Monthly Archives: October 2016
Fisher Stevens, ‘Before the Flood’: Video of the Q and A at Hamptons International Film Festival 2016
Fisher Stevens’ Before the Flood is a prodigious effort by the filmmaker who is also an actor, writer and producer. The film, starring Leonardo DiCaprio (he also co-produced the film), which screened at the Hamptons International Film Festival 2016, comprehensively details the subject of climate change through cogent interviews by scientists, activists, researchers, world leaders and more. Stevens’ perspective could have been a browbeating doom and gloom treatise on global warming. Instead, after seeing the film, one leaves the theater feeling the urgency that there are ways one can individually make a difference in the fate of the planet.
Stevens’s documentary is compelling and memorable as he traces how climate change impacts every being on this planet, every microscopic creature and every seed, every spore, every molecule of life that has managed to evolve and survive through the eons up to this point in time. He shows how experts in climatology and related, supporting fields have been monitoring the planet for years and have produced the facts, details, information, data, maps, visuals, photographs that predict signs of impending global catastrophe. In an overwhelming consensus, they have explained what is ongoing and current: rising seas, melting glaciers, disappearance of the Greenland ice sheet. They have almost uniformly predicted the subsequent inundation of coastline cities, mass population migrations, starvation and decimation of a planet caused by greenhouse gas overload which created chain reactions that many believe are irrevocable.
Stevens also reveals the antithetical arguments to climate change and why they exist. Despite scientific consensus, climate change deniers managed, with Fox news propaganda prestidigitation, for expedience and profit, to turn black into white, to twist up into down and to morph fact into fiction. The result has been a quicker burn, a delayed global response which even after the Paris Climate Summit 2015 is not effectively doing enough to stem the glacial melt, dissipate the acidification of the oceans, ameliorate the dying of coral reefs, end unsustainable practices employed by energy corporations and create an effective reduction of carbon emissions to cool the planet.The scenario scientists, researchers and experts paint has far reaching dire consequences that impact every global culture and every land or oceanic ecosystem with supporting marine and wildlife. This result may be likened to the ushering in of the four horseman of the apocalypse: pestilence, war, famine, death.
But this must-see documentary is uplifting despite the revelatory evidence of overarching power demonstrated by a handful of genocidal nihilists (climate change deniers), who are egregiously and willfully deaf, dumb and blind to the earth’s reality show. How Stevens’ journey (which follows the investigation and work of Leonardo DiCaprio as United Nations Messenger of Peace on climate change), arrives at the realm of hope that suggests a possible rainbow in our future, is miraculous, invaluable filmography.
The film must be seen for its poetic script, its breathtaking cinematography and concurrent dark and soaring music, its cogent analysis and exhaustive documentation through experts’ interviews, visuals, maps, data and much more. Fisher’s documentary is an accessible and definitive work on climate change. It will inspire all those who see it to become involved on a personal and community level to overturn the climate change denier’s lies and take action before it is too late. The film Before the Flood is being aired on National Geographic and is screening at City Cinemas Village East and elsewhere. Check about dates online.
Here, Fisher Stevens speaks to the moderator at the Hamptons International Film Festival 2016 after the screening of this seminal film.
How does one remain timeless as a musical performer? If you look at the greats, there are two qualities that come to mind. One element is the repertoire they sing; it speaks to everyone’s heart and resonates with passion. The second element that is required is a stellar, singular voice. In both instances Patrizio Buanne, who is an international entertainer with a heart toward eternal song classics that are loved globally, manifests both.
Patrizio’s multicultural heritage hails from Naples and Austria. When he moved back to Rome, he studied languages: he fluently speaks six. Patrizio, who sang and entertained family and friends as a young child, moved to turn professional in his teens after winning vocal competitions and after a music manager selected him to sing for the “Papal visit” (John Paul II) in Wroclaw, Poland. The song he sang which was half in Italian, half in Polish, had been written for the opening mass. With 85.000 people in attendance, Patrizio’s sudden popularity with the Polish public led to his first local record deal. Success followed success in Italy with a production company that produced shows for RAI and Mediaset. But Patrizio’s goals were expansive. The teenager wanted to be an international recording artist. And now he is.
He is globally known as an entertainer who sings stylistically as a crooner, but also sings pop, jazz, rock and popular international songs. He has a huge global fan base which has been exponentially growing since the first release of Patrizio (2009-Warner music), in Australia, New Zealand, Asia and South Africa. The album went platinum and resulted in a tour of Australia, New Zealand and Asia in May 2010.
On Patrizio’s birthday 2011 Patrizio (Concord records), was released in the US, and hit number 5 on the US Jazz Billboard charts. As most musicians, bands and artists must now do on the release of a recording, the album was followed by concert tours in Australia, New Zealand, Asia, South Africa and the USA.
My video interview with Patrizio at the Friars Club in NYC on Wednesday, 19 October.
Also in 2011 for his South African fan base, he released an album of South African hits interpreted by Patrizio’s incredible voice singing in Italian, English and also Afrikaans language. The album featured duets with South Africa’s most popular singers, “Dankie Sued Afrika” (Universal music).
