Billy Wilder

Billy Wilder is one of Hollywood's all-time great filmmakers. His movies ranged from film noir to screwball comedy and they were known for tight plots and memorable dialogue. Wilder despised sentiment and he sought to tell stories as simply and elegantly as possible. To Wilder, "the best director is one you don't see."

Billy Wilder was born in Austria-Hungary in 1906. He was raised in Vienna where he became a newspaper reporter and a paid dancer. At age 20, he moved to Berlin and became a screenwriter in the burgeoning German film industry. Wilder was Jewish and with the rise of the Nazis he escaped to Paris. His mother, sister, stepfather and grandmother stayed in Germany and all died in concentration camps.

Wilder moved to Hollywood in 1936 where he roomed with fellow German Peter Lorre at the Chateau Marmont. Wilder and Lorre ate Campbell's Soup each day to keep from starving. Wilder's hero was German refugee filmmaker Ernst Lubitsch. Wilder was hired as a contract writer at Paramount where he teamed with Charles Brackett, a writing partnership that would last 14 years. Wilder and Brackett co-wrote two films for Lubitsch: Bluebeard's Eighth Wife and Ninotchka. Wilder would later credit Lubitsch for teaching him all he knew about film. (A sign on Wilder's office wall read: "How would Lubitsch do it?") Wanting to protect the integrity of his screenplays, Wilder became a director. His first directorial effort was The Major and the Minor with Ginger Rogers and Ray Milland. ("Why don't you get out of that wet coat and into a dry martini?")

In 1944, Wilder made what many consider to be the first true film noir: Double Indemnity. The film established the noir conventions of venetian-blind lighting and voiceover narration. Wilder's writing partner on Double Indemnity was novelist Raymond Chandler. The two despised each other and Wilder's observations of Chandler's obsessive drinking led to Wilder making The Lost Weekend, Hollywood's first serious depiction of alcoholism. During production, Wilder fell in love with actress Audrey Young who played a hatcheck girl. The two would marry and remain together for 53 years.

In 1950, Wilder made the classic masterpiece Sunset Boulevard. The film is edgy and cynical and depicts the dark side of Hollywood. At an industry screening, MGM boss Louis Mayer complained to Wilder, "You have disgraced the industry that made and fed you! You should be tarred and feathered and run out of Hollywood!" Wilder replied to Mayer, one of the most powerful men in Hollywood, "Go fuck yourself!"

In 1957, Wilder teamed with a new writer, I.A.L. Diamond. The Wilder/Diamond team would pen the classic films The Seven Year Itch, Some Like It Hot and Wilder's personal favorite, The Apartment. Wilder was considered an actor's director. He directed 14 different actors in Oscar-Nominated performances. His favorites were Jack Lemmon, William Holden and Fred MacMurray. He did not get along with Humphrey Bogart, James Cagney or Marilyn Monroe. Wilder said of Monroe, "I have never met anybody as mean as Marilyn or as fabulous on screen."

Wilder's last film was Buddy, Buddy in 1981. His career spanned 50 years and 60+ films. Wilder was an avid art collector who owned works from Picasso, Miro, George Grosz and Egon Schiele. He sold his collection in 1989 for $34 million. Billy Wilder died of pneumonia in 2002 at age 95. (5" x 7" black ink print)

The Open Road

When automobiles first appeared in the early 1900's, they could only be enjoyed by the rich and privileged. The few available roads were either cobblestone or dirt "mudtraps." Private for-profit auto clubs emerged to build roads accessible only to members.

With the advent of Henry Ford's Model T in 1908, cars became available to the masses. Cities and towns built their own asphalt roads but there was no organization on a national level. The Federal Highway Act of 1925 sought to resolve confusion between state and local routes. Highways were given a standard numerical designation--north to south highways were odd numbered, west to east highways were even numbered. Redundant numerical highways were renamed.

