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Iraq War veteran Jacob Hausman battles PTSD and finds peace

October 31, 2012 6 comments

 

Iraq War Veteran Jacob Hausman Battles PTSD and Finds Peace | Leo Adam Biga's Blog:

 

For those of you wondering if all I ever write about is Alexander Payne, here’s a story that shows what I’m capable of outside the whole filmmaking and arts-culture arena.  It’s a profile of Iraq war veteran Jacob Hausman, a native Nebraskan whose battle with PTSD I chronicle.  Thankfully, Jake’s found peace with the help of counseling, prescription drugs, friends, and a lot of work on himself.  The extensive profile is the cover story in the current Nov/Dec issue of Omaha Magazine, whose editors graciously alloted a 12-page layout, which is almost unheard of these days.  Thanks to Jake for sharing his story.  It’s my privilege to share it with all of you.

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Iraq War veteran Jacob Hausman battles PTSD and finds peace

One man’s journey home to help others

©Story by Leo Adam Biga

©Photography by Bill Sitzmann and Scott Drickey

 

Growing up in Beatrice, Neb., Jacob “Jake” Hausman harbored a childhood dream of serving in the U.S. military. Both his grandfathers and an uncle served. He volunteered for the Army in 2002 and upon completing the rite of passage known as basic training, he finally realized his long-held dream. He made it as an infantryman, too, meaning he’d joined the “hardcore” ranks of the all-guts-and-no-glory grunts who do the dirty work of war on the ground.

By the time his enlistment ended three years later, Hausman earned a combat service badge during a year’s deployment in Iraq. He participated in scores of successful missions targeting enemy forces. He saw comrades in arms, some of them close friends, die or incur life-threatening wounds. He survived, but there were things he saw and did he couldn’t get out of his mind. Physical and emotional battle scars began negatively impacting his quality of life back home.

Headaches. Ringing in the ears. Dizziness. Nightmares. Panic attacks. Irritability. Depression. Anxiety. Certain sounds bothered him. He felt perpetually on edge and on high alert, as if still patrolling the hostile streets of Mosul or Fallujah. With his fight-or-flight response system stuck in overdrive, he slept only fitfully.

A relationship he started with a woman ended badly. He lived in his parents’ basement, unemployed, isolating himself except for beer-soaked nights out that saw him drink to oblivion in order to escape or numb the anguish he felt inside. No one but his fellow vets knew the full extent of his misery.

With things careening out of control, Hausman sought professional help. Hardly to his own surprise, he was diagnosed with Post Traumatic Stress Disorder (PTSD). Anyone who’s endured trauma is prone to develop it. Sustained exposure to combat makes soldiers particularly vulnerable. Not all combat veterans are diagnosed with PTSD, but nearly one-third are.

What did surprise Hausman was learning he’d suffered a traumatic brain injury (TBI). In retrospect, it made sense because the Stryker combat vehicle he was in absorbed an IED (improvised explosive device) blast that knocked him unconscious. Studies confirm ever-stronger charges like that one caused many more such injuries as the Iraq and Afghanistan conflicts wore on. Injuries of this type often went undetected or unreported in the past.

“In combat and war, no one’s playing music in the background. It’s not passionate; it’s pure survival instincts.” – Jacob Hausman

It was because of these diagnoses that Hausman became a casualty among returning veterans. Some estimates put their numbers with PTSD and/or TBI at a quarter of a million. Statistics alone don’t tell the story. In each case, an individual experiences disruptive symptoms that make adjusting to civilian life difficult. The suicide rate among this group is high.

The scope of this health care crisis has strained U.S. Department of Veterans Affairs’ resources. In some locales, benefit claims are months behind schedule. Nebraska’s VA system has largely kept pace with demand. Hausman’s own claim was expedited quickly. He was found to be 90 percent disabled.

Six years after starting a VA treatment regimen of counseling and medication to address his PTSD issues, along with physical therapy to mitigate his TBI symptoms, his life has turned around. He earned bachelor’s and master’s degrees from Bellevue University. He’s gainfully employed today as a veterans service representative at the Lincoln VA. He also does outreach work with vets. He recently married the former Kendra Koch of Beatrice, and the couple reside in a home in Papillion.

They adopted a Lab-Golden Retriever mix dog, Lucy, from a rescue animal shelter. Kendra’s an animal lover like Jacob, who with his mother, Gayla Hausman, and his friend, Matthew Brase, own and operate the foundation Voice for Companion Animals.

Throughout his active duty Army tenure, Jake carried inside his Kevlar helmet a photo of his favorite adolescent companion, a Chihuahua named Pepe. Not long after Jake’s return from Iraq, the dog took sick and had to be put down.

Jacob and Kendra are seriously considering starting a family.

Emotional and physical challenges persist for him, but he now has tools to manage them. No longer stuck in the past, he lives one day at a time to the fullest and looks ahead to realizing some dreams. Contentment seemed impossible when he was in the depths of his malaise. His is only one man’s story, but his recovery illustrates PTSD and TBI need not permanently debilitate someone.

He’s certainly not the same Jake Hausman who joined the Army a decade ago. “I came back a completely different person. I had so much life experience,” he says. Good and bad. If nothing else, it matured him. His views on the military and war have changed. He’s not bitter, but he is wizened beyond his 28 years, and he wants people to know just how personal and final the cost of waging war is. He also wants fellow vets to know the VA is their friend.

Jacob, age 7, playing soldier at his childhood home in Beatrice, Neb. Photo provided by Jacob Hausman.

Soldier Boy

Like a lot of young people, Hausman had a romantic view of soldiering. He saw it as a ticket out of his small town to find thrills and see the world.

“People live in Beatrice for a 100 years. It’s like my grandpa lived here, my mom lived here, and I’m going to live here, and I didn’t want that for myself. I struggled at school, I didn’t succeed, I was in trouble with the law, I didn’t have a bright future. And the Army at least promised adventure, intrigue. I just thought, Gosh, I want to be part of a story that can be told from generation to generation. I want to be part of something greater than myself.

“I didn’t feel connected [before]. I mean, I was social, I had friends and so forth, but I didn’t feel I belonged anywhere and I really craved that. I craved being a part of something bigger than what I was, and [the infantry] really gave it to me.”

You might assume the catalyst for his enlistment was the 9/11 terrorist attacks, but you’d be wrong. Long before then he’d made up his mind, he would enlist as soon as he could. He wanted it so badly that he was only 17 when the Army took him with his parents’ written consent. He completed high school early.

“I craved being a part of something bigger than what I was, and [the infantry] really gave it to me.” – Hausman

“Since I was like 5 years old, I wanted to be a part of the infantry. My mom’s father was in the infantry during the Korean War, and that’s why I ultimately joined. So I was always allured by the infantry because they’re the hardest, the best, the whole thing. I was beyond motivated.

“The struggle, the fight, well, that’s all true. You actually get to experience those things, and it’s not pretty and glorified. What I always tell people is that in combat and war, no one’s playing music in the background. It’s not passionate; it’s pure survival instincts. And when you’re in those situations, you’re not doing it for the flag. You’re doing it for your friend to the left and right of you.”

He couldn’t know the hard realities of war before experiencing it. He only thought about the excitement, the camaraderie, the tradition.

“Well, I got all those things, and I got a little bit more than I bargained for.”

Jacob, age 20, ready for action in Fallujah, Iraq, 2004. Photo provided by Jacob Hausman.

You’re in the Army Now

His service almost got shelved before getting started. Weeks before leaving for basic training, he and some friends were out cruising Beatrice in his car. Open alcohol containers were within plain view when they got pulled over by local police. Jake was behind the wheel. Already on probation for underage-drinking violations, Hausman “freaked out” and fled the scene. He later turned himself in. Authorities could have used the pending charges to prevent him from going into the Army. A probation officer became his advocate.

“She went above and beyond for me,” he says. “She saw something in me and just really pushed for me and got it dropped. Two weeks later, I left [for basic]. About three years later when I came back, I told her what that meant to me and who I am now because of it. If it wasn’t for her, this story would have never happened.”

So off he went for the adventure of his life. Rude awakenings came early and often at Fort Benning, Ga., for this “spoiled only-child” who’d never done his own laundry.

“You grow into a man really fast. It kicked my ass.” Mental and physical toughness are required of infantrymen, and he had no choice but to steel himself for its rigors.

“You adapt fast or you suffer,” he says, “and I was one who adapted fast. The infantry is so hard. There’s a lot of hazing. It’s survival of the fittest.”

Hazing and all, he says, “I thought basic training was the best thing I’ve ever done. The reason why it was powerful for me is that it was all about the mission. There was no individualism; we were all a team. I really loved that.

