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Catch me talking ‘Alexander Payne: His Journey in Film’ on the podcast – ‘The Dustin Dales Show’

February 12, 2017 Leave a comment

THANKS, DUSTIN, FOR HAVING ME ON…

HERE’S DUSTIN’S POST ABOUT THE PODCAST EPISODE FEATURING THE SEGMENT WHERE I TALK ABOUT MY BOOK “ALEXANDER PAYNE: HIS JOURNEY IN FILM” (YOU CAN LINK BELOW TO THE BOOK’S AMAZON PAGE AND TO THE SHOW):

I want to send special thanks to Leo Adam Biga for stopping by to chat his book on Alexander Payne!

 

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Author & Journalist Leo Adam Biga of My Inside Stories stops by the show to chat film and his book ‘Alexander Payne: His Journey In Film,’ plus my reviews of #ADogsPurpose & #TheComedian

You can check out his book on Amazon here.
https://www.amazon.com/Alexander-Payne-His-Jou…/…/0997266708

 

Download past episodes or subscribe to future episodes of The Dustin Dales Show by Dustin Dales for free.
ITUNES.APPLE.COM

 

Lisa Haselton’s interview with writer Leo Adam Biga

January 27, 2017 Leave a comment

Thanks to author Lisa Haselton for featuring this interview with me on her popular blog Lisa Haselton’s Reviews and Interviews. Be sure to visit her site and support it. She has a wealth of rich content related to authors, books and other writing things.

Lisa Haselton’s Reviews and Interviews

Award-winning blog for book reviews, author interviews, and anything writing-related.

Interview with writer Leo Adam Biga

Writer Leo Adam Biga joins me to chat about his film book–

Alexander Payne: His Journey in Film”:

 

 

Bio:

Author-journalist-blogger Leo Adam Biga resides in his hometown of Omaha, Nebraska. His articles appear in various newspapers and magazines as well as on his popular blog, leoadambiga.com, and Facebook page, My Inside Stories. His work has been recognized by his peers at the local, regional and national levels. He was the 2015 recipient of the Andy Award for international journalism from his alma mater, the University of Nebraska at Omaha. That grant supported his reporting mission to Uganda and Rwanda, Africa in the company of professional world boxing Terence Crawford of Omaha and Pipeline Worldwide director Jamie Nollette.

Biga is the author of several books, including “Alexander Payne: His Journey in Film” and “Crossing Bridges: A Priest’s Uplifting Life Among the Downtrodden”. Biga’s reporting and writing about Payne has made him a recognized expert on the Oscar-winning filmmaker (“Sideways“, “Nebraska”) from Omaha. His latest book is “Nebraska Methodist College at 125: Scaling New Heights” – a history of the Omaha-base college of nursing and allied health celebrating 125 years.

The writer is developing the Nebraska Screen Heritage Project as a multimedia celebration of native Nebraskans in the film and television industry. He is also developing a book about Omaha’s Black Sports Legends.

Welcome, Leo. Please tell us about your current release.

Articles and essays take you deep inside Alexander Payne’s creative process. This second edition includes significant new material related to his last film “Nebraska” and his highly anticipated new film “Downsizing,” It also features the addition of a Discussion Guide with Index.

Payne fans will appreciate the extensive interviews-stories that follow the arc of the writer-director’s career from brash upstart to consummate filmmaker at the head of the Indiewood movement.

Film historian Thomas Schatz (“The Genius of the System”):

“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.”

Leonard Maltin:

“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.”

Alexander Payne:

“Throughout many years of being interviewed, I find Mr. Biga’s articles about me to be the most complete and perceptive of any journalist’s anywhere. They ring true to me, even in critique, in a way that reveals the depth of his talent in observation, understanding and expression.”

What inspired you to write this book?

In covering Alexander Payne more than a decade and a half I accumulated a large body of work about someone I saw go from a promising newcomer few heard of and whose first two films were not much seen to an accomplished filmmaker recognized around the world. The book collects my journalism about Payne and his journey in film, thereby preserving my work about him in an enduring, hard-bound fashion and thereby contributing my take on this important film artist.

Excerpt from “Alexander Payne: His Journey in Film”:

Even though Alexander Payne demonstrates time and again that commercial considerations mean very little to him, following the breakaway success of The Descendants (2011) there was every reasonable expectation he might lean a bit more again in the direction of mainstream with his next film. I say again because I count The Descendants as a conventional, even mainstream work even though its protagonist rails against his comatose wife and sets out to wreck the life of the man she was cheating with, all the while trying not to lose it with his two grieving daughters in tow.

Payne soon quashed any notion of playing it safe when he announced the small, insular back roads comedy-drama Nebraska (2013) as his new feature project. It did not help its bottom line chances that the film is set in rural Nebraska, which for most filmgoers may as well be the dark side of the moon for its unfamiliarity, remoteness, and perceived barrenness. Indeed, if Nebraska conjures any image at all it is of endless cornfields, cows, and monotonously flat, uninspired scenery. When the story laid over such a setting features a confused, depressed old cuss alienated from family and friends and wandering around in a bleak wasteland made even bleaker by black and white photography and desolate late fall, post-harvest locations, it does not exactly engender excitement. The prospect of a dour, feel-bad experience devoid of life and color does not get tongues a-wagging to generate the all important buzz that sells tickets.

