By Julie Levinson

ISBN-10: 1628461098

ISBN-13: 9781628461091

Since 1996, Alexander Payne (b. 1961) has made six function motion pictures and a quick phase of an omnibus motion picture. even though his physique of labor is quantitatively small, it really is qualitatively amazing. His videos have garnered a number of accolades and awards, together with Academy Awards for most sensible tailored Screenplay. As multiple interviewer during this quantity issues out, he continues a magnificent and unbroken successful streak. Payne’s tales of human strivings and follies, along his mastery of the craft of filmmaking, mark him as a modern auteur of unusual accomplishment.

In this primary compilation of his interviews, Payne unearths himself as an enthralling conversationalist besides. The discussions accumulated right here diversity from 1996, almost immediately after the discharge of his first movie, Citizen Ruth, to the 2013 debut of his movie, Nebraska. Over his occupation, he muses on many matters together with his personal inventive procedures, his dedication to telling character-centered tales, and his abiding admiration for videos and administrators from throughout a long time of movie history.

Critics describe Payne as one of many few modern filmmakers who continuously manages to dollar the present development towards bombastic blockbusters. just like the Seventies director-driven cinema that he cherishes, his motion pictures are small-scale personality experiences that be ready to keep a fragile stability among sharp satire and real poignancy.

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Additional info for Alexander Payne: Interviews

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And I said the movie it’s going to be most like is probably Citizen Ruth. Nocenti: Even though it’s a comedy, you paint a very realistic portrait of high school, with the dull hallways and the inane rituals. Payne: That’s just who we are as filmmakers. Whatever we would be exploring, we would do research and try to achieve great verisimilitude. [laughs] I just wanted to use that word. Nocenti: Alexander, I read somewhere that your junior high school was blown away by a tornado. Was that fuel for the movie?

AP: We kept rewriting and rewriting all the time. We went through one dead-end producer, so there was a lot of dead time—a year and a half— before another producer, Cary Woods, signed on. It still took another year and a half before actual production, and we kept rewriting, unpaid. Just to make it better and better TL: How many drafts? tod lippy / 1996 11 JT: Five or six. Even though it was frustrating taking so long to get the movie made—I mean, many scripts never get made, so we’re not complaining—but there was this long tease, so it was in a way a big luxury for us to continually be able to rewrite and tighten it up.

Alexander groans] Since the movie was never meant to be either a prochoice or a pro-life movie, we don’t care what kind of a statement her having a miscarriage makes, we’re making a statement about something else— AP: Something larger, for me. TL: You’ve talked about Buñuel and Wilder as influences: what about Preston Sturges? His name keeps being invoked in reviews of the film. AP: I don’t know why. I mean, I guess I’m flattered, but I’m not that big a student of Preston Sturges’s films.

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Alexander Payne: Interviews by Julie Levinson

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