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Film Connections Interview with Francis Ford Coppola about the making of “The Rain People” 

October 17, 2018 Leave a comment

Film Connections

Interview with Francis Ford Coppola about the making of “The Rain People” 

In 1968 the future Oscar-winning filmmaker and his cast and crew ended up in Nebraska for the last few weeks shooting on an intimate road picture he wrote and directed titled “The Rain People.” A very young George Lucas was along for the ride as a production associate whose main task was to film the making of the movie. 

Coppola’s indie art film starring Shirley Knight, James Caan and Robert Duvall was released in 1969. The experience forged strong personal and professional bonds. It not only resulted in the Lucas documentary “The Making of The Rain People,” but it’s how Lucas came to cast Duvall to star in his debut feature “THX-1138,” which Coppola produced. Coppola also produced his protege’s second film, “American Grafitti.” The two also co-founded American Zoetrope. Meanwhile. Coppola cast Duvall and Caan in his crowing achievement, “The Godfather.” From obscurity in 1969. Coppola and Lucas became start filmmakers who helped usher in the New Hollywood. 

The experience of “The Rain People” also introduced Duvall to a Nebraska ranch-rodeo family, the Petersons. he came to make the subjects of his own first directorial effort, “We’re Not the Jet Set.”

I am documenting this little-known chapter Nebraska Screen Gem as part of my Nebraska Screen Heritage Project, in a college class I’m teaching this fall and in articles I’m writing and in posts I’m making. On this blog you can also find my interviews with Knight, Caan and Duvall. I have also interviewed several others who were part of this confluence of talent and vision and I will be posting those over time.

My next step is to bring back as many of the principals involved in these three films for screenings and discussions.

Here is my interview with Francis Ford Coppola:

LAB: The Rain People is very much a road picture, and you and your small cast and crew traveled in cars and, I think I read somewhere, a mini-bus from Long Island to the South and then to the Midwest to capture the journey Shirley Knight’s character makes. Did you happen to shoot the film largely in sequential order?

FFC: “Generally I tried to shoot in sequential order, though if there was an opportunity to save money to shoot slightly out of it, I would.”

LAB: Is it true you hadn’t finished the screenplay when shooting began?

FFC: “I had a complete screenplay, but was prepared to make any changes if we encountered something interesting along the way.”

LAB: And so I take it that you hadn’t scouted all the locations beforehand but instead left yourself open to discovering places and events you then integrated into the story and captured on film?

FFC: “Exactly. We had a route, and wasn’t sure of exact location, But my associate Ron Colby was scouting a little ahead of us and we were in communication.”

LAB: What about Ogallala, Neb. – was it by design or chance that you ended up there?

FFC: “By chance. but once there, I think we felt at home and there were many good place that suited our story. And the people were nice and there was a nice little picnic grounds. And I remember a big steak cost about $6, so we’d have barbecues and we were all happy there.”

LAB: It was your first time working with the three principal cast members. At that point in your careers, Shirley was probably the best known of anyone on the project. I read somewhere that you met her at the Cannes Film Festival, when she was there with Dutchman, and that you saw her crying after a confrontation with a journalist and you consoled her with, ‘Don’t cry, I’m going to write a film for you.’ Is that right?

FFC: “Yes, that story is true. I think I was influenced by the notion of Europeans working with leading ladies, Monica Vitti or Goddard’s Anna Karinia, and so yes, I said that to her.”

LAB: You obviously admired her work.

FFC: “I liked Dutchman very much, where I also admired (her co-star) Al Freeman Jr.”

LAB: What about Jimmy and Bobby – did you know them before the project, and did any of their previous work make an impression on you?

FFC: “I had chosen Jimmy, and in fact before I even had the money or arrangement to make The Rain People, George Lucas and I went east and shot some ‘second unit’ footage at a football game and different images.”

LAB: Bobby mentioned that he might have replaced another actor who had originally been cast in his role, is that right?

