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Hot Movie Takes: Stanley Kubrick and Alexander Payne – An unexpected congruence

July 31, 2016 2 comments

Hot Movie Takes:

Stanley Kubrick and Alexander Payne –

An unexpected congruence

 

Image result for alexander payne

 

©By Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

 

Been revisiting the work of the late Stanley Kubrick. While I’ve always regarded him as a true master and genius of cinema, my appreciation for just how far ahead he was of his times is deeper than before. He may be the boldest independent filmmaker to ever come out of America. When the Hollywood studio system still had an iron grip on the industry, as an outlier totally outside that apparatus he went ahead and taught himself filmmaking, got his work distributed and within a few years Hollywood came knocking at his door. He did this long before John Cassavettes. He did it long before there were film schools. He forced himself into the world cinema ranks without the benefit of having come up through the studio system or having a mentor or working in television or theater. He just made himself into a filmmaker through sheer will and talent. He eventually entered a longterm contract with Warner Brothers that gave him remarkable freedom to make films on his terms with little or no interference from the suits. It’s the same kind of arrangement Woody Allen later struck and still enjoys today. But what got Kubrick noticed by the studios in the first place were doc projects he audaciously made on his own, “The Day of the Fight” and “The Flying Padre,”followed by two narrative features he also made on his own, “Fear and Desire” and “Killer’s Kiss,” thus proving he could produce and direct as good a B picture as any of the studios. Whereas making commercially viable films outside the system is fairly routine today, doing so in the late 1940s-early 1950s as he did was unheard of. It helped that this once prodigy still photographer had done photo essays for Look Magazine. He was a brilliant visualist and storyteller and an astute cinephile, He learned practically everything he needed to know to be a filmmaker through his photography work and watching movies. Of course, someone like Kubrick or Alexander Payne doesn’t just watch a film, at least a compelling one, they analyze and absorb it. Their insatiable intellects make a study of everything that falls in their gaze.

In his early 20s, Kubrick rented a motion picture camera and shot those two documentary shorts with it, both of which he sold. Then came the two indie features. Neither is very good but each shows the filmmaker’s great eye for composing beautifully lit and evocative shots and for handling complex movements and actions. An indie distributor saw the first feature and got it shown in art houses. United Artists took interest in the second and offered Kubrick a deal to make a feature for them, which became “The Killing,” his inventive and effective racetrack heist picture that marked him as a serious talent. That led to his first masterpiece, the brilliant anti-war film “Paths of Glory.” It marked his first time working outside the U.S. and with a major star, Kirk Douglas. “Killing” and “Paths” displayed his sardonic sensibilities, visual poetry, precise compositions and facility for authenticity, all of which became trademarks for his subsequent work. Kubrick’s first full foray into big Hollywood studio filmmaking came when Douglas asked him to helm “Spartacus” after firing veteran A-list director Anthony Mann following the first few days of production. It was Kirk’s project. Just as Douglas clashed with Mann, he did with Kubrick, who hated being a director for hire without final say – a position he vowed never to be in again and he wasn’t – though the well-received project did boost his standing in the industry as a bankable artist. His next two projects, “Lolita” and “Dr. Strangelove,” were completely different than any American films of that era in their incredibly frank, intelligent and satiric treatment of very sensitive subjects that in lesser hands would have fallen flat or rang dishonest or been ridiculous.

And then he changed the face of cinema for evermore by making his most ambitious film to date, “2001: A Space Odyssey.” Before “2001” the best sci-fi film was “Forbidden Planet,” a very serious, big-budget project that I adore but that when compared to Kubrick’s work is a naive and simplistic cartoon. Outside the U.S. Fritz Lang made a German masterwork in “Metropolis,” but we’re confining this discussion to American films. Kubrick raised the genre to heights never before seen or imagined and arguably never since surpassed. It is a work of art unfraid to tackle the biggest questions concerning life on Earth, the universe and eternity. Which brings me to Alexander Payne and a certain congruence between his work and the work of Kubrick.

In rewatching Payne’s work to prepare for the release of the new edition of my book “Alexander Payne: His Journey in Film,” I realized that they are twinned satirists who insistently tweak, challenge, subvert and decry the worst in humankind yet offer a glimmer of hope in the end, though Kubrick’s endings are decidedly less hopeful and more pessimistic. But these artists’ works definitely share an affinity for the ambiguous, complex and dual natures of people. They both dislike authority, exploitation, manipulation and dishonesty. Their films seamlessly juggle multiple storylines. Their films also share the keen sense of observation that comes from analytical and intuitive minds that place us as viewers at a distance so as to keep us intellectually and emotionally involved without indicating too much what we are to feel. They each respect us enough to let us glean what we will without beating us over the head with cues. Visually. Payne is not at Kubrick’s level, at least not yet, though his compositions, cutting and visuals have become more and more cinematic, rhythmic and poetic. And where Kubrick was making and in many cases reinventing highly evolved genre films right from the start (“Day of the Fight” is a boxing film, “Fear and Desire” is a war story, “Killer’s Kiss” is a suspense film, “The Killing” is a heist pic, “Paths of Glory” is a war story, “Spartacus” is a historical epic, et cetera), Payne has not worked in hard and fast genres, except he calls everything he makes a comedy. “Citizen Ruth” is a social satire about abortion and a lot of other things. “Election” is a high school comedy about blind ambition and mid-life crisis. “About Schmidt” is a personal dramedy about identity crisis. “Sideways” is at once a buddy pic, road flick and love story. “The Descendants” is a family dramedy about infedlity, loss and love. “Nebraska” is an elegiac tone poem about aging, family and community. The film he still has in production “Downsizing” is, whether he agrees or not, a sci fi film that not unlike “2001” takes on major social, political, cultural, philosophical and spiritual topics. It’s also a love story. Payne has always talked about wanting to work in genres and this may be his first venture there, though this is a terrestrial story, not an extraterristial tale. No spaceships or monoliths or Star Child or self-aware Hal computer here. However, the entire plot does hinge on speculative new technology that makes it possible for humans to downsize or miniaturize themselves to a few inches tall and much of the story unfolds in the hypothesized Small World. There’s yet another fictional world depicted, this one akin to a Middle Earth, that also has a major role in what reads like a post-modernist fable. I am not suggesting that Payne’s “Downsizing” will be the cinematic landmark that “2001 was but then again, maybe, just maybe, it might be. I, for one, can’t wait to see.

