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Alexander Payne’s ‘Nebraska’ Comes Home to Roost: The State’s Cinema Prodigal Son is Back Filming Again in his Home State after Long Absence
I call Alexander Payne Neb.’s cinema prodigal son because he left here to find himself as a filmmaker, then he came back to make his first three features in his home state, only to leave again to make Sideways and The Descendants in faraway Calif. and Hawaii, respectively. And now, after a 11-year absence filming here he’s back shooting his new pic, Nebraska. In truth, he was never really gone-gone. He’s maintained a residence in Omaha all along and has returned innumerable times for all sorts of things. That he’s returned to make a feature with the name of his native state in the title and is doing so after the immense success of The Descendants only makes Payne, who’s already the most compelling living Nebraskan outside perhaps Warren Buffett, only more a figure of intense interest. The following cover story for The Reader (www.thereader.com) is the first of what I anticipate will be a whole string of pieces I do related to this film. My reporting on the project converges with my new book out on the filmmaker, Alexander Payne: His Journey in Film – A Reporter’s Perspective 1998-2012, which you’ll find plenty of posts about on this blog. My coverage of Nebraska will undoubtedly end up in future editions of the book.
Alexander Payne’s ‘Nebraska’ Comes Home to Roost: The State’s Cinema Prodigal Son is Back Filming Again in His Home State after Long Absence
©by Leo Adam Biga
Now appearing in The Reader (www.thereader.com)
In 1968 Francis Ford Coppola led a small cinema caravan to Ogallala, Neb. for the final weeks shooting on his independent road picture The Rain People starring Shirley Knight. Joining them were future fellow film legends George Lucas, Bill Butler, Robert Duvall and James Caan.
Now a road pic of another kind, Nebraska, is underway here by native prodigal son Alexander Payne. For his first filming on his home turf since 2001 Payne’s lit out into northeast Neb. to make a fourth consecutive road movie after the wandering souls of his About Schmidt, Sideways and The Descendants.
Nebraska began shooting October 15 around Norfolk, where the production’s headquartered, and will complete 35 days of principal photography by the end of November. A week of second unit work will run into early December.
The project is set up between Payne, Albert Berger and Ron Yerxa’s Bona Fide Productions and Paramount Pictures.
Despite proclamations he doesn’t care for road movies, much less shooting in cars, Payne’s once again attached himself to a story of lost and broken people careening to some revelation about themselves.
Asked why he keeps returning to this theme or structure, he says, “I have no idea, I personally don’t really like road movies all that much and it’s all I seem to make. No, none of it’s intentional, I’m a victim. Yeah, it just happened.”
Characters hitting the road is a classic metaphorical device for any life-as-journey exploration and Payne’s not so much reinvented this template as made it his own.
“I think self-discovery is a big theme in his movies,” says Berger.
The protagonist of Schmidt (Jack Nicholson) goes in search of meaning via his mobile home after his life is knocked asunder. In Sideways buddies Miles (Paul Giamatti) and Jack (Thomas Haden Church) indulge in a debauched tour of Calif. wine country that rekindles the love impulse in one and confirms the unreliability of the other.
The by-car, boat and foot journey of The Descendants is propelled when Matt King (George Clooney) discovers his dying wife’s infidelity and sets off to find her lover. What he really finds is closure for his pain and the father within him he’d forgotten.
The bickering father-son of Nebraska, Woody (Bruce Dern) and David (Will Forte), hold different agendas for their trek along the highways and byways of Montana, Wyoming, South Dakota and northern Nebraska. Woody, a unrepentant, alcoholic old coot estranged from everyone in his life, is hellbent on collecting a sweepstakes prize that doesn’t exist. David, the good-hearted but exasperated son, decides to placate his pops by promising to drive him from Billings. Mont. to the prize company’s home office in Lincoln, Neb. by way of several detours. He’s sure his father will come to his senses long before their destination.
This mismatched pair’s road-less-traveled adventure in the son’s car finds them passing through Woody’s old haunts, including his hometown, the fictional Hawthorne, Neb., a composite of Hartington, Wausa, Bloomfield, Norfolk and other rural burgs. At nearly every stop they encounter the detritus from Woody’s life, which like the broken down Ford pickup in his garage he can’t get to run is a shambles of regret and recrimination. Woody’s made the fool wherever he goes.
A longtime nemesis, Ed Pegram (Stacy Keach), is a menacing presence.
By story’s end this father-son journey turns requiem. To salve his father’s broken spirit David performs a simple act of grace that gives Woody a valedictory last laugh.
Producer partners Berger and Yerxa (Little Miss Sunshine), who shepherded Payne’s Election in conjunction with Paramount and MTV Films (1999), brought Bob Nelson’s original script for Nebraska to the filmmaker’s attention a decade ago.
Payne says, “Albert Berger and Ron Yerxa had gotten a hold of it, and asked me to read it, not thinking I would want to direct it myself. They wanted to know if there was some young up and coming Neb. director I knew about who could make it for a very, very low sum, and I read it and I liked it and I said, ‘How about me and for a sum not quite so low?’ And so it was, and they’ve been kind enough to wait for me these eight or nine years since I first read it.
“I read it before making Sideways but I didn’t want to follow up Sideways with another road trip. I was tired of shooting in cars. I didn’t think it would take this long, I didn’t think Downsizing (his as yet unrealized comedy about miniaturization) would take so long to write in between. And then The Descendants came along and now I’ve circled back around to this austere Neb. road trip story.”
The story’s essential appeal for Payne is its deceptive simplicity.
“I liked its austerity, I liked its deadpan humor, I like how the writer clearly was writing about people he knew and representing them faithfully to a certain degree but also sardonically. And I’ve never seen a deadpan, almost Jim Jarmusch sort of comedy that takes place in rural Nebraska.”
The barren, existential landscape should find ample expressive possibilities in the black-and-white, wide-screen visuals Payne and cinematographer Phedon Papamichael (Sideways, The Descendants) plan capturing. Papamichael says the palette they’ve hit upon after much testing emphasizes natural lighting and texture. They’re using a high contrast stock from the ’70s that’s less sharp or defined. Film grain is being added to it.
“We’re really coming to appreciate and love the poetic power of the black and white in combination with these landscapes” says Papamichael, “and of course the landscapes are playing a huge role in this story. It’s scaling the human drama and comedy with this vast landscape. It’s a road movie but it’s also a very intimate, small personal story.”
“Well, I certainly wanted to make one feature film in my career in black and white because black and white when well-done is just so beautiful,” says Payne. “And I knew that whatever film I made in black and white couldn’t have a huge budget, so this one seemed to lend itself to that that way. Then also in reading it I wanted the austerity of the characters and of their world represented also in a fairly austere way and I thought black and white in the fall could be very nice. By that I mean ideally after the trees have lost their leaves – to just get that look.
“Sometimes where you’re in rural America there is a certain timeless quality in all those small towns which have the old buildings. You know, change comes slowly to these places.”
In terms of visual models, he says, “we’ve looked at a number of black and white films and photographs but it’s not like I’m consciously saying, ‘Oh, Walker Evans or Dorothea Lange’ (or The Last Picture Show) or something like that. No, not really. I mean, I’ve seen them. We’re just going to follow instinct in how this one should look like.”
Berger supports Payne’s aesthetic choice, though it came with a price and a fight as Paramount execs reportedly resisted the decision to forgo color. But Payne and Papamichael held firm. Berger feels the project gives Payne a new creative space to work in.
“I always was excited artistically about what he was trying to accomplish,” says Berger. “Clearly we would have gotten a lot more money if we didn’t film in black and white and life would have been a lot easier for the production. Alexander’s films have always had a very authentic look. He’s obviously a great appreciator of cinema and he has a wonderful eye and I think in a way this is his first opportunity to showcase a more iconic, archetypal look.”
Payne may just do for the northeast Sand Hills what John Ford did for Utah’s Monument Valley in capturing a certain beautiful desolation. The play of light on wind, barns, trees and wide open spaces offers evocative chiaroscuro possibilities.
“I think it’s exciting to see what he and Phedon will come up with here,” says Berger. “And it’s scope as well and so that will add yet another dimension. And digital for the first time for him and it’s going to be interesting how that helps us getting in tight spaces like cars and using low level lighting. There’s all sorts of tools at his disposal on this one that he hasn’t had before.”
Berger’s come to know Payne’s meticulous eye for finding locations and actors that ring true.
“Once the script is right and once the cast and the locations are in place I feel he’s completely ready to make the movie. I wouldn’t say the rest is easy but I think that is the critical bedrock upon which his movies are made. I think he’s a filmmaker who’s completely in-tune with what he’s trying to say both emotionally and comedically. It’s been a real pleasure to be able to watch this evolution in his work.”
“I just know in the time frame in which I was trying to get this film made these guys rose to the top of my research and struck me and John Jackson, my casting director, as being the right fit.,” Payne says of Dern and Forte.
The irascible yet playful Woody proved most difficult.
“In this case Woody’s a very, very specifically rendered character and I just couldn’t plug any actor in there,” Payne says.
He interviewed-auditioned many, including big names. For the longest time no one matched his conceptions.
“In today’s world it was kind of hard to find someone whom I believed in that part and I didn’t want it to change the character of Woody.”
No compromising.
He finally found his Woody in Bruce Dern, whose daughter Laura Dern starred in Payne’s Citizen Ruth and remains a close friend. What made Papa Dern (Silent Running, Coming Home, Family Plot) the perfect Woody?
“Well, he’s of the right age now and he can be both ingenuous and ornery. And he’s a cool actor. And in a contextual level I haven’t seen on the big screen a great Bruce Dern performance in a few years and I’m curious to see what he can do. He’s a helluva nice guy as well.”
Dern and Will Forte (Saturday Night Live) didn’t meet until they arrived in Norfolk in early October to participate in table readings and visit locations with other principal cast. Any chemistry they produce will be worked out on set. That’s how it worked between Giamatti and Haden Church on Sideways.
“I cast those two guys in Sideways separately. They never met before 10 days or two weeks before we started shooting. Or George Clooney and Shailene Woodley (in The Descendants), they had never met before. I’ve just had good luck with that. Actors know it’s their job to develop some sort of chemistry, hopefully not force it but develop it, and then of course film has a wonderful capacity to lie.”
The casting of Forte surprised many. Not surprisingly, Payne has a considered rationale for the choice.
“Will Forte, physically, I believed could be the son of Bruce Dern and June Squib (who play’s Woody’s long-suffering wife, Kate). and then I just believe him as a guy I would know around Omaha or meet in Billings. He has a very, very believable quality. And I also think for the character of David he is capable of communicating a certain wide-eyed quality toward life and also damage – like he’s been damaged somehow, somewhere.”
Payne’s confident he has a stand-alone project.
“I don’t think you would have seen anyone portray characters like these before. I mean, I’ve never seen exactly this move with exactly this dynamic.”
Payne revised Bob Nelson’s script alone, then had Phil Johnston (Cedar Rapids) take a pass, before revising it again. He admires how close the material is to Nelson’s experience.
“His parents were from Hartington, Neb. and I think Wausa (Neb.) but he grew up in Snohomish Wash. You know how other people summer in the south of France or the Caribbean? Well, this guy used to summer in Hartington, That’s where he would spend time with his many uncles on his father’s side.”
Nelson confirms the hard-tack individualists and towns of Nebraska are composites of relatives and places there and in rural Wash., though Woody is directly based on his late father. He darkened characters and incidents for dramatic effect and invented the sweepstakes storyline. Nelson’s best-known writing credit before Nebraska was for the award-winning Seattle television show, It’s Almost Live. He meant to shop his feature script around L.A. but it quickly got into the hands of Payne, who instantly committed to making it and never reneged. Getting Payne behind it, he says, “changed everything.”
To his surprise and delight, Payne didn’t overhaul his script.
“I’m pretty sure I would have been happy no matter what he did with it because I believed in him as a filmmaker. The fact that so much of my dialogue and so many of the scenes remain is really almost unheard of if you have a writer-director taking over,” Nelson says. “That’s another thing that impressed me. I could tell he didn’t go in and try to turn it into his own screenplay. He wasn’t driven to put his own stamp on it just to do that. He went through it and thoughtfully changed things he thought could use changing but he left in things he thought could work well. For that I’ll always be grateful.
“When he’s rewriting it I think he’s turning in a way already into a director who’s thinking, ‘Do I really want to shoot this scene and do I want to shoot it like that? Is there anything that could make this better?’ You can almost see that going on in his mind. The one thing you hope when your work is adapted is that it will be made better and he’s one of the few guys in Hollywood you’re almost certain will make it better. I really trust him.”
Payne rooted the production in Norfolk after a long search.