The automobile industry struggled during the Depression and World War II but the early 1950's saw a major increase in car ownership. Road trips emerged as a desired vacation choice and a spate of new businesses were born: gas stations, roadside diners, repair shops and highway motels. President Eisenhower argued that in the event of a foreign invasion the army would need highways to transport troops and supplies across the country. He passed the National Interstate & Defense Highway Act of 1956 which authorized the creation of 41,000 miles of highways. Today the US highway system totals more than 157,000 miles.

I love road trips. My favorite trek is driving north on Highway 1 up the California Coast. I stop for chicken pot pie at Linn's in Cambria, go jade-hunting at Jade Cove in Lucia then hike through the redwoods in Big Sur. There's something magical and liberating about leaving the city behind and taking unknown roads through small towns and the beautiful back country. You're filled with a sense of possibility and you never know where a mysterious road might lead. It can be scary too, but that's part of the adventure. The open road beckons and the lucky few heed the call. (5" x 10", black ink print)

Pacino

When Francis Ford Coppola and Paramount Pictures set out to cast the role of Michael Corleone in The Godfather, they had a disagreement. The studio wanted Robert Redford, Warren Beatty or Ryan O'Neal. Coppola wanted an unknown Italian American actor. At the time, Al Pacino had just one starring film role to his credit playing a heroine addict in The Panic In Needle Park. Coppola brought Pacino in for multiple auditions but Pacino kept blowing his lines. Producer Robert Evans referred to Pacino as "that little dwarf" and he told Coppola "a runt will not play Michael." Evans was concerned that Pacino's short stature would be a problem since Sonny Corleone was originally to be played by six foot four actor Carmine Caridi.

Coppola continued to audition actors for Michael including Robert DeNiro, Dustin Hoffman, Jack Nicholson, David Carradine and Martin Sheen. The studios began pushing James Caan for Michael but he wasn't Sicilian enough for Coppola (Caan is Jewish). Coppola threatened to quit if Pacino didn't get the role; Evans agreed as long as Caan was cast as Sonny.

A few weeks into production, Coppola began having second thoughts.  He was concerned that Pacino was playing the role as too meek and mild. "You're not cutting it for me kid," Coppola told Pacino. True to his Actors Studio training, Pacino was allowing himself time to discover who Michael was as a character. Marlon Brando understood Pacino's method acting approach. He intervened on Pacino's behalf and urged Coppola to keep him.

The scene that saved Pacino's job was the restaurant scene where Michael retrieves a gun from the bathroom and kills Sollozzo and the corrupt cop McCluskey. The scene is a tour de force of brilliant acting. Michael and Sollozzo converse in Italian with no subtitles. Since the audience doesn't know what the actors are saying, they are forced to focus full attention on Pacino's eyes, his sagging shoulders, the way he subtly moves his head to conceal his inner turmoil. The scene depicts the moment that Michael transforms from a naive young man to a vicious mob boss. It's also the moment that Al Pacino transforms from unknown actor to movie star.

Pacino was nominated for a Best Supporting Actor for The Godfather. He has since been nominated for eight Acting Oscars winning once for Scent Of A Woman. Pacino's salary for The Godfather was just $35,000. Two years later, his salary for Godfather II increased to $500K + 10% of the gross after break-even. For Godfather III, Pacino initially demanded $7 million. Coppola was so infuriated he threatened to write a new script that opened with Michael Corleone's funeral. Pacino settled for $5 million. (4" x 6" black ink print)

Jack Kerouac

Jean-Louis "Jack" Kerouac was a novelist and poet who became the face of the Beat Generation. Born in 1922 in Lowell, Massachusetts, Kerouac began writing at age 12. He carried journals everywhere, scribbling personal notes, poems and thoughts.

In high school, Kerouac was a star football player earning him a scholarship to Columbia University. During freshman year, he broke his leg playing football. He quit the team and dropped out of school. He enlisted in the navy but served only 8 days before being diagnosed with a "schizoid personality" which led to an honorable discharge.

Kerouac returned to New York and moved in with an old girlfriend, Edie Parker. He worked odd jobs as a short order cook, railroad brakeman and construction worker. During this period, Kerouac met Allen Ginsberg, Neal Cassady, William Burroughs and other odd characters who became synonymous with the Beat Generation. (Kerouac coined the term "beat" to describe a person with little money and few prospects.)