 

 

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Director Alexander PayneGRANT SLATER/KPCC

 

Of course, Kubrick considered more big ideas in his subsequent genre films “A Clockwork Orange” (sci-fi), “Barry Lyndon” (historical epic), “The Shining” (horror), “Full Metal Jacket” (war) and “Eyes Wide Shut” (love/relationships). Perhaps Payne will get around to that Western he’s long talked about and, who knows, maybe he’ll try his hand at a war film or an historical drama. Whatever he does, you can be sure it will be done with ultimate care, rigor and agility. Just as Kubrick’s body work by his seventh film already made him a world cinema giant, Payne is at that same point, too. In fact, Payne’s first two features were far stronger than Kubrick’s. You might argue that Kubrick’s next few films on through “Strangelove” were somewhat more impressive than Payne’s work from “About Schmidt” on through “Nebraska.” By that mean, Kubrick’s work was also visionary and unconventional and groundbreaking. I can’t say that for Payne’s works, although within the conventions he works in his work is unmatched. And then Kubrick went to a whole other level with “2001.” Something tells me Payne will do the same thing with “Downsizing.”

 

FINAL FRONT COVER 6-28-16

 

NOTE: My Alexander Payne book releases Sept. 1 but now through August 27 it can be purchased at KANEKO, 1111 Jones Street in Omaha’s Old Market. It lists for $25.95. Or you can pre-order a copy at leo32158@cox.net. It will eventually be in select bookstores and gift shops and available on Amazon and for Kindle.

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Hot Movie Takes: Do any Alexander Payne films rate among 100 greatest American films ever made?


 

74247 full
Director Alexander PayneGRANT SLATER/KPCC

 

Hot Movie Takes:

Do any Alexander Payne films rate among 100 greatest American films ever made?

 

©By Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

 

So, when the American Film Institute (AFI) gets around again to naming the 100 best American movies of all time along with the 100 best American comedies of all time, will any Alexander Payne films make the list? After recently rewatching all his work and putting together the new edition of my book “Alexander Payne: His Journey in Film” I would hazard to guess that enough time may have passed by now for as many as five of his films to crack these lists, though another decade or so may make the case better for some of them. In the Greatest movies category, I can make a great case right now for any or all of the following: “About Schmidt,” “Sideways,” “The Descendants” and “Nebraska” though I think the most likely of that group to be so homored is “Sideways.” Personally, I think the most deserving is “Nebraska.” When I review the current AFI Greatest rankings, there are several movies that to my tastes anyway have no business being there, including “Ben-Hur,” “Yankee Doodle Dandy,” “Swing Time,” “The Sixth Sense,” “Bringing Up Baby,” “Easy Rider,” “Titanic,” “All About Eve” and well a whole bunch more. Don’t get me wrong, they’re all fine films. But do they rise to Greatest ever heights? Let’s just say that on my Greatest list I would change out about half of the entries in the AFI list for other films I regard as better works. I definitely rate any of the Payne films I nomianted as Greatest candidates above the pictures I singled out here. I see that “The Last Picture Show” is on the AFI list, and while I admire the movie, I don’t think it’s as good as Payne’s “Nebraska,” another black and white, small town elegy story. There are very few comedies on the Greatest list and once again i would rate any of Payne’s comedies, with the exception of “Citizen Ruth,” right there with “The Apartment,” “Some Like It Hot,” “Tootsie,” “The Graduate,””Duck Soup,” “Sullivan’s Travels,” “City Lights,” “Modern Times” and “The General,” and I am a great admirer of all those films.

Looking over the AFI Greatest Laughs list, any or all of Payne’s films deserve a spot there. For many Payne buffs, his best comedy to date is “Election” and it certainly belonsg among the best screen comedies. Based on sheer fillmMaking and cinema as art consideratons, only a very few on the AFI list can match or exceed his work in my opinion, and that would be “Dr. Strangelove,” the aforementioned Chaplin films, Keaton’s “The General” and “The Navigator,” Woody Allen’s “Manhattan,” James L. Brook’s “Broadcast News” and the Coen Brothers’ “Fargo.” If you’re grading purely on comedy or laughs, well then several films may be funnier than Payne’s comedies, such as “The Producers” or “There’s Somtething About Mary” or “Animal House” but of course his movies don’t only operate as comedies. Indeed, they are as much dramas as comedies because he applies a sharp satiric lens to everything he looks at and he focuses that lens on some very tough subjects. Abortion. Addiction. Infidelity. Loneliness. Alienation. Identity crisis. Aging. Death. With his new film “Downsizing” he’s tackling even deeper, darker subjects. For my tastes anyway, his comedies are among the richest and most satisfying ever made for these very reasons. In this sense, he shares much in common with Charlie Chaplin, Buster Keaton, Frank Capra, Ernest Lubisch and Billy Wilder from the Golden Age of Cinema. Part of the fun of fillm is that everyone sees everything so differently.

FINAL FRONT COVER 6-28-16

NOTE: My Alexander Payne book releases Sept. 1 but now through August 27 it can be purchased at KANEKO, 1111 Jones Street in Omaha’s Old Market. It lists for $25.95. Or you can pre-order a copy at leo32158@cox.net. It will eventually be in select bookstores and gift shops and available on Amazon and for Kindle.

®

AFI’s 100 GREATEST AMERICAN MOVIES OF ALL TIME

The very first edition of AFI’s 100 Years…100 Movies is a list of the 100 greatest American films of all time.

In 1998, AFI invited more than 1,500 leaders from across the American film community – screenwriters, directors, actors, producers, cinematographers, editors, executives, film historians and critics among them – to choose from a list of 400 nominated films compiled by AFI and select the 100 greatest American movies.