“I spent a year driving around Neb. when I had free time – a wonderful education on the state. I considered places like Columbus. Grand Island. Hastings, but I landed on Norfolk because Norfolk has a pretty good number of small towns of about 1,500 people orbiting it, and maybe it’s also no coincidence that that’s the area Robert Nelson was writing about. Hartington is within spitting distance of Norfolk.”
Earlier this year Payne and Papamichael followed the route Woody and David make in the film, traveling for three days in a Toyota owned by Payne’s mother, Peggy, “just to get a feel for the land,” says Papamichael. “He really wanted to convey the feeling of the land to me and that was very helpful. I took a lot of black and white stills.”
Nelson, who’s seen footage and visited the set, says the film’s locations are spot-on.
Finalizing locations and cast members led Payne to make certain tweaks. “Yeah, as it always does,” he says. “I start incorporating locations more into the script and I might steal a line of dialogue or two from an actor in an audition who can’t remember his line or adds an improve that I think is quite good. Or as I’m going along I just think of things which could be better.”
He’s continued tinkering.
After seven years between his last two features he’s moving quickly from project to project now. He expects to jump from Nebraska, whose editing he should finish in the spring, into Wilson, his adaptation of the Daniel Clowes’ graphic novel slated to shoot in San Francisco next fall.
EDITOR’S NOTE: Biga is the author of a new book about Payne. Alexander Payne: His Journey in Film – A Reporter’s Perspective 1998-2012 is a compilation of the reporter’s journalism about the filmmaker. Preview it at http://www.facebook.com/LeoAdamBiga. Pre-orders are being taken at AlexanderPayneTheBook.com. Biga’s appearing at several venues through the fall to discuss the book and his many years covering Payne. At each venue he will personally sign copies. The book retails for $19.95.
Related articles
- Alexander Payne to film in Nebraska (nebraskapress.typepad.com)
- Feature:10 Best Road Trip Movies (thepeoplesmovies.com)
- Bob Odenkirk and Stacy Keach Join Alexander Payne’s NEBRASKA (collider.com)
- Author Leo Adam Biga to Sign His Alexander Payne Book at Various Events as Shooting Continues on the Filmmaker’s New Picture, ‘Nebraska’ (leoadambiga.wordpress.com)
- Robert Duvall Interview (leoadambiga.wordpress.com)
The Film Dude, Nik Fackler, Goes His Own Way Again, this Time to Nepal and Gabon
Bwiti ceremony using iboga
The Film Dude, Nik Fackler, Goes His Own Way Again, this Time to Nepal and Gabon To Shoot Psychotropic Documentaries About a Young Buddha and the Bwiti Culture’s Iboga Initiation
©by Leo Adam Biga
As published in The Reader (www.thereader.com)
Fresh off the warm reception to his debut feature, Lovely, Still, Omaha‘s Film Dude, Nik Fackler, is unexpectedly making his next two film projects documentaries.
Following the path of cinema adventurer Werner Herzog, Fackler’s tramping off to shoot one film in Nepal and the other in Gabon, Africa, drawn to each exotic locale by his magnificent obsession with indigenous cultures and ways.
Fackler, Lovely producer Dana Altman and two other crew left August 11 for Gabon in west central Africa. They plan living weeks with the shamanistic Mitsogo, whose practice of Bwiti involves ingesting the hallucinogenic iboga root. The mind-altering initiation ritual is about healing.
“Part of it is you’ve got to prove yourself to the tribe,” says Fackler. “They don’t just give it to anybody, especially Westerners.”
The extreme project is based in a fascination with and use of ancient, underground medicines and practices.
“I have a great interest in dreams and a great interest in psychedelic experience. I’ve had a lot of healing I’ve gone through using silicide mushrooms,” says Fackler.
A heroin addict friend is along for this exploration.
Bwiti initiation ceremony with iboga
A quest for spiritual enlightenment brought Fackler and Lovely DP Sean Kirby to Nepal in May to film the end of a six-year fasting and meditative regimen by Dharma Sangha. The filmmakers followed Boy Buddha’s exodus, with tens of thousands of followers gathered, and plan returning in the fall.
Fackler is tackling the unlikely projects while awaiting financing for his next two narrative features: an untitled puppet film with illustrator Tony Millionaire; and a phantasmagorical mythology pic called We the Living.
The docs square nicely with Fackler’s eclectic interests in alternative therapies and philosophies.
Dharma Sangha
“I’m always searching. There’s so many beautiful cultures out there. I have to explore and learn as much as I possibly can. I have to go out there to discover them, document them, before they disappear into the weird one-world culture we’re heading towards.”
Mere days before leaving for Africa he still wasn’t sure the Bwiti cultists were on board, but put his faith in miracles.
“I suppose I’m in the mindset of looking at everything in a magical way rather than an intellectual way. That’s sort of where I need to be to make a film like this.”
Related articles
- Werner Herzog Eats His Shoe (wornjournal.com)
- Gabon leader wants Obama to spotlight Africa (sfgate.com)
- New search for missing US trekker in Nepal (sfgate.com)
- Omowale Akintunde’s In-Your-Face Race Film for the New Millennium, ‘Wigger,’ Introduces America to a New Cinema Voice (leoadambiga.wordpress.com)
- African Shamanism (raymondjclements.wordpress.com)
Omowale Akintunde’s In-Your-Face Race Film for the New Millennium, ‘Wigger,’ Introduces America to a New Cinema Voice
Over the past 20 years I have had the opportunity of stumbling upon some filmmakers from my native Nebraska whose work has inspired me and many others. I first became aware of Alexander Payne back when I was programming art films in the late 1980s-early 1990s. This was before he’d directed his first feature. I read something about him somewhere and I ended up booking his UCLA thesis film, The Passion of Martin, for screenings by the nonprofit New Cinema Cooperative. Hardly anyone came, but his work was unusually mature for someone just out of college. That lead to my interviewing him in the afterglow of his feature debut, Citizen Ruth, and his making Election. I’ve gone on to interview him dozens of times and to write extensively about his work. I even spent a week on the set of Sideways. I almost made it to Hawaii for a couple days on the set of his film, The Descendants. I may be spending weeks on the set of his next film, Nebraska. It’s been an interesting ride to chart the career of someone who has become one of the world’s preeminent filmmakers.
More recently, I was fortunate enough to get in on the evolving young career of Nik Fackler, whose feature debut, Lovely, Still, shows him to be an artist of great promise.
More recently still I discovered Charles Fairbanks, a true original whose short works, including Irma and Wrestling with My Father, defy easy categorization. He is someone who will be heard from in a major way one day.
In between Fackler and Fairbanks I was introduced to Omowale Akintunde, an academic and artist whose short film Wigger became the basis for his feature of the same name. Akintunde and Wigger are the subjects of the following story, which appears in The Reader (www.thereader.com). The small indie film, made entirely in Omaha, is getting some theater exposure around the country.
This blog contains numerous stories about these filmmakers and others I’ve had the pleasure to interview and profile.
Omowale Akintunde’s In-Your-Face Race Film for the New Millennium, ’Wigger,’ Introduces America to a New Cinema Voice
©by Leo Adam Biga
As published in The Reader (www.thereader.com)
Make no mistake about it, filmmaker Omowale Akintunde intends for his 2010 racially-charged Omaha-made feature, Wigger, to provoke a strong response.
After premiering here last year, and in limited theatrical release around the country, the dynamic looking and sounding film returns for a 7 p.m., July 28 red carpet screening at the Twin Creek Cinema. It’s back just in time for Native Omaha Days (July 27-August 1), the biennial African-American heritage celebration.
The film, definitively set in North Omaha, plays off a young white man, Brandon (David Oakes), so enamored with African-American culture he’s adopted its trappings. He pursues a R & B career amid skeptics, users and haters. His interracial relationships, both platonic and romantic, are tinged with undercurrents.
“He feels he has transcended whiteness,” says Akintunde, chair of the University of Nebraska at Omaha Department of Black Studies. “On the other hand, his father is a very overt racist who calls people nigger, talks about fags and Jews. He’s very open about his biases. So Brandon sees himself as disconnected from his father.”
Brandon’s best friend, Antoine, is black. As pressures build, the two have a falling out, each accusing the other of racism, unintentionally setting in motion a tragedy.
“There’s just some things you learn in a black household you don’t get in a white household, and vice versa,” says Eric Harvey, who plays Antoine and co-produced the film, “so that line between them keeps them from being as close as they really want to be. They’re both in denial of self-conscious racism.
“It’s not a bad thing, it’s a reality. We do things without thinking about it. Seriously, it’s been embedded for so long it’s just the norm.”
This is the prism through which Akintunde, who produced, wrote and directed the film, examines polarizing attitudes. Nearly everyone in the film exhibits some prejudice or engages in some profiling. Race and privilege cards abound.
“I thought this story…was the perfect premise to get into some real deep stuff,” says Akintunde. “It’s about these two characters with this improbable dream. This white boy who loves black culture and wants to be accepted comes from a background that says, why would you want to be like THEM? And then them telling him you’re not one of US. And how does one make that fit?”
The film suggests a post-racial world is a fallacy short of some deep reckoning or ongoing discussion. It’s message is that not confronting or deconstructing our racial hangups has real consequences. Akintunde can spout rhetoric with the best, but his film never devolves into preaching.
He does something else in offering a raw, authentic slice of black inner city life here with glimpses of Native Omaha Days, the club scene, neighborhoods, church. He avoids the misrepresentations of another urban drama set here, Belly (1998).
“This is the first film that really deals with North Omaha and attempts to make icons of the things that have become emblematic of it,” says Akintunde. “I really did want to show this city and that community some big love. It was very intentional I made the location a character in this film.”
Rare for any small independent, even more so for a locally produced one, Wigger is managing theatrical bookings at commercial houses, albeit mostly one-night engagements, coast to coast. In classic roadshow fashion, the filmmaker is brokering screenings through his own Akintunde Productions. He pitches exhibitors and when he sells a theater or chain on the flick he often appears, film in hand, to help promote it. He often does a post-show Q & A.
Meshach Taylor
In May the film got national mention when co-star Meshach Taylor plugged it on The Wendy Williams Show.
The success is the latest affirmation for Akintunde, who has a solid reputation as a serious artist and scholar. His 2009 nonfiction film, An Inaugural Ride to Freedom, which charts the bus trek a group of Omahans made to the Obama presidential inauguration, won a regional Emmy as Best Cultural Documentary.
The Alabama native has heeded his creative and academic sides for as long as he can remember. “I always wanted to be a university professor and I always wanted to make films,” he says. “I wanted to make films because there are so many people who will never attend a university, who will never be involved in a high level ivory tower discussion, and movies reach everybody. What I always wanted to do is to meld those two worlds — to use film to teach academics.”
In a career that’s seen him widely published on issues like white privilege and diversity, he’s penned academic texts, short stories, a novel and a children’s book. He says he always conceives his stories cinematically. Well into his professional career though, the cinephile still hadn’t realized his dream of filmmaking.
“It was one of those things you always wanted to do but everyone discouraged you from because they felt you needed a real job,” he says. “No one ever thought that was a credible goal. I finally reached a point where I realized credibility was determined by me, and if I had a passion for filmmaking I needed to do what…makes me happy. That was one of the missing things in my life.”
During a sabbatical he attended the New York Film Academy‘s Conservatory Filmmaking Program. His thesis project was a short version of Wigger. Another of his shorts, Mama ‘n ‘Em, was selected for the Hollywood Black Film Festival.
An expanded Wigger script became his feature debut. He and producer Michael Murphy financed the film themselves. Akintunde imported principal cast and crew from outside Nebraska, including film-television actors Meshach Taylor (who was in the short) and Anna Maria Horsford, cinematographer Jean-Paul Bonneau and composers Andre Mieux and Chris Julian.
“I didn’t follow any of the traditional methodologies in terms of even making Wigger, much less how I promote it and get it out there.”
David Oakes
Kim de Patri (Kim Patrick), who plays Antoine’s girlfriend Shondra, says the script’s unvarnished truth grabbed her.
“It said every single thing most people think (about race) but would never actually say. It was the way it was said and the voice it was speaking from, these characters. It was so real and so honest and it came from a very genuine place.”
Taylor, a big advocate of Akintunde’s, says he likes how the film “challenges people’s concepts of what racism really is” by dealing with “the reality of institutionalization racism,” adding, “It’s not an overt thing, it’s really built into the system.” He says he and Akiintunde just click. “I like what he’s trying to do. It’s really wonderful to have someone who has an intellectual approach to filmmaking but still has the artistic sensibility to make it fun and interesting to watch.”
