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Posts Tagged ‘Montgomery Clift’

Today let’s look at how to cast farmers in Nebraska. Really.

Relax— It’s going to be okay. Two-time Oscar-winning screenwriter Alexander Payne (Sideways, The Descendants) will be our guide.

Come on,  I have this little blog called Screenwriting from Iowa…and Other Unlikely Places—what are the odds I’m going to pass up writing about Payne’s new film Nebraska? Forgetaboutit. (To use a not so Midwestern phrase.)

“This is my love letter to the state of Nebraska.”
Alexander Payne
LA Times 

The film Nebraska has Nebraska written all over it.  Pure Nebraska roots. Not only in the title but the film’s director Payne was born in Omaha and the parents of Nebraska screenwriter Bob Nelson were from Hartington, Nebraska.  Much of the film was shot in Nebraska and some of it was cast there. And the casting of locals is part of what gives the film its authenticity.

“All of my films, and [Nebraska] even more so, are a combination of highly seasoned, professional actors who typically live in Los Angeles or New York; local, nonprofessional actors … [who do] community theater, local commercials, that sort of thing … and then nonactors, people really off the street or, in this case, off the farm whom John Jackson, my casting director, and I make a point of finding.

For this film, it took over a year of casting to find, for example, those retired farmers who play some of Bruce Dern’s character’s brothers and their wives. And it was a long process of putting out casting notices on, for example, rural radio after the farm report or in small-town newspapers. … For retired farmers, we weren’t so much expecting them to submit auditions, so we were targeting their kids — in their 40s, 50s, 60s — who might go over to their folks’ house on a Sunday and say, ‘Hey! Look at this, I read this. Come on, just for a hoot let me put you on my iPhone reading these lines of dialogue and let me email it into Omaha.'”
Alexander Payne
NPR/Fresh Air Interview with Terry Gross

For those who are geographically challenged, Omaha is pretty centrally located in the contiguous United States. (Just west of Iowa and north of Kansas.) And the reason those iPhone readings were emailed to Omaha is because Payne is not only from Omaha, but he continues to live there as well as Southern California. (He actually grew up near Warren Buffett.) Payne also shot three of his other films in Omaha—About Schmidt, Citizen Ruth, and Election. 

Why? Because Omaha is interesting. Because Nebraska is interesting. But then again, so is wherever you live.

“Of course Nebraska is a storehouse for literary material. Everywhere is a storehouse of literary material. If a true artist were born in a pigpen and raised in a sty, he would still find plenty of inspiration for work. The only need is the eye to see.” Willa Cather (My Antonia)
OmahaMap

P.S. Speaking of casting and Nebraska, did you know that actors Henry FondaMontgomery Clift, and Marlon Brando were all born in Nebraska?

Update:   “[Casting director John Jackson] liked it and thought he wanted to cast it. He said he felt a very personal connection to it through his family, whom he describes as dirt farmers from Iowa.”—Alexander Payne, Salon Q&A

Related Posts:
Screenwriting from Nebraska (Includes an interview I did in Nebraska with Lew Hunter who was one of Payne’s screenwriting professors at UCLA.)
Alexander Payne on Adapting Books
“Wake up and pay attention.” Alexander Payne
Emotional Autobiography (2.0)
Writing to Music (Tip #52)
Capturing Your Country & Hometown “If you’re going to make movies in whatever country you’re in, you want to somehow ‘capture’ it.”—Alexander Payne
Directing Non-Professional Actors

Scott W. Smith

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(The theme of  Butch Cassidy & the Sundance Kid is) times are changing, and you have to change with them—if you want to survive.”
William Goldman
Adventures in the Screen Trade


“I don’t know if you saw the parting of the Red Sea with the chariots on the horses, I did stuff like that.”
Richard Farnswort
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After I posted the above Goldman comment yesterday on the post titled Writing “Butch Cassidy & the Sundance Kid” it jogged my memory of another story about a career transition—both fictional and real life. The Grey Fox was released in 1982 about a decade after Butch Cassidy, but there are some similarities, mostly the concept of change in the Old West.

Richard Farnsworth plays a former stagecoach robber who is released from San Quintin after serving 33 years for his crimes. When he gets out in 1903 it’s a new world—the stagescoaches are out and movies are in. His character, Bill Miner, goes to see The Great Train Robbery and is inspired to take up his old ways yet with a new fresh angle.

It’s been many years since I’ve seen the film so I’ll rely on Rodger Ebert’s account to bring us all up to speed:

“(The Great Train Robbery.) That famous movie is only eleven minutes long, but long enough to make everything absolutely clear to Miner, who realizes he has a new calling in life, as a train robber. All of this could, of course, be an innocuous Disney movie, but it’s well-written and directed, and what gives it zest and joy is the performance by Richard Farnsworth, who plays Miner. Maybe you’ll recognize Farnsworth when you see him on the screen. Maybe not. His life has been one of those careers that makes you realize Hollywood is a company town, where you can make a living for years and never be a star. Farnsworth has been in more than three hundred movies.”
Roget Ebert
Chicago Sun-Times, The Grey Fox
January 1. 1982

Though Farnsworth had been in more than 300 films, they were mostly as a stuntman. He doubled for some of Hollywood’s most well-known actors; Roy Rogers, Gary Cooper, Kirk Douglas, Henry Ford, Montgomery Clift, and Steve McQueen. You think he might have picked up a thing or two about acting from those fellows because after 30 years as a stuntman he began acting.

And he did it well enough to receive a Supporting Actor Academy Award nomination in 1979 for his role in Comes a Horseman and another Oscar nomination for Lead Actor in David Lynch’s The Straight Story (that was filmed right here in Iowa). He was 79 at the time of the nomination making him the oldest actor to ever receive a best actor nomination.

You may also remember his roles in The Natural, The Two Jakes, and Misery. I had the good fortune to meet Richard Farnsworth at a movie theater in Burbank some time in the 80s. Nothing exciting, he was just standing in front of me waiting to buy popcorn or whatever.

“Are you Richard Farnsworth?”
“Yes, I am.”
“I appreciate your work.”
“Thank You.”

He smiled and we shook hands. This was in the days before IMDB so I didn’t know in that simple exchange I was shaking hands with a man who was a real life Forrest Gump in the film industry having been in some legendary Hollywood productions;   Gone with the Wind, Gunga Din, The Ten Commandments, The Outlaw Josey Wales, Roots, Bonanza, The Wild One,  Blazing Saddles, Spartacus and many others.

That means to one degree or another he worked with John Wayne, Clark Gable, Marlon Brando, Mel Brooks, Howard Hawks,  Jack Nicholson, Robert Redford, Clint Eastwood and Cecil B. DeMille.

I don’t know how long stuntman work on a regular basis in Hollywood, but it has to take its toll on your body.  Farnsworth’s last credit as a stuntman was 1975 when he would have been 55. He was almost 60 when his acting career took off. He changed with the times.

By the way, the screenwriter of The Grey Fox, John Hunter,  was no spring chicken himself and was 71 when the movie was released.

Oh yeah, Farnsworth did stunts in Butch Cassidy & the Sundance Kid, too.

Scott W. Smith


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