FFC: “Original. For the rehearsals we had Rip Torn, but had as part of his deal that we give him the Harley motorcycle so he could learn to drive it well. We did, and he parked it in front of his house in New York City, and it was stolen. He came back to us and said it was his deal to have a Harley, so we had to buy him another. But all we could afford was a good quality secondhand one -– which then he said wasn’t his deal. It was supposed to be a good one. So later in the production, when Ron Colby called him to say we needed him to get his shoe and calf measured for the boots, he said, ‘That’s it’! and quit. I had seen Bobby in a movie (Countdown’ he made with Jimmy Caan for TV that Robert Altman had directed. I thought both of them were fantastic. So true and real in that kind of movie, so I offered the part to Duvall.”

LAB: I understand that in preproduction you like to rehearse or to at least do table reads with cast, or at least that’s how you preferred to do things then. Did you do anything like that for Rain People?

FFC: “Yes, I had been a theater major in college, and so I was very used to a few weeks of rehearsal and, yes, I did a rehearsal period for The Rain People and I’ve done it for every film after that.”

 

Montage of moments from “The Rain People”. ©motionpictureart.com

 

 

 

 

 

 

 

 

 

 

LAB: As you know, Jimmy and Bobby became fast friends with a local ranch-rodeo family there, the Petersons. They were this loud, rambunctious bunch.  Did you meet any of the clan, particularly the patriarch, B.A., who is the central figure in the documentary Duvall made about the family, We’re Not the Jet Set? 

FFC: “I remember the family, and Bobby’s interest in them. He was always interested in things that were ‘real’ authentic, as opposed to the fake reality of people in movies and TV shows, and thus he made We’re Not the Jet Set. I remember the song he wrote (?).”

LAB: What about another area ranch-rodeo family Jimmy and Bobby came to know, the Haythorns, did you meet any of them, particularly patriarch Waldo Haythorn?

FFC: “No, I don’t remember them. but perhaps I met them.”

LAB: I know that Duvall has often sought your opinion on the projects he’s directed – did he do so for We’re Not the Jet Set, and assuming you’ve seen the film what do you think of it?

FFC: “Over the years, he’d come visit me and bring me his films and ask for my reaction. I was pleased to be of any help I could be, especially after he did me the great favor of appearing in a tiny role in The Conversation.”

LAB: When you worked with Duvall on Rain People and later on the first two Godfather pictures and The Conversation, did you sense he had a directorial sensibility about him?

FFC: “I didn’t think about it. Iv’e always known that actors make the best directors among all the crafts – writing, editing, assistant directors, et cetera. There’s a long list of actors who became fine directors.”

LAB: After Rain People did you know you wanted to work with Caan and Duvall again? When you got The Godfather did you immediately think of them?

FFC: “I liked working with them very much, and yes, they were on all the early lists of names for The Godfather.'”

LAB: The Rain People production team also included two key collaborators in George Lucas and Mona Skager. The film came at an interesting juncture in your young careers. You had wanted to be an independent director but soon found yourself being a studio wonk.  After Finian’s Rainbow it appears you intentionally set out to liberate yourself from the studio apparatus with Rain People, is that right?

FFC: “Yes. George Lucas was, and still is, like a younger brother to me. I knew early on that he was a great talent, and though a different personality to my own, one that was very helpful to me, and stimulating to me. hH’s a fine, very generous person, so bright and talented.Ii am very proud of him. Mona was the first ‘key associate’ I had, starting out as a secretary and blossoming into an all-around associate in the entire process.”

LAB: I believe that you, Lucas and Skager formed American Zoetrope not long after the project. Did the idea for Zoetrope come to you during the making of the film or did the experience of that film point you in the direction of launching your own studio?

FFC: “The idea for American Zoetrope really came from the theater club that I was president (or executive producer) of in college, called ‘The Spectrum Players.’ It still exists at Hofstra University in Long Island, and I was the founder and merely took many of the ideas of a creative entity that attempted to create art works with it’s own means. George was essentially a co-founder, and Mona was what they called in those days ‘the Girl Friday’ – today a production supervisor who was involved in all we were trying to do.”