To date, Akintunde has arranged limited bookings in mid and major markets, ranging from Minneapolis and Birmingham to Denver, Las Vegas and Los Angeles. It’s one continuous run was at the Edge 12 in Birmingham, the home of Tim Jennings, who has a supporting role. Akintunde says an Edge Theaters official “became a big fan and supporter” of the film and offered a one-week run.
Future screenings are scheduled in Chicago, Atlanta, Washington D.C. and New York City. He’s negotiating with Edge for new, multi-date runs.
Kim de Patri (Kim Patrick)
With Wigger, he’s taken a subject and set of conventions rife with stereotype and exploitation possibilities and dramatized them as an extension of his scholarship. His goal is as much to frame a dialogue as to make a profit.
“My biggest objective here was to really put a story out there that would compel people to talk about institutionalized bias in a way that I don’t think we’ve had. I really wanted to have a national conversation about this.”
In the tradition of Do the Right Thing and A Time for Burning, which was shot in Omaha 45 years ago, Wigger makes a full-frontal assault on our expectations.
“Obviously, I chose a very provocative and incendiary title because I want it to evoke a very strong, visceral response. I want to incite people. I want to grab America by the collar and just shake them,” he says. “The title itself is very problematic for people because we live in a society where we won’t even pronounce the word nigger. It becomes the “n word” in any context in which we use it.
“In many of the (Q & A) discussions we talk about why I gave the film such a provocative title — it’s because I want people to stop and think. Certain words are simple, symbolic representations of a much deeper social problem that we tend to mask by using silly euphemisms, as if we do not know what they mean, instead of looking at why the actual word bothers us.”
The film deftly handles topics usually glossed over or overdone without becoming pedantic or sensationalistic, though it does get melodramatic. As an “ethnic” genre pic, it draws largely black audiences, but enough of a mix that Akintunde is able to gauge how it plays to black and white viewers.
“There has not been a huge disparity in response and I think that’s because Wigger takes on multiple kinds of institutionalized biases. What I find is people see in a sense the mirror being held up to themselves.”
If nothing else, he hopes the film encourages viewers to see past the taboo or race.
“In our society we’re taught the way you demonstrate you’re not racist is to pretend you don’t know race exists. Because of this color blind mentality we’re all supposed to be adopting, we have come to a point where we can’t discuss the 600 pound gorilla in the room, and what Wigger does is give people an opportunity to discuss the 600 pound gorilla.
“But it goes beyond that — to our gender, our class, our sexuality, our religious beliefs. These are so interwoven and so inextricably bound that it is impossible to construct yourself in any of those domains without taking into consideration the others.”
Wigger shows how racism, sexism and other isms thrive in both white and black culture. Everyone is guilty of some kind of bias.
“I try not to make a compelling argument of black versus white,” says Akintunde, “but about what it means to be either and how we can transcend these boundaries, these ridiculous social constructions, these radicalized expectations that keep us divided. I believe we have the ability to cross these boundaries and truly become a society resolute in its solidarity.
“I think the reason people don’t leave that film feeling as if they’re more divided is because of the way the film is structured. I think you cant help but see how really alike we are. It’s hard to walk away from this movie seeing the world in, no pun intended, black and white.”
Relegating someone to a narrow category or box, he says, diminishes that person and in the process only widens the gulf between individuals and groups.
“I don’t think they are things that exist on their own. I don’t think people are born heterosexist or are racist or Christian. We are taught these positions, we are taught these ideologies, and we reinforce them in our social context in such discreet ways that we’re formed and shaped into opinions and ideas long before we understand that’s what has happened to us.
“Nobody can be plugged comfortably into one of these slots. It ain’t that damn simple. It never has been that simple. It’s a very complex thing.”
The film unabashedly “goes there” by unearthing the fear and anger alternative lifestyles generate, from gay revelations to interracial affairs to wigger mainfestations.
“Society paints a picture of what it wants to see and some people just don’t want to see certain things,” says de Patri (Patrick).
Overcoming these barriers, in Akintunde’s view, starts with recognizing them for what they are and how complicit we are in maintaining them.
“The thing I want to get across to people is that it’s all of our problem. Even if you think you’re just a victim, you’re not, you are a participant. It’s not a white problem, and it’s not a black problem, and it’s not a gay problem. It is a human problem.”
Omowale Akintunde reviews script with cast
Akintunde enjoys the canvass film provides for expressing multi-layered themes.
“I’m very attracted to film as a way of telling that story because I think it allows you more complexity.”
Wigger marks the beginning for what he hopes is a string of films, but for now, he says, “it’s the fruition of my life’s work.” He’s justifiably proud the film’s getting seen.
“For an independent filmmaker to even get a film to run continuously anywhere for any length of time is an extraordinary achievement, and I got that to happen.”
The exhibition schedule is being revised as new screening opportunities surface.
“I had this carefully laid out plan, man, with absolute linearity, and instead things are happening in the moment.”
Zaina Ark’Keenya
He says the film’s well received wherever it plays and is invited back in some cases for additional screenings, including Las Vegas and Birmingham.
“Obviously, I would love to see the movie in an even larger roll out and I think that that is happening,” he says. “I didn’t plan that Edge Theaters was going to pick up the movie. I didn’t plan these people in Vegas and Birmingham would want me to come back. I’m going to go with what happens in that moment and just enjoy it. I’m sort of like riding the wave.”
He says there’s been preliminary talk about Rave Theaters pickiing up Wigger. He’s also following up a lead about potential interest from BET in acquiring the film for network broadcast. Wigger will eventually go to Blu-Ray and DVD.
“I am still seeking a distribution deal.”
Considering its small marketing budget, he’s pleased with the film’s performance.
“We sell out the house wherever we play. I’m not making a killing, but certainly making back the money invested to bring the movie to these theaters. I have a real job, so for me it’s not so pressing my movie makes a lot of money, Of course, I want it to make money if for no other reason then to allow me to make more films.”
His unpublished novel, Waiting for the Sissy Killer, is the basis for a new feature he’s planning. The partly autobiographical story concerns a young black man trying to cope with identity issues in the 1960s South. Akintunde hopes to begin pre-production in the fall. He plans shooting the project in his native Alabama.
Omaha rapper ASO headlines the 6:30 p.m. Wigger pre-show at Twin Creek Cinema. Performing at the Blue Martini after-party is co-composer Andre Mieux.
Tickets are $20 for the screening, pre-show and party and available at http://www.WiggerThe Film.com, Youngblood’s Barber Shop, Loves Jazz & Arts Center and Twin Creek.
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Actress Yolonda Ross is a Talent to Watch
One of my favorite “discoveries” from the past decade is fellow Omaha native Yolonda Ross, a supremely talented actress whose work back here has gone largely unnoticed for some reason. I caught up with her the first time, for the story that follows, not long after her breakthrough starring role in the HBO women’s prison movie Stranger Inside brought her to the attention of the television/film industry and just before Antwone Fisher was released and her small but telling role as Cousin Nadine made an impression. She’s proved a daring artist in her choice of material and is exploring writing-directing opportunities in addition to acting gigs. My story below appeared in The Reader (www.thereader.com) and a later profile I did on her for that same publication can also be found on this blog.
NOTE: More recently, Yolonda’s had a recurring role as Dana Lyndsey on the acclaimed HBO drama Treme. Another Omaha actor of note, John Beasley, just nabbed a recurring role on the same series. Small world.
Yolonda Ross is a Talent to Watch
©by Leo Adam Biga
Originally published in The Reader
With her sweet-sassy voice, orange-tinged Afro, almond-shaped eyes, real-women-have-curves bod and cool hip-hop vibe, Yolonda Ross gets her groove-on exploring a seemingly boundless creativity.
The Omaha native left town soon after graduating Burke High School in the early 1990s to work in the New York fashion industry before carving out a career on stage and in front of the camera. This rising young film/television actress with a penchant for essaying gritty urban sistas is on the verge of break-out success between her acclaimed star turn in the 2001 HBO women’s prison drama Stranger Inside and supporting performances in two new high-profile films slated for release this winter. Due out first is Antwone Fisher, the directorial debut of Oscar-winner Denzel Washington. Next, is The United States of Leland, a project produced by Oscar-winner Kevin Spacey. She’s now looking to develop a script she wrote into a feature she would also appear in.
Whatever happens with her career, this confident woman of color has an array of artistic flavas to explore. “I like creating in a lot of ways — writing, painting, making clothes, singing, acting,” the New York resident said upon a recent swing-through Omaha to visit family. It was that way even growing-up with her three sisters. “I’ve always been into fashion. I would be up in the middle of the night making things to wear to school the next day. It’s a creative thing to be able to start and finish something and say that you made it. It’s just something I really like to do — that and interior design.” And music. “Me and all my sisters were always musical. I always liked to sing. I didn’t get really serious about it until I was in New York. A roommate who’s a producer had me cut a Billie Holiday cover.” Before long, she said, Ross had her own three-piece band and got offered a Motown demo deal. “I didn’t go for it,” she said. “They were trying to change my jazz into something else.”
New York sustains and energizes Ross. “When you’re in New York you’re always hustling, you’re always doing a variety of things to see which breaks. There’s always stuff happening and you can just literally walk into things,” she said. One gig would lead to another, making her early years there “growing and learning…not really so much struggling.” Prior to 9/11 she lived near the World Trade Center. She was in L.A. when the tragedy occured and took her time moving back. New York is where she feels “at home” again. “I like being on the street with people. I hate driving. I like walking and being a part of it. I’m a downtown person. It works for me.”
When she first went to the Big Apple, she didn’t know a soul there. Undeterred, she stayed to fulfill a long-held vow “to go to New York.” Within a few years there she transitioned from working as a buyer for trendy Soho botiques to modeling (Black Book) to fronting her own band in Greenwich Village gigs to appearing in music videos for the Beastie Boys, L.L. Cool J and Raphfael Saadiq and D’Angelo.
After honing her dramatic skills in classes, she began acting in small theater productions, appearing in recurring roles on Saturday Night Live and daytime shows and getting guest leads in TV series (a cop in New York Undercover, a beleaguered mother in Third Watch). She said she learned more about acting from singing than formal training.
“I’ve taken classes…but it was like being on stage with people you didn’t really like and saying words you didn’t really feel. When I started singing is when I understood that key of emotion and emoting through different characters. Behind everything I do is music. Now, when I do something, it’s not me anymore. I mean, you get a little bit of me with it, but I’m just the conveyor of the writer’s and director’s vision.”
Then along came the part of her young life. On the strength of her TV work, the script for Stranger came her way and after reading it Ross felt the role of Treasure Lee was meant for her.
“I thought it was amazing. I understood it so well. I knew where she was coming from and everything. I was like, I’ve got to get this part. I went in and auditioned. There were a lot of other girls there. I just did my thing and left and I got a call back. I ended up getting a call back three times. The producers flew me out to L.A., where it was like a month of auditioning, and I ended up getting it.”
Written and directed by black-lesbian filmmaker Cheryl Dunye, Stranger takes the conventions of Hollywood prison films and applies a feminist-dyke twist to them, offering a raw depiction of women’s life inside the pen. Ross portrays the troubled Lee, a desperate young woman trying to forge a bond with the mother she never knew, Brownie, a lifer and queenpin behind bars. Her work earned her the 2001 IFP Gotham Award for Breakthrough Actor, a Best Debut Performance nomination from the Independent Spirit Awards and an Outfest Screen Idol Award nomination for Best Performance By an Actress in a Lead Role. In 2001, she was named one of Variety’s “10 Actors to Watch.”
While never tackling a role as large or demanding as Treasure before — in one scene she endures a full nude body search and in another is pleasured with oral sex by a fellow inmate — she embraced the challenge, fully aware of just how juicy a part it was.
“To be able to do Treasure and to do everything that was in that script — I welcomed it — I really did — because I knew I had this chance that a lot of people don’t get and I wasn’t about to mess it up.”
Making the part resonate for Ross was its reality.
“Treasure, to me, was like a real person, not just a movie person. With a lot of scripts you read the characters don’t really evolve. The thing I like about Stranger is the characters aren’t one-dimensional. They’re good, strong female characters that let you see other sides.”
She said playing a profane, violent, overtly sexual woman was liberating. “The freedom to be able to get things out through her and to stretch through her was something I looked forward to. As Yolonda, I’m not going to act the way Treasure would — not that I don’t have it inside me — but I need to get those things out and use them and caress them and fine-tune them.”
Researching the role brought Ross to some California women’s prisons, where she met inmates. The film was shot at the “eerie” abandoned Cybil Brand Prison. Rehearsals lasted four weeks, which she welcomed. “You see, I’m not one of those ad-lib people. I like to know exactly what I’m doing. Sometimes, in rehearsal, little things come up and you find things. I feel once you hit it, you should leave it alone until you shoot it.”
