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‘Alexander Payne: His Journey in Film’ Author Leo Adam Biga at Feb. 22 Author’s Fair

February 21, 2014 1 comment

‘Alexander Payne: His Journey in Film’ Author Leo Adam Biga at Feb. 22 Author’s Fair

Show me and my fellow metro area authors some love at the Omaha Public Library’s annual Author’s Fair, this Saturday, Feb. 22, from 1 to 4 pm, at the downtown W. Dale Clark Library.  I’ll be there with my Alexander Payne book and dozens more area authors will be there with their books.  It all happens on the 4th floor.  There’s a publishing panel from 2 to 3.  Hope to see you there.  My book sells for $20.  Get yours at the Fair and I’ll sign it for you.

My book makes a great reference companion for watching the Academy Awards.  Payne’s “Nebraska” is up for six Oscars and I’m betting it wins one or two, possibly three. But the book is an even greater additon to your permanent home library because Payne is only going to become a more significant filmmaker as time goes on.  His work is only going to be more celebrated and studied.  And my book gives you a comprehensive grounding in the journey he’s traveled to become the great cinema artist he is today.

If you can’t make it to the Fair, then be on the look out for coming announcements about a new edition of the book (March 2014 release) featuring my “Nebraska” coverage.  I’ll be doing a whole new round of media interviews and signing-speaking events.  Hope to see you sooner or later.

 

 

AP Front Cover w border

Paying it Forward…The best endorsement yet for my Alexander Payne book

February 4, 2014 Leave a comment

Alexander Payne: His Journey in Film
For those of you needing a boost of inspiration or proof that your works make any difference at all in the world, and believe me I despair about this myself, I offer you the following message I received from a young man named Bryan Reisberg.  He emailed me out of the blue the other day to tell me how much my book “Alexander Payne: His Journey in Film” meant to him.  His beautiful sentiment moved me deeply and with his permission I’m sharing the gift he gave me so that I can give it to you.  I’m touched that my work had a positive impact on someone who’s definitely going places in the world.  Let’s all pay it forward.
•     •     •

 

Hi Mr. Biga,

You don’t know me but I’m a young filmmaker in NYC and I purchased your book on Alexander Payne I think back in November of 2012. I was always a fan of Alexander Payne’s work, and was simply searching for anything I could find on him. I wanted to write and tell you that your book has helped me immeasurably as a filmmaker. I imagine now, being a bit older than I was while in film school (now 25), I have much more of an interest in the academia of filmmaking. Whereas in school, I was 18 and living in New York City. Come on, gimme a break.

Your articles and interviews became a critical (and previously absent) entry point to discover and dig deeper into learning more about directors, films, and film history. I came to not only respect and admire Payne as a filmmaker, but also as one of the best teachers I’ve ever had. And I can say that to date, starting with your book, what I’ve learned about the craft and history of cinema has been unparalleled and invaluable.

A few years after graduating film school (’09), I was fortunate enough to have my screenplay financed so that I could direct my first feature, BIG SIGNIFICANT THINGS, which I completed back in May of 2013.

And it was just announced that my film will have it’s World Premiere at the 2014 SXSW Film Festival. Mark Orton, who I’m sure you know did the score for NEBRASKA, is composing the score for my film.

http://schedule.sxsw.com/2014/events/event_FS14936

I wouldn’t be here without Alexander Payne and your book. Well, maybe I’d be here, but I wouldn’t be nearly as (hopefully) knowledgeable and skilled as a filmmaker.

So I just wanted to extend my gratitude, and thank you from the bottom of my heart.

Best,
Bryan Reisberg

Big Significant Things

F45672

At 26 years old, Craig (Harry Lloyd) seems to be doing pretty well for himself. He has job stability, a supportive family, and is about to start a wonderful new chapter with his girlfriend. With big life changes on the horizon, what better time to lie to your girlfriend so you can go on a road trip by yourself to the south?

Nebraska Coast Connection: Networking group ties Nebraskans in Hollywood

January 6, 2014 Leave a comment

Upon discovering there’s a networking group for Nebraskans in Hollywood called the Nebraska Coast Connection it’s not surprising for someone to ask, There are Nebraskans in Hollywood?  Yes, and a lot more than you might think.   The fact is there have always been Nebraskans in that strange and alluring land of make-believe.  A surprising number of natives of this Midwestern state have played and continue playing prominent roles there, both behind the camera and in front of the camera, all the way from the motion picture industry’s start through the advent of television and more recently the dawn of multi-media platforms.   The story that follows is my profile of the Nebraska Coast Connection for an upcoming issue of The Reader (www.thereader.com).

Much of my story is based on interviews I did with the Nebraska Coast Connection’s founder and president, Todd Nelson, a Holdrege, Neb. native who’s been doing his thing in Hollwyood for 30 years.  His group’s monthly Hollywood Salon has become its signature event.   This part social mixer and part professional seminar allows folks to tout their projects and to hear featured speakers, such as Oscar-winner Alexander Payne.  I also have insights and impressions about the organization from three of the biggest names from here in Hollywood: filmmaker Alexander Payne, whose new film Nebraska is sure to fare well at the Oscars; writer-producer-director Jon Bokenkamp, whose hit new NBC series The Blacklist has elevated him to the prime time A-list; and former network executive and script writer Lew Hunter, who’s retired from the craziness but knows where the bodies are buried.  All speak glowingly about the nurturing nature of the group and how it offers a home away from home environment in what can be otherwise a cold, harsh culture for those working in the industry or aspiring to.

I can speak to the warm hospitality offered by the group based on two recent experiences I had with it.  I was there for the Sept. 9 Hollywood Salon featuring Payne and for a Nov. 16 screening of Payne’s Nebraska at Paramount Studios.  I was also the featured speaker for its Nov. 11 salon.  Todd Nelson was my gracious host each time.

This blog is filled with stories and interviews I’ve done with film figures, famous and not so famous.  Much of that work as well as related activity I’m now purusing will feed into an eventual book about Nebraskans in Hollywood, past and present.  I am the author of the current book, Alexander Payne: His Journey in Film.

Todd Nelson generously provided a set of photos for my story taken by homself and some other NCC stalwarts.

 

photo credits:
TIM WOODWARD, TRAVIS BECK, TODD NELSON, DAVID WILDER

 

 

Nebraska Coast Connection: Networking group ties Nebraskans in Hollywood

©by Leo Adam Biga

Soon to appear in The Reader (www.thereader.com)

 

 

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Alexander Payne at the Sept. 9 salon

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Todd Nelson interviewing Payne at the Sept. 9 salon

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Some of the crowd at the recent Hollywood Salon featuring Payne

 

 

Dreamers from Neb., as from everywhere else, have flocked to Hollywood since the motion picture industry’s start.

Softening the harsh realities of making it in Tinsel Town’s dog-eat-dog world, where who you know is often more vital than what you know, is the mission behind the Nebraska Coast Connection. This networking alliance of natives already established in Hollywood or aspiring to be is the brainchild of Todd Nelson, a Holdrege son who’s been in Hollywood since 1984. A former Disney executive, his company Braska Films produces international promos for CBS.

Early in his foray on the coast Nelson was aided by industry veterans and once settled himself he felt an obligation to give back.

His own Hollywood dream extends back to childhood. He made an animated film with his father, created neighborhood theatricals and headlined a magic act, ala home state heroes Johnny Carson and Dick Cavett, that netted a recurring spot on a local TV show and gigs around the state.

“I guess I didn’t know any better and nobody ever told me I couldn’t do it, so I just kept at it,” Nelson says.

As a University of Nebraska-Lincoln theater and broadcast journalism major he made the then-Sheldon Film Theatre (now the Mary Riepma Ross Media Arts Center) his film school.

“To see classic movies and to meet the filmmakers behind some of them was just a fantastic experience and a real eye opener for me.”

Frustrated by limited filmmaking ops at UNL, he talked his way into using Nebraska Educational Television production facilities to direct a one-act play for the small screen. He also worked as a KETV reporter-photojournalist in the ABC affiliate’s Lincoln bureau.

He was an extra in Terms of Endearment during the feature’s Lincoln shoot.

An internship brought Nelson out to the coast, where he worked behind-the-scenes on a soap and later served as personal assistant to TV-film director Paul Bogart (All in the Family). After five years as a senior project executive at Disney he left to produce and direct the documentary Surviving Friendly Fire.

