Interview: James Napier Robertson  on the Chess Drama “The Dark Horse”

Interview: James Napier Robertson on the Chess Drama “The Dark Horse”

Posted on April 14, 2016 at 3:42 pm

James Napier Robertson is an actor turned writer and director from New Zealand who played hundreds of chess games with the real-life champion who inspired his film, “The Dark Horse,” and with the actor who had to learn chess — and put on 60 pounds — to play the role, Cliff Curtis. In an interview, he talked about the late Genesis Potini, the Maori speed chess champion who struggled with bipolar disorder and worked with underprivileged children, teaching them chess and a lot more.

Robertson said he considers himself “fortunate” to be a chess player. “I think it depends who the teacher is who is bringing chess to you that decides how revolutionary it might be. And I think with Genesis that was one of the things that I was immediately drawn to — his ability to take a game that normally you would think could be quite esoteric and sort of boring almost to people everyone else had kind of written off and thought that they are not going to be academic let alone interested in something like chess. He would make them love it and get excited about it and kind of open up the personality of the game and of the characters within the game. So I think that that’s what’s exciting about it for me, particularly in the way that Gen could weave his magic within it as well.”

He first saw Genesis Potini in a documentary, “and I was immediately struck by this guy, this incredible character and how intelligent and articulate and sort of philosophical he was but also how there were contradictions to his complexities and the eccentricities. So I immediately went and met with Gen and as soon as I walked into his house he was standing there in pink crocs like the character is wearing in the movie and tights and he had some nunchucks and he did like a nunchuck dance thing for myself and Tom, the producer. Of course we just sort of stood there stunned like, what do you say? And then I sat down across the chess board with him and we played a game of chess and I managed to lose but lose gracefully and hang in there long enough that I think it kind of opened up a modicum of respect for me from him that I appreciated the game and that I wasn’t kind of a tourist in that regard. I actually cared about what he cared about. We played hundreds of games of chess, hundreds and hundreds and we just talked. We talked all about his life and his experiences and things that had happened to him and in the meanwhile I started putting together a screenplay.”

Potini was taught by Ewan Green, a New Zealand master, who then taught Curtis to play for the film. “So there was a beautiful kind of symmetry. Me and Cliff still play fiercely to this day. Just two days ago we had another few games and he wanted me to very proudly state that he won the most recent one. It really depends on the day that you ask that, who is currently on top.”

Although Curtis is probably the internationally best-known actor from New Zealand and, like Potini, is Maori, Robertson did not initially consider him for the role. “I hadn’t thought of Cliff really because as talented as he is he is a slim, good-looking guy and Gen, the real Gen that I knew was a big guy with bad teeth and funny haircuts and so it just seems like such an incredible leap. Cliff actually got given the script by an actor that we were looking at for a different role in the film. And so Cliff got in touch with us and we started talking on the phone a lot for days and days and days just discussing the possibilities. And then really in the end for me it came down to two things that I felt he would need to do: one was put the weight on and the second one was to method act the role, to stay in character for the entirety of the shoot. And he thought those were both completely insane ideas and there’s no way he was going to do them and fair enough, but in the end I think I just kind of wore him down and he eventually saw the light in that sense and so he put on close to 60 pounds in a little over 6 to 8 weeks, a lot of milkshakes and a lot of beer. He read that the beer was a very good way to quickly fatten the body up and he stayed in character for the whole of the shoot. Once we were shooting, there was no Cliff Curtis there was only Genesis, he would stay and wear the clothes all the time. There were some mornings I showed up on set at 5:30 in the morning and my first ID told me Cliff’s already here, he’s been here half an hour before everyone because he’s been wandering the streets all night and he just walked to where we are shooting. So the commitment from that man is remarkable. Once he got his head around it he was in.

