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When cancer struck beloved Omaha performer Camille Metoyer Moten, she shared her odyssey and faith on Facebook

December 13, 2014 Leave a comment

Here’s another piece that didn’t make it into print, and so I’m publishing it here. It’s the story of how beloved Omaha performing artist Camille Metoyer Moten used social media as a communnication and connection point to share her odyssey with cancer and her reliance on faith for getting through the illness. On my blog you can find other stories I’ve done on Camille, who is an inspiration through her work and her life.

 

 

When cancer struck beloved Omaha performer Camille Metoyer Moten, she shared her odyssey and faith on Facebook
©by Leo Adam Biga
Popular singer-actress Camille Metoyer Moten is a fun-loving, free-spirited soldier of faith.

That faith got tested starting with an April 2012 breast cancer diagnosis. After treatments and surgeries over two years she gratefully proclaims, “I am healed.” Anyone unfamiliar with her spiritual side before discovered it once she began posting positive, faith-filled Facebook messages about her odyssey and ultimate healing, which she attributes to a Higher Power.

Her frequent “Fabulous Cancer-Free Babe” posts gained a loyal following. Many “Facebook Prayer Warriors” commented on her at-once intimate, inspirational and humorous musings. One follower quipped, “Your posts are like going to church at the Funny Bone.”

Metoyer Moten decided cancer was an experience she couldn’t deny.

“When you perform your whole thing is pulling people into this artistic moment with you. When I got the cancer and started posting about it I thought, Well, this is my song, this is the song I have right now and I want people to feel everything I’m feeling, the good parts and the bad parts, and at the end I want them to see the glory of God in it.”

The humor, too. She described the asymmetry of her reconstructed breasts. While losing and regaining hair she called her bald head “Nicki MiNoggin,” then once patches came back – “Chia Rivera.” She’s since dubbed her swept-back scraggle, “Frederick Douglass.”

“I wrote it as I saw it. If it struck me funny, that’s what it was. I will talk about anything, I just will. I’m just like this open book.”

That extended to shares about weight gain and radiation burns

Mainly, she was a vehicle for loving affirmations in a communal space.

What support most touched her?

“Probably just the amount of prayer,” says Metoyer Moten, whose husband Michael Moten heads One Way Ministry. “Every time I said, ‘Please pray,’ there were people right there and sometimes they would put their prayer right on the post, which was awesome. Some of the encouraging things they would say were really special. The Facebook people really did help to keep me lifted and encouraged and they said I did the same for them.

“It almost never failed there were things I read I needed to hear. We had this beautiful circle going of building each other up.”

 

 

 

 

The sharing didn’t stop at social media exchanges.

“The thing I loved were the personal notes I got from people asking me to write to loved ones going through something, and I wrote to them just to encourage them because that was the whole purpose – to tell people who you go to in time of trouble.”

She’s writing a book from her Facebook posts.

“My goal is to encourage people and to glorify God and to talk about how social media can be a meaningful thing.”

Camille being Camille, she went beyond virtual sharing to invite Facebook friends, all 2,000-plus of them, to “chemo parties” at Methodist Estabrook Cancer Center. “I usually had about 12 to 15 people. The nurses were very sweet because sometimes we’d get too loud and people would bring food. Other patients sometimes joined the party, which was kind of my point – to liven it up. We just had a ball.”

It wasn’t all frivolity.

“We would pray on the chemo machine that the chemo would affect only the cancer cells and leave the good cells alone. Once, a woman rolled her machine over for us to lay hands on hers as well. It was just a beautiful testimony.”

Cancer didn’t stop Metoyer Moten from cabaret singing or acting

“Even though I had a little harder time every now and again it didn’t stop me from doing anything.”

She even believes she came out of it a better performer.

“I’m not a very emotional person but sometimes to connect spiritually you have to have a little more emotion involved. I think now the stuff I’m doing on stage is better because I think I’ve connected to myself better emotionally. I think I had stuffed things down a long time ago. This made me realize it’s okay to have some emotions.”

Fellow performers David Murphy and Jill Anderson walked with her on her journey. Now that they’re battling their own health crises, she’s
there for them.

She’s glad her saga helps others but doesn’t want cancer defining her.

“A long time ago I decided there’s no one thing that’s the sum total of your entire life. I’m happy to talk about what God did for me during this experience, but I’m not going to dwell on the cancer bit forever.

“I don’t want people to look at me and say, ‘Cancer.’ I want them to look at me and say, ‘Healthy…healed.'”

