Tag Archives: Hollywood

Get on Board the Hollywood Express

CH 12  Depression sq SELF PORTRAITIn this year’s Oscars where history, genius and war are highlighted subjects among the films nominated for Best Picture, so is identity.

In Whiplash, aspiring drummer Bob Ellis confirms his future desire: “I wanna be one of the greats.” But his mentor and teacher pounds it into Bob’s head the reality of who he is now: “You are a worthless pansy-ass.”

In Boyhood, little Mason struggles with growing up and a father who asks, “What do you want to be, Mason? What do you want to do?”

Still Alice, although not Best Picture-nominated but includes Julianna Moore’s Best Actress nomination performance, centers on a woman with Alzheimer’s whose past identity must define her future’s: “I must stay connected to who I once was. To live in the moment … is all I can do.”

And in Birdman, a struggling ex-megastar suddenly reprises the role that flew him to stardom. “You were a movie star, remember? You’re Birdman!” as if to say, “That’s who you are now and always will be.”

Films are visual expression about one’s identity. The film-making process itself lends itself to questioning who you are even more, or it did for me.

“Quiet on the set. Roll tape. Mike Andberg’s ‘Hollywood Express’ documentary. Take one. Action.”

 

About to graduate film school, my biggest question at the time was, “Do I stay or do I go? Do I move to Hollywood to make films or not?”

I was filled with wonder making the documentary on my first trip to Hollywood. Constrained by a student budget, I packed only twelve minutes of 16 mm film stock for the entire project (from which making an intelligent four-minute film deserves an Oscar for something). I had no agenda but to capture what I thought was interesting about Hollywood.

Rolling ever westward by car from Santa Fe, New Mexico, I asked many questions along the way. “Doesn’t moving ahead to something new mean the loss of something else? Didn’t the people who ventured to Movie Town leave a life behind just to pursue their art? What am I willing to leave behind? Am I even going to Hollywood to make film? – Oh, don’t think so much. Just go.”

Cue the beautiful palm trees, sleek Jaguars and huge billboards driving through Hollywood. “Oh my gosh, this place is amazing. But isn’t it just a fantasy world here?”

Cue downtown Hollywood and Vine. “Oh, come on. Look around. People here are just like regular people walking along the street anywhere. We’re all the same, aren’t we?”

Cue all the people approaching me because I have a movie camera in my hands. “Yeah, but isn’t fame what most people here really want? Is that what I’m after? What do I want to be? What do I want to do?”

It’s funny, isn’t it? I had any subject to choose from in creating my little Hollywood documentary and it wound up being a personal essay about me and what I wanted – or didn’t want – to be.

As it turned out, I never moved to Hollywood. I never pursued film-making. But I learned a lot about myself in the process of deciding I didn’t want to dedicate my life to it, and why.

So, I can’t help it. I hope this years’ Oscars go to films about identity.

 

Image above:  Self Portrait by Mike Andberg, 1996;  24″ x 36″ charcoal on paper

 

 

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Being Benjamin: “The Graduate” – Then and Now (an ode to Mike Nichols)

At the end of the film, “The Graduate,” Benjamin Braddock and Elaine Robinson are running for their lives. Darting into a Santa Barbara municipal bus, barely escaping their parents’ contempt and wrath, Benjamin and Elaine are on their way to living their own lives. Yes! Good for them. They made it. And “The Graduate” will end on a happy note.

But wait. Their jubilant smiles have disappeared. Sitting alone together at the back of the bus, they’re not even talking to each other either. Fade out? Roll credits? The film’s over? What? And who is this Mike Nichols guy?

Mike Nichols was one of the new, young Hollywood directors springing up in the sixties. “Who’s Afraid of Virginia Woolf,” his directorial debut in 1966, presented controversial social issues rarely seen in Hollywood films then. The following year, “The Graduate” was released on December 21, 1967 – forty-seven years ago today. Sadly, on November 19 of this year, Mike Nichols passed away at 83.

Because of Mike Nichols and the power of “The Graduate,” I saw life through a close-up lens, one that expanded a view of the world I desperately needed at the time. Watching “The Graduate” this week brought back that same hyper-impressionable Mike Andberg, the half-person who, more than anything, wanted to be anyone but himself. Sad, but true. Such is the power of film and how it can be used as a benchmark in life, for better or for worse. I had no idea at the time how Mike Nichols – through his lead character, Benjamin Braddock – would influence me in so many ways.

About to be a freshman at Maryland University, I couldn’t wait to look like Benjamin strolling around campus in a brown corduroy sport coat (just as Benjamin did at Berkeley for what seemed like the entire second half of the film. Hmmm, not a bad way to live life – to stroll, to wander, to drift.) Sadly, I wore baby blue tee shirts under my open corduroy coat, blowing away any sex appeal the jacket may have initiated.

My next goal was finding just the right shades to look like Benjamin. Shopping all over College Park was worth the effort getting my hands on a pair of large, dark-rimmed sunglasses (that really looked nothing like Benjamin’s, nor did I look any more like Benjamin when putting the spectacles on). Wearing them at night was cool, too – perhaps the best pay-off. That’s what Benjamin did.

Since Benjamin shunned the bar scene, so would I. I, like him, preferred to spend my Saturday nights gazing for hours into space, out the window, or through an aquarium, all to the introspective sounds of Simon and Garkunkel’s “Parsely, Sage, Rosemary and Thyme” playing in the background.

Being part of the So Cal beatnik scene one day could be cool for me to join, but I’d seen how Benjamin tuned out the hipster crowd at the hamburger drive-in by rolling his ragtop down so he could eat alone with Elaine. That’s what I really wanted – an Elaine. Beautiful girls, beautiful dates, beautiful never-ending campus life. Benjamin (played by Dustin Hoffman) had a big nose; so did I. Benjamin got women; so would I.

Benjamin was a master of casual, deadpan reactions. He even yawned after his big kiss with Elaine. How cool and suave that act was, as if an attitude of “not really needing it (love)” turned women on! To him, marriage was a game. To him, his parent’s marriage was a wreck; Elaine’s was a wreck; in fact, my parent’s marriage was a wreck. It’s best to play it easy with love. And whatever you do, don’t do what your parent’s did.

So, here it is, many years later, and I’ve never married. I’ve also discovered treating women in an unemotional, casual, even-headed and deadpan way never really worked. Neither did it keep me from feeling deep pain when rejected. Even though I eventually dropped use of corduroy coats by day and shades by night, I wonder now how many years I felt far too comfortable as the man who inspired the coat idea in the first place.

I also wonder what took me so long to pay attention to the positive sparks ignited by “The Graduate” – my desire to go west and get away from my native east coast security; to feel the excitement of Hollywood; to experience the warmth of Southern California; to explore the San Francisco area bridges – all images of places introduced to me in the film. Yet, I waited until my forty-third year to go to film school. Forty-fifth to see Hollywood and Southern California. It wasn’t until this September I visited San Francisco and beautiful lower northern California for the first time. In part, this is what became of me.

As for Benjamin and Elaine, one wonders what became of them. Much older and wiser now, I say they probably became just like their conventional, values-depleted, money-oriented parents. Perhaps that was Nichols’ view, too (who, like many things, was far ahead of me in seeing this scenario). Mike Nichols was a visionary and great director.

I’m a film devote and helluva DVD spinner.

I guess I can live with that Mike.

 

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