Nebraska
-
No Money, No Problem?
They’re the two most beautiful words in the cinematic language: tax credits. Almost no one who practices the seventh art got into it to learn about business; if anything, they got into it to avoid it altogether. Alas, it’s almost impossible to participate in the most expensive art form without being at least semi-fluent in business jargon. State film tax incentives are a crucial part of most American films’ financing these days, be they giant Marvel productions filming in incentive-rich Atlanta or a tiny indie shooting in Albuquerque, mere miles from the set of Better Call Saul. As of this […]
by Matt Prigge on Mar 14, 2019 -
D.P. Phedon Papamichael Talks the B&W Imagery of Nebraska, Lighting Movie Stars and his Online Film School
Cinematographer Phedon Papamichael is finding a new audience of fans with his striking black-and-white camerawork in Nebraska, a father-and-son road trip starring Bruce Dern and Will Forte. With this third collaboration with director Alexander Payne, following Sideways and The Descendants, Papamichael is on a list of potential Oscar nominees. He was recently included in a Hollywood Reporter roundtable of five top cinematographers, a series that often portends year-end award winners. His other work includes James Mangold’s Walk the Line and Oliver Stone’s W. He just completed Monuments Men with George Clooney. Papamichael was born in Athens and studied photography and art […]
by Rania Richardson on Dec 9, 2013 -
“It Found Its Way to Me Exclusively Because of the Title”: Alexander Payne on Nebraska
If Bob Nelson’s screenplay had been called Iowa, Alexander Payne would have never made Nebraska. “It found its way exclusively to me, because of the title,” said the Omaha-born director before a recent sold-out audience at the TIFF Bell Lightbox in Toronto. Indeed, Nebraska could be mistaken for one of Payne’s scripts, since it shares common story elements with The Descendants, Sideways and About Schmidt: a man hits the road to find himself accompanied by a buddy, uncovers painful yet funny revelations about his past, and arrives at peace with his imperfect life. “Who am I really?” asks his heroes. In Nebraska, Bruce Dern […]
by Allan Tong on Nov 20, 2013 -
Nebraska — A Hammer to Nail Review
(Nebraska world premiered in competition at the 2013 Cannes Film Festival, where Bruce Dern took home the Best Actor prize. Distributed by Paramount Vantage, it opens theatrically on Friday, November 15th. Visit the film’s official website to learn more.) After seeing Nebraska at this year’s New York Film Festival, I struggled to articulate what about it I found so moving. For days after the screening I could picture it in my mind’s eye: those hard, bright Midwestern landscapes in silver and black. With previous Alexander Payne films what I remembered was dialogue, barbed explorations of character. Literary stuff. But with Nebraska, […]
by Susanna Locascio on Nov 14, 2013 -
Cannes Film Festival 2013
For American independents, this year’s Cannes Film Festival felt like the end of an era, especially with the high-profile premiere of Steven Soderbergh’s final film, Behind the Candelabra, playing two decades after sex, lies, and videotape seemed to promise the emergence of a vital American independent film culture. These questions re-emerged not just because Soderbergh has announced that he is retiring from filmmaking, but also because he has been widely critical of a film industry that is increasingly focused on international blockbusters. But the events at this year’s Cannes also raised a number of questions about the role of the […]
by Chuck Tryon on Jul 18, 2013 -
Lesbian Lovemaking, Graphic Novels and a Changing China: Parsing the Cannes Awards
Sex sells, but it’s not the kind of thing that wins highbrow prizes—right? The fact that Abdellatif Kechiche’s explicit and entrancing Blue is the Warmest Color (La Vie d’Adèle, chapitre 1 et 2) won the Palme d’Or at this year’s Cannes Film Festival is a watershed moment, not least of which because its frank depiction of lesbian lovemaking wasn’t an obstacle towards being taken seriously. People may have tweeted their puerile snickering about the randy onscreen romps, but any sober viewer would acknowledge that those relatively brief moments (especially in a 179-minute film) were hardly exploitative — in fact, they […]
by Stephen Garrett on May 27, 2013 -
Cannes 2013: Payne’s Nebraska and Puenzo’s Wakolda
Alexander Payne’s Nebraska is an impressive achievement, a fresh and innovative take on that most familiar of genres, the road movie, one that takes conventions about the American heartland and turns them on their head. It’s also a story about a father and son learning to see and understand each other for the first time. The film opens with a shot of Woody Grant (Bruce Dern in what should be a performance that collects numerous awards) shuffling purposefully down a Billings, Montana, highway, his scraggly beard, limping gait and weathered face suggesting a man who has struggled for the little […]
by Chuck Tryon on May 23, 2013 -
Cannes 2013: First Clips from Payne’s Nebraska and Jarmusch’s Only Lovers Left Alive
Two of the big U.S. films playing at Cannes this year — Alexander Payne’s black-and-white dramedy Nebraska and Jim Jarmusch’s vampire flick Only Lovers Left Alive — have both released clips today. Above, from Nebraska, father and son Bruce Dern and Will Forte are joined by a weaselly Stacy Keach, and below you can check out two short bursts from Jarmusch’s movie, featuring leads Tilda Swinton, Tom Hiddleston, Mia Wasikowska and Anton Yelchin. We’ll have more on both films here on the Filmmaker website once they have screened on the Croisette.
by Nick Dawson on May 15, 2013