Omaha couple Mauro and Christine Fiore forge a union based on film and family

December 13, 2014 Leave a comment

Here is a short profile piece about an Omaha couple whose lives revolve around film and family, Mauro and Christine Fiore. He’s an Oscar-winning cinematographer who works on A-list projects. She’s a costume designer and the producer of an in-development indie feature based on the best-selling novel The Persian Pickle Club. They met on the set of a film they both worked on. They have three children together. Whenever the film Christine is producing ends up shooting, Mauro will light it. That’s keeping it in the family. Mauro is a native of Italy who moved to the States with his family when he was young. Christine is a native Omahan. The couple have made their home in Omaha for the last several years even as Mauro’s career blew up. She and the kids often travel to his far-flung sets. They also travel as a family to his small hometown in Italy, where he has many relatives and where they regard him as a kind of hero and superstar. It may surprise some folks to know that Mauro is one of three Oscar winners living in Omaha. He won his for Avatar. Then there’s recently retired editor Mike Hill, an Omaha native who won his for Apollo 13. And then there’s Omaha native Alexander Payne, who won his writing Oscars for Sideaways and  The Descendants. This article never made it into the local magazine it was written for, so I’m publishing it here for the first time.

 

 

 

Omaha couple Mauro and Christine Fiore forge a union based on film and family

©by Leo Adam Biga

 
The metro’s small but robust cinema community includes Film Streams and the Omaha Film Festival along with several working industry professionals, among them Oscar-winning cinematographer Mauro Fiore (Avatar). He’s among three Academy Award recipients residing here. The others are editor Mike Hill (Apollo 13) and filmmaker Alexander Payne (Sideways, The Descendants).

Fiore’s most recent director of photography feature work came on The Equalizer last summer in Boston, The projected 2015 release reunited him with Antoine Fuqua and Denzel Washington from Training Day.

But Fiore, originally from Italy, isn’t the only film pro in his own household. His wife Christine Vollmer Fiore, a native Nebraskan, is a costume designer and the producer of an in-development feature adaptation of the best seller, The Persian Pickle Club. Mauro’s slated to light it.

The couple actually met in 1997 on an independent picture largely shot in Neb., Love from Ground Zero. At the time each lived in L.A., traveling wherever projects called them. Christine finds it “ironic” the film that brought their itinerant lives together happened in her home state. They settled here after marrying. He regularly goes off to do commercials and features.

They are the parents of three children – Olivia, Tessa and Luca. The Fiores view Neb.’s as a healthy grounding from the hustle, bustle and hype of L.A., where they also have a home.

“We knew we didn’t want to raise kids in L.A.,” Christine says. “It’s kind of nice to be here and have blinders on and not be affected by what’s out there.”

It’s a stable sanctuary the can count on.

“It’s nice to have a firm place and not really worry about Christine when I’m gone because her family’s here,’ Mauro says. “I feel really safe there’s somebody here to support her. I’ve come to really appreciate it because when I’m here it’s all about the family and helping Christine any way I can.”

During his absences Christine runs a tight ship.

“I’m very schedule and routine-oriented,” she says.

She purposely doesn’t make a big deal of his departures.

“It’s kind of no-nonsense, no tear because it’d be too much tough emotionally. It’s like, ‘Dad’s leaving but he’s going to come back and now I need help around the house from all of you.’ Then when Mauro comes back home we still have the same routine. Dinner’s at 5:30. I think it makes it easy for Mauro to kind of slide back in.”

The family visits his far-flung movie locations, such as Puerto Rico.

His Hollywood colleagues are surprised he lives far afield from film industry centers.

“They find it very odd,” he says. “But with Alexander Payne Neb. sort of has a mystique. They appreciate it’s a different way of living, more old fashioned or traditional.”

That normal, laidback lifestyle is what appeals to the Fiores.

“Omaha is manageable,” Christine says. “It’s easy to go to the airport and to the zoo…”

“It’s easy, it’s familiar,” Mauro adds. “We’ve found several friends around the community of schools the kids attend.”

They enjoy, too, how much more house they can afford here. They lived in Hawaiian Village before moving into their present home last year. The ranch-style in Elkhorn sits on a 6-acre lot with a view.

“We really love the property,” Mauro says. “It has a piece of land that stretches out to the river. You don’t really find that too much anymore.”

They appreciate the open floor plan, banks of tall windows and homey features.

He says, “It’s just the uniqueness of the place and the fact we can really grow into this and make it our home.”

“It’s not like a builder’s model home,” Christine says. “It’s different, it has personality.”

They’re now updating the downstairs to accommodate a craft room for the sewing Christine and the kids do.

In her spare time she wears her producer hat trying to get Persian Pickle Club financed. Setting up a film is a new experience for them.

“It’s been a great learning process to see the inner workings because I never really knew what it took. I’m never on that side of it,” he says.

He admires how “Christine’s done it all from here – figuring out ways to push it along.”

They’re admittedly anxious to start production because making films is what they know best.

Mauro eagerly shares his expertise. He photographed an Omaha Film Festival promo. He’s served as a panelist-presenter at OFF and Film Streams. The couple support the opera, the symphony, Kaneko and other local arts-cultural offerings they find on par with anywhere.

Follow her project on Facebook or at http://www.thepersianpickleclub.com/.

Review his credits on the Internet Movie Data Base at http://www.imdb.com/name/nm0278475/.

