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Feeding the world, nourishing our neighbors, far and near: Howard G. Buffett Foundation and Omaha nonprofits take on hunger and food insecurity

November 22, 2014 2 comments

Here is a collection of stories I wrote for the Winter 2014 issue of Metro Quarterly Magazine (http://www.spiritofomaha.com/) that focus on the theme of how responding to a starving world is within our reach. The stories explore the efforts of the Howard G. Buffett Foundation and of four Omaha nonprofits – Food Bank of the Heartland, Saving Grace Perishable Food Rescue, City Sprouts and No More Empty Pots – in taking on hunger and food insecurity through various programs and activities.

 

Feeding the world, nourishing our neighbors, far and near: 

Howard G. Buffett Foundation and Omaha nonprofits take on hunger and food insecurity

 

metroMAGAZINE/mQUARTERLY

Within Our Reach: A Starving World

40 Chances: Addressing Global Hunger

©by Leo Adam Biga

Appeared in Metro Quarterly Magazine (http://www.spiritofomaha.com/)

 

Father-son team bearing famous name pen book that calls people to action

Howard G. and Howard W. Buffett want people to know they can make a difference in a hungry world

Giving became synonymous with the Buffett name when Omaha billionaire investor Warren Buffett gave part of his immense wealth to his adult children’s foundations and pledged the remainder to philanthropy in the event of his death. Thus, one of history’s largest personal fortunes is now closely aligned to myriad efforts that address pressing human needs around the world.

The Wizard of Omaha’s eldest son, Howard Graham Buffett, heads a foundation focused on improving the standard of living and quality of life for the world’s most impoverished, marginalized populations. Food security is among the foundation’s top priorities, not surprising given that its namesake chairman-CEO is a farmer with strong roots in his agriculture-rich native Nebraska. He’s also a staunch conservationist and an accomplished photographer.

A former Douglas County Commissioner now living in Decatur, Illinois, where he farms, Howard G. traveled to developing nations as a youth. His late mother, Susie, cultivated a social justice bent in him and his siblings. Those experiences helped shape the work of his Howard G. Buffett Foundation. His travels and the foundation’s work, told through the prism of experiences lived, relationships built and lessons learned, highlight his new book, 40 Chances: Finding Hope in a Hungry World.

He co-authored the bestseller with his son and former foundation executive director Howard Warren Buffett, who has extensive experience dealing with international and domestic issues. As a U.S. Department of Defense official he.oversaw ag-based economic stabilization-redevelopment programs in Iraq and Afghanistan. As a White House policy advisor he co-wrote the President’s cross-sector partnership strategy. The Columbia University lecturer also worked for the Bill & Melinda Gates Foundation and the United Nations.

Growing up he made many trips with his father to challenging places. Like his old man he is a farmer, too, with a spread near Tekamah.

Now or never
The book by this father-son team calls readers to take action and do something good for the world, even if it’s in your own backyard. The authors proffer principles for doing and giving and making a lasting impact with the limited chances you’re granted in a lifetime.

“If there’s an overriding thought it’s that anybody can do something. It doesn’t matter how big or small it is, it’s just doing something” that counts,” says Howard G. He adds, “Don’t be afraid to take risks. Even going down to your local food pantry to volunteer might be a risk for somebody. Make a long-term commitment – don’t just do it to see what it’s like. That message is to NGOs and foundations and everybody who works in any kind of philanthropic area.

“Figure it out, focus on it and then stick with it.”

The Buffetts hope their book gives people a sense of urgency to act.

“The truth is most of us just go through life,” Howard G. says. “We don’t think about the fact that by time we get out of college and get a little experience we’ve probably got 40 years to really make a positive impact. That’s our prime. Just do it right. We cant take stuff back and eventually we do run out of time. That’s what the title is about.”

“That gets to the core of what 40 Chances is – about having a limited number of opportunities to do the best job we can in our life,” Howard W. says. “And that can be being the best mother or father, being the best mentor, being the best resident of a neighborhood or community. It doesn’t matter what it is, it’s just that you seize those opportunities.”

Lessons learned

Much of the Buffetts’ work plays out overseas, where the West’s expectations or assumptions don’t hold much currency amid the developing world’s harsh realities. Howard G.’s seen many entities try to come up with First World solutions for Third World problems, but the metrics don’t always apply. The consequences of planting the wrong seed crop for a certain climate or soil in a vulnerable place like Eastern Congo, for example, can be disastrous.

“Everywhere we go and work in the world life is not predictable,” Howard G. says. “If you’re a small farmer struggling feed your family, if one thing goes wrong you can have a child die, so the consequences of what can happen are so significant and magnified.”

His foundation works in some tough environments, including Eastern Congo, Rwanda and Liberia, where food and water insecurity, poverty and conflict are constant threats.

He supports a research farm in South Africa, where the foundation does conservation work returning cheetahs to the wild and supporting anti-poaching measures. The farm grows cover crops, with the goal of making these crops available to several countries on the African continent. He makes a point of visiting wherever his foundation’s active, no matter how remote or unstable the site, in order to put his own eyes on a situation.

“Each trip leads to something,” he says. “I see something, I learn something. I would argue it is important to do it and I think other people need to do more of it. Anything I’ve ever learned that’s stuck with me has been in part because I’ve gone somewhere and experienced it. I think it has to do with my being a photographer. It makes you pay attention to the detailed scene of what’s happening. I absorb a lot of things by osmosis. As a photographer you have to be there to get the photograph. I think the same way with this, you have to be there.

“When you see a lot of pain and see death it’s very hard to deal with. I don’t care who you are, you internalize that somehow. What a camera allows you to do is to take pictures of that to show the world what’s happening. It gives you a whole new purpose of what you’re trying to do, so photography’s been a huge thing for me.”

This “journalist at heart” has published several books of photography featuring what he’s “seen and experienced” around the globe.

He’s learned the only way to truly appreciate the jeopardy people face is to go where they live and witness their peril.

“You can’t understand what people go through unless you see it for yourself. I can tell you what it’s like to go into a landfill where kids are living and dying because I’ve been to where people literally live in trash. When you walk in there your eyes burn and you can’t breathe. You have to experience that.”

Want is as near as our own backyard
The Buffetts say even if you can’t travel the world, opportunities to make a difference are as near as a local pantry or the Food Bank for the Heartland, where Howard W.’s volunteered. In the middle of America’s Breadbasket people face hunger and malnutrition daily.

