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Please join me for – Mauro Fiore: Writing with Light and buy new edition of ‘Alexander Payne: His Journey in Film’

July 15, 2016 2 comments

 

Cover Photo

Please join me for–

Mauro Fiore: Writing with Light 

And buy new edition of ‘Alexander Payne: His Journey in Film’

Thursday, July 21 @ 7 p.m.
KANEKO, 1111 Jones St.
Tickets $10 General Admission. FREE for KANEKO Members

KANEKO hosts Academy Award winning director of photography Mauro Fiore for an audio-visual presentation exploring his career. Fiore’s filmography as a DP includes “Training Day,” “The A-Team,””Avatar” – for which he won the Oscar for Best Cinematography – and more recently “Real Steel,” “The Equalizer,””The Kingdom” and “Southpaw.” The Hollywood veteran is recognized for his skill with stylized light and realism. He’s collaborated with such major directors as Joe Carnahan, Michael Bay, James Cameron, Peter Berg and Antoine Fuqua. He and Fuqua have teamed on five features, the latest of which is the soon to release remake of “The Magnificent Seven.”

Fiore very much sees himself as a storyteller working in light and image to fulfill the vision of the writer and director.

The July 21 discussion will be moderated by yours truly. As an author-journalist-blogger I bring years of experience writing and reporting about film to the moderator’s chair. I am the author of “Alexander Payne: His Journey in Film” – a collection of my journalism about the Oscar-winning filmmaker. I will be selling and signing a new edition of the book at the event.

The cost is $25.95.

 

FINAL FRONT COVER 6-28-16  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 Payne: His Journey in Film” charts the Oscar-winning filmmaker’s rise to the elite ranks of world cinema. Articles and essays take you deep inside the artist’s creative process. It is the most comprehensive look at Payne and his work to be found anywhere. This new edition features significant new content related to “Nebraska” and “Downsizng.” 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.

For inquiries and pre-orders, contact: leo32158@cox.net. Follow my work at–
leaoadambiga.com and www.facebook.com/LeoAdamBiga.

Mauro Fiore: Writing with Light is a part of the Storytelling season at KANEKO June 3 – August 27. Learn more about the Storytelling exhibitions and programs at–
http://thekaneko.org/kaneko-programs/storytelling/

Hope to see you there.

 

MAURO FIORE: WRITING WITH LIGHT – Yours truly interviews Oscar-winning cinematographer live on stage at Kaneko


Mauro Fiore is Nebraska’s best-kept secret cinema success story:

The native of Calabria, Italy is one of three Oscar winners residing in Nebraska.

This A-list director of photography is married to an Omaha gal he met on set.

He works with leading Hollywood directors.

He has been the cinematographer for James Cameron on Avatar, Michael Bay on The Island, Joe Carnahan on The A-Team and Smokin’ Aces, Peter Berg on The Kingdom and Wayne Wang on The Center of the World.

His collaborations with director Antoine Fuqua extend over five films, beginning with their breakout project, Training Day, followed by Tears of the SunThe Equalizer, Southpaw and coming this fall – The Magnificent Seven. Their work together is one of the longest-lived and most successful collaborations between a director and cinematographer in contemporary American cinema.

The art and craft of cinematography is the focus of the July 21 program at Kaneko in the Old Market. I will be interviewing Mauro live on stage for this Inside the Actors Studio-style event featuring clips from his stellar body of work.

Mauro’s journey in film encompasses 30 years. It began with a long apprenticeship. He paid his dues on low budget exploitaion films as a key grip, dolly grip, electrician and gaffer. He crewed on some make-wave films in the early 1990s, such as One False Move and Schindler’s List. His move into camera operating led to doing additional photography on a pair of Michael Bay mega-hits, The Rock and Armageddon. That led to Mauro getting the DP job for Bay’s The Island. He has sometimes worked with his close friend, mentor and colleague Janusz Kaminiski.

Mauro will discuss his approach to lighting sets and photographing scenes as an integral part of the storytelling process. He will also touch on his mentors, collaborators and inspirations. My conversation with Mauro will offer a rare, personal, behind-the-scenes look at how films actually get made and at what goes into capturing the arresting images, performances and physical action bits that entertain or move us and that in some cases become imprinted in our memory and imagination.

Link to my 2009 Reader cover story about Mauro at–

https://leoadambiga.com/…/05/04/master-of-light-mauro-fiore/

Link to a more recent Omaha Magazine piece i did on Mauro and his wife Christine at–

https://leoadambiga.com/…/omaha-couple-mauro-and-christine…/

For event tickets, go to–

NOTE: Earlier on that same day, July 21, I will be presenting about my trip to Africa with world boxing champ Terence Crawford for the Omaha Press Club Noon Forum. For details, visit–
https://leoadambiga.com/2016/06/29/come-to-my-presentation-about-going-to-africa-with-terence-crawford-july-
MAURO FIORE: WRITING WITH LIGHT – Yours truly interviews Oscar-winning cinematographer live on stage at Kaneko, Omaha’s Old Market
Thursday, July 21, 2016,
KANEKO | 1111 Jones Street, 7:00 p.m..
Here is how Kaneko is touting the program:

KANEKO will host Mauro Fiore: Writing with Light on July 21 at 7 p.m.

Tickets are $10 for General Admission and FREE for KANEKO Members.

KANEKO will host Academy Award winning cinematographer Mauro Fiore for an audio-visual presentation exploring his career as a filmmaker. Fiore has worked on numerous films including Training Day, The A-Team, and Avatar, for which he was awarded the Academy Award for Best Cinematography. A veteran of the Holly film industry, Fiore is recognized for his skill with light and realism. The discussion will be moderated by professional writer and storyteller Leo Adam Biga, author of Alexander Payne: His Journey in Film.

Mauro Fiore: Writing with Light is a part of the Storytelling season at KANEKO June 3 – August 27. Learn more about the Storytelling exhibitions and programs HERE.

 

Alexander Payne on working with Jack Nicholson


Alexander Payne on working with Jack Nicholson

©by Leo Adam Biga

Drawn from my book Alexander Payne: His Journey in Film

 

As I wade through the edit on the new edition of my Alexander Payne book, I am coming across some things that I am selectively posting, including this aggregation of quotes and musings in which Payne refers to working with Jack Nicholson on About Schmidt. Getting Nicholson to star in the film, in a part that requires he be on screen for virtually its entire duration, was a huge turning point in Payne’s career trajectory but what really catapulted Payne to the upper echelon of cinema was the great performance he elicited from Nicholson in the lead part of a killer script that Payne co-wrote with Jim Taylor and that Payne brought to the screen as the film’s director. Payne grew up watching Nicholson’s work in that decade of 1970s American film that was so foundational for the filmmaker and his own work as a writer-director. It meant a lot to Payne to have Nicholson deliver the goods in what was Payne’s biggest film, in terms of budget, prestige and risk, up to that point.

