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

April 19, 2017 Leave a comment

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

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

 

Hot Movie Takes:

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

©by Leo Adam Biga

Author of “Alexander Payne: His Journey in Film”

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

 

 

The Reader April 2017 by PioneerMedia.Me – issuu

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Downsizing - coming in 2017

 

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

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

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

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

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

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

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

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

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

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

Payne found Damon to be the Everyman he plays.

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

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

 

    Getty Images

Matt Damon

Kristen-Wiig

Kristen Wiig
Christoph Waltz
Christoph Waltz

 

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

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

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

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

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

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

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

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

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

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

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

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

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

One new creative collaborator was Italian production designer Stefania Ceila.

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

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

Payne acknowledged the experience was more     overwhelming than past projects.

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

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

 

74247 full

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

April 13, 2017 Leave a comment

Hot Movie Takes:

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

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

 

P

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

February 27, 2016 1 comment

UPDATE: It turns out that Alec Baldwin did not participate in “Downsizing” after all. Insstead, his part of a real estate magnate was played by another name actor with a similar vibe and facility for playing smarmy – Bruce Willis.

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

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

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

 

 

Downsizing - coming in 2017

 

Hot Movie Takes:

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

Film about miniaturized human life tackles big themes

‘Downsizing’ finally going before the cameras April 1

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

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

 

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

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

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

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

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

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

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

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

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

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

 

 

Matt Damon Picture  Kristen Wiig Picture  Christoph Waltz Picture

 

 

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

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

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

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

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

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

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

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

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

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

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

 

 

Downsizing Neil Patrick Harris Alec Baldwin Jason Sudeikis

 

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

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

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

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

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

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

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

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

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

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

 

FINAL FRONT COVER 6-28-16

YOU CAN READ THE REST IN THE NEW EDITION OF MY BOOK-

Alexander Payne: His Journey in Film

(The new edition encompasses the Oscar-winning filmmaker’s work from the mid-1990s through Nebraska in 2013 and his new film Downsizing releasing in 2017 )

Now available  at Barnes & Noble and other fine booktores nationwide as well as on Amazon and for Kindle. In Nebraska, you can find it at all Barnes & Noble stores, The Bookworm and Our Bookstore in Omaha, Indigo Bridge Books in Lincoln and in select gift shops statewide. You can also order signed copies through the author’s blog leoadambiga.com or via http://www.facebook.com/LeoAdamBiga or by emailing leo32158@cox,net. 

For more information. visit– https://www.facebook.com/pg/AlexanderPayneExpert/about/?ref=page_internal

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