“The numbers have grown so much in this country of people who are food insecure,” Howard G. says. “I think there are roughly 250,000 food insecure people in Neb. That’s right in the heart of America. You have to say to yourself, That’s not right, something’s totally wrong with that.”

Teaching people to grow their own food is part of building a secure, sustainable food culture. When Howard W. discovered all Omaha Public Schools’ designated career academies had been fulfilled except one – urban agriculture – he helped establish an Urban Ag and Natural Resources career academy at Bryan High School, where he also helped form a Future Farmers of America club. Both are thriving there.

“I’ve been able to mentor some of the students at Bryan and have an impact on their lives,” he says. “Those relationships and the gratification I get from being involved with very local things are extremely rewarding. It’s so enriching what takes place there.”

Father and son encourage folks to get out of their comfort zone and give time to worthy causes like these in their own community.

“I just think being there and showing up is so important,” Howard G. says. “You don’t have to have money to make a difference.”

He says America’s generosity and volunteerism stand it alone.

“Nobody volunteers like Americans. Americans are great volunteers, and they’re great volunteers right here in Omaha.”

Staying focused

If he’s learned anything, it’s that mitigating problems like chronic hunger, food insecurity and poor nutrition is gradual at best in places without America’s entrepreneurial-volunteer spirit.

“I’m very impatient and I’ve learned I have to be more patient. I’m a Type A personality, so I’m like, I’m going to go in there and figure it out when I get there. It doesn’t work that way. One of the things you learn is there’s no short-term fix or involvement. You have to be in this for the long haul. That changes how you do things. For us it means we have to stay very focused.”

He may not have the legendary focus of his father but he’s gotten better as he’s learned to say no and to accept he can’t do everything.

“I realized the consequences if I don’t stay focused – I get distracted, I’m wasting money, I’m not making impact. That’s just something I had to get better at. If I’m going to be focused and have impact I just have to say no to people, even very good friends. If I did all those things people come to me with I would get nothing done.”

His advice for organizations and individuals is the same.

“Figure out what you want to do and just do that and don’t get distracted, don’t get sidetracked, don’t try to save the world. If you’re going to try to save the world you’re going to save nobody. You’ve got to be focused. The more narrow you are the more impact you’ll have.”

Coming full circle
Doing the book brought many benefits.

“It helped the foundation itself gain additional focus and learn lessons from the past,” Howard W. says. “It allowed us to start honing in and narrowing down where we wanted to go from there, whether multi-year crop-based research on new varieties of corn or better ways to reduce soil erosion over a decade of no till with cover crops.”

Or building a new hydroelectric plant in Eastern Congo that will bring light to the masses to catalyze investment in agribusiness that will in turn create jobs for people whose only alternative is conflict. Or reducing poaching as a way to cut off funds (from the sale of elephant tusks and rhino horns) to rebels.

“For me personally this retrospective and introspective look was almost like going through a whole other undergraduate degree,” Howard W. says. “My dad and I hadn’t as much time to travel together the last couple years, so working on this book together was a new kind of journey of taking everything we had done together in person and then analyzing it. It’s been incredibly rewarding.”

The Howards were joined by family patriarch Warren, who wrote the book’s foreword, for the launch in New York City. The paperback version from Simon & Schuster is out this fall.

“That was fun. It brought us all together,” Howard G. says.

If there’s one thing Howard G. wants people to take away from the book, it’s for people to do something.

“I just feel like if we do these things it will make a difference. Even if it doesn’t make a difference, we tried and we might learn something from that failure. My dad talks about staying in your circle of confidence. I know what I’m good at, I know what I’m not good at, so I stick with that. But that’s a big enough circle for me to still step into things I’m not comfortable with.

“Like I tell young people, ‘Get uncomfortable, just go do some things that make you go, Holy crap.’ That’s what’s going to make you grow, that’s what’s going to make you want to do more because you’re going to gain some confidence. Some things might not work, but so what.”

 

 

Collective Impact

Food Bank of the Heartland

©by Leo Adam Biga

Appeared in Metro Quarterly Magazine (http://www.spiritofomaha.com/)

 

Distribution key to getting food to where it’s most needed

Collective effort to reduce food insecurity includes Food Bank

It’s no secret that in the land of plenty, a resource gap exists for many folks, including right here in the metro, The problem with poverty is not just low income, it’s lack of education and access. Want often translates into people experiencing hunger and inadequate nutrition.

Every night, a segment of poor Nebraskans goes hungry. An estimated 250,000 in the state are chronically food insecure, a dramatic increase since the 2007-2008 recession. Most of the affected adults are the working poor. One in five area children are at-risk of hunger.

The mosaic of helping agencies and initiatives addressing the issue includes food pantries. community gardens. healthy cooking classes and nutrition education. A key player in that mix is the Omaha-based Food Bank for the Heartland. Established in 1981, FBFH is one of only two food banks in the state along with the Lincoln Food Bank.

Scaling up
Until five years ago FBFH served just Omaha and Council Bluffs but it now covers most of the state, plus western Iowa, for a total of 93 counties and 75,000 square miles. In what’s been a transformation for an organization that depends almost entirely on donations and fundraisers, a completely new leadership team and staff came on board in 2009 to scale the operations up. That’s meant a new, expanded facility at 10525 J Street, a fleet of big trucks and a tech-driven warehouse order and delivery tracking system.

“We have online ordering for our customers just like Amazon that tells us what they want, when they want it and reserves it in inventory,” says president-CEO Susan Ogborn. “We have Roadnet, the UPS software, to track our trucks and to route them efficiently. We have bar coding in the warehouse so that everything is tied to an item number. It tells you when to pick and how many to pick.”

All of it’s needed to distribute the estimated 16 million pounds of food FBFH will distribute this fiscal year.

“We can’t do this without being as efficient and effective as possible. We monitor everything we do and how we do it.”

Volunteers are critical for sorting and repackaging pallets of food.

In its mode shift the Food Bank’s gone from “order taker to business seeker,” she says. “Before, we waited for people to come to us. Now, I have two full-time food sourcing professionals who do nothing but look out for food and work with the people who give it to us.”

The organization’s increased the number of retail and processing vendors it contracts with to provide food, much of it perishable meat, dairy and produce, from fewer than a dozen to more than 200. Procuring enough edible resources for its many food partners, who include pantries run by the Heart Ministry Center, Together and Heartland Hope Mission in Omaha, has “changed our entire business model completely,” Ogborn says, adding. “We are first and foremost a distribution center now. We’ve got five people on the road all the time in rural Nebraska. We’re an entirely different business.”

