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From the Archives: About Payne – Alexander Payne on ‘About Schmidt,’ Jack Nicholson and the Comedy of Deep Focus

December 20, 2011 9 comments

 

 

From the Archives: About Payne - Alexander Payne on ‘About Schmidt,’ Jack Nicholson and the Comedy of Deep Focus 

©by Leo Adam Biga

Originally published in The Reader (www.thereader.com)

 

Bolstered by rousing receptions at prestigious film festivals, critical kudos from leading reviewers, widespread predictions of Oscar nods and loads of studio marketing behind it, the momentum attending About Schmidt surpasses anything Alexander Payne saw for his previous features’ openings.

Where Citizen Ruth and Election were accorded the kind of lukewarm studio backing (from Miramax and Paramount/MTV Films, respectively) that idiosyncratic movies get when “the suits” don’t fully endorse or understand them, Schmidt is getting the type of red carpet treatment from New Line Cinema execs that signals they see a potential winner, read — moneymaker, here. And why not?

The film, making its Nebraska premiere December 10 at the new Mary Riepma Ross Media Arts Center (formerly the Mary Riepma Ross Film Theater) in downtown Lincoln, appears to have everything going for it heading into Hollywood’s big ticket winter season, when prestige pictures are positioned at the cineplex for box-office leverage and Academy consideration.

The timing of Schmidt’s release seems right. There’s the snob appeal that comes from boffo Cannes and New York Film Festival screenings of the film this past spring and summer. There’s the raves it received from Stephen Holden in the New York Times, Kenneth Turan in the Los Angeles Times and a slew of other name critics for major media outlets. There’s also serious Oscar talk for Jack Nicholson’s celebrated turn as dour Omaha Everyman Warren Schmidt and for Payne and writing partner Jim Taylor’s sardonic take on middle American mores.

Then there’s the priceless mojo Nicholson’s mystique brings to the Nebraska-made project.

Of course, none of this guarantees Schmidt will do any business, especially in light of the fact Payne’s films have so far fared better in home-market release, where they have time to be discovered and appreciated, than in theaters. That his films appeal to a discriminating audience is logical given his wry, sagacious work, which is really in the realm of social commentary.

Film critic David Denby called Payne and Taylor “perhaps the only true social satirists now working in American movies.” But satire can be a hard pill for filmgoers to swallow. They may feel the sting hits too close to home or they may prefer something lighter to go with their concessions.

According to Dan Ladely, director of the Ross Media Arts Center, Schmidt is “a little bit of a departure from Alexander’s two previous films, which were known for their kind of biting satire. This film is a little bit more nostalgic.” While perhaps gentler, it is, like the others, a painfully honest and ironic examination of how good people lose their way and court despair even amidst the so-called Good Life.

In today’s spoon-fed movie culture, bleak is a hard sell unless accompanied by big action set pieces, and the only thing passing for action in Schmidt is Nicholson’s comic struggle atop a water bed. That scene closes a sequence in which the tight-assed, buttoned-down Schmidt is disgusted by the outrageous new family he  inherits via his daughter’s impending wedding.

The son-in-law’s mother, Roberta, is, as deliciously played by Kathy Bates, a brazen woman whom, Payne said, “is the type of person that will say anything to anyone.” At one point she tries seducing Schmidt in a hot tub by “telling him about how sexual she is and how she had her first orgasm in ballet class at age six,” said Payne, delighted with offending every propriety Schmidt holds dear. “Oh, it’s so fun to torture your characters.”

In this scene, as in much of the film, Nicholson’s performance rests more on his facial-physical reactions than words. Indeed, instead of explosions, verbal or otherwise, moviegoers get the implosion that Nicholson’s Warren Schmidt, a retired and widowed Woodmen of the World Life Insurance actuarial, undergoes.

Severed from the twin tethers of job and wife that defined him and held his orderly life together, he begins questioning everything about his existence, including the choices he made. He lets himself go.

The state of his disillusion is captured in the film’s ad campaign in which Schmidt appears as a shell-shocked, disheveled man shadowed by a dark cloud overhead in an otherwise clear blue sky.

In the throes of this mid-life crisis, he sets off, in a huge, unwieldy motor home that is an apt expression of his desperate inadequacy, on an existential road trip across Nebraska. His destination is Denver, where he heads ostensibly to heal his wounded relationship with his daughter and to save her, as he sees it, from the mistake she is about to make in marrying a frivolous man. Along the way, he conveys his troubles to an odd assortment of people he turns to or rails against in a kind of unfolding nervous breakdown. Unable to express his real feelings to those closest to him, he instead pours out his soul, in writing (and in voice-over), to an African orphan he sponsors, Ndugu, who can’t possibly understand his dilemma.

Regarding Nicholson’s portrayal of a man in crisis, Dan Ladely calls it “probably one of the most subdued performances he’s ever given and maybe one of his best. I’d be really surprised if he doesn’t get nominated for an Oscar. It’s a role where he really stretched himself, and I think probably a lot of the credit for that could be given to Alexander, because Alexander is a director who works well with actors.  He gets a lot out of them.”