Of course, anyone who has seen Nebraska knows the film is not the downer it may appear to be from glimpsing a thirty second trailer or hearing a thirty second sound bite, but that it is ultimately a sweet, deeply affecting film filled with familiar truths amid its very Nebraskaesque yet also quite universal archetypes.

Payne’s insistence on shooting in black and white was a completely legitimate aesthetic choice given the storyline and tone of this stark, autumnal mood piece about an old man having his last hurrah. But it also meant a definite disadvantage in appealing to average or general movie fans, many of whom automatically pass on any non-color film.

Compounding the aversion that many moviegoers have with black and white is the fact that most studio executives, distributors, and theater bookers share this aversion, not on aesthetic grounds, but based on the long-held, much repeated argument that black and white films fare poorly at the box office. Of course, there is a self- fulfilling prophecy at work here that starts with studio resistance and reluctance to greenlight black and white features and even when a studio does approve the rare black and white entry executives seem to half-heartedly market and release these pics. It is almost as if the bean counters are out to perversely prove a point, even at the risk of injuring the chances of one of their own pictures at finding a sizable audience. Then when the picture lags, it gives the powerbrokers the platform to say, I told you so. No wonder then – and this is assuming the argument is true – most black and white flicks don’t perform well compared with their color counterparts. Except, how does one arrive at anything like a fair comparison of films based on color versus black and white? Even if the films under review are of the same genre and released in the same period, each is individually, intrinsically its own experience and any comparison inevitably ends up being a futile apples and oranges debate. Besides, there are exceptions to the supposed rule that all black and white films struggle. From the 1970s on The Last Picture Show, Paper Moon, Young Frankenstein, Manhattan, Raging Bull, Schindler’s List, Ed Wood, and The Artist are among the black and white films to have found wide success. It is admittedly a short list but it does prove black and white need not be a death sentence.

To no one’s surprise Paramount did what practically any studio would have done in the same situation, which was to fight Payne on the black and white decision. In no uncertain terms Payne wanted to make Nebraska in black and white and just as adamantly the studio wanted no part of it. He pushed and they pushed back. He would not compromise his vision because from the moment he first read Bob Nelson’s screenplay he clearly saw in his mind’s eye the world of this story play out in in shades of black and white. It just fit. It fit the characters and the settings and the emotions and as far as he was concerned that was that. No questions asked. No concessions made.

What exciting story are you working on next?

At any given time there are interesting journalism and other narrative-based projects that arise. Much of my work as a journalist entails writing about various arts-culture subjects. I also write a fair amount on social justice issues. On occasion I travel for my work. I once went to North Dakota to research a set of stories about a campus serving developmentally disabled individuals. I participated in a baseball tour of the Midwest that resulted in a first-person story I wrote about the tour group’s visits to various baseball shrines and stadiums in a five-state region. I spent a week on the set of Alexander Payne’s Sideways in the Santa Barbara region and wrote a series of stories from that experience. I traveled with a group of folks from Omaha to the first Obama inauguration in D.C. and filed a story about that. I have been out to Los Angeles a number of times related to my reporting on Payne and his films. In 2015 I received a grant for international journalism that funded my reporting mission to Uganda and Rwanda, Africa with world boxing champion Terence Crawford. This past summer I made my first visits to the American South and I wrote a number of posts about the experiences on my blog and Facebook page.  In 2017 I hope to travel to New York or Toronto for the North American premiere of Payne’s new film Downsizing starring Matt Damon.

When did you first consider yourself a writer?

I suppose I began thinking that way in college, though I didn’t do all that much writing then. it really wasn’t until some years after college, having worked in public relations and then beginning to freelance as a journalist, that I identified as a writer. But it still took me a few years to say the words “I am a writer” without stumbling over them.

Do you write full-time? If so, what’s your work day like? If not, what do you do other than write and how do you find time to write?

Yes, I do write full-time. Like most writers, much of my time is not taken up with writing per  se, but rather with the different things that prepare me to write (interviews, research) and sustain my writing (pitching, marketing). There’s a fair amount of correspondence and phone conversation that takes place between myself and editors.

My writing schedule depends on what else I have going on in terms of interviews and such. It also depends on what kind of writing I’m doing . If it’s a book, I try to plan writing on certain days and even during certain times of the day when I know I’ll be able to devote some undivided attention to the project. If it’s an article, then it’s a bit more haphazard and directed in part by deadlines. If it’s a blog or Facebook post, then it’s much more in the moment and as the spirit moves me. With any of these forms of writing though, I might be at the keyboard in the morning, afternoon or evening.

What would you say is your interesting writing quirk?

As a nonfiction writer I depend on primary interviews for my source material and I am a stickler for recording all my interviews and transcribing them myself.

As a child, what did you want to be when you grew up?

I don’t recall ever really thinking in those terms as a child. I am also sure I would never have considered being a writer if not for some teachers in elementary and high school who encouraged me. There were a couple professors in college who also influenced me to follow this path.

Anything additional you want to share with the readers?

Most of my original writing these days is actually done for my blog and Facebook page. But those sites also serve as an archive and new platform for my previously published work. If your readers want a real sense for who I am as a person and as a writer, I encourage them to visit those sites.

Links:

Blog | Facebook | Amazon

Thank you for being here today, Leo.