Nelson formed NCC in 1992. A couple years later he befriended fellow Nebraskan Alexander Payne, then gearing up to make his first feature, Citizen Ruth. Payne was looking for an L.A. apartment and Nelson leased him a unit in the building he managed and lived in. The neighbors became friends and the Nebraskans in Hollywood community Nelson cultivated grew.

“He’s a terrific guy,” Payne says of Nelson “He is, as they say, good people.”

In 1995 Nelson inaugurated NCC’s signature Hollywood Salon series. He knew he was onto something when the first event drew hundreds. His strong UNL ties brought support from the school’s foundation.

The monthly Salon has met at some iconic locations, including the Hollywood Athletic Club and CBS sound stages. Its home these days is the historic Culver Hotel in Culver City, Calif., whose namesake, Nebraskan Harry Culver, attracted the fledgling movie industry to his city in the 1920s. Many Golden Era stars kept residences at the hotel, which purportedly was owned by a succession of Hollywood heavyweights. In this ultimate company town, the hotel is next to Sony Pictures Studios, giving the salon the feel of an insiders’ confab.

 

 

Culver Hotel
Payne’s guest appearances draw overflow crowds. Some 200 attended the Sept. 9 program Nelson hosted. The acclaimed writer-director shared off-the-record dope on the making of his Nebraska, candid comments about the state of movies today and advice for actors and writers hoping to collaborate with him. He took questions from the adoring audience, many of whom he’s gotten to know from past salons, posed for pictures and made small talk.
In addition to Payne, the salon’s featured other Nebraskans: actress Marg Helgenberger (CSI and the new series Intelligence), writer-producer Jon Bokenkamp (The Blacklist), filmmaker Nik Fackler (Lovely, Still) and actor Chris Klein (Election).
Marg Helgenberger (CSI and the new series Intelligence) getting in the spirit of things at a Nebraska Coast Connection Christmas party
Nelson interviewing filmmaker-musician Nik Fackler

The group boasts a mailing list of more than 1,000 and nearly as many anecdotes from those who’ve found fellowship, employment, even love, through its ranks.

Payne likes that NCC affords a kind of Neb. fraternity in Hollywood.

“It’s wonderful and hilarious. It’s hilarious in the way that being from Neb. is hilarious. Maybe people from other states do the same, but I know the Neb. version of how they seek one another out in other cities. I know there’s a Neb. club of some sort in New York City. The state’s members of Congress host a Nebraskans breakfast in D.C.

“Nebraskans feel comfortable with one another outside of Neb. and I am no exception, I enjoy the group, we have a shared sensibility, a shared sense of humor, shared childhood references. And Todd is a forceful personality. He’s the most benevolent, charismatic cult leader one could imagine,” he says with a wink.

According to Nelson, “There is something really unique about Nebraskans. We belong together in this way that no other place does. I have watched other groups come and go trying to duplicate what we do and every group without fail has just fallen apart, and some of them are from the Midwest, so it’s not just the Midwest thing.”

Payne’s far past needing the NCC’s connections but he says, “I’m very happy to continue my participation as an occasional guest speaker.”

Bokenkamp does the same. The Kearney native parked cars when he first got out there. He did have a script but no idea how to get it to anyone that mattered. At Nelson’s urging Bokenkamp entered a screenwriting contest. He won. It got him an agent and eventually jobs writing features (Taking Lives) and even directing a pic (Bad Seed).

Nelson enjoys aiding folks get their starts in the business.

“There’s definitely a thrill watching new people realize their own potential,” he says. “Jamie Ball from Grand Island wanted to be an editor. I’ve given her a chance and she’s working in the big leagues now as a video editor, making a substantial living and finding she really enjoys living her dream. I love being a part of making that happen.

“But I also get the benefit of her good work and it’s enabled me to get home to see my son more often and to take a sick day once in a while. It’s a huge help to have her on my team.”

 

 

Payne’s first Oscar passed around at a salon

 

 

Against all odds small population Neb’s produced an inordinate number of success stories in film and television, including several legends. The star actors alone run the gamut from Harold Lloyd and Fred Astaire to Robert Taylor, Henry Fonda and Dorothy McGuire to Marlon Brando and Montgomery Clift to James Coburn, Sandy Dennis, Nick Nolte and Marg Helgenberger. At least one major studio mogul, Darryl Zanuck, originally hailed from here. As have leading composers. cinematographers, editors, writers and casting directors.

Payne heads the current crop, but he’s hardly alone. Most homegrown talents are not household names but they occupy vital posts in every facet of the biz. For each hopeful who makes it, such as producer-writer Timothy Schlattmann (Dexter) from Nebraska City, many others give up. Having a sanctuary of Nebraskans to turn to smooths the way.

Nelson credits former UNL theater professor Bill Morgan with sparking the concept for NCC.

“He was the one who really put the idea of a Neb. connection in my brain. I would always visit with him when back home for Christmas and he would pull out a stack of holiday cards from all his old students. I’d say to him that I don’t know so-and-so, they were before or after my time. He would write down their contact info and nudge me to get in touch with them. He just thought we all should know each other. And inevitably when I did follow up, they would always welcome me into their lives because we shared Dr. Morgan…even if it was from a different era. That was the seed of the NCC right there.”

 

 

NebrStars

 

 

Among those UNL grads Nelson looked up was the late Barney Oldfield, a Tecumseh native who was a newspaper reporter and press aide to Allied commander Gen. Dwight D. Eisenhower during World War II before becoming a Warner Bros. publicist and independent press agent to such stars as Errol Flynn, Ronald Reagan and Elizabeth Taylor. In his post-Hollywood years he worked in corporate public relations and became a major philanthropist.

“Barney was an amazing guy. He became a big supporter of the Coast Connection,” Nelson says. “We hosted his 90th birthday party at CBS on the big stage. He regaled us with stories of his old PR days and knowing everybody under the sun.”

Another of the old guard Nelson called on was Guide Rock native Lew Hunter, a former network TV executive and script writer whose 434 Screenwriting class at UCLA became the basis for a popular book he authored. Hunter, who today leads a screenwriting colony in Superior, Neb., offered a model for what became the salon.

“He used to do what he called a Writer’s Block when he still lived in Burbank,” Nelson says. “It was a kind of salon. He’s seen that our salon continues that, so he’s a big supporter.”

Hunter says, “Todd and I often thought and spoke about a similar monthly gathering of Nebraskans and he pulled it off. It has been a wonderful spin and he really is the father of it all.”

But what really compelled Nelson to form NCC was the stark reality that even though hundreds of Nebraskans worked in Hollywood, few knew each other and there was no formal apparatus to link them.

“I’d been working in Hollywood already 10 years and meeting a lot of Nebraskans and nobody seemed to know each other. We needed to have access to each other.”

Thus, the all-volunteer Nebraska Coast Connection was born.

“People teasingly called it the Nebraska Mafia, but it was kind of like that – we could take care of each other.”

Variety managing editor Kirsten Wilder, yet another Neb. native in Hollywood, has a warm feeling for the group and marvels at its founder’s persistence.

“The NCC is near and dear to my heart. The reason the NCC is so successful is because of Todd Nelson’s staggering devotion to keep the group alive and thriving.”

Nelson defers credit to the natural conviviality of Nebraskans.

“You get these people that come out here from Neb. and it doesn’t matter where they’re from in the state, it doesn’t matter that they don’t have a direct contact with someone else, the fact that you are from Neb. is an instant welcome. It’s not entirely universal. I met Nick Nolte at the Golden Globes one year and I told him about our group and I said we’d love to have him come and talk to us sometime and he said, ‘Why would I want to hangout with a bunch of Nebraskans? I got away from that place.’ That’s a rarity, once in a while you run into it, but most of the time we find that everybody just connects instantly.”

 

 

A tribute screening of silent screen great Harold Lloyd’s work brought inspired NCC members to don replicas of the icon’s signature horned-rim glasses

 

 

Nelson says that in what can be a cold, rootless town NCC provides “a safe haven” that comes with the shared identity and experience of being among other Nebraskans .