While this album was going platinum, Patrizio prepared a German-focused album in 2012 Wunderbar (Warner music GSA), where he adds Italian songs and original compositions with the German and Italian language. Just so you realize, the extent of his talents, Patrizio gift for languages is prompting him to move into the South American markets in the next year.
Every time Patrizio releases an album he goes on a global tour, as he did with his fourth worldwide release Viva la Dolce Vita (2015 Universal Music), an album in which he is an “Ambassador for Italian song with unique and singular song interpretations. The album includes new material with an international flavor written especially for him. His CD Bravo Patrizio includes the release of his most popular songs for his first 10 years which he is following through with tours (2016, 2017), in the US, Australia, South Africa, Europe, Latin America and Asia confirmed by advanced sales.
In concert and as I found out in person as you will see in the video interview, Patrizio’s charm, unforgettable persona and anointed voice allow him to revel in interpreting pop songs and Italian and international standards which have brought in millions of album sales globally. Currently wrapping up his US tour he will be in Richfield, Connecticut at the Ridgefield Playhouse (October 21st), NYC at the Highline Ballroom (October 22nd) and New Jersey at NJPAC (October 28t). CLICK HERE FOR TICKETS
Manchester by The Sea is a pageantry of human emotions that Kenneth Lonergan prodigiously marches with relentless precision across the screen, encapsulated by the astonishing performances of Casey Affleck, Michelle Williams, Lucas Hedges, and a superb supporting cast. The plot development is a complicated paradox which exists on two levels. One is the emotional, interior level where protagonist Lee Chandler (Casey Affleck is breathtaking and magnificently drafted as the tragic everyman), reflects about a past he wishes to escape. The other is on the level of linear time in the present where Lee confronts his brother Joe Chandler’s (Kyle Chandler) death and the multiplicity of mundane details that must be carried out. Joe’s passing forces Lee to return to Manchester by The Sea, settle his brother’s affairs, and possibly assume the guardianship of his brother’s son, Patrick.
At the heart of this film there is mystery and lustrous revelation. Lee Chandler’s suppressed identity and what he has experienced is gradually made alive to us so that we may empathize with him and wish for his redemption and healing. Lonergan has created a powerful human drama with broad and masterful strokes of storytelling. He unspools the underlying dramatic events with flashback. The flashbacks are the raw, vibrant dynamics which are Lee’s place-induced memory reflections as he robotically goes about the task of returning to Manchester to deal with his brother’s remains, hold the funeral, settle the financial estate, and monitor his teenage nephew whose enthusiasm for activities and girlfriends is a blind for the pain of losing his father and having his life upended by his uncle’s impending guardianship.
During the activities in the present, Lonergan alludes to Lee’s past through the townspeople’s off-handed comments; his identity remains a cypher. The mystery of Chandler’s going through the motions of existing in the present while living in a hyper-drive of emotional memories from the past, we later discover, is tied up with a horrible accident. For Lee and his former wife, Randi (Michelle Williams is simply, completely stunning), it is a cataclysmic, life-altering devastation. The writer gradually uncloaks the keystone revelation in a swift cut of shockingly unexpected visual images that explode on the screen and in our minds, then reverberate like the aftereffects of an earthquake.
It is a revelation that occurs well into the film, and it coalesces all our understanding about who Lee Chandler is and what he is going through. From then on, our empathy with his plight includes the hope that he will be able to forgive himself, end the self-flagellation and eventually reconcile his emotions to walk the road of healing. For the present it is perhaps just enough that Chandler can breathe and experience the physical manifestations of living until deliverance arrives, if it ever does, an uncertainty that concludes the film.
We know nothing of this as the movie opens. We only discern the flattened affect of Chandler’s mechanical non-existence as the superintendent of a building in Quincy, Massachusetts. It is an existence from which he is interrupted when he must return to his former hometown, a place of exterior beauty and, for Lee, emotional terror, to deal with his brother’s death. Once there he must confront family, his nephew, and former friends under the continual oppression that reminds him that Manchester by the Sea, represents a wasteland. There, he has lost everything meaningful he has ever known.
Patrick asks his uncle, why go back to a one room apartment and a job that he could do anywhere? It is an irony. And Lonergan answers Patrick’s question through an extended flashback, Lee’s memory of the horrific accident. Lonergan paints Lee’s remembrance in sharp visual images that emotionally stun, accompanied by an amazing selection of music (the music is brilliantly chosen throughout). Through this pointed flashback the mystery of Lee’s being and changed identity is brought into the unfortunate light.
The meat of the film is how Lonergan carefully patterns the relationship between Patrick and Lee starting with a joyful memory Lee has (in flashback), before tragedy strikes both brothers when Patrick was a youngster. It is a happy moment during a fishing outing and Lee kids Patrick about choosing him over his father. The irony is tremendously layered in the jump from the past to the present where it becomes twisted and sardonic; Lee must tell Patrick about his father’s death. Of course, if he could choose, Patrick would rather his uncle have been the one to die, not his father. And Lonergan clarifies as the film progresses, Lee would gladly have chosen to be the one who would die rather than Joe. But fate twists reality into the antithesis of their desires.
