Alan Berliner, filmmaker and media artist

This blog is dedicated to the filmmaker Alan Berliner who in 2009 inspired these blogs. 

UPDATE in an encore, from October 2009:

photo credit: Marjorie J. Levine 2009

My interview today with Alan Berliner was different from any other that came before. Alan Berliner is the filmmaker who two years ago invited me to join an NYU class on film archiving that was visiting his lower Manhattan studio. The specific purpose of my visit was to discuss a possible solution for the preservation of my old family photos. During the class discussion, Alan suggested I post the photos to the internet where they would be saved and available to any viewers who might discover the site. And shortly thereafter my memoir in a blog, marjorie-pentimentos, began. Today, Alan called my visit to the class an "intervention."

Many months ago when I began marjorie-digest, I asked Alan if he would be interviewed by me for this blog. He thought it would be worthwhile if I again joined another class from NYU and talked about my experience of two years ago and how the process was suggested in a concept during the first visit. Alan requested that I arrive early and that would give us a chance to talk. I was excited and I looked forward to today. I had no idea that the interview that I had intended to be about Alan would somehow morph into an interview about me!

We began and I told Alan that on Sunday many of the descendants of my great-grandparents, Abraham Levine and Goldie Benjamin, gathered at a restaurant in Manhattan for a family reunion. I told Alan that I expecially loved watching the family home movies from around 1952 that were brought by my cousin, Allen. As I talked about Sunday, I slowly began a stream-of-consciousness about so many different topics I felt somehow as if I was going to places that should never have left the imaginative confines of my own head.

And Alan sat there taking notes. He asked just the right questions to bring me to these personal places that were bittersweet and emotional. I talked and talked... about reincarnation, and quantum physics, and consciousness, and past lives, and memories. When I talked about time travel, I think my mind was on that train longing for "Willoughby" where I could enjoy the comforts of the past.

I talked about my life in retirement and my life... and I even spoke about my OCD. I just kept talking and talking... and dialogue flowed (probably from my subconscious) about personal feelings, old family photos, and home movies. I told Alan I love home movies because they are the closest thing to time travel we will ever get. The conversation was layered at times with fantasy, and imagination, and wishful thinking. And Alan kept writing.

He was able to somehow make me want to become nostalgic and share thoughts on so many things... when I was there to be the listener and learn more about him! I was embarrassed and I apologized to Alan that the interview became about me. He waved his hand and seemed to not care and said something like "Maybe I wanted to do that."

And this must be why he is a phenomenal filmmaker. He has this uncanny and kind ability to inspire people to be real and in a defenseless and in a very unguarded way to discover meaningful feelings.

Well, I had to temporarily shut-up because the class arrived and Alan played some very interesting and engaging sound effects for them and then they sat in a circle while I was asked to speak about the birth of my blog. And I did.

Alan inspires me to want to be a better "keeper of the memories." If after I contacted him two years ago Alan had not graciously invited me to meet with him, all my "stuff" probably would have one day been lost forever in a Staten Island landfill. That makes me sad. It makes me sad because one of my personal treasures is a letter that was written by my grandmother to my mother in about 1929. It appears in my memoir in this entry with a poem I wrote in 1992 which developed from some of my feelings about that letter... maybe sentimental memorabilia is in a sense a "madeleine."

In "Synecdoche, New York," the writer Charlie Kaufman ends the film with a monologue: "Now, it is waiting, and nobody cares. And when your wait is over, this room will still exist, and it will continue to hold shoes, and dresses, and boxes. And maybe someday, another waiting person. And maybe not. The room doesn't care either..."

Alan cares and I am on Alan's wave-length. And maybe there is a large group of total strangers who share these thoughts about time and the passing of time and the importance of, as Alan said, "saving pieces of individual lives" even in small scale ways.

At his website Alan has a link to his articles, essays, and journals. Please read his essay, "Gathering Stones." Alan showed me the way to help my own "orphaned photos" find a home.

And in his journal piece "Nobody's Business," Alan writes: "But yes, it is me who returns to visit -- not any of their children, their grandchildren, or any (other) of their great-grandchildren. Just me."

And so I realize that I had forgotten to tell Alan that on infrequent down days when I have little to do, I ride to the still-standing buildings in Brooklyn where I once lived. It seems to be always gloomy and raining on those days. But even on bright sunny days, I think about the homes and the times inside those homes. My mind wanders and I can still hear my mother calling me, at 5:30 PM, for "supper." Sometimes, when I arrive at one house... I park my car slightly down the street, and look at the outside of the window in the room where I once lay in bed at night, so long ago, listening to the sounds of whooshing cars as they passed while I watched their shadows dancing on my bedroom wall. And I still visit my grandmother's house in Bensonhurst.