Posted by Lisa Haselton at 12:02 AM

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Labels: Alexander Payne: His Journey in FilmArtsauthor interview,EntertainmentFilmLeo Adam Biga

About Lisa

Lisa Haselton
I’m a NH native and love New England. I love writing about the region, exploring it on foot, on my bicycle, and in my car. There are so many small communities and fun and interesting people in this area, that I could be here a lifetime and not do all it is I want to do. 🙂

I’m a writer because I have a passion for words. I write YA and adult fiction, favoring all flavors of mysteries and I enjoy dark fiction. I belong to Sisters in Crime and Sisters in Crime – New England (SinCNE) and I’m a regular contributor to the SinCNE blog. My favorite mystery writing conference is the annual New England Crime Bakeheld each November in Boston.

I interview authors at Lisa Haselton’s Reviews and Interviews. All reviews are my own opinion. For interviews, you can contact me at ReviewsAndInterviews (at) gmail (dot) com.

I’m a moderator at The Writer’s Chatroom that hosts live chats with guest authors on Sunday nights 7-9PM EST. Join the e-mail list to get notifications of upcoming guests, then stop in and join the conversation!

View my complete profile

Links to check out

Intimate Book Talk-Signing for “Alexander Payne: His Journey in Film” – Saturday, Nov. 5 @ Indigo Bridge Books in Lincoln

October 20, 2016 Leave a comment

Cover Photo

 

Intimate Book Talk-Signing for “Alexander Payne: His Journey in Film” – Saturday, Nov. 5 from 3 to 4:30 pm @ Indigo Bridge Books in Lincoln, NE

Public · Books · Hosted by My Inside Stories

 

Scenes from a book talk-signing…More to come…

September 22, 2016 Leave a comment

Scenes from a book talk-signing…More to come…

Thanks to those who came to my Sept. 21 book talk-signing at the KANEKO-UNO Creativity Library for “Alexander Payne: His Journey in Film.” It was a cozy, intimate evening. Wish more of you from social media land and from Nebraska’s film community made it out. Hope you attend one of my upcoming fall events. We plan to do a weekday, lunchtime talk-signing at the same venue in coming weeks. Watch for details. And look for announcements about additional talks-signings I will be doing at The Bookworm, the Oakview Barnes & Noble and other sites.

Special thanks to KANEKO-UNO Creativity Library Manager Melinda Kozel for hosting last night’s event and for snapping photos of it.

“Alexander Payne: His Journey in Film”

$25.95

Available via Amazon, Barnes & Noble, Kindle, select bookstores and gift shops. You can also order it from me via my blog leoadambiga.com, inboxing me on Facebook, emailing me at leo32158@cox.net or calling me at 402-445-4666.

 

FINAL FRONT COVER 6-28-16

 

This comprehensive primer on the Oscar-winning filmmaker’s work is current to his “Nebraska” and “Downsizing” projects and features a discussion guide and index.

A perfect gift for yourself or the cinema lover in your life.

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”)

 

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Literary star Ron Hansen revisits the Old West in new novel “The Kid’

August 25, 2016 Leave a comment

Image may contain: 1 person, smiling, outdoor and text

 

 

Once upon a time, it was possible to be assigned depth stories about authors, artists and musicians by various Nebraska newspapers and magazines. Alas, those days are long gone in this age of byte size, SEO-rich content that favors style and graphics over substance and text. One of the few print sanctuaries for long-form features left in the state is the New Horizons newspaper published by the Eastern Nebraska Office on Aging. This monthly may not be on your reading list or radar but it should be, I dare say, for the long form features that Nick Schinker, Jeff Reinhardt and I do for the publication. If you like to dig into a subject, then you will have your fill and then some, especially when it comes to my New Horizons stories, which are four or five times the length of today’s average feature. A perfect example is my new profile of author Ron Hansen in the September 2016 issue. That Hansen profile is featured in this post. The Omaha native is a highly respected novelist, short story writer and essayist. He is a true literary star on the national scene and yet in his hometown he and his work are not well known outside perhaps the most informed literary circles or the Creighton Prep and Creighton University communities – he is a graduate of each school. I did a fair amount of writing about Hansen in years past but it had been awhile since the last piece. It’s been good to re-engage with him and to once again share his work with others. My new story about Hansen largely focuses on his new historical novel “The Kid” about Western outlaw Billy the Kid. The well-reviewed book is being released this fall by Scribner. The Old West and its outlaws have been subjects of two previous Hansen novels: “Desperados” and “The Assassination of Jesse James by the Coward Robert Ford.” The latter was made into a fne film starring Brad Pitt and Casey Affleck.

For this new story Ron generously sat down with me for a long interview, just as he’s done in the past, and he later answered several more questions via email. I am grateful to New Horizons editor Jeff Reinhardt for giving me the space I need to explore subjects as rich and complex as Hansen and his meticulously researched work. The September 2016 New Horizons with my cover story on Ron Hansen will be hitting the stands and arriving in mailboxes the end of August. Make sure to pick up a copy or two. You can subscribe to the paper for free. My extensive profiles of fascinating Nebraskans have appeared in its pages for 20-plus years and represent some of my favorite work about some of the most unforgettable people I’ve ever met. You can find many of those stories on my blog.

