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Hot Movie Takes: Three generations of Omaha film directors – Joan Micklin Silver, Alexander Payne, Nik Fackler

September 8, 2017 Leave a comment


Hot Movie Takes: Three generations of Omaha film directors – Joan Micklin Silver, Alexander Payne, Nik Fackler
©by Leo Adam Bga, Author of “Alexander Payne: His Journey in Film”

Three filmmakers from Omaha who’ve made impressive marks in cinema as writer-directors represent three distinct generations but their work shares a strong humanistic and comedic bent:

Joan Micklin Silver
Alexander Payne
Nik Fackler

You may not know her name or her films, but Joan Micklin Silver is arguably the most important filmmaker to ever come out of Nebraska. Her feature debut “Hester Street” (1975) was something of a phenomenon in its time and it still resonates today because of how it established her in the film industry and helped open doors for other women directors in Hollywood.

Dorothy Arzner was a studio director in the early talkies era and then years went by before another woman filmmaker got the chance to direct. Actress Ida Lupino directed a small but telling batch of features from 1949 through the mid-1950s and became a busy television director. Lupino helmed the original “Twilight Zone’s” classic episode, “The Masks.” The last feature she directed “The Trouble with Angels” was a hit. Her subsequent directing was back in television for a large variety of episodic shows. But it was years before other women followed Lupino as studio directors and Elaine May and Joan Micklin Silver led that fledgling movement. They ushered in an era when more women directors began working in the mainstream: Lee Grant, Penelope Spheeris, Amy Heckerling, Barbra Streisand, Kathryn Bigelow. Hundreds more have followed.

Silver first came to the industry’s attention with her original story about the stateside struggles of wives of American POWs in Vietnam. No studio would let her direct and the story ended up in the hands of old Hollywood hand Mark Robson, who’d made some very successful pictures, and he brought in future director James Bridges to work on the script with her. Silver was not happy with the changes made to the story and though the screenplay bears her and Bridges’ names, she largely disowns the resulting shooting script and the movie Robson made from it, which was released under the title “Limbo” in 1972. However, Robson knew how much she wanted to direct and did something unheard of then: he invited her to be on set to observe the entire shoot and be privy to his interactions with cast, crew, producers, et cetera. She may have also had access to pre- and post-production elements. This experience allowed her an intimate study of how a major feature film production gets made. This, along with the films she’d been keenly watching since falling in love with cinema at the Dundee Theatre in Omaha, was her film school. Only a couple years after “Limbo” Silver was shopping around another script she penned, this one an adaptation of a novella about the Jewish immigrant experience in early 20th century America that was part of her own family’s heritage. The focus was on New York City’s Lower East Side and the travails of a young woman trying to reconcile the ways of the Old Country with the new ways of America. Jake has come ahead to America and sends for his wife, Gitl, and their son. Gitl is little more than chattel to Jake and she finds herself stifled by social, cultural, economic pressures. Much to Jake’s surprise, she rebels. Silver titled the story “Hester Street” and again no studio wanted her to direct and she was not interested in giving control of her script to another filmmaker. To be fair to the studios, on the surface the project did have a lot going against it. For starters, it was a heavily ethnic period piece that Silver saw as a black and white film. Indefensibly though, while Hollywood by that time was giving all sorts of untested new directors opportunities to direct, it wasn’t affording the same opportunities to women.

Silver and her late husband Raphael Silver, who was in real estate then, raised the money themselves and made the film independently. Her beautifully evocative, detailed work looked like it cost ten times her minuscule budget. She and Raphael shopped the finished film around and, you guessed it, still no takers. That’s when the couple released it themselves by road showing the film at individual theaters with whom they directly negotiated terms. And then a funny thing happened. “Hester Street” started catching on and as word of mouth grew, bookings picked up, not just in Eastern art cinemas but coast to coast in both art and select commercial theaters. Before they knew it, the Silvers had a not so minor hit on their hands considering the less than half a million dollars it took to make it. National critics warmly reviewed the picture. The story’s feminist themes in combination with the film having been written and directed by a woman made it and Silver darlings of the Women’s Liberation Movement. The film even got the attention of the Academy of Motion Picture Arts and Sciences, as the film’s then unknown female lead, Carol Kane, earned a Best Actress nomination.

Years later “Hester Street” was selected for preservation in the National Film Registry by the United States Library of Congress as a “culturally, historically or aesthetically significant” work. In designating the film for inclusion, the Library of Congress noted historians have praised the film’s “accuracy of detail and sensitivity to the challenges immigrants faced during their acculturation process in its portrait of Eastern European Jewish life in America.”

Silver is now writing a book about the making of “Hester Street,” which is also being adapted into a stage musical the adapters hope to bring to Broadway. A biography of Silver is also in the works.

The success of “Hester Street” allowed Silver to make a number of feature films over the next decade and a half, some with studios and some independently, including “Between the Lines,” “Chilly Scenes of Winter,” “Crossing Delancey” and “Loverboy” as well as some notable made for TV movies such as “Bernice Bobs Her Hair” and “Finnegan Begin Again.” These films show her deft touch with romantic comedies. I’ve always thought of her work as on par with that of the great Ernest Lubitsch in its sophisticated handling of male-female relationships and entanglements.

I recently saw “Finnegan Begin Again” for the first time and now I see what all the fuss was about for this 1985 HBO movie starring Mary Tyler Moore, Robert Preston, Sam Waterston and Silvia Sydney. It’s a thoroughly delightful, mature and surprising dramedy that features perhaps the two best screen performances by Moore and Preston, which is saying a lot. Waterston goes against type here and is outstanding. Sidney never lost her acting chops and even here, in her mid-70s, she’s very full in her performance. A very young Giancarlo Espositio has a small but showy part. Watch for my separate Hot Movie Takes post about the movie.

During the 1990s and on through 2003, Silver directed several more feature and television movies, “Big Girls Don’t Cry, They Get Even,” “A Private Matter” and “In the Presence of Mine Enemies” among them. The tlater two made for cable movies are straight dramas, which she also handled with a sure touch. I just saw “A Private Matter” for the first time and it is a searing true-life tale about a young American married couple with kids who become the center of the thalidomide scandal and tragedy. Sissy Spacek and Aidan Quinn portray Sherri and Bob Finkbine, who discover that the fetus Sherri is carrying will likely be born severely deformed due to the effects of the then widely prescribed drug thalidomide. When their intent to terminate the pregnancy goes public, it sets off a firestorm of controversy that nearly destroys them. In the midst of the medical deliberations, legal wrangling and media stalkings, the couple learn how widespread abortions are and how secret they’re kept. Silver brilliantly contrasts sunny, placid 1960s suburban family life with the dark underside of hypocrisy, greed, fear and hate that surface when issues of morality get inflamed. In this case and cases like it, what should be a private matter becomes a public controversy and the people involved are persecuted for following their own conscience. Spacek delivers a great performance as Sherri and I don’t think Quinn has ever been better as Bob. Estelle Parsons is excellent as Sherri’s mother. William H. Macy has a small but effective turn as a psychiatrist.

More recently, Silver had been working on some documentary projects that never came to fruition. And then her longtime life and professional partner, Raphael, died. Now in her early 80s, she’s seemingly more focused on archiving her work and sharing her experiences as a woman trying to shatter the American film industry’s glass ceiling.

Her maverick ways and superb films are highly regarded and yet she remains almost unknown in her own hometown, which both saddens and baffles me. The lack of recognition for her here is a real shame, too, because she’s one of the great creatives this place has ever produced and her exquisite films stand the test of time. I believe Alexander Payne, who is her junior by some 26 years, is one of the great American filmmakers to have emerged in the last half-century and I regard the best of Silver’s films on a par with his. And yet her name and work are not nearly as well known, which reminds us that even after all this time women filmmakers are still not accorded the same respect as their male counterparts. Even in their shared hometown, Payne is celebrated but not Silver. I’d like to do something to change that.

