Archive

Archive for the ‘Omaha’ Category

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.”

 

 

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.  My story for The Reader (http://www.thereader.com/) previewing the Film Streams event is largely drawn from an interview I did with Russell.

 

 

 

 

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 (http://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

 

 

  •   
  •  
  •   
  •   

  •  
  •   
  •    
  •     
  •  
  •   
  •     
  •   
  •  
  •    
  •  
  •  
  •   
  •   
  •   

  •   
  •     
  •   


  •   

 


 

 

 


  •   

 

  •   
  •     

  •   
  •     

  

  •  
  •   
  •   
  •   

  •   
  •   



 

The Many Faces of Leo Adam Biga’s Blog

October 27, 2014 Leave a comment

    •  

 

  •   
  •  
  •     
  •  

Have curiosity-will travel spirit brought Tanya Cook to Ukraine

October 18, 2014 Leave a comment

Nebraska State Sen. Tanya Cook made history some years ago when she and Brenda Council became the first African-American women to serve in the Nebraksa Legislature. Council is no longer in office but Cook is still there, fighting the good fight for her District 13 constituents.  A well-traveled woman in terms of politics and geography, she served as an official observer of the May 25 Ukrainian presidential election.  Her reflections about that experience are the core content of this short story for Omaha Magazine (http://omahamagazine.com/).

 

Big Mama, Bigger Heart: Serving Up Soul Food and Second Chances

October 17, 2014 Leave a comment

Patricia Givens Barron of Omaha has branded herself and her business under the Big Mama’s name and it’s working out well for her and her family.  Their soul food restaurant has been featured on the Food Network and other cable food shows, she’s been written up about a number of times, and the success has spawned a satellite sandwich shop.  She’s made her place a real community gathering spot, even hosting a monthly community forum called the Hungry Club.  In line with her heart for her African American community and its disproportionate numbers in and out of prison, she’smade a point of  hiring returning citizens when they leave prison.  It’s a personal mission for her because two of her daughers served time and she saw how much they struggled to find a second chance.  I wrote this proifile of Patricia for Omaha Magazine (http://omahamagazine.com/). You can find an earlier profile I wrote about her on this blog.

 

 

20140731-6C1A9276

 

 

 

Big Mama, Bigger Heart

Serving Up Soul Food and Second Chances

October 1, 2014
©Photography by Keith Binder
Originally published in (http://omahamagazine.com/)

 

Patricia Givens Barron, the woman behind Big Mama’s Kitchen in North Omaha, is known for her soul food. And for giving folks who’ve run afoul of the law a second chance.

Her desire to give individuals reentering society a break is not some vague, do-gooder’s impulse; rather, it’s a deeply felt advocacy and activist calling borne of personal experience and heartache.

The North Omaha native grew up the daughter of popular band leader Basie Givens. After a four-year U.S. Navy hitch, then decades in the telecommunications industry, Barron, who did catering on the side, opened her restaurant in 2007. Her interest in giving a helping hand began long before—when two of her daughters went to prison.

“It was such a shock,” Big Mama says, “because they had been raised in a Christian home with a mother and a father.”

Even after serving time and turning their lives around, her daughters struggled finding societal acceptance.

“They finished college. One became a counselor and the other one a nurse, only you could not get a license if you were a felon. I watched them go through the process. It took them a couple years to get their record expunged. The thing I went through with my daughters gave me an awareness” about a problem in our community. “How many other people went wayward, and it will be held against them the rest of their lives so that they can’t get a job or can’t get into a certain profession? I decided whenever I opened my restaurant, I’m going to hire felons and give people a second chance.”

Barron knows first-hand the power of second chances. She experienced two failed marriages, including one involving abuse, before finding the love of her life. It was on an operating table that she underwent a pivotal spiritual experience. She was called to serve a larger purpose.

Through her church she became active in Crossroads Connection, a ministry outreach to inmates. She believes the barriers ex-offenders face are the root of many inner city ills. She and then-State Senator Brenda Council tried getting a bill passed banning the felony box on applications. The attempt failed, but Barron’s still doing her part.

“We’re promised the pursuit of happiness in this country,” she says. “One should be able to pursue their happiness even if they are a felon. I feel like I’ve lived a pretty decent life, and so now it’s time for me to give back and to help other people pursue that happiness. If it’s by offering jobs, by giving second chances, that’s what I’m going to do because I feel like that’s my purpose.”