The AFI’s 100 Years…100 Movies CBS television special originally aired on June 16, 1998.

The updated 10th anniversary edition to this list is here.

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# MOVIE YEAR
1 CITIZEN KANE 1941
2 CASABLANCA 1942
3 THE GODFATHER 1972
4 GONE WITH THE WIND 1939
5 LAWRENCE OF ARABIA 1962
6 THE WIZARD OF OZ 1939
7 THE GRADUATE 1967
8 ON THE WATERFRONT 1954
9 SCHINDLER’S LIST 1993
10 SINGIN’ IN THE RAIN 1952
11 IT’S A WONDERFUL LIFE 1946
12 SUNSET BLVD. 1950
13 THE BRIDGE ON THE RIVER KWAI 1957
14 SOME LIKE IT HOT 1959
15 STAR WARS 1977
16 ALL ABOUT EVE 1950
17 THE AFRICAN QUEEN 1951
18 PSYCHO 1960
19 CHINATOWN 1974
20 ONE FLEW OVER THE CUCKOO’S NEST 1975
21 THE GRAPES OF WRATH 1940
22 2001: A SPACE ODYSSEY 1968
23 THE MALTESE FALCON 1941
24 RAGING BULL 1980
25 E.T. THE EXTRA-TERRESTRIAL 1982
26 DR. STRANGELOVE 1964
27 BONNIE AND CLYDE 1967
28 APOCALYPSE NOW 1979
29 MR. SMITH GOES TO WASHINGTON 1939
30 THE TREASURE OF THE SIERRA MADRE 1948
31 ANNIE HALL 1977
32 THE GODFATHER PART II 1974
33 HIGH NOON 1952
34 TO KILL A MOCKINGBIRD 1962
35 IT HAPPENED ONE NIGHT 1934
36 MIDNIGHT COWBOY 1969
37 THE BEST YEARS OF OUR LIVES 1946
38 DOUBLE INDEMNITY 1944
39 DOCTOR ZHIVAGO 1965
40 NORTH BY NORTHWEST 1959
41 WEST SIDE STORY 1961
42 REAR WINDOW 1954
43 KING KONG 1933
44 THE BIRTH OF A NATION 1915
45 A STREETCAR NAMED DESIRE 1951
46 A CLOCKWORK ORANGE 1971
47 TAXI DRIVER 1976
48 JAWS 1975
49 SNOW WHITE AND THE SEVEN DWARFS 1937
50 BUTCH CASSIDY AND THE SUNDANCE KID 1969
51 THE PHILADELPHIA STORY 1940
52 FROM HERE TO ETERNITY 1953
53 AMADEUS 1984
54 ALL QUIET ON THE WESTERN FRONT 1930
55 THE SOUND OF MUSIC 1965
56 M*A*S*H 1970
57 THE THIRD MAN 1949
58 FANTASIA 1940
59 REBEL WITHOUT A CAUSE 1955
60 RAIDERS OF THE LOST ARK 1981
61 VERTIGO 1958
62 TOOTSIE 1982
63 STAGECOACH 1939
64 CLOSE ENCOUNTERS OF THE THIRD KIND 1977
65 THE SILENCE OF THE LAMBS 1991
66 NETWORK 1976
67 THE MANCHURIAN CANDIDATE 1962
68 AN AMERICAN IN PARIS 1951
69 SHANE 1953
70 THE FRENCH CONNECTION 1971
71 FORREST GUMP 1994
72 BEN-HUR 1959
73 WUTHERING HEIGHTS 1939
74 THE GOLD RUSH 1925
75 DANCES WITH WOLVES 1990
76 CITY LIGHTS 1931
77 AMERICAN GRAFFITI 1973
78 ROCKY 1976
79 THE DEER HUNTER 1978
80 THE WILD BUNCH 1969
81 MODERN TIMES 1936
82 GIANT 1956
83 PLATOON 1986
84 FARGO 1996
85 DUCK SOUP 1933
86 MUTINY ON THE BOUNTY 1935
87 FRANKENSTEIN 1931
88 EASY RIDER 1969
89 PATTON 1970
90 THE JAZZ SINGER 1927
91 MY FAIR LADY 1964
92 A PLACE IN THE SUN 1951
93 THE APARTMENT 1960
94 GOODFELLAS 1990
95 PULP FICTION 1994
96 THE SEARCHERS 1956
97 BRINGING UP BABY 1938
98 UNFORGIVEN 1992
99 GUESS WHO’S COMING TO DINNER 1967
100 YANKEE DOODLE DANDY 1942

AFI’s 100 YEARS…100 MOVIES (1998)
List of the 400 nominated movies
List of the 100 winning movies

 

NOSA Arts Crawl to feature diverse art and artists – Friday, August 12


Come do the Crawl!

NOSA crawl Poster

NOSA Arts Crawl to feature diverse art and artists – Friday, August 12

The 2016 edition of North Omaha Summer Arts has seen the addition of new events and community partners and now NOSA’s gearing up for its 6th Annual Arts Crawl on Friday, August 12.

Founded in 2011 by North Omaha resident Pamela Jo Berry, NOSA is an entirely free, summer-long festival dedicated to the proposition that the arts can heal and build community. Berry, a mixed media artist, saw a need to infuse more art in all its forms into North Omaha and to give artists more opportunities to explore and showcase their work. The festival features some recurring events, such as the gospel concert in Miller Park in June, an Art and Gardening class at the Florence Branch Library in July and the Arts Crawl in August. A weekly women’s writing series just concluded and its students’ work will be published in an anthology.

New this year to the NOSA schedule are a variety of Pop-Up Art events, including the recent Thoreau Meets the Harlem Renaissance and Painting Bird Houses events. More Pop-Up Art happenings are planned. NOSA often works with community partners to present events, including recent collaborations with Compassion in Action, Girls Inc. and the Intergenerational Human Services Campus.