Alan Berliner is a creative award-winning filmmaker. You can learn more about him and his work by clicking on the links below.

UPDATED, MAY 2020... THE LINKS BELOW ARE INACTIVE, they will remain now for reference purposes only

bio

films

The Sweetest Sound

Nobody's Business

Intimate Stranger

The Family Album

Wide Awake

Short Films

online Interviews:
POV - The Sweetest Sound

San Francisco Film Festival: Wide Awake

my interview with Robert Siegel, writer and director

Here is my interview from 2009 with Robert Siegel...

photo credit: Marjorie J. Levine © 2009

This interview with Robert Siegel (the writer of many films including The Wrestler) began on a Thursday evening at a Chelsea diner. And we concluded the interview the following day, on a muggy Friday Manhattan night in the same diner. So, this was my first two-part interview. I was excited and happy.

Robert was editor-in-chief of "The Onion" from 1996 to 2003... when it was in it's original phase as a Madison, Wisconsin publication. The editor of "The Onion" when Robert arrrived was Ben Karlin, who later left to join "The Daily Show" as executive producer. He was followed by David Javerbaum, who is still the executive producer of "The Onion" and he wrote the music for the Broadway show, "Crybaby."

In 2001, "The Onion" moved to new headquarters in New York City. And shortly thereafter Robert began writing "The Wrestler." Robert explained that the process of creating a film is a long one. It can sometimes take five years from "script to screen." But Robert knew from the beginning that Mickey Rourke was "ideal" for this film and he wrote "The Wrestler" with Mickey Rourke in mind. Robert knew he would be just perfect for this part. Robert wanted to create a compelling character and story. Yet, he realizes the story is both sad and emotional. And throughout, there are many scenes in the film that show the character's great and extreme loneliness with moments of so much sweetness.

The audience knows at the end of the film that "The Ram" will not last long after he makes a decision to go back into the ring. He has made a decision to die. It was the director's decision to end the film with a freeze frame... to perhaps leave the final moments without a closure.

I think there are huge emotional moments in "The Wrestler" and it was Robert Siegel from whose fingers this heartbreaking film began and... he indeed created the film which gave Mickey Rourke his "comeback." Robert was nominated for a WGA award in the category of "original screenplay" for the film.

We moved on to a discussion of "Big Fan," the film which Robert wrote and directed and which will premiere at BAM on June 19th as part of the Next Wave Festival. In the film, Patton Oswalt plays Paul Aufiero, a loner who is obsessed with the Giants and he spends much of his time calling in to a sports radio show. For this role, Patton Oswalt won the award for "Best Actor" at the Method Festival. Robert describes Paul as a "Marty" or "Rupert Pupkin"... and perhaps "Big Fan" is the "King of Comedy" of sports movies. I asked Robert if he personally knows any of these "obsessive nerds" and he said he based the character on his imagination. But we have all had experiences which make us lonely and we all share basic human emotions and it is those feelings which Robert hopes to bring to film. "Big Fan" will open on August 28th.

Well, another interview had ended. As darkness was falling, the sidewalks were still packed with people and the streets were crowded with busy traffic congestion. I started thinking as I began the walk home. People weave in and out of our lives.... but I have known Robert for several years, and tonight I continued to be impressed by Robert's sincerity, integrity, openness, and warmth.

ETA in 2023: 

Robert is the creator of Pam & Tommy:

He is also the creator of Welcome to Chippendales:

a FEW REVIEWS ARE IN

 

WHAT WAY TO GO TODAY from 2009

WHAT WAY TO GO TODAY

Here's my poem that won Rick Dale's Beat Poetry Contest on December 3, 2009.

WHAT WAY TO GO TODAY

Almost dusk:
Last summer on one Wednesday, in July,
I sat on a bench, a grey wooden tired
Bench on a boardwalk out at old Long Beach.
In the sky a lonely and lost grey kittiwake tipped
As the hot pink sun set in blazing technicolor over
Hot pinkish sand and the fading blue ocean water.

That morning:
I had thought about seeing great art...
Vermeer, or Courbet, or maybe Monet.
But, I drove to the beach instead to think
To think about everything creative that had been
Created before I got here, and when I was here,
And what will be created when I leave this place.
When one day I leave my place and all places in my
Consciousness that is now in this time and was
At a past time and will be in some next time;
Maybe all time exists at the same time.
The great minds of theoretical physicists search
For the "Theory of Everything" as they sit
In their cluttered rooms, their great thinking rooms.
In universities, they ponder the mathematical equations
And Schrodinger's cat and all those mysteries.