“We call it Home Sweet Home in Hollywood and it has that quality to it. You need a home base I think if you’re going to do this kind of hard work of always having to put yourself out there and come up against the sharks of the world. I don’t think growing up in Neb. especially prepares you for how hard it will be to actually make it while you ply your trade and build your career. Hollywood just isn’t very nurturing. You can really use a community out here to help you get your bearings and give you a leg up. Or at least some friendly faces to be yourself with as you make your way.”

Bokenkamp admires what Nelson and the group provide.

“His love for Neb. runs deep, and he’s found a way to channel that love into a really positive networking group with the Nebraska Coast Connection. NCC is a warm, energetic and creative environment. Todd just wants to see people succeed.

“Thing is, in a land as strange as Hollywood, it’s just nice to have a place to go now and then that feels like home. NCC is that for a lot of Nebraskans.”

Payne says he can appreciate how NCC makes negotiating Hollywood less lonely and frightening for newcomers.

“L.A. is such a scary place to approach when you’re young and want a career in film or television. Everyone is telling you you can’t make it, perhaps you’re even telling yourself that, but you’ve giving it a try anyway. Add to that the fact you’re from Neb. and have no connections. Well, it turns out there is an organization that welcomes you and has people in exactly the same boat there to commiserate with. It’s a wonderful, caring organization.”

 

 

 

 

Nelson says without the NCC it’s easy for some to give up their dream.

“I’ve seen many people go back home after a few years of waiting for their break and not getting very far. Pressure from parents and friends is part of it. People in Neb. don’t really get how long and hard these careers can be to get started. There’s no distinct ladder to climb, no road map, lots of horror stories and kids here can run out of money or run out of steam. That’s when a ‘safe’ job back home near the folks looks more and more attractive.

“I’ve had many parents tell me they wouldn’t let their kid try it in Hollywood without the safety net we give them.”

Nelson says NCC offers a way to make foot-in-the-door contacts that parlay a kind of pay-it-forward, Neb.-centric nepotism.

“I know the NCC works because I see it over and over. People are constantly making job contacts, finding support, getting roommates, attending each other’s performances, hiring actors and crew for their films. It is going on all the time at every Salon. Hopefully it will happen even more with the interactivity built into the new website. Our goal is to have a kind of virtual salon to help everyone stay in touch with each other in between salons.”

“Even after some folks reach some level of success they come back often and say it gives them a friendly home base.”

Real jobs result from NCC hook-ups.

“As a producer who has hired or recommended over a dozen people to work at CBS-TV over the years, including a young Jon Bokenkamp, I know this group to be a huge resource of great talent. I don’t ever need to go elsewhere to find the best people,” Nelson says.

Nelson’s quick to point out he’s not alone in his home state loyalty.

Jeopardy executive producer Harry Friedman is from Omaha and he is famous for hiring Nebraskans on his shows. Many others out here from Neb. recommend Nebraskans first. Why wouldn’t they? It always makes sense to hire people you know, or know where they came from, and Nebraskans are almost universally loved for their work ethic, responsibility under pressure and humble ‘get it done’ spirit.”

Nelson says he’s pleased the NCC, which rated a fall L.A. Times feature article, has made it this far.

“I don’t think if you told me 21 years ago that we’d still be going this strong I would have believed it. In fact, it’s kind of moving into some new levels. For example, with the Nebraska screening at Paramount I was able to reach out to all these folks who’ve been salon guests and they were very excited about it.”

Besides Nelson and Payne, attendees at the screening included Bokenkamp, Chris Klein, actor Nicholas D’Agosto and actress turned-mystery author Harley Jane Kozak.

Celebrating success stories like these is part of the deal. But Nelson says the heart of the NCC “will always be a group focused first on the kid that’s been out here for a week, that drove out in his dad’s car full of stuff, is staying on somebody’s couch and has 500 bucks to his name. I mean, that’s really what we’re here to do and that’s going on every month at the salon – somebody showing up for the first time who’s in that circumstance. That’s the way it works.”

Cinematographer Greg Hadwick showed up like that out of Lincoln, recalls Nelson. “I think he drove all night to make it to the salon.” No sooner did Hadwick arrive then he learned Nelson and his then-very pregnant wife were due to move that weekend and he volunteered to help.

“He was just a trooper,” says Nelson. “He rented a truck and stayed late. He was such an incredibly hard worker. He didn’t ask for any money and he wouldn’t take any. The next salon I told the group what he did and somebody who was looking for an assistant hired Greg based on my recommendation, and that kid has gone on to work his butt off in Hollywood, He just showed up, open, ready to jump in. He’s now started his own production company and brought guys out here from his hometown in Neb., so he’s kind of doing his own giving back.”

Nelson says he can usually spot who has what it takes.

“I’ve seen a lot of those kids who try to make it for awhile who don’t stick. Then there’s the ones that right away I know, Oh, yeah, they’re going to do it. There is a certain confidence, I don’t think you can make it in this town without that confidence. But there’s so much more to it than that. In so many ways it’s about, Do they have something to give? There’s a lot of people that come out here and they think, Well, what can I get out of this? Almost without exception the ones who make it are the ones who want to give back.

“I’ll back these people a hundred percent and help them on their way because that’s what you do here, that’s what it’s about.”

The reciprocity continues. Nelson and Payne attended the dedication of Bokenkamp’s restored World Theatre in his hometown of Kearney. Nelson says,  “It was a great celebration of Jon’s good work.” Nelson also organized a group to attend a screening of Bokenkanp’s documentary about the waning days of drive-in theaters, After Sunset. Bokenkamp returned the favor speaking at the October salon. The home state contingent turned out in force for the Paramount Nebraska screening. And so it goes with the Coast Connection.

“There’s never been a time when it’s felt like a one-way street,” says Nelson. “It always comes back.”

Follow the Coast Connection on Facebook or at http://hollywoodsalon.org/.

 

 

Payne, Bokenkamp and Nelson at dedication of the restored World Theatre in Kearney, Neb.

Come to my next ‘Alexander Payne: His Journey in Film’ book talk and signing at KANEKO-

December 6, 2013 1 comment

You are cordially invited to my next ‘Alexander Payne: His Journey in Film’ book talk and signing-

Wednesday Words Reading Series Featuring Leo Adam Biga

  • KANEKO-UNO Library, 12th and Jones St.
  • I will talk about my book “Alexander Payne: His Journey in Film,” describe my years writing about the filmmaker, and assess his new film “Nebraska.” A Q&A and signing follow. The book is only $20 and it makes a great Christmas gift.
    Hope to see you there.HERE’S HOW THEY’RE PROMOTING MY APPEARANCE-
    Our Featured Writer: Leo Adam BigaAward-winning Omaha journalist Leo Adam Biga has adapted his extensive body of work about acclaimed filmmaker Alexander Payne into a new book. “Alexander Payne: His Journey in Film” is a compilation of Biga’s many articles about the writer-director over a 16-year period. The book places readers deep inside Payne’s creative process and follows the progress of the cinema artist’s Oscar-winning career. Biga will share insights gleaned from visits to Payne’s sets and from a recent glimpse at the final edit-mix process on the filmmaker’s new feature, “Nebraska.” Biga’s one of the few outside the filmmaker’s inner circle and select festival audiences to have seen the film in its entirety before the Nov. 15 national release. The book is a must read for Payne fans and film buffs. Book signing to follow presentation. Sample the author’s work at leoadambiga.wordpress.com.

    ABOUT WEDNESDAY WORDS
    Wednesday Words originated in 2009 as a special reading series featuring award-winning writers from the Nebraska Arts Council’s Individual Artist Fellowship in Literature program, sponsored by the Nebraska Arts Council and Nebraska independent publisher, The Backwaters Press.

    Spend your lunch hour at our final reading of 2013 with Leo Adam Biga. Treat yourself to a feast for your ears as you listen to some of the finest in Nebraska writing.

    FREE and open to the public.