“You grow into a man really fast. It kicked my ass.” – Hausman

“My master’s is in leadership, where the focus is on what can you do for the team, and that’s what the infantry is. No matter if you show up with a shaved head or dreadlocks, you get your head shaved. No matter if you’re clean-shaven or you have a beard, you get your face shaved. It’s just part of it. They strip you down to your very bare minimum, and it’s all about coming together as a team, being a man, learning how to get along with others, and learning different cultures.

“You’re talking about someone who, as a kid, had one black person in his class and now I had blacks, Hispanics, [and] Jamaicans in my barracks. I’d never dealt with that. I learned so much from other people; it was fantastic. They treated me like everyone else, I treated them like everyone else.”

Infantry training is largely about endurance. “The whole infantry thing is walking and running while carrying a 50- to 75-pound rucksack,” he says. “Can you walk a long ways with all that weight?”

Before making it into the infantry, one must pass a final crucible. Hausman recalls it this way: “They have this legendary walk that’s like 25 miles of water, hills, and so forth. It’s like your final capstone test at the very end. You know you’re an infantryman if you pass this thing. It’s hell on earth. I had to duct tape my thighs so they wouldn’t rub together. You walk through a river, and your feet are wet. One entire foot was rubbed raw. I mean, it was the most painful thing I’ve ever done.

“It’s just a whole mental thing—Can you get through the pain? It was so great getting that done. I was so proud.”

He then joined his unit in Fort Lewis, Wash., to await deployment. He says everything there was even more intense than at Fort Benning—the training, the hazing, the brotherhood, the partying. He felt he’d truly found his calling. “I became very good at being an infantryman. You really felt a part of the team; you bonded. I mean, you just had a lot of brothers.”

He says the drills he and his mates did in the field, including playing realistic war games, made them into a cohesive fighting force.

“We were a killing machine.”

Jacob, right, receiving his Combat Infantry Badge from Lieutenant Blanton in Mosul, Iraq, 2004. Photo provided by Jacob Hausman.

Desert War

A downside to barracks life, he says, is all the alcohol consumption. “Drinking is the culture—I’m talking excessively. In the military, you’re drinking hard liquor, and you’re just drinking till you curl up. That’s the path that started going bad for me there.” But a substance abuse problem was the least of his worries once in Iraq in 2003.

His company was assigned to the new Stryker Brigade, which took its name from the 8-wheel Stryker combat vehicle. “Something in-between a Humvee and a tank,” Hausman describes it. “After Somalia, our brass decided we needed a vehicle that could put infantry in the city, let us do our thing, and get us out fast.”

It carried a crew of six.

“We built cages [of slat armor] on the outside to stop RPGs (rocket-propelled grenades).” The cages proved quite effective. However, Strykers had a problem with rollovers, a defect Hausman would soon experience to his horror.

“We had a lot of good intelligence from special forces initially. Every day, we would kick someone’s door down and take out a terrorist. We’d either arrest him, kill him, do whatever. We killed a lot of bad guys.

“Once the intelligence stopped, we kind of ran out of operations to do.” Then his squad’s duty consisted of doing presence patrols. “It basically was to show the Iraqis we were around, but in all reality, it was walk around until we got shot at so we could kill [the shooters].”

Draw fire, identify target, engage.

“You’re still seeing a human being face-to-face; you’re still pulling a trigger on someone; you still have that you’re-dead-or-I’m-dead reality. You cannot shake that experience.” – Hausman

Hausman was a specialist as the squad’s designated marksman. “I had an extra weapon—a snipe rifle. I’d go out with the snipers, and we’d do recon on special missions,” he explains. “We’d take fire here and there, but we’d maybe only get in a firefight every three weeks.”

He was part of a Quick Reaction Force unit that responded within minutes to crises in the field. That sometimes meant coming back from a long operation only to have to go right back out without any sleep.

“Once, we got into an 18-hour firefight when we were called to secure two HET (Heavy Equipment Transporters) vehicles hit by RPGs and abandoned by their transportation team. It was a residential district in Mosul. We got there and RPGs start blasting and IEDs started popping. It was just an ambush. The enemy had us surrounded 360 degrees. We were pinned down taking gunfire. This was life or death. At a certain point, you’re not thinking; it’s pure survival animal instinct.

“I turned the corner at a T-intersection, and there were muzzle flashes from windows. There were four of us versus about six muzzle flashes. It was just who could kill who fastest. A guy came across the roof, and I fired my 203 grenade launcher, BOOM, dead. A squad member got shot and paralyzed. Another got wounded by an RPG, his intestines spilling out. He was EVAC’d out.”

He says in situations like these you confront the question: “Are you really committed to killing another human being? And I have killed another person.” Despite today’s automatic weapons, he says, “You’re still seeing a human being face-to-face; you’re still pulling a trigger on someone; you still have that you’re-dead-or-I’m-dead reality. You cannot shake that experience.”

In the aftermath of such intense action, he says, “You’re hiked up; you can’t sleep.” Indeed, he “couldn’t let down” for his entire nine months in Iraq. “You just can’t let your guard down.” Even on leave back home, he was so conditioned by threats that “driving back from the airport,” he recalls, “I was looking for IEDs on the road, scanning the roofs for snipers.” When he could finally release the pent-up stress, he slept three straight days.

From left: Specialist Mower, Specialist Crumpacker, and Specialist Hausman, 19, in Samarra, Iraq, 2003. The photo was taken the day after the horrific Stryker accident that killed three soldiers. Photo provided by Jacob Hausman.

A Tragic Accident

As bad as firefights got, Hausman says, “The worst thing I’ve experienced in my life occurred about a month after I got to Iraq.” It didn’t involve a single gunshot or explosion either. It was his turn operating the Stryker. His team, followed by another in a second Stryker, were on a muddy backroad near Samarra heading to do recon. A ravine on their side of the road led to a canal. Suddenly, the road gave way and both Strykers overturned into the canal. The ensuing struggle haunts him still.

“We’re upside down, water starts running in, it’s miserable cold. I’m thinking, ‘Oh no, it’s over.’”

He recalls hearing his father’s voice telling him not to panic.

“I don’t know how I got the hatch open, I just muscled it, and the water rushed in. I took a deep breath and went down in it. My body got pinned between the ground and the vehicle. I’m struggling, I’m drowning. I thought, ‘Is this how I’m going to die?’ I escaped from the bottom somehow and got on the side,”…only to find himself trapped again. He began swallowing water.

“My body got pinned between the ground and the vehicle. I’m struggling, I’m drowning. I thought, ‘Is this how I’m going to die?’” – Hausman

“I looked up and I could kind of see the moon. I started clawing, clawing, clawing, and gasping for air. I made it. I gathered my thoughts, climbed on the vehicle, and saw one of my buddies had gotten flung out. We went to the back,” where they found their mates trapped below, desperate for escape. “We were all fighting to get the hatch open. It was just terrible. We get the hatch open, and everyone’s there.”

A roll call accounted for all hands. Except in the rush to get out, a team member got “trampled over” and drowned. “We got his body out and did CPR, but it was five minutes too late.”

Hausman was “really good friends” with the lost squad member, Joseph Blickenstaff.

The driver and the squad leader in the second vehicle also died. Hausman was friends with the driver, J. Riverea Wesley. Staff Sergeant Steven H. Bridges was the squad leader lost that day.

Assessing what happened, Hausman says, “It was chaos; it was tragedy. That really shattered me for a while. I won’t let it ruin my life—I’ll go swimming and stuff—but it was just traumatic. It is hard to deal with—getting over it. There’s some parts of it I will never get over.”

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The Aftermath Comes Home

War being war, there’s no time or support for processing tragedy and trauma. “It was shove everything inside, shut up, move forward,” says Jake. Those unresolved feelings came tumbling out like an “avalanche” when he got back home in 2004.

“I was just a trainwreck. I was miserable, destroyed. My emotions ran wild. I couldn’t sleep. I was just so anxious. I couldn’t take deep breaths, I would sniff, just like a dog panting. Like a 24-hour panic attack. You’re uncomfortable being you every second of the day. You’re not in control, and that’s what you’re afraid of. Just freaking out about stuff. I was so afraid at night I would get up nine or 10 times and check the lock on my door. The nightmares are incredible.”

Excessive drinking became his coping mechanism. The more he drank, the more he needed to drink to keep his demons at bay. “You’re in a vicious cycle, and you can’t get out of it,” he says.

“At one point, I contemplated suicide because I was like, ‘What is the point of living when I am this bad, this miserable? Is it ever going to get better than this?’”

His family saw him unraveling.