LAB: Rain People certainly fits the vision you had for Zoetrope in terms of small, personal art films. which Godfather I and II, Apocalypse Now and subsequent pictures took you away from for many years before you returned to this model the last few years. Do you still regard Rain People warmly after all these years?

FFC: “Yes, very much. I wish Warner Bros. would allow me to buy it back, as there’s not even a DVD available about it (there is now). It has value, I think, beyond being an early film of mine but as one of the first films to touch on the theme of ‘women’s liberation’.”

LAB: The documentary Lucas made about the making of the film captures you and the others before you became so well known, which makes it a very interesting time piece, don’t you think?

FFC: “George’s film is excellent, if I may say, and he caught the spirit of this exciting trip, which for us was an adventure into filmmaking.”

LAB: In addition to working again with Caan, Duvall, Lucas and Skager, you also ended up working again with Rain People cinematographer Bill Butler, and so that film really forged some key relationships didn’t it?

FFC: “Bill Butler did a terrific job, and it was a pleasure to work with him.”

LAB: And, of course. Lucas ended up casting Duvall in his first feature, THX-1138, which you produced.

FFC: “Yes, George got to meet Bobby and knew he should be in THX-1138.”

LAB: The confluence of talent and connections that arose out of Rain People has always fascinated me, as has the fact that within a few years of its making you and Lucas helped usher in the New Hollywood and became kingpins in the industry. But you tried to escape the constraints and weight of studio filmmaking over the next few decades, and you finally have regained the independence you found on Rain People, all thanks to your wine company. You’ve kind of come full circle, haven’t you?

FFC: “I hope so. With the conclusion of the ‘student’ films I just made, Youth Without Youth, Tetro and Twixt, I feel ready to tackle a new and much bigger project. I feel blessed in my life, and of course hI ope I’m able to enjoy the freedom and autonomy enjoyed in those last three, on the new one, which will need a much bigger budget. I hope fate allows me to do  it, as I don’t yet feel i’ve achieved what I long to do in film.”

LAB: As you know, Lucas has long talked about freeing himself from his corporate machine, CGI endeavors and Star Wars franchises to make small experimental films.  Have  you nudged him at all to say, ‘Hey, look, I did it, you can too’?

FFC: “George is so talented, anything he attempts will be a pleasure to see. Yes, I always ask him to quit fooling with the Star Wars ‘franchise’ and go back to what he and I always wanted: to make personal — experimental films. I have no doubt that he will succeed.”

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Life Itself VI: Links to twenty years of stories about big screen and small screen subjects


Life Itself VI

Links to twenty years of stories about big screen and small screen subjects

 

A preview of Nebraska Screen Heritage Project content

Interviews-profiles with Oscar and Emmy winners, working professionals, newbies and veterans 

All from Nebraska or intersecting with Nebraska

 

Brought to you by Leo Adam Biga, Author of “Alexander Payne: His Journey in Film”

Follow my Hot Movie Takes at: https://www.facebook.com/LeoAdamBiga

 
 
(stories roughly organized from most recent to most distant)
 