One of the first people she helped was her granddaughter, Diondria Harrison, who was incarcerated several years ago. After her release Barron took her on. Today Harrison is the lead cook at Big Mama’s.

Right from the start Barron, whose place has been featured on The Food Network, made it known she cut ex-cons a break. She hosted job fairs for ex-offenders that attracted hundreds.

“When I opened my restaurant most of my help was on work release,” she adds. “They worked for me during the day and went back to jail at night.”

Her open hiring policy led her to partner with others on reentry employment efforts and to offer internships to at-risk youth.

People regularly show up looking for their second chance. A woman who served 14 years in military prison for killing her abusive husband heard about Big Mama’s and had her parole officer inquire about a job when she got out. Eager to learn the culinary trade, the woman didn’t wait for a reply. The day she arrived there was no job available, so  she eagerly shadowed kitchen staff before being hired as a waitress. Today, she’s working another job and nearing completion of her culinary degree at Metropolitan Community College.

“I understood where she was coming from,” Barron says. “Through all that she’s been through, she’s really kept it together. She loves to cook. Loves to bake. And that’s what I’m about, so she just fit in perfectly. She’s doing very well on her own now.”

Cornell Austin didn’t know about Barron’s big heart for felons when he appeared seeking a job after his release from prison. He’d caught her on television and, with years of food service experience behind him, he figured Big Mama’s would be a good place to start over—if its owner would get past his criminal background. She did.

“I had tried at a lot of places,” Austin says, “but I had that felony hanging over my head. When I interviewed with her I was apprehensive to tell the truth about my background, but I decided to put everything on the table. I told her what happened. She accepted it. And she didn’t judge me. She gave me a shot at a new beginning. She helped me change to be the man I am today. She gave me another chance to believe in myself—that I can make mistakes, but I can also achieve things in life as well.”

Austin now cooks at the Doubletree Hilton and still helps Big Mama on occasion. He’s only months from getting his culinary degree at Metro. He hopes to one day open his own catering business.

Barron’s happy for Austin. “Everything is going great for him. I am so proud of him. I’m glad to be a part of his life to help him get on track. He’s another black man that got on track, so I feel good about that.”

Not every ex-offender works out, she says.

“We’ve been burned by people who stole from us, lied to us, but that’s on them. I don’t let that stop me or discourage me. Most people really want to change their lives. They just need to be given a chance.

Barron, who estimates she’s employed some 200 ex-offenders, says offering folks a fresh start “makes me feel like I’ve accomplished something and that my purpose here is being fulfilled.”

Cornell Austin and countless others would agree.

 

Artist facing life-altering disease makes Dracula subject of literary festival: Jill Anderson and friends explore Bram Stoker’s dark vision

October 17, 2014 1 comment

A not-so-funny-thing-happened-on-the-way-to Jill Anderson organizing the Joslyn Castle Literary Festival this year: strange, unsettling, and often debilitating symptoms began appearing out of nowhere and after many tests, a mis-diagnosis and many more tests she found out the culprit: multiple sclerosis. In true trouper fashion she has carried on and “the show” is indeed going on in her capable hands. It is ironic perhaps that her life-altering disease should come in the year the festival explores the permutations of Bram Stoker’s classic transmutation novel Dracula.  Her festival, Shadows at the Castle: Bram Stoker’s Dark Vision, runs Oct. 17 through Nov. 1 and uses art, music, drama, film, literature, and more to explore the themes bound up in the Stoker work and the superstitions and cultural traditions that influenced his creation.  Read about Jill, her perseverance, and her festival in this story for The Reader (http://www.thereader.com/).

 

 

Cover Story


 

 

 

Artist facing life-altering disease makes Dracula subject of literary festival

Jill Anderson and friends explore Bram Stoker’s dark vision
©BY LEO ADAM BIGA

Now appearing in The Reader (http://www.thereader.com/)

 

When Jill Anderson made Bram Stoker’s dark transmutation novel Dracula the theme for the 2014 Joslyn Castle Literary Festival she never imagined her own life would be marked by fear-inducing, life-altering transformation.

In February the founder-artistic director of the annual festival, now in its fourth year, suffered the sudden onset of debilitating ailments initially attributed to a stroke. After rounds of invasive testing the stroke idea was laid to rest. Instead, she was diagnosed with multiple sclerosis, an inflammatory disease affecting the nerve cells of the brain and spinal chord. As the Omaha singer-actress has shared via Facebook posts, she’s dealt with endless doctor visits and frequent bouts of fatigue yet maintained a busy professional schedule. Even during the worst of it, plagued by nausea, double vision and vertigo, she fulfilled many performing obligations. She even made an out-state tour – with the help of friends and family.