 

 

Brad Pitt and Casey Affleck as the title characters, Jesse James and Robert Ford, respectively, in the film adaptation of Ron Hansen’s novel The Assassination of Jesse James by the Coward Robert Ford

 

 

 

Literary star Ron Hansen revisits the Old West in new novel “The Kid’

©by Leo Adam Biga

Appearing in the September 2016 issue of the New Horizons

 

Ron Hansen, the author of such esteemed novels as Mariette in Ecstasy (1991) and Atticus (1996), long ago joined the ranks of Nebraska literary greats such as Willa Cather, Mari Sandoz, Wright Morris and Loren Eiseley.

The Omaha native is also a among Creighton Prep graduates to have made their mark in arts and letters, including Alexander Payne, Richard Dooling and Conor Oberst. Hansen’s Jesuit education continued at Creighton University. The 1970 graduate went on to study at the Iowa Writers Workshop, where he was a student of American novelist John Irving (The World According to Garp), and Stanford University.

Hansen is a devout Catholic and permanent deacon in the church. His work is funneled through the prism of faith and morality. Even though he writes about deeply flawed souls who are sometimes psychopaths and murderers, he doesn’t caricature them. Instead, he creates multi-dimensional characters through careful observation rooted in context and circumstance and tinged by occasions of grace. He has a historian’s penchant for the truth rather than some convenient approximation to satisfy the story.

Writing is his vocation for not only expressing his Christianity but his boundless curiosity and creativity.

His humanism and Catholicism are most evident in some of his essays: Hearing the Cry of the Poor: The Jesuit Martyrs of El Salvado; Affliction and Grace: and The Pilgrim: Saint Ignatius of Loyola. Yet there’s nothing overtly religious about his fiction with the exception of Mariette and even it’s framed in spiritual, psycho-social, emotional terms, not religious.

Hansen lives in Northern California with his wife, novelist Bo Caldwell, and teaches at Santa Clara University.

He’s the author of acclaimed collections of essays (Stay Against Confusion) and short stories (Nebraska Stories) and historical fiction books across wide subject matter and eras. Atticus was a finalist for the National Book Award and the PEN/Faulkner Award. The Assassination of Jesse James by the Coward Robert Ford was also a PEN/Faulkner finalist .

His novels often draw on historical figures and incidents. One that does not, Mariette in Ecstasy, details the intense inner journey a postulate faces when the stigmata appear on her body and the experience causes a crisis of faith in her and in her convent. Hitler’s Niece imagines the romance the dictator may have engaged in with a niece with whom he was infatuated. Exiles explores what made a tragic ship wreck the inspiration for a famous poem. A Wild Surge of Guilty Passion examines what led illicit lovers to plan and commit murder in a real-life case that inspired Double Indemnity.

Hansen’s particularly fond of the 19th century, owing partly to his late grandfather being a conduit to its Old West legacy. His latest novel, The Kid, is in his estimation the most accurate portrayal of legendary outlaw Billy the Kid yet produced.

“All the events in it are true,” Hansen said.. “In some ways they’re my interpretation of what occurred. I think there’s a lot of newness to what I did with this book as opposed to all of the other accounts. For one thing, this is the only time you see him with a sweetheart. None of the other treatments have had him speaking Spanish.”

A Publishers Weekly review called it  “entertaining and lively,” adding, “Hansen’s colorful description of the New Mexico Territory as a lawless land of lying politicians and thieving businessmen is historically accurate, resulting in an excellent, transportive read.”

 

 

The life and times of William H. Bonney have inspired many writers and filmmakers but they usually ignore facts for sensationalism. Disregard for history rankles Hansen, who takes great pains hanging his story on actual incidents. He authentically recreatsd the way people spoke and dressed then. Like all great storytellers, he immerses you in that world.

The Kid completes Hansen’s western trilogy that began with  Desperadoes (1979) – his take on the Dalton gang. He continued the outlaw theme with Jesse James  (1983) – another subject oft-interpreted in print and film. The latter book was closely adapted by Andrew Domink into a 2007 film starring Brad Pitt as James and Casey Affleck as his assassin Bob Ford. Though a critical success. the film struggled at the box office. Hansen was delighted with the adaptation. Dominik consulted Hansen during the writing process and had him on set the entire shoot in Canada. The script is so close to the book that many passages from the novel are spoken verbatim in the film as voice-over narration or dialogue. Hansen was on hand to ensure costumes, sets, lines were historically correct.

He also enjoyed being an extra in a scene where he played a frontier dude reporter.

It wasn’t the first time a Hansen novel made it to the big screen. He adapted Mariette himself for a 1996 film directed by noted cinematographer.John Bailey. Hansen said he admired Bailey’s original vision but the film was taken out of his hands and “mangled by higher-ups.”  The book’s also been adapted to the stage, including an award-winning theatrical play in Chicago.

On a spring visit to Omaha for his Prep 50th class reunion, Hansen spoke at length about his work. He especially focused on The Kid, for which he has great hopes.

“I’m hoping at least it becomes a miniseries because there’s so much story to tell. I couldn’t imagine how to turn it into two hours. It could easily be six hours.”

He also touched on other projects, some realized, some not, and what we can expect in the future.

 

Ron Hansen

 

Billy: The Man and the Myth

To belong.

To be liked.

To be famous.

To be feared.

Hansen has Billy say those four things to a trail mate who asks The Kid what he wants. They’re the aspirations of a mercurial man-child who lived fitfully and died violently at 21.