The highlight of NOSA each year is the Arts Crawl. This walkable, continuous art show presents the diverse work of emerging and established artists at venues on or near North 30th Street. This year’s Crawl runs from 6 to 9 p.m. on August 12. It starts at the Metropolitan Community College Fort Omaha campus Mule Barn building and ends at the North Heartland Family Service – with Church of the Resurrection, Nelson Mandela School and Trinity Lutheran in between.

The public is invited to walk or drive to each location to view art in various mediums, enjoy art demonstrations and speak with artists about their practice. Live music will be performed at some venues.

Many of the featured artists are from North Omaha.

For this year’s Crawl, each veteran artist is showing alongside a younger or less experienced artist with whom they share a close connection. For example. Gabrielle Gaines Liwaru is showing her art photography beside her daughter Cheamera Liwaru’s own photographs and Aaryon Lau Rance Williams is showing his paintings next to art created by youth from the after school arts program he operates.

“NOSA would like to welcome art lovers from around the metro to come out for this each-one-to-teach-one and it-takes-a-village celebration of community, family and art,” Berry said. “We are thrilled to be in our sixth year with North Omaha Summer Arts and we are thankful for all the partners, artists and volunteers who help make it happen and keep it a free event.”

A reception kicking off the Crawl will be held at the Charles B. Washington Branch Library, 2868 Ames Avenue, from 5:30 to 6:30 p.m.  Tara Evans and the Golden Thread Quilters, sponsored by Community Quilting Center Inc., will feature approximately 40+ quilts throughout the library. Both traditional and artistic quilts will be on display.

Free snacks and refreshments will be abatable at each stop along the Crawl route.

For more information, call 402-502-4669.

Visit the NOSA Facebook page at–
http://www.facebook.com/NorthOmahaSummerArts

Visit the Arts Crawl event page at–
https://www.facebook.com/events/1133908166708406/

Follow and like NOSA at–
https://www.facebook.com/NorthOmahaSummerArts/?fref=ts# or https://www.facebook.com/groups/1012756932152193/

 

Cover Photo

Bright Lights: Teen designer Ciara Fortun mines Filipino heritage in Omaha Fashion Week collection

July 29, 2016 1 comment

Omaha Fashion Week has a decided youth focus in its efforts to nurture and build the local fashion ecosystem and one of the latest prodigies getting showcased and supported is 16-year-old Ciara Fortun. Here is my profile of Ciara appearing in the August 2016 issue of The Reader  (www.thereader.com).

 

Ciara Fortun

 

 

Bright Lights

Teen designer Ciara Fortun mines Filipino heritage in Omaha Fashion Week collection

©by Leo Adam Biga

Appearing in the August 2016 issue of The Reader (www.thereader.com)

 

The private doodles Ciara Fortun used to make have evolved into working sketches for collections she now produces for Omaha Fashion Week shows.

After debuting at OFW with a formal women’s wear show last March, she’s unveiling a new collection of dresses inspired by her Filipino heritage in August.

The 16 year-old Elkhorn resident and junior at Concordia High School has been fascinated with style since early childhood. But it wasn’t until attending her first Fashion Week in 2015 she realized living in flyover country was no barrier to doing something in fashion.

She attended Omaha Fashion Camp and got inspired by industry professionals working as designers, models, creative directors, stylists and photographers. That led her to sketch out a collection. The designs variously drew on Audrey Hepburn, Old Hollywood and Art Deco. Fortun’s tastes run to refined and vintage in apparel and music. She often listens to classic jazz while working.

Regarding her personal sense of style, she said, “It evolves all the time. I may look completely different day to day. Today, I’m wearing overalls, but tomorrow I may be wearing heels and a pencil skirt. I’m kind of minimalistic with everything. I don’t like a bunch of patterns. It’s pretty clean, pretty simple,” she said from her second-story home workroom. The space is filled with sketches, magazine spreads, inspirational words, a tailors dummy draped by a tape measure, an electric sewing machine, clumps of fabric and a wardrobe rack filled with her handiwork.

 

Ciara Fortun

Photos by Heather and Jameson Hooton

Models by Develop Model Management

 

She waited until “the last day” to submit her designs and then only after her parents’ gentle prodding. Upon being selected to interview she faced a panel of five adults who critiqued her work and asked about aesthetics and aspirations. It was intimidating. She said she learned “you have to really know what your personal style is before you can make something because then you know what your foundation is with fashion.”

She waited two excruciating weeks before getting word she made the cut as an invited OFW designer. That’s when reality set in she next had to create a wearable, runway-ready collection in four months. The family project involved her parents and younger sister, but Ciara and her father Luis Fortun did most of it together. Though neither has formal training, they have genetics on their side. Ciara’s paternal grandmother is from the Philippines, where she sewed. An aunt was a master seamstress and a great-grandfather a master tailor. Ciara’s steeped in stories about her ancestral homeland.

Between calling on ancestral skills, watching YouTube how-to videos and “Project Runway” episodes and sounding out OFW staff, this father-daughter combo figured things out through “lot of trial and error,” Ciara said.

A GoFundMe campaign helped with buying materials.

She agonized getting every last detail right, but her dad reminded her, “They’re not looking for perfection, they’re looking for confidence.”

Ciara said the finished dresses ended up “a lot different than what we had on paper. We did a lot of tweaking.” “On the fly,” added Luis.

“I was unsure about a lot of stuff,” Ciara said, “but then we just went for. By rack check I was terrified. I was like, ‘What if they don’t like any of the stuff and the changes I made?’ But they were really good about that. They care more about what you feel was the right choice than what will sell. It turned out well,”

During the process, OFW consultants made suggestions and Luis said, “We took most of the suggestions but some we didn’t, and they were actually very complimentary about that, saying it shows Ciara”s OK standing by her own decisions. I  was very proud of Ciara.”

Dealing with adults has taught Ciara the importance “of being able to hold a conversation” and articulate her vision. “It’s caused me to step out of my comfort zone to share what my heart is,” she said. “It’s great to be pushed to share what you love. It all has a risk factor, but you just have to stick to what you know and love. It’s been a really good growing experience, especially in a supportive setting.”