Charles Ahovissi brings West African culture to the Heartland: African Culture Connection uses dance, music to tell indigenous yet universal stories

December 12, 2014 Leave a comment

Here’s the story I wrote for The Reader (http://www.thereader.com/) about the African Culture Connection and its founder-artistic director Charles Ahovissi in advance of their Dec. 8 production at the Omaha Community Playhouse. Pam and I went to that show expecting we would be thoroughly entertained having seen the company perform before and if anything our expectations were surpassed. There may be more positive energy and life-affirming love in a single ACC show than there is in a season’s worth of shows by other troupes. Combine that with the fact that there just isn’t anything else like what the ACC does in these parts and you have the makings for a singular experience that as my story tries to communicate is a rich cultural immersion not to be missed. It was a packed auditorium and those of us in the audience returned the energy and love received with our own warm, good vibes. By the way, the ACC show on the 8th was part of an alternative programming series the OCP offers. The programs are free and a welcome change of pace from the usual.

 

 

 

Charles Ahovissi

 

 

Charles Ahovissi brings West African culture to the Heartland

African Culture Connection uses dance, music to tell indigenous yet universal stories

©by Leo Adam Biga

Originally appeared in The Reader (http://www.thereader.com/)

 

Art often expresses culturally-specific stories but until the Omaha-based African Culture Connection surfaced in 2006 West African tales were rarely if ever explored here.

Led by Benin, West Africa native and veteran dancer-choreographer Charles Ahovissi, ACC’s dedicated to presenting the vibrant rhythms, movements, colors and costumes of African tribal tradition and culture.

In upcoming appearances he and his troupe will enact lively interpretations of African proverbs through song, music and dance. On Friday they perform during the Ethnic Holiday Festival at the Durham Museum. On Saturday they offer dance instruction at the South Omaha Library. On Monday they present the story of the Iroko tree in the Omaha Community Playhouse’s Alternative Programming Series.

Alternative well fits ACC, whose programming nearly stands it alone among area arts groups. As a Nebraska Arts Council (NAC) touring artist, Ahovissi brings his cultural showcase to schools and youth serving organizations, where African studies are negligible.

“It is a very unique program,” he says. “You don’t see it in this state. You cannot get what we teach kids in a library. In schools kids barely get the cultural activities we provide them. That’s why it’s very unique, very special and engaging.”

Omaha Girls Inc. executive director Roberta Wilhelm says, “Charles has helped our girls learn about Africa in ways they simply never would in a classroom or from a textbook. The girls connect to the lessons in a very visceral way. He and his team help the girls ‘feel’ Africa when they drum and dance. They prepare and taste African food, create printed fabric to wear while they dance and hear African stories. They also learn lessons about creativity, collaborative work, self-expression, delayed gratification, responsibility and pride of accomplishment.”

At the free 7:30 p.m. Playhouse show the featured Iroko dance imparts a lesson through a cautionary parable about the dangers of putting self before community and not respecting nature. In West Africa the Iroko tree is held sacred for supposed mystical powers and medicinal properties. In the dance a young woman ignores a prohibition to cut the tree and goes mad as a result. After being saved by the village’s purification ceremony she vows never to violate the Iroko again.

Ahovissi says, “”There’s a reason why we do any traditional dance and drumming. Every life aspect in Africa has a specific dance, rhythm, music, so at the same time I’m teaching a dance I’m also teaching the culture, the tradition, the story behind that dance and music. For example, when it comes to farming in Africa there is preparation and celebration. How we pick the fruit, why we pick that fruit is dance movement that has a story.

“Another example is the special music and dances we do for the initiation of youth in a village. When I’m teaching kids here the initiation dance I’m also teaching this story, this culture, this way we do things.”

Between the beating drums and the whirling dancers the energy rises to a fever pitch at ACC performances. The nonprofit’s on quite a roll, too. In late 2012 it became one of only a dozen organizations in the U.S. that year and the first ever in Neb. to receive the National Arts & Humanities Youth Arts Award. It’s a major honor for any group but particularly one as new as ACC.

Ahovissi, ACC’s ebullient founder, president and artistic director, accepted the award from First Lady Michelle Obama at the White House. Additionally, ACC received a $10.000 grant to support and expand its programming. This came on top of winning the Nebraska Governor’s Arts Heritage Award.

Even Ahovissi finds it hard to believe his organization did what none of the state’s larger, more established arts programs managed doing.

“I just don’t know how we got here,” he says. “It was surprising.”

NAC director of programs Marty Skomal says, “No other arts group in Neb. has succeeded in demonstrating ACC’s masterful combination of high artistic quality with genuine and significant community engagement. Each time I see the troupe perform, I am impressed by the level of dedication, attention to detail and commitment. It becomes contagious. Kids can sense this authenticity, and respond to it instantly. ACC is able to do what its name implies – make a connection.”

Ahovissi appreciates the positive feedback he gets from teachers, administrators and program directors about the immersion experience he provides. He says the glowing evaluations “confirm that after we work with kids they learn how to respect and how to behave and some kids who were shy become engaged in the classroom,” adding, “All the teachers tell us thank you for making a big impact on kids’ lives.”