“My mom literally went on tour with me, stayed in the hotels, made sure I got fed, It’s weird at age 47 to be like the invalid and having your mom as your caretaker,” she says.

Her indefatigable spirit’s hardly wavered, at least not on social media sites, where her humor shines through. In one post she compared her tour experience to Weekend at Bernie’s because she was nearly dragged from place to place like the corpse of that film comedy, only to be propped up at the mic to perform.

The emergence of her disease is still so new that she’s far from knowing yet what her long-term prognosis is.

“It hits everybody differently, there’s no way to predict how it’s going to affect you. One person might end up in a wheelchair and somebody else – no issues, no problems, or very little. So you have to figure out how quickly and aggressively your case is progressing and there’s no way to know that other than through observation over a number of years.

“I’ve heard stories from a handful of people about someone in their family who has MS and is in dire condition. Those have been the days that have been the hardest for me – hearing about the MS stories that are not triumphant and hopeful. You can’t have a chronic degenerative disease and not have the thought occur to you – What if I get hit really hard at some point in my life and there’s no one around to help me? I’ve had blue days with those kind of thoughts.”

Despite personal challenges, this trouper made sure the literary festival, whose proceeds benefit the Joslyn Castle Trust, was never in doubt. Much like her treatment of past subjects the Bronte sisters, Oscar Wilde and F. Scott Fitzgerald, Shadows at the Castle: Bram Stoker’s Dark Vision is a multifaceted event informed by her curiosity and wit. With the Durham Museum, the University of Nebraska at Omaha and other collaborators, the fest explores its theme through cinema, lecture, drama, dance and music.

“Every new project I do is a whole new world of discovery, especially the literary festival because it requires a lot of research,” she says. “I love to have an excuse to research my butt off. One of the neatest things about what the festival has become is this sort of melting pot of artists and scholars. Visual art is always involved. Drama is always a centerpiece.”

“There’s really no group in town doing exactly this,” she says. Indeed, the downtown Omaha Lit Fest has a contemporary focus. In theater circles she says “Brigit St. Brigit certainly does a great job with the classics, but they’re doing the drama aspect without exploding that out into all these other facets.” What distinguishes her event, she says, is its examination of “what inspired these much loved classic stories that still fire people’s imaginations.” That niche, she adds, has found “a passionate audience and we want to find more people who get it and dig it and are looking for a thought-provoking, intellectually-stimulating, interactive, exploratory approach to this literature.”

Then there’s the singular setting of the Scottish Baronial castle at 3902 Davenport Street. Built in 1903, the imposing four-story structure is the closest thing to a Count Dracula lair as you’ll find in the metro.

“The castle is gorgeous. An incredible, historic venue. It has a built-in ambience. So it’s really like a perfect marriage between this great literature from past periods and that evocative building.”

Anderson says as she filled out the Stoker festival with programming everything she needed fell into place but one element: authentic Transylvanian folk art from the 19th century.

“It’s been the festival of ultimate syncronicity because when I most need something it magically materializes. One thing I wanted for sure was an exhibit of Transylvanian folk art and lore because it informs a lot of things in Dracula. Stoker was a great consumer and enthusiast of folk lore, he was constantly studying it and speaking to people who knew about it and taking it facts and information. I also wanted to get some actual artifacts – a traditional Transylvanian costume from a hundred years ago.

 

 

 

Cover Photo

 

Searches on eBay only turned up things she couldn’t afford.

“I was beginning to despair and then a friend and I were walking around in the Brass Armadillo antiques store, where I interacted intermittently with a shop clerk with a strange and unidentifiable accent.

My friend and I found this kitsch cross but I said, ‘It will never work for Dracula,’ and the clerk said, ‘I am related to him.’ My friend said, ‘Van Helsing?’ ‘No.’ With a real live relation to Dracula or more accurately to the inspiration for the vampire legend, Vlad the Imapler, standing next to her, she did what any red-blooded girl would do.

“I leaped on him,” she says. The object of her enthusiasm, George Mihai, is not only a Transylvania native but a Romanian cultural studies expert with a personal collection of period artifacts from his home country, including many from his family.