She said filming was such a blast “I didn’t want it to end.” As for the finished film, she feels Dunye captured the truth without compromise. “It wasn’t glossed up. It didn’t get sliced up. All the emotions came through. I thought it was a great job and I’m proud of it.” The only downside to making Treasure her first lead, Ross said, is that without much of a track record behind her casting directors “didn’t know how much of it was acting and how much of it was me.”
Even though it meant playing another “bad girl,” Ross jumped at the chance to be in Fisher. The film is based on the best-selling book, The Antwone Fisher Story, in which Fisher, who adapted his own book to the screen, details his real life odyssey of childhood abandonment, foster care abuse, adult rage and — with the help of a good woman and a psychiatrist (played by Washington) — overcoming trauma to emerge a successful husband, father and artist.
Ross portrays Cousin Nadine, a foster family abuser in Fisher’s life. When she read the script, she said she doubted “if I can do this. But the negative things my character does you don’t actually see, and so once I figured that out then it was all right. I sent in my audition on tape. I was out in L.A. to do a 24 and one day I get a call on Melrose, and I’m trying to hold the reception. I’m like (to passersby), ‘OK, wait, I’ve got Denzel on the phone — walk around me. I’m not moving. I’m not going to lose this one.’ He called to say he loved it (her audition),” hiring her on the spot. “Oh, man, that was crazy.” The film was largely shot in Cleveland, where the events depicted actually took place.
On working with Washington, she said, “He’s so focused…He knew what he wanted. He had his vision and he just did it.” With no rehearsal this time, she discovered the character of Nadine on the set. “We just did the scenes and did ‘em different ways and he used what he wanted.” Of Fisher, she said, “He is the sweetest man. Soft-spoken, low-key. His family is beautiful.” She avoided reading his book before filming “because I didn’t want to try to be exactly something that he wrote. I wanted to come to it with what I have. The crazy thing was, after reading it, my interpretation was just like the character.”
The film, which follows Fisher up to his being reunited with his biological family, is ultimately an inspirational story. “Out of what he endured in his life…all this positive has come out of it,” Ross said. She likes how the film doesn’t sensationalize the events it dramatizes but rather shows them as part of a whole. “It isn’t like a Hollywood movie even though Fox Searchlight did it. It’s like how life is. How a lot of times not much is happening but then some craziness will happen and then, like, OK, you’re back to this place.” The film, starring newcomer Derek Luke, features unknowns, which she feels works to its advantage. “Because you’re not having stars shadow the story, the story is the star. It just works beautifully.”
Besides a one-act play she’s preparing to appear in in New York, Ross awaits her next acting job. Hardly idle, she’s busy schmoozing-up a production deal for her script, which she describes as “a slice of life set in New York” dealing with the romantic entanglements of two couples.
“It’s one of those things where you’ve been with somebody for a while and somebody just comes out of nowhere and blows your mind. Is it real? Is it not? Do you jump and go off with this person or do you stay with your steady in a not so happy but safe relationship?”
She wrote it because “there just aren’t a lot of great parts out there for black women. I mean, you’re the crack head or the welfare mom or the girlfriend. It’s like you can never just stand alone and be a character. So, if there’s something I want to do and I can write it, then I might as well do that. Why wait?”
In United States, premiering at Sundance in January, Ross plays the girlfriend of Don Cheadle in a story examining the impact a death has on a community. Her part was added after principal photography wrapped. She also appears this fall on PBS in an American Film Institute short, The Taste of Dirt. Meanwhile, she’s campaigning for the role of jazz singing legend Billie Holiday. “There’s an amazing script out there I really want. It’s not at the point where there’s anybody behind it, but I’m trying to make sure I’m more than in the running when it comes to that.”
So, how does a young woman from Omaha stay real in the spotlight? “My sisters. My sisters keep me real. They won’t go run and do stuff for me. It’s like, ‘No, do it yourself.’” What’s important to her? “My family — we’re really close. My health. Paying attention to things around me and appreciating them. I’m very much an earthy kind of person.” Still, as her marquee value rises, Ross has her eyes fixed on the perks fame can bring and, for now anyway, forgoes thoughts of long term romantic attachments, saying unabashedly, “There’s things that I want, and I need to get them, and I can’t let things get in the way of that. I’m so focused on working.”
What does the 20-something crave? “A place of my own in Manhattan. A house in upstate New York. To be settled…to be able to have a little bit under my belt. I’d like to be producing movies that I would be in.”
If Fisher nets the same enthusiasm it did in September at the Toronto Film Festival, where Ross said it got a standing ovation, then hers may soon be a household name. “Exactly,” she said, delighted at the notion of being THE new one-name soul sista. “Not Diana, not Halle…Yolonda. Mmmm, hmmm. We’ll see.” Go, girl, go.
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Daring Actress Yolonda Ross Takes It to the Limit
Another example of a talented creative artist from Omaha is Yolonda Ross, a superb actress who left her hometown years ago for New York City, and she’s carved out a very nice career in film and television. The following profile for The Reader (www.thereader.com) gives a good sense for this adventurous actress, who also writes and directs. This story appeared in advance of her role in the controversial film Shortbus, one of my provocative projects she’s participated in. I am posting other pieces I’ve done on Yolonda as well.
NOTE: More recently, Yolonda’s had a recurring role as Dana Lyndsey on the acclaimed HBO drama Treme. Another Omaha actor of note, John Beasley, just nabbed a recurring role on the same series. Small world.
Daring Actress Yolonda Ross Takes It to the Limit
©by Leo Adam Biga
Originally published in The Reader (www.thereader.com)
Gabrielle Union gets all the pub, but another film/television actress from Omaha, the righteous Yolonda Ross, consistently does edgy material far afield from Bad Boys II and The Honeymooners. Ross has played everything from a wannabe gangsta desperate for love to a string of lesbian characters to a child molester to a porn actress. She’s worked with everyone from Woody Allen (Celebrity) to Denzel Washington (Antwone Fisher) to Don Cheadle (The United States of Leland) to Vanessa Williams (Dense and Allergic to Nuts).
Last fall, she worked on a Leonardo DiCaprio-produced film, The Gardener of Eden, and has been in discussions with such A-list artists as Cheadle for other parts. But it’s a project she wrapped last summer, Shortbus, that should grab her some attention. The notorious new feature by John Cameron Mitchell (Hedwig and the Angry Inch), a maker of queer cinema, deals with transient artists looking to connect through sex in the malaise of a post-9/11 Manhattan languishing from ever-present anxiety, commerce, inflation and exhibitionism.
Whether Shortbus ever makes it to Omaha is anyone’s guess. Most of Ross’s film work, which includes several shorts, doesn’t make it here. An exception is Dani and Alice, a 2005 short directed by Roberta Marie Munroe that’s screening at the Omaha Film Festival. The film deals with the rarely discussed problem of woman-on-woman partner abuse. Ross plays the femme victim Alice to butch lover Dani in an abusive relationship in its last hours. Dani and Alice shows March 25 at the Joslyn Art Museum’s Abbott Lecture Hall in the fest’s 9 p.m. short film block and Ross plans to attend and participate in an after-show Q & A. For details, check the event website at www.omahafilmfestival.org.
Difficult subjects are the Ross metier, which keeps her work from being widely seen. Her Shortbus director, John Cameron Mitchell, had trouble financing that pic because of his insistence on lensing non-simulated sex scenes.
“Yeah, that’s true, the not-simulated part,” Ross said. “That’s why it’s taken him so long to get money for the movie. People were scared to put money into it.”
Ross was originally put off by the idea of “doing it” on screen and perhaps jeopardizing her career by blurring the line between adult and mainstream cinema. Then, she changed her mind, and was even prepared to partner up again with an old flame for some celluloid enflagrante.
“At first, I was like, I’ll work on it, but I won’t do the sex part. Then, a year later, when John still didn’t have money for it I told him me and my ex-boyfriend would do it — because he needed couples. At that point I was like, If Chloe Sevigny could suck off Vincent Gallo (in The Brown Bunny), then I’m sure I could do it with my ex in a movie. Right?! I said I would do that based on my complete faith that John knew what he was doing and would do something amazing with it, and not use it in a disgraceful way.” As things turned out, Ross didn’t have to get down and dirty for the sake of her art. “Everything turned out cool. The actual couples are still in it. But when somebody fell out of another part, I was re-cast in a role that does not require me to have sex on camera,” she said.
In a film full of non-actors, she plays opposite JD (Samson) of Le Tigre and Suk Chin of Canadian News. She’s not telling who does what on screen. “Dude, you’ll have to watch the movie to know who does and who doesn’t have sex,” she said, laughing.
In the film, she’s the lesbian rocker, Faustus. She attends a women’s support group whose members talk through the politics and emotions of being gay in a straight world. Shortbus is the name of the fictional salon where the insecurities and idiosyncrasies of the characters, including Faustus, intersect. Some go for readings or performances. Others, for therapy. Still others, to engage in public sex. The salon culture portrayed in the film, where sex is a ritualistic and nihilistic acting out mechanism, is based on actual Manhattan salons.
Mitchell and Ross had wanted to collaborate for some time and the two actually hooked up last winter for a Bright Eyes video he directed and she appeared in.
“It’s really a nice thing working with John. He’s so good with people, whether they’re actors or non-actors. He’s great at bringing out the most in them,” she said. “He’s really good at making people feel confident and at ease, while staying on track with what he wants. I think he’s ridiculously talented.”
Ross follows her own clear vision in trying to elevate her career to the next level. She’s well aware, however, of Hollywood’s feckless ways. It’s why she’s taking matters in her own hands and pitching scripts she’s penned in the hope one sells and provides her with a tailor-made part. One of those scripts is serving as her directorial debut, for the comedy short Safe Sex she plans shooting. The story explores how sexual preferences, once exposed, tend to define people.
“Sex fascinates me. It makes people do really stupid things and act in ways they probably never do otherwise. It’s about a lot of mind stuff and what we see as wrong with sex. People have their fetishes or what have you, but you can’t really judge a person by what they get off to. Different things turn different people on.”
Bold themes and choices mark her work. In her best known role, as lesbian inmate Treasure Lee in Cheryl Dunye’s 2001 HBO original film, Stranger Inside, she endures the humiliation of a strip search early on and, in a later love scene, enjoys being pleasured by an inmate going down on her off-camera. In the comic fable Hung, she’s among several gay women to grow a penis. Each owner of the new appendage has her own ideas what to do with it.
In the feature Slippery Slope, pegged for a fall release, she’s a porn star named Ginger who initially struggles adjusting to the higher expectations of a legit director slumming in the world of skin flicks. “Ginger’s been in the business a little while,” Ross said of her character. “She’s a bit set in her ways. She kind of only knows one way to act. She resists learning something new and then she kind of embraces it. She gets into it, actually — the idea of making better pictures. And she starts making her own pictures. It’s nice that she’s not a one note character.”
With Shortbus, Ross once again pushes the envelope as one in a gallery of exotics. Exposing herself emotionally and physically in a part doesn’t intimidate her.
“I have no problem with being a taboo character or doing taboo things or anything like that,” she said. “As long as I can physically do them, I’m going to get up there and do it. I want you to forget it’s me. I want you to be lost in that character.”
Because Ross wants even fringe characters grounded in reality, she underplays what could be camp or superficial. “I like working subtly. The stuff that gets me is what happens behind the scenes and what people are really going through. Good, strong female characters that are real people,” she said. Not big on research, she relies instead on instinct and script preparation. “Know what you need to know, and then Iet the acting take over. I think what you need to be dead-on with are the emotions. That’s what makes me work better. If I know what my character thinks or feels in a situation, then that’s what makes me react in the right way.”
Her expressing the right emotion of a line is akin to when she sings jazz or blues, something she does purely for pleasure these days, but that she once did professionally in New York clubs. Music, she said, opened her up to acting, and she still uses it today to find the right notes and beats for her characters.
“When I started singing is when I understood the key of emotion. With every major character I’ve done there’s been music behind each one. From singing, I know there’s certain notes I hit or tones I make that, when I hear them, make me cry or make me feel some other way. Music can change my whole body and how I carry myself. If I’m listening to Ella, I’m not going to walk the same way I do as when I’m listening to Ray Charles. When I was doing Stranger Inside, there was a Marvin Gaye song, Distant Lover, in my head. OnShortbus, it was The Tindersticks’ Trouble Every Day soundtrack. Music keeps me relaxed or tense or whatever I need to be.”
In her early-30s, Ross is at a place in her career where she does a nice balance of little and big screen gigs capitalizing on her street smart persona, which finds her getting cast as beleaguered mothers, strung-out junkies, intense cops and bohemian types in episodic TV. But anyone who’s seen her work, such as her riveting turn in Stranger, knows she can play a full palette of colors and be everything from a hard-core case to a sweet, neurotic, vulnerable woman-child.