“Watching her grow through the whole process has been very encouraging – just taking responsibility for all the things,” said her father.

Getting the collection done in time came down to the wire. It meant pulling some all-nighters.

The Fortuns were pleasantly surprised by how accessible OFW staff were answering questions and providing assistance.

“You can go talk to them if you need help with something,” Ciara said. “The thing about Omaha Fashion Week is that everyone there is really supportive of the younger generation. They want to bring you through this and show you different steps of making a collection and a brand.”

She’s found big sisters and kindred spirits in designers Buf Reynolds and Sabrina Jones.

“They’re really inspiring. I see them as mentors and people I can look up to.”

As a father pressed into duty as a dressmaking production director, Luis Futon appreciates the help OFW provides.

“They do a really good job of framing out major milestones you have to reach in terms of salon, music, model call, rack check. They just don’t say, okay, we’ll see you in four months. They give you guidance. It’s very structured. They kind of walk you through the whole thing and give a lot of pointers and insight.”

Ciara’s fall collection featured highly structured, muted dresses using neoprene. Her work was well received by patrons and judges at the Omaha Design Center. Her models walked to “Forever Mine” by Andra Day and “New York New York” by DJ Cam Quartet.

By winning her night, she earned a $500 prize. In true entrepreneurial spirit she plowed it right back intto buying fabric. She’s discovered what all fashion designers here learn – you must look outside Nebraska for the best fabric and pay a premium for it.

Her new collection, for spring-summer, is lighter, brighter and more flowing with its colored satins. Besides the accent on color, another nod to her Filipino lineage is the incorporation of capiz shells.

She may study art in college to keep her creative options open.

“I’m still trying to figure out things.”

If she pursues a fashion career, it helps that OFW has her back.

“It’s a really good community we’ve found. If we lived in New York, it wouldn’t be that way. It’s really cool being part of this unique group that get me.”

Fortun, who creates under her Noelle Designs label, is among 27 designers showing during the August 22-27 Fashion Week. Her collection hits the runway August 23.

For schedule and tickets, visit omahafashionweek.com.

Omaha cinema culture provides diverse screen landscape


For as long as the movies have been around, Omaha has had a cinema culture of one kind or another. Back in the day, when neighborhood theaters dotted the landscape and grand movie palaces still operated, you could reasonably say that the city’s cinema culture – at least in terms of the exhibition and viewing of movies  – was at its peak. This would have been true from the 1920s through the early 1950s. There were theaters all over the city then. Television then began rearing its ugly head and neighborhood theaters started closing. However, a new dimension in moviegoing emerged with the arrival of drive-in theaters and the opening of one of the nation’s few Cinerama theaters, the Indian Hills. Additionally, uiversity and museum sponsored film series became in vogue. I helped run two of these series – one at UNO and one at the Joslyn Art Musuem. There were even art cinema oprations here before Film Streams. I was associated with the longest-lived of these, the New Cinema Cooperative. Thus, for a period of a couple decades or so, Omaha boasted a rich mix of moviegoing options that simply doesn’t exist today in the same way. Of course, so much has changed. The neighborhood theaters, drive-ins and grand palaces are nearly all gone or being used for other purposes. The Indian Hills is gone. The university and museum film series are no more. But there are some currents happening that may bring back the past. The metro’s last remaining neighborhood theater still being used to exhibit movies, the Dundee Theater, closed for remodeling and was on the verge of never reopening again until it landed in the hands of Film Streams. Thanks to its new owners and managers, the Dundee will indeed see new life again. Concurrently, the 40th Street Theater has recently been renovated and reopened after being inactive and unseen for 65 years, although this former vaudeville house turned movie theater is being used for live peformances rather than screenings. That could always change. The old Benson Theatre may have new life again if the funds needed for its renovation are secured. Some new movie viewing options have sprung up in such event-destination style venues as Alamo Drafthouse Cinema. The Omaha Film Festival has made a nice contribution to the cinema scene. More than any single entity, Film Streams raised the film culture here.

Outside of the exhibition-viewing realm, the biggest differecet in film culture enrichment these days is all the local filmmaking going on. It’s only in the last 20 years but really more in the last decade and ever more that the technology and means to film production have become highly accessible and affordable. These are, with a few notable exceptions, very small indie projects that fly under the radar but they do give filmmakers experience in practicing their craft and the work does get seen and does find audiences, some of it more than others. Of course, the phenomenon of Alexander Payne, followed by Nik Fackler, has brought Hollywood A-list talent to town and given locals opportunities to work with that talent. Now, some new filmmakers on the investing, producing and artistic sides of the industry are developing projects unlike anything seen here before. Parallel with that movement is the increasing number of locals who are making it in the industry, forging careers in television and film, and some of these folks are coming back here to do things, which is another new wrinkle to the story. If more follow, then a depth of skill sets, connections, finances and faciltiies may build up here to finally give Omaha and greater Nebraska a true film infrastructure. The biggest missing piece, however, remains tax incentives for filmmaking. People are working on making that happen, too.

All of this is background and context for my new Omaha Cinema Culture story in the August 2016 issue of The Reader (www.thereader.com).

 

 

Film Streams

 

 

Omaha cinema culture provides diverse screen landscape

©by Leo Adam Biga

Originally appeared in the August 2016 issue of The Reader (www.thereader.com)

 

If there is an Omaha Cinema Culture, it cuts across consumer, exhibitor, artist, aspirational experiences. Being far from traditional film centers poses certain barriers, but rich offerings and showplaces exist. Natives pursue and some achieve screen careers. It’s been this way since the industry’s start.

In addition to many name actors, Nebraska’s produced studio heads (Darryl Zanuck), network execs (Lew Hunter), filmmakers (Joan Micklin Silver) and producers (Monty Ross). Alexander Payne is the only native A-list talent who brings work here. He cut his teeth in local art houses, then studied film at UCLA before embarking on his acclaimed writer-director journey that’s seen five of his seven features shot in part or entirely here.

