certainly prison reform, the one issue they’re criticizing me on, is probably one of our greatest successes. We took an issue the governor had literally turned his back on and created a series of bills that will I think for a generation set the course for a prison system that’s smarter on crime and that will keep the public safer. That was very hard to do in the wake of Nikko Jenkins but we had actually started prior to that.

“When someone says you’re soft on crime it really doesn’t matter if you are or aren’t because if they have enough money to say you’re soft on crime than people will say, “He’s soft on crime.’ We’ve had a very balanced approach in the Legislature, we’ve been tough on gang crimes and sexual predators but we’re trying to find a way to get non-violent offenders into community-based services so they won’t get further into the system.”

 

 

When it comes to their respective records in public office, Ashford feels his achievements as a Neb. lawmaker far surpass anything Terry’s done as a congressman, saying of his opponent. “He can’t touch me.”

“Lee is not an effective representative. He has a very slim record.”

Ashford gained an unusually strong endorsement from the Omaha World-Herald that could have been written by his campaign.

“Well, they’ve been watching me,” he says of the paper. “One thing about the Legislature, we’re under the microscope of the press every day. We’re a very open, transparent kind of place unlike Congress where so much is done behind the scenes. So my record’s pretty much out there. I enjoy working on issues and I stick with issues. I don’t like taking partisan votes unless the partisan vote is something I believe in.

“Terry doesn’t have a record of any real consequence. The only thing he has is to attack. He’s a party guy. That’s the game he plays. I think that’s the main difference – I don’t care about parties. I don’t care really at all about parties other than I realize it’s a mechanism to get elected. I agree with the Democrats on lots of issues, certainly social issues, gay rights, immigration, but I’m sure I won’t agree with them on everything.”

 

 

Ashford almost goes so far to say Terry is a Republican mouthpiece.

“You can take a guy like Lee Terry who’s totally ineffective and get him elected simply by dumping $3 or 4 million into a place like Omaha and trashing the opponent. That’s what he’s done for two or three elections that I’ve followed closely.”

Terry takes exception to suggestions he’s done little in office and is strictly a party man.

“I handed an 18-page paper to the Omaha World-Herald showing all the things I’ve been able to accomplish, including pass six bills out of the House this year. Sometimes being effective means not letting a bill go forward. There’s two instances in the last session where the leadership wanted to bring up a bill and when I went in and educated them on how bad each bill really was they pulled the language out. One was Medicare supplemental and the other one was cyber security.

“Sixteen years ago I wouldn’t have had the credibility or the relationship or the knowledge to be able to just walk into the Speaker’s office or the Majority Leader’s office and say, ‘Here’s where you’re wrong.’ Not only did I walk in, but I also brought it up in conference in front of everybody and took on the Majority Leader in front of all my colleagues. Now I didn’t run to the press and brag about that because I also believe in Ronald Reagan’s 11th Commandment – Thou shalt not speak ill of any fellow Republican.”

In terms of crafting legislation Terry, who’s chairman of the Subcommittee on Commerce, Manufacturing and Trade on the House Committee on Energy and Commerce, says much of what he’s done “started as a bill but ended up an amendment to a different bill or to a bigger bill of the same theme.” As committee chair he and Democrat Jan Schakowsy from Chicago pushed through the Global Investment in American Jobs Act of 2013. The bill tasks the Department of Commerce to lead an interagency review and make recommendations to Congress on ways to make the U.S. more competitive in attracting foreign investment.

“When people say I don’t get along with the other side, well I worked with the most partisan, liberal person on our committee and got a bill done, negotiated, passed through committee, passed through the House. It’s sitting on (Senate Majority Leader) Harry Reid’s desk right now.”

Ashford has pledged to be led by what his local constituents say rather than be swayed by special interests and to build coalitions with colleagues from both parties as a wedge to help break gridlock.

“What I’m trying to tell people is that it is possible to make change by making government more responsive. That linkage between people and their government has been interrupted by special interests on all sides of the political spectrum. It’s really cut off individuals from their government.”