 
74247 full

Director Alexander PayneGRANT SLATER/KPCC
 
Prodigal filmmaker comes home again to screen new picture at Omaha Film Fest
Alexander Payne’s Homecoming
The Dundee and “Downsizing”
“Downsizing” Home Cameos
Dundee Theater: Return engagement for the ages
John Knicely: A life in television five decades strong
The Tail-Gunner’s Grandson: Ben Drickey revisits World War II experiences on foot and film
In their own words – The Greatest Generation on World War II
My recap of Julianne Moore in conversation with Alexander Payne
Three generations of Omaha film directors – Joan Micklin Silver, Alexander Payne, Nik Fackler
“The  Incredible Shrinking Man” and “Downsizing” speak to each other and to us 60 years apart
1950s Cinema: 
An under-appreciated decade of film and ferment
Film Noir, Donald Trump and art imitating life (or is it the other way around?)
Film is both a heart and a head thing for Diana Martinez
Dope actress Yolonda Ross nothing but versatile – from “The Get Down” to cinema cannibals to dog-eat-dog politics
Nebraska’s own Lynn Stalmaster gets long overdue Oscar 
Stanley Kubrick and Alexander Payne – 
An unexpected congruence
Cautionary tales of cinema, the culture war and Donald Trump
Atticus Finch-Barack Obama give way to Bob Ewell-Donald Trump in this post-“To Kill a Mockingbird” world
Ann Schatz on her own terms – Veteran sportscaster broke the mold in Omaha
KETV president-general manager Ariel Roblin leads effort to make historic Burlington Station the ABC affiliate’s new home
Veteran Omaha TV meteorologist Jim Flowers weathers the storm 
Gabrielle Union wedding beauty

Gabrielle Union: A force in front of and away from the camera
John Beasley: Living his dream
Master of many mediums Jason Fischer
Alexander Payne’s “Downsizing” starring Matt Damon
Lew Hunter’s small town Nebraska boy made good in Hollywood story is a doozy
Old Hollywood hand living in Omaha comes out of the shadows: Screenwriter John Kaye scripted “American Hot Wax” and more
Down and out but not done in Omaha:
Documentary surveys the poverty landscape
Tribute to educator who fired my passions for writing and film
“A Thousand Clowns” and other ’60s films begat golden age of ’70s cinema
Cinemateca series trains lens on diverse films and themes
Payne’s “Downsizing” may be next big thing on world cinema landscape
“Downsizing” may elevate filmmaker to new heights
Some thoughts on HBO documentary “My Fight” about Terence Crawford
Do any Alexander Payne films rate among 100 greatest American films ever made?

Alexander Payne: His Journey in Film

Through Through a lens starkly: Alexander Payne films Nebraska
EXCERPTS FROM ALEXANDER PAYNE: HIS JOURNEY IN FILM
In Memoriam: 
Filmmaker Gail Levin followed her passion
Omaha Film Festival adds spotlight on Nebraska films
Tim Christian: Changing the face of film in Nebraska
For Omaha Film Festival guru Marc Longbrake, cinema is no passing fancy
10th Annual Omaha Film Festival a showcase for indie writer-directors; Patty Dillon documentary about executioners among films to check out
Matinee Matinee Marriage: 
Omaha couple Mauro and Christine Fiore forge a union based on film and family
Gabrielle Union having it all between her own series, new film, producing, marriage and family
What do Oscar-winning filmmaker Alexander Payne and WBO world boxing champion Terence “Bud” Crawford have in common?
Nebraska Film Currents
Masters David O. Russell and Alexander Payne matched wits at Film Streams Feature VI event
Nebraska Coast Connection: Networking group ties Nebraskans in Hollywood
Struggles of single moms subject of film and discussion; Local women can relate to living paycheck to paycheck
Omaha native goes where his film passion leads: James Duff and filmmaker wife Julia Morrison shot debut feature “Hank and Asha” on two continents
Filmmaker explores Latina whose story defies all conventions; Maria Agui Carter to speak after El Museo Latino screening of her film “Rebel”
Omaha Film Festival turns nine
Ex-Gonzo  journalist-turned-filmmaker James Marshall Crotty resolved to celebrate debate in new films “Crotty’s Kids” and “Master Debaters”
Alexander Payne’s new film “Nebraska” features senior cast and aging themes in story sure to resonate with many viewers
Casting director John Jackson helps build Alexander Payne’s film worlds
Alexander Payne’s local color: Payne and Co. mine prairie poetry of his home state in new American gothic film “Nebraska”
New film “Growing Cities” takes road trip look at urban farmers cultivating a healthy, sustainable food culture
Nebraska Coast Connection Salon Q&A with Alexander Payne: Filmmaker speaks candidly about “Nebraska,” casting, screenwriting and craft
Making the cut: Music video editor Taylor Tracy
Paul Williams: Alive and well, sober and serene, making memorable music again
New American cinema auteurs, colleagues and friends David O. Russell and Alexander Payne to headline Feature VI
Considering Alexander Payne’s “Nebraska”
Shirley Jones Interview: Classic Hollywood star to appear at Omaha screening of “Carousel”
Anti-Drug War manifesto documentary frames discussion: Cost of criminalizing nonviolent offenders comes home
Gabrielle Union takes serious turn in BET drama “Being Mary Jane” and PBS documentary “Half the Sky”