He says the rituals and lessons taught have deep, universal meaning.

“We say it takes a whole village to raise a child. From generation to generation we pass on the culture. In Africa everything kind of ties together.”

In a real sense he’s carrying on traditions handed down to him in Benin, where dance and drumming were part of his growing up..

“My mom took me from village to village to the ceremonies,. I just picked it up from that.”

In his early teens he joined a local arts group. “They taught me how to be more professional,” he says. He then won a competition that enabled him to perform with the National Ballet of Benin beginning in 1984 at age 16. “That allowed me the opportunity to travel and perform with that company. I was very honored to be selected.”

Later he joined the Super Anges dance troupe. He was touring the U.S. with that company when he met his wife. The former Karen McCormick, an Omaha native, did a Peace Corps stint in Africa, including service in Ahovissi’s native country, Benin. In Omaha she volunteered with the La Belle Afrique presenting group that brought Ahovissi’s dance company to Omaha in 1999. The two met, fell in love and married. They have two children together. Ahovissi moved to Omaha in 2000 and became an NAC touring artist in 2001.

He conducts NAC residencies around the state.

“I know all the cities and towns in Neb. I just pack my car with my costume and drum and travel one week, two weeks at a time. I cannot count how many places I’ve been to. I’m grateful for that because I do love teaching, performing and sharing my culture.”

He trains teaching and performing artists to join him at some venues.
His multicultural troupe present African music and dance and the stories behind these traditions. He feels American children need to expand their knowledge of diverse cultures in this ever shrinking world.

“It is so important for them to learn about other cultures. They have to open their minds, they have to allow themselves to appreciate other cultures, they have to accept their friends who are not like them. Since Omaha is becoming more diverse we need to be more diverse, too. We all need to be together and move forward.”

He says as Omaha’s welcomes migrant populations from around the world “there is a need for global understanding in our community. It’s not just African culture – we need to be learning about all these different cultures. You teach me about your culture, I teach you about mine, and we share it. That’s how we become open-minded and free and live in a peaceful way.”

Ahovissi’s still deeply tied to Benin, so far spared from the raging Ebola epidemic. He sends money back every month to his large family living there. “I’m they’re hope,” he says. They’re his roots and inspiration.

Visit africancultureconnection.org.

 

 

Charles Ahovissi's photo.
Charles Ahovissi's photo.
Charles Ahovissi's photo.
Charles Ahovissi's photo.
Charles Ahovissi's photo.
Glimpses from the Dec. 8 performance of the Iroka legend dance

 

Gabrielle Union having it all between her own series, new film, producing, marriage and family

December 10, 2014 Leave a comment

Native Nebraskans’ own many Hollywood-made-good stories. One of the best belongs to Gabrielle Union, who sort of fell into acting by way of modeling and hasn’t looked back since in building a significant career in television and film that shows no signs of slowing down and that in fact appears to be getting richer and deeper with time. Here’s a preview of my new story about her for The Reader (http://www.thereader.com/). It will hit newsstands and the paper’s website Dec. 10-11. The Being Mary Jane star talks about her popular BET series, the hot new Chris Rock film Top Five she has a supporting role in, an upcoming Lifetime movie she produced, the impactful documentary series Half the Sky she participated in. Now married to longtime boyfriend NBA superstar Dwyane Wade, she is loving being a step-mother in addiiton to being a doting daughter and sister. You can find on my blog my earlier stories about Gabrielle, whom I’ve been covering since the early 2000s.

 

 

 

Gabrielle Union having it all between her own series, new film, producing, marriage and family

©by Leo Adam Biga

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

 

My, how time flies. It seems only yesterday Omaha’s own Gabrielle Monique Union first caught our attention on the big screen with her scene-stealing turn as the diva rival to Kirsten Dunst in the wickedly funny high school cheerleader comedy Bring It On.

Hard to believe that was 15 years ago.

Now 42 and firmly established as a Black Hollywood star, red carpet fashion plate and natural beauty spokesperson, Union’s at a career apex few native Nebraskans ever reach in the business. In 2014 alone she starred in her own hit BET series, Being Mary Jane, co-starred in the successful film Think Like a Man Too and produced a Lifetime movie. Oh, and on a personal note she married longtime boyfriend, NBA star baller Dwyane Wade in an American royals-style wedding.

A definite presence at her hubby’s Miami Heat games, she caused a buzz when she jokingly interrupted a recent live post-game interview Fox Sports did with him. He’d returned from the injury list to score 27.

“It was OK,” she deadpanned about his performance to the bemused sideline reporter and to viewers, while styling a black fedora over her long black locks to match her basic black dress. “I mean, a hamstring pull, wow, to come back with 27 points. We’re going to talk about the free throws (he was 5 for 9) later. But he did good for an old geezer.”

Wade appeared to take the upstaging and teasing in stride.

 

 

 

 

She’s lately been propping her new film, the acclaimed Top Five from Chris Rock. which has opened to strong box-office.

“I shot that movie last summer in New York right after we did Think Like a Man Too,” she says.

