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Hot Movie Takes: The reviews are in and ‘Downsizing’ is the talk of the movie world

August 31, 2017 Leave a comment













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Hot Movie Takes – Alexander Payne and Mike Nichols

August 26, 2017 1 comment

Hot Movie Takes – Alexander Payne and Mike Nichols
@By Leo Adam Biga, Author of “Alexander Payne: His Journey in Film”

Comparing artists, in this case film directors, is a hazardous business, but that isn’t stopping me from doing it. As someone who thinks and writes a lot about writer-director Alexander Payne, I sometimes search for resonance between his work and that of other filmmakers. When first exposed to his satirical cinema I was immediately reminded of Billy Wilder. Later, I saw parallels between Payne’s mis en scene and that of James L. Brooks, Joan Micklin Silver and Paul Thomas Anderson. More recently, I found continuity in the mordant, highly composed worlds of Payne and Stanley Kubrick. My newest reference point connects the work of Payne with that of the late Mike Nichols. The difficulty with this particular comparison is that Payne is a writer and director and Nichols was a director who, while I’m sure he had a great hand in the scripts he helmed, practically owned no writing credits. On the other hand, Nichols consistently worked with and interpreted great writers and the spirit of his satirical sensibilities is evident in his oeuvre. The term auteur is overused and misapplied to many filmmakers but it certainly fits both Nichols and Payne. Their work shares in common strong humanistic and satirical strains that reveal character in states of extremis. The comedy and tragedy in the stories they tell co-exist side by side and thus it’s hard to describe their movies as just one thing or another. Their movies are like life in that they are a mix of things. Nichols comes from an improvisational comedy, Actors Studio and Broadway stage background that gives his films a distinctive look, feel and sound that is at once realistic and poetic. Payne is most heavily influenced by classic world cinema and his films correspondingly have a formal narrative structure and compositional quality that also retain a sense of freedom and anarchy in line with their sharp tragic-comic turns.

These filmmakers are also both identified with producing thought provoking, highly literate work, I believe that is a reflection of how well read and rounded Nichols was and how-well read and rounded Payne is. Just as Nichols was steeped in literature, music fine art, theater and film, so is Payne. Bandying words and references with Nichols was a game played at your own risk because he seemingly had read everything. Payne is much the same.

But it’s one thing to have a great mind and it’s another thing to have a great heart, or vice versa, and here’s where these two separated themselves from many other directors of comedy. Their films show an intuitiveness and empathy that serve to leaven their sharp insights and harsh satire and to make their characters and situations, no matter how chaotic and desperate, more human and therefore more relatable. This is the same gift that their fellow comedy director masters shared and I’m referring here to:

Charles Chaplin
Buster Keaton
Frank Capra
George Stevens
Howard Hawks
Ernest Lubitsch
Preston Sturges
George Cukor
Billy Wilder
Woody Allen
James L. Brooks

I don’t know of Payne and Nichols ever met, but I have to think that if they did they would have hit it off and found they shared similar sensibilities and interests. At the very least, they would have made each other laugh.

My favorite Nichols films are “The Graduate,” “Catch 22,” “Silkwood,” “Working Girl,” “Postcards from the Edge,” and “Charlie Wilson’s War.” I don’t think there’s a great film among them, though those are all really good movies, and the rest of his career was pretty hit and miss. As for some of his other films, I admire “Who’s Afraid of Virginia Wolf?” and “Carnal Knowledge,” for example, but they’re not films I feel compelled to see again. His “Heartburn,” “Wolf” and “The Birdcage” are interesting but minor works. Full disclosure: I haven’t seen his “Angels in America.” But I’ve seen enough of his output to know that while he almost never made a flat out bad film, several of his works are flawed and inconsistent.

By contrast, Payne hasn’t missed yet. I have yet to see Payne’s new film “Downsizing,” but based on his six previous features and other work he’s done, I am very comfortable saying that Payne is a consistently better filmmaker than Nichols was even at the peak of Nichols’ career. Now, some may argue that Nichols directed touchstone pictures for different eras in “The Graduate” and “Working Girl” and may go on to question whether Payne has done the same. I would assert that “Sideways” is that equivalent picture in the Payne canon. I would also suggest that Payne has made at least five films that are timeless: “Election,” “About Schmidt,” “Sideways,” “The Descendants” and “Nebraska” and that it’s hard to find even a single Nichols film that could be so described with the possible exception of “The Graduate.” Some may further argue, and I can see the point, that Nichols was a more adventurous filmmaker than Payne in trying sometimes wildly different subjects and approaches from film to film, whereas Payne, to date anyway, has perhaps played it safe by staying within certain parameters and comfort levels that he likes revisiting. His new film “Downsizing” is definitely a departure for Payne in terms of scope – both physical and thematic – and we’ll soon know how well he handled that. Nichols made everything from social satires to farces to straight out dramas. I would counter that the few times Nichols departed from his own comfort zones resulted in some mis-steps – “The Fortune,” “The Day of the Dolphin,” “Wolf” and “What Planet Are You From?” – though Nichols does deserve an A for effort. Most observers count “Catch-22” as a mis-fire but I like its mordant tone and, unusual for Nichols, brilliant visuals. I actually think the best work he did that I’ve seen was the intense drama “Silkwood” and not the ironic, satiric pieces he’s best known for.