Heart Ministry Center director John Levy says, “The Food Bank plays an absolutely critical role in us being able to serve people in need. We can access a much wider selection of food by using Food Bank and also keep our costs much lower. By having a wider selection of food, people are more likely to come back to our Center because they had a good experience. Because we are able to get the food for free or drastically reduced prices, we have more money to spend on helping clients with their underlying problems.”

Ogborn and her staff all came to their jobs with no previous food banking experience, which she says has worked to their advantage.

“We don’t know what we can’t do, so we just we just try anything and don’t let anything stop us.”

Outside-the-box
Most satisfying to Ogborn, she says, is “finding some creative way to serve people we haven’t served before,” For example. identifying the rural poor in the Sand Hills region was proving difficult until she thought of an outside-the-box way to reach them.

“I sent out a letter to the sheriffs in those counties that said, ‘You know who the people are in your community that are in need, I don’t, how about I send you some food boxes and you give it to them when they need it?’ I didn’t know if I’d hear back or not. Well, the sheriffs in those counties, especially Nance and Merrick counties, are now distributing food on a regular basis. They’re supporting mobile pantries and we’ve got all kinds of services going on there.”

Closer to home, FBFH operates programs that provide meals to at-risk children after school, on weekends and during the summer through such youth-serving organizations as Completely Kids.

“Where we identify a gap where people aren’t being served by anybody else we will start a program.”

The effects of hunger and poor nutrition are far-reaching, especially on children’s health and school performance. Often hunger or malnourishment results when people can’t afford or find fresh, local food near them. Those living with food insecurity and residing in food deserts often don’t know what eating healthy entails and need to be taught how to source and cook things that don’t come out of a box.

Growing your own food is an option for some. But for most folks a food pantry or the SNAP (food stamps) program is more realistic. Not everyone knows about or chooses to use these remedial options. Ogborn says as many as a third of those eligible to receive SNAP benefits in Neb. fail to do so, often, she suspects, out of embarrassment.

She agrees with colleagues that mediating hunger in the Heartland requires a collaborative effort to make the needed collective impact.

“In the food banking world we have a saying – you can’t food bank your way out of hunger. And you absolutely can’t. There is enough food to feed everybody in America but how we get it and people connected is very challenging. It’s a distribution challenge process. It’s also an issue around nutrition education, cooking healthy meals.”

That’s why the Food Bank partners with ConAgra Foods Foundation, Walmart and other mega food processors and purveyors to get healthy food to where it’s needed. “We could not do what we do without them.” It’s why it partners, too, with the Hunger Free Heartland coalition and the Hunger Collaborative to do the same on a more intimate scale.

Hunger Collaborative shared services coordinator Craig Howell says FBFH not only provides nutritious food to pantries that clients might otherwise not access but supplies hot meats for children outside of school they might miss at home. He says it also assists eligible clients get signed up for SNAP. “The ability for us to make sustainable changes cannot happen without the work of the Food Bank.”

Another part of the answer is fast food giants and school cafeterias offering healthy alternatives. Ogborn says reaching people where they live with their habits will make a profound difference in their nutritional levels over time.

Ogborn says the ultimate goal is for all Nebraskans to be self-sufficient in terms of secure, sustainable access to food. “We’d love to put ourselves of business.” Until that day arrives, fundraisers are needed to help support its work. In Sept. a city-wide spaghetti feed garnered thousands of dollars. Proceeds from the ConAgra Foods Ice Skating Rink during the annual Holiday Lights Festival will go to the Food Bank. On March 12 FBFH’s big annual fundraising dinner will feature celebrity chef Geoffrey Zakarian at the Embassy Suites in La Vista.

Money, food, volunteers and vendors are what keep the Food Bank going. Visit http://www.FoodBankHeartland to get involved.

More Organizations Working to overturn food Insecurity

©by Leo Adam Biga

Appeared in Metro Quarterly Magazine (http://www.spiritofomaha.com/)

 

Community response to hunger fosters collaboration

Different approaches come together to make collective impact

Organizations working to make at-risk populations food secure agree more can be done collectively than alone to combat hunger. Omaha’s replete with efforts that feature collaboration and cross-pollination. Some players, such as Saving Grace Perishable Food Rescue or City Sprouts, have distinct niches. Others, such as No More Empty Pots, are more comprehensive in scope and thus all roads lead there.

One way or another, these organizations connect with coalitions like Hunger Free Heartland, a ConAgra Foods Foundation’s originated-initiative that’s evolved into the community-wide Child Hunger Ends Here-Omaha Plan. Members of the Hunger Collaborative – Food Bank for the Heartland and pantry operators Heart Ministry Center, Together and Heartland Hope Mission – collectively work to end food insecurity and to provide an array of human services.

New collaborations are always surfacing, including the Prospect Village Community Garden Program that finds City Sprouts, No More Empty and Big Garden, among others, promoting the benefits of engaged, cohesive neighborhoods through community gardening.

Three organizations among many making a difference in creating a secure, equitable food system are:

Saving Grace Perishable Food Rescue
If it takes a village to raise a child, then it takes a communal effort to feed one. Experts agree no one source can solve food insecurity, Instead, ending hunger takes multiple approaches. One is capturing excess food otherwise thrown away and giving it to hungry folks. That’s just what Saving Grace Perishable Food Rescue does.

Formed in late 2013 by Beth Ostdiek Smith, Saving Grace rescued more than 200,000 pounds of perishable food in its first 10 months of operation. Ostdiek says a pound of food equals one meal, meaning Saving Grace provided 200,000-plus meals to its recipient partners, who include nonprofits such as Table Grace, Heart Ministries and Open Door Mission that serve vulnerable youth, adults and families.

Smith, who’s long been concerned about the amount of food that gets wasted and the number of hungry people needing square meals, says she “found a niche that really wasn’t being fully addressed” in Omaha.
The response to her food rescue and delivery organization indicate’s she’s helping fill a gap.

“I can’t emphasize enough how excited our recipients are by what we’re bringing them. This is really healthy, nutritious food.”

Response from food vendors is equally positive.

“I think it’s because we’re offering this consistent, professional model that comes out to food vendors. We have refrigerated trucks and our drivers have food handling licenses. We keep it simple and seamless. We get food from here to there.”