Originally titled Finally Famous, its story centers on Rock’s character Andre Allen, a standup comic-turned actor who, ala Joel McCrea’s idealistic director in the Preston Sturges classic Sullivan’s Travels comes unhinged after going all serious. With Allen’s pretentious new film a dud, he feels dislocated from his true identity. The recovering addict feels pressure, too, from a reality TV crew covering him and his celeb fiance Erica, played by Union, as their planned televised wedding draws near. Then there’s his instant relationship with a reporter, Chelsea (Rosario Dawson), with whom he finds In the space of a few hours more truth than the surreal media circus his life’s become.

“It’s really the story of the upside and the downside of fame and chasing fame,” says Union, who sports blonde hair, big glasses and gaudy bling in the role. “The story follows a day in the life of Chris’ character and it just happens to be when he’s got to kind of look at some hard truths and decide how does he really want to live and why that is and he kind of gets lost in himself.

“It sounds really deep and at times I think it very much is but it’s also really, really funny.”

 

 

 

 

Tracy Morgan and Cedric the Entertainer co-star and Jerry Seinfeld, Adam Sandler and Whoopie Goldberg make cameos.
Despite going way back Union and Rock never worked together before the project.

“I mean, Black Hollywood is pretty small, so we all kind of run into each other and know each other and definitely Chris and I do. With him being such a huge Knicks fan I’ve run into him many times over the years (at Heat games). We have a lot of mutual friends as well,” says Union, who among basketball wives is the queen bee now that Eva Longoria and San Antonio Spurs star Tony Parker have split.

Seeing Rock at work on the set gave Union a new appreciation for him.

“Chris was not only acting but he wrote it and directed it as well, so watching him put all those hats on was amazing and very inspiring. But honestly I felt bad for the man because it’s like he never got off work. But he handled it all very, very well.”

She says the the spirit of Rock’s free-wheeling, anything-goes standup act infuses the film, which has received glowing reviews since its September Toronto International Film Festival premiere.

“I think people are going to be surprised. It’s a different kind of role for him, even though it might seem playing a standup comedian would be easy for him. But I really watched him blossom as an actor and as a director as well on the set.”

She feels he brought out in her emotional notes and layers she hadn’t accessed before on screen.

“Sometimes when the leader’s been where you’ve been as an actor they know the right things to ask, they know how to finesse a situation, they know how to get the best out of you as an actor because they’ve been an actor. That’s really what Chris was able to bring to me that was unique from other directors. He had a different perspective of each scene I found very, very helpful. He also challenged me in a way other directors haven’t.”

Just as Rock didn’t need to research the capricious nature of fame, neither did Union. They both live it. The heat of celebrity for her is more intense than ever now that she and Wade are married. Just last summer, while the couple honeymooned, nude pictures of her and other female celebs were hacked and posted online. Where she’s taken a diplomatic stance about intrusions of privacy, she’s gone on the offensive this time. She penned a Cosmopolitan essay equating the pandering and profiteering of private nude images to sex crimes and called out feminist groups for not protesting their release. “The silence has been deafening,” she recently told Meredith Vieira, adding that celebs like her are subject to “victim-shaming,” something she can’t abide having survived rape as a college student.

Much like the characters she plays, Union can be bold in speaking her mind. Mary Jane Paul is very close to her in that way. In season one  the trials and tribulations of her title character – a successful single black female struggling to balance work demands and romance issues – became the stuff of countless Tweets, chats, blog posts and Facebook shares. After a 5 million viewership pilot debut and consistently strong ratings over its 12-episode run, BET recently renewed the series. Season two premieres February 3.

“I couldn’t ask for a better reception to be honest,” Union says. “We knew we did great work but it doesn’t always translate and to have the audience respond so well and to basically blow up social media every week was awesome.”

Mary Jane’s the latest in a long line of strong, smart, confident characters played by Union, who is a women’s rights advocate.

University of Nebraska at Omaha dean and professor of communication Gail F. Baker says, “Gabrielle Union occupies a unique position among African-American women in media – one she has carved out for herself. She has ‘quietly’ established an exceptional career across myriad platforms – movies, television, advertising – while playing a smart and independent woman. Union brings a special blend of savvy and sophistication to each role. She¹s a trailblazer on many fronts.”

Those qualities are precisely the ones Union says her mother, Theresa Glass Union, instilled in her and her two sisters.

“Having three highly successful daughters is a testament to the job she did,” she says.

Union enjoys how Mary Jane’s story speaks to her own life and the lives of many women she knows. Just like her character, Union knows what it’s like dealing with family pressures and expectations, the ticking biological clock, the dating scene, romantic commitment and standing firm to do the work and to follow the path you want, not what others want. Making the show relevant means a lot to her.

“I’m proud of it,” she says. “It’s the most I’ve ever worked in my life being the star of the show and having lots of other responsibilities but I love it, and I love doing it. I love the writing, I love the direction, I love how it looks stylistically. I’m really pleased.