When Silver was eying a career in film starting in the late 1960s-early 1970s, the old studio contract system was dismantled and the New Hollywood hot shots from television and film schools were all the rage. Even guys who’d never directed anything were getting their shot at studio features. Women were still left out of the equation but for the rare exception like Silver, and even then it took her battering on the walls before she was reluctantly let in to that privileged Old Boys Network. Her path to breaking in was to learn her writing and directing chops in theater and television. It was her ability to write that got her a seat at the table if not at the head of the table. She had to make her own way the hard way. She’s lived long enough to see progress, if not enough yet, for women directors to now be almost commonplace.

Alexander Payne’s cinephile development came right in the middle of the New Hollywood revolution and his entrance into the industry happened right on the wave of the indie film explosion. But like Silver before him, there was no visible Hollywood presence around him when he was coming of age here as a cineaste. No one was making anything like grade A feature films locally. The industry was remote and disconnected from places like Nebraska. His entry into the industry was his student thesis film. But it wasn’t until he wrote “Citizen Ruth” and got financing for it that he arrived.

Dan Mirvish is another Omahan from the same generation as Payne whose directorial efforts bear discussion. He’s actually been the most ingenious in pulling projects together and getting them seen. None of his films have yet crossed over in the way that Silver’s, Payne’s and Fackler’s have, but he and his work are never less than interesting. He, too, is a writer-director.

A generation later, Nik Fackler came of age when the new crop of filmmakers were coming from film schools as well as the worlds of commercials and music videos. But just as Silver and Payne used their writing talents to get their feet in the door and their first films made, so did Fackler. His script for “Lovely, Still” was good enough to attract a pair of Oscar-winning legends in Martin Landau and Ellen Burstyn. He directed those Actors Studio stalwarts when he was in his early 20s. He was much younger than Payne and Silver were when they directed their first films but he had the advantage of having directed several short films and music videos as his film education. He also had the advantage of having seen a fellow Omaha native in Payne enjoy breakout success. But where Payne and Silver followed up their debut feature films with more projects that further propelled their careers, Fackler did not, It’s been nearly a decade since “Lovely, Still” and many of us are eager to see if Fackler can recapture the magic he found so early.

I find it interesting that Fackler, Payne and Silver all tackled tough subjects for their first features:
Alzheimer’s in Fackler’s “Lovely, Still”
Abortion in Payne’s “Citizen Ruth”
Jewish immigrant experience in “Hester Street”

Whereas Payne and Fackler have made most of their films in Nebraska, Silver, despite a desire to do so, has never shot here. There’s still time.

These three are not the only Nebraskans who’ve done meritorious work as directors, but they are in many ways the most emblematic of their times.

Wouldn’t it be fun to get Silver, Payne and Fackler on the same panel to discuss their adventures in filmmaking? I think so.

Meanwhile. a special screening of “Lovely, Still” in memory of Martin Landau is happening at Film Streams on Thursday, Oct. 12. Payne’s “Downsizing” is playing festivals in advance of its Dec. 22 national release. And Silver’s films can be found via different platforms, though a retrospective of her work here is long overdue.

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Nebraska’s own Lynn Stalmaster gets long overdue Oscar

February 27, 2017 Leave a comment

Nebraska’s own Lynn Stalmaster gets long overdue Oscar

©by Leo Adam Biga

Author of Alexander Payne: His Journey in Film

 

If you’re like most Nebraskans who watched the Academy Awards last night, you’re probably unaware that one of the receipients of an Honorary Oscar is one of our own – Omaha native Lynn Stalmaster. Stalmaster made history last night as the first casting director so honored by the Academy. That it should have ben Stalmaster is appropriate since, as the attached IndieWire article explains, he basically helped invent the role of the independent casting agent at the very moment the old Hollywood studio system was beginning to dismantle and the rise of independent production companies came to the fore. Casting in old Hollywood was done internally within the studio apparatus or factory system. Stalmaster, who was an actor himself, saw the need and opportunity for a casting expert to help producers and directors identity, audition and assemble casts for their projects. He became the king of casting in Hollywood, for both television and film, from the early 1950s through the 1990s. He discovered many actors who went on to become stars and he cast countless landmark shows and films by legendary directors. Many actors went on to be nominated for Emmys or Oscars, some even winning these awards, for their performances in the roles he cast them in.

 

 

From Omaha World-Herald and the Hollywood Reporter:
He was born in Omaha in 1927 to Nebraska District Judge Irvin A. and Estelle Lapidus Stalmaster, and he attended Dundee Elementary School. His father’s made his early career as an assistant state and Douglas County attorney before serving on the Nebraska Supreme Court. The family moved to California in 1938, when Lynn was 12. A self-described “shy child”, he came “out of his shell” during high school and college via acting. He enjoyed a good measure of success as a professional actor, though one day while working as an assistant to a group of producers, including fellow Omahan Phillip Krasne, he was asked to cast some shows. Soon, he was looking for cowboys for the television western, “Gunsmoke.”

 

Lynn Stalmaster

Lynn Stalmaster

 

He cast more than 400 productions during almost 50 years in the industry and is credited with identifying the talent and jumpstarting the careers of John Travolta, William Shatner, Jon Voight and Richard Dreyfuss, among many others. He even earned the nickname “Master Caster.”

“Before Lynn, no one really knew who John was,” Travolta’s manager, Bob LeMond said

The rest, as they say, is history. For many, Stalmaster’s career seems glamorous and powerful; being able to create true stars; but he has said he doesn’t see it that way. “I don’t think of what I had as power. Decisions were made jointly with the director and producer. I wanted to help make the best possible film and hire the best possible actors. I had a responsibility not just to my clients, but to the actors as well.” Once asked how it feels to now be the dean of his profession, he laughed it off, “I’ve just been around the longest!”

Link here to a great IndieWire article detailing what made Lynn Stalmaster such a seminal figure in his field–

http://www.indiewire.com/2016/11/honary-oscar-lynn-stalmaster-casting-directors-1201744901/

______________________________________________

Interestingly, another local, John Jackson, who’s from Council Bluffs but often works in Omaha, is an actor turned casting director having great success in the business. John is fellow local Alexander Payne’s casting director. Payne, like other directors, wiil tell you that casting is perhaps THE single most important aspect in making a successful film. You have to have a good script, of course, but if you don’t have the right cast it won’t be as good as it could be and it might very well fail.

Cheers to Lynn Stalmaster for showing the way and for John Jackson in following in his footsteps, two of hundreds of locals who have made and continue making significant contributions to the screen world.

“The Graduate”

Courtesy of AMPAS

 

The following is a selected list of Lynn’s staggering credits from his IMDB. You’ll likely be familiar with dozens of the projects he worked on, but pay particular attention to the features he cast in from the 1960s through the 1980s, as he worked on many of the finest films of those decades:

2006 A Lobster Tale
2000 Battlefield Earth
1996 No Easy Way
1996 To Gillian on Her 37th Birthday
1996 Crime of the Century (TV Movie)
1996 Carpool
1995 Fluke
1994 Squanto: A Warrior’s Tale
1994 Chicago Hope (TV Series)
1994 Blue Sky
1994 There Goes My Baby
1994 Clifford
1994 Intersection
1993 The Program
1993 Guilty as Sin
1992 Double Jeopardy (TV Movie)
1992 Stay Tuned
1992 Folks!
1991 For the Boys
1991 Frankie and Johnny
1991 The Doctor
1991 Teenage Mutant Ninja Turtles II: The Secret of the Ooze
1990 The Bonfire of the Vanities
1990/I Havana
1990 Taking Care of Business
1990 Voices Within: The Lives of Truddi Chase (TV Movie)
1990 Crazy People
1989 Incident at Dark River (TV Movie)
1989 Welcome Home
1989 Casualties of War
1989 A Sinful Life
1989 See No Evil, Hear No Evil
1989 Margaret Bourke-White (TV Movie)
1989 Dead Bang
1989 Get Smart, Again! (TV Movie)
1989 Weekend at Bernie’s
1989 Physical Evidence
1989 Winter People
1988 The Jeweller’s Shop
1988 Split Decisions
1988 Murphy’s Law (TV Series)
1988 Lady in White
1988 Switching Channels
1987 Buck James (TV Series)
1987 Real Men
1987 Big Shots
1987 You Can’t Take It with You (TV Series)
1987 Dragnet
1987 Amazing Grace and Chuck
1987 The Fourth Protocol
1987 American Harvest (TV Movie)
1986 Sword of Gideon (TV Movie)
1986 The Wizard (TV Series)
1986 8 Million Ways to Die
1986 9½ Weeks
1986 The Best of Times
1985 The Eagle and the Bear (TV Movie)
1985 Santa Claus: The Movie
1985 Love, Mary (TV Movie)
1985 Murder: By Reason of Insanity (TV Movie)
1985 Marie
1985 The Other Lover (TV Movie)
1985 Creator
1985 George Burns Comedy Week (TV Series)
1985 Jagged Edge
1985 Joshua Then and Now
1985 Space (TV Mini-Series) 1985 Hollywood Wives (TV Mini-Series)
1985 Robert Kennedy and His Times (TV Mini-Series)
1984 The River
1984 After MASH (TV Series)
1984 The Glitter Dome (TV Movie)
1984 Songwriter
1984 Supergirl
1984 High School U.S.A. (TV Movie)
1984 Ernie Kovacs: Between the Laughter (TV Movie)
1984 Her Life as a Man (TV Movie)
1984 Harry & Son
1984 The Parade (TV Movie)
1984 Unfaithfully Yours
1984 The Lonely Guy
1984 The Master (TV Series)
1984 Something About Amelia (TV Movie)
1983 Uncommon Valor
1983 Princess Daisy (TV Movie)
1983 Rita Hayworth: The Love Goddess (TV Movie)
1983 The Right Stuff
1983 Brainstorm
1983 Hotel (TV Series)
1983 Class
1983 The Thorn Birds (TV Mini-Series)
1983 Deadly Lessons (TV Movie)
1983 Starflight: The Plane That Couldn’t Land (TV Movie)
1983 Love Is Forever (TV Movie)
1983 Invitation to the Wedding
1982 Tootsie
1982 First Blood
1982 Lookin’ to Get Out
1982 Split Image
1982 Mother Lode (uncredited)
1982 The Executioner’s Song (TV Movie)
1982 Young Doctors in Love
1982 Hanky Panky
1979-1982 Hart to Hart (TV Series)
1982 Mae West (TV Movie)
1982 American Playhouse (TV Series)
1982 Some Kind of Hero
1982 T.J. Hooker (TV Series) 1982 Making Love
1982 Prime Suspect (TV Movie)
1982 Marian Rose White (TV Movie)
1981 Modern Problems
1981 Looker
1981 Splendor in the Grass (TV Movie)
1981 Dark Night of the Scarecrow (TV Movie)
1981 Callie & Son (TV Movie)
1981 Mommie Dearest
1981 Blow Out
1981 Second-Hand Hearts
1981 Caveman
1981 Cheaper to Keep Her
1981 On the Right Track
1981 Crisis at Central High (TV Movie)
1981 A Whale for the Killing (TV Movie)
1980 Stir Crazy
1980 Superman II
1980 A Change of Seasons
1980 Enola Gay: The Men, the Mission, the Atomic Bomb (TV Movie)
1980 The Last Song (TV Movie)
1980 Foolin’ Around
1980 The Women’s Room (TV Movie)
1980 Loving Couples
1980 The Shadow Box (TV Movie)
1977-1980 Family (TV Series)
1980 Wholly Moses!
1980 When the Whistle Blows (TV Series)
1980 The Mountain Men
1980 Amber Waves (TV Movie)
1980 The Black Marble
1980 Seizure: The Story of Kathy Morris (TV Movie)
1980 Ike: The War Years (TV Movie)
1979 Being There
1979 Letters from Frank (TV Movie)
1979 The Rose
1979 Promises in the Dark
1979 The Two Worlds of Jennie Logan (TV Movie)
1979 Flesh & Blood (TV Movie)
1979 10
1979 The Last Word
1979 The Onion Field
1979 North Dallas Forty
1979 Nightwing
1979 Goldengirl
1979 Prophecy
1979 The MacKenzies of Paradise Cove (TV Series)
1979 Ashanti
1979 Fast Break
1979 Ike: The War Years (TV Mini-Series)
1979 The French Atlantic Affair (TV Mini-Series)
1978 Ishi: The Last of His Tribe (TV Movie)
1978 Superman
1978 And I Alone Survived (TV Movie)
1978 A Question of Love (TV Movie)
1978 Like Mom, Like Me (TV Movie)
1978 The Users (TV Movie)
1978 Foul Play
1978 Matilda
1978 Go Tell the Spartans
1978 Convoy
1978 Damien: Omen II
1978 Murder at the Mardi Gras (TV Movie)
1978 Stickin’ Together (TV Movie)
1978 Cindy (TV Movie)
1978 Gray Lady Down
1978 The Fury
1978 Ski Lift to Death (TV Movie)
1978 Coming Home
1978 The Betsy
1978 Fantasy Island (TV Series)
1978 The Defection of Simas Kudirka (TV Movie)
1978 How Sweet It Is!
1977 Having Babies II (TV Movie)
1977 The Night They Took Miss Beautiful (TV Movie)
1977 Young Dan’l Boone (TV Series) (
1977 You Light Up My Life
1977 New York, New York
1977 The Other Side of Midnight
1977 Good Against Evil (TV Movie)
1977 Alexander: The Other Side of Dawn (TV Movie)
1977 Nashville 99 (TV Series)
1977 Audrey Rose
1977 Black Sunday
1977 Brothers
1977 Westside Medical (TV Series)
1977 SST: Death Flight (TV Movie)
1977 Secrets (TV Movie)
1977 Fun with Dick and Jane
1977 Roots (TV Mini-Series)
1976 The Secret Life of John Chapman (TV Movie)
1976 Nickelodeon
1976 Victory at Entebbe (TV Movie)
1976 Bound for Glory
1976 Silver Streak
1976 I Want to Keep My Baby! (TV Movie)
1976 21 Hours at Munich (TV Movie)
1976 Having Babies (TV Movie)
1976 Mr. T and Tina (TV Series)
1976 The Big Bus
1976 Harry and Walter Go to New York
1976 Second Wind
1976 Farewell to Manzanar (TV Movie)
1976 James Dean (TV Movie)
1976 The Entertainer (TV Movie)
1976 Three’s Company (TV Series)
1975 The Cop and the Kid (TV Series)
1975 The Legend of Valentino (TV Movie)
1975 Beyond the Bermuda Triangle (TV Movie)
1975 Katherine (TV Movie)
1975 The Master Gunfighter
1975 Welcome Back, Kotter (TV Series)
1975 Rollerball
1975 Cornbread, Earl and Me
1975 Mandingo
1975 The Hiding Place
1975 The Wild Party
1975 Hustling (TV Movie)
1975 A Shadow in the Streets (TV Movie)
1974 Punch and Jody (TV Movie)
1974 All the Kind Strangers (TV Movie)
1974 The Crazy World of Julius Vrooder
1974 The Great Niagara (TV Movie)
1974 Kodiak (TV Series)
1974 Hurricane (TV Movie) (as Lyn Stalmaster)
1974 The Dove
1974 The Apprenticeship of Duddy Kravitz
1974 The Family Kovack (TV Movie)
1974 Conrack
1974 Billy Two Hats
1974 Rhinoceros
1973 Cinderella Liberty
1973 Sleeper
1973 The Last Detail
1973 A Summer Without Boys (TV Movie)
1973 The Iceman Cometh
1973 The Girl Most Likely to… (TV Movie)
1973 Jonathan Livingston Seagull
1973 The Third Girl from the Left (TV Movie)
1973 Isn’t It Shocking? (TV Movie)
1973 Scorpio
1973 Class of ’63 (TV Movie)
1973 Lolly-Madonna XXX
1973 Firehouse (TV Movie)
1972 The Life and Times of Judge Roy Bean
1972 The Mechanic
1972 Footsteps (TV Movie)
1972 Hickey & Boggs
1972 The New Centurions
1972 Junior Bonner
1972 The Magnificent Seven Ride!
1972 Deliverance
1972 The Wrath of God
1972 Jeremiah Johnson
1972 Pocket Money
1972 The Sixth Sense (TV Series)
1972 The Cowboys
1971 Harold and Maude
1971 If Tomorrow Comes (TV Movie)
1971 Honky
1971 The Resurrection of Zachary Wheeler
1971 Fiddler on the Roof
1971 The Organization
1971 Sweet, Sweet Rachel (TV Movie)
1971 Le Mans
1971 The Grissom Gang
1971 Bearcats! (TV Series)
1971 Valdez Is Coming
1971 Lawman
1971 The Sporting Club
1970 Monte Walsh
1970 Cannon for Cordoba
1970 They Call Me Mister Tibbs!
1970 The Hawaiians
1970 The Landlord
1970 Too Late the Hero
1970 Halls of Anger
1968-1970 Death Valley Days (TV Series)
– The World’s Greatest Swimming Horse (1968) … (casting)
1969 The Reivers
1969 Gaily, Gaily
1969 They Shoot Horses, Don’t They?
1969 Viva Max
1969 Castle Keep
1969 What Ever Happened to Aunt Alice?
1969 The Bridge at Remagen
1969 The April Fools
1969 Guns of the Magnificent Seven
1969 If It’s Tuesday, This Must Be Belgium
1968 The Stalking Moon
1968 The Killing of Sister George
1968 How Sweet It Is!
1968 The Thomas Crown Affair
1968 Yours, Mine and Ours
1968 The Scalphunters
1966-1968 The Rat Patrol (TV Series)
1967 Fitzwilly
1967 Clambake
1967 Hour of the Gun
1967 Dundee and the Culhane (TV Series)
1967 In the Heat of the Night
1966-1967 Hey, Landlord (TV Series)
1966 The Iron Men (TV Movie)
1966 Return of the Magnificent Seven
1966 The Fortune Cookie
1966 And Baby Makes Three (TV Movie)
1966 The Russians Are Coming! The Russians Are Coming!
1964-1966 My Favorite Martian (TV Series)
1965-1966 Hogan’s Heroes (TV Series)
1966 Man in the Square Suit (TV Movie)
1966 Cast a Giant Shadow
1961-1966 Ben Casey (TV Series)
1965 A Rage to Live
1965 The Loved One (uncredited)
1965 The Hallelujah Trail
1965 The Satan Bug
1964-1965 My Living Doll (TV Series)
1965 The Greatest Story Ever Told
1964 Kiss Me, Stupid
1964 Slattery’s People (TV Series)
1964 Profiles in Courage
1964 Lady in a Cage
1955-1964 Gunsmoke (TV Series)
1963-1964 The Greatest Show on Earth (TV Series)
1963 The Richard Boone Show (TV Series)
1963 Irma la Douce (uncredited)
1960-1963 The Untouchables (TV Series)
1963 A Child Is Waiting
1962 Two for the Seesaw
1962 Pressure Point
1962 Don’t Call Me Charlie (TV Series)
1961-1962 The New Breed (TV Series)
1959-1962 The Detectives (TV Series)
1959-1962 Hennesey (TV Series)
1961 The Children’s Hour (uncredited)
1960-1961 Peter Loves Mary (TV Series)
1961 Harrigan and Son (TV Series)
1957-1961 Zane Grey Theater (TV Series)
1961 Gunslinger (TV Series)
1960 The Westerner (TV Series)
1960 The Law and Mr. Jones (TV Series)
1960 Guestward Ho! (TV Series)
1960 Tate (TV Series) (4 episodes)
1960 Inherit the Wind (uncredited)
1959-1960 Black Saddle (TV Series)
1959-1960 Law of the Plainsman (TV Series)
1959-1960 Johnny Ringo (TV Series)
1959 The Adventures of Hiram Holliday (TV Series)
1959 The Gale Storm Show: Oh! Susanna (TV Series)
1959 The Betty Hutton Show (TV Series)
1959 Pork Chop Hill
1959 The Third Man (TV Series)
1959 Tokyo After Dark (uncredited)
1957-1959 Whirlybirds (TV Series)
1958-1959 U.S. Marshal (TV Series)
1958 Half Human
1958 I Want to Live!
1958 When Hell Broke Loose
1958 The Texan (TV Series)
1958 The Rifleman (TV Series)
1958 Kings Go Forth (uncredited)
1957-1958 Have Gun – Will Travel (TV Series)
1957-1958 The Court of Last Resort (TV Series)
1957-1958 The Sheriff of Cochise (TV Series)
1957 The Pied Piper of Hamelin (TV Movie) (uncredited)
1957 The Walter Winchell File (TV Series)
1957 Those Whiting Girls (TV Series)
1957 Black Patch
1957 Trooper Hook
1957 Hot Rod Rumble
1957 The O. Henry Playhouse (TV Series)
1957 Official Detective (TV Series)
1956 Johnny Concho
1956 Screaming Eagles
1956 Please Murder Me!
1955-1956 Dr. Hudson’s Secret Journal (TV Series)
1955 Matinee Theatre (TV Series) (1956-1957)
1954-1955 The Lone Wolf (TV Series)
1950 Big Town (TV Series)