NOTE: The new edition of Alexander Payne: His Journey in Film releases September 1. It is the only comprehensive treatment of the Oscar-winning Payne in print or online. It is a collection of articles and essays I have written about Payne and his work over a 20-year span. I have basically covered him from the start of his filmmaking career through today. The book takes the reader through the arc of his filmmaking journey and puts you deep inside his creative process. There is much from Payne himself in the pages of the book since most of the content is drawn from interviews I have done with him and from observations I have made on his sets. I also have a good amount of material from some of his key collaborators.

I self-pubished the book in late 2012. It has received strong reviews and endorsements. I am releasing a new edition this summer with the help of a boutique press here, River Junction Press, and its publisher Kira Gale. The new edition features major content additions, mostly related to Payne’s Nebraska and Downsizing. It will also feature, for the first time, a Discussion Guide and Index, because we believe the book has potential in the education space with film studies programs, instructors, and students. But I want to emphasize that the book is definitely written with the general film fan in mind and it has great appeal to anyone who identifies as a film buff, film lover, film critic, film blogger. It has also been well received by filmmakers,

Kira and I feel hope to put the book in front of the wider cinema community around the world, including producers, directors, screenwriters, festival organizers, art cinema programmers. We feel it will be warmly embraced because Payne is one of the world’s most respected film artists and everyone wants to work with him. People inside and outside the industry want to learn his secrets and insights about the screen trade and about what makes him tick as an artist.

 
JACK NICHOLSON & ALEXANDER PAYNE ABOUT SCHMIDT (2002) Stock Photo

 

 

Alexander Payne on working with Jack Nicholson 

NOTE: These excerpts are from 2001-2002 articles I wrote and that appear in my book

 

Alexander Payne derives much of his aesthetic from the gutsy, electric cinema of the 1970s and therefore having the actor whose work dominated that decade, Jack Nicholson, anchor his film About Schmidt is priceless.

“One thing I like about him appearing in this film is that part of his voice in the ‘70s kind of captured alienation in a way,” Payne said, “and this is very much using that icon of alienation, but not as someone who is by nature a rebel, but rather now someone who has played by the rules and is now questioning whether he should have. So, for me, it’s using that iconography of alienation, which is really cool.”

Beyond the cantankerous image he brings, Nicholson bears a larger-than-life mystique born of his dominant position in American cinema these past thirty-odd years. “He has done a body of film work,” Payne said. “Certainly, his work in the ‘70s is as cohesive a body of work as any film director’s. He’s been lucky enough to have been offered and been smart enough to have chosen roles that allow him to express his voice as a human being and as an artist. He’s always been attracted to risky parts where he has to expose certain vulnerabilities.”

The film’s title character, Warren Schmidt, is a man adrift in a late life crisis where the underpinnings of his safe world come unhinged, sending him reeling into an on-the-road oblivion that becomes a search for redemption. Because the story is really about a man’s inner journey or state of mind the film is not so much driven by traditional narrative as it is subtext.

“This film isn’t so much about the story because there isn’t really much of a story. It’s about a man and kind of about a way of life,” Payne said. “And it’s a way of life I kind of witnessed in Omaha. Not that it doesn’t exist elsewhere and not that many different lives don’t exist in Omaha. But, from time to time, it has a whiff of something that’s very genuine. It’s just a feeling, and I’d be hard-pressed to describe it beyond that.”

As an artist, Payne does not like limiting himself to expository narrative. He understands how seemingly whimsical, quirky or incidental elements, like the moon serenade in Citizen Ruth or the lesbian romance in Election, have value too.

“One thing Hollywood filmmaking urges you always to do is tell the story. If it’s not germane to the story, then leave it out. And I kind of disagree with that,” he said. “I mean, I like stories. I like seeing movies that tell stories. I like my movies to tell stories. But films don’t operate only on a story level. There’s a quote I like that says, ‘A story exists only as an excuse to enter into the realm of the cinema.’ Films operate on emotions, moods, sub-themes and maybe even poetry, if you’re lucky enough to have a bit of mystery and poetry in your film.”

If the screenplay is any guide, then reading it reveals Schmidt as a man who has built his life around convention and conformity but who, along the way, has lost touch with what he really is and wants. The things in his well-ordered life have become his identity. His actuarial job with Woodmen of the World Life Insurance. His office. His home. His routine. His marriage. When, in short order, he retires, his wife dies and his estranged daughter prepares to marry a man he does not like, he realizes he is alone, at odds, angry and restless to find answers to why his supposedly full life seems so empty.

What makes Schmidt’s dilemma more complex is that he is not a wholly likable man. He is a square, a miser, a malcontent. Payne is drawn to such richly shaded and often unsympathetic characters because they are more interesting, more real, more truthful. Just think of inhalant addict mother-to-be Ruth Stoops in Citizen Ruth or arrogant, spiteful teacher Jim McAllister in Election. Neither is totally a shit, though. Stoops is brave, outspoken, independent. McAllister is sincere, caring, dedicated. And, so, Schmidt is solicitous, careful, reflective. As he begins defining a new life for himself without a job or wife, he begins behaving in ways that defy family-societal expectations.

 

 

 

About Schmidt: at desk with stacked boxes

 

 

In this way, the film is an indictment of the prefabricated mold people are expected to fit. With Schmidt, Nicholson mutely echoes the alienated character (Bobby Dupea) he essayed in 1970’s Five Easy Pieces. Just as Dupea turns his back on his classical piano career and blue blood roots to work the oil fields, Schmidt shucks his constraints to embark on a road trip that is as much escape as quest.

Then there’s the whole star power thing Nicholson brings. The clout Nicholson wields. The Player label he wears. The attention he commands. Payne is savvy enough to know that having Nicholson on the project boosts the prestige and the pressure that goes with it. That’s why this production is a little more all-business and a little less laid back than Payne’s previous two. For example, the filmmaker is, for the time being anyway, giving no interviews (outside this one) and the set is closed to reporters.

This limited access all gets back to the Nicholson factor. It means catering to him and shielding him.

Or, as Payne put, “we have a big fish on this one. Everyone knows him. Most everyone is a fan of his. Plus, there’s the Pop stuff of his winning three Academy Awards and having been in very many popular and artistic films. So, he’s a big presence in American culture. And all of us, certainly from me down to the crew, want him to be impressed. We want him to feel protected and supported. We want to feel that we have his approval. And, as director, I’m really bending over backwards to make sure he feels comfortable enough so he will expose vulnerabilities and really dive into the part. So, just because of his stature there is a heightened will among the film company and crew to do a good job.”

Making no bones about what a fan he is of Nicholson, Payne said his star has thus far been a filmmaker’s dream.