“For us being their (BET’s) first original dramatic series we’re all sort of learning together and it’s been a great partnership. It’s not my way or the highway, it’s very much a collaborative effort and BET’s been pretty patient in launching this as their first dramatic series. So I think we’ve all kind of handled it well.”

She’s glad to portray a character and front a series that transcend black women stereotypes, which she feels have limited opportunities for female artists of color on screen and behind the camera  She acknowledges “we’ve seen improvements,” noting the breakout success of Shonda Rhimes, producer-creator-writer of mega-hits Grey’s Anatomy, Private Practice and Scandal. But, she says, “it goes in waves,” adding, “Like right now we’ve got a lot of women heading up their own shows” – herself, Kerry Washington, Viola Davis, Jada Pinkett Smith, Taraji Henson – “so it’s improving, but if any of these shows fail then next year we’ll kind of be back at the drawing board.”

Mary Jane marks a major step for Union. For starters, its powerhouse creators Mara Brock Akil and Salim Akil (The Game) developed it for her. Now that she and that husband-wife producing team have a popular series together they’re likely to collaborate again. Next, the show gives Union her first successful starring platform on TV after the misfire of her previous (ABC) series Night Stalker, in which she co-starred with Stuart Townsend, and her recurring roles in the equally short-lived Life and Flash Forward.

Then there’s the fact Union clearly carries this series. Its success rides almost entirely on her performance and on the writing.

“It’s tough to turn out 12 episodes of exciting, engaging material and we absolutely have done that. It’s been looking good and I’m pleased with the writing for sure.”

 

The key to any episodic series enduring is developing different, deeper shades of its main characters. Union’s satisfied she’s getting to plumb the depths of one complex sister in Mary Jane, whose tough as nails exterior covers a fragile interior.

“The writers have been absolutely brilliant at pushing her buttons. They give me a lot of different places to go with the character. She’s definitely not Johnny-One-Note, which I’m excited about.”

Now that Union’s proven she can hold an audience week after week network and studio execs may be more willing to have her head-up a future series or movie. That’s important because until Mary Jane it’d been a while since she got top billing. She’s at an age, too, when actresses get passed over for younger women, though her youthful, glam looks – she’s fronted several beauty brands – are an asset.

It doesn’t hurt being part of a power black couple who by making it official in August consolidated their mad pop culture currency. During her series hiatus Union and Wade said their I-dos at a lush outdoor ceremony in Miami that saw John Legend perform. A much-seen photo released by the couple, who began seriously dating in 2009, pictured them with his two sons from his first marriage, Zaire and Zion, and a nephew, Dahveon, he’s been raising. They looked every bit a family.

Wade authored the 2012 book, A Father First: How My Life Became Bigger Than Basketball. He supports numerous programs for kids and families. Union wrote the foreword to Hill Harper’s 2008 book Letters to a Young Sister: Define Your Destiny. With both acutely conscious of their role model status, their party days may not be completely behind them but when not working these two are domestics focused on family.

 

 

 

 

After taking a time-out in their relationship a year ago or so, the couple worked it out and things culminated in the wedding Gabrielle’s mother describes as “wonderful, beautiful and poignant – full of both loving personalities,” adding, “I was happy that Gabrielle was happy.” Long before the marriage, Theresa saw her daughter’s maternal instincts kick-in:,

“Gabrielle has embraced the role of the adult female in Dwyane’s household to his two sons and to his nephew.” Now that Nicki, as her family calls her, is married, Theresa says, “I feel she has taken to parenting as the capable person I know her to be.”

Union had no children with her ex, former NFL player Chris Howard. Union’s hinted she and Wade plan having a child together.

Besides being a wife and mom, she’s branched out into producing. Her first project as an executive producer is the upcoming Lifetime movie With This Ring. Jill Scott, Eve and Regina Hall play three single friends who vow to get hitched after attending the wedding of a mutual friend. The movie’s adapted from the book The Vow, which Union optioned five years ago and sold to Sony Pictures Television for Lifetime.

After a long wait to get it made, she found the producing role fulfilling.

“I mean, to finally get things off the ground is very satisfying. Being able to be in a position where you can put talented people to work is incredibly satisfying. It’s just a different struggle as a producer than it is as an actor. It’s a different conversation. I’m still learning, I’m a novice, so I’m trying to say less and learn more.”

Union anticipates developing more projects, perhaps ones to star in. She’s only prepared to wear so many hats behind the camera though.

“I absolutely don’t want to direct. I want to produce though for sure. I’m definitely going to be up for opportunities that challenge me and inspire me and tickle my fancy. So maybe a year from now after we’re (Mary Jane) syndicated I can think about trying my hand at something else.”

Besides being well-liked in the industry, Union’s well-connected. In addition to her association with the Akils, she’s aligned herself with another major industry player, Tyler Perry, two of whose franchise films, Daddy’s Little Girls and Good Deeds, she’s appeared in. Her best friend in the business is actress Sanaa Lathan, Then there are all the ensemble pieces she’s been in with Morris Chestnut, Regina Hall, Taraji Henson and Kevin Hart from the Think Like a Man movies.