In 1945, Kerouac was diagnosed with phlebitis in his leg connected to his old football injury. He was confined to a bed in his parents home next to his father who was dying of stomach cancer. He began writing, fueled by benzedrine and coffee. The result was The Town and the City, an 1,100 page novel about his boyhood in Lowell and the junkies and intellectuals he met in Greenwich Village. The novel was published to poor reviews sending Kerouac into a deep depression.

In the winter of 1948, Kerouac went on a road trip with Neal Cassady driving across the country at light speed. They visited old friends, all night cafes, broken down bars and forgotten towns. They acquired food, money and gas by whatever means possible. Kerouac and Cassady arrived in San Francisco in 1949, broke and exhausted. Reflecting on his trip with Cassady, Kerouac experimented with a frenetic, benzedrine-fueled writing style he called "Self-Ultimacy." He would fall into a deep trance and write with chaotic speed, channeling spontaneous prose that jibed with the ethos of "first thought best thought." His writing style was influenced by the jazz music of Charlie Parker and Miles Davis and the concept of breathing in Buddhist meditation. Kerouac's words had an inherent rhythm and cadence, especially when spoken aloud.

Kerouac completed the first draft of On the Road in three weeks. He typed on a teletype roll, a single-spaced, unbroken paragraph resulting in a 120-foot long scroll. On the Road was published by Viking in 1957. The book became a bestseller and Kerouac became an overnight sensation. To Jack, the novel was simply about "two Catholic buddies who roamed the country in search of God." To the world, the book changed the face of literature and spawned the 60's hippie movement. Teenagers began hitchhiking across country, experimenting with drugs and sex and scrawling spontaneous poetry in dogeared journals. Ironically, Kerouac turned his back on the hippies and flower children ("It's politics, not art").

Kerouac despised his newfound fame. After getting beat up outside a New York bar, he began to fear the public. He grew estranged from Neal Cassady and his old 'Beat' friends. Jealous novelists attacked Kerouac in the press. (Truman Capote famously said, "That's not writing, it's typing.") Kerouac continued writing and publishing novels (Dharma Bums, The Subterraneans, Visions of Cody) but none garnered the acclaim given On the Road. He continued abusing drugs and alcohol and his writing and vitality suffered. In 1961, Kerouac moved to Big Sur in an effort to kick drinking and rekindle his writing talents. Instead he had a mental breakdown and returned to San Francisco to drink himself into oblivion (chronicled in Big Sur).

Beaten and lonely, Kerouac left California to live with his invalid mother in Florida. He never learned to drive and his house had no phone. He spent his days listening to jazz music and drinking Johnny Walker Red and cheap wine. He remained deeply religious, devoted to his unique brand of Buddhist-tinged Catholicism. When friends insulted God or religion he would respond, "Ah, Jesus died for bums like you." In 1969, after a night of heavy drinking, Kerouac hemorrhaged and was rushed to the hospital. He died the next morning at the age of 47. In 2009, the original manuscript of On the Road sold at auction for $2.4 million. (5" x 6", black ink print)

Mr. President

Barack Obama is the 44th President of the United States.  He has become a Rorschach President.  People's opinions say more about themselves than they do about President Obama.  Contrary to urban myth, President Obama is not a muslim or a communist or a black power advocate.  He is also not a prophet or a saint or the reincarnation of Abraham Lincoln.

President Obama loves basketball, he collects Spiderman comic books, he listens to Miles Davis & Bob Dylan.  His favorite films are Casablanca and One Flew Over The Cuckoo's Nest.  On his first date with Michelle, he took her to see Spike Lee's Do The Right Thing.  In Swahili, his name means "one who is blessed."