Granted, Payne may be taking fewer chances than Nichols did in terms of stretching himself, but I contend that even within the familiar confines of Payne’s work, he consistently goes deeper than Nichols usually did. For me, Nichols was more of a surface director, and Payne is more of an interior director, which is to say that in Nichols’ films the exterior lives of his characters predominate while in Payne’s films the interior lives of his characters speak to us Now, to be sure, there are exceptions to these artificial boundaries.

Certainly, the films of Nichols and Payne both show great respect for the written word and strong performances by actors. On this score, I think we can all agree.

Of course, all this is totally subjective and in the long run doesn’t really mean a hill of beans because they’re both among the best directors of comedy and of dramedies that have ever worked in Hollywood and they each have stand the test of time films to their credit.

Terence Crawford, Alexander Payne and Warren Buffett: Unexpected troika of Nebraska genius makes us all proud

August 19, 2017 Leave a comment

Terence Crawford, Alexander Payne and Warren Buffett:
Unexpected troika of Nebraska genius makes us all proud

©by Leo Adam Biga
Author of “Alexander Payne: His Journey in Film”

Terence “Bud” Crawford has fought all over the United States and the world. As an amateur, he competed in the Pan American Games. As a young pro he fought in Denver. He won his first professional title in Scotland. He’s had big fights in Atlantic City, New Jersey, in Orlando, Florida, in Arlington, Texas. He’s showcased his skills on some of the biggest stages in his sport, including the MGM Grand in Las Vegas and New York City’s Madison Square Garden. He;s even traveled to Africa and while he didn’t fight there he did spend time with some of its boxers and coaches. But he’s made his biggest impact back home, in Omaha, and starting tonight, in Lincoln. Crawford reignited the dormant local boxing community with his title fights at the CenturyLink Center and he’s about to do the same in Lincoln at the Pinnacle Bank Arena, where tonight he faces off with fellow junior welterweight title holder Julius Indongo in a unification bout. If, as expected, Crawford wins, he will have extended his brand in Nebraska and across the U.S. and the globe. And he may next be eying an even bigger stage to host a future fight of his – Lincoln’s Memorial Stadium – to further tap into the Husker sports mania that he shares. These are shrewd moves by Crawford and Co. because they’re building on the greatest following that an individual Nebraska native athlete has ever cultivated. Kudos to Bud and Team Crawford for keeping it local and real. It’s very similar to what Oscar-winning filmmaker Alexander Payne from Omaha has done by bringing many of his Hollywood productions and some of his fellow Hollywood luminaries here. His new film “Downsizing,” which shot a week or so in and around Omaha, is about to break big at major festivals and could be the project that puts him in a whole new box office category.These two individuals at the top of their respective crafts are from totally different worlds but they’re both gifting their shared hometown and home state with great opportunities to see the best of the best in action. They both bring the height of their respective professions to their own backyards so that we can all share in it and feel a part of it. It’s not unlike what Warren Buffett does as a financial wizard and philanthropist who brings world-class peers and talents here and whose Berkshire Hathaway shareholders convention is one of the city’s biiggest economic boons each spring. His daughter Susie Buffett’s foundations are among the most generous benefactors in the state. He has the ear of powerbrokers and stakeholders the world over Buffett, Payne and Crawford represent three different generations, personalities. backgrunds and segments of Omaha but they are all distinctly of and for this place. I mean, who could have ever expected that three individuals from here would rise to be the best at what they do in the world and remain so solidly committed to this city and this state? They inspire us by what they do and motivate us to strive for more. We are fortunate that they are so devoted to where they come from. Omaha and Nebraska are where their hearts are. Buffett and Crawford have never left here despite having the means to live and work wherever they want. Payne, who has long maintained residences on the west coast and here, has never really left Omaha and is actually in the process of making this his main residence again. This troika’s unexpected covergence of genius – financial, artistic and athletic – has never happened before here and may never happen agaiin.

Let’s all enjoy it while it lasts.

Hot Movie Takes – My recap of Julianne Moore in conversation with Alexander Payne

April 26, 2017 Leave a comment

 Hot Movie Takes  –

 My recap of Julianne Moore in conversation with Alexander Payne

©By Leo Adam Biga, Author of “Alexander Payne: His Journey in Film”

Alexander Payne owns enough cachet as a preeminent writer-director that he can pretty much get any peer film artist to join him for a cinema conversation at the Film Streams Feature fundraiser in Omaha. His latest get was Oscar-winning actress Julianne Moore. Monday night (April 24) Payne, a two-time Oscar-winner himself, and Moore talked craft and life at the Holland Performing Arts Center before a packed house. This seventh feature event raised a record $350,000 in kicking off the art cinema’s project to renovate and return the Dundee Theater back into service as a historic cultural touchstone and film haven.