Omaha filmmaker and educator Mark Hoeger said Payne’s insistence on setting and shooting movies here is what distinguishes him from his Nebraska counterparts.

Fellow filmmaker Nik Fackler (Lovely, Still) said, “I wouldn’t have been inspired to make my own films if it wasn’t for filmmakers like Alexander Payne, Mike Hill and Dana Altman. It fuels the fire of excitement for young filmmakers. I was an extra on Election and after being on set for a day, I realized I wanted to be a director.

Hoeger said, “In an industry more akin to the lottery, seeing those winners is essential to keeping the dream alive.”

Nebraska Film Officer Laurie Richards said Payne’s in-state shoots have an impact.

“Locals get hired, locations used, hotel rooms booked, cars and trucks rented, food-entertainment providers procured.”

Then there are branding opportunities for the state, the city and the various other towns and locations utilized.

Other natives with industry clout , such as creator-executive producer of The Blacklist , Jon Bokenkamp, as well as Gabrielle Union (Being Mary Jane), Marg Helgenberger or Andrew Rannells could conceivably bring projects here.

Former Nerbaska state senator Colby Coash, who acts in local movies, said, “Hollywood is full of Nebraskans looking for opportunities to return to their home state to share their art.”

Matt Sobel did return to make Take Me to the River. Erich Hover did the same with It Snows All the Time.

Nebraska Cinema Project principals Kevin McMahon and

Randy Goodwin are Hollywood veterans hoping features they’re developing build a sustainable in-state film industry.

Chad Bishoff’s bi-coastal and Omaha-based Syncretic Entertainment is producing a TV pilot to be set and shot in Omaha.

Film-TV actor John Beasley of Omaha found financing to greenlight a $20 million feature with A-list pedigree he’s producing on local sports legend Marlin Briscoe.

Coash said, “Payne, Beasley and others are great role models for Nebraska artists.”

Payne also enriches the cinema culture by curating series at Film Streams and bringing major figures (Laura Dern, Debra Winger, Steven Soderbergh, Jane Fonda, David O. Russell, Bruce Dern) for its Feature Event.

Film Streams is an established cultural center in its North Downtown Ruth Sokolof Theater digs. As the metro’s first and only fully dedicated art cinema, it’s the hub and “home base for the hard core community of cinephiles,” Hoeger said.

 

The Dundee Theater is Omaha’s last single screen theater

 

With the metro’s last remaining neighborhood cinema, the Dundee Theater, now under its management, Film Streams educational-community programming will extend to midtown. Reader film critic Ryan Syrek said Film Streams’ impact “can’t really be overstated,” adding, “It’s night and day. Before, smaller films simply never came to Omaha. We can now enjoy the movies shown on the coasts. Their repertory series do an excellent job filling in cinematic gaps.”

Syrek said the Dundee satellite location opening late 2017-early 2018 is “a big deal because right now you have to go downtown to see art-house movies.” Having that venue again after it closed is a boon to “cinema lovers,” he said.

Any must-see movies Film Streams misses usually make it to the Mary Riepma Ross Media Arts Center in Lincoln.

Other viewing options include the Henry Doorly Zoo’s Lozier IMAX Theatre and a plethora of outdoor screenings metro-wide. Bruce Crawford revives classic films twice a year with the old ballyhoo. Marcus Midtown, Ak-Sar-Ben and Alamo Drafthouse cinema feature enhanced amenities. Historic theaters in Kearney and Scottsbluff have been preserved.

Rachel Jacobson left Omaha only to fall so hard in love with sharing cinema art and history she returned to found and run Film Streams. Filiing the seats is a constant challenge, “You need to create a special experience for people to choose to leave their home,” she said. She doesn’t do it with frills, but with relevant, inventive, niche programs that engage ideas.

“I really love people who are frequent attendees but did not consider themselves movie lovers before we came along. I’m also impressed by people who have been inspired by the content they’ve seen on screen. Urban farmers who learned about global food issues watching Food, Inc. or folks working with refugees inspired by a documentary we showed. It’s amazing how much impact creating a community around film can have beyond the arts and culture scene.”

As a nod to and outlet for a burgeoning Nebraska New Wave, the Omaha Film Festival’s added a local feature showcase similar to what Film Streams offers. Mark Hoeger said, “What I love about the Omaha Film Festival is what it does to highlight local films. which means you see some stuff that’s not very good. But it’s also just really fun to see what local people are coming up with, and some of it’s really quite nice.”

Local filmmakers also have exhibit opportunities at the White Light City and Prairie Lights festivals in Fremont and Grand Island, respectively. Eastern Nebraska Film Office director Stacy Heatherly said “festivals not only offer local filmmakers a platform to screen their films, they offer collective support.”

A one-off theater showing is easier than before, Hoeger said, because in today’s digitized environment a filmmaker can have a high quality image projected from a disc or flash drive. Fackler appreciates the access cineplex managers provide in “helping fan the flames of ‘film as art’ exposure.” He added, “I like that they support filmmakers and create relationships with them.”

Don’t expect seeing Mike Hill, longtime co-editor of Ron Howard’s films, at the theater.

“I very rarely go to movies anymore,” Hill said. “I get my entertainment from Netflix and TV. “I guess that is my cinema culture now. Breaking Bad, Fargo, House of Cards, Peaky Blinders, True Detective, Game of Thrones, Ray Donovan are cinematic entertainments vastly superior to most theatrical releases. So there is obviously a lot of talent out there. It’s just a different delivery system.”

Hoeger said the followings some new media content acquires, paired with the means of production being affordable and accessible, reflects a decentralized, democratized production-distribution shift. He predicts the music model that finds even major artists posting work online “is going to happen in film.” The Holy Grail big budget movie is “a product increasingly on the way out” as the norm,” he said. He expects more micro projects to come out of local-regional markets like Omaha.

“I can see down the road where community film production is just as normal a thing as community theater production. What was cost prohibitive even 10 years ago is not anymore and we have enough people with the right skill-set to do that.”