Stephanie Kurtzuba: From Bowling Alley, to Broadway and Back

August 27, 2016 Leave a comment

So, everything you need to know about stage and screen actress Stephanie Kurtzuba from Omaha is summed up in the Bill Sitzmann photo of her below and in her scenes in the movies “The Wolf of Wall Street” and “Annie.” She’s the rare performer who can project many dimensions and emotions at once or in rapid succession: brash, silly, poignant, smart. This multi-talented artist can act, sing, dance, play comedic or serious and have you smiling and laughing one moment and move you to tears the next moment. You may not know her name or her work, but she is one of the brighest talents in a long line of talented individuals from here to have found serious success in Hollywood and on Broadway. She got her acting and dancing start in Omaha at Central High, Show Wagon and the Rose Theatre. Growing up in Omaha she was encouraged to pursue her performing dreams by her mother, who didn’t live to see her realize her dreams. But Stephanie’s supportive father has. She and her dad and her siblings still own the family’s West Lanes Bowling Center that she spent a lot of time in as a girl. On a recent visit back home she agreed to a photo shoot at the bowling alley and you can see the fun movie-movie magic she and Bill Sitzmann made together. Stephanie’s also involved in an Omaha-based production company that’s developing a TV pilot drawn from her own life that is to be shot right here in her hometown. She is one of very few Nebraskans in film to bring the industry back to these Midwest roots. Alexander Payne, Nik Fackler and John Beasley have led that charge and others are looking to do the same. Whatever Stephanie ends up doing, it should be entertaining. This is my profile of her in the Sept/Oct 2016 issue of Omaha Magazine (http://omahamagazine.com/).

 

StephanieKurtzuba

 

Stephanie Kurtzuba

From Bowling Alley, to Broadway, and Back

August 26, 2016
©Photography by Bill Sitzmann
Illustration by Kristen Hoffman
Appearing in the Sept/Oct 2016 issue of Omaha Magazine (http://omahamagazine.com/)

Stage and screen actress Stephanie Kurtzuba has graced Hollywood red carpets and Broadway billboards, but she is most comfortable at her family’s West Lanes Bowling Center in her hometown of Omaha.

The Central High School graduate’s maternal grandparents, Tony and Nellie Pirruccello, built the place at 151 N. 72nd St. Her late mother, Connie Pirruccello, had grown up there in the 1950s. Stephanie, a co-owner with her father, Ray Kurtzuba, spent countless hours at the bowling alley as a stage-struck kid. It’s now a favorite hangout for her two boys when they visit from New York City.

“I remember running up and down the concourse practicing cartwheels and using the dance floor in the lounge after school to rehearse my dance recital numbers,” recalls Stephanie, who displayed her cartwheel moves in the 2014 movie Annie. “It was a second home to me and now my children. My boys only get to visit about once a year, so when they do, they eat it up.”

Stephanie’s mom encouraged her to perform in Omaha Show Wagon. Her breakout came in Oliver at the Music Hall. She performed at the then-Emmy Gifford Children’s Theater (now The Rose) as well as the Firehouse and Upstairs dinner theaters. When the original Broadway Annie became a sensation, she sang its anthems around the house. Stephanie says, “It’s the ultimate irony” that three decades later she played Mrs. Kovacevic in the movie.