Before Payne and Moore came on, Film Streams founder and director Rachel Jacobson thanked the assembled crowd, including many of its top patrons. She described the affair as “a magical” night for Omaha and she referred to the “extraordinary and inspiring support” that not only made the evening event possible but that’s making the growth of Film Streams possible. She called this “a busy and exciting time for Film Streams,” which is coming up on its 10th anniversary and nearing completion on the renovation and return of the Dundee Theater. She signaled the theme of the event in saying that cinema as a medium can help shape our dreams and that cinema as a place can help shape our community. She then introduced a TCM-like short tribute film produced by Tessa Wedberg and Jonathan Tvrdick that heralded the history of Film Streams and of the Dundee Theater. Many familar faces contributed comments in the film, including Payne, who praised Film Streams as a nonprofit cinemateque and echoed remarks by Jacobson and others about the important role it plays in treating film as an art form and thus as a conveyor of ideas and a convener of diverse audiences and issues. Payne brought things full circle by saying about the Dundee Theater, “Before Film Streams it was the only reliable place to see an art film (in Omaha).” He added his delight in soon having the Dundee back because it means art cinema is “now rooted in a place in Omaha of historical significance.”

These Inside the Actors Studio-like Feature events are not exactly thrilling entertainment and the intrigue of seeing and hearing world-class film figures soon wears off, especially sitting in the nose-bleed section, where anything resembling an intimate exchange gets lost in translation. Usually there’s not much new we learn about either Payne or the special guest and their individual processes but just enough nuggets are revealed to make the evening worthwhile beyond merely a financial windfall for Film Streams.

Payne is a capable interviewer and he thoughtfully let Moore do most of the talking. In the buildup to the event it was noted that she has a significant Nebraska connection having lived four years of her childhood here while her military father was stationed in the area and completed law school studies here. Moore attended one year at Dundee Elementary School and her family lived in a Dundee duplex. Payne shared that had he started Dundee Elementary, where he ended up, he and Moore would have been in the same class. That reminded me that filmmaker Joan Micklin Silver and cinematographer Donald E. Thorin were classmates at Omaha Central and that Dick Cavett and Sandy Dennis were only a class or two apart at Lincoln High.

Moore told us how during her visit for the Feature event she toured her old Omaha haunts and remembered various aspects of her family home here, her playing in the paved alley and walking a few blocks to school.

Her family followed her father’s assignments, ending up in Germany, where she found a high school teacher who encouraged her interest in theater. It was the first time someone told her she could make a living at acting and steered her toward drama schools. Not surprisingly her parents were horrified at the prospect of her trying to forge a career as an actor. Family’s important to Moore, who spoke with genuine pride about being a mother and wife in addition to being an actress.

Payne noted to her that many actors share an itinerant growing up background, including the military brat experience, and Moore said she feels that all the moving around teaches one how “to be adaptable” and to be quick, careful studies of “human behavior.” Combined with her natural curiosity and a love of reading, and she had all the requisite attributes for an aspiring actor.

Moore found her calling for the stage at Boston University, where she learned the techniques that would help carry her into the theater. Her lessons there were both a blessing and a curse as she said she felt she was taught to do exterior rather than interior work. She acted at the Guthrie, the Humana Festival, in off-Broadway plays. She broke into television in the mid- 1980s working on a soap and by the early 1990s she’d done her fair share of episodic series work, made for TV movies and mini-series.

For the longest time, she lamented, “I couldn’t book a movie.” But then she started getting small but telling parts in buzz-worthy pictures like “The Hand That Rocks the Cradle,” “The Gun in Betty Lou’s Handbag,” “Body of Evidence,” “Benny & Joon” and “The Fugitive.” All decent movies, but purely popcorn fare.

She explained that her epiphany as an actor came when she learned to not just be prepared for something to happen in an audition or a performance but to freely let it happen. In fact, to invite it to happen. “It” being an emotional response.

Her career took a different turn when she found herself in larger, showier parts in independent films made by serious filmmakers: Robert Altman’s “Short Cuts,” Louis Malle’s “Vanya on 42nd Street” and Todd Haynes’s “Safe.” She got in on the very beginnings of the modern indie movement and embraced it as a home for exploring real, true human behavior.

Then, after a commercial venture or two, she cemented herself as an indie film queen in Paul Thomas Anderson’s “Boogie Nights,” the Coen Brothers’ “The Big Lebowski,” Altman’s “Cookie’s Fortune” and Neil Jordan’s “The End of the Affair.” That just brings us up to the end of the 1990s. In the proceeding 17 years she’s added to her impressive gallery of work performances in such films as:

 

“Hannibal”

“The Shipping News”

“Far from Heaven”

“The Hours”

“Children of Men”

“I’m Not There”

“Blindness”

“The Kids are Alright”

“Game Change”

“The English Teacher”

“Still Alice”

“The Hunger Games: Mockingjay Part I”

“The Hunger Games: Mockingjay Part II”

 