Copyright Broad Green 2016
Copyright Broad Green 2016

The film is wisely very frank about the realities of both mental illness and the poverty and violence of Potini’s community. “A lot of the exploration of that in the film came initially from my conversations with Gen and really discussing in-depth, as much depth as he was comfortable discussing, his own experiences, also talking closely to his family and friends about things that Gen had gone through in the past. I did an immense amount of research and very kind of respectful study into particularly what the more extreme aspects of bipolar can be. We all to a lesser or greater degree can relate to the ups and downs of bipolar disorder. Often the temptation for a film is to take something like that and then manipulate it to kind of help a narrative to tell the story in the way they want. Right from the beginning that was something I was never prepared to do. I always made it very clear and drew a line in the sand with that that the film will be an honest, respectful but unflinching look at what that really feels like and what that’s really like for someone to go through. It was important that the film not try and disingenuously portray that there’s some sort of happy ending cure to that, that in a way if we win a tournament or if we achieve our goals in life somehow that fixes all or problems because it doesn’t and that’s not how life works. And that was something that I had to really fight for because obviously in order to make a movie you need a lot of money and with that comes very strong opinions on what will work and what won’t work and what people might want to see versus what people might be put off. I know there was a lot of fear that the film’s honesty in that way might be too much for people to put up with. So I had to really kind of go on a bat for that and say that I firmly believe that people will be far more connected and moved by something that feels like a respectful and truthful depiction rather than something that’s manipulative.”

The children in the movie were not professional actors. “These kids come from backgrounds pretty similar to the characters they were portraying in the film. One of the things was finding it hard to limit how many of kids we had because there were so many incredible kids that we found out there. I feel extremely lucky that we got the kids that we did in the film but some of them like the boy that plays Murray, there was no Murray in the script but my casting director, Yvette, she was like “You’ve got to see this kid he’s just like the most amazing kid you’ve ever seen”. So I watched a clip of him and I was immediately like ‘He’s got to be in the movie.'”

Because the kids were not trained actors, Robertson drew on his own background as an actor to make them comfortable. “It’s pretty intimidating on the set. There’s all these cameras and lights and they’ve never been near anything like this before in their lives. We played a game. I told them, we were going to play a game and they would all pretend to be the characters the whole time. It was funny because about three weeks into the shoot when they had known each other two months I walked past and heard one of the girls lean over one of the boys and say, ‘What’s your real name?’ So they really took this game to heart.”

As for the Maori community, “To be honest, they have just been the most incredible supporters of it. If they weren’t it wouldn’t have been possible because again it was so crucial that it was an authentic portrayal and if it wasn’t people would know that, the real people would know that and they would hate it for that. So again I was always conscious of the fact that this has to be a film that not only can feel honest to people that watch who don’t know anything about this kind of community or the situation but has to feel utterly honest for people. And one of the things with gangs for example is I’ve seen quite a few films and really great films, really, really stunning films but the way the gangs in New Zealand or elsewhere can be portrayed in an almost sort of romantic sense or in a kind of action sense where they are all muscular, oiled up and doing kung fu kicks and fighting and they look badass and it’s all really cool. But that’s not what gangs are really like. There’s a lot of sitting around, there’s a lot of nothing to do, there’s a lot of bad health because of choices made. It’s more of a sad environment and that is what I wanted it to be in the film. I didn’t want it to feel like another version of the action hero gang members; I wanted it to be realistic and that ultimately brought a lot of support. Most of the guys in the gang roles in the film are gang members or ex-gang members and sometimes from different gangs. I was scared because you can’t have these guys from different gangs on the set at the same time, because they normally want to kill each other but the truth of the film was something they really responded to and wanted the story to be told so that so they wanted to be part of it, so it kind of brought them together. And the actor who plays Ariki, the brother in the film, had never acted before in his life, this is the first role he had ever done, he was actually in one of New Zealand’s worst gangs for 15 years and he left because he saw his own son wanted to follow in his footsteps. So for a lot of these guys that are in the film they saw the movie as an opportunity to try and show the young men coming up, this isn’t what you think it is. Like there is a truth to the gang lifestyle that’s hard for them to try and explain but maybe the movie can show. I didn’t want actors that sort of come in and pretend and portray and then leave to a completely different life. I wanted the real people.”

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Coming Out on The Simpsons — Inspired by the Writer’s Son

Coming Out on The Simpsons — Inspired by the Writer’s Son

Posted on April 3, 2016 at 3:58 pm

Copyright Fox 2016
Copyright Fox 2016

Tonight’s episode of “The Simpsons” was inspired by writer Rob LaZebnik’s son, who is gay. There have been indications over the years that Waylon Smithers, the loyal assistant to Homer’s boss Mr. Burns, is gay. The New York Post reports that the episode is inspired by the son of the man who wrote it.