“Mom and Dad were worried, deathly worried, but they didn’t know how to handle it. They didn’t know if it was a stage or my turning 21. They didn’t know what to do with me.”

“Usually in this population, patients turn to drinking or to other substance abuse and the number one reason they tell me they do it is because they can’t sleep or to fight off nightmares,” says Omaha VA social worker Heather Bojanski. “They don’t want to come in for help, they don’t want medication, and drugs and alcohol are easy to get a hold of. They’d rather try to cope themselves before they come in for help or actually have to face [that] there is a problem.”

Omaha VA Hospital counselor Heather Bojanski.

Jim Rose, a mental health physician’s assistant with the Lincoln VA, says recovery has to start with someone recognizing they have a problem and wanting to deal with it. “If they’re still reluctant to accept that as a problem, then it makes it very difficult. Help’s out there, but it is difficult with this group who by nature tend to be more self-reliant and have the world by the shoulders, and then to have something like this happen kind of turns things upside down.”

There’s no set timetable for when PTSD might present in someone.

“They’re all on a continuum,” says Bojanski. “Two veterans can come back who have seen and been through the same exact thing, and one will seem perfectly fine and the other may immediately start struggling. That all depends on a few things—what was going on in their life when they came back, and how much family support they have. It’s all going to depend on them and their family and what’s going on and how honest they are with themselves.

“If they come back and they have great family support and their family’s in tune and really watching them, then they’ll do well. But if nobody’s really paying attention and they’re just doing their own thing and they start isolating and drinking, then those are big issues to look at and people really need to encourage them to come in.”

Hausman says, “There’s a threshold of stress. It’s going to come out eventually if you don’t take care of it. For me, it came out real early. I was a boy; I was not equipped for getting used up in the war machine.”

“[Some veterans] would rather try to cope themselves before they come in for help or actually have to face [that] there is a problem.” – Heather Bojanski, social worker

Rose says PTSD tends to be suppressed among active duty military because they’re in a protective environment around people with similar experiences. But once separated from the military, it becomes a different matter.

“They feel isolated, and the symptoms will probably intensify,” he says. “It’s usually a couple years after discharge people reach a point where they just can’t cope with it anymore and something’s going to happen—they’re going to get in trouble or they’re going to ask for help, and that’s when we see them.”

That’s how it was for Hausman, who concealed the extent of his problems from family and friends and tried coping alone.

“I didn’t want to burden them with that…My friends, they thought it was just old Jake because I’m a partier, I’m gregarious, so they enjoyed it. But they didn’t see the dark side of it. They didn’t understand the mega-depression and anxiety. When I was drunk, I could shield it.

“But there’s usually one or two people in your life that know you. Robert Engel is probably my best friend to this today. He was in my unit. He lives in Kansas City, Mo. He recognizes when I’m down; I recognize when he’s down. We kind of pick each other up. He’s seen me at my lowest point but he accepts me for who I am, and I accept him for who he is, and we sincerely care about each other.”

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Getting Help

“When I decided I wasn’t going to kill myself, I resolved to figure this out,” says Jake. “I started reading spirituality, I started studying psychology.”

Most importantly, he sought help from the Veterans Administration. He and a fellow vet in Lincoln, Mike Krause, talked straight about what he needed to do. Like any vet seeking services, Hausman underwent screenings. He had all the classic symptoms of PTSD.

The intake process works the same for all vets. Bojanski says, “We sit down with each of them individually and decide what level of care they need.” In the case of Hausman, she says, “He came to the VA, and we started to treat him. Then when he started to take medication, he stopped drinking, and it was like an eye-opening experience to him that, ‘Oh my God, I’ve been suffering all this time.’ He started to go to groups, he talked to other people and realized, ‘Wow, I’m not the only one suffering.’ Other people he knew from his unit were going.”

Rose says the medications commonly prescribed for PTSD are “a mixed bag” in terms of effectiveness. He emphasizes, “There is no medication that cures these symptoms, but we have got things that can help people lead better lives, including anti-depressants and anti-psychotics.” To supplement the meds, he says, “We try to steer people to cognitive-therapy counseling.”

A holistic mind-body-spirit approach has worked for Hausman.

“That’s why exercise is important, counseling is important, and you have to supplement it with medication,” he says. “It’s not just a one trick pony. You can’t just throw some meds at someone and expect them to get better, you have to do all those things.”

Rose salutes Hausman and anyone who embraces recovery. “It’s a fairly lengthy process, and it involves commitment. It’s not a passive act. Jake’s a testament to people that, if you really want to get through it you can.”

Lincoln VA substance abuse counselor Mary Ann Thompson admires him for getting sober and “remaining clean and sober and productive.”

“He easily could have succumbed to all those issues and who knows where he’d be at now, but I’m so proud of him for moving forward.” – Kendra Hausman, Jacob’s wife

Bojanski sees a new Jake, saying, “He has a much better outlook on life. He’s very proactive.”

More than most, Kendra Hausman appreciates how far her husband’s come: “I’ve seen a lot less anxiety. Overall, he’s more calm, more level-headed, he’s able to handle situations better. He doesn’t get as angry or as worked up about small things like he used to. He easily could have succumbed to all those issues and who knows where he’d be at now, but I’m so proud of him for moving forward. He’s very determined. Once he puts his mind to doing something, he’ll get it done no matter what. He’ll figure out what he needs to do, just like he did with his school and career.”

Jacob, himself, says, “I’ve come a long ways. Life is so much better.” What he’s realized, he says, is “There are just some things you cannot [do with] will power; you just have to get help from people. I’ve had a lot of good people in my life that have helped me. And that’s what I’ve learned—you have to ask for help, you have to be willing to get help. The VA is there to help people. They’ve helped me so many times.”

Bojanski says the VA’s more responsive to veterans’ needs today. “The VA realized we did a lousy job welcoming Vietnam veterans back home, so when this war started, we wanted to be proactive and make sure we welcomed our veterans home. We didn’t want them to have a stigma with mental health, we wanted to make sure everything was in place. So we created these clinics (OEF or Operation Enduring Freedom and OIF or Operation Iraqi Freedom), where we work very hard with veterans. It’s very confidential, so not everybody in their unit is going to find out. We have an ER open 24 hours a day.

“It’s not like it used to be when you just had to soldier on, or if you reached out for help it wasn’t confidential.”

She says there isn’t as much stigma now about seeking mental health care.

“It’s getting better; we’re still not where we need to be, but I will say the armed forces, the Department of Defense, and our population in general are changing their views about that. We also do a lot of outreach, a lot of speaking to communities to make sure people are aware it’s okay to get help.”

Hausman does outreach himself as a way of giving back. He says when he addresses audiences of freshly returned vets, he commands their attention.

“They believe in me because I’ve seen it, I’ve done it, and I’m working for the VA. I’m 90 percent service-connected; I’ve got a combat infantry badge. Seeing them is like seeing my reflection. I’m motivated to get them right before they take the wrong path. Someone got me over the hump, and I want to get them to that point, too. I want to help veterans get the services they need. It’s just so rewarding.”

The War that Never Ends, Moving on with Life

His PTSD still flare-ups now and then. “Recently, I had a little struggle for a while, but I didn’t fall back into the past because I’ve got good people in my life today.” He says he has combat veteran friends who still struggle because “they don’t have the support system.”

He accepts the fact he’ll always be dealing with the effects of war.

“There are some things I would change, but it’s made me who I am even with all the disabilities and struggles and everything I face. I think through all the suffering I’ve come to know peace. There’s some breaking points where you feel sorry for yourself and you have little pity parties, but then again I look around me and see what I have—a great support system, a wonderful wife.
It’s made me stronger.”

“I think through all the suffering I’ve come to know peace.” – Hausman

Finding Kendra, who works as a speech pathologist with the Omaha Public Schools, has been a gift. “She is the light of my life; she changed my life. Her enthusiasm for life is just breathtaking. She’s smart, beautiful, loving. She’s the greatest teacher in my life. She doesn’t need to understand everything I go through, but sometimes I need her to help me get through it.

“I was going through a low point, and she said something to me that no one else could say to me without offending me: ‘You got through war, now you can get through this, so suck it up.’ From her, that meant a lot. She knows me at that fundamental level to tell me what I need to hear sometimes. We’re really good together.”

Flareups or not, Jake’s moving on with life and not looking back.

If you have a concern about a veteran or want more information, call 402-995-4149. The VA’s local crisis hotline is 1-800-273-8255. For the latest findings on PTSD, visit ptsd.va.gov/aboutface.

 

 

Alexander Payne’s “Nebraska” comes home to roost: State’s cinema prodigal son back filming on home turf after long absence

October 26, 2012 12 comments

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.