By the way, Film Streams is screening a repertory series of Moore’s films through May: Check out the series at–

http://bit.ly/2ngST9t

I personally haven’t seen that much of her work, but what I have seen has impressed me. More importantly, her work impresses her peers. Count Payne among her biggest admirers. In his introduction he even referred to her as “our other Meryl Streep,” and hoped that she would take that loving comparison in the right way. She did. It turns out that Streep has been a major influence and inspiration for her. Payne said her interpretive, expressive skills are so finely honed that when watching one of her performance “we are truly seeing another person and, by extension, us.” Moore always gives whatever her character demands, thus taking on those vocal, physical, emotional traits, but never fails to give us herself as well. And I think Payne was also suggesting that, like Streep, she has that transformative ability to live inside very different skins from role to role without ever losing the humanity of those characters.

Payne and Moore got into an interesting discussion about how an actor’s responsibility is to study the director to know what film he or she is making. She said it’s important that she know what a director is trying to communicate in the frame in any given shot or scene and where the director’s eye is looking. Indeed, she said she believes the director’s main job is to direct the audience’s eye. She said she likes to see dailies to help her guage things but that some directors are overprotective and defensive about letting actors, even ones of her stature, see the work before it’s been refined and edited. Payne said it’s vital that the actors and the director are on the same page so that they know what film they’re making as co-storytellers.

Moore described movies as “an elaborate game of pretend” and she and Payne talked about how actors and directors have to find common ground with each other’s processes. In the end, they agreed, the script must be served, not egos. Payne also referenced something he told me in a recent interview: that because he only makes a movie every three or four years he’s often the least experienced person on the set and so he very much appreciates the experience and expertise that cast and crew bring. Moore seconded what a collaborative process any film is.

Interspersed through the conversation were clips from a handful of Moore’s films and even those brief excerpts demonstrated her intuitive talents and keen observations. She talked about the extensive research she ever more does for her parts in a never ending pursuit for what is present, real, truthful and alive. It is that pursuit that drives her. She said, “I become more and more deeply interested in it – human behavior.” She believes, as Payne believes, that we fundamentally want movies to reflect our experiences back to us. Invariably, the more human the movie, the more indelible it is.

Payne said to her, “I have the deep impression your best work is ahead of you, not behind you.” Interestingly, I feel the same way about Payne’s work. In some ways, his “Downsizing” may mark the end of a certain strain of themes in his work having to do with protagonists in crisis, mostly males, who set off on some journey. and it may also be the bridge to a new Payne cinema of big ideas and diversity.

It’s even possible the two artists may wind up working together in Omaha. Payne intimated as much. That might have just been wishful thinking or something one says in the giddiness of the moment, but it’s the kind of thing that Payne doesn’t usually say or do, especially not in public, unless he means it. His final words were, “She’ll be back.”

The discussion wasn’t entirely confined to career. Moore spoke glowingly of her roles as wife and mother. She tries to work on as many films as she can that shoot where she and her family live – New York City – so that she can have more time with her family. Payne pointed out she’s also the author of children’s books and he had her talk about her love for hand-crafted furniture and for home design and decor. It’s a passionate hobby of hers.

What Hollywood icon will Payne bring next? It’s anybody’s guess. My personal preferences would be for him to sit down and converse with more of the leading actors he’s worked with, including Matthew Broderick and Reese Witherspoon from “Election,” Paul Giamatti ad Thomas Haden Church from “Sideways,” Jack Nicholson from “About Schmidt,” George Clooney from “The Descendants” and Matt Damon from “Downsizing.”

Another preference would be Payne doing a similar program with fellow Nebraska natives in film, such as Joan Micklin Silver. Nick Nolte, John Beasley, Marg Helgenberger, Gabrielle Union and Yolonda Ross.

Then there’s my long-dreamed of event featuring Payne one-on-one with Robert Duvall, who in the late 1960s came to Nebraska to make the Francis Ford Coppola film “The Rain People” and later returned to make the great documentary “We’re Not the Jet Set” about an Ogallala area ranch-rodeo family. Link to some of the story behind the amazing confluence of talent that came to Nebraska for what became three films at–

 https://leoadambiga.com/film-connections…ucas-caan-duvall/ ‎

Hot Movie Takes: Feature VII – Julianne Moore in conversation with Alexander Payne

April 24, 2017 Leave a comment

Both a celebration of Film Streams’ mission and a vital source of support, our Feature fundraiser galas bring together the Omaha community and some of the greatest living artists in film.