“In the movies especially he’s often portrayed as illiterate and a psychopath and when you read memoirs of other people they never say that about him,” Hansen said of Billy. “They say he was really smart, loved to read and was always very pleasant to be around. Billy obviously was very intelligent because even with very little schooling you can see in his letters he was very literate. He wrote a lot of letters actually. Maybe six have survived, mostly because they were letters he sent to the territory’s governor, Lew Wallace.”

Billy, like other outlaws, also enjoyed reading stories about himself to see where fact left off and fiction took flight.

“He once wrote an editor after reading an article about himself and said, ‘Whoever wrote that had a very vivid imagination because I didn’t do all those things,'” Hansen noted. “But he could have been denying what he really did do, too. That’s the way criminals act.”

For a lover of words like Hansen, it’s important he capture the richness of language people used then,

“There was a kind of grandeur to speech. Most of the time in Westerns people talk very simply, not very interestingly, but reading these accounts you realize people were very literate and very self-conscious about the way they wrote. They took time with things. For a lot of cowboys, their literature was basically the Bible and so there was an ancient sound to a lot of their language because that’s the only thing they’d read or heard. It was a different kind of education then and maybe a reverence for the written word that caused people to be careful how they spoke and wrote.”

Saying the wrong thing to Billy could be fatal, Hansen said, if The Kid’s “dark side” erupted after Insult or injury.

“That complexity naturally draws a novelist to show the shadings and not try to explain it really, just experience it.”

He said like other famous figures “Billy is basically everybody’s wild invention.” “Nobody can pin him down. It’s like Jesse James – everybody has an attitude about him. For some, he’s still a hero and they name their kid after him. And I think the same thing is true of Billy the Kid. He was very charming in real life. Everybody talked about what a nice smile he always had, so it makes him more likable than a lot of the outlaws.”

“So you have the possibility of two faces – the angry killer and the sweet guy all the women loved and liked to dance with. He learned Spanish somehow and the Hispanic people liked that  he would speak to them in Spanish and that he knew the Old World customs, so they protected him,” Hansen said. They thought what the authorities said was all untrue. In fact, it was trumped up a lot of the time. The newspaper accounts show how the description of Billy changes. He has black hair when they make him a negative figure and he has blonde hair when they make him positive. The journalistic slant is so clear. He starts out as this viper, really awful man. and then as accounts go on and people start having a yearning or romantic feeling about the Old West, he starts to take on a different coloring.”

The Kid’s legendary status was secured as soon as he died at the hands of sheriff Pat Garret.

“Almost immediately after his death there were five books about Billy the Kid and he was largely a figment of people’s imaginations even then,” Hansen said. “Then he faded from memory until Walter Noble Burns wrote The Saga of Billy the Kid. It became an immediate best seller. A movie followed that. There’s been something like 30 movies about Billy the Kid.”

Hansen said the Burns book makes The Kid “this very romantic hero – like a knight-errant,” adding Burns had the advantage of starting “on the research when a lot of the people were still alive, so he actually had first-hand accounts.”

Hansen read all he could find about The Kid, including the Burns book. Another resource he used to get a handle on him was the Enneagram of Personality Types. Applying what he knew about The Kid, he determined he fit the melancholic type.

“I sprinkled those aspects throughout the book,” he said.

Part of that type is wanting to be noticed and Hansen said that fits with a studio photograph of Billy dressed shabbily – a direct contradiction to how folks garbed for special occasions. Hansen has someone ask Billy, “You want to be photographed in that?” and The Kid replies, “I don’t want to be ordinary.”

Another trait of the melancholic, Hansen said, is having one hurt in life that can’t be assuaged. For Billy, he said, it was the loss of his mother, to whom he was devoted. The more Hansen dug into his subject the more he discovered what a complicated figure his protagonist was and how bereft he felt after losing her.

“He never really had a father and then she married this other guy who he didn’t get along with. The guy made him change his name from William to Henry. He never had much connection with his brother either. So, Billy basically had his mother and then she died and so he felt like an orphan.”

Hansen believes the fires raging inside Billy were fueled by abandonment and rejection. Billy also caught much grief for his slight build and fancy, fussy ways. When bullied, assaulted or cornered, he could be deadly. The great conflict within him was a desire to be accepted, even respected, and an urge to rebel.

“It was a real hot and cold thing going on with him,” Hansen said. “I think I have Paulita Maxwell, who was almost certainly his girlfriend, toward the end telling him he attracts people and repels them at the same time. They never know where they stand and they make him more and more anxious to please him. That’s why he became the leader of almost any group he was in – nobody could quite figure him out because of those contrary aspects of his personality.”

Given his charms, it’s no wonder The Kid won over a dandy land baron in the New Mexico Territory named John Tunstall, whose high breeding did not prevent their hitting it off. Tunstall became his boss and benefactor, remarking to others his admiration for The Kid’s wit and guile. When Tunstall was killed by arch enemies, Billy swore revenge and got it,

 

 

Western stirrings

There’s no telling if Hansen would have developed his same interest in the Old West without the influence of his grandfather. But there’s no doubt that crusty old man and his tales stirred something in him.

“My grandfather Frank Salvador had a ranch in eastern Colorado. He was from Spain originally. He and his mother and father seem to have sailed from France to America and settled in Utica, New York, where his mother died, then his father — in a gruesome mining accident.”