John Beasley has it all going on with new TV series, feature film in development, plans for new Theater and possible New York Stage debut; Co-stars with Cedric the Entertainer and Niecy Nash in TVLand’s “The Soul Man”
When a film becomes a film: The shaping of Alexander Payne’s “Nebraska”
Dan Mirvish strikes again: Indie filmmaker back with new feature “Between Us”
Documentary shines light on civil rights powerbroker Whitney Young: Producer Bonnie Boswell to discuss film and Young  
Omaha Film Festival features strong lineup, including “The Sapphires” and “Breaking Night”
Yolonda Ross adds writer-director to actress credits; In new movies by Mamet and Sayles as her own “Breaking Night” makes festival circuit

Payne’s “Nebraska” blend of old and new as he brings Indiewood back to the state and reconnects with crew on his first black and white film
Alexander Payne’s “Nebraska” comes home to roost: State’s cinema prodigal son back filming on home turf after long absence
Cindy Williams Interview: Film-television star to appear at Omaha revival screening of “American Graffiti”
Bruce Crawford’s unexpected movie-movie life: Omahan salutes classic Hollywood with panache
Michael Beasley follows his pops John Beasley as film-TV Actor: Son’s on a roll with string of small and big screen projects, including “Steel Magnolias” 
Omowale Akintunde film “Wigger” deconstructs what race means in a faux post-racial world
Altman on Altman: A look at the late American auteur Robert Altman through the eyes of his grandson, indie Omaha filmmaker Dana Altman, and other cinephiles 
When Omaha independent filmmaking took a new turn or did it?
Film Streams at Five: Art cinema contributes to transformed Omaha through community focus on film and discussion
Alexander Payne talks cinema with kindred spirit Jane Fonda at Film Streams Feature Event in Omaha
Film Connections: How a 1968 convergence of future cinema greats in Ogallala, Nebraska resulted in multiple films and enduring relationships
Movie maven Crawford celebrates 20 years of classic film revivals bringing Hollywood to Omaha: Special guest Pat Boone to appear at screening of “Journey to the Center of the Earth”
Tempting fate: Patrick Coyle film “Into Temptation” delivers gritty tale of working girl and idealistic priest in search of redemption
Talking screenwriting with Hollywood heavyweight Hawk Ostby: Omaha Film Festival panelist counts “Children of Men” and “Iron Man” among credits
Model-turned-actress Jaime King comes home for screening of film she wrote and directed, “Latch Key,” at Omaha Film Festival
Nebraska Legislature once again wrestles with film tax incentives question: Alexander Payne and John Beasley press the case home
SkyVu Entertainment pushes “Battle Bears” brand to sky’s-the-limit vision of mobile games, TV, film, toys …
Joan Micklin Silver’s Classic “Hester Street” Included in National Film Registry 
Omaha Film Festival celebrates seven years of growing the local film culture
Journeyman actor John Beasley discusses life in film-television-theater and striving for in-the-moment believability
Living the dream: 
Cinema maven Rachel Jacobson – the woman behind Film Streams  