Hot Movie Takes: Payne’s “Downsizing” may be next big thing on world cinema landscape

April 19, 2017 Leave a comment

Usually, I intuit, I lose half or more of you right at the top when I post a story about Alexander Payne. I get it. I really do. Well, not entirely. It seems that for some of you Payne’s work doesn’t register as all that funny or entertaining or satisfying. This despite the fact that over the last 20 years his films have received as much or more critical praise and box office love as many directors whose movies you may more readily embrace, such as Quentin Tarantino, Clint Eastwood, Steven Spielberg, Martin Scorsese, David O. Russell, John Singleton, Antoine Fuqua, Jason Reitman and the Coen Brothers. I chalk it up to a taste thing. Fair enough. But I also have the sneaking suspicion that many of you have seen only a fraction of his films and that some of you have not seen any of them. If that’s true, then it’s a crying shame because you’re rejecting work based on perception without even trying it on for size. I mean, how do you really know if you like it or not if you don’t see it for yourself and purely base your appraisal on a trailer or a review or a stray comment or two? We all do it, of course, but I’m mainly addressing this to Nebraskans who, I would like to believe, should feel some natural affinity and curiosity, if not loyalty, for the work of one of their own. I know shared home state roots only go so far and Payne’s film worlds may seem very distant or disconnected from your own reality, but I don’t think that you would feel that way if you attended to them with an open mind. His humanistic films have something for everyone because they are drawn from the same human condition we all all subject to when it comes to love, loss and loneliness. If you watch his films and they still feel apart from you then his work may just not be for you but even then I suggest that that may change with his new film “Downsizing.” It’s interesting to say that because this film will intentionally be both very far removed from life as we know it and very close to it. It will depict worlds reminiscent of and different from mine and yours as it swings from some unnamed Middle Earth to very near future Omaha to a Leisure Land resort for miniaturized humans that includes a slum to Norwegian fjords and villages to various spots around the globe. In a first for Payne, much of the movie will be populated by characters representing diverse races and ethnicities to go along with the disparate locations. Visual effects will render the downsized-world alone and in juxtaposition with the normal-sized world. All of this is set against an end-of-world backdrop of extreme climatic, geo-political tensions and cosumer mania that pretty much mirrors where we’re at right now. The combination of little people. big ideas and a star-studded cast headlined by Matt Damon facing moral decisions and life and death questions amidst mind-blowing sets just might make this Payne’s first blockbuster. In which case he will be viewed in a whole new light by the industry and by some of you. Suddenly, Payne will be mentioned in the same breath with Michael Bay, J.J. Abrams, James Cameron and Christoper Nolan. Now wouldn’t that be a kick?

This is my new feature on “Downsizing” appearing in the April 2017 issue of The Reader (http://www.thereader.com/). It’s my latest read-all-about-it exclusive about the project informed by interviews with Payne, his co-writer Jim Taylor, cinematographer Phedon Papamichael, visual effects supervisor Jamie Price,  second unit director Tracy Boyd, editor Kevin Tent and casting director John Jackson, Who knows, after reading this piece it might even whet your appetite for seeing the film when it releases in December. It would behoove you to see it since I’m suggesting the film might just be the next big thing on the world cinema landscape. But don’t take my word for it. Be sure to see it for yourself when it opens and make up your mind based on that. Trailers for it should be hitting online and theaters soon, so that will give us all a sneak peak at what to expect. For you Payne cynics out there, just keep an open mind.

 

Hot Movie Takes:

Payne’s “Downsizing” may be next big thing on world cinema landscape

©by Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

Story appears in the April 2017 issue of The Reader (http://www.thereader.com/)

 

 

The Reader April 2017 by PioneerMedia.Me – issuu

https://issuu.com/thereader_elperico/docs/april_tr2017

 

Just as Stanley Kubrick’s 2001: A Space Odyssey marked a seminal movie event, Alexander Payne’s Downsizing has milestone written all over it.

Kubrick’s 1968 landmark inspired by writer Arthur C. Clarke’s musings pushed special effects to new heights and gave sci-fi films higher standards to aspire to in terms of visuals and ideas. Now, a half-century from the release of that opus, Payne’s putting final touches on his own bold vision of imaginative fiction.

The big budget, visual effects-laden Downsizing confronts relevant social, political, ecological issues. Only once previously, with Citizen Ruth’s hot takes on abortion, has Payne been so thematically current. With its withering look at corporate greed, hyper consumerism, minority marginalization and ego-maniacal pitch men, Downsizing hits the zeitgeist on a global scale.

“It’s a big movie,” he said. “Not just the visual effects but the scope of the story with more of an episodic structure that spans many years and different locations.”

Just as the late Kubrick made elaborate satiric observations on human frailties, so does Payne. Their films register cold for many but there’s more warmth there than you recall. Where 2001 is a speculative adventure about the role of extraterrestrial life on Earth and beyond, Downsizing’s own mediation on what it means to be human remains firmly planted here.

Months away from its December theatrical release, Hollywood’s curious to see what a filmmaker identified with intimate human comedies does with a picture of this scale. Ironically, for Payne to achieve a film about miniaturization he worked with a larger crew and budget, on more, bigger sound stages and in more practical locations than ever before. Locations spanned Los Angeles, Omaha, Toronto and Norway. Second-unit director Tracy Boyd traveled to South Korea, Malaysia, Morocco and Spain to accrue crucial montage footage.

Downsizing’s every bit as ambitious as 2001 but both films are relatively simple at their core. Amid all its visual interstellar trappings, 2001 intimately rests on astronaut David Bowman’s interior time-space journey. Instilling in audiences the necessary sense of awe and immersion required Kubrick and Douglas Trumball to advance effects by a generation.