Copyright Fox 2016
Copyright Fox 2016
Smithers is coming out tonight but fans of the series will not be surprised.

When Waylon Smithers Jr. finally comes out Sunday night after 27 years in the closet on “The Simpsons,” he won’t be the only one celebrating.

Longtime show writer Rob LaZebnik tells The Post he penned the episode in support of his own 21-year-old son, Johnny, who is gay.

“I am a Midwestern guy, so I don’t tend to wear my emotions on my sleeve, but I thought, ‘What better way to tell my son I love him than to write a cartoon about it?’ ” says Rob.

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Beverly Cleary Turns 100 Years Old!

Beverly Cleary Turns 100 Years Old!

Posted on April 2, 2016 at 8:00 am

Author Beverly Cleary turns 100 years old on April 12, 2016!

She did not intend to write children’s books. She was a librarian who wanted to write novels for adults. But then a boy in the library asked her “Where are the books about kids like us?” And so that is what she wrote. Children have been finding themselves and their families in her books since Henry Huggins in 1950. Two of Henry’s neighbors were the sisters Beezus and Ramona, who became the central characters in one of her most popular series.

She is beloved by generations around the world and has won every possible honor including the Newbery for Dear Mr. Henshaw, with illustrations by Paul O. Zelinsky. In 1975, Cleary won the Laura Ingalls Wilder Award from the American Library Association for “substantial and lasting contributions to children’s literature,” in April 2000 she was named Library of Congress Living Legend in the Writers and Artists category for her contributions to the cultural heritage of the United States, in 2003 she received the National Medal of Arts, and in 2008 the elementary school she attended was renamed in her honor.

Each year on her birthday we celebrate DEAR — Drop everything and read! And you can’t do better than to start with a Beverly Cleary book. I recommend Ramona Quimby, Age 8, but all of them are wonderful. Oh, and if you are an adult who loved her books as a child, you will enjoy her memoir of her own childhood in Portland, Oregon, A Girl from Yamhill and the sequel, My Own Two Feet.

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On HBO: A Tribute to Nora Ephron From Her Son

On HBO: A Tribute to Nora Ephron From Her Son

Posted on March 21, 2016 at 3:03 pm

“Everything is Copy,” the documentary about Nora Ephron by her son, premieres tonight at 9:00 on HBO. Ephron was the daughter of Hollywood screenwriters Phoebe and Henry Ephron (“Desk Set”), who named her after Ibsen’s famous heroine of “A Doll’s House” and based their hit Broadway comedy “Take Her, She’s Mine” on the challenges of raising Nora and her sisters. Nora Ephron began as a journalist, and her collected essays about women and media are witty, self-deprecating, and fiercely funny. She often quoted what her brilliant but difficult mother told her as she was dying:”Take notes.” Her parents taught her that everything was material for her writing, and her first novel, Heartburn is the bittersweet, but fiercely funny of her marriage and humiliating break-up with Watergate reporter Carl Bernstein, the second of three writers she married. She wrote the screenplay for the film, directed by Mike Nichols and starring Meryl Streep and Jack Nicholson.

She also co-wrote the screenplay for “Silkwood,” also directed by Nichols and starring Streep, and then went on to write iconic films like When Harry Met Sally…, and she wrote and directed Sleepless in SeattleYou’ve Got Mail, and Julie & Julia.

I’m a big fan of her film with Rick Moranis and Steve Martin, My Blue Heaven, a comedy about a long-time crook in the witness protection program, and I think it is very funny that it came out around the same time as “Goodfellas,” a brilliant drama about a crook in the witness protection program, based on a book by Ephron’s third husband, Nicholas Pileggi. Everything is copy, indeed.