Hail, hail “The Descendants” – Alexander Payne’s first feature since “Sideways” a hit with critics, and the George Clooney-starring comedy-drama is sure to be awards contender
Oscar-winner Alexander Payne, George Clooney and Co. find love, pain and the whole damn thing shooting “The Descendants” in Hawaii 
Alexander Payne and Kaui Hart Hemmings on the symbiosis behind his film and her novel “The Descendants” and how she helped get Hawaii right
Drive-by delight: House forever tied to Alexander Payne’s “About Schmidt” just home to residents
“Out of Omaha” aka “California Dreaming” project adds to area’s evolving indie filmmaking scene
Cuba’s “Illogical Temple” the subject of student Academy Award-winning film by UNL students
A degenerate’s work is never done: New film examines mob informant Henry Hill, whose story informed the book “Wiseguy” and the film “Goodfellas”
The Cut Man: Oscar-winning film editor Mike Hill 
Vincent Alston’s indie film debut, “For Love of Amy,” is black and white and love all over

Omaha’s film reckoning arrives in form of Film Streams, the city’s first full-fledged art cinema
John Sorensen’s decades-long magnificent obsession with the Abbott sisters bears fruit in slew of new works, Including “The Quilted Conscience” documentary at Film Streams
John Sorensen and his Abbott Sisters Project: One man’s magnificent obsession shines light on extraordinary Nebraska women
Women’s and indie feature film pioneer Joan Micklin Silver’s journey in cinema
The Film Dude, Nik Fackler, goes his own way again, this time to Nepal and Gabon 
Omowale Akintunde’s in-your-face race film for the new millennium, “Wigger,” introduces America to new cinema voice
Charles Fairbanks, aka the One-Eyed Cat, makes Lucha Libre a way of life and a favorite film subject
The Soderbergh Experience: 
Director Steven Soderbergh to talk shop at Film Streams Feature Event
“Lovely, Still,” that rare film depicting seniors in all their humanity, earns writer-director Nik Fackler Independent Spirit Award nomination for Best First Screenplay
Finding Forefathers: 
Lincoln Motion Picture Company Film Festival gives nod to past and offers glimpse of future
Hollywood legend Debbie Reynolds and classic film “Singin’ in the Rain” to be saluted
Master of light, Mauro Fiore, Oscar-winning director of photography for “Avatar”
Joan Micklin Silver: 
Maverick filmmaker helped shape American independent film scene and opened doors for women directors

Martin Landau and Nik Fackler discuss working together on “Lovely, Still” and why they believe so strongly in each other and in their new film
A funny thing happened on the way to the toga party: Filmmaker John Landis waxes nostalgic on “Animal House,” breaking in and his journey in film 
A filming we will go: Gail Levin follows her passion
Forever Marilyn: Gail Levin’s new film frames the “Monroe doctrine”
Nik Fackler, The Film Dude. establishes himself a major new cinema figure with “Lovely, Still”
Kooky Swoosie: Actress Swoosie Kurtz conquers Broadway, film, television

 
When Boys Town became the center of the film world
Filmmaker Nik Fackler’s magic realism reaches the big screen in “Lovely, Still”
Promising writer-director Nik Fackler embraces his first feature film experience
Ben Kuroki: A distinguished military career by a most honorable man chronicled in new film
John Huston, an appreciation 
When cinema first seduced me – “On the Waterfront’
“It’s a Wonderful Life” speaks to our troubled times – calling us to be agents of change and hope
In a Western state of mind II
Stephanie Kurtzuba: From bowling alley to Broadway and back
Omaha cinema culture provides diverse screen landscape
Laura Dern and Alexander Payne: An actor-director marriage made in heaven
Missing Jack Nicholson: A Reflection
John Beasley and sons make acting a family thing
Robert Duvall Interview
Shirley Knight Interview
Carol Kane Interview
Crazy like a fox indie fimmaker Dan Mirvish makes going his own way work
Thy kingdom come: Richard Dooling’s TV teaming with Stephen King
Documentary considers Omaha’s changing face since World War II
James Caan Interview
Jill Scott Interview