 

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Alexander Payne’s “Nebraska” comes home to roost: State’s cinema prodigal son back filming on home turf after long absence

©by Leo Adam Biga

Excerpt of a story that originally appeared 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 pictureThe 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.

 

 

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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.”

 

 

 

Phedon Papamichael

 

 

The barren, existential landscape should find ample expressive possibilities in the black-and-white, wide-screen visuals Payne and cinematographer Phedon Papamichael (SidewaysThe 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.”

 

 

'Nebraska' Screening in NYC

Albert Berger

 

 

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.”

 

 

 

Bruce Dern, ©projects.latimes.com
Payne says the more specific the character on the page the harder it is to cast, which is why his search for the right Woody and David took so long.

“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 RunningComing HomeFamily 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.”

 

 

 

Will Forte

 

 

 

Bob Nelson

 

 

FINAL FRONT COVER 6-28-16

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

Alexander Payne: His Journey in Film

(The new edition encompasses the Oscar-winning filmmaker’s work from the mid-1990s through Nebraska in 2013 and his new film Downsizing releasing in 2017 )

Now available  at Barnes & Noble and other fine booktores nationwide as well as on Amazon and for Kindle. In Nebraska, you can find it at all Barnes & Noble stores, The Bookworm and Our Bookstore in Omaha, Indigo Bridge Books in Lincoln and in select gift shops statewide. You can also order signed copies through the author’s blog leoadambiga.com or via http://www.facebook.com/LeoAdamBiga or by emailing leo32158@cox,net. 

For more information. visit– https://www.facebook.com/pg/AlexanderPayneExpert/about/?ref=page_internal

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Cindy Williams Interview: Film-television star to appear at Omaha revival screening of “American Graffiti”

October 25, 2012 1 comment

Cindy Williams Interview:

Film-television atar to appear at Omaha revival screening of “American Graffiti”

©by Leo Adam Biga

 

FOR EVENT DETAILS, VISIT: http://www.omahafilmevent.com

 

 

 

Cindy Williams Book Signing For 'Shirley, I Jest!: A Storied Life' : News Photo

 

 

Cindy Williams broke our hearts in American Graffiti and made us laugh in Laverne and Shirley and this ageless American Sweetheart is still plying her craft in film, television, and theater.  She’s coming to Omaha for a 40th anniversay screening of the classic George Lucas coming-of-age movie, American Graffiti.  The Friday, Nov. 2 event at 7 p.m. in the Joslyn Art Museum’s Witherspoon Concert Hall is the latest revival by film historian and impresario Bruce Crawford.  Williams will speak before the film to share some behind-the-scenes anecdotes from one of the most warmly regarded pictures of the last four decades.  She spoke with me by phone from a bus transporting her and her fellow cast members after having just completed a performance of Nunsense Boulevard as part of a tour the musical comedy production is making on the East Coast and in the Southern states.  The play is part of the Nunsense franchise by Dan Goggin. Williams appeared in Nunsense I and she calls the material “a lot of fun,” adding, “They’re happy musicals about a gaggle of nuns.”

LAB: In terms of your work on American Graffiti the first thing I’m curious about is what did you make of the young George Lucas?

CW: “He was just one of the gang, he was like one of us, he was our age. We knew he had directed at film at USC. There were rumblings he was a boy genius and his film THX-1138 was received so well. When Ron Howard and I went in to read for him, even before we had read it, he said, ‘Think of it as a musical.’ He told us that was because the music would never stop in the entire film except when the source of the music was gone, which would mean that the car was gone or the characters were out somewhere where they couldn’t hear a radio.

“I remember walking out of that meeting with Ron and saying, ‘A musical, incredible, that’s genius. Both of us agreed on that.”

LAB: So what kind of an experience did you have working on the film considering it was a low budget production all shot at night and you were among a cast of relative newcomers on a film that the studio (Universal) had little faith in?

CW: “It was like a very risque church camp experience.”

LAB: How is that?

CW: “We had one car, which was the prop car, that also was the car that took us to and from the hotel – the Holiday Inn we were staying at. Everybody had to ride together because he (the driver) wasn’t going to make anymore trips than he needed to because he was also the prop master. There was a Winnebago for the cast. There were no dressing rooms, there was no makeup, there was no place to go.

“We would start shooting at 6 at night and end at 6 in the morning with a guy from Universal there watching the clocl, making sure we didn’t go over schedule, and with one hand on the plug to the generator (to pull it and shut down filming if he had to). And so it was like fly-by-your-pants and we’ve-got-to-get-this-done and we’re-all-pulling-together.

“I don’t know if Ron had worked for Roger Corman yet but I had and I believe Harrison (Ford) had and a few others had. It was like Roger’s schedule. We were all young and anything he (Lucas) said we would just go with. Like the ending scene…Ron and I had been dismissed, it was over for us for the night, so we were in the Winnebago and he was in the boys section and I was in the girls section and we were waiting to get a ride from the prop car home. And all of a sudden the A.D. came in and said, ‘Put your wardrobe back on, we’re shooting the ending scene.’ And this was like 5 in the morning.

“Well, we had never rehearsed it, we weren’t prepared. I panicked and I said, ‘I can’t do this, I’ve read it like twice, we haven’t blocked it.’ We put our wardrobe on and ran out to George and said, ‘We’re not ready,’ and he said, ‘We’ve got to shoot it now because we’ve got to get the sun rising.’ We said, ‘Well, what do we do?’ and he said, ‘Improvise.’ And so we all got together and decided what we wer’e going to do. Haskell Wexler, the cinematographer, with a hand-held (camera)…The cars turned over, they started the car on fire, and Harrison and I figured out I’d be hitting him with my purse and then Ron was going to run up…We just talked about it as actors and we discussed it with George in about 30 seconds and he said, ‘Action!,’ and that was it, it was one take and it was over.”

LAB: Did you have a sense while making it that the picture was something special or did it surprise you because as you know little was expected of the film and yet it became a sensation?

CW: “That’s a tribute to the genius of George Lucas and to the beautiful photography of Haskell Wexler (one of three DPs on the film and officially credited as the film’s “visual consultant”). But, you know, the overriding factor is George Lucas had a vision and he shot the vision. And when he said it was a musical, when you think about the music in the film it’s another character in the film and it tells the story. It just leads everybody through this fabulous one night of coming-of-age.”

LAB: Do you regret that Lucas departed from this personal, humanist strain of movies to go on to do the Star Wars franchise?

CW: “That’s a very good question, no one’s ever asked me that. But here’s the thing: we wouldn’t have had Star Wars, there wouldn’t have been the phenomena of Star Wars. Yeah, you’d have to ask George, I can’t speak for George. In him, you have someone who can write the humanist story and who also can write the techno story and the fantasy futuristic story in brilliant terms. And let’s not forget it was written by Gloria Katz and Willard Huyck and George.”

LAB: Anything more you’d care to add about Lucas?

CW: “He’s a great great person, he’s got a wonderful heart and he just happens to be a genius. He’s a computer-age genius along with being a humanist.”

LAB: Even though you were a relative unknown to most moviegoers then, you’d already done some films and a fair amount of television before Graffiti and you’d worked with some very good people.  I’m thinking of Drive, He Said with Jack Nicholson and Bruce Dern and Travels with My Aunt with Maggie Smith and directed by George Cukor.

CW: “I don’t even know if I had a line in Drive, He Said. Travels with My Aunt – I had just come back from doing in Spain, and the next day they called me about American Graffiti and I said, ‘I cannot come in and meet anyone.’ I was jet-lagging so bad that I was sick, I just wanted to go to bed for like a month. They kept calling me and I went in and that was because of the casting director Fred Roos, who’s brilliant. He produced The Godfather. He cast American Graffiti. Fred Roos had cast Mayberry RFD and that’s why he thought of Ron to play the lead in American Graffiti.

“I went in and I met with George and I really liked George. After I read the script I said, ‘I’d like to play debbie, the Candy Clark character, or Carol, the Mackenzie Phillips character, and Fred Roos said, ‘No, we’ve cast those, we cant find the ingenue, Laurie,’ and I said, ‘Oh please don’t make me an ingenue who cries all night.’ I didn’t want to go and screen test becauae I was so tired. I didn’t think i could learn the dialogue. I’ve got ADD and Dyslexia anyway, so it was almost impossible. I needed two weeks and a fresh mind. Well, I went in and did screen test with Ron and they offered me the part, and I said, ‘I can’t,’ I was still jet-lagging. I know, it sounds crazy. So then my agent called and said, ‘I think this is going to be a great movie.’ But it wasn’t until Francis (Coppola, who produced the film) called (that she accepted the part).