As a child Salvador was put on an orphan train bound for Iowa.

“Orphan trains began conveying children from the East — mostly New York City — in the early 19th century and didn’t stop until after World War I.,” Hansen said via email  “The idea was to get orphans out of the slums and into better living conditions of the wide open spaces farther west. Unfortunately, children sometimes became indentured servants to farm owners, as was the case with my grandfather on the farm near Adair (Iowa).”

While there, his grandfather swore he had a close encounter with an infamous outlaw.

“My grandfather told the story of when he was really young a group of guys rode up to the farm to water their horses. Then they heard galloping in the distance – it was a posse after them – and they jumped on their horses and ran off. He thought that was Jesse James. Jesse James actually robbed a train in Adair. It could have been another outlaw gang. But he was convinced of it and he had a reputation for being really honest.”

Salvador settled a score, peacefully, before lighting out for the West to make his own way.

“When he was in his late teens, my grandfather filed suit against the farm owner who’d misused him and never paid for his labor. The court ruled in his favor and he left Iowa for eastern Colorado where he bought land with his court settlement and called the ranch ‘Wages.’ He was a real interesting character because he was a 19th century man essentially. He would go someplace and nobody would see him there again for a year and they’d still remember him because he was so charismatic. He chewed tobacco and always carried around this coffee can he’d spit tobacco juice into, and I was charmed by this. Once I got a bee sting and he put a wad of chewing tobacco on it to take the hurt away and maybe it was a child’s imagination but I thought it really did work. The sting went away after he applied that poultice.”

The impressionable Hansen loved hearing the old man’s yarns and perhaps inherited some storytelling prowess from him.

“He would tell me stories – how some hands still wore their Civil War overcoats. He must have worked on horseback for a good while because it was only when he became prosperous he bought the first tractor in the county. He was also the first rancher (there) with indoor plumbing. He still had a bunkhouse that must have held at least 12 men. It was remarkable to visit there and think what a different life that was back then. So I felt like I had contact with the 19th century just through him.”

Naturally, once a writer Hansen drew on his grandfather – making him the subject of the essay A Nineteenth-Century Man. He’s the model for the title character in Atticus. Hansen said, “Some of his attitudes survive in Jesse James and all my Westerns have some element of my grandfather.”

There were other Western models in his life, too.

“There were a lot of farmers in my family and I remember visiting them and hearing them talk and they had a completely different vocabulary than the people I knew in Omaha. I think even being in Omaha you have a sense for the past you don’t have in other cities. Like where I am, the city of Cupertino, California, it didn’t exist really until 1970 and so there’s such a newness about it, whereas here (Omaha) you can still see houses and buildings from the 19th century. It would only take me about five minutes from West O to be in cornfields.”

He said growing up in Omaha in the 1950s, “the West was very much alive” because open country was just beyond the then city limits of 72nd Street. Plus, the stockyards in South Omaha found ranchers bringing livestock to market in epic volumes.

Hansen also saw his share of Western movies as a kid. Though steeped in images, artifacts and stories, he didn’t burn to write about the West until poverty sparked inspiration.

“I was really poor and I thought what can I think I can sell to a magazine, and I ran across this book about the Dalton gang. I knew they weren’t well known. They were a violent gang. I was charmed by the fact they tried to rob two banks at the same time in their hometown where everybody knew them. I thought that’d be a great story. I was writing it as a short story and then I realized I had like 30 pages and I hadn’t even touched the whole story, and so I decided I’ll write this as a novel.”

That story became Desperadoes.

“The same thing happened with Jesse James,” he said, when a short story he started morphed into his novel about the outlaw.

Much as he came to be with Billy the Kid, he said, “I was entranced by the differing opinions about Jesse James – how the newspapers thought he was the worst guy possible and then you saw memoirs where people said how gentle and fun he was and that he was very witty. Those kinds of complexities of character draw me to writing about these characters.”

 

 

Billy the Kid’s West

That rascals and varmints inhabited the West and that deadly conflicts happened with alarming frequency is not surprising given the conditions of that wild place.

As Hansen explained, “The area of Lincoln County (New Mexico) was the size of the state of Connecticut. It had one lawyer and one sheriff to cover all that, so people had to make do on their own basically. They had to be the law themselves. This was open range with no fences, Cattle would run away all the time – mavericks they called them.”

People claimed, worked and defended land they had no clear title to. When questioned or challenged, disputes arose, and with no practical legal remedy in sight, opponents often settled things with a gun. The same held for disputes over cattle, cards and any number of other things. If you killed someone in a conflict, you invoked the Code of the West, which roughly translated to, “He left me no choice.” Billy used that one himself.

Men protected their honor by any means necessary. Feuds often resulted in bloodshed. A wanted outlaw might take his chances with the Army, a sheriff or a posse. Hired guns targeted anyone, wanted or not, their employers wanted “regulated.” Frontier justice could mean death by assassination or lynching. On the run, dangers included Indians and bandits. At one time or another, Billy was on every side of these fights and pursuits.

“New Mexico residents thought of the government as being in Washington and they were their own government, so in some ways it was almost like the secession the South did with the North. They were rebels against this government that was being imposed on them,” Hansen said. “There weren’t telephone lines, there weren’t fences, there weren’t roads. There were trails, so it was really open country. The Apaches and the Comanches were still on the warpath and you constantly heard about people losing their lives. It affected Billy, too. He was attacked by Apaches and they stole his horse once. I don’t know how he got away with his life but he did.”