A local choreographer planted the seed that she had the chops to pursue a professional acting career. But talent only takes you so far. The rest is desire and discipline.

“It’s almost like what some people would call a calling. But it’s almost like there’s nothing else I can or want to do with my time and energies than pursue this, and that’s a real motivator.”

Her theater passion may not have gone far without tragedy befalling her biggest champion.

“If I had not lost my mother when I did, I don’t know that my choices would have been the same in terms of following my dream. We were so incredibly close, my mother and I. When everything went down with her health, it became very clear to me in a very short amount of time, tomorrow isn’t promised to anyone. Losing her rocked my foundation, my very being, but it taught me some really valuable lessons about carpe diem.”

Stephanie won a full-ride to Drake University but got cold feet being so far from home. She briefly attended the University of Nebraska-Lincoln. With her mom gone, she resolved it was now-or-never. She prepared an audition with help from The Rose’s James Larson and got accepted to NYU’s Tisch School of the Arts. Off-Broadway and regional theater parts honed her craft.

“My goal has always been to be a working actor.”

Her credits include Broadway’s The Boy from Oz, Mary Poppins, and Billy Elliott; the feature films Extremely Loud & Incredibly Close and The Wolf of Wall Street; and TV’s The Good Wife.

She hopes one day to perform again where it all started.

“The Emmy Gifford was so seminal in my development as a young artist. I loved it deeply. I still remember the smell of the place. It was home. It would be singularly fulfilling to be able to come back and rejoin the Omaha arts community. That would be some deeply felt, full-circle kinda stuff right there.”

Meanwhile, she’s found a new love: producing. She has several projects in the works. She’s also developing a TV series set in Omaha, which is loosely based on her life, for local Syncretic Entertainment. The pilot is due to shoot here in the fall. They look to put local talent to work. Paying it forward.

“It’s my passion project. I love it so much.” 

To learn more, visit stephaniekurtzuba.com.

StephanieKurtzuba

 

Nebraska’s Film Heritage presented by Leo Adam Biga: Tuesday, Feb. 17, 6:30 p.m., Durham Museum

February 16, 2015 Leave a comment

Join me for-

Nebraska’s Film Heritage Lecture

presented by Leo Adam Biga

Tuesday, Feb. 17, 6:30 p.m.

Durham Museum

PLEASE NOTE: Reservations are required. Email reservations@DurhamMuseum.org or call 402-444-5071.

 

Here is how the Durham is promoting my talk:

 

 

 

*Nebraska’s Film Heritage
presented by Leo Adam Biga
Tuesday, February 17, 6:30PM
Stanley and Dorothy Truhlsen Lecture Hall, Durham Museum

Omaha author Leo Adam Biga highlights the story of Nebraska’s rich legacy in cinema. Several native sons and daughters have made significant contributions and established major careers in the industry, both on screen and behind the camera. To this day, Nebraskans continue to make their mark in virtually every aspect of the industry and have received many honors, including Oscar recognition. Many hometown products are regarded as leaders, innovators and trailblazers, including the Johnson Brothers and their Lincoln Film Company, Harold Lloyd, Fred Astaire, Darryl F. Zanuck, Marlon Brando and Joan Micklin Silver.

Leo Adam Biga is an Omaha-based nonfiction author, award-winning journalist and blogger. His 2012 book Alexander Payne: His Journey in Film is a collection of his extensive journalism about the Oscar-winning filmmaker. Additionally, Biga is the coeditor of Memories of the Jewish Midwest: Mom and Pop Grocery Stores and the author of two e-books for the Omaha Public Schools. As a working journalist he contributes articles to several newspapers and magazines. His work has been recognized by his peers at the local, regional and national levels.

*Due to limited space, reservations are required. Please call 402-444-5071 or email reservations@DurhamMuseum.org to reserve your spot.. Cost of admission applies and members are FREE.

SCHEDULED TOURS
Join selected scholars for a special tour and commentary of Katharine Hepburn: Dressed for Stage and Screen.
*March 7, 2015, 9AM and 11AM
Rachel Jacobsen, Executive Director, Film Streams at the Ruth Sokolof Theater

*Due to limited space, reservations are required. Please call 402-444-5071 or email reservations@DurhamMuseum.org to reserve your spot. Cost of admission applies and members are free.

SPECIAL EVENTS
Hollywood Bootcamp
Saturday, March 28, 2015, 10AM-3PM
Bring your friends for a day of boot camp…Hollywood style! Walk the red carpet, learn expert tips in costuming and make-up design, star in your own movie and much more. Plus, get your own star on The Durham Walk of Fame!
Regular Museum Admission Rates Apply
Free to Members

Katharine Hepburn Movie Series
Now – March 30
The Durham Museum is proud to partner with Film Streams at the Ruth Sokolof Theater for a series of movies that coincide with the costume exhibit, Katharine Hepburn: Dressed for Stage and Screen.

All screenings will occur at Film Streams’ Ruth Sokolof Theater (1340 Mike Fahey Street). For details and showtimes visit http://www.filmstreams.org.

Leo Adam Biga to deliver Nebraska Film Heritage lecture at Durham for Katharine Hepburn exhibit

January 22, 2015 1 comment

Leo Adam Biga to deliver Nebraska Film Heritage lecture at Durham for Katharine Hepburn exhibit
Join me at the Durham Museum at 6:30 pm on Tues. Feb. 17 for a lecture I am giving on Nebraska’s Film Heritage in conjunction with the Katharine Hepburn exhibit there. Kate had no particular ties to Nebraska, but she was an icon in an industry that included many fellow icons from this state. She famously worked with two of them, Henry and Jane Fonda, in On Golden Pond. She worked with another, Montgomery Clift, in Suddenly Last Summer. Her longtime lover, Spencer Tracy, won a Best Actor Oscar for his performance in a movie partially shot here, Boys Town, about one of the most famous Nebraskans ever, Father Edward Flanagan, and his legendary home for boys. One of Hepburn and Tracy’s lesser films together, Sea of Grass, was set here.

My talk will touch on some of the figures from here, past and present, to have carved out successful cinema careers behind the camera and in front of the camera. These include household names and more obscure but no less important names. Far more Nebraskans than you think have made significant contributions to the industry or established themselves as solid working film artists. I will also discuss some of the significant films made here and premiered here. Additionally, I will highlight some of the legendary film artists who have passed through Nebraska. Finally, I will give props to some of the individuals and organizations that have enhanced the cinema culture here.

 
The lecture is part of my Nebraska Film Heritage Project that will ultimately result in a book.
 
Read more about the exhibit and the special programs scheduled around it, including my lecture, below.
 
I hope to see you at my presentation,
 
 
Leo Adam Biga
Author of “Alexander Payne: His Journey in Film”
February 7 – April 26, 2015
The Durham Museum is pleased to present Katharine Hepburn: Dressed for Stage and Screen, an exclusive exhibition of Hepburn’s personal costume collection organized by the Kent State University Museum. The exhibit features more than 35 costumes worn in 21 films and 6 stage productions spanning Hepburn’s illustrious career. Among the items on display will be an ensemble of her signature tailored beige trousers and linen jackets, vintage posters, playbills, photos and other Hepburn-related artifacts, as well as stage costumes from The Philadelphia Story and Coco and screen costumes from Adam’s Rib and Stage Door. From classic Hollywood dresses to Kate’s personal “rebel chic,” the exhibition highlights how Hepburn’s sense of style influenced countless women and fashion designers. It helped to create the informal, elegant approach to American style seen on today’s runways. Come see how this true icon of American culture came to epitomize the modern woman of the 20th Century.
Katharine Hepburn: Dressed for Stage and Screen is supported locally by Mutual of Omaha, Douglas County Commissioners, On Track Guild, Rhonda and Howard Hawks and the Dixon Family Foundation. Media support provided by KETV.
Pictured Left to Right:
Dress by Walter Plunkett, from the 1934 RKO movie The Little Minister
White satin and lace wedding dress by Howard Greer, from the 1934 production of The Lake
Design by Chanel, from the 1976 production of Coco
LECTURES
*Nebraska’s Film Heritage
Presented by Leo Adam Biga
Tuesday, February 17, 6:30PM
Stanley and Dorothy Truhlsen Lecture Hall
Omaha author Leo Biga highlights the story of Nebraska’s rich legacy in cinema.*Katharine Hepburn: Master of her own Image
Presented by Amy Henderson of the Smithsonian National Portrait Gallery
Thursday, April 9, 6:30PMSCHEDULED TOURS
Join selected scholars for a special tour and commentary of Katharine Hepburn: Dressed for Stage and Screen.*Backstage with Kate
February 7, 2015, 9AM and 11AM
Jean Druesedow, Director, the Kent State University MuseumMarch 7, 2015, 9AM and 11AM
Rachel Jacobsen, Executive Director, Film Streams at the Ruth Sokolof TheaterApril 4, 2015, 9AM and 11AM
Dr. Barbara Trout – Professor – Department of Textiles, Clothing and Design, College of Education and Human Sciences University of Nebraska-Lincoln

*Due to limited space, reservations are required. Please email reservations@DurhamMuseum.org or call 402-444-5071. Cost of admission applies and members are free.