Trader Joe’s, Akins Natural Foods, Greenberg Fruit and Attitude on Foods are a few of the biggest participating vendors.

“We just signed on CenturyLink Center’s Levy Restaurants, so we’re going to capture all the excess from the concessions and parties there.
QT has expressed interest in donating all the perishable excess from their convenience stores.”

She says she sells vendors on the give-away with a basic appeal. “Rather than throwing your excess food away in the trash we can rescue your food and get it to people that need it. It just makes sense. We like to say we’re feeding bellies rather than the landfills. It’s exciting to see how much people care and want to make this happen. We need to honor our donors who take and make time to donate.”

Part of Saving Grace’s mission is enhancing awareness and education on food waste and hunger. For example, the organization informs vendors and recipients it has the means to capture unsellable but still edible dairy, produce, proteins and grains that otherwise get thrown away.

“A unique thing we do is match the food to recipients’ needs because many times people have great hearts and take things down to food pantries the pantries can’t use. When we bring on a food recipient partner we interview them to see what their capacity is – whether they have refrigeration and freezers – how much they’re serving and what’s most in demand. Then we match our food to their needs.”

She wants to add more recipients but she says she won’t “until we get more food donors – I don’t want to make promises we can’t keep.” She says there are vast segments of the food industry ripe to be tapped, including corporate, school and hospital cafeterias, country clubs, caterers and arena-convention centers. She estimates more than 80 percent of perishable food goes uncaptured and therefore trashed. “There’s huge potential to procure more food,” she says.

Helping her with the logistics and food sourcing is Judy Rydberg, who brought 12 years experience with Waste Not Perishable Food Rescue and Delivery in Scottsdale, Arizona. Smith used that program as the model for her own. Smith feels she’s hitting a wave of interest in mitigating hunger. “I think we’re starting to see a movement, and if we can be a catalyst for the movement with our other food partners that would be a great thing.”

She also sees a need for more collaboration and communication so that food partners can identify how they best align. As for Saving Grace, she says, “what we need to have for this to be sustainable is more dollars and food donors,” adding, “We’re looking for Saving Grace Friends to help us get the word out, raise funds and open doors.
We’re just getting started. We’re a very small but mighty organization.”

Visit savinggracefoodrescue.org to see where you can make a difference.

City Sprouts
In 1995 City Sprouts began as a small community garden meant to bring harmony to the then-violence plagued Orchard Hill neighborhood. The nonprofit’s evolved into a one-and-half acre campus from 40th and Seward to 40th and Decatur. Its education center, community garden and urban farm have a mission to enhance food security, promote healthy lifestyles, employ at-risk youth and build community.

The land produces fresh vegetables and eight hens in a chicken coop produce eggs for use by area residents, many of whom tend plots in the community garden. Youth from challenged backgrounds learn horticulture and life lessons in addition to earning money working on the farm, which includes a hoop house that extends the growing season from early spring through late fall. The fruit and vegetables interns grow from seed to table are sold at an on-site farmer’s market. Classes and workshops by horticulture and other experts cover nutrition, canning, dehydrating, cooking and non-food topics. Events such as potlucks, discussions and seasonal celebrations invite area residents to engage with staff, volunteers and visitors.

“We are part of a larger movement locally and nationally trying to foster a connection with your food, with your neighborhood. Our work is supported by this great resurgence of people going back to gardening, knowing where their food comes from and eating more locally, more seasonally,” says City Sprouts director Roxanne Williams.

A turning point for City Sprouts came in 2005 when a vacant house at 4002 Seward Street was donated as its education center.

“Getting the house was a huge asset,” Williams says. “That is one of the things that has enabled us to grow our organization. It changed the whole direction of City Sprouts and made so many more things possible.”

The house allows the organization to be engaged with the neighborhood year-round through classes and programs held there.

In addition to the interns who grow on the urban farm, young children are introduced to gardening on campus. Next spring children from two neighborhood elementary schools, Franklin and Walnut Hill, will learn gardening and nutrition in programs City Sprouts is planning with them, including developing a school garden with Franklin staff and students.

With northeast Omaha considered a food desert because residents have limited access to fresh, local, nutritious food within walking distance, the garden and farm take center stage in good weather. Williams says City Sprouts is one of many players trying to improve food options there and in other underserved metro neighborhoods.

“It’s not one answer, it takes a village, it takes so many people working together. There’s lots of groups making a difference. I think we’re making inroads. But there’s always going to be a need.”

Community gardeners, ranging from entire families to single moms to senior retirees, grow on 45 raised beds surrounded by fruit trees and perennials. In exchange for a nominal fee gardeners are assigned a bed and provided plants, seeds, water, education and encouragement. Gardeners are responsible for maintaining their own beds.

Getting buy-in from neighbors is taking time, especially in an area with many rental properties and therefore much turnover. But there are growers who return every year. Several young professionals and students living in the area who also happen to be backyard farmers and foodies are regulars at the community-building events.

Williams, a master gardener who comes from an education and fundraising background, came on board three years ago as the nonprofit’s first full-time, year-round director.

“It is my ideal job. I absolutely love what I do here because it encompasses all my interests and experience and weaves them together. I get to work with kids, teens, all the way up to, seniors, I garden, I fund-raise, I teach.”

City Sprouts partners with many organizations in carrying out its mission and depends on volunteers to maintain the campus.

“There’s always weeding and watering and harvesting to do,” Williams says.

Its big fund raisers are the spring Omaha Gives, the August Gala and an end-of-year campaign.

For donation, volunteer and event information, visit omahasprouts.org.

No More Empty Pots
It started with 2010 conversations, then a summit, around people’s passion for fresh, nutritious, local flood – growing it and getting it to where it’s most needed. Discussions about building food systems that tie together local producers and underserved consumers, that educate users, that support entrepreneurial opportunities and that do much more led to the creation of No More Empty Pots.

The catalyst organization is all about identifying needs in the local food ecosystem and partnering with others to address those needs. The hoped for collective impact aims to reduce food insecurity and to grow a sustainable, healthy food culture.

Co-founder Nancy Williams says while food deserts are lessening as there’s more access to fresh, local food, too many people remain disconnected from their food.

“There are a lot of people working on this,” she says, “and it’s going to take a lot of people putting forth effort, working together, securing resources and engaging folks to make that happen. I believe that will happen and I see evidence that we are on our way to getting there.”