Hope to see you there,

 
Leo
 
“I write stories about people, their passions and their magnificent obsessions”
“Payne is fortunate indeed to have such a thoughtful and insightful chronicler as Biga”–Kurt Andersen, NY Times bestselling author and host of Studio 360

Alexander Payne’s New Film ‘Nebraska’ Features Senior Cast and Aging Themes in Story Sure to Resonate with Many Viewers

November 30, 2013 2 comments

Cover Photo

 
New Horizons Newspaper - Omaha, NE

 

 

This is my sixth published story on Alexander Payne’s new film Nebraska and it takes a somewhat unique slant on the movie’s senior cast and aging themes.  The angle I take was predicated by the publication I wrote the piece for, the New Horizons, a monthly newspaper published by the Eastern Nebraska Office on Aging.  If you’ve seen the film or even clips of it, then you already know it prominently features several older actors and deals with some of the challenges that accompany aging.  In the piece Bruce Dern and some of his senior co-stars comment on how they are still working at the top of their craft even in their 70s and 80s.  Indeed, Dern believes he delivered his finest performance in “Nebraska.”  Will Forte talks about what it was like collaborating with such a veteran cast.  They all talk about what it was like working with Payne.  You can find my other Nebraska stories on this blog.

In case you’re new to this blog or to my work, then you should know that I am the author of the book, Alexander Payne: His Journey in Film, a collection of my journalism about the filmmaker over a 15-year period.  A new edition of the book will be coming out in 2014 with all my Nebraska coverage.

 

 

 

 

Alexander Payne‘s New Film ‘NebraskaFeatures Senior Cast and Aging Themes in Story Sure to Resonate with Many Viewers

© by Leo Adam Biga

Excerpt from an article that originally appeared in the New Horizons

 

Oscar-winning native son Alexander Payne famously feels affection for his home state, so much so he’s made four of his six feature films here, even titling his new movie starring Bruce Dern and Will Forte, Nebraska.

Payne, the writer-director of Citizen Ruth, Election, About Schmidt, Sideways and The Descendants, has with Nebraska forever burnished the name of this place in cinema history.

The film stands apart from most flicks today. For starters, it’s black and white. Next, it captures elements of this Great Plains state never before seen on the big screen. Largely filmed in northeast Neb., the movie shows the rolling landscapes, prosaic farmsteads, played-out small towns and crusty denizens of this starkly beautiful rural region

The Nebraska Gothic picture plays like a funny, tragic and sad still life evocation of people and places rubbed raw by weather and misfortune.

But what really makes Nebraska a singular work is the preponderance of older folks in the picture and the various aging themes that permeate its storyline. Several senior-aged actors are featured in the nostalgia-laced story starting with Dern as protagonist Woody Grant, June Squibb as his piss-and-vinegar wife, Stacy Keach as his arch nemesis, Angela McEwan as his old flame, Mary Louise Wilson as his chatty sister-in-law Martha and Rance Howard as one of his brothers.

Payne’s casting director, John Jackson, is impressed by what these actors of a certain age bring to the table.

Jackson says, “They are pros. They are inspirational to me. Their desire to create, passion to succeed, pursuit of challenges to themselves as performers – I want that as I age. I can only hope to be as fully functional as Mr. Dern, Mary Louise Wilson, June Squibb and Stacy Keach.”

The movie’s fanciful tale revolves around Dern’s character of Woody, an unrepentant lech and cantankerous cuss who’s lost some bearings in old age. He’s seemingly unaffected by anything but hides a deep well of hurt, longing and regret. Like many males of his Depression-era generation he’s doesn’t reveal much in the way of feelings.

Much to the exasperation of his wife and two adult sons, he’s stuck in his ways and bad habits and refuses to change. He’s also facing some challenges that come with advancing years. For example, he’s no longer able to drive and he walks with a halting gait. He appears depressed, confused and cut off from others.

When we first meet Woody he’s running away from home, intent on walking the 900 miles from his home in Billings, Mt. to Lincoln, Neb. to claim a sweepstakes prize he believes he’s won. Even when returned home no one can convince Woody he’s got it wrong. More than once, he lights out to tramp alongside busy roads, in all kinds of weather, his son David coming to his rescue.

Realizing his old man is still bound and determined to go and afraid his father will be a hazard if he sets out again on his own David reluctantly agrees to take him to Lincoln, convinced Woody will come to his senses before they get too far. But things happen. The father-son road trip turns into a retracing of Woody’s old haunts in his native Neb, Along the way the son learns some hard truths about his father’s past that help explain the way he is and what’s behind this crazy Don Quixote quest to redeem a prize.

 

 

 

 

Eastern Nebraska Office on Aging experts say they don’t know of a senior who’s gone so far as to show up at a sweepstakes office expecting to collect their winnings. ENOA Care Management Program coordinator Diane Stanton says some seniors do mistake marketing pieces for actual checks and bring them to their bank thinking they can cash them. “That will happen unfortunately,” she says.

Legitimate sweepstakes are one thing, but there are scams that prey on the trusting nature and sometimes naivete of seniors.

“We encourage our seniors to never give out personal information on the phone,” says Stanton, adding that one should never have to divulge private details or send money as a condition for receiving a prize. “The Better Business Bureau has a Senior Line, 877-637-3334, that we strongly encourage our seniors to keep by their phone and to call anytime they suspect they’re being scammed.”

Stanton says the free service hotline frequently updates the newest scams to avoid.

Whether Woody’s gullible or addled or simply wants to believe he’s won, it becomes apparent what he’s really seeking is redemption. He wants to leave his boys something to salvage his misbegotten life. In an act of unconditional love and forgiveness David poignantly grants him a valedictory moment at the end. Woody’s problems are still with him but he and his son have become closer and the lines of communication opened. We’re left with the feeling that should something happen to Woody or his wife, David will be there for them.

Experts say adult children need to discuss with aging parents those limitations affecting quality of life and what role they’ll play in terms of support and caregiving.

ENOA Information and Assistance Program coordinator Gloria Erickson says her office fields a variety of calls each week from adult children inquiring about everything from financial assistance to home care to senior housing to transportation for their aging parents.

If an adult child feels his or her parent is a potential risk driving, a good course of action is to seek professional consultation.

“The first thing you need to do is talk to their doctor and get the doctor’s perspective and opinion on where they are physically and cognitively in regards to driving,” says Stanton. “That’s the first step. And then talking about the need for one of the driver assessments.”

Stanton says Immanuel Hospital and AARP offer assessments or evaluations to help determine if seniors are still able to drive safely. AARP also offers a self-test seniors can take online.

Assessments or not, an adult child may still need to have a conversation with an aging parent about surrendering their keys.

“Those heart to heart discussions are tough,” says Erickson because it means the parent may be giving up some of their independence. “Family dynamics have a lot to do too with how things go.”

ENOA Community Services division program coordinator Karen Kelly says whatever aspect of daily living a senior may need assistance with, it’s always best to give them options.

She says among the changes adult children should look out for in their aging parents are increased memory loss, growing social isolation, worsening sleep issues and increasing difficulty taking stairs and keeping up their home.

As adult children notice changes in their parents, she says they need to address what can they “do to help and step in to fill in those gaps” and to determine when to “start looking outside the family for help.”

Erickson says it’s vital family members know “you don’t have to do it alone.” ENOA offers direct services and refers callers to other resource providers as needed.

Alexander Payne says he was better prepared to tell the story of Nebraska in 2012 than in 2003 when he acquired the script by Bob Nelson because his own life caught up with the film’s themes. His father George was placed in a nursing home and his mother Peggy endured a health scare. Payne’s attended to it all.

“I was able to make it quite personal in certain details related to David taking care of his older folk,” he says. “I’m at that age and everyone I know of my generation at that age have parents that are getting on and need a little special attention. We love them to death and they drive us crazy, and how we take care of them and accommodate them and all those things, and how far do we extend ourselves to be dutiful and at what point do we cut it off, all those questions.

“It wound up being because of the time in my life when I was making it quite personal and I think that helps the film. It always helps a film if you can put some of yourself in there.”

Not every senior needs special assistance. Indeed, most get along just fine on their own and still work, recreate, make love and learn. Take the older actors who populate Nebraska. Angela McEwan, who plays Peg Nagy, the editor of the newspaper in Woody’s fictional hometown of Hawthorne, Neb., says she and her fellow actors of a certain age are busy professionals who haven’t lost a beat. In fact, she says, “We’re at the top of our game.”

Casting director John Jackson saw both Mary Louise Wilson and Stacy Keach on stage in New York during the casting process of Nebraska and was inspired by their vitality.