“Sometimes, you think about a movie star as being more star than actor, kind of playing some version of themselves. That’s not the case with Mr. Nicholson. He’s all about the character. He really dives into who is that person. He’s a consummate actor. I’ve been really impressed with what I’ve seen so far. And I think watching the character unfold through him is going to be really amazing.”

Instead of full-blown rehearsal periods for the film, Payne, Nicholson and the film’s other name actors, who include June Squibb as nis wife, Hope Davis as the daughter, Dermot Mulroney as the future son-in-law and Oscar-winner Kathy Bates as the future in-law, have held script readings. According to Payne, Nicholson is not throwing his weight around, as one might expect, but rather acting as a colleague and collaborator.

“My experience so far is that he expresses his opinions as he sees them and he tries to be helpful to me and to the process. He seems to respect the filmmaker. So far, it’s been a really interesting collaboration. And I also think I have much to learn from him, so I welcome his input.”

 

 

ABOUT SCHMIDT (2002 JACK NICHOLSON ALEXANDER PAYNE (DIR) MOVIESORE COLLECTION LTD Stock Photo

 

Nicholson became attached to the project through the kind of old-boy networking Hollywood thrives on. The actor was given Begley’s book by his old friend, producer Harry Gittes (whose name Nicholson appropriated for the private eye he played in Chinatown). Then, Payne came on board, writing the script with Taylor and being assigned directorial chores as well. All Payne knew was that Nicholson would read the finished script first.

“And, oh, thank God he liked and agreed to do it,” Payne said. On a practical level, Nicholson’s participation has meant a much bigger budget than Payne has worked with before. “It’s around $30 million. Mr. Nicholson’s getting a salary which is larger than actors have gotten in my previous movies. Another factor is that this is a union movie, where my previous two were non-union, so there’s a little added cost there.

“Thirty (million) is actually quite modest – it’s hard to believe, I know – by Hollywood standards. And it’s really amazing this script is getting made with this caliber of star at that budget level, because there’s no gimmicks, no special effects, no guns. It’s just a guy in crisis.”

Nicholson’s presence netted a bigger budget than Payne ever had before, which meant New Line insisted he use sound stages and multiple cameras as safeguards against cost overruns caused by shooting delays.

“Because it’s not a terribly commercial film and because it’s somewhat costly I was urged to not go over budget. I had to make all my days, so in order to do that I shot more on sound stages and I sometimes threw up two or three cameras. I’d used sound stages on a limited basis before because, one, we didn’t have the budget to build sets and, two, I don’t really trust it, I trust what exists. But practical locations, as they’re called, are difficult. They’re tight. You wreck people’s front lawns.

“Building sets and shooting on them poses its own logistical problems, but it also solves a lot of problems. And rather than shoot from one angle and then move in closer, I tried to get both (shots) at once. I like doing it precisely for the reason of not wearing out the actors and saving time.” In the end, Payne did meet his sixty two-day schedule.

Despite the hike in budget, the presence of a superstar and the imposition of union realities, Payne insists the film, which is being made for New Line, remains closer to his first two intimate independent features than to overblown mainstream Hollywood pics.

“The scale of filmmaking is, for me, not that much different than my previous two. A lot of directors, as they get older or have more films under their belt or have more success or whatever, they consistently make bigger, more impersonal films. I am conscious of wanting to make increasingly more personal films.”

Directing Nicholson allowed Payne to work with an actor he greatly admires and solidified his own status as a sought-after filmmaker. He found Nicholson to be a consummate professional and supreme artist.

“Nicholson does a lot of work on his character before shooting. Now, a lot of actors do that, but he REALLY does it. To the point where, as he describes it, he’s so in character and so relaxed that if he’s in the middle of a take and one of the movie lights falls or a train goes through or anything, he’ll react to it in character. He won’t break.” Payne said Nicholson doesn’t like a lot of rehearsal “because he believes in cinema as the meeting of the spontaneous and the moment. His attitude is, ‘What if something good happens and the camera wasn’t on?’”

By design, Nicholson carries the film. He is in virtually every scene. That Payne got him to play the lead in the first place was a coup. That he worked with an artist he’s long admired was cool. In an interview Payne gave the Omaha Weekly only days before shooting began, he said the actor was accommodating in every way, immersing himself in the part and making himself available to the entire process during script readings. Now months removed from the shoot, Payne said Nicholson remained a pro throughout the production and his extraordinary talent provided him as a director with endless choices.

“I had a very excellent experience working with him. He was extremely professional and committed to his part. Jack Nicholson is a movie star and an icon and that’s fine, but in the moment of doing it and really who he is in his heart he’s an actor who gets nervous like other actors and wants to do a good job like other actors and hopes he got it right like other actors and needs reassurance like other actors.

“What was great about directing him was that unlike many situations where you give the direction and hope to God the actor can do it just the way you’d like him to or you hope you’ve thought of the right words that will trigger the right response, with Nicholson I had to be careful with what I told him because not only would he do it, he could do it. He just has an excellent instrument. Sometimes, when I’d impose blocking or I wanted a certain scene a certain way, I’d say, ‘Is that all right with you’ and he’d go, ‘Well, anything you come up with I can find a way to justify it to myself, so, what do you want?’ I was like, ‘Ohhhh…’ He makes every possible choice doable.”

Payne said, “There’s always a bit of nerves between actors and director the first couple weeks as you’re learning to trust one another.” That was true at the start of Schmidt, as Nicholson felt Payne out, but in short time “he made it very easy to direct him. He put a lot of appreciated effort into breaking the ice with those around him. He was very professional and very cool and very kind.”

The crowds of fans that followed the Schmidt traveling all-star band from location to location have long dispersed since production wrapped.

 

 

About Schmidt

 

If reaction to the film by preview audiences is any gauge, than Payne may be striking the right chords with this gray, introspective story. He said test cards consistently use words like “real,” “true-to-life,” “genuine,” “naturalistic” and “not funny” to describe it. “And that’s been kind of nice,” said Payne, whose aesthetic is informed by the European and American cinema of the last Golden Age (the 1960s and ‘70s) when the best films were about real life. Payne said the September 11 terrorist attacks “helped cement more than ever my already existing desire to make human films – films which are about people.”

 

Missing Jack Nicholson: A Reflection


Missing Jack Nicholson: A Reflection

©by Leo Adam Biga

A version of this story appears in my book Alexander Payne: His Journey in Film

 

Does anyone else miss Jack Nicholson? He has not been in a film since 2010 and I think the cinema landscape has been poorer for it. He is not officially retired. Some reports have indicated he cannot remember lines anymore but he has gone on the record to say his mind and his memory are not the issue, rather he’s simply taken time off to live life until a project comes to him that inspires him. His filmography is as rich and deep as any actor’s ever. While I am not entirely sure he is a great actor, he is certainly one you cannot ignore or dismiss because of the sheer force of his talent and personality and because he has been in so many great films. He makes bold and usually great choices in the parts he takes and in the way he interprets the characters. He is as great a star actor as there has ever been in that sense. Anyway, in proofing and editing the new edition of my Alexander Payne book I came upon an essay I wrote about Jack and his place in film at the time he was making About Schmidt in Omaha under Payne’s direction. In doing so. I was reminded of his absence and I felt compelled to post the piece here.