The nonprofit does its part by convening stakeholders, hosting workshops and presenting gardening and cooking demonstrations. It partners with Truck Farm to send a garden on wheels to schools and other youth-serving organizations to educate students about how food grows. NMEP also supports things like Community Market Basket, an initiative through Tomato Tomato’s CSA (Community Supported Agriculture) program that makes fresh, local food accessible to folks who might otherwise not get it.

Even with all this activity, she sees gaps that need filling.

“There are still some self-sufficiency issues we need to help people address so that they know how to produce their own food and to use seasonal food for proper nutrition at a reasonable cost.”

She says eating healthy within a budget, on a limited income, is doable when people are informed.

She sees much potential in food business development. She’s fundraising for renovations to new space NMEP recently acquired on North 30th Street. She envisions a food hub there focusing on the aggregation, processing, distribution and recovery of food waste to extract and add value within the food system.

“The problem is not that we don’t have enough food, but that we don’t have the logistics, people, resources to ensure it gets where it needs to be at the right time to be used by the right people for the right thing. America throws away more than 40 percent of the food we grow. There is so much that can be done with logistics and growing food people want to eat and know how to use.

“Restaurants can get more local food but they need a place where they can get it in the quantity they need it, so working with distributors to get more local food is an opportunity as well.”

Where there’s waste, she sees opportunity.

“There’s lots of room for aggregation and processing. There’s lots of farmers growing food but they don’t always have somewhere to take the food after the markets because people aren’t educated and encouraged about the benefits of buying local and may not be accustomed to paying market price. The hub will give farmers a place to take excess produce and create value-added products.

“There’s a lot of opportunities for incubating and developing food-based businesses. It’s why we’re looking at having an accelerator to help cultivate entrepreneurial ideas and to connect new entrepreneurs with people who can help make their ideas come to life.”

She envisions a bakery and bistro at the new site along with shared commercial kitchen spaces that food entrepreneurs can rent by the hour.

In order for NMEP and others to make a lasting difference, she says, collaboration is key. Her goal is to replicate best practices here and elsewhere. No matter who you are, she says, “there’s space at the table for everybody to contribute to make this better.”

To assist NMEP’s growth, human resources are needed, including volunteers to garden, cook and teach.

“We also need professional support with marketing, fundraising, design and community outreach. We’re recruiting board members to help guide the organization to realize the community-driven vision. We’re actively seeking to fill internships in marketing and project management. We plan to hire staff as more projects become active.”

Keep up with NMEP at http://www.nomoreemptypots.org.

 

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 1 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.”

 

 

Milton Kleinberg: Omaha resident who survived little-known chapter of Holocaust history releases new edition of memoir

November 7, 2014 2 comments

Holocaust survivor stories come in every conceivable variety, just like the people and lives behind them.  I’ve had the privilege of telling many such stories in the course of profiling survivors who settled in Nebraska after World War II or later.  Each story, each survuvor, is distinguished by elements that make them singular.  I thought I had heard and read it all when it comes to these sagas but then along came Milton Kleinberg’s story.  There may be more dramatic or traumatic tales but I can’t imagine one that covers as much time and distance as his tale.  It is epic in terms of sheer scale yet it’s also achingly intimate.  I don’t pretend to capture more than just the surface of his story in the following Omaha Magazine (http://omahamagazine.com/) article, but it should give you a sense for the aamazing rc of his surivival experience.  For a full appreciation of what he endured, you must read his book Bread or Death.

 

 

 

20141001_bs_4865Milton Kleinberg

Milton Kleinberg

Omaha resident who survived little-known chapter of Holocaust history releases new edition of memoir

Now appearing in Omaha Magazine (http://omahamagazine.com/)
November 5, 2014
©Photography by Bill Sitzmann

As a child in Poland, Milton Kleinberg got caught up in a little known chapter of the Holocaust when he and his family were among Jews exiled to Soviet labor camps. The forced journey took them from occupied Poland to the siege at Stalingrad to the vast wastelands of Siberia. To be uprooted, thousands of miles from home, was awful, but it also meant being beyond the reach of death camps.

The 77-year-old native of Poland and longtime Omaha resident endured many hardships. Forced to travel on foot and by train, he was confined to warehouses, barracks, and institutions. He witnessed starvation, disease, suicides, beatings, executions. He weathered illness, injuries, predators. The epic ordeal spanned thousands of miles and many years. He experienced things no child should face. To defend himself and others he took actions no one should have to take.

His saga continued after the war in displaced person (DP) camps. After reinventing himself in Milwaukee, he went years not saying anything about his odyssey, not even to his wife and children. After moving to Omaha in his middle-years he still kept quiet. Keeping silent is not uncommon among the survivor community, for whom the trauma of loss is difficult to relive.

“When I came to America I made a pledge to myself I was going to put this behind me, that I was not going to dwell on the past, and that I was going to start a new life,” Kleinberg says. “My whole attitude was that the past was the past and I didn’t care to look back.”

Then circumstances conspired to break his silence. His grandchildren visited Holocaust sites and pestered him with questions. In applying for Social Security benefits he discovered his birthdate was different than what he thought it was. A genealogical search turned up two step-sisters, with whom he shared a father. The women posed more questions.

Always alert to anti-Semitism and to events in Israel, which he’s visited several times, he’s grown concerned by the rise of militant, extremist elements around the world. Finally, he decided, he should recount his story. In 2010 he self-published Bread or Death. He gave it to friends and relatives as well as clients of his successful business, Senior Market Sales Inc., which employs more than 170 people.

This past year he expanded the book with the help of professionals, including Institute for Holocaust Education staff who developed a teacher’s guide, a glossary, study questions, and historical background sections. IHE develops Holocaust curriculum for schools state-wide.

Released in August, the new edition is available to schools and youth-serving organizations as an educational tool. IHE executive director Liz Feldstern says Kleinberg’s made a valuable contribution to understanding the Holocaust survivor experience.

Bread or Death adds another important voice to understanding a narrative that affected millions of people in millions of different ways,” Feldstern says. “Anne Frank has become the voice of those who went into hiding. Elie Wiesel and Primo Levi are the voices of Auschwitz. Gerda Weissman Klein is the voice of the death march. Hadassah Rosensaft is the voice of the DP camps. Perhaps Milt Kleinberg will be the voice of those deported to Soviet labor camps.”