“Both were terrific. Mary Louise was doing what was essentially a two-person show. That is a tremendous amount of energy to put out each week, each night. Mr. Keach was on Broadway. Big theater. Long run. Lead role. Wow. Good on them. They’ve set the bar high, both for themselves and others. That’s what I want for myself as I age. More. Better.”

 

 

 

 

In the film these actors vividly play characters their own age who still stir with passion and energy. McEwan’s character was once in love with Woody. Near the end she gives a wistful look that suggests she still yearns for what might have been. Wilson plays a chattering busybody. Keach portrays an intimidating man set on getting what he feels he’s owed.

The film overturns aging myths by demonstrating that even well into our Golden Years we can remain not only physically active but cognitively sharp and emotionally full. A positive spin on aging is encouraged by ENOA experts who say it’s healthier to think in terms of assets or what can be done versus deficits or what can’t be done.

Forte, best known for his long stint on Saturday Night Live, was moved by how engaged his veteran co-stars were.

“It was just a delight and an honor to get to work with these people,” he says. “They’re just such amazing actors. I learned a lot from them because I think at times I could be over-thinking stuff and it just reminded me, Oh, don’t try to act too much, just be real. Like Bruce (Dern) would always say, ‘Just be truthful,’ and that always sounded like acting mumbo jumbo to me coming in but for some reason the way he would explain it and describe it it made sense.

“There’s such an honesty that comes from these performances that it really taught me a lot to watch them.”

Forte got close to Dern, who in real life is old enough to be his grandfather, during the two months they worked on the shoot.

“It was very similar to our characters in the movie – we really got to spend a lot of time together and by the end of it we were incredibly close. It just feels like we’re family now. I learned so much from him. He was good to me. He was such a good teacher and friend. Nurturing, encouraging, patient. I can’t say enough about him, and that’s just personally.

“Professionally, to get to watch what that man does in this movie…I don’t know what I will do in the future but it will be one of the highlights of my life to get to see such a special performance from that close up. It’s something I will always remember.”

Forte says he was already a fan of Dern’s work before the project.

“I have watched so many Bruce Dern movies and he is the kind of person who I will rewind scenes to watch because he’s so interesting. The performance he gives in this movie is mesmerizing. We’ve done a lot of screenings of this movie and I’ve seen it quite a few times now and I’m just always seeing new things I never saw before. He continues to amaze me with different subtleties. It is such a privilege to get to be in this movie with him.”

 

 

 

 

This wasn’t the first time Payne’s worked with older actors. Jack Nicholson was in his late 60s when he played the title character in the filmmaker’s About Schmidt.  June Squibb, the actress who appears as Dern’s wife in Nebraska, was in her 70s when she played Nicholson’s wife in Schmidt. Robert Forster was 70 when he essayed his small but telling part in The Descendants. Just like Forte finds it educational working with veterans, Payne does too.

“I’ve adored working with the ‘old pros’ — Nicholson, Dern, Keach and Forster. They are the best actors to work with,” says Payne. ‘They know what they’re doing and they know how to study the director to see what movie he or she’s trying to make. Plus, I have much to learn from them about what it is to have a life in movies. After all, I don’t get to work with and learn from older directors, but I do get to have the actors. “

 

 

YOU CAN READ THE REST OF THE STORY IN THE SOON TO BE RELEASED NEW EDITION OF MY BOOK-

Alexander Payne: His Journey in Film, A Reporter’s Perspective

(The new edition encompasses the Oscar-winning filmmaker’s work from the mid-1990s through his new film Nebraska in 2013)

This compilation of my extensive articles about Payne and his work will be available in February 2014.  

 

 

Casting director John Jackson helps build Alexander Payne’s film worlds

November 22, 2013 2 comments

Alexander Payne keeps saying that the thing he’s proudest of about his new film Nebraska is its casting and locations.  His longtime casting director, John Jackson, is a fellow Midwesterner.  Though born and raised in Council Bluffs, Iowa across the Missouri River from Omaha, Jackson can fairly be claimed as a Nebraskan in Film because of his work in Omaha community theater and the many years he operated an acting talent pool in the metro.  Ever since Citizen Ruth he’s been casting some elements of Payne’s films, including the director’s first three features, all made in Omaha and greater Neb.,  and starting with Sideways Jackson’s been the director’s sole casting director.  As my stories about Nebraska (all found on this blog) detail Payne and Jackson went to extra lengths to find just the right faces and voices to fill out the story’s rural archetypes.  The following story I did for Omaha Magazine gives some insights into how these two collaborators work together and what they found to create the world of Nebraska.  Look for my posts of extended interviews I did with Jackson, Payne, and other key figures from Nebraska.

 

 

Credit-Martin-Magnuson

John Jackson

The Making of Nebraska

Casting director John Jackson helps build Alexander Payne’s film worlds

Photography by Martin Magnuson
Excerpt from a story that originally appeared in Omaha Magazine

When you watch Alexander Payne’s acclaimed new film Nebraska, keep in mind that each and every acting part was cast in a collaboration between the two-time Oscar-winning filmmaker and his casting director, John Jackson.

Under the name John Durbin, Jackson long ago established himself as a character actor in Hollywood and beyond. IMDb.com lists 61 credits in the filmography of the Council Bluffs native and resident. Jackson returned home in 1988 to run a local casting service while taking acting gigs here and on the coast.

For Payne’s first feature, Citizen Ruth (1996), Jackson was hired to do Omaha location casting. He filled 32 speaking roles, plus all the extras. From the start, Jackson says, “We had a great working relationship. The same thing happened when Alexander came back to work on Election (1999). And then he began slowly to include me. The New York casting people would send him tapes and he’d say, ‘John, why don’t you watch this and tell me what you think,’ and that built.”

On About Schmidt (2002), Jackson says Payne entrusted him with ever more responsibility and increasingly sounded out his advice. “Until finally the producer of Schmidt said to Alexander, ‘Why do you hire these people in New York and L.A.? Why don’t you just get this guy?’ Meaning me.”

Jackson was back home directing and playing a supporting role in a Brigit Saint Brigit Theatre Company production when Payne called to say he was casting Sideways (2004), and he needed Jackson in 
California immediately.

“So that started a process of me being in L.A. Monday, Tuesday, Wednesday, Thursday,” recalls Jackson. “Then Friday morning, I’d get on a plane, fly back home, land, grab something to eat, go to the theater, do the show Friday, Saturday, Sunday. Then Monday fly back.”

Jackson says Sideways “was a new experience for both of us in many ways.” It found Payne shooting his first feature away from Neb., and it marked the first time Jackson served as the filmmaker’s sole casting director, a role he has continued for The Descendants (2011) and Nebraska (2013).

“In honing our working method over the last 18 years,” Payne says, “we just have developed a very similar aesthetic of what we want to see in a film, the type of reality we want. Also, I think the two of us have developed a pretty good eye for spotting acting talent in nonactors.”

The pair filled a large number of roles in Nebraska with real-life farmers and small-town bar denizens. As with any project, they painstakingly searched for the right needle-in-a-haystack fit for characters. Payne’s particularly proud of the challenges overcome in casting Nebraska. To make it all work, he asked lead actors Bruce Dern and Will Forte to “flatten” their performances to be in synch with the low-key non-actors.

Jackson says the cast immersed themselves in the story’s “magnificent simplicity.” He says his job was to “build the world” Payne envisions for the characters in the script. “We paint with people. We want it to be as authentic as possible.”

 

 

nebraska-outline

Alexander Payne (left) provided by Alexander Payne. John Jackson (right) by Martin Magnuson.

 

 

YOU CAN READ THE REST OF THE STORY IN THE SOON TO BE RELEASED NEW EDITION OF MY BOOK-

Alexander Payne: His Journey in Film, A Reporter’s Perspective

(The new edition encompasses the Oscar-winning filmmaker’s work from the mid-1990s through his new film Nebraska in 2013)

This compilation of my extensive articles about Payne and his work will be available in February 2014.  