In the evening:
It is during the quiet and still and sad night when
I miss most the people I never met:
Edie Beale, and the Rat Pack, and even Rod Serling
Who made me want to time travel: to go back to simpler places
Like Nedick's, or the Belmore, or Bickford's, and Willoughby.
Then the longing, a longing when distant sounds and faraway
Foghorns drive thoughts to reflect on a life visible through some
Smoky cracked mirror, a haunted and haunting steamy mirror.
As I am sort of old now and getting older
There is a vague and odd feeling that I,
Like the kittiwake, somehow must have lost the way.

© Marjorie Levine 2009

BACK TO BROWN, taken in 2024

 

from 2023

WITH ROBERT KLEIN ON BLOOPERS AND PRACTICAL JOKES

from PINKY THINKER PRESS

my poem that appeared in THE DILLYDOUN REVIEW

 

THE DISTANT LEFTOVER

You with your constant smell of indifference

And I so hungry for even a sweet side glance. 

But it was not to happen. 

Maybe it was fate on the snowy evening I sailed

Away from you: 

The last night I entered that ferry

The same ferry that always took me back to you

Because I was seduced by silly things

That never mattered. 

I must have looked so crumbled, so forlorn,

That a nun stopped reading the Bible and moved 

To sit closer to me, to give me comfort 

And solace… and she did. 

As I drifted the waters to reach my home

You disappeared and grew smaller in every way 

Possible, so in many of my later years you 

Became a blurred washed memory.

And after a great time, when my forgotten passion 

Surfaced and took hold of me,

When the longing that once lived inside of me

Cornered my thoughts and turned you into a rumination,

I tried to find you.

But you were gone. 

Really gone.

And there was a heavy stillness in my place. 

On cold nights, I remembered the ferry and

All I could hear was the nun,

The nun who so many years ago told me:

“You will still be here

In the morning.”  

© Marjorie J. Levine 2020

"T" is Dead.... Again

This piece below was written in June of 2007:

"T" is Dead!

I watched several times "Made in America" on HBO On Demand... which was the controversial and confusing last episode to the phenomenal series "The Sopranos." Many fans were disappointed and even angry that the series did not come to a more satisfying conclusion with more clear closure. It was so layered with different innuendos and possibilities that some diehards referred to the last episode of "The Sopranos" as the Zapruder film of TV finales. But, now I am even more convinced than ever that my initial impressions and interpretations are valid.

The textured theme for the entire run of this series has been the meaning of life and the afterlife. "You probably don't even hear it when it happens, right," Bobby asks Tony in "Soprano Home Movies" when they are out in his little boat on the lake. That one line was a nuanced foreshadowing in terms of the final scene of "Made in America" which opens with the soundtrack of a funeral dirge and then moves along to the family dinner at Holsten's. A suspicious guy in a Members Only jacket enters the restaurant and he nervously looks around. We are thinking he could be dangerous. When he gets up to go to the bathroom, the tension that has been building is unbearable. And all of this is happening while Meadow unsuccessfully attempts several times to park her car. Just as she runs across the street, Tony hears the bells as the restaurant door opens and he looks up and seems startled. Then, the infamous quick and unexpected cut to a dark and silent screen that lasts for about 20 seconds before the credits roll. "What the fuck?" we all initially thought. And all across America customers were calling their cable companies.

After I calmed down, I realized Tony Soprano got whacked by the guy in the Members Only jacket! In his death there was no lighted "Inn at the Oaks" filled with deceased family members, no big answer to "where am I going," and no insight into his desert revelation, "I get it." There was no validation to Paulie's spiritual hallucinations and no parallel experience to Christopher's vision of hell when he was in a coma. Carmela was wrong... Tony did not go to hell. And even Bill Burroughs got it wrong in his monologue that was used in the opening segment to Season 6. The blank and silent screen at the very end implies Mama Livia was right all along! "It's all a big nothing," she told AJ. How funny is that? In my book, that's surreal, mind-boggling, and ultimately amazing. The series ended in great irony and dark comedy.

My jaw drops open at that final 20 second blank screen each time I see it. David Chase has to be disappointed that people reacted so negatively at first to his masterpiece. They did not "get it," so maybe it was a bit too esoteric. But it remains a twist so bizarre, so richly funny, so blended with the theme of the entire series, that "I just can't shake it." In the end, Mama was right and "It's all a big nothing!"

"T" RIP.

In June 2007, I sat shiva for Tony Soprano.

CHAIRS UP, AND THAT WAS A WRAP