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Interview: Dayton Duncan on “The National Parks: America’s Best Idea”

Interview: Dayton Duncan on “The National Parks: America’s Best Idea”

Posted on March 11, 2016 at 3:36 pm

In honor of the 100th anniversary of the National Parks Service, PBS and all affiliate stations will rebroadcast The National Parks: America’s Best Idea April 25-30. 2016. The six-episode series was produced by Ken Burns and Dayton Duncan and written by Dayton Duncan. It was filmed over the course of more than six years at some of nature’s most spectacular places, from Acadia to Yosemite, Yellowstone to the Grand Canyon, the Everglades of Florida to the Gates of the Arctic in Alaska. Mr. Duncan is the author of twelve books, including Out West: A Journey Through Lewis & Clark’s America and Grass Roots: One Year in the Life of the New Hampshire Presidential Primary. SSeed of the Future: Yosemite and the Evolution of the National Park Idea is being released with the Yosemite Conservancy to commemorate the 150th anniversary of the park’s initial creation as a federal grant to the state of California. Mr. Duncan generously took time for an interview.

He told me about his unforgettable first trip to a national park.

I was not quite nine and it was the only real vacation my family ever took, back in the late 50s. I grew up in a little town in Iowa. Both of my parents worked so we didn’t really take vacations except that one summer. So it’s such a vivid memory. I can almost give you a day by day rundown of the places we went but they included the Badlands in South Dakota, Devils Tower, which is a national monument in Wyoming, the Little Bighorn Battlefield which is a national historic site in Montana and then we went to Yellowstone to the Grand Teton National Park, both of them in Wyoming, to Dinosaur National Monument. It was a great experience. My mom sort of lead me to believe that I was going to be instrumental in the planning of the trip and had me get out maps and write away write to different states for brochures and stuff and help to map out where we were going to go.

Basically we borrowed my grandmother’s car and some camping equipment from some family friends. We stayed in national parks because they were beautiful, because my mom thought they were important and also because they were affordable. I didn’t come back from that trip saying, “My life has been changed forever,” but as I look back on my life now as someone who has spent much of his adult life traveling the United States in pursuit of getting to know more about it, and someone who has written a lot about the history of United States but particularly the western part of United States, I can say it has. You know I can look back and think that that actually did change my life because at the time I didn’t say, I will end up being a writer, a filmmaker and one of those things that I’m fascinated in now is the land that we call the United States and our history and its interplay with that land. So I can’t help but think that that probably had something to do with it.

My mom wanted to broaden my sisters and my horizons and there is no question that I saw places that I hadn’t conceived of. It was 1959 and our car had broken down in the Black Hills, South Dakota which delayed us for two days otherwise we would have been in Yellowstone in the disastrous earthquake of 1959. In fact we would have been in the campsite outside of the park with the big flood when the dam broke. But while we were in Yellowstone there were still a number of aftershocks and not only did I see these geysers going off but felt the earthquake aftershocks two or three times. I saw my first moose, my first buffalo, all those kind of things. And 40 years later as a parent I took my children to those places and got to watch them see their first bison, their first moose.

The idea of national parks is original to the United States. Duncan says that the tension between those who want to preserve the parks and those who want to sell them over to private interests is not a new one.

The subtitle of our film says it is the best idea we ever had. We are quouting Wallace Stegner, the great writer and historian. At the core of that are two things that come from us as a people as a democracy. We are the first nation to have set aside the most extraordinary magnificent, some would say sacred parts of our landscape not for the exclusive use of kings and royalty or the rich and the well-connected but for everyone and forever.

The Declaration of Independence created our country as a nation. The creation of the national parks which no nation prior to us had ever done is in my belief a direct extension of the Declaration of Independence to the land, that is to say those things, every person is equal, that is what national parks does, too. That we all are owners and have equal access to these extraordinary places for our pursuit of happiness, however you want to define what pursuit of happiness might be. So that’s the thing that should be saved for everyone in the second part is in for all time. And in doing that that obviously like the idea of liberty itself, it’s always being contested, it’s always evolving and so far in our history has broadened. The Declaration of Independence said that all men are created equal, but if you ask the people who wrote that in 1776 they would’ve said, “Well, we mean all white men who owned property and had no debts are created equal.” Fortunately they didn’t write it in this way and our nation’s journey has been to redefine and broaden what that meant so that not just on men white men with property and no debts but then all white men were created equal, then we included African-American men and we included women and we still on that journey of expanding that and bringing true meaning to those inspiring words.