 

Alexander Payne’s Local Color: Payne and Co. Mine the Prairie Poetry of His Home State in New American Gothic Film, ‘Nebraska’

November 21, 2013 5 comments

I’ve been anticipating Alexander Payne’s new film Nebraska for a very long time.  Some years ago he let me read the script by Bob Nelson.  I was moved to laughs and tears by it and ever since then I’ve eagerly awaited Payne’s interpretation of it on the screen.  As I write this I’ve now seen the film twice and will soon be seeing it a third time.  Its depth of emotion coupled with its visual black and white beauty and aching honesty set the film apart from just about anything out there by an American filmmaker today.  I believe it to be Payne’s best work to date.  I know a little something about the filmmaker, having closely covered him and his work since 1997.  I have a book out with my collected jounralism about him titled Alexander Payne: His Journey in Film.  It contains some two dozen of my Payne stories from 1998 through 2012 and soon I will be coming out with a new edition featuring my extensive Nebraska coverage.  My latest story about the film is shared with you here.  It recently appeared in The Reader (www.thereader.com).  I fully expect to file a new story about Nebraska come Academy Awards time, when the film should fare very well.  You can find my earlier stories about Nebraska on this blog.  I’ll salso be adding another Nebraska story I just finished for the New Horizons.  Additionally, I will be posting extended interviews I did with Payne, Bruce Dern, Will Forte, Stacy Keach, Bob Nelson, cinematographer Phedon Papamichael, and producer Albert Berger.

 

 

 

 

Alexander Payne‘s Local Color: Payne and Co. Mine the Prairie Poetry of His Home State in the New American Gothic Film, ‘Nebraska‘ 

©by Leo Adam Biga

Excerpt from a story that originally appeared in The Reader (www.thereader.com)

 

Local color, of the achingly human variety, is where Alexander Payne’s new black and white film Nebraska most deeply comes to life.

After fall festival premieres abroad and across the U.S., Payne’s coming home to show off the film named for his native state and primarily shot and set here. Nebraska had an exclusive limited run at Film Streams. On Nov. 24 Payne joins stars Bruce Dern and Will Forte at the Holland Performing Arts Center for the Film Streams fundraiser, Feature V, that will find the troika interviewed on stage by Studio 360 host and novelist Kurt Andersen.

The following day Payne and Dern travel to Norfolk, Neb., the production’s base camp last fall while the project filmed in nearby Hartington, Plainview and environs, to premiere the picture there.

Oscar-winner Payne is a stickler for the truth and with the by-turns elegiac and silly Nebraska he went to extreme lengths finding the people and places that ring true to his and screenwriter Bob Nelson’s vision of Midwest America.

“This is the most authentically Neb. feature film I’ve released to date,” says Payne, who previously made Citizen Ruth, Election and About Schmidt in-state.

Casting director John Jackson and Payne searched long and hard for the right players to animate the oddball yet familiar characters Nelson created on the page. In a rare star turn winning him much acclaim Bruce Dern so fully inhabits his old codger of a character, Woody Grant, that despite the actor’s well-known face and voice he disappears into the part to become just another of the story’s small town denizens.

Dern plays Woody as written: a taciturn man of stoic roots and repressed pain long alienated from everyone around him. Feeling a failure near the end of his life, he’s desperate for some validation and so gets it in his head that he’s a sweepstakes winner. His son David, played by Will Forte, takes him on an epic journey to claim the prize. Amid the missteps and detours comes discovery, empathy and closure. As their strained relationship warms the son gives his father a gift born of understanding, forgiveness and love.

One of the reasons Payne says Dern leapt to mind when he originally read the script a decade ago is that like the actor’s actress daughter Laura Dern, who starred in Payne’s feature debut Citizen Ruth, he doesn’t worry about what he looks like on screen. To convincingly play the gone-to-seed Woody the actor inhabiting the role had to look a wreck.

“Those Derns don’t have vanity,” Payne says admiringly. “They’ll do anything, they want to do anything. When working they’re more interested in hitting a certain level of truth, an often ugly truth or pathetic truth, and now you’re talking my language.”

About what made Dern the right fit, Payne says, “Bruce is a handsome guy when he’s cleaned up and obviously as you can see in the film when he’s not cleaned up he can really look like a coot and a weirdo. If you took many other actors and tried to do the same thing they’d look fake. The guy would have to portray someone cut off from others and lost in his own world. Woody’s probably been like that somewhat his whole life but as a young man they just thought he was reticent. Now he’s a coot and ornery and pissed off at himself that he hasn’t done anything with his life and now he’s about to start taking a dirt nap. I think that’s certainly what’s driving Woody’s crazy mission in some part.

“When I thought about who could communicate that I thought of Bruce.”

Payne felt Dern could express the two sides of Woody as both prick and pushover who can’t refuse doing favors, even if it means being taken advantage of. He also detected “a certain childlike nature” in Dern that aligned with Woody’s fragility.

“I think within Woody’s ornery crust there is something of a child – of a very disillusioned and disappointed child.”

Indeed, we first meet Woody as he’s running away from home.

“There’s also a sweetness about Woody and Bruce is a sweet guy. He hasn’t often played that.”

 

 

 

 

Dern acknowledges it’s a departure for him. “Throughout my career I’ve been flamboyant in a lot of roles, especially flamboyantly evil, and there’s a certain style that goes with that.” Nebraska called for him to be a dull, muted, passive presence.

“What the role demanded was a character who appeared to not be touched too much or too little,” he says, “and probably not touched at all. And if he touches other people it’s without planning to do it. He’s just who he is and he’s always going to be that way. I think he’s a fair man, Woody, and that’s another thing I based the character on a lot. Because he’s fair he believes what people tell him because he doesn’t know why anybody would want to lie to him about anything.”

The tangibles and intangibles of a character go into any casting decision.

“When you cast someone in a lead you’re not casting just his or her ability to act,” says Payne. “you’re casting the substance or essence of their person. There’s two things going on simultaneously seemingly contradictory but not. One is you want them to become that person in the script yet at the same time not act.”

Dern says Payne has an uncanny way of communicating what he wants, variously tapping “your strengths and weaknesses and sometimes invading your privacy” to extract the emotion or tone he’s after.

Actors Studio veteran Dern believes he achieved a progressive in-the-moment reality in Nebraska he’d never accomplished before on a film.

“I’ve always wanted to be a human being and just kind of acting-wise leave myself alone and not perform and I don’t think there’s really a moment in the movie where I perform – in other words take it above the context of what it really is. The first day of the movie Alexander said to me, ‘I’d like you to let Mr. Papamichael (cinematographer) and I do our jobs,’ meaning don’t show me anything, let me find it with the camera, and that’s what he did and that’s what you see.

“That doesn’t mean I wasn’t acting. It was as hard a role as I’ve had to take on but I feel I owed it to the material and to my career for just once in my life to try and have as many consecutive moment-to-moment pure moments of behavior. That’s what I began when I worked with Mr. Kazan and Mr. Strasberg in the Actor’s Studio – how much moment-to-moment real behavior can you have? And I think in Nebraska I’ve done far and away the most I’ve had in an entire film.”

Forte, a relative newcomer to acting after years writing for television, says he learned a lot from his co-star.

“Bruce would always say, ‘Just be truthful,’ and that always sounded like acting mumbo jumbo to me coming in but for some reason the way he would explain it and describe it it made sense. There’s such an honesty that comes from his performance and all the performances that it really taught me a lot to watch everyone work.”

Dern says Payne lived up to what his daughter Laura and his old acting chum Jack Nicholson, who starred in the director’s About Schmidt, told him about the filmmaker: “They both said in separate conversations he’ll be the best teammate you’ve ever had. They were right. I feel it’s the best team, overall, I’ve ever had.”

Payne, whose sets are famously relaxed, says he also casts with an eye to who will “be nice to work with” and contribute to the playfulness he believes essential to good filmmaking. “I want to be there to play. I don’t know exactly how it (any scene) should be, I’m there to sort of say, ‘Oh, well, let’s try this and let’s try that, nudging the machine toward a certain direction. It’s not all preconceived, you’re discovering it day by day, so I think you want actors who are willing to have a sense of, Let’s be playful and free. It’s all about having fun, and that will create something none of us have thought of exactly.”

Dern says he’s glad it took nearly a decade to get the film made – the project came to Payne as the filmmaker was setting up Sideways  – because “I wasn’t ready to play this role a few years ago.” The passage of time put some more natural wear and tear on Dern, both physically and emotionally. The limp he walks with in the film is real, if exaggerated, and the way Woody leaves things unsaid is something Dern says he’s been guilty of himself and regrets.