NOTE: The new edition of Alexander Payne: His Journey in Film releases September 1. It is the only comprehensive treatment of the Oscar-winning Payne in print or online. It is a collection of articles and essays I have written about Payne and his work over a 20-year span. I have basically covered him from the start of his filmmaking career through today. The book takes the reader through the arc of his filmmaking journey and puts you deep inside his creative process. There is much from Payne himself in the pages of the book since most of the content is drawn from interviews I have done with him and from observations I have made on his sets. I also have a good amount of material from some of his key collaborators.

I self-pubished the book in late 2012. It has received strong reviews and endorsements. I am releasing a new edition this summer with the help of a boutique press here, River Junction Press, and its publisher Kira Gale. The new edition features major content additions, mostly related to Payne’s Nebraska and Downsizing. It will also feature, for the first time, a Discussion Guide and Index, because we believe the book has potential in the education space with film studies programs, instructors, and students. But I want to emphasize that the book is definitely written with the general film fan in mind and it has great appeal to anyone who identifies as a film buff, film lover, film critic, film blogger. It has also been well received by filmmakers,

Kira and I feel hope to put the book in front of the wider cinema community around the world, including producers, directors, screenwriters, festival organizers, art cinema programmers. We feel it will be warmly embraced because Payne is one of the world’s most respected film artists and everyone wants to work with him. People inside and outside the industry want to learn his secrets and insights about the screen trade and about what makes him tick as an artist.

 

Being Jack Nicholson

Published in the April 5, 2001 issue #57 of the Omaha Weekly

Bigger Than Life

With filming proceeding in earnest on Alexander Payne’s latest made-in-Omaha film, About Schmidt, real and imagined sightings of its world-famous lead actor, Jack Nicholson, are no-doubt filtering-in from starstruck citizenry. Not since Sean Penn stirred things up here with his directorial debut, The Indian Runner, largely shot in and around Plattsmouth, Neb., have locals been as frenzied about catching a glimpse of some celebrity.

The fuss is well-merited this time. For as great an actor as Penn is, Nicholson is a star on the order of the old-time greats. A genuine Hollywood legend. From his trademark shades to his romantic intrigues to his public indiscretions to his classic rebellious roles to his three Oscars, he is everything we want in a star. Cool. Sexy. Enigmatic. Independent. Well-respected. Justly rewarded. With greatness in our midst, now is as good a time as any to consider just why he looms so large in our collective movie consciousness.

The mere mention of Jack’s name conjures a portrait in rascality. From the devil-may-care glint in the eye to the sardonic smile to the sarcastic voice, he is the lovable scoundrel of our imagination, saying and doing things we only wish we could. He is, like the best screen actors, a romantic projection of our liberated inner selves. The sly, shrewd man on the make. The ageless rebel. The unreformed rake. The eternal carouser. The agitator who stirs things up. The sharp-tongued wit cutting people down to size. The volatile time-bomb ready to explode.

In an amazing display of durability he has gone from being the embodiment of the rebellious 1960s and 1970s to essaying the angst of that same generation now grown old and disillusioned in the wake of chasing love and money and happiness in all the wrong places. At a pudgy sixth three, he shows the wear-and-tear of a sometimes hedonistic life. After all, he came to fame and fortune just as America entered the indulgent 1970s, emerging from the limbo of the B movie fringe to the heights and perks of major Hollywood screen stardom on the strength of remarkable performances in a string of fine films made between 1969-1975.

Nicholson was launched from obscurity into the front ranks of the industry with his scene-stealing turn in 1969’s Easy Rider as a conventional southern lawyer gone-to-seed and turned-on to the counter-culture by hippie bikers Dennis Hopper and Peter Fonda. More memorable roles soon followed. Think of the best films of the 1970s and ‘80s and Nicholson appears in an inordinate number of them: Five Easy Pieces; Carnal Knowledge; The Last Detail; Chinatown; One Flew Over the Cuckoo’s Nest; The Missouri Breaks; The Shining; Reds; Terms of Endearment; Prizzi’s Honor. As disparate as these films and their stories are, the characters Nicholson creates are largely variations on a theme, namely, a man fighting alone to protect his identity or independence in the face of forces he cannot hope to defeat. In one way or another he is playing the existential modern man trying to save himself amid the complex crush of the system or society or fate or nature.

Unlike many contemporary actors, Nicholson, even in his early groundbreaking work, brings a weight to his performances only gained from years of working at his craft and from living a full life away from film sets. Like the great actors of Hollywood’s Golden Age (Tracy, March, Cagney, Bogart, Gable, Mitchum, Lancaster, Douglas) you get the sense he has been around the block a few times. That he is not merely an actor, but a complex human being with a rich personal history behind him. Besides technique, it’s what lends his performances a certain credence and gravity you don’t find very often these days outside warhorses like him, Nick Nolte, Gene Hackman, James Caan, Sean Connery, Morgan Freeman and a few others.

Nicholson captures our fancy with the combination of his snake oil charm, angry defiance and fierce intelligence. Behind that leering smile lurks something wild and dangerous and mysterious. It helps account for his appeal with both men and women. In classic rebel tradition he is the iconoclast or nonconformist at odds with the world, raging against the tide. He is the master of the slow burn and of the sudden violent outburst.

 

CBS NEWS

 

Signature Seventies Roles

Each of his signature roles from the ‘70s features scenes in which he acts out a full-blooded tantrum, from his famous table-clearing tirade at the truck stop cafe in Five Easy Pieces to his confrontation with a bartender in The Last Detail to his brutal interrogation of his lover in Chinatown to his fighting back against brutal guards in One Flew Over the Cuckoo’s Nest. His star making turns in the ‘70s found him working on the very edge of his craft, daring to go for deep emotional truths and idiosyncratic behaviors that reveal vital shades and nuances of his complex characters.

In Bob Rafelson’s 1970 Five Easy Pieces Nicholson is frustrated former concert pianist Bobby Dupea, a man weighed-down by the burden of expectation from his well-heeled family. He finds relief from the pressure of conformity by running away from the classical music world to work in the oil fields, where he is just another hand looking for a paycheck and a good lay. Ironically, his constant flight from his past leads him right back to where he started – to a family he can neither ever quite measure up to nor escape.