“What are the chances?” asks Anderson, whose own powers of seduction or persuasion has Mihai loaning artifacts for display and delivering a lecture.

Where does a popular entertainer like Anderson fit into all of this?

“I would never be pretentious enough to say I bring any level of academia to this programming. I like to think I bring the juice to it.”

For 2014 she sought “something classic, completely indelible, that everyone knows and is irresistibly popular and sexy to the American public.” With fellow creatives she’s concocted an eclectic look at Dracula. The schedule:

•October 17

Movie Night, 7 p.m.

Nosferatu on the Green

F.W. Murnau’s silent film classic Nosferatu gets projected outdoors against the castle’s north facade. Audience members can throw down blankets on the lawn. Tiki torches and fire pits add to the mood. A UNO scholar comments on Dracula’s rich screen and stage history. An American Red Cross blood drive precedes the event with a bloodmobile taking donors from 2 to 7 p.m.. “Isn’t that fun?” Anderson says.

•October 23 through November 1

Exhibit, 10 a.m. to 3 p.m. daily

Durham Museum at the Castle: Vampires and Victorians

Victorian ways and Romanian folk art take center stage in this exhibition drawn from the Durham’s permanent collection and from the personal collection of Tranyslvania native George Mihai, respectively. Victorian funerary customs and the rise of female emancipation are sub-themes in Dracula. Mihai’s family artifacts go back many generations.

•October 23-26 and 29-30

Drama Duet, 7 p.m.

Kirk Koczanowkski delivers a one-man performance of Dracula: The Journal of Jonathan Harker. Anderson, who’s directing, says, “This brilliant actor played our Oscar Wilde two years ago and just was dazzling. He’s young but sort of timeless and ageless. He’s transmutable, He can shape shift into anything you want him to be.”

Paired with that show is a staged reading of The Jewel of Seven Stars, a Stoker story about an attempt to reanimate an Egyptian mummy. Omaha theater artist Laura Leininger wrote the adaptation.

The two shows take place in the castle’s atmospheric attic full of turrets, nooks and crannies.

•October 27-28

Double Lecture, 6 p.m.

The Man Behind the Monster

and

Life and Afterlife in Romanian Mythology

Stoker expert BJ Buchelt (UNO) speaks about the author’s life before the iconic novel. Stoker was bedridden as a child. He managed the Lyceum Theatre in London, where he was also personal assistant to England’s preeminent theater personality, Henry Irving. His wide travels in Eastern Europe and his studies of its folk tales prepared him to write Dracula.

Transylvania native and Romanian cultural studies expert George Mihai of Omaha shares what Anderson describes as “absolutely fascinating stories” about Vlad the Impaler, a historical figure whose reign of terror helped inspire vampire mythology, and about that area’s deeply rooted and peristent native superstitions.

•October 31

Vampyre Ball, 7 p.m.

This “big blowout party on Halloween night will feature tarot readers, palm readers, fire spinner dancers, performers enacting vampiress bride scenes live readings by actors and a costume contest. Plus, lots of food, drink, music and revelry.

•November 1

Music of the Unknown, 7 p.m.

Hal France conducts a chamber ensemble of vocalists Anderson, Sam Swerczek and Terry Hodgesand and cellist David Downing performing period folk, operatic and popular stage music that deals with the supernatural.

Anderson, a much beloved and versatile artist equally adept at performing cabaret, Irish music, Shakespeare, Sondheim, high drama and broad comedy, makes sure music is always a part of the festival. The power of music has taken on new import for her.

“My ability to perform music, to use music to soothe and help other people is an incredible thing for me. I’ve gone to care facilities and sung from bedside to bedside for people and it does have an immediate affect on people. I’ve gotten thank you letters from people who’ve seen me in a cabaret show or some musical production saying they brought their father to the show and they hadn’t seen him smile since his wife died. That’s the letter you save for a lifetime. Music did that. Live performance did that.”

Then there are the unexpected, unscripted moments when music’s transformative power takes hold. In a September 9 post she wrote about one such moment at the Mayo Clinic in Minneapolis, where she spend a couple weeks undergoing tests.

“On the lowest level of the big open atrium there is a grand piano. It is open to anyone who feels inclined to tickle the ivories. Most days from 10 to Noon a seasoned old pro of a piano player, a woman who can play pretty much any request, sits at the piano and accompanies anyone who wants to stand up and sing…Yesterday, a barrel-chested surgeon in full scrubs walked up to me with his big baritone booming and, taking me by both hands, sang ‘Climb Every Mountain’ straight to my face.”