The memoir completes an obligation Milt felt to himself and his family.

“I wrote the book as a legacy for my children, grandchildren, and siblings that were born after the war,” he says. “Everyone had bits of information on what happened during the war. I was the only one with all the pieces of information. I could connect all the dots. So, I have written it all down.”

“Milt has fulfilled his responsibility admirably to share his story and break a lifetime of silence so that others can learn from that history…and hopefully not repeat it,” Feldstern says.

Milton M. Kleinberg shortly after arriving in America

Though reticent most of his life about his own experience, he’s never shied from confronting anti-Semitism. While residing in Milwaukee he actively opposed a neo-Nazi group there through the Concerned Jewish Citizens of Wisconsin, a group he helped form.

“We decided we were going to respond to the Nazis rather than stand silent or lay down. Some of us had learned hard, tragic lessons and sacrificed far too much to allow these haters to get a foothold in our city, in our neighborhood.”

It wasn’t the first time he stood up. He and his wife, Marsha, co-hosted a Milwaukee radio program. They bought the air-time for themselves in order to present and comment on Jewish news.

His book is a cautionary tale of what occurred as the world slept. It may help ensure another holocaust doesn’t happen in this new era of hate.

“After what happened to me and my family and to millions of Jews in the war, I simply would not keep silent about things I perceived to be wrong.”

Ultimately, Bread or Death is a testament to how a life well-lived is more powerful than any retribution.

 

 

Milton Kleinberg Omaha Magazine Cover Story

 

 

New American cinema auteurs, colleagues and friends David O. Russell and Alexander Payne to headline Feature VI

November 6, 2014 Leave a comment

Omaha’s film culture is richer for having Alexander Payne as a native son who cares about growing the cinema landscape in his hometown.  His commitment to this cultivation and nuturing is perhaps best evidenced by the active hand he takes with the annual Feature fundraiser for Film Streams, the Omaha art cinema he supports.  Because he can, each year he asks another world-class film figure to join him on stage as his special guest for a cinema conversation.  In the past, it’s been Laura Dern, Debra Winger, Steven Soderbergh, Jane Fonda, and the principal cast of Nebraska.  This year it’s his fellow auteur David O. Russell (Three Kings, The Fighter, Silver Linings Playbook, American Hustle).  The Nov. 10 event at the Holland Performing Arts Center will add to the string of impressive film confabs he’s made happen. This is an especially appealing event because Payne and Russell, each of whom is a writer-directos, have enjoyed parallel careers as leaders of the New American Cinema and the Indiewood movement.  Their respective bodies of work the last 15 years rank arguably as the best of any American filmmakers in that period.  Given that they’re in their early 50s and given that both feel as though they’re only just now coming into their own as complete filmmakers, they could very well continue leading the vanguard of cinema in this country for another decade or two.  My story for The Reader (http://www.thereader.com/) previewing the Film Streams event is largely drawn from an interview I did with Russell.

 

 

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Photo from Shannon Dwyer

 

 

New American cinema auteurs, colleagues and friends David O. Russell and Alexander Payne to headline Feature VI

©by Leo Adam Biga

Now appearing in The Reader (http://www.thereader.com/)

 

Alexander Payne is in a position to ask any world class film figure to be his guest of honor at the Film Streams Feature event, the art cinema’s annual big fund raiser. Laura Dern, Debra Winger, Steven Soderbergh, Jane Fonda and the principal cast of Nebraska have all come at his invitation to appear on stage at the Holland Performing Arts Center.

For the Monday, Nov. 10 Feature VI Payne will engage writer-director David O. Russell in conversation. As fellow auteur leaders in the vanguard of New American Cinema they make a matched set. Since emerging in the mid-1990s their careers have followed similar paths. Each is on a roll with their last several pics, all critically acclaimed and awards-laden.

Both infuse an urgent humanity in their work that revolves around the various social units people aggregate in. Each delights in distilling the emotionally-charged, seriocomic conflicts that play out among groups – where the people driving you crazy are the same people you love.

Payne and Russell were right in the mix of edgy American indie filmmakers to arrive in the 1990s. Kathryn Bigelow, Steven Soderbergh, Spike Lee and Quentin Tarantino led the way. Then a whole new wave followed in their wake, including Russell, Payne, Wes Anderson, Paul Thomas Anderson, Spike Jonze and Darren Aronofsky. Russell and Payne announced themselves as talents to be watched in close order. Russell broke first with the incest comedy Spanking the Monkey in 1994. In 1996 Russell caused a stir with Flirting with Disaster and Payne with his abortion comedy Citizen Ruth. In ’99, both garnered attention: Russell with Three Kings and Payne with Election.

The 2000s have seen each evolve into bankable independents whose work spans audiences and resists trends. Russell’s recent run of The Fighter, Silver Linings Playbook and American Hustle parallels Payne’s own run of About Schmidt, Sideways, The Descendants and Nebraska.

A repertory series of Russell works continues at Film Streams through November.

Film Streams executive director Rachel Jacobson says the Feature event gives attendees “the amazing opportunity to listen in on a conversation between two of the world’s most celebrated contemporary directors.” She adds, “It’s interesting how David and Alexander’s careers have paralleled one another. Both started out with independent films on ridiculously taboo subjects. They both premiered their first features at the Sundance Film Festival during the renaissance of American independent film.” She says Russell’s recent films “show an artist at the peak of his form.” A major difference in approach, she notes, is that unlike Payne Russell works with a consistent ensemble of actors. “I love how that consistency creates a world unto itself.”

 

 

 

In the same way Payne feels he’s just now coming into his own as a filmmaker, Russell does, too. Both had long periods in between pics: six years passed from Payne’s Sideways to Descendants and from Russell’s I Heart Huckabees to The Fighter. Each went through a divorce in that period. But where Payne was busy producing and writing, Russell got out of his head and in touch with his heart.

“I’m grateful things have become clearer to me and in some ways I feel it’s springtime for me and that’s a very beautiful thing because you know that could easily not be the case,” Russell says. “I think it’s hard in any endeavor, especially in the art of storytelling, to stay fresh. You always have to find new wells of inspiration and I understand many of the greats who have not. We can look back and say, Well, they did their great works and then they kind of couldn’t find it again. So I feel like I’ve found renewed clarity and heart for certain kinds of stories.