“I hadn’t seen The Godfather but I had seen (his) You’re a Big Boy Now – it’s one of my top ten favorite movies of all time. I was just awe struck that Francis Coppola would call me. I was like hypnotized: Yes, evil master, I will do the film. I said, ‘Of course I will.’ And it wasn’t because of The Gofather, it was because of You’re a Big Boy Now.”

 

 

 

 

 

LAB: You went on to work with Coppola on The Conversation, which also reunited you with Harrison Ford.

CW: “I could tell you a whole bunch about that (film) and about the genius of Francis Coppola, and I’m talking about a double scoop of genius.”

LAB: A few years after Graffiti you played the character of Shirley Feeney on several Happy Days episodes before starring alongside Penny Marshall in the monster TV sitcom hit Laverne and Shirley and so I take it then that Graffiti had quite an impact on your career?

CW: “Oh, absolutely. People always ask me if it was because of American Graffiti that Happy Days happened. I think they had already shot the pilot for Happy Days and American Graffiti was shelved by Universal. They hated it (despite great test screenings). Yeah, it was shelved for a year and then Francis Coppola offered to buy it. You should look that up, it;s so interesting. And then it was because Elton John and a bunch of musicians had screenings for it and people went crazy and they loved it and it became a populist kind of thing. And then I guess Universal took another look.

“Well, you know Universal passed on Star Wars (too), so then Fox picked it up.”

LAB: And the rest is history. Star Wars helped usher in the blockbuster event motion picture but Graffiti became a huge hit in its own right, sparking the nostalgia craze, and it’s still one of the top money earned versus cost to make productions in movie history.

CW: “Who knew?”

LAB: Why do you feel it resonated so strongly with the public?

CW: “It was the music, the cars, the characters. It all took place in one night, it was coming-of-age. There was something for everybody in that film.”

LAB: It’s a beautiful observance of certain youth rituals in a particular place and time and yet there are universal themes of yearning and courtship it touches on, too.

CW: “That’s so true, Leo. It’s the basic goodness of those rituals and also, and I remember George saying this, the story took place before President Kennedy was assassinated and before we all went to just hell in a handbasket, before everything became cynical. It was like a delineation. It was an age of innocence in those cars and with that music. There was nothing diabolique or gruesome or shocking. It was just all this sweet mirth. They were happy times, and you go to Garry Marshall in creating Happy Days. It was really a lovely time. It was such a different time.

“I remember that line drawn where you’re happy one day and then the president is assassinated and the whole country is trying to figure it out and mourn and grieve, and then all this cynicism began.”

LAB: You obviously continue to feel very warmly about American Graffiti and what it represents.

CW: “I always will. That film, to be a part of it, is such a privilege and an honor. A happy happy time of my life.”

LAB: Are you still close to some of the cast and crew?

CW: “Oh yeah, I see Paul Le Mat all the time and Candy (Clark) and Bo Hopkins. Things were so uncanny about the film. Like my best friend Lynne Marie Stewart, who played Miss Yvonne on Pee Wee’s Playhouse, she played Bobbie Tucker, who throws Richard Dryfuss out of her Volkswagon. Do you remember that scene? Well, Richard Dryfuss was her childhood friend – they went to elementary school together, and I knew Richard because of Lynne way before any of us started acting professionally. And so that was just like crazy that we all got cast in it, though Lynne and I went to theater school together. We knew Fred Roos together.

I haven’t seen Suzanne (Somers) and Ron (Howard) in a while. Richard, I’ve seen recently, and Harrison. But yeah everybody’s very friendly.”

LAB: Did you see any evidence of Howard’s interest in being a director?

CW: “Yes, he would get out of the car and he’d go and talk to Haskell and come and sit back in the car because we had no where else to do, and I’d say, ‘What are you doing?’ and he’d say, ‘Oh, I’m just asking Haskell how he’s shooting this because I’d like to direct some day,’ and I thought, ‘Yeah, right.'”

LAB: I take it that you’re coming to Omaha for this revival screening because you enjoy celebrating the film with fans.

CW: “I’m happy to get up before the film and tell everybody this was shot in 28 nights for $750,000 and most of that went to the music rights. Tell them little stories about it because people who love it, that just makes them love it even more and it let’s them see it the way I see it. I kind of give them a from-the-inside out kind of view of it. So yeah it’s a happy thing, Leo, and how many of those are in the world right now?”

LAB: The whole night shooting aspect of it is pretty fascinating.

CW: “Twenty-eight nights. It all takes place at night except for one shot in the morning when Kurt (Dryfuss) takes off for college in the plane. If you look at the plane real close one of the engines catches on fire when it starts up.”

LAB:  Just how tight the shooting schedule was boggles the mind. But then again working fast forces you to be inventive.

CW: “You know, when you don’t give people a chance to (over)think and they’re thinking on their feet sometimes you get the best stuff because people just work twice as hard and they just buckle down. It’s great. When I was in school and we’d have a scene due a week you just did it, you didn’t question anything, you didn’t say, ‘What’s my motivation?’ You figured it out in your mind and your body and your heart and your soul and you did it.”

LAB: Do you regret making the sequel to American Graffiti?

CW: “No, not at all.”

LAB: Even though it was very poorly received and is not well regarded today either?

CW: “I know but I don’t regret it at all. I wish George had given the director more time to shoot it.”

LAB: Where do you place American Graffiti in your career compared with other projects you’re most proud of?

CW: “They’re on a loop – American Graffiti, Laverne and Shirley and The Conversation.”

LAB: You’ve done some producing as your career’s gone on.

CW: “I did co-produce Father of the Bride and that’s a whole other ball of wax, which im happy to talk with you about some other time. It’s a good story.”

 

 

FOR EVENT DETAILS, VISIT: http://www.omahafilmevent.com

I am doing a book talk and signing at Indigo Bridge Books in Lincoln (Neb.) this Sunday, Oct. 28 at 3 p.m.

October 25, 2012 1 comment

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If you live in Lincoln, Neb. or are visiting this weekend, please note that I am doing a book talk and signing at Indigo Bridge Books and Cafe this Sunday, Oct. 28 at 3 p.m.  I will be signing my new book, “Alexander Payne: His Journey in Film – A Reporter’s Perspective 1998-2012.”  I will also have a few things to say about the book and Payne and his new film “Nebraska” and my years covering him.  I will be happy to take questions.  Stop by and chat a while about our favorite filmmaker.  And hopefully you will have one or more books for me to sign.

Indigo is at 701 “P” Street, #102, in The Creamery Building, Lincoln, Neb.

Media Updates: I talk about my Alexander Payne book on the radio tonight; My cover story about Payne’s new film ‘Nebraska’ is in this week’s issue of The Reader

October 25, 2012 Leave a comment

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Be sure to catch my Tom Becka Show appearance from 5 to 6 p.m. this evening (Thursday, Oct. 25) as I talk Alexander Payne, my new book about the Oscar-winning filmmaker, the writer-director’s new film “Nebraska,” and my life as a freelance author-journalist-blogger.  That’s tonight on KOIL News Talk Radio 1290 on the a.m. side of things.  Omaha actor-radio talent Dutch Haling is filling in for Tom and promises to turn me loose for the full hour.  I’m grateful for the opportunity to promote my book.  It’s a call-in show to boot, so maybe you’ll want to drop in on the conversation and express your two-cents worth.

Don’t miss my cover story about Payne’s “Nebraska” in the new issue of The Reader.  It hits the stands tonight.  Check the paper’s website later today to see the story online at http://www.thereader.com.

Author Leo Adam Biga to Sign His Alexander Payne Book at Various Events as Shooting Continues on the Filmmaker’s New Picture, ‘Nebraska’

October 21, 2012 4 comments

Author Leo Adam Biga to Sign His Alexander Payne Book at Various Events as Shooting Continues on the Filmmaker’s New Picture, ‘Nebraska’
With the first week of filming on Alexander Payne’s Nebraska complete, Omaha-based writer Leo Adam Biga has a new round of signings set for his book on the Oscar-winning filmmaker.  Alexander Payne: His Journey in Film – A Reporter’s Perspective 1998-2012 is generating strong interest from the public and the media.  The book is a compilation of Biga’s decade-and-a-half reporting on Payne and his work.
This is the first comprehensive look anywhere at one of cinema’s most important figures.  Go behind-the-scenes with Biga to glimpse aspects of Payne’s creative process.
Biga’s occupied the enviable position of covering Nebraska’s most famous native son outside of Warren Buffett since nearly the start of Payne’s filmmaking career.  He’s reported from the set of Sideways. H e’s conducted exclusive interviews with the artist and his collaborators.  Biga’s stories about Payne have appeared in alternative news weeklies and other Omaha publications.  His new book represents the first time his Payne stories have been collected in one volume.  The book is being published with the assistance of Concierge Marketing Publishing Services in Omaha and Biga’s own Inside Stories.
This is a must-read for any casual fan or serious student of Payne because it provides for the first time the arc of his filmmaking journey.  That journey has largely played out in his home state, where he’s returned to make his new film, Nebraska.  Biga expects to be covering the shoot.
The author is doing a series of book events this 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.
The author’s fall signing schedule is:
Sunday, Oct. 28
3 pm
Indigo Bridge Books
701 “P” Street, Suite 102, The Creamery Building, Lincoln, Neb.
 