It’s not surprising Kubrick made Bowman’s mind-blowing head trip the POV reference point since the late iconoclast’s films were quite inner-directed despite their big ideas and sometimes massive sets.

Just as Kubrick distilled epoch events into an intimate tableaux, Payne distills human kind’s hopes, fears, vagaries in the intersection of three people meeting in a strange new world. Paul (Matt Damon) is the Everyman mensch whose surreal ride from normal to small, from nobody to pioneer, we hitch onto. Goran (Christoph Waltz) is the Euro-trash hustler who befriends him. Ngoc Lang (Hong Chau) is the Vietnamese human rights activist who becomes his love interest.

To naturalistically realize the small world, Payne relied on visual effects supervisor Jamie Price. The former Industrial Light and Magic wizard oversaw artists from ILM and other companies in making micro humans more believable than ever seen before on screen. Pulling this off is critical because the film’s entire vision hangs on audiences investing in characters and incidents without the distraction of call-attention-to-themselves effects.

Downsizing, like 2001, depends upon intact illusions without seams or wires showing. Where 2001’s monumental effects depict deep space and infinity, Downsizing depicts human discourse.

Co-writer Jim Taylor said he and Payne took the same approach to their original story as with all their films. “Really what we love are the details – the tiny, every day interactions people have. It’s such a great irony and a lot of people don’t necessarily realize this –  that the more specific you get, the more universal it is.”

Sure, the story’s replete with big concepts revolving around global warming’s dire consequences, but Taylor said, “We’re not making An Inconvenient Truth because that’s not our job. The themes are an excuse to enter this realm of relationships and personal struggles.”

Price said upon first reading the script he realized this project represented a whole new animal.

“What struck me about it immediately is that it really is an atypical visual effects movie. It’s a movie where the visual effects are used purely to serve the dramatic needs of the story. That’s a very refreshing and clever use of visual effects that drew me to it.

“Unlike building a set or having actors standing in a practical environment, there’s a lot that’s just not there when you’re rolling the camera and so you need to forge a good relationship and build the trust so that the director feels he’s going to get what he needs to tell the story the way he wants to tell it. Similarly, in visual effects, it’s our job to inform the director and the rest of the crew so that everyone has a good understanding of what we need to achieve the work successfully.”

In this case successful means making the effects look so real they blend in with the mundanity of every day life that Payne so exactingly extracts – just as Kubrick did.

“What I think makes Downsizing unique is its fresh take on a genre that’s been around for a long time,” Price said. “Movies in the past with small characters interacting with normal-sized humans have broadly fallen into three categories: science fiction, comedies, family movies or some combination. They often have a very different aesthetic than what Alexander intended.

“At one point producer Jim Burke asked me which movie in the past do I think most embodies the look we’re going for in Downsizing and I said, ‘I don’t think there is one.’ There’s pieces of movies with similar elements to what we want to achieve but there isn’t a movie that really has the same aesthetic.”

Downsizing’s its own thing, Price said, because it’s a movie crafted by an auteur. “Early on, Alexander asked me, ‘How do we make this special?’ And I said, ‘Well, the way you make it special is you make it an Alexander Payne movie, because none of these other movies are that. If you bring your sensitivity and style to it then it will become something unique and new,’ and I think it has.”

Payne said Price did things to “trick me into thinking I’m making a real movie, not a visual effects movie.”

“He did it in such a way that I could focus on what’s important, which is the story, the characters, the acting, and keep that front and center,” Payne said. “That’s not to say a lot of thought was not put into the look and to how the sets should be and what we we’re going to build and what we’re going to extend digitally. That’s a constant discussion. But through all of that I knew my job was to keep the eye on the ball of the story.

“I never want the heft of this film to mar any intimacy of tone or idiosyncrasy of humor.”

Payne relied on Price’s team to make actors at ease with the effects work. Even though this was Payne and Price’s first production together, they go back eight years to when Payne first tried getting the movie made. An advantage of the long wait between conception and production was technology advances. A constant was Payne’s desire to not interfere with the actors’ process.

“Alexander was very interested in maintaining the spontaneity of the performances, which is difficult when one of the actors isn’t there and is going to be shot later,” Price said.

It helped having a star in Matt Damon whom Payne confirms is “the total professional” he’s reputed to be.

“For Matt Damon or any actor isolated in a visual effects scene, I made sure there was a person opposite them,” Payne said. “The actor still had a true acting partner in the scene (reading lines off-camera).”

Price said, “We made some choices during the production process, such as the way we built sets or how we staged certain things, so that Alexander could sort of forget the fact there was a green screen back there or there was only one half of the performers in the scene because we were going to be shooting another element green screen later.

“We used 5-inch tall dolls as stand-ins. We placed them in the scene for the actors to look at and so the camera could frame them up. That way Alexander could see the relationship between the two. We paint them out later. We tried to recreate as much as possible the scenario described in the screenplay even though we were ultimately assembling it digitally later.”

