Both David and I missed almost all of this year’s Wisconsin Film Festival. I was in Egypt wearing my archaeologist’s hat and working on ancient statuary, and David was attending the Hong Kong International Film Festival. (See his reports, here and here.) Luckily we made it back just in time for Alexander Payne’s spring visit to Madison.
I first met Alexander at last year’s Il Cinema Ritrovato festival in Bologna. He already knew who I was from having read Film Art: An Introduction, and we started chatting. We were in a small crowd outside the Arlecchino cinema, where a screening was running late. I asked Alexander what he had seen at the festival that he liked. He said he had come from a screening of Sjöström’s Ingeborg Holm and thought it was a masterpiece. Right away I knew that this man has impeccable taste in movies. (Alexander further proved this during his recent visit, saying that his favorite three films of Il Cinema Ritrovato were Ingeborg Holm, Naruse’s Wife, Be Like a Rose, and Rossellini’s Il Generale Della Rovere.)
Alexander is a friend of Jim Healy, head programmer for the University of Wisconsin-Madison’s Colloquium screening series and of the Wisconsin Film Festival. Jim seems to know half the people in the film industry as well as in the festival and archival spheres; he has already brought Tim Hunter and Joe Dante to campus. I knew he hoped to bring Alexander as well, so I put in a pitch for the idea, mentioning how enthusiastic the film students and buffs are in Madison and how he would enjoy speaking with audiences here, who would ask interesting questions. Luckily for me that turned out to be true, a mere nine months later. (Left, Alexander and Jim in a local Madison burger joint.)
Alexander Payne, cinephile
Alexander participated in a number of events here in Madison, some associated with the Wisconsin Film Festival and others with the Department of Communication Arts. These began with a session of our divisional film colloquium, which began with David and Alexander in discussion onstage (right) and then opened for questions from the faculty and graduate students.
The conversation began with Alexander recalling how he fell in love with movies, which he reckons happened at about the age of four. He watched mainly older movies. In those days there were rival houses in his hometown of Omaha. His father owned a restaurant in Omaha, and for some reason one of his suppliers, Kraft, gave him a regular-8mm movie projector. Alexander started collecting films, buying prints initially from the now defunct Castle company and later from the still functioning Blackhawk Films.
These included all twelve Chaplin shorts made a Mutual. Many years later, Alexander supported the restoration of the last of that set, The Adventurer. That’s what had brought him to Bologna. He introduced the film, which was shone as one of several new restorations in the Essanay/Mutual Project of the Fondazione Cineteca Di Bologna and Lobster Films. (See here for information on the project and program notes for this year’s screenings.) It was screened at one of the 10 pm programs in the Piazza Maggiore, with Sjöström’s The Outlaw and His Wife, also nearly restored.
Jumping back to Alexander’s progress as a cinephile, he became an undergraduate at Stanford, studying history and Spanish. From there he moved on to UCLA for an education in filmmaking, and “thought it was heaven.” He loved it so much that he delayed starting his filmmaking career and staying on to see more film’s in the famous Melnitz Hall screening room. In those days, 35mm prints were regularly shown, including nitrate originals. (Probably around ten years ago I saw a nitrate print of Trouble in Paradise there, being screened for a class. It definitely was heaven.)
There he recalls seeing such things as an Antonioni retrospective and Double Indemnity. When he was in his 30s, he fell in love with Italian and Japanese cinema. Now that he has reached his 50s, he has broadened his interests to study the films of Hollywood directors like Michael Curtiz and Raoul Walsh. He admires the conciseness of their films: “Film,” he says, “is a constant search for economy.”
Alexander’s love of Italian films was in evidence at one of the final events of the Wisconsin Film Festival. He had been asked to choose an older film that he could introduce and answer questions about afterward. His choice was Il Sorpasso (1961, Dino Risi). The auditorium at our local arthouse multiplex, Sundance 608, was packed with a very enthusiastic audience indeed. (Left, Alexander after being introduced by Jim Healey.)
The next evening, Alexander did the same for a screening of Nebraska at Union South. Again a full house, and again an audience eager to ask questions.
In between such events, we shared some restaurant meals. Alexander, Jim, and David sounded like some contrapuntal version of the Internet Movie Database, tossing titles, directors, and other film credits back and forth.
During these conversations, and indeed every other conversation we had with him, Alexander would pull out a small pocket notebook (though paper napkins sometimes substituted) and write down any intriguing-sounding title of a film he hadn’t seen. Not only a cinephile, but a systematic one.
Not surprisingly, during the colloquium discussion the issue of Nebraska being shot in black-and-white came up. David mentioned that Bong Joon-ho had said to him (while they were both jury members at this year’s Hong Kong Film Festival) that every director wants to make a black-and-white movie.
Given his love for older films, Alexander considers that “Our great film heritage is black and white.” Inevitably, during the press junkets for Nebraska, reporters asked him why he made the film in black and white. What he wants to know is, “Why is that the first question?”
Alexander agrees with Bong: “I don’t think a director is really a director until he or she has made a film in black and white.” He approached Paramount with the idea of making Nebraska as a black-and-white film and argued that it would be viable because it had a low budget of $12 million. He adds that directors have faced the same arguments against black and white since the 1970s, as when Peter Bogdanovich was making Paper Moon. The TV contracts specify color.
Alexander wanted to shoot Nebraska on film, but the only black-and-white stock available had an ASA of 200, which would not be effective for night shooting. He had to shoot digitally and add contrast and grain afterward to get a film look.
He definitely regrets the loss of film, which he considers superior to video: “I think flicker will always be superior to glow.”
Alexander says he is a big fan of the 1970s because he was a teenager at the time. He thinks that a lot of films made then and released into regular theaters could not be shown today outside arthouses. Films then were judged by their closeness to reality, not their distance from it. For him, “There’s just a consistently fine product being turned out between The Graduate  and Raging Bull .”
It was the period when a generation of filmmakers came to prominence, filmmakers who today are the grand old men of Hollywood. David pointed out that Alexander has often been mentioned as part of a later generation that included such directors as Quentin Tarantino and Paul Thomas Anderson. Alexander agreed that there was the “Class of 1999″ that included films like Election and Fight Club (putting David Fincher in the same group). He says of these directors, “We’re friendly enough.” But he envies the Spielberg, Coppola, Scorsese, Lucas generation because they were able to help each other out in filmmaking. His generation doesn’t socialize much, though he said he had seen Soderbergh recently.
The Milos Forman of Nebraska
For anyone who had been unaware that Payne comes from the vast territory in the middle of the USA that encompasses the Midwest and Great Plains and is generally known as Flyover Territory, his latest film makes that point clear. He was born and raised in Omaha, and still lives part of the year there. As he explained in the colloquium discussion, “I’m one of those people in the arts who are interested in exploring where they’re from.” This is not to say that all of his films are set in Nebraska, but four of the six features take place there, explicitly or implicitly.
Citizen Ruth has no identifiable setting, as far as I could tell, though its milieu is clearly centered in small-town life in the country’s midsection. It was shot in Council Bluffs, Iowa, and Omaha. Election doesn’t stress the fact, but close shots of newspaper stories reveal that its story is set in Omaha. Warren Schmidt lives there as well, and his road trip to his daughter’s wedding takes him to Denver and brings him back home. Payne’s next two films were set in quite different parts of America: Sideways in San Diego and California wine country and The Descendants in Hawaii. Nebraska chronicled David Grant’s journey with his father Woody from Billings, Montana, to Lincoln, taking in several rural and small-town locations along the way.
Each story mixes humor and pathos, including both satirical swipes at locals and great affection for them. It’s hard to pin down their genres. (The Internet Movie Database classifies About Schmidt as a comedy/drama and Nebraska as an adventure/drama.) In the colloquium, Payne remarked of Nebraska, “I call it my own Czech Republic. I get to make Milos Forman films about it.”
It is a cliché to say that the settings in which a film’s action takes place become a character in the drama, but Payne’s films really do manage to keep us aware of the surroundings to surprising extent. Payne says that when he discusses a film with his cinematographer and production designer, he says he wants “Vividly shot reality.”
Vivid can simply mean beautiful, and there are many such landscapes, as in The Descendants:
But it need not mean that. The choice of framing in the opening scene of Election, with the fence in the foreground and the school crouched ominously high on the hill tend to make it look like a prison:
Emphasis on locales can be created by something as simple as a slight wide-angle lens that adds dimension to a house, making it more prominent within its surroundings, as in The Descendants, About Schmidt, and Nebraska, where the vegetation framing the building, ranging from lush to ordinary to sparse, help define the homes of the main characters:
To achieve the desired vividness, Payne often chooses to use real interiors, even if that limits the types of set-ups he can make. The result can be busy but spacious and attractive, as in The Descendants:
Or the constraint can turn to an advantage, as in the confined arrangement filmed from a television’s point of view for the “That Impala you used to have …” long take in Nebraska:
This latter scene exemplifies something else that Payne considers crucial for achieving realism: the addition of extras and small roles, often played by non-actors found in the area where location filming is occurring.
Alexander sometimes uses symmetry to make a fairly ordinary locale more vivid, as in these planimetric shots from Sideways and About Schmidt:
Vivid shots can make a thematic point, as in The Descendants. Shots of Matt and his daughters being driven through their unspoiled ancestral land lead to a view of them being driven up to the sort of elegant resort that could be built on that land if they sell it. The second shot is pretty and well composed, but the juxtaposition with the series of shots that preceded it should make us sense it as slightly menacing as well:
I’ve stuck mainly to long shots here, since that’s where the vivid realism tends to come. There are many unusually close views of characters as well, which contrast with these long shots. There we tend to get the psychological side of these films, which are basically character studies. This contrast may be what gives Alexander’s films a sense both of place and of intense concentration on characters.
Alexander Payne, storyteller
We all know that Oscar wins and nominations don’t always go to the actual best films of the year. But they do reflect something about the reputation of a filmmaker within the industry. Alexander has had two films nominated for best picture: The Descendants and Nebraska. That these nominations are not simply the result of the Academy of Motion Picture Arts and Science’s switch to a ten-nominee best-picture category is reflected in the fact that he has been nominated for best director three times: Sideways, The Descendants, and Nebraska. He and his co-writers have also been nominated three times for best adapted screenplay: Election, Sideways, and The Descendants. The only film which Payne did not co-write, Nebraska, received an nomination for best original screenplay, by Bob Nelson. All these nominations produced two wins, for the screenplays of Sideways and The Descendants. Clearly Alexander is recognized in Hollywood as a fine storyteller.
Apart from Citizen Ruth and Nebraska, all of Alexander’s films are based on novels. In the colloquium discussion with David, he said he prefers adapting novels, which are ready-made stories. He doesn’t have the original ideas, but he can deal with them almost like a documentarian filming an imagined reality. Most of the novels have been based on the authors’ own experiences, and most of them are regional. “You can find a world and have a dialogue with it.”
His sources are generally not well-known novels. None of the Jane Austen-style prestigious literary property here. Neither Election nor Sideways had been published at the point where he decided to adapt them. The Descendants was not a well-known book. As his first project out of film school, Alexander and Jim Taylor, who would collaborate on several scripts, wrote an original one about a retired man in Omaha. When no one in Hollywood was interested, they went on and made Citizen Ruth and Election. Once Election became a critical, if not a commercial, success, they were able to move on to a more ambitious project. In the late 1990s, Louis Begley’s novel, About Schmidt, was suggested to them as a possible vehicle for Jack Nicholson. They derived some elements from it, combining them with their earlier script. It was, by the way, Alexander’s most expensive film at $32 million, half of which went for Jack Nicholson’s fee.
[Thanks to Jim Healey for clarifying About Schmidt‘s origins; this paragraph has been re-written to incorporate the information he provided.]
Clearly he values the tight unity and narrative economy that are characteristic of the studio age of Hollywood filmmaking: “You want your screenplay as streamlined as possible.” That doesn’t mean following a formula, however. He considers that the screenplay manuals that have been so influential, like those of Syd Field and Robert McKee, “destructive.” He dislikes their blanket generalizations. David pointed out that Matt’s voiceover narration in The Descendants is used to provide exposition, but then tapers off at about the midway point. Alexander responds that manuals claims that voiceover should not be used, but that if it is, it should either be used throughout or only at the beginning and end. These strictures he considers absurd. (Interestingly, many classic studios films start with a voiceover that doesn’t return at the end.)
During the colloquium discussion, Alexander remarked, “I like films which are entertaining and charming.” It’s a generalization that could apply to classical studio filmmaking, and it applies to his films as well. These are well-made films made on the whole along classical lines. Their main characters have goals, struggle toward them, meet obstacles, and usually follow an arc at the end of which they have a sudden realization.
Those goals, struggles, and growth also follow a pattern that one could point to in making a case for a thematic consistency in Alexander’s work. These are mostly films where characters struggle against some misfortune or obsessive hatred and eventually come to some sort of reconciliation with their situation.
Warren Schmidt deals with retirements, the death of his wife, and the marriage of his daughter into a family that disgusts him. He concludes that his life has been an utter waste, and yet a sudden realization that a casual act of kindness has made a difference to another person (a six-year-old orphan in Africa whom he has “adopted” through a charity) rescues him from his despair.
In Sideways, Miles cannot accept that his ex-wife has left him and is about to remarry, and he also hopes to find a publisher for his unwieldy, long novel. Only after he accepts both the failure of his marriage and the impossibility of publication can he move on to a possible new romance. In The Descendants, Matt overcomes his rage over his comatose wife’s infidelity in time to bid her a sincere, grief-filled farewell before she dies. In Nebraska, David Grant struggles to convince his father Woody that his delusions, perhaps brought on by increasing dementia, are absurd, but he finally realizes that humoring the old man is a kinder approach for all concerned.
Election, being an early work, largely avoids this pattern. Jim conceives a hatred for Tracy that he never overcomes. He manages to pull himself together after the failure of his marriage and his firing from his high-school teaching post, finding a new romance and a modest job as a guide in a New York museum. Still, his last glimpse of Tracy as an apparently successful assistant to a major politician is resentful and dismissive, as he continues to view her as he had during her candidacy for student president. Here there is no reconciliation in the main plotline.
The films also tend to follow a well-balanced structure that at least sometimes conforms to the four-part structure I have outlined in Storytelling in the New Hollywood and in this blog entry. Election, for example, has a major turning point that comes halfway through: Tracy notices that one of her posters has begun to peel off the wall (see top), and her struggle to re-attach it leads her to lose control for once and destroy her opponent’s posters. It’s a moment that Jim could legitimately use to disqualify her as a candidate, but his own incompetence and her cleverness and ruthless resistance of his accusations ultimately lead to his failure and her success. The Descendants has a well-balanced four-part structure as well.
There is also a playfulness about these films that fits Alexander’s “entertaining and charming” description of classical films. Both Election and About Schmidt, for example, contain inserts showing the protagonists’ absurd visions of themselves as wildly successful, Jim as a Marcello Mastroianni-like sophisticate and Schmidt as a business tycoon:
What about the future? Alexander revealed that after Sideways, he and Taylor embarked on an original screenplay, which now has been revived as a current project. It would be a big-budget, effects-driven film. If the project comes to fruition, he dreads the prospect of doing storyboards for the first time. His devotion to historic films remains unchanged, however. He plans to be at this year’s Il Cinema Ritrovato, where we hope to catch a meal with him and go on throwing favorite titles back and forth.
Why do reporters start by asking why Nebraska is in black and white? Having studied press junkets for The Frodo Franchise (see the section on frequently asked questions, pp. 123-132), I suspect that the studio is behind it. Basically publicity departments plant a small number of subjects they want reporters to talk about in the press releases, EPKs, and other items they use to guide the press. Reporters batten onto these as the things their readers would be most interested in, and they ask about them and write about them ad nauseum. All this means that filmmakers have to suffer through this same limited repertory of questions dozens, perhaps hundreds of times, struggling each time to say the same thing in a different way. The price of fame.
We have long included an example from Election in Film Art, where we quoted Alexander as a way of showing that directors deliberately set up patterns of motifs.