Saturday, Nov. 10
1 pm
The Bookworm 
(Countryside Village), 87th and Pacific, Omaha
 
Friday, Nov. 16
6:30 pm
St. John Greek Orthodox Church
602 Park Ave., Omaha
 
Tuesday, Nov. 20
6:15 pm
Florence Branch Library
2920 Bondesson St., Omaha
 
Preview the book at www.facebook.com/LeoAdamBiga.  Pre-orders are being taken at AlexanderPayneTheBook.com.  It will be available from Amazon.com and Barnes and Noble and on Kindle, iPad and other e-reader devices by November 13.
 
“I’ve long admired Leo Biga’s journalism and prose portraiture for its honesty, thoughtfulness, and accuracy. On a personal note, throughout many years of being interviewed, I find Mr. Biga’s articles about me to be the most complete and perceptive of any journalist’s anywhere. They ring true to me — even in critique — in a way that reveals the depth of his talent in observation, understanding, and expression.” Alexander Payne
 

Watch Me Talk About My Alexander Payne Book on Omaha Television This Week

October 18, 2012 1 comment

Watch Me Talk About My Alexander Payne Book on Omaha Television This Week

This morning (Oct. 19) catch me on “The Morning Blend,” from 9 to 10, on KMTV-

Author Leo Adam Biga

Friday, Oct 19, 2012

We all know about director Alexander Payne- one of Omaha’s favorite sons!  But we don’t know the director nearly as well as author Leo Adam Biga!  Leo has been reporting on Payne’s career since the very start.  He will tell  us all about his new book, detailing Payne’s filmmaking journey.

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Sunday morning at 11:30  (Oct. 21) catch me on-

“Consider This…”, a public television show

Now in its 16th season, Consider This…” is a weekly half-hour prime-time issues and information program produced by UNOTelevision. The program covers current topics that face today’s society. Host Cathy Wyatt talks to the people making news and discusses issues important to our citizens. The program is constantly fresh because it is taped and aired on the same day. “Consider This…” is a Nebraska Broadcasters Association 2009 Silver Award Service to Community winner.

 

 

Leo Moves On with Payne

This week on “Consider This…”, Cathy Wyatt has Omaha author, Leo Adam Biga as her guest. Mr. Biga talks about his new book entitled, Alexander Payne: His Journey in Film, A Reporter’s Perspective 1998-2012. The book is a compilation of the author’s stories about the filmmaker over the course of 15 years.

My Consider This appearance will be rebroadcast several times in the next week- 

 
Date Time
NET1
Thursday, October 18
Sunday, October 21
11:00 p.m. CT
11:30 a.m. CT
NET2
Friday, October 19
Tuesday, October 23
12:30 p.m. CT
12:30 p.m. CT
TKN/COX 17
Friday, October 19
Monday, October 22
Tuesday, October 23
Wednesday, October 24
Thursday, October 25
8:00 a.m. & 7:30 p.m.
2:30 p.m & 5:30 p.m.
9:30 a.m. & 8:00 p.m.
9:00 a.m. & 6:00 p.m.
10:00 a.m.

 

Omaha Lit Fest puts focus on Women Writers and Women in Publishing

October 6, 2012 7 comments

There’s nothing else quite like the (downtown) Omaha Lit Fest in these parts.  Oh, there’s plenty of literary events to go around, but you’d be hard-pressed to find something as quirky as this annual assemblage of writerly concerns and pursuits.  The wording of this year’s theme, The Lit Fest Guide to Etiquette for Women Writers, is in keeping with the sardonic leanings of novelist and event founder-director Timothy Schaffert (The Coffins of Little Hope).  The October 19-2o festival just goes its own way in following whatever trail of thought and literary trend that suits the quixotic Schaffert.  He brings in a great lineup of authors and artists every year for never less than interesting conversations and presentations about all things related to writing, editing, publishing.  It’s well worth checking out.

 

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Omaha Lit Fest puts focus on Women Writers and Women in Publishing 

©by Leo Adam Biga

Appeared in The Reader (www.thereader.com)

 

It should be no surprise the author of languidly paced satirical novels (The Coffins of Little Hope) that delight in peculiar, piquant details should fashion a literary happening along the same lines.

Novelist Timothy Schaffert has done just that with the (downtown) Omaha Lit Fest, a free celebration of prose, poetry and other word-made-art expressions.

He founded Lit Fest eight years ago and continues organizing the annual literary salon today. This year’s event luxuriates in its delightful otherness Friday and Saturday, October 19 and 20, at the W, Dale Clark Library, where there will be a gender-centric focus to the readings, panels, topics and performances.

The 6:30-9:30 p.m. opening night party promises local female slam poets unleashing from 7 to 7:30, an altered books exhibit, an edible books contest and an all-girl string quartet.

Well-attuned as Schaffert is to literary currents he hit upon 2012’s theme – The Lit Fest Guide to Etiquette for Women Writers – after reading about disparities females face in publishing.

Featured guest authors Elizabeth Crane (We Only Know So Much), Lisa Knopp (What the River Carries), Marilyn Coffey (Marcella) and Joy Castro (Hell or High Water) will no doubt have plenty to say on the matter.

With Great Plains writer Coffey and Cuban-American academy product Castro Schaffert’s attracted two authors squarely in the Zeitgeist.

Coffey’s 1973 novel Marcella broke ground and generated push back for its frank depiction of female masturbation. The book was banned in America, though Quartet in London published it in paperback. Pol and Ms. Magazine excerpted it. Danish newspapers serialized it. Now it’s being republished in book form by Omega Cottonwood Press in Omaha, along with a collection of Coffey’s poems, Pricksongs.

Marcella was a featured work during National Banned Book Week events in Omaha, including a marathon reading at the Benson Branch Library.

At Lit Fest Coffey’s slated to be on the Saturday, 5 p.m. panel Your Guide to Unladylike Demeanor that examines “women writers making people nervous.”

Meanwhile, Castro’s debut novel Hell or High Water is drawing praise for her ability to sustain a taut thriller amid a complex subject and to evocatively exploit its New Orleans setting. The University of Nebraska associate professor of English and ethnic studies also has a book of personal essays out, Island of Bones, eliciting rapturous praise.

Liz Kay of Spark Wheel Press and burtdistrict in Omaha will address the entrepreneurial publishing scene. New Yorker Festival director Rhonda Sherman will discuss building an audience for the literary spectacle.

 

Timothy Schaffert

 

All of it’s filtered through the perspective of women engaged in a lit world not always friendly to them. Recent counts by the women in literary arts organization VIDA show far more men than women published in leading literary publications. That concerns Schaffert enough that he’s making it a point of public discussion.

“If the VIDA Count had not come into existence I might not have even been aware of the disparity, but it really kind of commands attention,” says Schaffert, an UNL assistant professor of English and director of the Nebraska Summer Writers Conference.

He doesn’t doubt women writers confront bias.

“Obviously some editors are going to focus on that work that crosses their desk that seems most vital and other editors aren’t necessarily going to have the best ear for writing by the opposite sex. And I think for decades there’s been some level of condescension towards the subjects women writers take on. There’s some sense of what women’s writing is that may or may not be based on anything authentic in terms of the assumptions people make about the topics of interest to women.

“I’ve heard of editors be dismissive of a story by nature of its topic as too domestic, for example, or too focused on the sentimental, as if that denigrated the work somehow.”

Castro says VIDA, whose creative nonfiction committee she serves on, has been “working to figure out all kinds of ways to address this, in some cases publishing essays about it,” adding, “In my case I got involved with guest editing an issue of a really cool online journal, Brevity Magazine, that’s responding to that count.”

She says her own anecdotal observations have long made her sensitive to the paucity of minority authors published in select periodicals (The Atlantic, Harper’s, The New Yorker) “that determine who’s a big deal and who’s not.” The VIDA breakout, she says, confirmed “it’s not just my imagination.” She says when editors are called out on the disparity they either deny a gender-based agenda or agree to proactively strive for more balance.