Billy specialized in stealing cattle and Army horses. Hansen said neither practice was uncommon. “A lot of people did it back then,” he said. “What’s ironic is that when Pat Garrett started his own herd of cattle, they were all stolen.”

Then there were the big ranchers who acquired their holdings by various expedient and questionable means. Hansen said, “Billy saw all that and thought, Why can’t I do that, too?”

Hansen makes no apologies for Billy’s crimes but insists he “kept getting blamed” for things he didn’t do. “Anytime he was around he got blamed for the murder when in fact many times he didn’t fire his gun. Partly that’s why he became so famous – that round up the usual suspects. He was always one of them.”

Not all outlaws are created equal.

“Jesse James was far more of a psychopath than Billy the Kid,” Hansen said, “because Jesse James was very violent – and intentionally that way. When we were shooting the movie Andrew (Dominik) and I both agreed it’s not really a Western, it’s really a gangster story. Typical of the gangster movie, a guy has accumulated wealth and power and all that stuff but then he gets paranoid and he starts killing off all the guys who made him famous. That’s what was happening with Jesse James. He was looking up all the guys and killing them.

“Yet he had these kids he loved and his wife loved him and all that. But at the same time he was capable of murder and robbing banks and trains. His wife must have known what he was doing but she pretended he was a cattleman and made money in the stock market.”

Hansen said though “Billy the Kid was like that, it was more impetuousness, especially when all these people were out to get him. He was constantly facing mobs and a lot of times they didn’t have warrants, and so in some cases it’s justifiable homicide. He was not as vicious as Jesse James. I have that scene where Jesse James meets him and Jesse gets vicious with him and then he finally gives up and walks away and Billy thinks, ‘If that’s an outlaw, I’m not an outlaw.’ Sure he was stealing cattle to make a living but so did almost everybody. That was the way people started their herds. That was the natural way of doing things back then.

“Billy’s crimes were never against people unless they shot at him or were trying to kill him, and then he shot back. He had lots of reasons for killing Bob Olinger, who was really nasty to Billy. Plus, Bob killed one of Billy’s best friends. He didn’t really want to kill Jim Bell but he felt forced to because they were going to hang him. So there were all these mixed motives going on.”

Billy’s death wasn’t accepted by everyone even though he clearly did die at the hands of Garrett.

Hansen said, “All these people who knew Billy were on this committee or jury that Pat Garrett urged be put together to say that the body was that of Billy the Kid and he did get killed by Pat Garrett – but it was justifiable homicide.”

Further evidence The Kid’s life ended then, Hansen said, was that his flame, Paulita, never saw Billy again.

The author finds Paulita an intriguing figure. Despite coming from a respectable family, she fell for this brash miscreant and after he was gone she denied being his girl.

“She thought of all the reputation Billy was carrying with him,” Hansen said. “In the Walter Noble Burns book she comes off as a woman wrongfully accused of being Billy’s sweetheart. She said she liked him very much and if they had been sweethearts she would have run off with him. So I actually have her say some of the things in the book she said to Burns. I don’t think she realized because of the book and the movies how famous she was going to be. She kind of hid out for the rest of her life.”

Years later. people claimed to be Billy under assumed names.

The same claims attended Jesse James after his death. “Officials finally did do a DNA sample and found out Jesse really was in that grave in Missouri,” Hansen said, “but I always knew he was in that grave because he was well known as a good family man and yet he left his wife destitute and it’s very unlikely he would have allowed that to happen.

“People just don’t want these legends to die.”

 

 

 

Projects

Just as no two outlaws are alike, no two writing projects are either. One constant of the craft is that it’s hard work. But some projects are more enjoyable than others. Though it took much research and imagination, The Kid was a relative breeze.

Hansen said, “I had more fun writing this than almost any other book I’ve done just because there’s such a variety of activity – so many different things are described. He’s a fascinating character. My wife was kind of irritated because I was writing in earnest for one year and she’s been on her book for four years. But it just came quickly to me.”

Not all his books perform as well as he’d like, including his 2011 historical novel A Wild Surge of Guilty Passion drawn from a real life “case of the century” that saw a tryst lead to a 1927 murder. The culprits, Ruth Snyder and her lover Judd Gray, were both executed at Sing Sing in 1928 after being found guilty of killing Ruth’s husband Albert Snyder.

Hansen happened upon the case and couldn’t shake it. There was a wealth of material about the crime and the trial. Gray even wrote a memoir about it while awaiting execution.

“Judd Gray was a corset salesman who had dropped out of high school,” Hansen said, “and yet at the trial the judge said, ‘We can see what a well-educated man you are.’ While in prison, to make money for his daughter, he wrote a very literate memoir about how he ended up killing Albert Snyder.”

Hansen’s own book about the case “didn’t do very well at all,” he said, which he attributes to early negative reviews in trade publications that outweighed later positive reviews. “I thought it was going to be a movie and it didn’t become a movie but people who have read it liked it. I like it.”

He had been with Harper Collins before parting ways and going to Scribner, which published Wild Surge. “Then Scribner published my book of stories She Loves Me Not  (2012). I wanted them do a paperback of it and they said we won’t until you give us a novel, so I decided to write The Kid.”