Directing Nicholson allowed Payne to work with an actor he greatly admires and solidified his own status as a sought-after filmmaker. He found Nicholson to be a consummate professional and supreme artist.

“Nicholson does a lot of work on his character before shooting. Now, a lot of actors do that, but he REALLY does it. To the point where, as he describes it, he’s so in character and so relaxed that if he’s in the middle of a take and one of the movie lights falls or a train goes through or anything, he’ll react to it in character. He won’t break.” Payne said Nicholson doesn’t like a lot of rehearsal “because he believes in cinema as the meeting of the spontaneous and the moment. His attitude is, ‘What if something good happens and the camera wasn’t on?’”

YOU CAN READ THE REST OF THE STORY IN MY NEW BOOK-

Alexander Payne: His Journey in Film, A Reporter’s Perspective 1998-2012

A compilation of my articles about Payne and his work.  Now available for pre-ordering.

Kathy Bates in About Schmidt

Jack Nicholson as Warren Schmidt

Alexander Payne
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Categories: About Schmidt, Alexander Payne, Books, Film, From the Archives, Nebraskans in Film, Omaha, Screenwriting, Writing Tags: , ,

From the Archives: Conquering Cannes, Alexander Payne’s Triumphant Cannes Film Festival Debut with ‘About Schmidt’

December 8, 2011 13 comments

Alexander Payne and Jack Nicholson at Cannes

 

 

From the Archives: Conquering Cannes, Alexander Payne‘s Triumphant Debut at the Cannes Film Festival with ‘About Schmidt’

©by Leo Adam Biga

Originally published in the Omaha Weekly

 

Press accounts of Alexander Payne’s conquest of the Cannes Film Festival, where his new film About Schmidt created a buzz in the main competition, have largely focused on the film losing out on any awards or on the critical hosannas directed toward him and his star, Jack Nicholson.

But, as Payne noted during a recent Omaha visit, Cannes is a phantasmagorical orgy of the senses that cannot be reduced to mere prizes or plaudits. It is at once an adoring celebration of cinema, a crass commercial venue and a sophisticated cultural showcase. It is where the French bacchanal and bistro sensibilities converge in one grand gesture for that most democratic art form — the movies. Only a satirist like Payne can take the full, surreal measure of Cannes and expose it for all its profundity and profanity.

“I likened it to the body of super model Gisel (Bundchen),” he said, “which is extraordinarily beautiful and draped in the most elegant clothes on the planet, yet, also possesses…bile and all sorts of fetid humors inside of it. The festival is all of those things. I mean, one thing is the elegance — the red carpet, the beautiful tuxes and gowns, the fabulous beach parties and all that stuff. Another thing is the best filmmakers in the world showing work there.

“And still another side is the marketplace, which is like a bazaar, with people talking about how many videocassette units your film’s going to sell in Indonesia. It’s that kind of sordid marketplace that gives cinema its vitality. And you can’t have the cinema body without all of it. So, it’s really like a beautiful woman. It’s extraordinary to look at from the outside, but once you cut it and look inside, you could throw up.”

He said the confluence of glitz, glamour and garishness reminded him of Las Vegas. “It’s all kind of Vegasy. You see really elegant things and you see really tacky things, which I liked. I was in such a good mood, that I just loved everything.”

So, what do you do for an encore when your third feature film makes a splash at the mecca of world cinema? Well, if you’re riding a wave of success like Alexander Payne, your hot new film is next chosen to open the New York Film Festival (NYFF), September 27 through October 13, at Lincoln Center. “It’s an honor,” he said regarding Schmidt’s recently announced selection to open the Big Apple event. “That will keep the awareness of the film afloat. A lot of the New York press and international press and kind of the tastemaker-types will see it, I’m told.”

To be accepted as an opening night feature there, a film must be making its North American premiere, which forced New Line Cinema to decline invitations for Schmidt to play other major festivals on the continent, including those in Toronto and Telluride. No matter. The word-of-mouth momentum attached to Schmidt from its Cannes screenings is so strong that early industry patter is already positioning the film as an award-contending late fall release.

For the filmmaker, Cannes (May 15-26) marked a milestone in a still young career whose sky-is-the-limit ceiling has his work being compared to and his name being mentioned with the most celebrated cinema artists in the world today. An indication of his growing stature is the fact that during a recent Omaha visit he was shadowed by a New York Times reporter preparing a major profile on him. He fully recognizes, too, what Cannes means for his reputation, although the sardonic Payne points out the absurdity attending such puffery.

“It was a huge honor just to be there…and it’s a nice stepping-stone,” he said.. “As far as I’m concerned, it’s bigger than being nominated for an Oscar (he and writing partner Jim Taylor earned Best Adapted Screenplay nods for Election) because it’s international. It’s also really political and full of bullshit to some degree, but what isn’t? But given that reality of the world, it’s still about pure love of cinema, not Hollywood people slapping each other on the back and awarding movies like A Beautiful Mind. Ugh.”