World class mentors are as near as Oscar-winning Omaha residents Payne, Hill and (cinematographer) Mauro Fiore. Others with serious credits reside or maintain close ties here.

The old model still works. One with new legs is L.A. and Omaha-based Night Fox Entertainment. CEO Timothy Christian and local partners find investors for Indiewood features the company helps finance and co-produce. New projects like East Texas Hot Links (Samuel L. Jackson is executive producing) may take Night Fox more on the lead production end. Filming here is possible, but lack of incentives makes it tough.

Mark Hoeger’s worked with the Nebraska Film Association and others to muster support for state tax incentives as Hollywood bait. Those efforts stalled but a new tact has gained traction.

“We’re working with the Department of Economic Development to come up with a plan that stays away from any parochial view of attracting ‘real’ moves to Nebraska. Instead, we want to find ways that encourage and support true local productions – everything from commercials to Web series to documentaries to narrative films. The emphasis is on encouraging young creative minds to stay and work here.”

He said Gov. Pete Ricketts recognizes film-TV-Web production as an economic engine. There is consensus now, Hoeger said, that content producers are entrepreneurs whose value-add this brain-drained, resource-strapped state cannot afford losing.

Fremont’s implemented its own incentives package for film production. Laurie Richards said statewide incentives remain elusive minus “a concerted effort by all islands of filmmaking across the state.” Colby Coash said, “Gaining tax incentives has been a challenge – not because they don’t work or aren’t valuable, but because they aren’t prioritized like incentives for agriculture and manufacturing. Lawmakers are starting to see film as a more viable industry that has real impact on economic development and jobs. The trend seems to be more of a focus on regional support where a film may have a tourism value.”

While aspiring filmmakers enjoy a robust Omaha Cinema Culture for seeing films and crewing on them, formal education lags. Jacobson said Film Streams fills some gaps and looks to do more at the Dundee site.

“We are growing our film education programs all around film history and criticism and media literacy. Now open almost a decade, the thing I’m most proud of is meeting young adults who grew up attending our free student night and education programs who are pursuing filmmaking. I love hearing someone was inspired to work in film when they saw their first Kubrick film on the big screen at the Ruth Sokolof Theater.”

She added, “I’d like to see other organizations develop filmmaking programs. There is a film studies minor at Creighton and film production classes at Metro. UNO is working on a film studies minor. It would be great for one of the major universities to establish a BA in film or even an MFA program for visual arts. We have far to go in film production ed.”

There’s no ideal cinema culture outside New York or L.A. Natives take what they can from home. Some leave, some stay and others return to realize cinema dreams right here.

 

Passion Project – Introducing the new “Alexander Payne: His Journey in Film”

July 29, 2016 2 comments

Passion Project 

Introducing the new –

“Alexander Payne: His Journey in Film”

Very pleased to announce the new edition of my book “Alexander Payne: His Journey in Film” releases September 1. The book is a passion project of mine that I am happy to share with the world. If you are a cinema lover and a Payne fan, then this is a must-read.

“Alexander Payne: His Journey in Film” charts the Oscar-winning filmmaker’s rise to the elite ranks of world cinema. Articles and essays take you deep inside the artist’s creative process. It is the most comprehensive look at Payne and his work to be found anywhere. This new edition features significant new content related to “Nebraska” and “Downsizing.” We have also added a Discussion Guide with Index for you film buffs, critics, filmmakers, educators and students. The book is also a great resource for more casual film fans who want a handy Payne primer and trivia goldmine.

The book releases September 1 from River Junction Press and sells for $25.95.

For inquiries and pre-orders, contact: leo32158@cox.net.

FINAL FRONT COVER 6-28-16    

As an author-journalist-blogger, I write about people, their passions and their magnificent obsessions, and no one more epitomizes that profile than Alexander Payne. I mean, he waited 10 years to finally make his in-progress new feature “Downsizing.” That’s passion, that’s commitment, that’s holding onto a magnificent obsession until realized.

Payne is one of the most passionate people I know. Besides talent, his driving, all-consuming passion explains why he’s been able to make the uncompromising films he’s made in spite of the myriad pitfalls and challenges that confront any motion picture project. I have covered his filmmaking journey almost from the start. In 2012 I turned my in-depth reporting about him into “Alexander Payne: His Journey in Film.” It is a passion project for me.

Follow my work at–
http://www.leaoadambiga.com and http://www.facebook.com/LeoAdamBiga.

 

Though I am a generalist who writes about anything and everything, there are a few subjects I keep returning to again and again. Some of these are societal and cultural in nature, others historical. But there is one particular individual who occupies special emphasis among all my writing and reporting: Alexander Payne. The filmmaker, who has given us such works as “Election,” “About Schmidt,” “Sideways,” “The Descendants” and “Nebraska,” is actually part of a larger interest in film I have cultivated for decades. I got hooked on movies as a teen. I did film programming for a decade-and-a-half. Since the mid-1990s I have written hundreds of stories as a film journalist. Many of my film interviews and profiles focus on Nebraskans in film. I am developing the Nebraska Film Heritage Project as a print, online, lecture and curriculum vehicle for documenting and celebrating the achievements of Nebraskans in film, past and present, both in front of the camera and behind the camera.

Payne is the epitome of the passionate creatives I interview and profile. His magnificent obsession with film ranges from an encyclopedic knowledge of world cinema to support of film preservation and education efforts to pursuit of great film projects. From his very first feature, “Citizen Ruth,” on through his last completed film, “Nebraska,” he has satirically, thoughtfully explored a wide expanse of the human heart and soul. He’s paid particular attention to relationships, but he’s also touched on abortion, politics, mid-life crisis, loneliness, identity issues, addiction, depression, love, romance, infidelity, death, family, alienation, old age. The film he’s making now, “Downsizing,” which releases in late 2017, will offer up his most expansive take yet on the world with the satire this time revolving around themes of depleted world resources, sustainability, technology, geo-political tensions, terrorism, corruption, exploitation, discrimination and civilization. He and co-writer Jim Taylor are exploring the very nature of what it means to be human and how we create society. Where his previous films have been more intimate in scale, he is working on an epic canvas here, though the ideas are distilled into the closely observed personal story of one character, Paul (played by Matt Damon), whose life is the prism through which all these intersecting storylines and themes are played out. In terms of ideas, it may be the most ambitious American film since “Apocalypse Now” or “The Deer Hunter” or at least since Avatar.