SPECIAL EVENTS
An Evening with Kate
February 6, 2015
6:30PM Lecture, Reception and exclusive preview of the exhibit to follow
Join the Durham Museum’s On Track Guild and Honorary Chairs Gail and Mike Yanney for “An Evening with Kate.” Jean Druesedow, Exhibition Curator and Director of the Kent State University Museum will discuss the exhibit, collection and Kate’s life.

Tickets: $75

For more information or to make a reservation, contact the museum at 402-444-5071.

Hollywood Bootcamp
Saturday, March 28, 2015, 10AM-3PM
Bring your friends for a day of boot camp…Hollywood style! Walk the red carpet, learn expert tips in costuming and make-up design, star in your own movie and much more. Plus, get your own star on The Durham Walk of Fame!
Regular Museum Admission Rates Apply
Free to Members

Katharine Hepburn Movie Series
February 14 – March 30
The Durham Museum is proud to partner with Film Streams at the Ruth Sokolof Theater for a series of movies that coincide with the costume exhibit, Katharine Hepburn: Dressed for Stage and Screen.
All screenings will occur at Film Streams’ Ruth Sokolof Theater (1340 Mike Fahey Street). For details and showtimes visit http://www.filmstreams.org.

Visit The Durham Museum Hitchcock Museum Shop, Old-Fashioned Soda Fountain and the Photo Archive for 10% off Katharine Hepburn related gifts, treats and photos as part of your membership!

Nebraska Coast Connection: Networking group ties Nebraskans in Hollywood

January 6, 2014 Leave a comment

Upon discovering there’s a networking group for Nebraskans in Hollywood called the Nebraska Coast Connection it’s not surprising for someone to ask, There are Nebraskans in Hollywood?  Yes, and a lot more than you might think.   The fact is there have always been Nebraskans in that strange and alluring land of make-believe.  A surprising number of natives of this Midwestern state have played and continue playing prominent roles there, both behind the camera and in front of the camera, all the way from the motion picture industry’s start through the advent of television and more recently the dawn of multi-media platforms.   The story that follows is my profile of the Nebraska Coast Connection for an upcoming issue of The Reader (www.thereader.com).

Much of my story is based on interviews I did with the Nebraska Coast Connection’s founder and president, Todd Nelson, a Holdrege, Neb. native who’s been doing his thing in Hollwyood for 30 years.  His group’s monthly Hollywood Salon has become its signature event.   This part social mixer and part professional seminar allows folks to tout their projects and to hear featured speakers, such as Oscar-winner Alexander Payne.  I also have insights and impressions about the organization from three of the biggest names from here in Hollywood: filmmaker Alexander Payne, whose new film Nebraska is sure to fare well at the Oscars; writer-producer-director Jon Bokenkamp, whose hit new NBC series The Blacklist has elevated him to the prime time A-list; and former network executive and script writer Lew Hunter, who’s retired from the craziness but knows where the bodies are buried.  All speak glowingly about the nurturing nature of the group and how it offers a home away from home environment in what can be otherwise a cold, harsh culture for those working in the industry or aspiring to.

I can speak to the warm hospitality offered by the group based on two recent experiences I had with it.  I was there for the Sept. 9 Hollywood Salon featuring Payne and for a Nov. 16 screening of Payne’s Nebraska at Paramount Studios.  I was also the featured speaker for its Nov. 11 salon.  Todd Nelson was my gracious host each time.

This blog is filled with stories and interviews I’ve done with film figures, famous and not so famous.  Much of that work as well as related activity I’m now purusing will feed into an eventual book about Nebraskans in Hollywood, past and present.  I am the author of the current book, Alexander Payne: His Journey in Film.

Todd Nelson generously provided a set of photos for my story taken by homself and some other NCC stalwarts.

The Reader Jan. 9, 2014

photo credits:
TIM WOODWARD, TRAVIS BECK, TODD NELSON, DAVID WILDER

Nebraska Coast Connection: Networking group ties Nebraskans in Hollywood

©by Leo Adam Biga

Originally appeared in The Reader (www.thereader.com)

photo

Alexander Payne at the Sept. 9 salon

photo

Todd Nelson interviewing Payne at the Sept. 9 salon

photo

Some of the crowd at the recent Hollywood Salon featuring Payne

Dreamers from Neb., as from everywhere else, have flocked to Hollywood since the motion picture industry’s start.

Softening the harsh realities of making it in Tinsel Town’s dog-eat-dog world, where who you know is often more vital than what you know, is the mission behind the Nebraska Coast Connection. This networking alliance of natives already established in Hollywood or aspiring to be is the brainchild of Todd Nelson, a Holdrege son who’s been in Hollywood since 1984. A former Disney executive, his company Braska Films produces international promos for CBS.

Early in his foray on the coast Nelson was aided by industry veterans and once settled himself he felt an obligation to give back.

His own Hollywood dream extends back to childhood. He made an animated film with his father, created neighborhood theatricals and headlined a magic act, ala home state heroes Johnny Carson and Dick Cavett, that netted a recurring spot on a local TV show and gigs around the state.

“I guess I didn’t know any better and nobody ever told me I couldn’t do it, so I just kept at it,” Nelson says.

As a University of Nebraska-Lincoln theater and broadcast journalism major he made the then-Sheldon Film Theatre (now the Mary Riepma Ross Media Arts Center) his film school.

“To see classic movies and to meet the filmmakers behind some of them was just a fantastic experience and a real eye opener for me.”

Frustrated by limited filmmaking ops at UNL, he talked his way into using Nebraska Educational Television production facilities to direct a one-act play for the small screen. He also worked as a KETV reporter-photojournalist in the ABC affiliate’s Lincoln bureau.

He was an extra in Terms of Endearment during the feature’s Lincoln shoot.

An internship brought Nelson out to the coast, where he worked behind-the-scenes on a soap and later served as personal assistant to TV-film director Paul Bogart (All in the Family). After five years as a senior project executive at Disney he left to produce and direct the documentary Surviving Friendly Fire.

Nelson formed NCC in 1992. A couple years later he befriended fellow Nebraskan Alexander Payne, then gearing up to make his first feature, Citizen Ruth. Payne was looking for an L.A. apartment and Nelson leased him a unit in the building he managed and lived in. The neighbors became friends and the Nebraskans in Hollywood community Nelson cultivated grew.

“He’s a terrific guy,” Payne says of Nelson “He is, as they say, good people.”

In 1995 Nelson inaugurated NCC’s signature Hollywood Salon series. He knew he was onto something when the first event drew hundreds. His strong UNL ties brought support from the school’s foundation.

The monthly Salon has met at some iconic locations, including the Hollywood Athletic Club and CBS sound stages. Its home these days is the historic Culver Hotel in Culver City, Calif., whose namesake, Nebraskan Harry Culver, attracted the fledgling movie industry to his city in the 1920s. Many Golden Era stars kept residences at the hotel, which purportedly was owned by a succession of Hollywood heavyweights. In this ultimate company town, the hotel is next to Sony Pictures Studios, giving the salon the feel of an insiders’ confab.