 

Joy Castro

 

 

 

Castro will join Kay, Knopp and Sherman for a 1 p.m. Saturday panel on the professional aspects of writing, editing and publishing. She’s interested in exploring how it is more women writers come out of MFA programs than men do yet fewer get published.

“So there’s like this attrition,” she says. “Then where do they all go? Why don’t they continue to write and publish? It’s a good question. I hope people will come out and talk about it and have a really exploratory attitude about it.”

That said, Castro and many other women authors fare well getting their work out and finding it well-received. Her Hell or High Water (Thomas Dunne Books) is a good illustration. The widely released book has been called “exquisite,” “fierce and intense,” “captivating.” Dennis Lehane (Mystic River) termed it “a terrific thriller.”

The book”s been optioned by film producers and Castro’s already working on a sequel. She’s excited that her Cuban-American protagonist, Nola, may headline a mystery series because the genre rarely features Latinas or issues of Latinidad.

Nola, a green Times-Picayune reporter assigned to investigate what happened to the registered sex offenders who went off the grid after Hurricane Katrina, serves much the same role a detective does in classic mystery tradition.

“That’s the story she gets assigned and she’s reluctant because it’s kind of creepy. But it’s sort of her first big break as a journalist, so she goes after it and of course gets in a lot of trouble,” says Castro.

“In the first chapter a young woman tourist is abducted from the French Quarter and that mystery is going on at the same time and Nola starts to investigate that as well and then the two stories intertwine.”

Much as Castro did in her own life, Nola comes from poverty and feels pressured to hide her past and prove herself. Castro’s interest in legendary archetypes comes into play when Nola intersects with believers in the Cajun legend rougarou, which warns of a person normal by day but predatory at night. Santeria spirits also show up. By the end, Nola calls on whatever powers she can muster to protect herself.

Best known before this for her nonfiction essay collection The Truth BookHow I Survived a Childhood of Abuse Among the Jehovah’s Witnesses, Castro will read from her novel and discuss her research in a 2 p.m. Saturday program.

About choosing to write a genre book for her first novel, she says, “I guess I would have anticipated I would write a literary fiction kind of novel, but I have always loved mysteries and thrillers. In deciding what to write this was the genre I got most excited about and the story seemed to keep suggesting itself to me and so I listened and paid attention and started writing.

“Writing a novel was new for me. I went through a lot of drafts. I was a slow learner.”

For event details visit http://www.omahalitfest.com.

Related articles

Ron Hull reviews his remarkable life in public television in new memoir

October 6, 2012 2 comments

Everyone has a story.  Ron Hull’s is a doozy.  In the following story you’ll only learn a few things from the jam-packed adventure his life;s been but those tidbits alone should be enough to engage you.  Because this piece is angled on his new memoir, Backstage: Stories from My Life in Public Television, you’ll learn a fair amount about the very eventful and accomplished professional side of his life.  As you’ll read, it’s fair to call him a television pioneer  because his career in public television goes back so far.  You’ll discover some of the famous figures he’s befriended.  You’ll also be introduced to the colorful way he came into the world.  And you’ll get a select sampling of his world travels.  None of these aspects are explored in much detail owing to the limited space the assignment dictated.  For a fuller account of his life and some of these features of his life you can search or select on this blog the profile I did of Hull a few years ago.  Or you can get to it via-

https://leoadambiga.wordpress.com/?s=ron+hull

That earlier story will put in perspective the remarkable journey he’s been on and continues making today.

 

 

 

 

 

Ron Hull reviews his remarkable life in public yelevision in new memoir

©by Leo Adam Biga

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

 

Public television was a dream when Ron Hull joined what became the Nebraska Educational Television network in Lincoln. It was 1955 and the broadcast school graduate arrived inflamed with the possibilities of the fledgling medium.

Fifty-seven years later he’s still enthralled even though he misses live television and finds himself at 84 having outlived his contemporaries from those pioneering days. It’s been quite a ride for Hull as a NET host, producer, director and executive.

He personally brought major arts figures to the network, including authors Mari Sandoz (Old Jules, Crazy Horse, Cheyenne Autumn) and John Neihardt (Black Elk Speaks, A Cycle of the West) and comedian-talk-show host Dick Cavett. Sandoz and Neihardt became friends. Cavett remains a close confidante. He’s enlisted Cavett’s interviewing-vocal talents for many NET and University of Nebraska-Lincoln projects. Hull’s a UNL emeritus broadcasting professor and Nebraska Broadcasting Hall of Fame inductee.

History exerts a strong pull on Hull. He maintains ties to the Sandoz and Neihardt legacies through his work with the Sandoz Society and the Neihardt Center. He emcees the annual Neihardt Days. He’s served on the board of the Willa Cather Pioneer Memorial in Red Cloud and headed the state’s  Lewis & Clark Bicentennial Commemoration committee.

His own background reads like a dime novel. At 15 in Rapid City, S.D. he discovered he was adopted and that his birth mother had been a prostitute in a brothel run by one of the West’s legendary madams, Dora DuFran, who’d befriended Calamity Jane in infamous Deadwood. Among her other talents, DuFran was a midwife. When one of the girls in her Rapid City house got pregnant DuFran delivered Hull into the world. Soon after his birth she put him up for adoption. A respectable family raised him.

Buoyed by his search for identity and belief in a shared yearning to find meaning in our lives he’s made history a priority at NET, particularly Nebraska stories. He nurtured the film production unit, whose Oregon Trail, Willa Cather, Standing Bearand Monkey Trial documentaries have aired nationally.

Hull also founded the Nebraska Video Heritage Library that’s preserved NETs archives. He loves that programs are accessible to anybody online. “Young people need to know who they are and why they have this rich culture to enjoy,” he says.

As one of the network’s leading ambassadors, he co-chaired the NET Foundation’s Inspire Nebraska endowment campaign that raised $25 million. A special fund for telling Nebraska stories is endowed in his name.

Today he’s a special advisor to NET.

Hull also served stints with the Corporation for Public Broadcasting in Washington D.C. and the U.S. Foreigh Service in Vietnam. At CPB he held large pursestrings and expedited memorable programs,. As a Foreign Service officer he shepherded a project that set-up public TV stations in Vietnam in our government’s attempt to win the people’s hearts and minds.

Stories from this singularly rich career comprise his new book, Backstage (University of Nebraska Press). The long-in-making memoir is his gift to the field he loves, to the network he helped build and to the people he’s met along the way.

“So many interesting people I’ve worked with are no longer here and I wanted to extend their lives by giving other people an appreciation for what they did for us. Teachers. Performers. Poets. Writers like Sandoz and Neihardt – people I was fortunate enough to know over a long period of time. They all contributed so much to our cultural heritage by telling us who we are.”

He writes that working in public TV is “the best way to get a liberal arts education every day.” In an interview he elaborated, “You’re constantly sitting at the feet of scholars. It’s a great pleasure and one of the best parts of the job. I’ve been really fortunate to connect with a whole lot of fascinating people.”

A measure of Hull’s enthusiasm and vision is that he persuaded two brilliant writers of the Great Plains, Sandoz and Neihardt, to do TV at all. He actually produced-directed a seven-hour series with Sandoz talking creative writing.

“I think my (main) contribution was getting her to illustrate her philosophy about writing with anecdotes, with personal things in her life. which to me tells a story and brings it authentically to life.”

He recalls. “She would look you or the camera straight-on and say, ‘You have a great story to tell and I’m going to tell you what it really takes to tell it.'” In the course of shaping his memoir Hull says he came to appreciate what she preached. “She used to say writing isn’t writing so much as rewriting, refining, polishing, reading it, throwing it away, starting over and writing it again. If you’re going to write anything worth other people’s time, you’ve got to be totally honest, you cant soften it, you owe that to yourself and to good writing. You must tell the truth.” He tried to follow that advice in his own book.

He says while “she was absolutely driven she had this wonderful interest in other people. I always loved that about her. When she was in the studio and students came she always had time for those students. Or anyone. And she always listened to people because she learned so much from them.” He recalls she compulsively made notes of her observations about people and places, storing the scraps in shopping bags inside her apartment, and drawing on them when she needed real life details for her writing.

Hull developed a strong rapport with Neihardt as well.

“We connected instantly,” says Hull, who produced three half-hour programs with him in 1962. “It truly was a new beginning for him and his books.”

A particularly memorable program saw Neihardt read from his account of the death of Crazy Horse in Black Elk Speaks.

“He recited that section of the book for 24 minutes from memory in one take. There were no mistakes. He was 80 years old when he did that. His memory was just phenomenal. He was a mystic and I know part of his appeal for me was he was always looking for the allegorical. He believed in the spirit world and that fascinated me. And he was just so accessible. Everybody loved him. Every time he opened his mouth he said something that we all wrote down. He was just one of those people.”