Union says it’s a bonus “anytime you can work with your friends and we’ve been friends, the vast majority of the cast, like for well over a decade. We just have a lot of fun. To get paid to do what we want and to hang together, well, it’s like stealing from the studio.”

In 2012 she stretched herself to serve as a celebrity advocate for the multi-platform PBS documentary series Half the Sky that examined the oppression of girls and women in developing nations.

The title came from the best selling book by New York Times journalists Nicholas Kristof and Sherly WuDunn.

 

 

 

Union spent two weeks with Kristof and executive producer and director Maro Chermayeff for a segment set in Vietnam’s Mekong Delta. The actress got close with two girls there, Duyen and Nhi, both of whom contend with barriers to try and further their education.

“Their stories are amazing and their overcoming adversity kind of puts everything in perspective,” says Union.

The actress got especially close to Nhi, whose father forced her to sell lottery tickets, a time consuming job that interfered with her education. Union came away inspired by “the perseverance of these young girls, who move hell and high water to get an education. If that means paying for it themselves, they pay for it themselves, if that means living away from their families they do that.”

She’s discovered that her segment made an impression on people and she leaves no doubt the impact it made on her.

“When people come up to you you never know what part of your work kind of resonates with them or that they connect with. But I’m always pleasantly surprised when people ask me about Half the Sky. They’re usually interested in if I know whatever became of any of the subjects. Since I left Vietnam Dwyane and I have sponsored Nhi’s education. I know you’re not supposed to get personally involved with the subjects but we couldn’t help ourselves. There was no way I could leave Nhi there with her dad, so Dwyane and I pay for her schooling.

“She’s a bright girl and she’s doing well, she’s thriving. We’re happy about that.”

Union’s passion for children extends to the new siblings she gained a few years ago when her mother adopted three children a relative could not care for herself. Keira (8), Miyonna (6) and Amari (4) are being raised by Union’s mother, who recently moved with the kids from Omaha to Arizona, where one of Gabrielle’s sisters lives and where more Union family members have since moved. Gabrielle’s enjoying the new family dynamic.

“It’s like we’re starting over and I’ve kind of come back to be in big sister mode again, trying to get another set of young people and mold them and try to provide as much as we can. It’s kind of like we’re going back in time and we get to do it over and fix some of the mistakes we made in the past. My mom very much believes in we are our brother’s keeper and you’re only as strong as your weakest link, and she refuses to let our family down. Where other people might say that’s the next man’s responsibility my mom feels like our family is our responsibility and you try to do your best for your family.”

 

 

 

 

Union admits she enjoys spoiling her little sisters and brother.

“The gifts arrive and then my mom kind of filters them out, not as they arrive but sort of as good behavior happens, so they’re not fully getting all of my spoiling. They’re great kids, I really love them.”

About her daughter’s generosity, Theresa says, “She does a lot for us as a family. She has smanaged to make the birthdays for each child special. My daughter gave me the Kentucky Derby one year as a birthday present. That is the most marvelous party in the world.”

Now that her mother’s no longer living in Omaha, it’s an open question when Gabrielle might next make it back for the biennial Native Omaha Days or the annual Bryant-Fisher family reunion and its Dozens of Cousins. Union’s ridden in the Omaha Days parade. Union and Wade showing up, as they’ve done, would cause a stir. She says no matter how famous they get though it doesn’t change how they roll.

“Not to us, maybe for other people who aren’t expecting to see us at a restaurant or something. I’m lucky that my family’s really down to earth. They know that when we come to Omaha we don’t want to be treated any differently than any of the other cousins. I think it’s more how other people perceive us. But for us it’s just nice to get out and see family and catch up. We’re definitely not trying to make spectacles of ourselves by any stretch.”

What do Oscar-winning filmmaker Alexander Payne and WBO world lightweight boxing champion Terence “Bud” Crawford have in common?

December 2, 2014 Leave a comment

What do Oscar-winning filmmaker Alexander Payne and WBO world lightweight boxing champion Terence “Bud” Crawford have in common?

These newsmakers share the same hometown of Omaha, Neb. but more than that they share an unflinching loyalty to their roots. Payne could elect to or be swayed to make films anywhere but he repeatedly comes back to Omaha and greater Neb. to create his acclaimed works, often resisting studio efforts to have him shoot elsewhere. Crawford doesn’t get to call the shots about where he fights but for his first two title defenses he did convince Top Rank and HBO that Omaha could and would support a world title card. Besides, it’s tradition that a world champion gets to defend his title on his own home turf. And when there was talk his first title defense might move across the river to Council Bluffs, he wasn’t having it. Now that he’s been proven right that Omaha is a legitimate market for big-time fights and is a formidable hometown advantage for him, he will undoubtedly press to fight here over and over again and opponents will certainly resist coming into his own backyard. As he moves up a division and the stakes get higher, there may come a time when the CenturyLink and Omaha can’t provide the same pay-day that a Las Vegas and one of its mega venues can. Whether Omaha could ever become a main event host for fighters other than Crawford is an open question. The same holds true for whether Neb. could ever attract a major feature film to fix its entire shooting schedule here outside a Payne project. The only way that will happen, it appears, is if the state enacts far more liberal tax incentives for moviemakers than it currently offers. But that is neither here nor there, as Crawford’s done right by Omaha and his adoring fans have reciprocated, just as Payne has done right by his home state and his fellow Nebraskans have responded in kind.