Similarly, Payne’s personal life caught up with the experience of David in Nebraska  as an adult child dealing with aging parents. Payne’s father is in a nursing home and his mother recently survived a serious health scare.

“I was able to make it quite personal in certain details related to David taking care of his older folks,” Payne says. “Everyone I know of my generation at that age has parents that are getting on and need a little special attention. We love them to death and they drive us crazy. How we take care of them and accommodate them and all those things, and how far do we extend ourselves to be dutiful and at what point do we cut it off, all those questions. It wound up being because of the time in my life when I was making it quite personal. The fact that I had that much more life experience for this film with respect to my parents, I think helps the film. It always helps a film if you can put some of yourself in there.”

 

 

 

 

Payne says the bottomed-out economy also enhanced the austere shooting style and stark look of the film, adding, “Those winds blew their way into the film as well and it becomes more of a modern-day Depression film.”

Undoubtedly some will take umbrage at the film’s portrayals of quirky. salt-of-the-earth types. But if the strong reception the picture’s received at the Cannes, Telluride and New York film festivals, among others, is any indication, than most audiences realize Payne and his collaborators sought archetype, not caricature in bringing to life small town inhabitants and the dysfunctional Grant family.

“I hope what people take away from this movie is his genuine love for Neb. because he really does love Neb.,” says Forte

Dern calls the film “a love poem” to Neb. from Payne.

Payne, Nelson, Jackson, Papamichael, editor Kevin Tent assorted other crew and the ensemble cast all committed to realizing authentic portraits of this comic-dramatic Midwest Gothic tale.

 

 

 

 

 

YOU CAN READ THE REST OF THE STORY IN THE SOON TO BE RELEASED NEW EDITION OF MY BOOK-

Alexander Payne: His Journey in Film, A Reporter’s Perspective

(The new edition encompasses the Oscar-winning filmmaker’s work from the mid-1990s through his new film Nebraska in 2013)

This compilation of my extensive articles about Payne and his work will be available in February 2014.  

 

‘Alexander Payne: His Journey in Film’ author Leo Adam Biga doing book events Nov. 19, Nov. 23, Nov. 26, Dec. 3 and Dec. 11

November 19, 2013 2 comments

‘Alexander Payne: His Journey in Film’ author Leo Adam Biga doing book events Nov. 19, Nov. 23, Nov. 26, Dec. 3 and Dec. 11

 

 

 

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Omaha journalist and author Leo Adam Biga will talk about his book Alexander Payne: His Journey in Film and sign copies at several new events this fall in the metro:

On Tuesday, Nov. 19 he’ll be at the Swanson Branch Library, 9101 West Dodge Road.  Talk begins at 6 p.m.  Q&A and signing to follow.

On Saturday, Nov. 23 he’s appearing at the Elkhorn Branch Library, 21oo Reading Plaza.  Talk begins at 1 p.m.  Q&A and signing to follow.

On Tuesday, Nov. 26 he’s at the Abrahams Branch Library, 5111 North 90th Street.  Talk begins at 6:30 p.m.  Q&A and signing to follow.

On Tuesday, Dec. 3 he’ll be at the Millard Branch Library, 13214 Westwood Lane.  Talk begins at 6:30 p.m.  Q&A and signing to follow.

On Wednesday, Dec. 11 he’s the featured speaker at the Wednesday Words Reading Series at Kaneko, 1111 Jones Street in the Kaneko-UNO Library.  Talk begins at Noon.  Q&A and signing to follow.

NOTE: For those of you attending the Omaha Press Club’s by-resevation-only Face on the Ballroom Floor event on Friday, Nov 22, when Alexander Payne will be honored, Buga will be signing copies of his book there as well.

Look for Biga and his book at other venues through the fall and winter.  You can also expect to see him at the March 5-9 Omaha Film Festival.  And, as always, his book is available at The Bookworm and Our Bookstore in Omaha, on Amazon and BarnesandNoble.com and for Kindle and other e-reader devices.  You can also purchase the book on his blog, leoadambiga.wordpress.com.

Alexander Payne: His Journey in Film makes a great gift for the film lover in your life.

And look for Biga’s continuing coverage of Payne and the filmmaker’s new movie Nebraska in local publications, including The Reader, New Horizons and Omaha Magazine.

5 Questions with: Leo Adam Biga, Author of ‘Alexander Payne: His Journey in Film’

September 27, 2013 1 comment

The Omaha Public Library presents:

5 Questions with: Leo Adam Biga [journalist].

 

5 Questions with: Leo Adam Biga [journalist]

Leo Adam Biga at 2013 Friends of OPL annual meeting

Leo Adam Biga spekaing at an Omaha Public Library event in early 2013.

Omaha journalist and author Leo Adam Biga will make the Omaha Public Library rounds this November to discuss his new book, Alexander Payne: His Journey in Film. The 2013 release is based on Academy Award winning screenwriter and director Alexander Payne, also an Omaha native.

Biga, a writer for more than 25 years, writes about the people, businesses and history of Omaha. “I write stories about people, their passions, and their magnificent obsessions.” You can count Biga among Omaha’s biggest fans. He lists Lauritzen Gardens,Benson and Vinton Street business districts, and Love’s Jazz & Arts Center as local favorites.

Upon his return from Hollywood a few weeks ago, Biga took the time to answer some questions about Payne, writing as a profession, libraries and more. Enjoy!

1.)   How would you describe Omaha?

Omaha is an earnest place with strong urban and suburban environments and a growing arts, culture and creative scene. It’s a city rich in history but it doesn’t take its history or itself too seriously.

2.)    You’ve spent years chronicling Alexander Payne’s career and success. What ignited your interest in Mr. Payne?

My interest in him was a melding of my interest in film and my work as a journalist. I was a film buff and film exhibitor before I was a journalist. When I discovered that the young Payne had a student thesis film, The Passion of Martin, making waves on the festival circuit, I booked a screening of the film in Omaha at the New Cinema Cooperative. By the time he came back to his hometown to make his first feature in Omaha, Citizen Ruth, I was a journalist and within a couple years I began interviewing and profiling him.

3.)    What advice do you have for aspiring writers and journalists?

Simply: write and read and repeat more of the same. Today, of course, anyone can get their work seen because of social media platforms. Anyone can have a blog or website featuring their writing. Self-publishing is within everyone’s reach.

4.)    What five words describe Leo Adam Biga?

Passionate. Driven. Curious. Persistent. Eclectic.

5.)    You’ve visited OPL on numerous occasions for numerous events, and you have a handful of OPL visits scheduled this year. What keeps you coming back?

Libraries are built on words and language, and because I make my living with those tools I have an appreciation for any venue devoted to them. To be honest, as a kid and even as a young adult I never felt very comfortable in libraries or most any public place because of social anxiety, but I’ve largely grown out of that and now I find libraries very conducive places to my heart and soul.

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We thank Leo Adam Biga for answering our questions. Copies of the author’s latest book are available for check-out at OPL. In addition to his upcoming talks at OPL, he’ll be a guest at this year’s (Downtown) Omaha Lit Fest on October 19, 2013.

Nebraska Coast Connection Salon Q&A with Alexander Payne: The Filmmaker Speaks Candidly About ‘Nebraska,’ Casting, Screenwriting and Craft

September 24, 2013 5 comments

  1. Photo: Photo by Travis Beck
    Todd Nelson interviewing Alexander Payne at the Sept. 9 Nebraska Coast Connection                                                                                                                                          Hollywood  Salon I was at to promote my book, “Alexander Payne: His Journey in Film.”
    ©Photo by Travis Beck
I was fortunate enough to be invited to the Sept. 9 monthly Hollywood Salon in Culver City, Calif. sponsored by the Nebraska Coast Connection, a networking group for Nebraskans working in the film and television industry.  I was there to promote my book, Alexander Payne: His Journey in Film, which you can order via thisblog site.  The salon’s special guest that night was Oscar-winning filmmaker Alexander Payne, who spoke candidly about his new film Nebraska, casting, screenwriting and craft in a Q&A moderated by NCC founder Todd Nelson.  The event was held at the classic Culver Hotel, where many film stars stayed back in the day.  This is an edited transcript of part of Payne’s remarks.
  1. Photo: Photo by Travis Beck
    Part of the audience at Payne’s NCC salon appearance, ©photo by Travis Beck

 

Nebraska Coast Connection Salon Q&A with Alexander Payne: The Filmmaker Speaks Candidly About ‘Nebraska,’ Casting, Screenwriting and Craft

©Compiled by Leo Adam Biga

Excerpt of Alexander Payne in conversation with Nebraska Coast Connection founder Todd Nelson

 

AP: “Hello, good evening, thank you for coming…”

TN: “You have a little movie coming out. A little black and white number you threw together over a weekend or two.”