YOU CAN READ THE REST OF THE STORY IN MY NEW BOOK-

Alexander Payne’s Journey in Film: A Reporter’s Perspective, 1998-2012

A compilation of my articles about Payne and his work.  Now available for pre-ordering.


Payne and Nicholson mugging for the Cannes paparazzi

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Categories: About Schmidt, Alexander Payne, Books, Film, From the Archives, Nebraskans in Film, Omaha, Screenwriting, Writing Tags: , , ,

From the Archives: About ‘About Schmidt’: The Shoot, Editing, Working with Jack and the Film After the Cutting Room Floor

December 6, 2011 14 comments

 

 

From the Archives: About ‘About Schmidt’: The Shoot, Editing, Working with Jack and the Film After the Cutting Room Floor

©by Leo Adam Biga

Originally published in the Omaha Weekly

 

Ever since Omaha native Alexander Payne wrapped shooting on About Schmidt, the hometown movie whose star, Jack Nicholson, caused a summer sensation, the filmmaker has been editing the New Line Cinema pic in obscurity back in Los Angeles.

That’s the way Hollywood works. During production, a movie is a glitzy traveling circus causing heads to turn wherever its caravan of trailers and trucks go and its parade of headliners pitch their tents to perform their magic. It’s the Greatest Show on Earth. Then, once the show disbands, the performers pack up and the circus slips silently out of town. Meanwhile, the ringmaster, a.k.a. the director, holes himself up in an editing suite out of sight to begin the long, unglamorous process of piecing the film together from all the high wire moments captured on celluloid to try and create a dramatically coherent whole.

Whether Schmidt is the breakout film that elevates Payne into the upper echelon of American directors remains to be seen, but it is clearly a project with the requisite star power, studio backing and artistic pedigree to position him into the big time.

An indication of the prestige with which New Line execs regard the movie is their anticipated submission of it to the Cannes Film Festival. Coming fast-on-the-heels of Election, Payne’s critically acclaimed 1999 film that earned he and writing partner Jim Taylor Oscar nominations for Best Adapted Screenplay, Schmidt will be closely watched by Hollywood insiders to see how the director has fared with a bona fide superstar and a mid-major budget at his disposal.

Regardless of what happens, Payne’s unrepentant iconoclasm will probably keep him on the fringe of major studio moviemaking, where he feels more secure anyway. As editing continues on Schmidt, slated for a September 2002 release, Payne is nearing his final cut. The film has already been test previewed on the coast and now it’s just a matter of trimming for time and impact.

While in town over Thanksgiving Payne discussed what kind of film is emerging, his approach to cutting, the shooting process, working with Nicholson and other matters during a conversation at a mid-town coffeehouse, Caffeine Dreams. He arrived fashionably late, out of breath and damp after running eight blocks in a steady drizzle from the brownstone apartment he keeps year-round.

He and editor Kevin Tent, who has cut all of Payne’s features, have been editing since June. They and a small staff work out of a converted house in back of a dentist’s office on Larchmont Street in Los Angeles. Payne and Tent work 10 -hour days, six days a week.

“As with any good creative relationship we have a basic shared sensibility,” Payne said of the collaboration, “but we’re not afraid to disagree, and there’s no ego involved in a disagreement. We’re like partners in the editing phase. He’ll urge me to let go of stuff and to be disciplined.”

By now, Payne has gone over individual takes, scenes and sequences hundreds of times, making successive cuts along the way. What has emerged is essentially the film he set out to make, only with different tempos and tones than he first imagined.

“Rhythmically, it’s come out a little slower than I would have wanted it,” he said. “I think it’s been something hard for me and for those I work with to accept that because of it’s subject matter and for whatever ineffable reason this is a very different film in pacing and feel than the very kinetic and funny Election, which got so much praise. It has, I think, the same sensibility and humor as Election but it’s slower and it lets the drama and emotion play more often than going for the laugh. I think it just called for that. With this one, we don’t go for the snappy edit.”

Even before Schmidt, Payne eschewed the kind of MTV-style of extreme cutting that can detract from story, mood, performance.

“Things are over-covered and over-edited these days for my tastes. There’s many exceptions, of course, but the norm seems to be to cut even though you don’t need to. And, in fact, not only don’t filmmakers need to, their cuts are disruptive to watching performance and getting the story. I like watching performance. My stuff is about getting performance. I like holding within a take as long as possible until you have to cut.”

YOU CAN READ THE REST OF THE STORY IN MY FORTHCOMING BOOK-

Alexander Payne’s Journey in Film: A Reporter’s Perspective, 1998-2012

A compilation of my articles about Payne and his work.  Available this fall as an ebook and in select bookstores.

 

 

 

Alexander Payne, ©photo Jeff Beiermann, The World-Herald

 

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Categories: About Schmidt, Alexander Payne, Books, Cinema, Film, From the Archives, Nebraskans in Film, Omaha, Screenwriting, Writing Tags: , , , ,
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