“It’s still very hard to do them well. I still have to try every moment like it’s my last opportunity on Earth. The only way it can come out as well as I hope it will is to act like it could very easily not come out that way every step of the way, which makes for a lot work.”

Like the best of their New Wave contemporaries Russell and Payne didn’t just make a splash and then disappear. Rather, they reestablish themselves as relevant storytellers with something to say again and again. The way they’ve asserted their strong, singular visions and voices is reminiscent of what Hal Ashby, Robert Altman, Francis Ford Coppola and Martin Scorsese did in the 1970s and 1980s.

 

 

Russell and Payne have mostly weathered the volatile film industry that eventually envelopes everyone. Russell’s one commercial flop, Huckabees, enjoys a cult following. The same for Payne’s Citizen Ruth and Election. Nebraska’s sure to find a growing audience as more people discover it via the home and digital markets.

All of which is to say these two filmmakers at the top of their game should have much to talk about. They’re each steeled in classic cinema from the 1970s and before. Given they are from the same generation of writer-directors and leaders of Indiewood, it’s no surprise they’ve found themselves in the same circles.

Russell says, “We’ve done Q-and-As and we’ve had a lot of fun with them,” including a CineFamily session available on Vimeo.

The two once chummed around. The new millennium had just dawned and they were identified as rising cinema stars and it only made sense they would fall in with each other.

“We started being on each other’s radars socially and professionally in 1999,” Payne says, “when he had Three Kings and I had Election. 1999 was like a debutante’s ball year of independent directors. Wes Anderson’s Rushmore had come out the end of ’98. I had Election, David had Three Kings. Kimberly Peirce had Boys Don’t Cry. It was a year when this younger crop of directors were having some degree of mainstream success. And I adored Three Kings. Wow. if he could make a jump from Flirting with Disaster, a madcap family comedy, to a very beautifully directed film like Three Kings that’s when I knew he had a depth of talent.

“I’m always in favor of someone who wants to do comic human films. His films are always intelligent, entertaining – a wonderful combination of humanity and comic showmanship. We became friends and I’ve always supported his work. I admire him and I’m just so proud and thrilled to be hosting him at Film Streams.”

And Russell’s returned the favor.

“Yes, and it’s been really been fun, I think we’ve both enjoyed that,” Russell says. “When Alexander had The Descendants come out I was really happy to sit by his side at a couple events, chat with him, have a glass of wine, cheer him on and tell him how much I love the picture. And he was very kind to me likewise about the last three pictures.”

 

 

 

 

But it was when the two men first came to the fore, they were particularly close.

“We sort of hung out a bit together in that time around 2000,” Russell confirms. “I remember the Museum of Modern Art began this series for filmmakers of our generation and I felt very squeamish about doing it. I said I’ll only do it if you name the series Works in Progress because I consider myself a work in progress and they said OK and they started this series where I talked about my films with my actors and stuff.”

That inaugural 2002 event was called Work in Progress: An Evening with David O. Russell.

“Alexander came, Wes Anderson came, Kimberly Peirce came, Sofia Coppola came. A lot of actors came. I’m probably forgetting some other filmmakers who were there. There we were all together and it was a great feeling of camaraderie.

“And then the next years I ended up helping tap them (other filmmakers) to do it, so the next year Alexander Payne did it (that 2003 event was called A Work in Progress; The Films of Alexander Payne). And then Sofia did it and it kind of went from there.”

Russell, who as a young man waited tables at MOMA events, grew up in Larchmont, New York in a Russian-Italian American household. His father worked for publishing giant Simon and Schuster. His mother was a homemaker and political activist.

Much like Payne he was steeped in movies and literature.

“I grew up watching movies. I would go to my local movie theater in the next town and I’d watch a movie with movie stars and so I am interested in movies and movie stars that kind of grab me and don’t let me go and leave me indelibly moved. It’s like a wonderful record I can go back and play again in part or in whole.”

Asked whose work principally influenced him then and he rattles off the names Frank Capra, Coppola and Scorsese, adding with a laugh, “There, I named every Italian-American.”

Like Payne he initially went to college not to study film but to broaden his mind, At Amherst College in Mass, he studied English under novelist Robert Stone and religion under professor Robert Thurman, father of actress Uma Thurman.

“I always wanted to be a writer – a novelist or a short fiction writer – since I was about 10 years old because my dad worked at Simon and Schuster. I actually kept doing it into my 20s, you know, and I found it very hard. Meanwhile, I would memorize sections of movies as sort of a way of learning narrative and telling stories.”

He committed to memory sections of It’s a Wonderful Life and Chinatown, for example.

Again, like Payne, he went abroad as a young man, in his case to teach English in Nicaragua. Once back in the States he moved to Boston, where he did social justice work.

“I worked in low income areas, working for tenants rights, also teaching English as a second language.”

 

 

Unlike Payne, Russell never went to film school. His film immersion came haunting video stores and revival houses and learning the rudiments of the medium as a production assistant on the PBS television series Smithsonian World in Washington, D.C. Ever more feeling the pull of film, he made a documentary short. Boston to Panama (1985), that examined the lives of immigrant workers.

“Then I started to crossover thinking maybe I wanted to become a (narrative) filmmaker, which seemed like kind of a nutty idea because I’d never thought of that before as much as I loved movies.”

His narrative debut, the comedy short Bingo Inferno (1987) showed at the Sundance Film Festival. His next, the short Hairway to the Stars (1991), played Sundance and festivals in Seattle and London.

His feature debut, Spanking the Monkey, was a micro-budget production financed with private funding and grants. The dark humored Oedipal story concerns a young man marooned at home with his convalescing mother and the awkward longings they express. So, from the start, the family dynamic, dysfunctional and all, took precedence.

“I very much find community or family to be sort of an engine, a rocket engine, that leads to all avenues of humanity. All I know is that I think it works and it gets really intense and personal and complicated and funny and heartbreaking very quickly, so I love all of that. You know, I also love romance as I’ve discovered in my last three films.”

Family though is where it’s at for him. It may be a mother and son breaking taboos (Monkey), an extended family letting it all hang out (Flirting), U.S, Army soldiers searching for a fortune (Three Kings), a boxing clan’s ups and downs (The Fighter), a mentally ill son reconnecting with his father (Silver Linings) or a motley crew pulling a sting operation (American Hustle).