And in the national parks at first we were setting aside these sorts of logical oddities, the tallest waterfalls in North America the biggest trees on earth and the greatest collection of geysers on earth, those sort of things and we continue to broaden that to include important places in our history, both those places that we traced because they speak to the best of us and places now in our history that reminds us of mistakes that we have made. We’ve expanded the state parks not just for the scenery but that there to preserve nature itself. When Yellowstone was created in the 1872 as the world’s first national park, they had no concern about buffalo at the time, well as it turned out it became a refuge for the bison when they were nearly exterminated in our continent, the most magnificent animal that we have ever had I believe was down to about 24 in the national park and even there it took legislation and action by people to fully protect them and it saved them from going to extinction and now there are 7 million bison in the United States.

Slowly we came understand that these places served lots of different roles. The first director of the National Park Service 100 years ago. Stephen Mandel, called them “vast schoolrooms of Americanism,” by which he meant that when people go there they become prouder of their country and therefore better citizens. But what we have also learned in the last hundred years is they are best schoolrooms, period. They are great teaching places. They teach us about nature, they teach us about our interaction as human beings with nature, they teach us about our history and remind us of things that we need to be reminded of at different times. Alexis de Tocqueville said that Americans prefer the useful to the beautiful and we will always demand that the beautiful be made useful. And as John Muir said, “Nothing dollarable is safe.”

Americans are commercial and believe in individualism and all those things to sometimes an excessive degree. But at the same time what the parks remind us is that we are capable of something else, that we were capable in the 19th century which when as a nation we were in a mad dash across the continent trying to privatize everything that we could. In 1864, in the midst of the Civil War, Congress’s main duty for 100 years had been to give away or sell away the public domain but in Yosemite in 1864 they said, “No, we’re not going to do that here,” and they entrusted it to the state of California to protect it forever. And then in 1872 when the reports came about Yellowstone they said we’re going to do the same thing that we did in the Yosemite but wait a minute there is no state to give it to as Wyoming was still territory, so they created the world’s first national park and then discovered that that was a better model than the state and then eventually Yosemite became a national park like Yellowstone.

So the Grand Canyon was first proposed as a national park in 1880-something. Had Congress agreed to the proposal it would have been the world’s second national Park. But local interests in Arizona territory didn’t want it to be. They wanted it for commercial use, so they fought and stopped it and so it was proposed again and again turned down again and again. Theodore Roosevelt visited there as a president 1903 and on his very first visit there he said, “My advice of the people of Arizona is leave it as it is. The ages had been at work on it and man can only mar it.” They paid no attention to him.

Then with the tools of the thing called the Antiquities Act in 1908 he was able to set it aside as a national monument against the howls of protest of commercial and private, political interest in Arizona. It wasn’t until 1919 that the Grand Canyon was finally after very long and political fight was finally made into a national park. It’s about the most self-evident place that should be preserved as a national park as you could ever imagine but it took 30 plus years to make it so. So that’s part of the tension that is within us and within society. It has always been that way and it sometimes rises to a higher pitch and sometimes recedes a little bit. Right now we are in one of those higher moments when there seem to be a greater interest and political push to privatize what’s left of the public domain versus both protecting places like parks but also protecting places that might become national parks in the future. That’s just the political situation that we find ourselves in. Luckily and what I feel very profoundly is that that kind of impulse will kind of always be with us. There is always going to be somebody who is going to look down at Grand Canyon and see a river down there and say, “Boy, what a great place for a dam.” There’s going to always be somebody who is going to be looking at a beautiful valley like Yosemite and say, “Boy, what a great place for trophy homes,” and there’s always going to be somebody who will look at the mountainside and wonder if there are minerals inside of there, and see a grove of trees and try to figure out how many board feet of lumber could be gotten out there. That will always be with us.

The challenge for us as Americans is to recognize that we have to inspire each generation to be responsible for taking care of this legacy. Once it’s been ruined, it’s been ruined. So just because you created a national park doesn’t mean that you don’t have to always be vigilant and always be trying to bring forth the next generation who understand that and will treasure it and will have the political will to fight those other impulses that are part of the American character that might just spoil it. The imperative is to reach both young people and diverse populations and say,”This place belongs to you too. You are an equal co-owner of the most jaw-dropping Canyon on earth, you are a co-owner of these ancient and magnificent trees, you are co-owners of these geysers and custodians of these bison. Nothing converts you more to being a park advocate than actually visiting one.

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