The 1971 Mike Nichols-directed and Jules Feiffer-penned Carnal Knowledge finds Nicholson as the callow Jonathan, who tries negotiating the attitudes, mores and politics at work in the male-female dynamic during the dawn of the sexual liberation and feminist movement. No matter how the times and the terms of engagement change, he is still a predator and women are still his prey. The finer points of relationships seem to bore him. Emotions scare him. For men like him, love, commitment and communication are mere decorative foreplay for making it.

In Hal Ashby’s 1974 The Last Detail Nicholson stars as foul-mouthed, free-spirited Everyman Billy “Bad Ass” Buddusky, one of two career sailors reluctantly escorting a fellow sailor to prison. What is supposed to be an uneventful transfer over to authorities turns into a wild romp when Buddusky and his mate grow fond of the young, naive prisoner (Randy Quaid) and decide to show him a good time en route. Nicholson’s tragic-comic performance never misses a beat.

In the Roman Polanski-directed and William Goldman-scripted Chinatown (1974) Nicholson lends his interpretation to the classic private eye with a stunning evocation of Jake Gittes, a cocky and seedy PI haunted by a love gone bad. When he stumbles onto a new case with giant implications for arid Depression-era Los Angeles, he finds himself sucked-into a whirlpool of deceit by a femme fatale (Faye Dunaway) he can’t resist. By the time the chips fall where they may, Gittes is a broken man undone in the same Chinatown district that undid him once before.

Forever cementing his rebel image, Nicholson plays Randall P. McMurphy with the sensitive brio of an underdog beaten down by an uncaring system in Milos Forman’s 1975 adaptation of Ken Kesey’s counterculture novel One Flew Over the Cuckoo’s Nest. It is the kind of martyr role that all of the great screen rebels – from Cagney to Garfield to Brando to Clift to Dean to Newman to McQueen – have portrayed.

Later Work

Nicholson achieves a tour de force in Stanley Kubrick’s 1980 version of Stephen King’s The Shining by brilliantly detailing the mental breakdown of writer Jack Torrance, a tortured man caught in the grip of some awful supernatural force compelling him to kill his family in the eerie isolation of the Overlook Hotel. In a performance that is by-turns finely controlled and manic (“Here’s…Johnny”) Jack displays astonishing range and courage by essaying a madman you loathe but pity too.

Terms of Endearment casts Nicholson as retired astronaut Garrett Breedlove, a man used to having his way with the ladies. Playing his age for a change, he strikes just the right note as an aging Lothario who meets his match in the figure of neighbor Aurora Greenway (Shirley MacLaine), whom he eventually beds but not without making a commitment to her. Both Nicholson and MacLaine won well-deserved Oscars for their strong supporting performances.

Besides these stand-the-test-of-time roles, Jack’s given compelling performances in otherwise flawed films like The Fortune, The Last Tycoon, The Postman Always Rings Twice, The Border and Heartburn. By the time he reached icon status as the guy with the wink in his eye, he parlayed his legendary facade into some made-to-order parts where he hammed things up, including a horny Lucifer in The Witches of Eastwick, a pompous Joker in Batman. an egomaniacal colonel in A Few Good Men, and a bigoted curmudgeon in As Good As It Gets. His recent collaborations with actor-director Sean Penn have seen a new, more mature and darker Nicholson emerge. In both The Crossing Guard and the current The Pledge he plays damaged older men seeking catharsis in extreme circumstances but instead finding only more pain. Gone is the impish and ironic persona of the younger Jack and in its place is a restless, brooding character that could very well be Bobby Dupea or Jake Gittes twenty five years later.

 

Portrait of Jack Nicholson by David Bailey, 1984  Jack Nicholson and Anjelica Huston, 1970s  Portrait of Jack Nicholson by Lorenzo Agius, 2007  Portrait of Jack Nicholson in Easy Rider directed by Dennis Hopper, 1969  Jack Nicholson in Five Easy Pieces directed by Bob Rafelson, 1970
Portrait of Jack Nicholson in Chinatown directed by Roman Polanski, 1974  Portrait of Jack Nicholson in Hell's Angels On Wheels directed by Richard Rush, 1967  Jack Nicholson at home by Arthur Schatz in Los Angeles, Life, 1969  Christopher Knight, Robert Casper, Jack Nicholson, Helen Westcott and Frank Gorshin in Studs lonigan directed by Irving Lerner, 1960
Jack Nicholson in Five Easy Pieces directed by Bob Rafelson, 1970  Sandra Knight and Jack Nicholson in The terror directed by Roger Corman and Francis Ford Coppola, 1963  Jack Nicholson in Professione: reporter directed by Michelangelo Antonioni, 1975. Photo by Floriano Steiner  Jack Nicholson in Professione: reporter directed by Michelangelo Antonioni, 1975. Photo by Floriano Steiner
Jack Nicholson and Carolyn Craig in Studs lonigan directed by Irving Lerner, 1960  Portrait of Jack Nicholson by Harry Benson, 1975  Portrait of Jack Nicholson in A safe place directed by Henry Jaglom, 1971  Portrait of Jack Nicholson in A safe place directed by Henry Jaglom, 1971  Portrait of Jack Nicholson by Helmut Newton, 1997
Jack Nicholson and Robert Evans by Helmut Newton, Los Angeles, 1985  Jack Nicholson and Maria Schneider in Professione: reporter directed by Michelangelo Antonioni, 1975. Photo by Floriano Steiner   Jack Nicholson in his Volkswagen, Los Angeles by Liz Ronk, 1969  Anjelica Huston and Jack Nicholson by Klaus Lucka von Zelberschwecht, 1985
Jack Nicholson in The Missouri Breaks directed by Arthur Penn, 1975  Portrait of Jack Nicholson in Batman directed by Tim Burton, 1989  Jack Nicholson and Karen Black in Five Easy Pieces directed by Bob Rafelson, 1970  Stephen Dorff and Jack Nicholson in Blood and Wine directed by Bob Rafelson, 1996  Bob Rafelson, Jessica Lange & Jack Nicholson at 34th Cannes for The Postman Always Rings Twice, 1981
Jack Nicholson in The Fortune directed by Mike Nichols, 1975  Marlon Brando and Jack Nicholson on the set of The Missouri Breaks directed by Arthur Penn, 1975. Photo by Mary Ellen Mark  Jack Nicholson and Marlon Brando on the set of The Missouri Breaks directed by Arthur Penn, 1975
Jack Nicholson in Carnal knowledge directed by Mike Nichols, 1971  Jack Nicholson in Chinatown directed by Roman Polanski, 1974  Portrait of Jack Nicholson by Otto Stupakoff, 1960s
Portrait of Jack Nicholson, 1960s  Jack Nicholson in Chinatown directed by Roman Polanski, 1974  Jack Nicholson on the set of The shinning directed by Stanley Kubrick, 1980  Jack Nicholson by Xavier Martin, 1976
Andy Warhol and Jack Nicholson, 1970s  Jack Nicholson and Anjelica Huston, 1976  Portrait of Jack Nicholson, 1960s  Jack Nicholson in Professione: reporter directed by Michelangelo Antonioni, 1975
Jack Nicholson, 1975  Jack Nicholson and Anjelica Huston, 1984   Jack Nicholson, 1980s  Jack Nicholson in Easy Rider directed by Dennis Hopper, 1969