Payne found Damon to be the Everyman he plays.

“Genuinely a delight. He is who you hope he is. And the ease with which he can do anything is really something to watch. He’s only too ready to help,”

For the lead, casting director John Jackson said he and Payne concluded Damon was the only marketable star “that could be that lower middle-class Omaha dude. He is our generation’s Jack Lemmon. He can do comedy, he can do drama, he can do everything. An audience can project whatever they need to project onto him.”

 

    Getty Images

Matt Damon

Kristen-Wiig

Kristen Wiig
Christoph Waltz
Christoph Waltz

 

Even though protecting story was Payne’s overriding concern, there’s no escaping technology with 650 visual effects shots. He said the great challenge is “having always to match the digital extension of what those sets would be.” Not just sets, but actors, too. Payne wore a motion capture suit to act out scenes’ physical movements. He knew them better than anyone having inhabited the characters and actions while writing them. The data recorded from his walk-through guided CGI artists in creating 3D-animated Previs (pre-visualization) views that served as digital storyboards.

Though the demands of visual effects sometimes required extra takes, Payne said, “I still tried to be as economical and precise as possible. I might have done more takes to get certain things right because of all the moving parts, the number of extras or something technical about the shot. Even Matt Damon told me, ‘You like to do a lot of takes, but at least I know almost every shot’s going to be in the film.’ He meant

there’s a lot of films where they shoot a ton of footage with little idea of how it might cut together. I may overshoot in takes but not too much in actual coverage.”

Payne depends on various departments to get things right. Director of photography Phedon Papamichael was among many Downsizing crew who go way back with him. The DP felt having this family of creatives around was important on a project with so many new elements,

“He was surrounded by a very experienced crew and team he’s familiar with and we were able to preserve some of that family environment on the set despite the scale,” Papamichael said. “He still knew every driver’s and grip’s name and not only their name but if they have a kid in college who plays football. All of that is different than your average big movie where the director doesn’t know the dolly grip’s name even after 14 weeks.”

Jim Taylor isn’t normally on set much but, he said,

“On this movie we thought I needed to be there all the time, so I was. There were contributions I could make. It doesn’t come up that often but Alexander likes to have someone around he can turn to and say, ‘What do you think? What does that look like to you?'”

Being there for the full 75-day shoot gave Taylor insight on where his writing mate’s come as a director.

“It was really interesting for me to see how much more masterful he was working with the actors, knowing what he needed and getting what he needed and all that.”

Payne’s primary casting director since About Schmidt has been Council Bluffs native and resident, John Jackson. On Downsizing he and Payne filled a larger than usual roster of speaking parts and background extras to reflect the story’s global reach.

“I had many more extras than I’ve ever had on a film before,” Payne said, “and extras of different races and nationalities as we tried to portray certain worlds accurately. And so just on the casting side John Jackson and I had to expand our personnel to corral all the right extras and than on the set to direct them well. That has huge impact down the chain – the assistant directors, costume, even props, get hit harder.”

Jackson usually doesn’t office where the film shoots, but he did at Pinewood Studios in Toronto, where the film’s epic sets filled mega sound stages. He was mesmerized by the production unfolding around him.

“It was every fantasy I had as a kid – being on the lot and being able to walk down onto the sound stages and onto the sets. To see it as it was happening, to see the scope of it, to see all the incredible amount of hard work, planning and organization by the different teams from the grips to the construction guys, and watch it call come together was really humbling and very exciting.”

One new creative collaborator was Italian production designer Stefania Ceila.

“She’s amazing,” said cinematographer Papamichael, “Very passionate, very vocal, expressive and stubborn, but it was a wonderful relationship. Visually. I think we definitely elevated to a new level and Alexander has embraced that. The language still has simplicity and not showing off, not getting in the way, still focusing on the humanity and the emotions of actors.

“Even with all the effects and the scale, filling up the largest stage in North America, we still applied the same   Alexander Payne language. In the end hopefully the technology will all sort of go away and just blend in – fall into his style of storytelling and people will not really be aware they’re watching an $85 million effects movie.”

Payne acknowledged the experience was more     overwhelming than past projects.

“I had moments on this film when I felt like not only did I not know what I was doing but I had never seen a movie before. It’s been a hard movie. You just get through it.”

Complicating matters, he herniated a disc in Toronto. “I suffered the indignity of directing from a wheelchair for about a week,” he said.

 

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Papamichael said despite everything the experience was akin to other Payne movies, adding, “It was just physically and mentally more taxing because of the longer process.”

After wrapping in Canada, the production broke before reconvening in Norway the last two weeks.

“This was the dessert of the film -– shooting in Norway,” Payne said. “We were bowled over by the beauty of the fjords, where we were shooting north of the Arctic circle  in a really beautiful region called Lofoten.”

He said the Norway sojourn involved “scouting and shooting from helicopter and boats.” “In the movie there’s a 1927 English yacht we shot on. We were living on a very large ocean liner currently not in use.”