 

 

The Crawford parallel to Payne goes even deeper. Just as Payne maintains a signifcant presence here, living part of the year in his downtown condo, serving on the board of Film Streams and bringing in world class film figures for special events, Crawford lives year-round in Omaha except when he goes off to train in Colorado and he owns and operates a boxing gym here, the B&B Boxing Academy, that’s open to anyone. Just as Payne looks to grow the film culture here Crawford hopes to grow the boxing scene and each has made major strides in those areas. A major Hollywood film besides one of his own still hasn’t come to shoot here, though he’s lobbied the state legislature to give studios and filmmakers the incentives they need. No world-class fighter has emerged here yer as a protege of Crawford’s or as someone showing promise to be “next Bud Crawford.” Similarly, “the next Alexander Payne” hasn’t announced him or herself yet here.

Another way in which these two Omaha figures – each so different on the surface, wth one the product of white privilege and the other the product of Omaha’s poor inner city – are similar is that each has been embraced and endorsed by the Omaha establishment. They’ve been honored with the keys to the city, feated at banquets and preened over by the media. When Mayor Stothert showed up for a photo op with Bud at his pre-Thanksgiving turkey giveaway and Warren Buffett appeared at his most recent title defense, you knew that Crawford had made it.

I don’t know if Payne and Crawford have met, but I would enjpy the intersection of two different yet not so different Omaha’s meeting. At the end of the day, after all, each is in a segment of show business or entertainment. Each is a professional who has reached world class stature in his profession. Each has worked and sacrificed for his craft and been rewarded for it.

I have been covering Payne for going on 20 years, I have been covering Crawford for two years. I admire both men for having come so far with their passion. I congratulated Payne on his latest achievement, the film Nebraska, one in a long line of filmic successes. And I now say congrats to Terence “Bud” Crawford on defending his WBO world lightweight boxing title in his hometown of Omaha for the second time in five months. The 11,000-plus fans on hand Saturday night at the CenturyLink arena were there to support their own and they roared and cheered and gave shout-outs to Bud, who’s become a much beloved folk hero here. Feeding off their energy he displayed a full boxing arsenal in thoroughly dominating a very tough challenger in Ray Beltran. Every time the pressing Beltran tried to trap Bud along the ropes or in the corners, the champ used his superior quikness and agility to turn the tables on Beltran with sharp counterpunching, By the last few rounds Bud was doing the attacking, thwarting the few rallies Beltran mounted and frustrating his foe at every turn. It was an impressive boxing display and further proof that the talk about Bud being pound for pound one of the best fighters in the world today is no hype. He’s the real deal and almost certainly the best prizefighter to ever come of Nebraska. As I articulated above, the fact that he remains rooted to his community and brings his success back home reminds me of what filmmaker Alexander Payne does in another arena, filmmaking.

The main event turned into a love-in and as much love as the crowd gave to one of their own Bud gave it right back. It’s a beautiful thing that’s happening in what can be a brutal sport and a heartless game.

Look for my new story about Bud in the Jan./Feb. 2015 issue of Omaha Magazine. I’ll have something in a upcoming issue of The Reader as well. Meanwhile, you can read my previous stories about Bud at these links:

http://leoadambiga.wordpress.com/2014/06/25/bud-rising-bud-crawfords-tight-family-has-his-back-as-he-defends-title-in-his-own-backyard/

http://leoadambiga.wordpress.com/2013/07/30/in-his-corner-midge-minor-is-trainer-friend-and-father-figure-to-pro-boxing-contender-terence-bud-crawford/

http://leoadambiga.wordpress.com/2014/02/25/terence-bud-crawford-in-the-fight-of-his-life-for-lightweight-title-top-contender-from-omahas-mean-streets-looks-to-make-history/

You can find excerpts of my many stories about Alexander Payne on my blog. You can also buy my book, “Alexander Payne: His Journey in Film,” which is a collection of my extensive journalism about the artist and his work. You can preview the book at, www.facebook.com/LeoAdamBiga,

Nebraska Film Currents

November 13, 2014 Leave a comment

Nebraska Film Currents 

©by Leo Adam Biga

 

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

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

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

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

 

 

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

James Stewart was also a guest at Storz Mansion parties.

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

 

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

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

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

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

 

 

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

 

 

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

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

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

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

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

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

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

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

 

 

 

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

https://www.createspace.com/4001592

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

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

and

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

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

 

 

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

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

and

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

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

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

and

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

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

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

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

and

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

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

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

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

November 11, 2014 Leave a comment

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

©by Leo Adam Biga

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

 

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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