There’s a sense if she can just land one juicy part, she’ll be a major presence. Even if that doesn’t happen, she keeps adding to an already impressive body of work. Among her TV credits, are sketch comedy on Saturday Night Live, and high drama guest shots on 24, ER and Third Watch.
Part of why Ross hasn’t broken out big time in front of the camera, despite some heady props for Stranger and Fisher, has to do with the unsympathetic or peripheral roles she gets and the small indie projects she plays them in. One could argue that until now, while Gabrielle Union’s enjoyed the more successful commercial career, Ross’s has been more interesting. To be fair, though, Union has three films in the can that finally go beyond purely popcorn storylines and that for once hold out the promise of stretching her dramatic abilities.
But the point is Ross, an African-American contemporary of Union’s, has explored provocative subject matter for some time now without a fat pay-off. Union and Ross, who incidentally are fans of each other’s work, offer an interesting comparison. Each has defied the odds to carve out a nice career on screen. A key difference is perception. Union’s classic, wholesome beauty, with her smooth, soft features, put her up for positive roles and land her well-placed Neutrogena TV spots and endless glamour photo spreads in national mags. She comes across as sexy, brainy, full of attitude, but in purely non-threatening terms — as the love interest, friend or rival — and in widely accessible pictures, too.
By contrast, Ross’s unconventional but no less intriguing radiance has harder features, leaving her out of luck when it comes to girl-next-door or, for that matter, seductress roles. Spend any time with Ross, and it’s obvious she can play it all. She even does her share of glam, including a recent Bicardi Big Apple event in which she modeled an Escada gown. She’s a regular at New York premieres and other photo-op bashes. But in a town where they only know you by, What have you done lately? — perception, not reality, rules. Her performance in Stranger, a film/portrayal that became a cause celeb at feminist/lesbian festivals, was so on the mark, she’s been typecast ever since as a low down sista. In fact, she’s in high demand by women directors, whom she often works with.
Women confront stereotypes in the business, but Ross said black women must overcome even more. She said if you look closely, you’ll see that actresses with darker skin tones play “bad” while those with lighter skin shadings play “good.”
“Darker women are the cops, the crack heads, the hard asses. The darker the skin, the harder you’re going to be, the tougher you’re going to be. It’s very difficult for me to be seen as the cute girl next door or the nice mother or the love interest. I mean, it’s the craziest thing. Gabrielle’s about the same color I am, but she’s somewhat busted through,” said Ross, who surmises Union’s straight hair translates into less urban or ghetto in the minds’ of casting directors. “It’s about looks and name and face recognition. That’s what sells. Halle Berry can make bad movie after bad movie and have a Revlon contract. But why is it Angela Bassett isn’t working?”
Good women’s roles are hard to find, period, and even harder if you’re black. “Most scripts I read aren’t that good,” she said. “The characters don’t evolve.” Then there’s color-conscious casting that denies Ross, and even Union, a chance at roles deemed white or, God forbid, being part of an interracial romantic pairing.
That’s why Ross, who’s developed a working friendship with famed screenwriter Joan Tewksbury (Nashville) — “my second mother” — and Dani and Alice co-star Guinivere Turner, is trying to make something happen with projects she’s written alone or in collaboration. She despairs sometimes how fickle and slow the business is. “It drives me crazy. But I have to remember all the stories about other people where it took like 10-15 years to get something done. I know that the stories I have will have an affect on people. So, I keep that in mind.”
Until something breaks there, she’s waiting for start dates on two more features she’s cast in. Pearl City is a modern-day film noir set in Hawaii that lets Ross play sly as one of many potential suspects in a homicide investigation. Then there’s a new religious-themed film by Boaz Yakim (A Price Above Rubies).
Meanwhile, slated for a spring release is The Gardener of Eden. Directed by Kevin Connolly, the film co-stars Ross as one of many people crossing paths with a man so addicted to the props that come with being hailed a hero that he manipulates events to rescue others. The film also features Lukas Haas and Giovanni Ribisi.
Whatever comes next, Ross will take it to the limit.
Related articles
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- The Ties that Bind, One Family’s Celebration of Native Omaha Days (leoadambiga.wordpress.com)
- Yolonda Ross is a Talent to Watch (leoadambiga.wordpress.com)
- Film Review: Shortbus (thenakedtruth69.wordpress.com)
Filmmaker Charles Fairbanks, aka the One-Eyed Cat, Makes Lucha Libre a Way of Life and a Favorite Film Subject
Image via Wikipedia
When I read about filmmaker Charles Fairbanks for the first time last year I was immediately taken by his story: how a rural Nebraska student-athlete turned artist become enamored with and immersed in the world of Mexican professional wrestling known as Lucha Libre, which he’s made the subject of some of his short films. Then when I delved further into his story, by exploring his website and watching some of his work, I knew I had to write about him. We met last summer, when his disarmingly sweet personality and thoughtful responses made me immediately like him. The following story I wrote about Fairbanks and his work appeared just before this year’s Omaha Film Festival, where one of his Lucha Libre films, Irma, was shown. Fairbanks is a serious artist whose work may or may not ever find a wide audience but is certainly deserving of it. I plan to follow his career and to see much more of his work as time goes by.
©by Leo Adam Biga
Originally published in The Reader (www.thereader.com)
In the space of a few years Charles Fairbanks has gone from conventional prep and collegiate wrestler to one of the few gringo performers of Lucha Libre, Mexico’s equivalent of WWE (World Wrestling Entertainment).
Amid a world of masked figures with exotic alter egos, Fairbanks performs as the One-Eyed Cat. It’s not what you’d expect from this cerebral, soft-spoken, fair-skinned rural Nebraska native. Then again, Fairbanks is an adventurous artist and art educator, which explains why he’s devoted much of the last nine years to Lucha Libre’s high-flying acrobatics and soap opera melodramatics.
Fairbanks, whose pretty boy face and chiseled body are in stark contrast to Jack Black in Nacho Libre, is a photographer and short filmmaker who loves wrestling. Naturally, then, he combines his passions as self-expression. He’s gone so far as affixing a video camera to his mask to record the action.
“Oh, I look silly,” he says of his third eye. “Other wrestlers laugh out loud but they’re always very welcoming. I make sure to establish a relationship before I walk in with a camera on my head.”
His documentary short Irma, an Omaha Film Festival selection, lyrically profiles Irma Gonzalez, a hobbled but still strong, proud former wrestling superstar and singer-songwriter who befriended him at Bull’s Gym on the outskirts of Mexico City.
Last fall Irma won the Best Short prize at the Coopenhagen International Documentary Film Festival. It’s shown at festivals worldwide, as have other works by Fairbanks, some of which, like Pioneers, have nothing to do with wrestling.
Intense curiosity brought him to Mexico in the first place. Oddly, he’d just abandoned organized wrestling. He was a state champion grappler at Lexington (Neb.) High, where his artistic side also flourished. His mat talent and academic promise earned a scholarship to Stanford University, where he wrestled two years before quitting the team.
He was touring Mexico on a rite-of-passage mission of self-discovery and enlightenment when he saw his first Lucha Libre match. He soon started shooting and practicing. He made still images that first trip and has since used video to capture stories.
“I just fell in love with this spectacle,” he says.
Bull’s Gym, located on an upper floor of a hilltop building, is his main dojo, sanctuary and set. It overlooks a cinematic backdrop.
“There’s something powerful for me in looking out at the miles of humble cinderblock housing spread out and up the ridges around Mexico City,” he says. “That view is very beautiful. With all the pollution the sunsets are very colorful. The airport is nearby and so you see the airplanes taking off.
“For me all of this magnifies and modulates the gym’s energy, which is really pretty fervent. There’s often boxing and wrestling going on at the same time in the same room. With all the activity, the ambient noise is really a roar.”
Lucha Libre has a near mystical hold on him now but he admits he originally regarded it as a lovely though bastard version of the wrestling he grew up with.
“At the time, as most competitive wrestlers in the U.S., I denied the connection,” he says. “I said, This is totally different. Now I’ve gotten to the point where I can accept the real links between competitive wrestling and show wrestling.”
Fairbanks, a Stanford art grad with a master of fine arts degree from the University of Michigan, takes an analytical view of these kindred martial arts.
“There is a lot of overlap but at the same time I think they have very different philosophies embedded in them.”
Asking if Lucha Libre is fake misses the point. The visceral, in-the-moment experience is the only reality that matters.
“In my experience of Lucha Libre the matches themselves are not staged — you don’t know who’s going to win. You still maybe want to win, but it’s not just up to you,” he says. “You can’t just go for a pin. You really have to try to entertain. It’s very much like a dance. There’s a certain repertoire of moves my opponent and I know how to do together, and if I start to do one move you recognize this move and you actually respond in a certain way to help me do it more spectacularly.
“And then there are variations, where you’re doing something defensive that’s changing me, so it’s not my move anymore. As we go through this back and forth we establish these sort of rhythms.”
The unfolding dance, he says, is also “an improvised drama” marked by “waves of tension” and “a building of energies. One wrestler is dominating but then the tides turn and the other wrestler comes back. It’s not something scripted but you feel your way through.” The improvisation, he adds, extends to the referee, who “plays his part,” and to the crowd, “who play their part.”
Reared in the no-frills tradition of amateur wrestling, he says “it’s been really hard to learn this completely different way of thinking or feeling reality. I’m the first to say I haven’t mastered Lucha Libre. I’m not trying to make it big as a wrestler in Mexico. I’m trying to learn about wrestling.” He’s also a practitioner of Brazilian jiu-jitsu.
He’s learned about Lucha Libre’s “built-in codes of honor” and “certain ways people present themselves publicly or don’t.” The wrestlers aren’t supposed to reveal their identity outside the ring. He’s made himself an exception.
“I feel OK transgressing this because I’m already marked as Other.”
Irma Gonzalez
In his Flexing Muscles some native wrestlers half-kiddingly harangue this outsider. “It’s very important to me they’re calling me gringo and saying, ‘Go back to your damned country,” he says, as it makes overt his interloper status. As deep as he’s tasted Mexican culture he knows he remains a visitor and observer.
“I’m really conscious of my differences from most of the people there in terms of nationality and economics,” he says.
He’s acutely aware too of his privileged “ability to come in and do this and then leave and go back to the States and make art out of this experience,” adding, “With my movies in a certain sense I try to build in the story of my being there and my relationship to the subjects.” He’s struck by how generous his subjects are in opening their lives and homes to him even as they struggle getting by.
Stranger or not, he engages the culture head-on.
“I do try to immerse myself very much in that world I’m living in, but without losing who I am. I never try to pretend to be Mexican. I try to get as close as I can and I try to understand, but from my point of view.”
Despite the obvious differences between Fairbanks and his fellow performers, he feels a reciprocal kinship, adding, “there’s a certain kind of camaraderie I feel with wrestlers anywhere.” Wherever he’s traveled, including Europe and Asia, he’s wrestled.
Fairbanks has seen much of Mexico but is largely centered in Mexico City and Chiapas, where he teaches filmmaking. He says, “I love to stay with families, I love to have local people to learn from and to interact with.”
Moments of zen-like meditation and magic realism lend his work poetic sensibility and cultural sensitivity. Irma‘s tough title character sings a ranchero in the ring while her circus performer granddaughters romp. In Pioneers Fairbanks lays hands over his father’s ailing back in a shamanistic healing ceremony. Enigmatic stuff.
“I like to make movies that invite more questions,” says Fairbanks, who participated in Werner Herzog’s Rogue Film School and cut his chops working with veteran filmmakers in Brussels, Belgium. “I like to have the films be a process of discovery for the viewers — to not tell the viewers how to see this world — but also a sense of discovery for me as I’m making the films.”
Authenticity is his goal.
“For me it’s important I’m making movies in Mexico that convey a part of experience not covered by our news media.”
As for the future, he says, “I have very specific stories I want to tell in Mexico and in other countries, some related to wrestling, other types of wrestling, some not at all related to wrestling.”
Irma‘s Omaha Film Festival screening is 6 p.m. on March 3 at the Great Escape Theatre as part of the Striking a Chord block of Nebraska documentary shorts.