AP: “No, longer than that. But it’s a small movie. That doesn’t mean it’s not dramatically resonant, but it’s a small movie.”

(Then Payne addressed how the project came to him and the background of how its screenwriter Robert Nelson came to write it.)

AP: “Nine years ago I got a script from Albert Berger and Ron Yerxa, the team that had produced Election. They came to me nine or 10 years ago with a script called Nebraska and it was written by a guy named Bob Nelson out of Snohomish, Wash. but his parents were from Hartington (Neb.). And it was based on his memory of his father’s and mother’s families. He used to spend his summers out there in Hartington in northeast Neb. and he wrote this script based on his memories of those summers and it really rang hilariously true. It was a very austere screenplay. Those producers said they suspected it was going to be small for me, too dinky a film.”

TN: “They thought you might know someone who…”

AP: “Yeah, ‘Do you know a young Neb. filmmaker who might want to do this?’ and I said, ‘No, I think I want to do it.’ They had wanted to make it for like $2 or $3 million, and I said, ‘How about like $10 or $12?’ I showed it not long afterwards to someone in attendance here tonight, John Jackson, my casting director, because I knew that this film would really live or die on his casting. I mean, all films do but even a couple percentage points more this one would because it’s as much anthropological as it is cinematic. And he liked it and thought he wanted to cast it. He said he felt a very personal connection to it through his family, whom he describes as dirt farmers from Iowa. That’s a bit of an exaggeration in a way with respect to the script but still it’s suggestive…

“A lot of the movie was a road trip and I was just finishing Sideways. I didn’t want to followup Sideways with another road trip film. It’s a real drag to shoot in cars and I just couldn’t do another car movie again after Sideways. Now The Descendants ended up having some stuff in cars too but anyway…the timing worked out and right after The Descendants I made it. They were nice enough to wait – the producers and the writer  – and so it happened.”

TN: “It has Bruce Dern and Will Forte. Tell us about bringing them on board.”

AP: “Bruce Dern had first leapt to mind  to play this part. All parts are tricky to cast in general but this one I think for John and me has been the trickiest. You know. I get praised sometimes for getting a certain controlled performance out of Jack Nicholson or that I get stars to create characters, that after 10 or 15 minutes of seeing a big star like George Clooney you can maybe, hopefully, of course it’s my aspiration, forget it’s a big star and just see the character…I  never tailor a screenplay to fit the actor. I always demand the actor come to the script – even if it’s Nicholson or Clooney, who have certain strengths that most directors and screenwriters would wish to exploit.

“Naw, this is a text and it’s a part and yes you’re a star but you’re also an actor, so come to this and make it your own that way. This though I think has been the most specific lead part we’ve ever had to cast. Not anyone could play this guy Woody Grant. I looked back in film history and said, ‘Well, Henry Fonda could have played it like the way he did On Golden Pond, or Walter Brennan, or for you film buffs out there Charley Grapewin,  or possibly John Carradine or possibly Warren Oates had he lived. But all those people are unavailable. After thinking about Bruce Dern, the only other guy who maybe could have done it, Gene Hackman, but I couldn’t get a meeting with Gene Hackman because he genuinely has retired. He won’t even return a phone call or a query. So it just came down to Bruce Dern.

“We did our due diligence and met 50 other guys and any one of them who could have done it would still be a stretch. Like this one could maybe do it but he has trouble learning lines or this one could maybe do it but you’d have to get him to not do this schtick or this one could maybe have done it but it would have taken more work on my part and every actor requires work anyway. Bruce required work but less work than any of those other guys would have required to get it right, so Bruce Dern’s the guy.”

TN: “Will Forte?”

AP: “Never would have thought about him in a billion years but he auditioned well. So I know often in these salons we get actors or casting people and I’m always happy to say that John and I rely on auditions, the old fashioned way. Even actors who are well known I still need them to come in and read the text, with all respect. I mean, even if it’s 10 words, say a few words, help me out, I have a pea brain, I don’t want to screw it up, and I don’t want to screw up and cast you in the wrong part and then it’s not right. We all benefit if we’re able to have a meeting. Well, what else are we going to talk about? Read the fucking script.

“And to good pros, the ones who won’t audition, but they will deign to have a meeting, the good ones will either consciously or unconsciously find the time in the meeting to say, ‘Oh, I loved the moment in your screenplay where he says…’ and he’ll do a little bit of it. That’s the courteous thing to do, that’s the polite thing to do because those actors who won’t even do that don’t get the job in my experience.

“Just about auditioning stuff I remember the actress Judy Greer, a super great old fashioned  in the best way actor. She’s in The Descendants. She plays the lover’s wife. She calls herself an audition-only actress. She won’t take an offer and if there’s a meeting she insists on reading the script because she says it’s only when I read the text in front of the director do I know if I’m right for the part. So the direct line of communication between actor and director is that text. That’s just smart. What the hell else are we doing?

“June Squibb, she played the part of Jack Nicholson’s wife in About Schmidt (and she plays Bruce Dern’s wife in Nebraska)…I didn’t offer her…She didn’t occur to me, she sent in an audition. Even she had to audition. I had no idea she was going to be right for this part. It’s the Geraldine Page part or the Marjorie Main part from Ma and Pa Kettle. Basically Nebraska’s a glorified Ma and Pa Kettle film,” he said, deadpanning and elicting laughs.

(Payne discussed some more actors he’s worked with, why’s he’s particularly proud of the casting he and John Jackson did on Nebraska and how he tried to avoid certain pitfalls that come with mixing professional and nonprofessional actors on screen.)

“Tim Driscoll from Omaha, who had a small part in Citizen Ruth, came back for this one.  And his sister (Delaney Driscoll) had a significant part in Election as Matthew Broderick’s lover.

“Whatever achievements this film Nebraska may or may not have for me it’s greatest achievement is its most significant marriage of professional and nonprofessional actors because to create that world it’s dependent equally on production design and casting. That’s what suggests that world is that flesh. We spent over a year doing it. The start date is here, the visual preproduction is here, the casting has to start here. You can’t fuck up casting, you’ve got to get the right people in every part and of course the leads and the secondary, tertiary parts have to be exactly right. It’s creating a world.

“I looked at a number of small town American films for this one. One of them in particular is an excellent film and it has professional actors but also people cast from that small town. But there’s a great chasm between the acting styles of the two. It’s like the faces of the real people lend what they’re supposed to lend which is authenticity, versmisilitude and all that but they’re not acting properly, even as versions of themselves. So I knew we had to spend time to get local people who could act as vividly as possible as versions of themselves but also to have the professional actors act flatter. They both had to meet in between. I like when professional actors act more flatly like people do in real life. People don’t gesticulate, go into histrionics in real life, not Midwesterners anyway.”

 

 

Me with Payne at NCC Hollywood Salon, ©photo by Travis Beck

 

 

(Nelson and Payne then made a few comments before screening the trailer for Nebraska.)

TN: “It premiered at the Cannes Film Festival in May. A wild success I can witness – I was there. I saw a 15 minute standing ovation at the end of the film.”

AP: “Yeah, I’ve seen turkeys get a standing ovation at Cannes. It played better at Telluride.”

(Then, referring to the trailer, Payne said)-

AP: “This is a work in progress print.”

(After the screening someone in the audience commented about the Spanish sounding music, which prompted Payne to describe it as a)-

AP: “More Mexican sounding trumpet piece.”

 

YOU CAN READ THE REST OF THE Q&A IN THE SOON TO BE RELEASED NEW EDITION OF MY BOOK-

Alexander Payne: His Journey in Film, A Reporter’s Perspective

(The new edition encompasses the Oscar-winning filmmaker’s work from the mid-1990s through his new film Nebraska in 2013)

This compilation of my extensive coverage of Payne and his work will be available in February 2014.  

 

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