The emotional variety and seeming random reality of the actors’ performances captivate. It is impossible not to identify with the protagonist, despite how much one wants to extricate oneself from Lee’s engorgement on self-flagellation and broken heartedness. The scene between Randi and Lee toward the conclusion is Shakespearean and is incredibly human and real. Michelle Williams and Casey Affleck are not rendering performances, they are rendering a kaleidoscope of raw, emotional power. They are devastating.
Lonergan presents the case, that some hardships might be too much for any individual to bear. Lee Chandler finds a way, even if it it brings him into a state of oblivion. Catastrophe has sifted his soul and he has found himself wanting. It and his response to the accident place him in a limbo akin to an eternal process of dying without the imagined peace of finality. Lonergan’s film is a case study in the tragedy and triumph of the human spirit, even if it is to just get to the next second in linear time while enduring a parade of painful images erupting from one’s unconscious.
Lonergan’s acutely crafted storytelling emerges from his discrete human characterizations. His dialogue throbs life like a palpitating heart. His visual craft seamlessly modulates his characters’ feelings and interplay. Like life’s dynamism, the effect is so intricate and whispering, that one can miss the broader picture of beauty in suffering and redemption in nanoseconds of humor and felt connection with others. All this is to say that the film is absolutely fantastic. It is a must see for the levity and pathos and the incredible cast Lonergan has marshaled to relay what is most tragic, humorous and uplifting in our lives.
This review first appeared on Blogcritics.
For those of you who have visited Japan in the fall, you are familiar with kiku and will most probably have fond memories of kiku that you saw in amazing displays wherever you may have walked around Tokyo or other cities in the country. Kiku is the Japanese word for “chrysanthemum.” It is the most venerated of all Japanese fall flowering plants, not only for its beauty, but also for its medicinal qualities and ancient cultural tradition.
What is most amazing is how the Japanese for centuries have maintained what is now becoming the dying art of training and shaping liku into the most incredible designs. It is becoming a dying art because the process of training the growing, fragile Kiku into such lovely shapes requires great skill and is tremendously labor intensive. One false move, one mistake and the entire display may be ruined. Kiku are “no joke.” And it is for that reason they are celebrated in Japan as part of the traditional Japanese custom of enjoying the ephemeral beauty of flowers, known as hanami.
Kiku presentations in conceptualization and philosophy are perhaps one of the most fleeting flower arrangements of all. The displays cannot be preserved beyond a few weeks. They are original. They are easily damaged and during the process of the pruning and training, they are incredibly fragile. Considering that it takes 11 months to grow, train and shape kiku into a cascade design, for example, for 11 months of labor, one receives, if one is careful, two to three weeks of beauty that vanishes as if it never lived at all. It is that impermanence of life that is so captivating a reminder for us to appreciate all that is beautiful for a season, until it withers. The irony is that kiku cannot even regrow their shapes. So, the artistry required to get them to their state of loveliness is truly exceptional
Indeed, one wonders why, in our fast paced digital age, anyone cares about pinching the buds off some flowers to effect beauty. Precisely. When one understands the process and the effort, one appreciates their pageantry. Besides, like all craft and artistry, if it can be preserved, we stay connected with our historical past and the past of other countries and their cultures. In our blink-and-it’s gone current cultural oppression of time, kiku are at once given to us from the ancients and are made modern by having those who care bring the art into the 21st century.
The NYBG has taken on the laborious craft in order to insure that the art will continue to be enjoyed by visitors from Japan as well as those who are familiar with the fall chrysanthemums, but are unfamiliar with the ability of the plants to be trained and designed into magnificent trees, cascades, bridges and more. Each year the NYBG has its kiku exhibit in the fall, pioneered by the chrysanthemum masters at the Shinjuku Gyoen National Garden in Tokyo who educated Yukie Kurashina. Yukie has trained others like James Harkins in the fine art of floral theater. And under the supervision of Marc Hachadourian, Director of the Nolan Greenhouses for Living Collections, James (foreman of gardeners) and kiku expert Yukie with scores of volunteers have made the kiku exhibit at the Enid A. Haupt Conservatory into a place of refuge mirroring the past and merging it with the present.
During the exhibit Kiku: The Art of the Japanese Garden, you will see three traditional kiku styles:
- Ozukuri which means thousand bloom. A single stem of a chrysanthemum plant is trained to produce hundreds of simultaneous blossoms in a massive umbrella-shaped display.
- Kengai which means cascade. Small-flowered chrysanthemums are pruned and pinched to frameworks that flow downward like waterfalls for lengths up to six and one-half feet.
- Ogiku which means double and triple stem. These are enormous individual flowers presented at the end of stems that can reach up to six feet tall.
Kiku: The Art of the Japanese Garden is running from October 8 through October 30. For the full programming schedule that follows this exhibit, click HERE for the NYBG website.