Related articles
- WWE News: Has Mexican Lucha Libre Star Averno Signed with the WWE? (bleacherreport.com)
- Lucha Future Mexican wrestlers storm The Roundhouse (vidalondon.net)
- Behind the mask – lucha libre wrestlers tap into Kitsap (pnwlocalnews.com)
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The Soderbergh Experience: Director Steven Soderbergh to Talk Shop at Film Streams Feature Event
Image via Wikipedia
UPDATE: So, I went to the An Evening with Steven Soderbergh event that the following post previewed, and it proved every bit as engaging a program as I expected. Alexander Payne handled the introductions with low-key aplomb. Kurt Andersen was his usual studied and witty self as the moderator or interviewer. And special guest Steven Soderbergh was cool, intelligent, frank, and surprisingly self-effacing. He even confirmed reports that have been circulating for awhile now that he plans retiring from filmmaking in a few years. If he does indeed go through with walking away from his film career, it would be an unprecedented move considering his A-list status and relatively young age — he’s only 48. He just completed Contagion and he has a couple more projects in the pipeline that he’s obligated to complete, Liberace and The Man from Uncle, but after those, he said, he has nothing more scheduled to hold him down. He said he’s been turning down every project offered to him for some time. His reason for wanting to abandon filmmaking? He said it’s a case of feeling like he is more and more retreading the same ground and he no longer wants to feel trapped into repeating himself. He didn’t say what he might do in place of making films, though there was an allusion by Andersen to Soderbergh wanting to paint and perhaps write. Speaking of writing, Soderbergh described one of his best decisions as coming to terms with the fact that his best potential lay not in writing films but in directing them. He started out writing his own scripts, including the project that first brought him fame — sex, lies and videotape. But he increasingly turned to other writers to flesh out his ideas. I also discovered that Soderbergh ahas for some time now acted as his own cinematographer and editor on his films, often using a pseudonym rather than taking screen credit under his own name in those categories. All in all, it was a night of stimulating conversation and judging by the packed house at the Holland Performing Arts Center this fund raiser for Omaha’s art cinema, Film Streams, was a resounding success.
Omaha’s downtown art cinema, Film Streams, is presenting a Feb. 20 program featuring one of cinema’s top directors, Steven Soderbergh, who will be interviewed on stage at the Holland Performing Arts Center by author-Studio 360 host Kurt Andersen. Filmmaker Alexander Payne, a friend of Soderbergh’s, is introducing the program. The event’s a fund raiser for Film Streams. I didn’t get the chance to interview Soderbergh, which was a bummer, but I still had a good time writing the following piece for The Reader (www.thereader.com) about the filmmaker and his work. I interviewed Andersen and solicited comments from Payne, from Film Streams founder/director Rachel Jacobson, and from film historian Ton Schatz. I look forward to attending An Evening with Steven Soderbergh. This is the third big fund raiser for Film Streams featuring a major cinema figure. Laura Dern was the special guest year one and Debra Winger last year. Payne interviewed each on stage. These are the kinds of cinema events that almost never used to happen in Omaha, and now thanks to Film Streams and the Omaha Film Festival they happen on a regular basis.
The Soderbergh Experience: Director Steven Soderbergh to Talk Shop at Film Streams Feature Event
©by Leo Adam Biga
Published in The Reader (www.thereader.com)
Steven Soderbergh may not generate the snobby, effete buzz of some name directors, yet he’s arguably the most prolific and accomplished American filmmaker over the past 20 years. As special guest for the Feb. 20 Film Streams Feature Event III, An Evening with Steven Soderbergh, he headlines Omaha’s must-see cinema event of 2011.
Skeptics must concede he has the juice to qualify as an elite director. There are the awards (the Palm d’Or and the Oscar), the glowing reviews, the productive collaborations with mega-stars (George Clooney) and the clout or charisma to get both commercial (Erin Brockovich) and fringe (Che) works produced.
He did one early game-changing film (sex, lies, and videotape) and he’s followed with some prestige mature projects (Traffic). Yes, naysayers point out, but he can’t claim a seminal work like The Godfather or Taxi Driver as his own.
What he does possess is a supple technique he applies to a broad canvas of genres he crosses and bends with equal amounts of restraint and respect and reinvention. He’s not even 50, and his oeuvre may ultimately contain more stand-the-test-of-time credits than any of his flashier contemporaries or senior counterparts.
Yes, but is he an auteur? That may be among the things novelist and Studio 360 host Kurt Andersen explores with Soderbergh during their on-stage interview-clip program at the Holland Performing Arts Center.
For now, Andersen ventures while it’s hard to instantly identify a Soderbergh film the way one can a Scorsese or Allen or Tarantino or Coen Brothers film, or for that matter a Tony Scott film, “he is an incredibly ambitious artist, and that’s an interesting combination.”
Count Andersen an admirer.
“He’s done television as well as feature films, he produces (Syriana, Michael Clayton) as well as directs, he does documentaries, he does these big kind of pure entertainment features as well as these very strange little features, and all of that range continues,” he says. “It’s not as though he did these little movies and then graduated to payday movies. That he continues to be as diverse at age 48 as when he was 25-30 is really singular.
“When you look at the body of work and career there’s nobody of his generation who comes close I think in having all of that, as well as the half dozen or whatever master works you can argue about and point to.”
Before the auteur theory messed with cinephiles’ conceptions of where ultimate film authorship lies, name-above-the-title directors were rare. Today, even hacks are accorded that once privileged status. Soderbergh is anything but a hack. Indeed, Andersen calls him “the anti-hack.”
Alexander Payne, who approached Soderbergh to headline the Film Streams fundraiser and will introduce the program, summed up his fellow artist with:
“I count Steven as a friend and colleague, and I have tremendous respect for his career and his purity — and certainly for his work ethic. He admires the directors of classical Hollywood who honed craft through continuous work, and he has miraculously enabled himself to equal their prodigious output. Some hit, some miss, but craft sharpens and roves. And he supports other filmmakers without question.”
A great filmmaker doesn’t have to also be a screenwriter like Payne. John Ford and Alfred Hitchcock produced great art with recurring personal themes and motifs without scripting a word. Soderbergh has writing credits on a third of his features.
Neither is a clearly defined style a prerequisite for a great director. Witness John Huston and Elia Kazan, whose subtle styles changed from film to film in service of story while their own preoccupations shone through. Soderbergh is in their chameleon tradition.
The fertile mid-1960s through 1970s era saw personal filmmaking flower in and out of Hollywood with Cassavetes, Scorsese, Coppola, Ashby, Altman, et all. In the 1980s this trend retreated in the face of mega pics, sequels and special effects.
Soderbergh is a bridge figure who helped usher in the independent film movement with his 1989 debut feature sex, lies, and videotape. A searching period followed that film’s breakout success. Since the mid-‘90s he’s evolved as a director of high gloss studio projects, including the Oceans series, that win critical and industry praise — and also make money — yet also as the maker of art pieces that exercise other creative muscles.
University of Texas at Austin film scholar Tom Schatz says Soderbergh’s arrival one the scene marked a turning point.
“1989 was perhaps the most important year for Hollywood in the past half-century,” says Schatz. “It was the year of the Time-Warner and Sony-Columbia mergers, which began the trend toward conglomerate control that now defines the movie industry. It was the year of Batman, the first modem blockbuster. And it was the year of sex, lies, and videotape, which ignited an indie-film movement and alongside Batman set a dual trajectory that continues to this day.
“Interestingly enough, Soderbergh is among the very few contemporary Hollywood filmmakers who can move effortlessly and successfully from one of these tracks to the other, segueing from modest, innovative, character-driven films to big-budget franchise blockbusters. In the process he has steadily produced a body of work that is unmatched in contemporary American cinema.”
Andersen says Soderbergh shook things up around the same time the Coens,Tarantino, Gus Van Sant and Spike Lee emerged as a brash new guard.
Kurt Andersen interviews Steven Soderbergh
Andersen wonders how sex, lies, videotape plays to 2011 eyes inured by YouTube, Web cams and reality TV. When the film came out, voyeurism was not the ubiquitous leisure activity it is now.
“It was the germinal moment of a certain era of American films that were strange and singular and idiosyncratic and that everybody was suddenly talking about in a way they hadn’t since the ’70s,” notes Andersen. “What’s so kind of heartening and praiseworthy about Soderbergh’s career is he continues really risky formal experiments.”
Take the director’s choice of revolutionary Che Guevara as the subject of a four-hour-plus, two-part film in Spanish. The sheer length and scope leaves Andersen wondering, “Why do you do that? It’s almost a different thing than a conventional feature film. At one point in the process did he decide this needs to be this epic thing?” He plans to ask Soderbergh that very question.
Andersen’s also fascinated by Soderbergh’s take on the ferment of that time.
“I’ve just written a novel, much of which is set in the ‘60s, and about politics. I’m eager to talk to him about how we’re maybe now just getting far enough away from the ‘60s, with all their power and electricity and iconic resonance, where we can make interesting art about them and talk about them in ways that are not quite so hot and bothered.”
Film Streams director Rachel Jacobson says she appreciates Soderbergh’s “transparent awareness of the commercial pressures that “compromise the art of film” by his jumping back and forth between the two extremes of feature filmmaking.
She adds, “He’s also interested in challenging traditional distribution channels. Both Bubble and The Girlfriend Experience were released On-Demand and on Blu-Ray the same day and date they were released theatrically. His visit is such a terrific match for us as an art house theater dealing with these issues from the other end.”
Film Streams Feature Events I and II guests, Laura Dern and Debra Winger, respectively, discussed acting and offered anecdotes about projects and collaborators. Alexander Payne, who directed Dern in his first feature Citizen Ruth and admired the commitment Winger made to her roles, conducted soft interviews with the stars. This time, with a director in the spotlight and a veteran journalist asking penetrating questions, a different dynamic is in the offing. Both Payne and Andersen serve on the art cinema’s Advisory Board.
“Having had two terrific actors at past Features, I feel like the acclaimed director’s visit is a terrific way to mix things up,” says Jacobson. “Everyone has seen a Soderbergh film but not everyone pays attention to the director. It’s really important to our mission of promoting film as art that people think about the artist with the vision behind the work, the decisions that go into every shot, and the talent it takes to create a good movie.
“We’re thrilled that Kurt is coming to do the interview this year.”
The balancing act of Soderbergh, who’s publicly bemoaned the unwieldy, antiquated system for getting films made and released, intrigues Andersen. He says he’s eager to ask “how he convinced-persuaded the money guys to let him do what he wanted to do” in that limbo period following sex, when the perceived failures of Kafka, King of the Hill, Underneath and the TV series Fallen Angels seemed to signal a fall to irrelevance.
Then came five films that made Soderbergh not only relevant again but gave him cachet: Out of Sight, The Limey, Erin Brockovich, Traffic, Ocean’s Eleven. From then till now Soderbergh’s moved from obscure projects like Solaris and The Good German to star-vehicles like The Informant and the forthcoming Haywire.
As Andersen says, “there’s talent and luck and then there’s the personality-temperament things that allow you to make that Hollywood ATM machine cough up the money.” Andersen’s curious to kknow how artists like Soderbergh “actually manage to have other people pay for the courage” of their “private, quirky convictions.”
Even when Soderbergh has played it “safe” with forays into genre themes and variations, whether the caper buddy pic (Oceans) or the romantic suspense flick (Out of Sight) or the revenge story (The Limey) or the underdog-against-all-odds chestnut (Brockovich), he’s made the conventions his own.
“He’s broad enough in his vision of interesting material that he can take something that’s been seen a thousand times and make it a memorable thing,” says Andersen.
The Good German finds Soderbergh taking the duplicity and intrigue and look of Casablanca or The Third Man and at once remaining true to it and tweaking it. His black and white milieu and mis en scene boast mystique with a modern edge.
“You see him setting up a particular kind of obstacle course for himself. He’s doing not just a modern version of a film noir,” says Andersen, “but he’s actually trying to do it in a virtual simulation way — to try and figure out how movies were made then in ways that we don’t now, and yet trying to make it work as a film that comes out in 2006.
“It’s interesting to me to talk to an artist about the kinds of puzzles he sets for himself.”
Andersen admits to being a sucker for spy stories anyway and he says Soderbergh’s riffs with the well-worn form made it a must-see for him.
“That’s interesting in a personal way for me,” says Andersen. “I’m fascinated by the intelligence agencies. In this new novel of mine the serious research I had to do was about how the intelligence business works, so I actually was thinking about The Good German. I rewatched that film in anticipation of talking to Soderbergh.”
Traffic is another example of an overused, often cliched subject — illegal drug trafficking — that in the hands of an imaginative filmmaker becomes a kind of elegiac opus about human greed and frailty told in overlapping storylines.
“A really interesting film,” says Andersen. “It’s the kind of movie that in description could be such a hack work thing. If in a blind taste test that film was simply described to you, you’d think, Yeah, maybe, but you’d expect it to be mediocre. But again with this kind of genre material he brings both this interesting, complicated structure — TV-like in a way because of course it’s an adaptation of a television series — and turns this pulp material into something so much better. Into a work of art.”