Culver Hotel
Payne’s guest appearances draw overflow crowds. Some 200 attended the Sept. 9 program Nelson hosted. The acclaimed writer-director shared off-the-record dope on the making of his Nebraska, candid comments about the state of movies today and advice for actors and writers hoping to collaborate with him. He took questions from the adoring audience, many of whom he’s gotten to know from past salons, posed for pictures and made small talk.
In addition to Payne, the salon’s featured other Nebraskans: actress Marg Helgenberger (CSI and the new series Intelligence), writer-producer Jon Bokenkamp (The Blacklist), filmmaker Nik Fackler (Lovely, Still) and actor Chris Klein (Election).
Marg Helgenberger (CSI and the new series Intelligence) getting in the spirit of things at a Nebraska Coast Connection Christmas party
Nelson interviewing filmmaker-musician Nik Fackler

The group boasts a mailing list of more than 1,000 and nearly as many anecdotes from those who’ve found fellowship, employment, even love, through its ranks.

Payne likes that NCC affords a kind of Neb. fraternity in Hollywood.

“It’s wonderful and hilarious. It’s hilarious in the way that being from Neb. is hilarious. Maybe people from other states do the same, but I know the Neb. version of how they seek one another out in other cities. I know there’s a Neb. club of some sort in New York City. The state’s members of Congress host a Nebraskans breakfast in D.C.

“Nebraskans feel comfortable with one another outside of Neb. and I am no exception, I enjoy the group, we have a shared sensibility, a shared sense of humor, shared childhood references. And Todd is a forceful personality. He’s the most benevolent, charismatic cult leader one could imagine,” he says with a wink.

According to Nelson, “There is something really unique about Nebraskans. We belong together in this way that no other place does. I have watched other groups come and go trying to duplicate what we do and every group without fail has just fallen apart, and some of them are from the Midwest, so it’s not just the Midwest thing.”

Payne’s far past needing the NCC’s connections but he says, “I’m very happy to continue my participation as an occasional guest speaker.”

Bokenkamp does the same. The Kearney native parked cars when he first got out there. He did have a script but no idea how to get it to anyone that mattered. At Nelson’s urging Bokenkamp entered a screenwriting contest. He won. It got him an agent and eventually jobs writing features (Taking Lives) and even directing a pic (Bad Seed).

Nelson enjoys aiding folks get their starts in the business.

“There’s definitely a thrill watching new people realize their own potential,” he says. “Jamie Ball from Grand Island wanted to be an editor. I’ve given her a chance and she’s working in the big leagues now as a video editor, making a substantial living and finding she really enjoys living her dream. I love being a part of making that happen.

“But I also get the benefit of her good work and it’s enabled me to get home to see my son more often and to take a sick day once in a while. It’s a huge help to have her on my team.”

Payne’s first Oscar passed around at a salon

Against all odds small population Neb’s produced an inordinate number of success stories in film and television, including several legends. The star actors alone run the gamut from Harold Lloyd and Fred Astaire to Robert Taylor, Henry Fonda and Dorothy McGuire to Marlon Brando and Montgomery Clift to James Coburn, Sandy Dennis, Nick Nolte and Marg Helgenberger. At least one major studio mogul, Darryl Zanuck, originally hailed from here. As have leading composers. cinematographers, editors, writers and casting directors.

Payne heads the current crop, but he’s hardly alone. Most homegrown talents are not household names but they occupy vital posts in every facet of the biz. For each hopeful who makes it, such as producer-writer Timothy Schlattmann (Dexter) from Nebraska City, many others give up. Having a sanctuary of Nebraskans to turn to smooths the way.

Nelson credits former UNL theater professor Bill Morgan with sparking the concept for NCC.

“He was the one who really put the idea of a Neb. connection in my brain. I would always visit with him when back home for Christmas and he would pull out a stack of holiday cards from all his old students. I’d say to him that I don’t know so-and-so, they were before or after my time. He would write down their contact info and nudge me to get in touch with them. He just thought we all should know each other. And inevitably when I did follow up, they would always welcome me into their lives because we shared Dr. Morgan…even if it was from a different era. That was the seed of the NCC right there.”

NebrStars

Among those UNL grads Nelson looked up was the late Barney Oldfield, a Tecumseh native who was a newspaper reporter and press aide to Allied commander Gen. Dwight D. Eisenhower during World War II before becoming a Warner Bros. publicist and independent press agent to such stars as Errol Flynn, Ronald Reagan and Elizabeth Taylor. In his post-Hollywood years he worked in corporate public relations and became a major philanthropist.

“Barney was an amazing guy. He became a big supporter of the Coast Connection,” Nelson says. “We hosted his 90th birthday party at CBS on the big stage. He regaled us with stories of his old PR days and knowing everybody under the sun.”

Another of the old guard Nelson called on was Guide Rock native Lew Hunter, a former network TV executive and script writer whose 434 Screenwriting class at UCLA became the basis for a popular book he authored. Hunter, who today leads a screenwriting colony in Superior, Neb., offered a model for what became the salon.

“He used to do what he called a Writer’s Block when he still lived in Burbank,” Nelson says. “It was a kind of salon. He’s seen that our salon continues that, so he’s a big supporter.”

Hunter says, “Todd and I often thought and spoke about a similar monthly gathering of Nebraskans and he pulled it off. It has been a wonderful spin and he really is the father of it all.”

But what really compelled Nelson to form NCC was the stark reality that even though hundreds of Nebraskans worked in Hollywood, few knew each other and there was no formal apparatus to link them.

“I’d been working in Hollywood already 10 years and meeting a lot of Nebraskans and nobody seemed to know each other. We needed to have access to each other.”

Thus, the all-volunteer Nebraska Coast Connection was born.

“People teasingly called it the Nebraska Mafia, but it was kind of like that – we could take care of each other.”

Variety managing editor Kirsten Wilder, yet another Neb. native in Hollywood, has a warm feeling for the group and marvels at its founder’s persistence.

“The NCC is near and dear to my heart. The reason the NCC is so successful is because of Todd Nelson’s staggering devotion to keep the group alive and thriving.”

Nelson defers credit to the natural conviviality of Nebraskans.

“You get these people that come out here from Neb. and it doesn’t matter where they’re from in the state, it doesn’t matter that they don’t have a direct contact with someone else, the fact that you are from Neb. is an instant welcome. It’s not entirely universal. I met Nick Nolte at the Golden Globes one year and I told him about our group and I said we’d love to have him come and talk to us sometime and he said, ‘Why would I want to hangout with a bunch of Nebraskans? I got away from that place.’ That’s a rarity, once in a while you run into it, but most of the time we find that everybody just connects instantly.”

A tribute screening of silent screen great Harold Lloyd’s work brought inspired NCC members to don replicas of the icon’s signature horned-rim glasses

Nelson says that in what can be a cold, rootless town NCC provides “a safe haven” that comes with the shared identity and experience of being among other Nebraskans .

“We call it Home Sweet Home in Hollywood and it has that quality to it. You need a home base I think if you’re going to do this kind of hard work of always having to put yourself out there and come up against the sharks of the world. I don’t think growing up in Neb. especially prepares you for how hard it will be to actually make it while you ply your trade and build your career. Hollywood just isn’t very nurturing. You can really use a community out here to help you get your bearings and give you a leg up. Or at least some friendly faces to be yourself with as you make your way.”

Bokenkamp admires what Nelson and the group provide.

“His love for Neb. runs deep, and he’s found a way to channel that love into a really positive networking group with the Nebraska Coast Connection. NCC is a warm, energetic and creative environment. Todd just wants to see people succeed.

“Thing is, in a land as strange as Hollywood, it’s just nice to have a place to go now and then that feels like home. NCC is that for a lot of Nebraskans.”

Payne says he can appreciate how NCC makes negotiating Hollywood less lonely and frightening for newcomers.

“L.A. is such a scary place to approach when you’re young and want a career in film or television. Everyone is telling you you can’t make it, perhaps you’re even telling yourself that, but you’ve giving it a try anyway. Add to that the fact you’re from Neb. and have no connections. Well, it turns out there is an organization that welcomes you and has people in exactly the same boat there to commiserate with. It’s a wonderful, caring organization.”

Nelson says without the NCC it’s easy for some to give up their dream.