My extensive coverage of the acclaimed writer-director has resulted in a deep body of work about him and his films that I have put into book form. The new edition of tha book now available this summer features expanded and enhanced content that brings you right up to date with his latest project.

If you are in Nebraska, you have an early bird opportunity to buy the book at KANEKO, 1111 Jones Street, in Omaha’s Old Market. It will be available for purchase during the remainder of the Storytelling Series run (through August 27) at this venue that is “an open space for open minds…”

The book will be available at other venues, including bookstores and gift shops, during the course of the summer and fall. It will also be available on Amazon and for Kindle.

Strong praise for”Alexander Payne: His Journey in Film”–
“This is without question the single best study of Alexander Payne’s films, as well as the filmmaker himself and his filmmaking process. In charting the first two decades of Payne’s remarkable career, Leo Adam Biga pieces together an indelible portrait of an independent American artist, and one that’s conveyed largely in the filmmaker’s own words. This is an invaluable contribution to film history and criticism – and a sheer pleasure to read as well.” –Thomas Schatz, Film scholar and author (“The Genius of the System”)

“Alexander is a master. Many say the art of filmmaking comes from experience and grows with age and wisdom but, in truth, he was a master on day one of his first feature. Leo Biga has beautifully captured Alexander’s incredible journey in film for us all to savor.” – Laura Dern, actress, star of “Citizen Ruth”

“Last night I finished your wonderful new book and I enjoyed it so much! Alexander Payne is such a terrific director and I loved reading about his films in detail. Congratulations.” – Joan Micklin Silver, filmmaker (“Hester Street,” “Crossing Delancey”)

“Alexander Payne is one of American cinema’s leading lights. How fortunate we are that Leo Biga has chronicled his rise to success so thoroughly.” – Leonard Maltin, film critic and best-selling author

“I’d be an Alexander Payne fan even if we didn’t share a Nebraska upbringing: he is a masterly, menschy, singular storyteller whose movies are both serious and unpretentious, delightfully funny and deeply moving. And he’s fortunate indeed to have such a thoughtful and insightful chronicler as Leo Biga.” – Kurt Andersen, novelist (“True Believers”) and Studio 360 host

“Alexander Payne richly deserves this astute book about his work by Leo Biga. I say this as a fan of both of theirs; and would be one even if I weren’t from Nebraska.” – Dick Cavett, TV legend

“Leo Biga brings us a fascinating, comprehensive, insightful portrait of the work and artistry of Alexander Payne. Mr. Biga’s collection of essays document the evolution and growth of this significant American filmmaker and he includes relevant historical context of the old Hollywood and the new. His keen reporter’s eye gives the reader an exciting journey into the art of telling stories on film.” – Ron Hull, Nebraska Educational Television legend, University of Nebraska emeritus professor of broadcasting, author of “Backstage”

“Perhaps the most intriguing feature of the book is Biga’s success at getting Payne to speak candidly about every step in the filmmaking process. These detailed insights include the challenges of developing material from conception to script, finding financing, moderating the mayhem of shooting a movie, and undertaking the slow, monk-like work of editing.” – Brent Spencer, educator and author (“The Lost Son”)

“This book became a primer for me, and introduced me to filmmaking in a way that I had never experienced in my years at film school. The intimacy and honesty in Biga’s writing, reporting and interviewing– and Payne’s unparalleled knowledge of cinema introduced me to filmmaking and film history from someone I quickly came to respect: Mr. Payne.” – Bryan Reisberg, filmmaker (“Big Significant Things”)

Scenes from NOSA’s Painting Bird Houses Pop-Up Art Event


Scenes from NOSA’s Painting Bird Houses Pop-Up Art Event

North Omaha Summer Arts has added Pop-Up Art Events this season, including a recent Thoreau Meets the Harlem Renaissance event at the Malcolm X Birthsite. The images posted here are from the Painting Bird Houses event held at the home of the artist Evance, who hosted and facilitated the class/happening on the wrap-around porch of her beautiful North Omaha home. Adults and children participated.

©Photos by Hans Hillie

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NOSA is collaborating with more community partners than ever before for arts events, including recent collaborations with Compassion in Action, Girls Inc. and the Intergenerational Human Services Campus. Look for posts about these happenings.

Meanwhile, the Women’s Writing Classes and Retreats have been going strong throughout the summer. Participants’ writing will be collected and published in an anthology.

And don’t miss the 6th Annual NOSA Arts Crawl happening in August–

Arts Crawl
Friday, August 12
Reception at Charles Washington Branch Library
5:30-6:30 pm.
The Crawl at several venues on or near North 30th Street
6 to 9 pm
This walkable, continuous art show showcases the diverse work of emerging and established artists at venues on or near North 30th Street. The 6th Annual Crawl starts at the Metropolitan Community College Fort Omaha campus Mule Barn building and ends at the North Heartland Family Service – with Church of the Resurrection, Nelson Mandela School and Trinity Lutheran in between. Walk or drive to view art in a wide variety of mediums, to watch visual art demonstrations and to speak with artists about their practice. Enjoy live music at some venues. Many of the featured artists are from North Omaha.

For this year’s Crawl, each veteran artist is showing alongside a younger or less experienced artist with whom they share a close connection. For example. Gabrielle Gaines Liwaru is showing her work beside her daughter’s and Aaryon Lau Rance Williams is showing his paintings next to art created by youth from the after school arts program he operates.

NOSA invites you come out for this each-one-to-teach-one and it-takes-a-village celebration of community, family and art.

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