Then there was the feature film script he co-wrote with good friend and fellow novelist-short story writer Jim Shepard (The Book of Aron). Their script Lie Down with Me, which tells another 19th century story, though this one in the East, was written for Casey Affleck to produce and direct for Relativity Media. Everything was a go before things fell apart.

“Casey Affleck was counting on doing this as a labor of love and in the same week we were expecting our writing checks in the mail, Relativity declared bankruptcy.”

Hansen said Affleck still wants to get the movie made and is trying to secure a name actress in the key role of Abigale.

“It’s set in farm country in upstate New York in the 1850s. He wants it filmed in all four seasons, so he would get people on the set for one week and let them go home and get them for another week, and so on. It’s much voice-over. He wants it to be basically a diary of Abigale, who’s telling all these things that happened. It has very ornate language because she’s concentrating hard when she’s writing her diary, but when she’s talking it’s very plain language.

“A female actress would really be intrigued by this project just because it’s so much her (Abigale). Virtually every page is her and there aren’t many big parts like that for women.”

Asked why he’s so drawn to the past, Hansen said, “Some of my fascination as a fiction writer is the requirement to imagine so much more than if I were writing about a contemporary world or from autobiographical experience. I have to take on unfamiliar roles in unfamiliar settings, so I feel more creative. Even the spoken language is different. And it’s intellectually satisfying that there’s so much learning that needs to go on in order to persuade the reader that a scene must have happened pretty much as I present it.”

As for a next project, he said, “I want to do a sequel to Mariette in Ecstasy. Mariette would be like 80 years-old and she will have moved from upstate New York to Big Sur, California, but I don’t know anything else about the plot. The idea for a sequel just came to me. People like Mariette in Ecstasy a lot and wouldn’t it be nice to see what she’s up to. That was a book I liked writing. I had kind of a ready-made plot with that and I don’t have a plot with this.”

It’s a chance for his imagination to take full flight with one of his favorite characters whose life details he gets to fill in. Sounds like a state of bliss for the author.

Read more of Leo Adam Biga’s work at leoadambiga.com.

 
 

NEWS FLASH: “Alexander Payne: His Journey in Film” now available through Barnes & Noble

August 20, 2016 Leave a comment

NEWS FLASH: “Alexander Payne: His Journey in Film”

Now available through Barnes & Noble. $25.95.

https://leoadambiga.com/passion-project-introducing-the-new-alexander-payne-his-journey-in-film/

https://www.facebook.com/AlexanderPayneExpert/?fref=ts

The book’s a must-read for film buffs, critics, filmmakers, educators and students as well as more casual film fans who want a handy Payne primer and trivia goldmine.

“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”)

 

FINAL FRONT COVER 6-28-16

 

FROM YOUR ALEXANDER PAYNE EXPERT

Leo Adam Biga–

I am an Omaha-based author-journalist-blogger who often writes about film and in 2012 I turned my in-depth reporting about Oscar-winning writer-director Alexander Payne into a book entitled “Alexander Payne: His Journey in Film”. It is the most comprehensive study of his cinema career and work to be found anywhere. My collection of articles and essays is based on interviews I conducted with Payne and with many of his key collaborators. I have a new edition of the book releasing September 1 through a boutique press here called River Junction Press. This new edition features expanded and enhanced content, including a Discussion Guide with Index.

The book is updated and current through his “Nebraska” and “Downsizing” projects. I am quite proud of it. It’s received a wonderful endorsement from film scholar and author Thomas Schatz (see above).

“Alexander Payne: His Journey in Film” takes you deep inside the creative process of one of the world’s leading cinema artists and follows the arc of his filmmaking journey over a 20-year span, when he went from brash indie newcomer to mature, consummate veteran. Along the way, he’s made a handful of the best reviewed American films of the past two decades and his movies have garnered many top honors at festivals and at the Independent Spirit Awards, the Golden Globes and the Academy Awards.

The book has a staged release this fall, beginning September 1, 2016 through year’s end and well beyond, from River Junction Press in Omaha and sells for $25.95.

Available soon on Amazon, for Kindle and at select bookstores and gift shops. You can also order copies through my blogleoadambiga.com or via http://www.facebook.com/LeoAdamBiga or by emailing me at leo32158@cox.net.

More strong praise for”Alexander Payne: His Journey in Film”

“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” and “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”)

Passion Project – My new “Alexander Payne: His Journey in Film” now available at KANEKO


 

FINAL FRONT COVER 6-28-16

 

My life’s work is writing stories about people, their passions and their magnificent obsessions. I do this as an author-journalist-blogger. The gallery of people and pursuits I write about is quite diverse.

See for yourself by reading and following 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 Oscar-winning 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 collected into a book first published in 2012. I have a new edition out this summer featuring expanded and enhanced content that brings you right up to date with his latest project.

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

I am very pleased to announce the new edition Alexander Payne: His Journey in Film releases September 1. 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. The book will also be available on Amazon and for Kindle.

Alexander Payne: His Journey in Film charts the 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 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 sales for $25.95.

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

 

FINAL BACK COVER 6-28-16

 

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 StreetCrossing 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 ofBackstage

“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)

Watch for announcements about book signings and how you can get your copy for yourself, a friend, a loved one. Alexander Payne: His Journey in Film makes a perfect gift for the film lover in your life.

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