Another mystic became a household name indirectly due to Hull, who was with CPB in the mid-1980s when he and then-director of programming, Suzanne Weil, brought PBS icon Bill Moyers back into the fold. Moyers had left for CBS and Hull says the journalist “was dying to get back to public television.” Hull and Weil jointly controlled a Challenge Fund that helped finance Moyers’ new production company. It wasn’t long before Moyers produced his landmark PBS series with mythologist Joseph Campbell.

Hull hasn’t lost his belief in the medium he’s given his life to.

“I personally believe public broadcasting is more important to America today that it has ever been. We have the only channel that in my view consistently brings top of the line cultural programs, unbiased news programs, documentaries, the best that our culture or world culture has to offer. We are presenting the best media there is.

“That isn’t to say commercial broadcasting doesn’t do wonderful things, they do, but we do it without the tyranny of ratings and profits. We want to edify and inspire.”

He marvels at TV’s technical advances but he says it’s still all about telling stories.

Hull will discuss highlights from the NET archives on Sunday, October 14, from 2 to 4 p.m., at the Joslyn Castle. The event is free.

Michael Beasley follows his pops John Beasley as Film-TV Actor: Son’s on a roll with string of small and big screen projects, including “Steel Magnolias”

October 4, 2012 2 comments

Making his own way: Michael Beasley

John Beasley is by now a household name fixture in television, film, and theater. What you may not know is that his son Michael Beasley is charting a career path that may soon surpass his father’s, at least on the small and big screens. I’ve been reporting and writing about the father for many years and now I see I’ll be doing the same with the son. There’s another son, Tyrone Beasley, who’s also an immensely talented actor and director. You can find my other stories on John, his now defunct theater and on his sons at the following link on my blog- https://leoadambiga.com/?s=beasley

Michael’s son Malik is also making waves these days as a stadnout freshman wing with Florida State. Back in the day Michael was quite the baller himself at Central, Texas-Arlington and overseas. For that matter, John was a good athlete, too. He was a teammate of Marlin Briscoe’s at Omaha U and he is developing a feature film, “The Magician,” about the legend. Look for my new story about John in spring 2016.

 

Michael Beasley follows his pops John Beasley as Film-TV Actor:

Son’s on a roll with string of small and big screen projects, including “Steel Magnolias”

©by Leo Adam Biga

Now appearing in The Reader (www.thereader.com)

 

Don’t look now but Michael Beasley is carving out a film-television career rivaling that of his powerhouse father John Beasley (Rudy, The Apostle).

The nearly 20 feature and made-for-TV pics he’s booked the last few years have him on the verge of being one of the industry’s next breakout character actors.

He’s doing it all too from his adopted home of Atlanta, Ga. and surrounding region, together known as Hollywood South for all the productions shooting there.

“It’s really happening here. A lot of work is moving down here,” he says. “I’ve just been blessed to be kind of the big fish in a small pond at the time when it’s starting to rise.

Papa John says, “He’s been doing quite well. I’m very proud of him.

Many of Beasley’s supporting roles have been in major Hollywood projects, including, Journey 2: The Mysterious Island, Contraband, The Odd Life of Timothy Green, I Love You Phillip B. Morris and The Great Debaters.

Smaller scale projects have included Mississippi Damned, American Violet, American Reunion and Hero.

Two of his biggest films, both helmed by name directors, have yet to be released. Flight, directed by Robert Zemeckis and starring Denzel Washington, is due out in November. The Bay, directed by Barry Levinson and starring Kristen Connolly, is slated for an early 2013 release. Then there’s Arthur Newman, Golf Pro .

He has the lead in a new indie film, Mystic Rising, still in post-production..

He’s also guest starred in episodic TV, most recently in USA Network’s Necessary Roughness. He has a recurring role in the Starz Channel’s series Magic City.

Sunday, October 7 is the world premiere of a much anticipated Lifetime movie he’s in, the all-black version of Steel Magnolias. The super cast includes Queen Latifah, Phylicia Rashad, Jill Scott and Alfre Woodard. He plays Spud, the husband of Scott’s character Truvy. He and Scott have some scenes together. He’s also a presence in ensemble scenes. At 6-foot-5, he’s hard to miss.

“It was an amazing experience working with all these legends,” he says. “The energy on the set was awesome. I feel we made another classic.”

 

Michael+Beasley+Deena+Beasley+Premiere+HBO
Michael+Beasley+Deena+Beasley+Premiere+HBO

 

 

Trading lines with big names is nothing new for Beasley, who’s worked twice with both Denzel Washington and Mark Wahlberg and shared screen time with Don Cheadle, John Goodman, Colin Firth, Jennifer Garner, et cetera.

“Being able to work with these actors and hold my own with them has given me total confidence I can do it in any setting. I know i can because I’m putting in the work to do what it takes to be prepared for whatever the role is.”

Beasley, who came to acting after a pro basketball career overseas, looks at every set he’s on, whether a commercial (he’s done one with Shaquille O’Neal, TV show or feature, as “a learning experience.” He’s learned the truth behind the adage there’s no such thing as a small part. Every line, gesture, expression counts.

“It’s exciting to me to get on the set. It’s not like a, Oh-here-we-go-again type of thing. It’s basically a feeling of, ‘Hey, I’m getting paid to do this?’ I think every set is important because I’m learning and building relationships, and so every chance I can be on the set helps me hone my craft.”

Sometimes he talks shop, as he did with Michael Caine and Luis Guzman on Journey 2. Then there’s the fountain of experience he draws from his father, whose extensive film-TV credits are two decades long.

“I’ve always got my father to fall back on and ask, ‘What can I do?’ and with his wealth of knowledge he helps. I was able to see my father’s career and whatever he did, good or bad, and say, ‘I can do this and do it different.'”

Father-son have worked together a few times, mostly at the John Beasley Theater & Workshop in South Omaha, where Michael’s brother, Tyrone, is artistic director.

Michael’s smart enough to know that when surrounded by serious, veteran talent it’s best to be a sponge.

“Yeah, it’s a blessing and I look at it as basically on-the-job training. As soon as I shoot my scenes I run to the monitor to see what these guys are doing. John Goodman is amazing. I mean, I knew his acting was amazing but when you see him do stuff in person, it’s like, ‘Wow.’ It’s stuff you can’t really get in a classroom setting, I don’t think. These guys are actually doing it for real and it works for them.

“It’s seeing what their process is and how they pay attention to detail. They really bring a lot more to just the words on the page. Even working with my father it’s the same way. Unfortunately, I’m down here and he’s up in Omaha. We haven’t been on a set together as far as a movie (though that’s a goal of each).

 

 

Michael Beasley

Michael Beasley

 

 

Even when he’s not “working,” Beasley’s still working it.

“I’m always studying my craft. Even when I’m out in public I’m watching what people do and trying to take from that. I’ve always been like a student of the game.”

Steel Magnolias marked his second time acting with Woodard after American Violet, and his first with director Kenny Leon, who’s directed his father on stage in several August Wilson productions.

Leon says, “Michael’s a very talented young man, I guess it’s in the blood. He really delivered for me in the film. It’s a really honest portrayal. Everybody wants to know, ‘Who’s that guy? Where’d he come from?’” Leon says the apple hasn’t fallen far from the tree. “Both John and Michael are authentic. They both bring it from an organic place. They’re just being. There’s no tricks. They find a simplicity to the life of the people they portray. It’s honest, it’s real, and you can’t teach that.”

He sees big things ahead for the son. “Michael can do anything he wants.”

Every new relationship Beasley cultivates and every new credit he adds to his IMDB page only reinforces his reputation as the hardest working actor around. It’s been one project after another.

“That’s how it’s been. It’s been just like a major ride,” he says.

His goal’s to become a familiar face and name to TV-film viewers and an in-demand talent producers and directors seek out.

“I think I am on the radar. It only takes one movie for you to become famous.”

In no sense does he feel he’s arrived yet.

“Every year I’m like, OK, what can I do that I haven’t done to get me closer to my goal? Every day I try to figure out something I can do, even if I only have an hour to do it. I can read this book or I can workout to enhance my look or I can work on an accent. Whatever I need to I just  find a way to do it.”

He hopes to inspire other others to follow their dreams.

“I want people to know it’s a matter of deciding, whatever your dream is, to just go after it and don’t be afraid of failure. That’s what I’m doing, I’m going after my dream, I’m not changing, and I’m going to get it.

“I just have this drive. Whatever it is I do I try to be the best at it. Otherwise, I’m wasting my time in my opinion.”

 

 

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