 

Jack as Everyman Warren Schmidt

Now, About Schmidt offers Nicholson yet another chance to play out the secret anxieties, regrets and desires of a man his own age. The character of Schmidt is a bitter Woodmen of the World actuary retiree undergoing a crisis of conscience in the aftermath of his longtime wife’s death. As the facade of his well-ordered world crumbles around him, the repressed Schmidt must confront some uneasy truths about himself. His struggle to make meaning of his life propels him on a road trip across Nebraska during which he comes into contact with an odd assortment of characters. With his feelings reawakened, life becomes an adventure again rather than a burden.

The passive title role of the Alexander Payne-Jim Taylor penned script they adapted from the Louis Begley novel and from an early, unproduced Payne screenplay appears in some ways a departure for Nicholson. But the implosion of his character is actually in line with the roles he’s played for Penn.

As usual, Payne will try to extract the humor from what promises to be a sharply-observed story of loss, loneliness, introspection and discovery. The vulnerable figure of Schmidt offers a ripe and fitting part for Nicholson at this stage in his career. However the film turns out, Nicholson is sure to deliver the goods under the direction of Payne, who is known for eliciting strong performances from his leads.

Book about Alexander Payne a must for film buffs, film critics, film students, film instructors, film programmers, filmmakers


Book about Alexander Payne a must for film buffs, film critics, film students, film instructors, film programmers, filmmakers

New edition of ‘Alexander Payne: His Journey in Film’ to feature Discussion Guide and Index

 

From the world’s foremost expert on the Oscar-winning Payne

Releasing September 1 from River Junction Press

 

Alexander Payne cover new version 3

The new edition of my book “Alexander Payne: His Journey in Film” will include significant content additions related to “Nebraska” and “Downsizing” as well as more photos. a redesigned cover and a comprehensive Discussion Guide with Index. Below are the topics that will guide readers in finding key insights into and quotes by and about this world-acclaimed filmmaker. The new edition releases September 1.
The Guide and Index greatly enhance the educational value of what is already a must-have book for film buffs, film critics, film students, film instructors, film programmers and filmmakers.
Discussion Guide with Index topics–
1. Getting Started and Family
2. Sense of Place
3. Realism and Humanism
4. Comic/Tragic
5. Meaning and Morality
6. Characters
7. Personal Films/Filmmaking
8. Directing
9. Editing and Sound
10. Writing
11. Jim Taylor, Writing Partner
12. Photography
13. Casting and Auditions
14. Actors and Acting
15. Producers and Production Company
16. Film Team
17. Audiences and Film Festivals
18. Work for Hire and Work for Friends
19. Studios, Financing, Budgets
20. Films and Filmmakers Payne Admires

 

Omaha Film Festival adds spotlight on Nebraska films


If there ever has been the equivalent of a Nebraska New Wave in cinema, then the time may be now. That is the assertion or suggestion I make in this Reader (www.thereader.com) story about the 2016 Omaha Film Festival and its Nebraska Spotlight focus on homegrown films and filmmakers.

 

Omaha Film Festival adds spotlight on Nebraska films

Omaha Film Festival adds spotlight on Nebraska films

Nebraska New Wave in cinema featured at fest

It used to be conversations about local filmmakers doing relevant work here began and ended with Alexander Payne and Nik Fackler. That’s changing now and the March 8-13 Omaha Film Festival (OFF) is evidence of it.

The 11-year-old fest, back for the third year at Marcus Village Pointe Cinema, is programming more selections with local ties courtesy its new Nebraska Spotlight lineup of feature-length narrative and documentary films. This acknowledgement that a Nebraska New Wave in cinema is upon us follows breakout work by homegrown filmmakers Dan Susman, James Duff, Patty Dillon, Charles Hood, Jim Fields, Dan Mirvish, Dana Altman, Yolonda Ross, Patrick Coyle, Charles Fairbanks, Jason Fischer and others. Spotlight now provides a dedicated platform for feature filmmakers and their films who have some link to this place.

The fest is not as parochial as this sounds, Most OFF entries have no Neb. connection whatsoever. But Spotlight is that showcase for emerging and established local filmmakers to shine.

Omaha indie rocker Tim Kasher is showing his feature writing-directorial debut No Resolution. Award-winning resident video photojournalist Mele Mason has a new documentary I Dream of an Omaha Where with a powerful local theme. OFF co-founder Jason Levering, who adapted Stephen King’s The Shining to the stage, is premiering a first feature he co-wrote and directed, Blind Luck.

Itinerant area actor Lonnie Senstock’s doc Once in a Lew Moon profiles Hollywood luminary Lew Hunter. Omaha thespian Erich Hover has produced a highly personal story drawn from his own life in It Snows All the Time. Writer-director Matt Sobel mined memories of Loup City family reunions for his first feature, Take Me to the River. It played Sundance last year.

 

It Snows All the Time 

March 9 @ 5:45 p.m.

Erich Hover’s passion project dramatizes his father’s real life struggle with frontotemporal dementia and how its debilitating effects have impacted the family. Hover shared the story with actor-writer-director Jay Giannone, who brought it to his writing partner, Eric Watson, a Darren Aronofsky collaborator. The resulting script by Giannone and Watson landed Brett Cullen as the father and Lesley Ann Warren as the wife. Hover plays a film version of himself in the film that Giannone directed. The name cast includes Omaha’s own John Beasley.

The pic shot in and around Omaha.

 

Black Luck

March 10 @ 8:30 p.m.

Jason Levering and David Weiss directed a script Levering wrote with Garrett Sheeks. The log line reads: “A hit man in hiding struggles to keep his monsters at bay when his dark past comes calling.” Levering says, “Although the subject matter seems like familiar ground, our take is more story-driven than action-oriented, offering the audience a thriller with a mystery at its core and several twists and turns. We did some non-traditional things with our storytelling. We went theChinatown route with our main character, whose face is covered in bandages for most of the film due to the beatings his suffers.”

The film shot in Omaha with a local cast.

 

No Resolution

March 11 @ 6 p.m.

“I’ve been wanting to shoot a movie for most of my life. This is the culmination of that, I guess,” Tim Kasher says. “I’ve written a handful of scripts over the years. This just happens to be the latest one I’ve written. The story is a fairly intense evening between an engaged couple who are at an impasse in their relationship. I’m obsessed with this long, drawn-out sort of fight on screen. But a lot occurs in between the arguments as well.”