Ron Hansen’s masterful outlaw blues novel about Jesse James and Robert Ford faithfully interpreted on screen
Jane Fonda comes home
Actor Kelcey Watson fills tole of a lifetime on short notice in Blue Barn production of “Six Degrees of Separation”
Playwright-screenwriter John Guare talks shop on Omaha visit celebrating his acclaimed “Six Degrees of Separation” 
Q&A with Edward Albee: His thoughts on the Great Plains Theatre Conference, Jo Ann McDowell, Omaha and preparing a new generation of playwrights   
Author humorist, folklorist Roger Welsch tells the stories of the American soul and soil
For love of art and cinema, Danny Lee Ladely follows his muse
Dick Cavett’s desk jockey déjà vu
Dena Krupinsky makes Hollywood dreams reality as Turner Classic Movies producer
Bill Cosby on his own terms: Backstage with comedy legend and old friend Bob Boozer
Bill Cosby talks about his life’s turning point  
Entertainment attorney Ira Epstein: 
Counsel to the stars
“The Bagel: An Immigrant’s Story” – Joan Micklin Silver and Matthew Goodman team up for new documentary
Alexander Payne delivers graceful Oscar tributes – Winner for Best Adapted Screenplay recognizes Clooney, Hemmings and his mom
Alexander Payne achieves new heights in “The Descendants”
Two-time Oscar-winner Alexander Payne delivers another screen gem with “The Descendants” and further enhances his cinema standing
Activist actor Danny Glover takes creative control
Bringing back classic movies and the old-time ballyhoo: Bruce Crawford shows “King Kong” the red carpet treatment
Screenwriting adventures of Nebraska native Jon Bokenkamp, author of the scripts “Perfect Stranger” and “Taking Lives'” 
Phedon Papamichael, Jim Burke and Shailene Woodley discuss working with Alexander Payne on “The Descendants” and Kaui Hart Hemmings comments on the adaptation of her novel
When Laura met Alex: Laura Dern & Alexander Payne get deep about collaborating on “Citizen Ruth” and their shared cinema sensibilities
Jim Taylor, the other half of Hollywood’s top screenwriting team, talks about working with Alexander Payne
Size matters: The return of Alexander Payne, not that he was ever gone
“Every day I’m not directing, I feel like I die a little,” – Alexander Payne: after a period largely producing-writing other people’s projects, the filmmaker sets his sights on his next feature

Paul Giamatti as Miles, left, and Thomas Haden Church as Jack in "Sideways," a film often cited by critics as the best of 2004.

Alexander Payne’s post-“Sideways” blues
Exclusive interview with Alexander Payne following the success of “Sideways” 
A road trip “Sideways” – Alexander Payne’s circuitous journey to his California wine country film comedy
Hollywood dispatch from the set of Alexander Payne’s “Sideways” – Rare, intimate, inside look at Payne and his filmmaking process
Home boy Nicholas D’Agosto makes good on the start “Election” gave him: Nails small but showy part in new indie flick “Dirty Girl”
“Portals” opens new dimensions in performance art – Multimedia concert comes home for Midwest premiere
John Beasley and sons make acting a family thing
Song girl Ann Ronell
Conquering Cannes – Alexander Payne’s triumphant Cannes Film Festival debut with “About Schmidt”
About “About Schmidt”: The shoot, editing, working with Jack and the film After the cutting room floor
Alexander Payne discusses “About Schmidt” starring Jack Nicholson, working with the iconic actor, past projects and future plans
About Payne – Alexander Payne on “About Schmidt,” Jack Nicholson and the comedy of deep focus 
Alexander Payne on working with Jack Nicholson