He says he’s interested in “developing policies around what’s going to help the entire society.” Even though he feels the Democrats were wrong “to push the Affordable Care Act through the way they did” he advocates fixing glaring problems with Obamacare and knocks Terry for repeatedly voting to repeal the law, which he says “only perpetuates the problem.” Terry, who like Ashford favors universal access, concedes he’s voted for ACA’s repeal but he says most of his votes concerning the law have been to amend it.

 

 

 

 

Ashford considers immigration reform an issue that will help the entire society “because it will bring more dollars into circulation,” adding, “Immigrants are hard workers, they’ll pay taxes, they’ll lend their efforts to the general prosperity of the country.”

He favors a stepped approach to immigration reform.

“You have to build a bill from the ground up in a bipartisan way, like the Senate bill on immigration reform, which identifies different classes of immigrants. Each class of immigrant would have certain legal status and with that status comes certain rights and responsibilities. So a DREAMer would have certain rights and obligations that are different from adults, for example, that would clearly show what they have to do to gain legal status. The same with adults and with people that just want to get work permits. I think it has to be very carefully constructed.”

Terry says his own view has evolved from forced expulsion to a more stepped approach that leads to citizenship for some and work permits for others, for example.

“In the last year or two since there’s been a lot of discussion and we now realize there’s a great deal of overlap and it’s not as divided as it appears or appeared in the past.”

On the other hand Terry says “there are four or five issues where it is really tough” to find bipartisan consensus on “because we are principally completely different. Like raising taxes just so you can bring up more revenue so you can spend more. I’m not going to support that. Now if you say, OK. let’s find a way to a balanced budget and let’s put everything on the table,’ then we could probably come up with a plan to get us to a balanced budget. But when you sit there and say we need more revenue and we need to increase taxes, you’re right, I’m going to differ with that and I’m just going to say no.”

The 2nd District foes agree that movement on big issues will only come when elected officials stay out of their ideological silos long enough to hear what the other side says and make necessary concessions.

Terry says, “We have to be able to get together on these. Reasonable people from both sides of the aisle can sit down and come to an agreement on these big deals, and the only way to get us to a balanced budget and really secure Medicare and Social Security for the future is if both parties are at the table.”

“In any of these issues in order to make change you have to convince your colleagues of the basic assumptions and if you can’t get people to do that you’re not going to be effective in making legislation,” says Ashford, who feels global warming is a good example. It turns out he and Terry share similar views on the subject.

“It does exist and we in Neb. should be extremely worried about it,” Ashford says, “because our economic driver is ag and agriculture relies on the environment and as the environment changes our ability to produce products, crops, whatever it is, also is impacted. There’s so much to learn about it. You have to be open-minded about it and
understand there is no one answer.”

Terry says, “I’m not the naysayer, I do believe there is climate change.
I do believe mankind has responsibility in this. I will not go to man-is- 100-percent” responsible. Now I am not in the camp that says we should just shut off fossil fuels. I do think we should be more energy efficient. I think we should use less of our resources and use resources like natural gas which have less emissions than gasoline.”

With the Nov. 4 election looming large each candidate is dealing with campaign fatigue, his own and voters’.

Ashford is upbeat, encouraged by a surge of Democrats who voted early. “It’s a close election, it’s expensive, my opponent has more resources than we do. But I think our message is getting out there. We have a chance to win, I’m hopeful we’re going to win, I believe we’re going to win.”

Meanwhile, Terry isn’t even considering the possibility he won’t be returned to office by voters. “I refuse to even think about it. The reality is my gut’s telling me things are going our way. When I’m out and about there’ an urgency in the feedback I’m getting of you’ve got to get out there and do this. The last three weeks I’ve really felt a shift.”

Should he not win re-election, does he have any plans? “No, there is no plan. My plan is to work my ass off and win.”

The Many Faces of Leo Adam Biga’s Blog

October 27, 2014 Leave a comment

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