“It was totally surprising and wonderful,” Anderson says now in reflection. Never too shy to to break into song herself, at various times she did Mayo solos of “Stardust,” “Amazing Grace,” “Softly” and Tenderly” and “How Great Thou Art,” no doubt moving onlookers with her performances. Having the shoe on the other foot was an eye-opener for her.

She posted:

“Music is and always has been the great healer. I’ve usually been on the providing side of that equation. It’s interesting to be on the receiving end as well.”

The solace of music is always available to her. Her health problems surfaced in the middle of planning the literary festival, which complicated things but also allowed her to lose herself and her woes in the work. She says organizing the event is an “all-consuming feat” she values now more than ever.

“It’s easy to feel like your identity is becoming the disease and I don’t want that to be the case. It’s great to have something like the literary festival to pour my creative passion and energy into. It’s something that pumps me up and keeps me moving forward.”

She’s having fun, too, going goth, fangs and all, in promos.

The public knows her best as a performer but she also directs and she’s looking forward to helming Dracula: The Journal of Jonathan Harker at the fest.

“This Dracula I’m directing is really going to be outside-the-box. It’s a one-man Dracula with a single actor who morphs from one character to another, so that requires tremendous theatrical invention to come up with how do we make that happen, how do we make it clear when you go from one character to another.”

Directing is something she expects to do more of.

“I’ve done more performing than directing but I’ve been directing for years and now I’m feeling I really want to steer my ship in the direction of directing more,” says Anderson, who concedes dealing with stamina and fatigue issues is part of that deliberation going forward.

She owns long associations with the Blue Barn Theatre, the Omaha Community Playhouse and the Nebraska Shakespeare Festival. She and Tim Siragusa had Bad Rep Productions together. She’s left Omaha to make a living doing cabaret and regional theater in places like New York City and Los Angeles, but she’s always returned home.

She’s grateful for the outpouring of care she’s received here in the wake of her diagnosis from extended family and friends. She says the “incredible love and loyalty” she’s received has meant a lot to her as she’s navigated this “scary stuff.”

She’s grateful to for the generosity others have shown. Fellow performers staged a May benefit that paid her way to the Mayo Clinic.

“This big beautiful event went off without a hitch. There was so much heart in all of it – it was overwhelming. It’s almost impossible to describe what it feels like when your friends step in and just support you.”

 

 Jill Anderson, right, with fellow beloved Omaha entertainer, Camille Metoyer Moten, who survived breast cancer (my story on Camille is on this blog)

 

 

She was also gifted with a long dreamed of trip to her ancestral homeland of Ireland.

These experiences, she says, have given her “new insight” into her many blessings and a new appreciation for life.

“I think people are never brought closer to the essence of who they are than when they’re facing scary illness. When you’re sick, the bullshit goes away, you see things very clearly for what they are and in a way you’re hypersensitized. It brings you face-to-face with a lot of truths.

As an actress, Anderson’s called to be in the moment but she says she has just as much trouble achieving that state as most of us do.

“Oh God it’s hard to do. I think people’s ambition and drive put their head down the line instead of right here, right now.”

There’s nothing like a devastating health scare to get you to slow down, be still and surrender to the here and now

“All the weird stuff that’s happened medically has really snapped me into the moment, to being able to be fully and deeply touched by experience. To have sensual and delicious moments I’m actually enjoying and am involved in. I wasn’t able to do that before, not really. My head was always somewhere else. It was very hard to slow down and focus in before.”

In an April 5 post she shared, “Here are the things I noticed today: Spring is here. The magnolia tree outside my parents’ house is in glorious blushing bloom. Sprinklers were sending glistening droplets into the air. Lilac buds were packed and purple on the bush in my south garden. The air had a balmy feel. My sweet potato tasted incredible…I sang my guts out at a rehearsal for a gig and loved the feeling of making musical sounds.”

That ability to be in the moment, she says, “is the best thing that’s come out of it (her health crisis).” It’s why when people ask how she’s doing she can honestly say, “I’m taking it one day at a time.”

For prices and tickets, call 402-595-2199 or visit http://www.joslyncastle.com.

 

Follow

Get every new post delivered to your Inbox.

Join 3,335 other followers

%d bloggers like this: