Wednesday, February 23, 2011

Chris Cooper and Marianne Leone do Sam Shepard proud:


From left: Steve Maier, Marianne Leone, Jim True-Frost, and Chris Cooper 
at the Boston Center for the Arts. (Bill Brett for The Boston Globe)

Hats off to Academy Award winner Chris Cooper and his extraordinarily talented actress wife Marianne Leone who gave mesmerizing performances at the Boston Center for the Arts on Monday night for a Commonwealth Shakespeare Company-produced staged reading of the Sam Shepard play “Curse of the Starving Class.’’ Directed by Steppenwolf Theater Company veteran Jim True-Frost and hosted by CSC's artistic director Steve Maler, Cooper and Leone were joined by a talented ensemble of fellow Boston-based actors who dazzled the sold-out audience. 

Known primarily as a film actor, Chris Cooper has appeared on Broadway only once--back in 1980. Marianne Leone has never played the Great White Way. As I watched each of them exhibit their stage chops Monday night in this rarely performed but incredibly timely (and funny) play, I couldn't help but think that--in the not too distant future--they should both seriously consider making room for a Tony Award next to that Oscar on their mantlepiece.

Tuesday, February 22, 2011

WELCOME TO THE TWILIGHT ZONE

Finally a metaphor that explains the madness:

The Monsters Are Due on Maple Streets
BY MARTY KAPLAN


The power has gone out in a typical American town.  Wait—it’s not just the electricity.  The phones don’t work, either.  Portable radios are dead.  Cars won’t start. 
But then lawn mowers and cars and lights inexplicably start and stop on their own. What’s going on?  A meteor?  Sunspots?  Or are there, as Tommy’s comic book suggests, aliens among us, preparing for a takeover? Suspicion poisons the air. Neighbor turns on neighbor. A scapegoat is blamed. A shot is fired.  Panic, madness, riot.
And while the humans behave monstrously, the real monsters watch from a nearby hilltop, working a little gizmo that messes with the power on Maple Street and marveling how easy it is to manipulate these earthlings into destroying themselves.
In what is arguably the best “Twilight Zone” episode ever, “The Monsters Are Due on Maple Street,” Rod Serling wrote a suburban “Lord of the Flies,” a parable about the fragility of civilization, paranoia and the susceptibility of nice folks to manipulation. 
Watching it when it first aired, in the depths of the nuclear arms race, people thought it was meant to ward off a witch-hunt for Reds under the bed.  Today, watching what’s been going on in Madison, Wisc., as well as in Washington, D.C., I can’t help thinking that the real monsters are chortling at their success in pitting neighbor against neighbor, and I can’t help marveling at their genius for distraction and unaccountability.
The monsters aren’t Wisconsin’s public employees whose right to collective bargaining has helped their families lead middle-class lives, and who have repeatedly declared their willingness to return to the table and negotiate a shared sacrifice. The monsters are on Wall Street, where state pension funds were sunk into toxic sub-prime mortgage-backed securities.  The monsters are on K Street, where lobbyists are fighting financial industry oversight. The monsters are the politicians who are using Wisconsin’s deficit as a pretext to demonize public employees and bust their unions. 
If you look at the budget that House Republicans just passed, if you listen to the “so be it” language of their leadership, you’d think that the federal deficit is caused by the very people who who’ve been suffering the most in this recession.
But the monsters aren’t low-income pregnant women and mothers who can’t afford adequate nutrition for their families; or sick Americans who can’t find health insurance to cover them; or blue-collar workers who want to retire at an age when there’s still some life left in their bodies; or students who can’t afford college without Pell Grants; or people who think their government’s job includes preventing their air and water from poisoning them.
Sitting on the hilltop, watching Americans turn one another into bogeymen, evading scrutiny and responsibility, are the real sources of our distress.
They’re the bankers who’ve extorted trillions of public treasure, blowing up the deficit while awarding themselves inconceivably fat bonuses.
They’re the billionaires who’ve benefited from a massive transfer of wealth from the middle to the top and whose political puppets protect them from paying their fair share of taxes.
They’re the corporations whose cash has convinced Congress to deregulate industry after industry, despite all evidence that it is the enforcement of rules – not the magic of the marketplace—that protects the public’s rights.
They’re the defense contractors and pork appropriators who’ve used the cover of “national security” to shield the Pentagon’s budget and its procurement process from the cuts and reforms that even Republicans like the Secretary of Defense are advocating.
They’re the front groups and propagandists, like FreedomWorks and Fox, who use class warfare and culture wars in order to turn Americans against their own economic interests.
They’re the Supreme Court justices whose Citizens United decision, overthrowing a century of settled law, has made our campaign finance system an open sewer, and whose indifference to conflicts of interest in a coming case promises to throw sick people back onto the tender mercies of insurers and to destroy our best hope to curb Medicare costs – further ballooning the deficit and providing cover for even more draconian cuts.
The game in Washington is to use the deficit as camouflage for destroying government’s capacity to promote the general welfare.  The game in Wisconsin and other states whose new Republican governors and legislative majorities are feeling their oats is to shelter the income of the wealthiest, and to balance the budget on the backs of the middle class. 
At the end of the episode, Rod Serling says this:  “The tools of conquest do not necessarily come with bombs and explosions and fallout. There are weapons that are simply thoughts, attitudes, prejudices to be found only in the minds of men.  For the record: Prejudices can kill, and suspicion can destroy, and a thoughtless frightened search for a scapegoat has a fallout all of its own—for the children, and the children yet unborn.  And the pity of it is that these things cannot be confined to the twilight zone.”
Sometimes it’s hard to watch the news and not think that things are surreal.  The other day, when what’s been happening in Madison reminded me of what happened on “Maple Street,” I suddenly realized the theme music that goes with it.
Marty Kaplan is the Norman Lear professor of entertainment, media and society at the USC Annenberg School for Communication & Journalism.  Reach him at martyk@jewishjournal.com.

Farrelly Brothers Going South with 'Three Stooges'

"Sadly, like their current comedy HALL PASS, which is set in Providence and on Cape Cod, the Farrellys will film the Stooges flick in Georgia. 'We need good weather, so we have to head south. And unfortunately for Massachusetts, Georgia has a better tax incentive and that’s huge,” said Bobby. “We save millions by going down there and you just can’t talk the studio out of it.'"         ---Boston Herald Inside Track,  February 22, 2011

The Massachusetts film tax credit (25%) is every bit as competitive as Georgia's (30%)---especially when you compare what actually qualifies for the credit in each state. For a film shooting in April and May, weather should not be an issue. HALL PASS (and all of those jobs) ended up in Georgia not because their tax incentive was better, but because of studio fears that our tax incentive was about to get worse. It did not. Unfortunately, perception has become reality. Now, with the complete elimination of the Massachusetts film office and its budget, changing that perception is an uphill slog.


Sunday, February 20, 2011

SHUTTERED ISLAND

Thanks to a joint initiative of the Mass Dept. of Conservation & Recreation and the Mass Historical Commission, Peddocks Island--home to an abandoned nineteenth century fort as well as a key location in 2008 for the Martin Scorsese/Leonardo DiCaprio film “Shutter Island’’--will soon be renewed for public use. Take a look:



Saturday, February 19, 2011

THE PUBLIC VS THE PROFESSOR

Northeastern University Prof. Peter Enrich weighed in on the film tax credit with an op-ed piece in today's Boston Globe. Citing a recent Department of Revenue study he claims, "we spent more than $170,000 of our tax dollars for each $50,000 job."

But a more careful look at the DOR study shows that for the four years between 2006 and 2009 over 6,000 jobs were created at a cost to taxpayers of less than $20,000 per job---an astounding achievement during a terrible recession. The public seems to be way ahead of the professor on this issue. In a recent online survey conducted by the Boston Globe, a whopping 96% of more than two thousand respondents registered their support for the program.


Friday, February 18, 2011

Film-tax credit a blockbuster for Mass.



By Peter Lucas
You can probably credit the phenomenal success of recent films like The Fighter, The Social Network and others for saving the tax break Massachusetts gives to filmmakers making movies in Massachusetts.
You also have to credit Gov. Deval Patrick for having the flexibility to drop his plans to curtail the tax incentives in the wake of dire predictions that the filmmakers would go elsewhere and the state would lose untold millions in much-needed economic activity.
Patrick only last March talked about capping at $50 million, or cutting in half, the tax credits to the film industry because of budget restraints, even as he doled out millions more to entice other industries to hire or expand their businesses in Massachusetts.
A study by the University of Massachusetts reported that the film and television industry not only created jobs during an economic downturn, but stimulated economic activity across the state. And the jobs did not go only to highly paid actors who parachuted in from the West Coast, but to local actors and technicians, and to blue-collar workers in the construction and transportation field who have been hard hit by the recession.
The film industry estimated that it spent about $1.1 billion making films and television productions in Massachusetts since 2007, a sum that far outweighs the cost to the state in tax credits.
When movie makers come to town to make a film, like Mark Wahlberg did in Lowell to make The Fighter, his remarkable film about Micky Ward and Dicky Eklund, the local economy benefited. Wahlberg created jobs. He hired local people. Actors and production people rented condos, they rented cars and trucks, they shopped, they ate at local restaurants and drank at the bars.
To borrow a phrase from Barack Obama, Wahlberg stimulated the economy, as did people behind the other successful films made in Massachusetts, films like Ben Affleck's The Town, or The Departed, Mystic River, Shutter Island and The Company Men. It is arguable that these films would not have been made in Massachusetts were it not for the tax incentives provided by the state in addition, of course, to having good local stories and a welcoming atmosphere to shoot them in.

A side benefit to all of this is the tremendous amount of favorable buzz Massachusetts received, and continues to receive, as a result of the success of these films, especially The Fighter and The Social Network. Both have been nominated for best picture at the Academy Awards. The Fighter has been nominated for a total of seven Academy Awards, and The Social Network has been nominated for eight.

What politician would not want to be a part of this glitz?

The governor, no stranger to public relations, could not help but note that every time Mark Wahlberg or Christian Bale or Melissa Leo, as well as other actors, are interviewed on national television, they talk about Massachusetts and what a fine place it is to make a movie. It is free, positive publicity about the state, its people, and its attractiveness, from Cape Cod to the Berkshires and everything in between.

To re-emphasize the fact that Massachusetts is open for Hollywood business, the governor sent Economic Development Secretary Greg Bialecki to Los Angeles last week to meet with officials of the movie industry to persuade them to make more films here. Accompanying Bialecki were John Dukakis, son of former Gov. Michael Dukakis and a former actor who is a vice president at Hill Holliday; and union labor leaders Sean O'Brien and Chris O'Donnell. Dukakis is the newly appointed chair of an advisory committee seeking to grow the film industry in Massachusetts.

It all makes the governor look good. Picture Deval Patrick preening at a Hollywood cocktail party/fundraiser raising campaign money for himself or for Obama as he chats about what fine films are being shot in Massachusetts, thanks to him. Which is OK. He's the governor, and he deserves the credit. Maybe Patrick can even pitch his own movie proposal, one based on his soon-to-be-published memoir, A Reason to Believe, his rags-to-riches story about growing up in the South Side of Chicago and ending up in the governor's office.

Lt. Gov. Timothy Murray, who has probably traveled throughout Massachusetts more than any man alive, is well aware of the state's physical attractiveness to filmmakers as well as the lure of the tax incentives.

"This tax incentive is consistent with our beliefs that we can continue to grow the economy in Massachusetts during these difficult economic times. We are making the state an attractive place to do business. Everyone can see the benefit to making these movies in Massachusetts.

"Massachusetts has it all."

Peter Lucas' political column appears Tuesday and Friday. E-mail him at plucas@lowellsun.com.

Sunday, February 13, 2011

Massachusetts: We grow filmmakers...and Oscar nominees!



'Poster Girl' in Hollywood spotlight
Newton native's first film gets shot at Oscar

Robynn Murray (left), a former combat soldier in Iraq, is the subject of the Oscar-nominated documentary short “Poster Girl.’’ (Alan Kimmel/HBO)

By Loren King
February 13, 2011

The Oscar-nominated documentary short “Poster Girl’’ is Newton native Sara Nesson’s first film, but it was only a matter of time. After all, she’s proud to say, it was beneath her father’s editing table that she learned to crawl. Robert Nesson of Somerville, an independent producer/director whose films focus on the environment, human rights, and educational projects (he’s also an instructor at Emerson College), taught his daughter not just the nuts and bolts of filmmaking but how it can raise awareness and effect social change.

“He’s my greatest inspiration. He ingrained in me the responsibility to do something,’’ says Sara Nesson, 36, who now lives in Brooklyn, N.Y. What Sara did was spend more than a year filming Robynn Murray, a former cheerleader who enlisted in the Army at 19 and served as a combat soldier in Iraq, as she struggles to rebuild her life while suffering from post-traumatic stress disorder. The 38-minute film follows Murray’s attempts to navigate the bureaucratic nightmare of the Veterans Administration, her budding antiwar activism, and her involvement with the Combat Paper Project, a community of vets who make works of art from scraps of their uniforms. “Poster Girl’’ began screening Friday as part of an Oscar-nominated shorts program at the Coolidge Corner Theatre. It will air on HBO in the fall.

Nesson met Murray during the filming of another documentary she was working on, “Iraq Paper Scissors,’’ now in post-production. Murray was among the veterans invited to an artists’ retreat in 2008 on Martha’s Vineyard, where Nesson once lived and worked (she shot weddings to finance her films). When Nesson showed footage to producer Mitchell Block, he convinced her that Murray was compelling enough to carry her own film and signed on to co-produce “Poster Girl.’’

“I wanted to tell an intimate story and show the struggle of these vets. Robynn was the only one that trusted me,’’ says Nesson. “Her voice was so powerful; I knew she could be a voice for the thousands that were struggling alone.’’

Nesson, who graduated from the Rivers School in Weston and from the University of Vermont, hopes the attention from “Poster Girl’’ will help her complete “Iraq Paper Scissors.’’ Her short film has already caught the attention of Hollywood: Producers Tony Bill (“The Sting’’) and his wife, Helen Bartlett (“North Country’’), contacted Nesson about developing a movie based on Murray and the two other gun-toting female soldiers featured on the cover of Army magazine whose postwar experiences belie the image the military apparently sought to market.

Nesson says assisting her father on film projects as the two traveled the world from Siberia to Japan played a crucial role in her development as an editor and director. After moving to New York, she was the principal editor on “Stolen Childhoods,’’ a 2005 feature documentary about global child labor. In 2006, she edited “Plastic Disasters,’’ directed by Kate Davis, for HBO. She also edited the special features and bonus content for “Born Into Brothels,’’ the 2004 Oscar-winning documentary co-directed by Ross Kauffman and Zana Briski about the children of prostitutes who work in the notorious red light district of Sonagchi in Calcutta.

Nesson jokes that she was “tearing her hair out for three months’’ after learning that “Poster Girl’’ was among eight documentaries short-listed for an Academy Award. Since shorts are not announced on television with features and acting nominees, Nesson learned the good news over the Internet. “My cats ran under the bed to hide from my screaming,’’ she says. The whirlwind since that moment has included her snagging a $6,500 designer dress marked down a whopping 90 percent at a New York City sample sale. Her mother, Penny Steinberg of Boston’s Back Bay, will be Sara’s date for the Oscars. Her entourage also will include Murray and one dozen other close friends, who are all flying to Los Angeles for the Feb. 27 ceremony. “I haven’t been married, so the Oscars are like my wedding,’’ Nesson says.

Loren King may be contacted at loren.king@comcast.net.