Payne and editor Kevin Tent have been cutting since September. Rough cut screenings yield notes and feedback. Scenes get reassembled “in trying to figure out what the film wants to be,” Payne said. Frequent visual effects meetings, he said, hash out “what we’re going to put in the frame when when we shot there was only green – like literally what is that going to look like, and then tracking the execution of the visual effects artists to make sure it looks good.”

With 2001 Kubrick tackled nothing less than the dawn of man and humankind’s place in the universe. Much of his focus in that film and his other films was on the contrast between the ordinariness of life and its extremes. Under pressure, people do very wrong things. It’s an essentially pessimistic view that seems to suggest man’s inhumanity to man is inevitable and inescapable.

Meanwhile. Payne celebrates foibles as unavoidable traits of our shared imperfection. Unlike Kubrick, he’s hopeful we can navigate life without total ruin. Though divisions cause angst in Downsizing, a sense of community, sacrifice and even love prevails.

Payne said, “This film unites a lot of the themes Jim (Taylor) and I have been using in our previous films and I hope bringing them to a higher level. We will see about that. I don’t think in general it’s that different from what I’ve done before, it’s just a bigger canvas.

“When I think about movies with sprawling episodic structure I think of Fellini’s La Dolce Vita, 8 1/2 and Nights of Cabiria, where the story follows one protagonist through a series of adventures and by the end a moment happens that kind of in retrospect gives some thematic narrative cohesion to the story. It pulls a seemingly loose narrative thread suddenly taut. I do not wish to compare Downsizing to those greats but structurally I take inspiration from them.”

Payne and his team have given themselves over to this episodic framework.

“Phedon, Stefania and I in production and now Kevin Tent and I in editing have to accept that it’s a series of short films within one film. Each visually to some degree but now musically we just have to do what feels right in the film and hope to God it holds together.”

Editing is about finding-enhancing the film’s internal rhythms. Payne said, “Getting a handle on a picture of this scope” – he expects it to run 135-140 minutes – “takes a little doing.”

Downsizing contains elements that may remind one of other films, from 2001 to The Incredible Shrinking Man, but overall there’s really nothing to compare it to.

Papamichael said it’s the one Payne film he couldn’t get a visual handle on from the script “and now that I have done it I know why – it’s so diverse in looks and stories.” He said, “It goes through this arc, starting like a regular Alexander Payne movie in Omaha with an average guy at La Casa waiting for his pizza, to he and his wife going to Leisure Land and her leaving him to go through the downsizing process alone. That’s like the whole Kubrick episode of the film. It’s like going from something in About Schimdt to 2001: A Space Odyssey.”

He said the film’s juxtaposition of plastic Leisure Land’s “absurd embrace of American Consumerism” against sterile labs, awful slums, prosaic Omaha sites, world capitals, sublime fjords and an uncharted middle-Earth “really is like a series of short stories or short films that then all connect so beautifully through Paul’s adventure of self-discovery and subtle love story with Ngoc.”

Don’t expect anything but another low-key Paynsian ending that implies more than it shows. Like his other films, Payne said, Downsizing will “end with a feeling more than an event.” “I’m glad we’re able to have an ending to this big movie that hopefully will operate in that delicate space,” Taylor said.

Second-unit director Tracy Boyd, another of Payne’s longtime collaborators, referred to Payne’s consistent goal of surrendering any conscious, overt style to story.

“He so skillfully, masterfully hides the brushstrokes of what he’s doing and you’re fully submerged in what you’re seeing that you forget there’s a director behind all of that. He’s not trying to get you to think about who’s directing the picture as so many filmmakers do. It’s only with repeat viewings you recognize the subtle techniques and clarity behind every vision you see.”

Boyd, Taylor and others close to the project express confidence this promises to be a special, stand-the-test-of-time film. Papamichael disclosed “Paramount’s fully embracing the film – they actually think they have a commercial hit on their hands.” An awards contender, too. Everyone has high praise for the work of Damon and Hong Chau, whose breakout role this could be,

Only the box-office will tell, but Payne-Taylor say it’s their only movie that may have a sequel in the offing.

Should it resonate enough to enter the pop culture consciousness, this could be Payne’s The Godfather, Taxi Driver or Pulp Fiction. Taylor said it’s not as if Payne “wants somebody to give him a shot at some franchise movie.” He echoed Payne’s inclination to do anything but an effects movie as a follow-up. Maybe a long-talked about Western. Or shooting in Greece.

“I would like to do wildly different things,” Payne said.

“That would be fun. I don’t know what yet.”

Initial reviews should appear after major fall festival screenings. Omaha’s Ruth Sokolof or Dundee Theater will premiere Downsizing for its theatrical release.

Hot Movie Takes: PAYNE’S “DOWNSIZING’” – It may be next big thing on the world cinema landscape

April 13, 2017 Leave a comment

Hot Movie Takes:

PAYNE’S “DOWNSIZING’” – It may be next big thing on the world cinema landscape

BY LEO ADAM BIGA, Author of “Alexander Payne: His Journey in Film”
April 2017 issue of The Reader

 

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