He shot the flick in Chicago. it features his own music and that of friends. Kasher previously only directed video shorts. He got advice from two filmmaker friends, Nik Fackler and Dana Altman. “They have helped unravel some of the mystery for me,” he says. “I really enjoyed all of it. It’s all so exciting. I even love how long the days are. I could hardly sleep each night, and then I would sleep so hard for a few condensed hours out of absolute fatigue.”

 

Once in a Lew Moon

March 12 @ 3:45 p.m.

The subject of this documentary, Lew Hunter, is the classic small town boy made good in Hollywood story. This former executive at all three major networks and Disney is also a writer-producer with notable made-for-TV movie credits to his name. But he’s best known as the author of the never out of print bible for scriptwriting, Screenwriting 434, based on the UCLA graduate class he’s taught since 1979. Filmmaker Lonnie Senstock captures the warm, communal spirit Hunter creates with students at UCLA and at the screenwriting colony he leads at his home in Superior, Nebraska.

 

Take Me to the River

March 12 @ 6:15 p.m.

Matt Sobel grew up in Calif. but came to Neb. for family reunions. A dream he had about being falsely accused of something terrible at a reunion so upset him he set out to capture “that visceral sensation” in a script that otherwise tells a fictional story. He filmed at the very farm he visited for those reunions. Rising star Logan Miller plays the boy, Ryder, who finds himself under suspicion on the very weekend he’s coming out. The cast is rounded out by veteran supporting players.

All indie filmmakers have a rite-of-passage getting their work from page to screen, Sobel’s circuitous path took him on Cannes, Rotterdam and Manitoba detours before ending up back in Nebraska.

 

I Dream of an Omaha Where…

March 13 @ 2:30 p.m.

Mele Mason documented a local collaborative project moderated by national performance artist Daniel Beaty that involved former gang members and people affected by gangs.

“The project took participants through intense and moving workshops to a performance of a play utilizing workshop transcripts. I was able to document each step of this incredible process,” Mason says. “The I Dream project was a transformative experience for those sharing their stories and is also changing the dialogue in Omaha and similarly affected cities about the nature and impact of gang violence. To me and hopefully to the audience, it puts a human face on those who have or still are participating in gangs and the people who have been tragically affected by gang violence.”

 

When Voices Meet: One Divided Country; One United Choir; One Courageous Journey 

March 13 @ 11:45 a.m.

In addition to the out-of-competition Spotlight features, there’s a feature documentary in competition whose producer-director-editor, Nancy Sutton Smith, teaches at Northeast Community College in Norfolk. When Voices Meet charts the experiences of a multiracial youth choir formed by musician activists in South Africa following Nelson Mandela’s release from prison. Ignoring threats, the choir traveled across the country via The Peace Train and became the face for the democracy Mandela moved the nation towards. The group performed for seven years, Members remained close friends. They reunited to share their stories.

A TV segment Smith produced about The Peace Train led to a decade-long collaboration that resulted in the documentary, which has become an award-winning darling at festivals.

 

The fest also has its usual block of locally produced shorts. The OFF Conference will include industry panelists from Nebraska. Conference Q&A’s and Fest parties offer opportunities to meet film artists,

Add to these local film currents Alexander Payne’s Downsizing lensing this spring (a week in Omaha) with Matt Damon and Reese Witherspoon, the features East Texas Hot Links and The Magician gearing up for area shoots, plus Dan Mirvish with a new project and Nik Fackler writing scripts again, and the local cinema culture is popping. Once the Dundee Theater reopens, it’s a full-on moviepalooza in this dawning Nebraska New Wave movement.

For the complete OFF schedule, visit http://omahafilmfestival.org/.

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

 

READ ALL ABOUT IT EXCLUSIVE – Alexander Payne’s “Downsizing” starring Matt Damon and Reese Witherspoon

February 27, 2016 Leave a comment

Here is your first and only exclusive insider’s look at Oscar-winner Alexander Payne’s jusst under production new film, “Downsizing,” starring Matt Damon, Kristen Wiig, Christoph Waltz and other stars. From yours truly, Leo Adam Biga, the chronicler of this important writer-director since 1997 and the author of “Alexander Payne: His Journey in Film” – soon to be re-released with a new design, plus updated and expanded content.

UPDATE In its original version this story reported that Reese Witherspoon would co-star alongside Matt Damon, but only days before the April 1 production start it was announced she was no longer attached to the project and that Kristin Wiig had replaced her.

Since this story was first published in early March, Oscar-winning actor Christoph Waltz, along with Udo Kier, Paul Mabon and Warren Belle were officially added to the cast.

 

Payne’s film about miniaturized human life tackles big themes

 

 

READ ALL ABOUT IT EXCLUSIVE – Alexander Payne’s “Downsizing” starring Matt Damon

Film about miniaturized human life tackles big themes

‘Downsizing’ finally going before the cameras April 1

©by Leo Adam Biga, Your A.P. Expert and Author of Soon to Reboot “Alexander Payne: His Journey in Film”

Original story appeared in the March 2016 issue of The Reader (www.thereader.com)

 

The high concept behind Alexander Payne’s soon to shoot new feature, Downsizing, unfolds in a near future world where humans can opt to be miniaturized. Everything about the story, from the title to the characters to the plot-lines, gives Payne and co-scriptwriter Jim Taylor ample metaphorical opportunities.

The big budgeted Paramount picture starring Matt Damon, Kristen Wiig, Christoph Waltz, Neil Patrick Harris, Jason Sudeikis, Alec Baldwin, Paul Wabon, Warren Belle and Hong Chau endured a long gestation. A different cast was attached in 2008-2009 before the road to financing collapsed with the economy. The pieces almost came together again in 2014. All the while, the script, begun in 2006, got reworked and pared down to meet the budget cap Hollywood placed on this risky project marking Payne’s first foray into science fiction and visual effects..

The production is based at Pinewood Studios in Toronto, Ontario, Canada, where Payne will work for the first time on sound stages and with green screens, CGI and motion capture. Little or no forced perspective will be used.

The sprawling, three-month shoot rolls out April 1 for a week in Los Angeles, then comes to Omaha for a few days. The whole works heads off to Norway for more shooting but the bulk will occur across the border in Canada, where post-production will also happen.

Arch satirists Payne and Taylor use the downsizing premise to skewer the small-mindedness of persons, policies. constructs. In this new work the veteran scenarists, whose previous credits together include the Payne-directed Citizen Ruth, Election, About Schmidt and Sideways, suggest not only are Earth’s physical resources at risk but its intellectual-moral capital, too.

Downsizing’s all too real musings on diminishing returns and bankrupt values posits a redemptive protagonist in Paul, a South Omaha Everyman whom Matt Damon will play. Although the story has a fatalistic, end-of-world backdrop, it dangles hope that humankind, in whatever size survives, will muddle through somehow.