Andersen says The Informant portrays business management’s “moral ambiguity” and “murkiness” in a way “that fiction and film seldom do. It’s so unpigeonholable. Is it a comedy? Is it a drama? What is it?” He likes too the improvisational and enigmatic qualities of The Girlfriend Experience.
In the end, Andersen says, Soderbergh distinguishes his work above the fray.
“There’s so many like big tent pole movies that get made just because the deal was made,” he says. “He’s s one who clearly takes seriously the fact that somebody’s going to pay 10 bucks and spend two hours of their life, and so I better try to entertain them. He kind of gives more than necessary. When any artist over-delivers in what they’re strictly required to do, it makes for a great artist and for a career that really lasts.
“You never get the sense he’s phoning it in in any sense, which isn’t to say it always works. I mean, he has lesser movies and greater movies, but he’s always trying. His work never goes off the rails. There’s always a sense of rigor about it.”
Tickets for the 6:30 p.m. concert hall interview are $35 and available by calling 933-0259 or visiting www.filmstreams.org. A post-party and private reception cost extra.
Related articles
- Warner Bros. Will Distribute Steven Soderbergh’s Contagion (cinemablend.com)
- Steven Soderbergh Assembling A Traffic-Sized Ensemble Film (cinemablend.com)
- Steven Soderbergh’s ‘Haywire’ Gets Official Release Date (moviefone.com)
- ‘Contagion’ Trailer: Steven Soderbergh’s Version of Realistic Horror (slashfilm.com)
Long Live the Dude: Gail Levin Chronicles Jeff Bridges for “American Masters”
My friend and sometime subject, documentary filmmaker Gail Levin, has a new work premiering Jan. 12 on PBS for American Masters – a profile of Oscar-winning actor Jeff Bridges. Her film, Jeff Bridges: The Dude Abides, comes just short of a year since the star accepted the Academy Award for Best Actor for his portrayal of Bad Blake in Crazy Heart. He may well be in contention for the award again on the strength of his performance in the Coen brothers‘ remake of True Grit. I interviewed Levin by phone during a break from her editing of the film in New York, where she lives. I haven’s seen the film, except for a brief excerpt you can find yourself on the American Masters web site. But I know her work very well, and she’s handled similar assignments profiling acting legends quite well. I expect the same with this project. Levin is an Emmy Award-winning filmmaker whose work has appeared before on both American Masters and Great Performances. On this blog site you can find some of my earlier stories about Gail and her films The Tall Ship Lindo, Making the Misfits, James Dean, Sense Memories, and Marilyn Monroe – Still Life. My story on Levin and her Jeff Bridges film is published in The Reader (www.thereader.com).
NOTE: Now that I have seen Levin’s film — on the rebound in a late night reprise screening — I can now say that it one of the better profiles of an actor I have ever seen. Even though Levin expressed frustration to me at not getting in as deep or close with Bridges as she would have liked, I feel like I now have an authentic appreciation for who he is and how he conducts himself in his life and in his art. As I mentioned to Levin when we spoke about the project, I have always felt that Bridges was hugely unappreciated and I think her film will be part of an ongoing reevaluation of his work and his career that will recognize him as one of the masters of his craft.
Long Live the Dude: Gail Levin Chronicles Jeff Bridges for “American Masters”
©by Leo Adam Biga
Published in The Reader (www.thereader.com)
Omaha native and Emmy Award-winning documentarian Gail Levin profiles actor Jeff Bridges in a new film kicking off the 25th season of American Masters, a series produced for PBS by New York Public Media THIRTEEN in association with WNET.
Jeff Bridges: The Dude Abides premieres Jan. 12, showing locally on NET at 9 p.m.
Levin, an Omaha Central High graduate long based in Manhattan, says the project has been on quick turnaround to parlay the heat surrounding Bridges. A year ago he won the Best Actor Oscar for his performance as country musician Bad Blake in Crazy Heart. Oddsmakers predict a nomination for his rendition of lawman Rooster Cogburn in the Coen brothers’ True Grit.
“We’re really trying to take advantage of all the energy and buzz of everything that’s going on with him,” says Levin (Making the Misfits, James Dean: Sense Memories).
Her film reveals Bridges as a multi-faceted creative. In addition to acting he’s a musician. He performs with his band The Abiders. He’s also a photographer, painter, potter, and vintner. Performing his own music in Crazy Heart surprised many, but it was simply an extension of what he’s always done.
“His great love is music, and it has been all throughout his life,” she says. “He’s now really playing a lot of music, doing gigs. We’ve got a lot of footage of him. We shot at this funny little place he played in Niagara Falls.”
She also captured him at a Zen symposium.
“I don’t know that he would call himself a Buddhist, but he’s certainly in that ether at the moment. He’s very involved with a group called Zen Peacemakers.”
Levin was struck by a passage Bridges wrote in the intro to his book Pictures, a sampling of images the actor takes on movie sets and gifts as photo albums to cast and crew. In describing why he prefers the panoramic Widelux still camera, he offers a key to his creative method:
“…it has an arbitrariness to it, a capricious quality. I like that. It’s something I aspire to in all my work — a lack of preciousness that makes things more human and honest, a willingness to receive what’s there in the moment, and to let go of the result. Getting out of the way seems to be one of the main tasks for me as an artist.”
For Levin, the insight helps explain what makes Bridges a durable star 40 years since his feature breakthrough in The Last Picture Show.
In her interviews with him, his family and colleagues Levin found he’s more complex than his public Everyman-Next-Door, laid-back Dude persona.
“The interesting truth about him is that he’s rather tortured all the time. He says in the film he’s rather reluctant to all of this (film career). I think he came to it obviously through the legacy of his father (the late actor Lloyd Bridges) and his older brother Beau, But he even says he’s a little bit lazy, he’s got a little of the Dude in him, and it’s always kind of hard for him to kind of gear himself up again.”
This “drag me to the party” resistance and ambivalence is how he moves through life. She says some Bridges collaborators, such as Terry Gilliam and John Goodman, speak to his cautious approach.
“He’s not a spontaneous, improvisational actor,” says Levin. “He really needs to know what and where. He has guides who school him in being a junkie or a drunk. He takes that all very seriously and seems to form close relationships with these people who sort of become his models for how to play various parts.
“I think he’s very particular about the kinds of things he chooses. I think he picks films that have some intrigue for him and not necessarily what are going to be the biggest blockbusters. He’s a very individual star. I think he’s really on his own path.”
While Levin enjoyed “amazing access” to Bridges and Co., she found his well-protected veneer hard to penetrate:
“You’ll see in this film there’s a much darker side to Jeff than people realize, and this kind of push-me, pull-you about the acting is really a great revelation. People think he’s easy going about it, and he’s really not. But he doesn’t divulge dark disappointments and things like that. Others say it.”
She says if there are secrets to pry loose, “you gotta be long and deep with him,” adding she didn’t establish a rapport that might have led to such intimacies.
As for Bridges being an American Master, she says, “He’s worked with remarkable directors, he has an extraordinary body of work. He’s an amazing amalgam. He’s an artist on many, many levels.”
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‘Lovely, Still,’ that Rare Film Depicting Seniors in All Their Humanity, Earns Writer-Director Nik Fackler an Independent Spirit Award Nomination for Best First Screenplay
Image by 1031 via Flickr
I am reposting this article I wrote about Lovely, Still, the sweet and searing debut feature film by Nik Fackler, because he has been nominated for an Independent Spirit Award for Best First Screenplay. The film stars Martin Landau and Ellen Burstyn in roles that allow them to showcase their full range humanity, a rare thing for senior actors in movies these days. If the movie is playing near you, take a chance on this low budget indie that actually has the look of a big budget pic. If you didn’t have a chance to see it in a theater, you can look for it on DVD. As deserving as the film is for Oscar consideration, particularly the performances by Landau and Burstyn, it’s unlikely to break through due to its limited release. The following article I wrote for the New Horizons comes close to giving away the film’s hook, but even if you should hazard to guess it the film will still work for you and may in fact work on a deeper level. That was my experience after knowing the hook and still being swept away by the story. It happened both times I’ve seen it. My other Lovely, Still and Nik Fackler stories can be found on this blog.
NOTE: The Independent Spirit Awards show is broadcast February 26 on cable’s Independent Film Channel (IFC). That is the night before the Oscars, which is fitting because the Spirit Awards and IFC are a definite alternative to the high gloss, big budget Hollywood apparatus. I will be watching and rooting for Nik.
‘Lovely, Still,’ that Rare Film Depicting Seniors in All Their Humanity, Earns Writer-Director Nik Fackler an Independent Spirit Award Nomination for Best First Screenplay
©by Leo Adam Biga
Published in the New Horizons
Hollywood legends seldom come to Omaha. It’s even rarer when they arrive to work on a film. Spencer Tracy and Mickey Rooney did for the 1938 MGM classic Boys Town. Jack Nicholson and Kathy Bates crashed for Alexander Payne’s About Schmidt in 2001.
More recently, Oscar-winning actors Martin Landau and Ellen Burstyn spent two months here, during late 2007, as the leads in the indie movie Lovely, Still, the debut feature of hometown boy Nik Fackler.
True, George Clooney shot some scenes for Up in the Air in town, but his stay here was so brief and the Omaha footage so minimal that it doesn’t really count.
Lovely, Still on the other hand was, like Boys and Schmidt before it, a prolonged and deep immersion experience for the actors and the crew in this community. Landau and Burstyn grew close to Fackler, who’s young enough to be their grandson, and they remain close to him three years later.
Since the production practically unfolded in Fackler’s backyard, the actors got to meet his family and friends, some of whom were on the set, and to visit his haunts, including the Millard eatery his family owns and operates, Shirley’s Diner. It’s where, until recently, Nick worked. It’s also where he carefully studied patrons, including an older man who became the model for Lovely protagonist Robert Malone (Landau).
Then there’s the fact the film drips Omaha with scenes in the Old Market, Gene Leahy Mall, Memorial Park and Country Club neighborhood. Omaha’s never looked this good on the big screen before.
After select showings in 2008 and 2009, including a one-week run in Omaha last year, Lovely is finally getting a general release this fall in dozens of theaters from coast to coast. It opened September 24 at the Midtown Cinema and Village Pointe Cinema in Omaha and other cities across the U.S..
For Fackler, 26, it’s the culmination of a long road that goes back to when he first wrote the script, at 17. Over time, the script evolved and once Landau and Burstyn came on board and provided their input, it changed some more. Finally seeing his “baby” reach this point means much to Fackler.
“I’ve been very emotional,” he said. “I didn’t think I was going to be emotional but I have been. It’s been nine years of persistence and positivity and not giving up. It’s always been this thing in my life, Lovely, Still, that’s never gone away, and now I’m going to let it go away, and it feels good because I’m ready to let it go…
“I wanted it to come out a couple years ago, and it was delayed. Now it’s finally coming out and I feel sort of a distance from it, but at the same time it’s good I feel that because there’s nothing a bad review can say that won’t make me proud of the accomplishment. It just feels good to know that it’s out there.”
Martin Landau and Nik Fackler
The film, which has received mixed critical notices, does well with audiences.
“People that pick up on the emotions and the feelings in the film seem to really be attached to it and love it,” Fackler said. “It’s either people really get it and get something emotional from it or people don’t get it.”
The PG movie’s slated to continue opening at different theaters throughout October before going to DVD November 9.
Lovely had its requisite one-week screenings in Los Angeles and New York to qualify for Academy Awards consideration. While many feel Landau and Burstyn deliver Oscar-caliber performances, the odds are stacked against them because of the film’s limited release and non-existent budget for waging an awards campaign.
Rare for features these days, the film focuses on two characters in their late 70s-early 80s. Rare for films of any era it stars two actors who are actually the advanced ages of the roles they essay. The film also approaches a sensitive topic in a way that perhaps has never been seen before.
Now for a spoiler alert. The film hinges on a plot twist that, once revealed, casts a different meaning on events. If you don’t want to know the back story, then stop reading here. If you don’t care, then continue.
Without getting specific, this story of two older people falling in love is about a family coping with Alzheimer’s Disease. Unlike perhaps a Lifetime or Hallmark Hall of Fame movie, Lovely never mentions the disease by name. Instead, its effects are presented through the prism of a fairy tale, complete with exhilarating and terrifying moments, before a dose of stark reality, and an ending that’s pure wistful nostalgia.
What makes the film stand out from most others with a senior storyline is that
Landau and Burstyn create multidimensional rather than one-note characters. The script requires they play a wide range of emotional and psychological colors and these two consummate actors are up to fully realizing these complex behaviors.
A Best Supporting Actor Oscar winner for Ed Wood, Landau returned to Omaha last year to promote Lovely. He said he was drawn to the material by its depth and nuance and by the opportunity to play an authentic character his own age.