Nebraskan lives his cinema dream: Darren Brandl produces “The Man Who Shook the Hand of Vicente Fernandez” starring Oscar-winner Ernest Borgnine
Lit Fest brings author Carleen Brice back home flush with success of first novel, “Orange Mint and Honey”
Actress Yolonda Ross is a talent to watch
Daring actress Yolonda Ross takes it to the limit
Kevyn Morrow’s homecoming
Anthony Chisholm is in the house at the John Beasley Theater in Omaha
Actor Peter Riegert makes fine feature directorial debut with “King of the Corner”
Academy Award-nominated documentary “A Time for Burning” captured church and community struggle with racism
Novel’s mother-daughter thing makes it to the screen
Freedom riders: A get on the bus inauguration diary
Being Dick Cavett 
Homecoming always sweet for Dick Cavett, the entertainment legend whose dreams of show biz success were fired in Nebraska
Dissecting Jesse James
The Celluloid West
Beware the Singularity, singing the retribution blues: New works by Rick Dooling
Cinema iconoclast and vagabond Jon Jost 
Exposed Gail Levin and Steve Brodner prick the body politic
Gail Levin takes on American master James Dean

Imagemaking celebrated at Joslyn Art Museum: 
“The Misfits” and Magnum Cinema
Unforgettable Patricia Neal
Monty Ross talks about making history with Spike Lee
The Gabrielle Union chronicles 
Gabrielle Union: A Star is Born
Click Westin, back in the screenwriting game again at age 83
Ron Hull reviews his remarkable life in public television in new memoir
Ron Hull’s magical mystery journey through life, history and public television 
Extremities As seen on TLC’s “Hoarding: Buried Alive” – Mary Thompson takes her life back one piece at a time
Dream catcher Lew Hunter: Screenwriting guru of the Great Plains
Bruce Crawford: Omaha’s very own movie mogul
John Beasley: Making his stand
Joan Micklin Silver: Shattering cinema’s glass ceiling
John and Pegge Hlavacek’s globe-trotting adventures as foreign correspondents
Howard Rosenberg’s much-traveled news career


Alexander Payne: Portrait of a young filmmaker
Filmmaker Steve Lustgarten proves he can come home again
Former Omaha television photojournalist Don Chapman’s adventures in imagemaking keep him on the move
Minister makes no concession to retirement, plans busy travel, filmmaking schedule
“Casablanca” – Film classic still enchants as time goes by
“The Searchers,” a John Ford-John Wayne masterwork
Through a lens darkly: Western masterpiece looks past the fog of myth to find the truth
Movie classic “It’s a Wonderful Life” not just holiday season staple, but work of art for all time

Get your copy of the new “Alexander Payne: His Journey in Film” @ July 21 event


Get your copy of the new “Alexander Payne: His Journey in Film” @ July 21 event

Very pleased to announce the new edition of my book “Alexander Payne: His Journey in Film” releases September 1. You have an early bird opportunity to buy the book and get it signed by me at a film program I am moderating that features Oscar-winning cinematographer Mauro Fiore on Thursday, July 21 at 7 p.m. at KANEKO.

See details below or link to more info, at–

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 “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.

The book sales for $25.95.

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

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

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Mauro Fiore: Writing with Light

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.

 

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.

New endorsement for my Alexander Payne book from James Marshall Crotty

August 19, 2014 Leave a comment

 

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My Alexander Payne book has received a lovely new endorsement.  It’s from James Marshall Crotty, an Omaha native who’s made quite a name for himself as a journalist and author.  He’s a filmmaker as well. A new edition of my book is forthcoming.  It will feature all my “Nebraska” coverage, plus a new cover and new inside graphics.

The new edition is soon to be available on this blog, at Amazon and BarnesandNoble.com, for Kindle and in select bookstores.

About “Alexander Payne: His Journey in Film” Crotty says:

“Alex Payne is one of the few remaining auteurs in the Conglomerate Hollywood era. Leo Biga, a Nebraska native like his subject, deftly looks at how the ‘home place’ of Nebraska has shaped and nurtured Payne’s singular artistic vision.”

JAMES MARSHALL CROTTY

Columnist (Forbes, Huffington Post), Director/Producer (Crotty’s Kids)

 

His endorsement joins those from Kurt Andersen, Dick Cavett, Leonard Maltin, Joan Micklin Silver, and Ron Hull.

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