That Payne should use science fiction’s expansive prism to consider world crisis issues and explore the nature of humanity may seem at odds with his intimate dramedies about neurosis, infidelity, promiscuity, loneliness, yearning. Then again, all his work has churned the existential wheel with mundane characters bogged down by the weight of their own mess. Just think of the angst that Ruth (Citizen Ruth), Jim (Election), Warren (Schmidt), Miles and Jack (Sideways), Matt (The Descendants) and Woody (Nebraska) confront. For all its fantastic elements this new narrative is anchored in that same morass of folks dealing with adult dilemmas, conflicts and flaws. Problems dog them wherever they go, even the would-be miniature haven, Leisureland.

And why shouldn’t Payne dip his toes in the sci-fi pool when filmmakers equally identified with humanistic storytelling have done the same? John Sayles (The Brother from Another Planet) and Barry Levinson (Sphere) come to mind.

Besides, sci-fi is a liberating and therefore attractive gateway for artists to tackle large, serious subjects free of constraints. The genre invites storytellers to ponder endless what ifs. In that spirit Payne and Taylor lay out an imagined scenario and burrow down that rabbit hole of speculation to follow what they deem the inevitable consequences.

Downsizing hinges on a hero sensitively responding to a world around him transformed. The implications and stakes are deeply personal and global. At least on the page Payne and Taylor manage to make us care about the micro and macro. Paul’s journey pulls us along this upheaval of life as he knew it. Expectations, definitions and limitations are threatened or overturned. Ultimately, everything is on the line.

 

 

Matt Damon Picture  Kristen Wiig Picture  Christoph Waltz Picture

 

 

Unavoidably, the story echoes other speculative tales, including any dealing with miniature humans. It also resonates with themes from such disparate sources as Dr. Strangelove, 2001: A Space Odyssey, The Truman Show, Children of Men and The Hobbit. Payne and Taylor concoct a fable-like framework to hold the narrative together.

The most obvious if unintentional resonance – to The Incredible Shrinking Man – happens at the end, when our hero-pioneer once more enters the great unknown. As with Payne’s previous films, the story concludes with a feeling more than an event or a resolution.

Payne, now married to a native of Greece and coming off his stark tone poem Nebraska, recently spoke about Downsizing with The Reader.

“We always knew it would take a while, first to get the script right, then to secure the financing, and 10 years is a long time. Fortunately I was able to squeeze in two other features and a pilot during that time. But it feels right now. You know, it’s interesting that in life, not just film, you try to do something and you run into obstacles. You try again and you run into more obstacles, and you think, This is never going to happen. And then finally when it does it unfolds elegantly and without obstructions and you say, Wow, I guess this was the time it was supposed to happen. That has been my experience with Downsizing.”

As the 125-page script sits now, he says, “the story hums along with a good filmic rhythm.” Achieving that flow was challenging for the.”big idea” at its core. “So big,” he says, “it was difficult during our writing process to always discern where it breaks off because every idea you come up with for this idea has a very long series of chain reactions. So you just kind of drive yourself crazy with possibilities. The script goes in very unpredictable directions. I’m not saying they’re good because they’re unpredictable. They were unpredictable to us as we were writing. So to corral this story and to get it happening as efficiently and we hope elegantly from point to point to point took a while. Right now it looks good on paper. I hope it will lend itself to a good movie. I won’t know that until I’m in post-production.”

He says the big idea that propels the piece is rife with “social-political overtones” but that it’s the “human aspects of the story that most interest us.” Thus, he’s not getting hung up on its sci-fi pedigree. He just enjoys the unlimited canvas he has to work on.

Payne also isn’t stressing the visual effects world he’s entered though he acknowledges he’s a fish out of water.

“It’s a whole new focus for me and everything. I’m not worried but I’m curious to see how they’re going to work. There’ll be a certain amount of tedium involved because you have to shoot the same scene two, sometimes three times to get the different aspects and elements.

“I want to make sure the actors who are acting in a vacuum on a stage against green screen feel as comfortable and normal as possible.  That’s my job. The acting style should not suffer because of the means of production. But it’ll be fine. You know, who cares, it’s just a movie.”

One whose budget is reportedly double any of his previous pics.

“If they don’t spend it on that, they’re just going to spend it on something else.” he says by way of classic Hollywood reasoning.

 

 

Downsizing Neil Patrick Harris Alec Baldwin Jason Sudeikis

 

He feels in good hands with his visual effects supervisor, James Price, with whom he’s been in discussions since 2008-2009.

“He is my effects czar. He knows how to explain things to me to make things easy for me and how to teach me how these things are achieved – what I need to know, what I don’t need to know. It’s really exciting. The best thing those guys do is to free the director up to say, ‘I want a shot like this, can we do this?’ and they say, ‘Yeah, we can do that,’ and I say, ‘How?’ and they say, ‘Don’t worry about how, but we can do it.’ Between the visual effects supervisor, the DP, the production designer,  they have to trick the director as much as possible into thinking that he or she is just shooting a regular movie so that I don’t censor my imagination, or what I have left of it.”

Payne says Price is on the same page as he and cinematographer Phedon Papamichael in terms of the desired visual palette.

“James knows the aesthetic we want and he’s an avid film watcher and film guy and so that makes me feel good. What I aspire to from the visual effects for this movie is not how eye-popping they are but rather how banal they are. I don’t want the seams to show.”

Payne also hopes to keep the effects to a minimum and to “try to do things in camera as much as possible.”

In addition to Price and his visual effects team Payne is working with a new production designer, Stefania Cella. But he’s mainly surrounded by trusted old friends and collaborators in producer Jim Burke, casting director John Jackson, Papamichael and costume designer Wendy Chuck. His longtime editor, Kevin Tent, is on board as well.

After the seven year gulf between Sideways and Descendants, Payne’s happy to be making films in short order. His last, Nebraska, was received warmly in Greece, where he met his wife while vacationing with his mother (Payne’s father passed away in 2014.).

“I showed the film in Greece a couple times and people were only too quick to tell me they thought it was a Greek film, which surprised me. I said, ‘Why do you think it’s a Greek film?’ and they said, ‘Well. it has the elements of going back to the village where your people are from.’ ‘Okay,’ I said. And they connected with the part of dutifully ‘taking care of the parents who drive you crazy,’ and I said, ‘Well, I’m sure that’s not just Greek.’ I think that’s pretty universal.”

On the eve of finally making Downsizing after so long a wait and “jettisoning” subplots he admittedly “misses,” he’s content. “A movie is a movie is a movie and we have enough to make this movie, so it’ll be fine. And if the gods decree there might be a Downsizing 2, than we have other ideas that we’ve been collecting.”

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

 

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