“I get a lot of scripts where the old guy is the crusty curmudgeon who sits at the table and grunts a lot, and that’s that, because we kind of dismiss (old) age. So, the chance of exploring this many sides of a man, and the love story aspect of the older couple, presented an interesting arc.”
The actor marvels at how someone as young as Fackler could tap so truthfully the fears and desires of characters much older than himself. During an interview at North Sea Films, the Omaha production company of co-producer Dana Altman, Landau spoke about the pic, playing opposite his friend Ellen Burstyn, and working with wunderkind writer-director Fackler, whom he affectionately calls “the kid.”
Ellen Burstyn and Martin Landau from Lovely, Still
Before there was even a chance of landing an actor of Landau’s stature producers had to get the script in his hands through the golden pipeline of movers and shakers who make feature film projects possible. Fackler’s script long ago earned him a William Morris agent — the gold standard for artists/entertainers.
Landau explained, “Nick sent it to William Morris, who has an independent feature division, who sent to my agent, who sent it to me. I liked it a lot, but I felt there were bumps in it at the time. Some scenes that shouldn’t be in the first act, some scenes that needed to be in the first act. What the second act was I had no idea.” Enough substance was there that Landau expressed interest. It was only then he learned the unlikely author was a not-long-out-of-high school 20-something whose directing experience consisted of low budget shorts and music videos.
“I said, “I want to meet with the writer, figuring somebody maybe close to my age. I said, ‘How old is he?, and they said 22 (at the time). A few minutes later my eyes were still crossed and I said, ‘Wow. I mean, how does a 22 year-old write an older couple love story with this texture?’”
The venerable, much honored actor took a lunch meeting with the Generation Y upstart at an L.A. cafe. Each was a bit wary whether he could work with the other. Landau recalled that initial meeting, which he used to gauge how open Fackler was to accepting notes to inform rewrites:
“I basically said, ‘This is a terrific script, but it’s bumpy. If you’re willing to do this with me, I’ll do the movie,’ and Nick said, ‘OK.’Well, he did a rewrite on the basis of what we talked about, For two months we talked on the phone, several times a week, five or six pages at a time” to smooth out those bumps.
Landau and Fackler devised a wish list of actresses to play Mary. Burstyn, the Best Actress Oscar-winner for Alice Doesn’t Live Here Anymore, was their first choice. On Landau’s advice Fackler waited until the rewrite was complete before sending the script to her. When she received it, she fell in love with the property, too.
Even as much as he and Burstyn loved the storyl, signing on with such an inexperienced director was a risk “It was a leap of faith working with a kid,” said Landau, “but he’s talented and adventurous and imaginative and willing to listen. He reminds me of Tim Burton. Less dark, maybe a little more buoyant.”
In the end, the material won over the veterans.
“Actors like me and Ellen are looking for scripts that have some literary value. Good dialogue today is rare. Dialogue is what a character is willing to reveal to another character. The 90 percent he isn’t is what I do for a living. It’s harder and harder to get a character-driven movie made by a studio or independents and it’s harder to get theaters to take them, so many go directly to DVD, if they’re lucky. Others fall through the cracks and are never seen, and that’s going to happen more.”
The suits calling the shots in Hollywood don’t impress Landau.
“Half the guys running the studios, some of them my ex-agents, haven’t read anything longer than a deal memorandum. And they’re deciding what literary piece should be made as a film?”
He likes that this movie is aimed for his own underserved demographic.
“A lot of older people are starved for movies,” he said. “They’re not interested in fireballs or car chases or guys climbing up the sides of buildings.”
He attended a Las Vegas screening of the pic before a huge AARP member crowd and, he said, spectators “were enwrapped with this movie. It talked to them. I mean, they not just liked it, it’s made for them. There’s a huge audience out there for it.”
Instead of an age gap they couldn’t overcome, Landau and Fackler discovered they were kindred spirits. Before he got into acting, Landau studied music and art, and worked as an editorial cartoonist. He draws and paints, as well as writes, to this day. Besides writing and directing films, Fackler is a musician and a visual artist.
“I feel that Martin and I are very similar and we get along really well,” said Fackler, who added the two of them still talk frequently. He described their relationship as a mutually “inspired” one in which each feeds the other creatively and spiritually. Fackler also feels a kinship with Burstyn. He said he gets away to a cabin she has in order to write.
“One of the main things Martin repeated to me over and over again was, ‘This is your movie.’ He made sure that rang in my ears,” said Fackler, “just to make sure I stayed strong when I came up against fights and arguments with people that wanted the film to be something I didn’t want it to be, and much love to him for doing that. Those words continue to ring in my ear in his voice to this day, and I’m sure for the rest of my career.”
Landau and Burstyn brought their considerable experience to bear helping the first-time feature director figure out the ropes, but ultimately deferred to him.
“All good films are collaborations,” said Landau. “A good director, and I’ve worked with a lot of them (Hitchcock, Mankiewicz, Coppola, Allen), doesn’t direct, he creates a playground in which you play. Ninety percent of directing is casting the right people. If you cast the right people what happens in that playground is stuff you couldn’t conceive of beforehand.”
“It was collaborative,” said Fackler. “We were a team, it was artists working together the same way a group of musicians make a band. We became friends and then after we became friends we respected each other’s opinions.”
As for working with Burstyn, Landau said, “it’s a joy. She’s a terrific actress.” He compared doing a scene with her to having a good tennis partner. “If you’re playing pretty well and you’ve got a good partner you play better. You don’t know exactly where they’re going to place the ball, and it’s that element when Ellen and I work together we have. It’s never exactly the same. She’ll throw the ball and I’ll get to the ball, toss it back to her, so that it’s alive. I won’t call them accidents but they are sin a way, which is what living is, and that element of unpredictability and ultimately inevitability, is what good acting is about. That stuff is what I care about.”
Not every review of the film has been positive. Some critics seem uneasy with or dismissive of its emotionalism, complaining it’s too cloying or precious. That emotional journey of a man who believes he’s falling in love for the first time, only to find out the bitter truth of what he’s lost, is what appealed to Landau.
“The interesting thing about this movie is that if you took away the last act you could cast 15 year-olds in it and not change a lot,” said Landau. “Nick (first) wrote it when he was 17. It’s basically a teenage romance. There’s something simplistic and sweet about these two people who want to be together. Robert’s naive, he’s a kid on his first date. That’s why Nik was able to write it — because he was going through stuff, his first love. The primal feelings people have at 15 or 50 or 80 are pretty much the same.”
Landau is proud to be associated with the film for many reasons, among them its effective portrayal of memory loss.
“I absolutely believe in this film. When I did Ed Wood I felt that way. But this one because I know so many people who’ve had memory problems or are having memory problems. My brother-in-law had Alzheimer’s. A lot of close peers of mine. The Alzheimer’s Association is very behind this movie because it rings true…”
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Finding Forefathers: Lincoln Motion Picture Company Film Festival Gives Nod to Past and Offers Glimpse of Future
Image via Wikipedia
I am always on the lookout for a good film story. This one came to me out of left field, and I am grateful did. My hometown of Omaha, Neb. is slow to pick up trends, which makes sense since it sits smack dab in the middle of the country. While indigenous indie filmmaking caught on just about everywhere else 15 or 20 years ago, it’s only in the last decade really that the city has had anything like a filmmaking scene, and it’s still a small, sporadic community of filmmakers compared with, say, Austin, Texas. What’s lagged even more behind is the development of an African-American film community here, although events in the last three years indicate that might finally be changing. For Love of Amy and Wigger are two features shot here in 2008 and 2010, respectively. John Beasley is planning a film on the life of Marlin Briscoe. Robert Franklin is a documentary filmmaker with a new project near completion about the 1919 lynching of Will Brown. Vikki White is a promising new filmmaker. And then the story that came my way recently announced a new film festival whose title is drawn from the nation’s first black filmmaking enterprise, the Lincoln Motion Picture Company, which got its start in Omaha, of all places, in the silent era. Brothers Noble and George Johnson were the founders and operators behind Lincoln, whose run was short but historic. Videographer Jim Nelson of Omaha was inspired by the example of the Johnsons and has launched a film festival showing the wares of aspiring filmmakers he mentors. My story for The Reader (www.thereader.com) previewed the fest ,which unreeled Nov. 19. He and I and the filmmakers showing their work hope it’s the start of something big.
Finding Forefathers: Lincoln Motion Picture Company Film Festival Gives Nod to Past and Offers Glimpse of Future
©by Leo Adam Biga
Published in The Reader (www.thereader.com)
The first annual Lincoln Motion Picture Company Film Festival, Nov. 19, is inspired by a historic Nebraska-based business that scholars call the nation’s first African-American film production company.
Brothers Noble and George Johnson founded the company in 1916 in Omaha and later opened a Los Angeles office. They produced five pictures. Their work actually predated that of the great black film pioneer Oscar Micheaux, who had contact with the Johnsons before launching his own film endeavors.
When Omaha television and video production veteran Jim Nelson learned of the Johnsons’ legacy, it hit him like a revelation. As an African-American videographer, he’s a rarity in the local industry. From the time the Lincoln company folded in 1921 until recently, black filmmaking largely lay dormant here. Discovering that black Omaha filmmakers made and owned their own images nearly a century ago moved Nelson.
“I thought, damn, I do come from someplace. It gives me a connection. You always hear about standing on the shoulders of giants, well, now I know whose they are,” says Nelson, who began his career at now defunct Omaha black owned and operated radio station KOWH.
Jim Nelson
The Texas native came to Omaha in the 1960s when his Air Force father transferred to Offutt Air Force Base. Except for leaving Nebraska a few times to try his fortunes elsewhere, the University of Nebraska at Omaha graduate has been based here, yet he somehow never heard about the Johnsons and their Lincoln efforts until a few years ago. He feels the story is not as widely celebrated in these parts as it should be.
“I say to people,’ Do you know the significance of this?’”
He says he’s sure many in Omaha’s African-American community don’t know this history, which he sees as part of a larger problem of not enough being done to promote achievements by black Nebraskans.
“The idea is there are people who grew up here who made contributions,” he says. “It’s about valuing not only what you have or had but using that value to help you grow,” he says. “People need to feel they are worth something.”
Nelson’s nonprofit Video Kool Skool and Sable Accent Media Experience are training grounds for minority youths and adults to learn the necessary skills to tell their stories in images. The programs, along with his for-profit Jim Nelson Media Services, are based at the Omaha Business & Technology Center, 2505 North 24th Street., where he has ample studio and production space.
With a bow to the Lincoln Company’s heritage, Nelson hit upon the idea of a showcase for aspiring black filmmakers. Making himself and his facilities available, he worked with newbies on five short films, all featuring aspects of the black experience. The collaborative projects include one Nelson directed, Rockin’ the Deuce Four, an appreciation of the jazz scene that once flourished in and around North 24th Street.
“This is about a community that has not had its story told on any regular basis,” he says. “Now there’s a platform (the festival). I want to catch these new voices when they’re small. They have to be encouraged, they have to be nurtured, they have to know there’s a place where, even on a part time basis, they can pursue it.
“What’s my role? Well this has always been a dream of mine because I never had a mentor. I didn’t get it, I wasn’t supposed to get it, I was supposed to help others get it. I find myself being more a catalyst I guess for those who really want to do it.”
In this “each one, teach one” capacity he worked with three adults — all students of his at Metro Community College, where he’s an adjunct broadcast media instructor. Their work comprises the festival.
Danye Echtinaw, an Army reservist who served a tour in Iraq, says her film If the Hair Ain’t Tight, Ain’t Nothin’ Right expresses “a very adamant attitude of reaffirmation” about black women” and their “crown of glory.” Eris Lamont Mackey, who made an anti-gang film that placed at the NAACP’s national ACT-SO competition, reflects on the importance of families sharing meals and conversations together in Left at the Table. Lisa Washington, who attended Grambling State University, examines African-American icons in The Beginning of a Positive Image.
Nelson doesn’t pretend there’s a budding Spike Lee or Kasi Lemmons in the queue…yet. He views the event and his mentoring as “a spark to ignite others.” He feels as more participate, it’s only a matter of time before a significant filmmaker emerges.
“The participation of minorities in the industry has always been a struggle. With today’s technology, the opportunity to make films is there,” he says. “There’s a wealth of stories, but we need storytellers. Just seeing yourself in that position is empowering. Once you learn to do it, it can’t be taken away. It’s just a matter of getting the tools to do it.”
The fest unreels from 6 to 8:30 p.m. at the Omaha Public Schools‘ TAC Building auditorium, 3015 Cuming Street. Admission is $10. Call 614-8202 for ticket locations.
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Alexander Payne: His Journey in Film