“In terms of my interests I know that I’m interested in romance and I know it includes a great intensity of predicaments that carries from one moment of the film to the next, meaning that it has an intensity to it and a propulsiveness to it that feels enveloping. And you have to maybe go back and watch it again or parts of it again to regather, but there’s never a moment where we are intentionally crafting the story that way.

“I mean, it’s nice to know what kind of movies you want to make and what kind of characters you want to render and what kind of actors you want to work with. And then I have a great love of music, a great love of camera movement that’s become a particular way of doing things that I’m still trying to learn how to make better. But at least it’s very clear when you know what path your on.”

 

 

 

Payne admires that Russell has “kept his own voice throughout them all,” adding, “Some of the same elements you see in Flirting with Disaster you see also in The Fighter, Silver Linings and American Hustle. His sense of dialogue and how he gets the camera in very close so that you’re standing with those characters or talking with them somehow. None of that has changed.”

Payne also likes how Russell balances the “larger circumstances” his characters find themselves in yet remains focused on the “eccentric details” of those situations and the personalities involved.

Russell says his own family’s strong personalities and rich heritage form a great template for him to overlay on the stories he tells.

“There’s a whole human opera of mine that extends back to Italy and Russia, to the Bronx and Brooklyn. There’s this tapestry of people. It’s a goldmine to me of rhythm, of music, of life, of romance, of food, of terrible things happening, of wonderful things happening, of traditions being passed, traditions being broken. All the things I care very deeply about in telling stories and as a person.

“I think I learned a great deal from my family before I even realized it. It’s sort of a great gift that you don’t realize, that I didn’t realize I had until much later in my career. Although it was obvious right at the beginning because I wrote that claustrophobic kind of quasi-horror $80,000 dollar trapped-in-the-house-with-your-mother movie (Monkey), which is almost like a horror movie, but it’s also funny, and that was all based on personal experiences I embroidered in great detail. There was a summer where my mother had trouble with her health. She had a car crash, And so that gave birth to that story.”

 

 

 

 

Flirting is another film where his real life resonated with his invention.

“There were moments when I saw my family the way we see the family in it, going through those chapters.”

He says Three Kings was “a departure” from the biological family thread and instead subverts the band of brothers conceit. He says Huckabees was “an attempt to create a parallel society little family of people but I don’t think my focus was where it ought to be in there,” adding, “Yet I never cease to be surprised by the young people, including Jennifer Lawrence (Silver Linings, Hustle)), who name that among their favorites of mine, which is baffling to me.

“And then the last three (films) are very much family-centered.”

The most personal of these to him is Silver Linings. Adapted from a novel, Russell emotionally connected with the characters because like the protagonist his own son Matt has bipolar disorder. Matt, who’s also had learning issues, has attended the Devereux Glenholme School in Conn., which serves young adults with special needs. Russell has been “very involved” at the school,” serving on a board. “I’m very invested in helping that school, plus the next experience for those kids who need to find pathways into work or higher education.”

Another educational institution he’s involved with is Ghetto Film School, a New York City public high school whose curriculum is cinema-based.

“It’s a very strong school in the Bronx. It became a crown jewel of Mayor Mike Bloomberg’s public school system in New York, It’s exciting that people are learning how to tell narrative and to tell stories. I always like to go talk to the students and teachers about what they’re doing. I’ve been on the board for 12 years. I’ve helped bring a lot of filmmakers and actors to go talk to them: Spike Jonze, Catherine Hardwick, Amy Adams. We have to get Alexander to go see them.”

Russell says 20th Century Fox co-COO James Murdoch “was so smitten by the project” he helped open an L.A. branch this past summer. Russell was there for its launch.

 

The filmmaker would be happy if a future script he wants to direct comes from a graduate. The same would be true of Alexander Payne. But the fact is each director usually writes his own scripts. Payne often says writing is the most onerous part of his creative process. Russell agrees but like Payne he sees it as a necessary chore to produce raw material for his films.

“I’m just coming out of a very intense writing period where I’ve been writing 15 hours a day for the last six months. I literally become a shut in. I went to some event for my younger son’s school and I just really felt like a-fish-out-of-water. I’d almost forgotten how to be out and about because your world becomes very narrow. It’s a very strange way to live because you’re basically living 15 hours a day in this narrative. You’re living in a movie all day, and that’s the only way I can do it to get it done. I have to make myself sit there all that time.

“So like Alexander it’s also my least favorite part of the process but you have to do it. You know you can’t get the iron ore or the diamonds out of the ground unless you do the back breaking work of digging into the ground, which is really difficult.”

Both filmmakers are weighing what their next projects will be. While Payne is reportedly trying to revive Downsizing, the project he abandoned after the financial crisis hit in 2008, Russell says, “There’s two stories we may be going into preproduction on soon. Those are the two things I’ve been working feverishly on for the last eight nine months. One is a large original story I don’t want to get into too much detail about but it involves family.”

The other, titled Joy, is based on the true story of Joy Mangano. The storyline reads something like Erin Brockovich: a struggling single mother of three surprises everyone when she finds success as an inventor and entrepreneur. Jennifer Lawrence is tabbed to star.

Russell says he’s eager for his visit here. “I can’t wait to come to Omaha. I’ve been reading about all the famous cinema people who are from Nebraska.” He hopes to find sites commemorating Marlon Brando and Fred Astaire, for example, but outside a street sign named for the former and a ballroom named for the latter, he’ll be disappointed.

He’ll be searching, too, for a local fix to feed his passion for video stores, which he feels should be preserved as cultural “hubs and meccas.” He helped create a nonprofit foundation for Santa Monica’s iconic Vidiots. “I’m trying to get the studios – and I’ve reached out to Alexander as well – to turn it into a place where they can feature the libraries of each studio and people can learn about cinema.”

The Feature event with Russell and Payne is at 7 p.m. For tickets and rep series details, visit http://www.filmstreams.org.

Leo Adam Biga’s Blog hits 400,000 views & The Many Faces of Leo Adam Biga’s Blog Version 2.0

November 3, 2014 Leave a comment



 

Leo Adam Biga’s Blog hits 400,000 views & The Many Faces of Leo Adam Biga’s Blog Version 2.0

And the hits just keep on coming.  My blog, leoadambiga.wordpress.com, has now surpassed 400,000 views and in celebration of this milestone here is a new mosaic of images from the site. Diversity rules when it comes to my work and the images associated with the people, passions and magnificent obsessions I write about certainly reflect that.

 

 

 

metroMAGAZINE/mQUARTERLY

 

 

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