“I’ve seen many people go back home after a few years of waiting for their break and not getting very far. Pressure from parents and friends is part of it. People in Neb. don’t really get how long and hard these careers can be to get started. There’s no distinct ladder to climb, no road map, lots of horror stories and kids here can run out of money or run out of steam. That’s when a ‘safe’ job back home near the folks looks more and more attractive.

“I’ve had many parents tell me they wouldn’t let their kid try it in Hollywood without the safety net we give them.”

Nelson says NCC offers a way to make foot-in-the-door contacts that parlay a kind of pay-it-forward, Neb.-centric nepotism.

“I know the NCC works because I see it over and over. People are constantly making job contacts, finding support, getting roommates, attending each other’s performances, hiring actors and crew for their films. It is going on all the time at every Salon. Hopefully it will happen even more with the interactivity built into the new website. Our goal is to have a kind of virtual salon to help everyone stay in touch with each other in between salons.”

“Even after some folks reach some level of success they come back often and say it gives them a friendly home base.”

Real jobs result from NCC hook-ups.

“As a producer who has hired or recommended over a dozen people to work at CBS-TV over the years, including a young Jon Bokenkamp, I know this group to be a huge resource of great talent. I don’t ever need to go elsewhere to find the best people,” Nelson says.

Nelson’s quick to point out he’s not alone in his home state loyalty.

Jeopardy executive producer Harry Friedman is from Omaha and he is famous for hiring Nebraskans on his shows. Many others out here from Neb. recommend Nebraskans first. Why wouldn’t they? It always makes sense to hire people you know, or know where they came from, and Nebraskans are almost universally loved for their work ethic, responsibility under pressure and humble ‘get it done’ spirit.”

Nelson says he’s pleased the NCC, which rated a fall L.A. Times feature article, has made it this far.

“I don’t think if you told me 21 years ago that we’d still be going this strong I would have believed it. In fact, it’s kind of moving into some new levels. For example, with the Nebraska screening at Paramount I was able to reach out to all these folks who’ve been salon guests and they were very excited about it.”

Besides Nelson and Payne, attendees at the screening included Bokenkamp, Chris Klein, actor Nicholas D’Agosto and actress turned-mystery author Harley Jane Kozak.

Celebrating success stories like these is part of the deal. But Nelson says the heart of the NCC “will always be a group focused first on the kid that’s been out here for a week, that drove out in his dad’s car full of stuff, is staying on somebody’s couch and has 500 bucks to his name. I mean, that’s really what we’re here to do and that’s going on every month at the salon – somebody showing up for the first time who’s in that circumstance. That’s the way it works.”

Cinematographer Greg Hadwick showed up like that out of Lincoln, recalls Nelson. “I think he drove all night to make it to the salon.” No sooner did Hadwick arrive then he learned Nelson and his then-very pregnant wife were due to move that weekend and he volunteered to help.

“He was just a trooper,” says Nelson. “He rented a truck and stayed late. He was such an incredibly hard worker. He didn’t ask for any money and he wouldn’t take any. The next salon I told the group what he did and somebody who was looking for an assistant hired Greg based on my recommendation, and that kid has gone on to work his butt off in Hollywood, He just showed up, open, ready to jump in. He’s now started his own production company and brought guys out here from his hometown in Neb., so he’s kind of doing his own giving back.”

Nelson says he can usually spot who has what it takes.

“I’ve seen a lot of those kids who try to make it for awhile who don’t stick. Then there’s the ones that right away I know, Oh, yeah, they’re going to do it. There is a certain confidence, I don’t think you can make it in this town without that confidence. But there’s so much more to it than that. In so many ways it’s about, Do they have something to give? There’s a lot of people that come out here and they think, Well, what can I get out of this? Almost without exception the ones who make it are the ones who want to give back.

“I’ll back these people a hundred percent and help them on their way because that’s what you do here, that’s what it’s about.”

The reciprocity continues. Nelson and Payne attended the dedication of Bokenkamp’s restored World Theatre in his hometown of Kearney. Nelson says,  “It was a great celebration of Jon’s good work.” Nelson also organized a group to attend a screening of Bokenkanp’s documentary about the waning days of drive-in theaters, After Sunset. Bokenkamp returned the favor speaking at the October salon. The home state contingent turned out in force for the Paramount Nebraska screening. And so it goes with the Coast Connection.

“There’s never been a time when it’s felt like a one-way street,” says Nelson. “It always comes back.”

Follow the Coast Connection on Facebook or at http://hollywoodsalon.org/.

Payne, Bokenkamp and Nelson at dedication of the restored World Theatre in Kearney, Neb.

The Film Dude, Nik Fackler, Goes His Own Way Again, this Time to Nepal and Gabon

August 17, 2011 5 comments

As time goes by it becomes ever clearer that filmmaker Nik Fackler is someone who can never be pigeonholed as this or that. Barely out of his mid-20s, he’s already produced a body of work that ranges far and wide, from his trippy music vidoes to his post-modernist short films to his profound debut feature, Lovely, Still. Now, he’s back at, only this time hes making like Robert Flaherty or Merian C. Cooper or Werner Herzog by tramping off, National Geographic style, to the ends of the Earth to make two feature-length documentaries about enlightenment. He recently returned from Nepal to document a young holy man and he just left for Gabon, Africa to immerse himself in the Bwiti culture and its use of the mind-altering iboga root.  He goes back to Nepa in the fall. Meanwhile, he’s gearing up to make his next two narrative features, one a puppet adaptation of the work of illustrator Tony Millionaire, the other a mythological epic.  Nothing he does next will surprise me from now on. Look for updates here on Nik’s Nepal and Gabon documentary projects. This blog contains several articles of mine about Nik and his work, particularly his debut feature, Lovely, Still, which I am proud to champion.

Bwiti ceremony using iboga

 

 

The Film Dude, Nik Fackler, Goes His Own Way Again, this Time to Nepal and Gabon To Shoot Psychotropic Documentaries About a Young Buddha and the Bwiti Culture’s Iboga Initiation

©by Leo Adam Biga

As published in The Reader (www.thereader.com)

Fresh off the warm reception to his debut feature, Lovely, Still, Omaha‘s Film Dude, Nik Fackler, is unexpectedly making his next two film projects documentaries.

Following the path of cinema adventurer Werner Herzog, Fackler’s tramping off to shoot one film in Nepal and the other in Gabon, Africa, drawn to each exotic locale by his magnificent obsession with indigenous cultures and ways.

Fackler, Lovely producer Dana Altman and two other crew left August 11 for Gabon in west central Africa. They plan living weeks with the shamanistic Mitsogo, whose practice of Bwiti involves ingesting the hallucinogenic iboga root. The mind-altering initiation ritual is about healing.

“Part of it is you’ve got to prove yourself to the tribe,” says Fackler. “They don’t just give it to anybody, especially Westerners.”

The extreme project is based in a fascination with and use of ancient, underground medicines and practices.

“I have a great interest in dreams and a great interest in psychedelic experience. I’ve had a lot of healing I’ve gone through using silicide mushrooms,” says Fackler.

A heroin addict friend is along for this exploration.

 

 

Bwiti initiation ceremony with iboga

 

 

A quest for spiritual enlightenment brought Fackler and Lovely DP Sean Kirby to Nepal in May to film the end of a six-year fasting and meditative regimen by Dharma Sangha. The filmmakers followed Boy Buddha’s exodus, with tens of thousands of followers gathered, and plan returning in the fall.

Fackler is tackling the unlikely projects while awaiting financing for his next two narrative features: an untitled puppet film with illustrator Tony Millionaire; and a phantasmagorical mythology pic called We the Living.

The docs square nicely with Fackler’s eclectic interests in alternative therapies and philosophies.

 

 

Dharma Sangha

 

 

“I’m always searching. There’s so many beautiful cultures out there. I have to explore and learn as much as I possibly can. I have to go out there to discover them, document them, before they disappear into the weird one-world culture we’re heading towards.”

Mere days before leaving for Africa he still wasn’t sure the Bwiti cultists were on board, but put his faith in miracles.

“I suppose I’m in the mindset of looking at everything in a magical way rather than an intellectual way. That’s sort of where I need to be to make a film like this.”

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