Like a true leader, President Obama has voiced opinions and taken actions that are not always popular.  He passed the only meaningful health care legislation in our country's history, he ended the war in Iraq, he rescued the auto industry, he repealed Don't Ask Don't Tell, he stopped torture as a policy, he removed Bin Laden as a threat, he whittled down Al Qaeda, he overhauled our country's food safety system, he advanced women's rights in the workplace, he invested in clean energy and the nation's aging highway system and he re-instituted regulation over the out-of-control financial sector.  President Obama has done all this while battling unprecedented obstructionism from the GOP Congress.

Shortly after the election in 2008, I met a woman at a party in Los Angeles who claimed to be a numerologist.  She said that in numerology the number "4" corresponds to "work and effort." "44" equates to "double work."  Since Obama was the 44th President, the woman claimed his presidency would require a tremendous amount of effort.  Nothing would come easy and progress would be slow and plodding.  She went on to say the "44" indicated that Obama would preside for two presidential terms of "4" years each.  "The numbers never lie and this is what the numbers say," she insisted.  As we reach the final week before the 2012 election, I take heart from this strange conversation from four years ago. The current polls indicate a dead heat between Obama and Romney.  I'm no numerologist, but like everyone else I'm searching for election-time solace wherever I can. (6" x 7", black ink print) (original sketch by Gabrielle)

Jim Jarmusch

Jim Jarmusch's 1984 film Stranger Than Paradise started a renaissance of American independent cinema. Jarmusch was born in Cuyahoga Falls, Ohio in 1953. His mother was a film reviewer and she often left Jim at the local cinema to watch matinee double feature horror films. In his teen years, Jarmusch was attracted to beat culture and arthouse cinema.

Jarmusch attended Columbia University with the intention of becoming a poet and he became editor of the Columbia Review. He left New York for Paris where he spent his days at the Cinematheque Francaise immersing himself in the films of Ozu, Bresson, Dreyer and American director Sam Fuller. In 1976, he  returned to the states and was accepted into NYU's Tisch School of Film. His classmates included future peers Tom Dicillo, Spike Lee and Sara Driver.

During his final year at NYU, Jarmusch became assistant to famed director Nicholas Ray (Rebel Without A Cause) who was collaborating with German director Wim Wenders on the film Lightning Over Water. Jarmusch left NYU and assisted Wenders on the film The State Of Things. Wenders gave Jarmusch the leftover black & white film stock which Jarmusch used to complete a 30-minute movie that became Stranger Than Paradise.

Stranger Than Paradise is a deadpan, slow-moving comedy that recounts the journey of three disillusioned youths from New York to Florida.  Like many Jarmusch films, the characters are outsiders on the fringes of society.  I remember seeing the film when it came out and saying to a friend, "Nothing much happens but I can't get this movie out of my head."  This was common of Jarmusch's films.  He was once quoted as saying, "I'd rather make a movie about a guy walking his dog than about the emperor of China."  Paradise won the Camera d' Or at the 1984 Cannes Film Festival.

Jarmusch's next film Down By Law featured Tom Waits, John Lurie & Roberto Benigni. The movie marked the first of five collaborations with cinematographer Robby Muller. Jarmusch's next two films--Mystery Train and Night On Earth--experimented with parallel narratives, multiple stories connected by theme rather than plot. One of Jarmusch's favorite devices is to have a foreigner speaking in a native tongue while others struggle to understand. We see this with Aunt Lotte in Stranger Than Paradise, Benigni in Down By Law, the East German cab driver in Night On Earth and the Haitian ice cream man in Ghost Dog. Tom Waits observed of Jarmusch: "Jim went gray when he was 15...As a result, he always felt like an immigrant...a benign, fascinated foreigner. All his films are about that."

Music is crucial to Jarmusch's storytelling. His films have a unique vibe, slightly out of tune with a heavy reliance on music to invoke tone. Whether it's John Lurie's discordant jazz for Down By Law, Neil Young's sonic guitarscape for Dead Man or Mulatu Astatke's Ethio-jazz rhythms for Broken Flowers, Jarmusch's soundtracks are always memorable. Jarmusch himself is a musician. He played guitar for the early 80's band The Del Byzanteens and he recently completed an album with Dutch composer Jozef Van Wissem. Jarmusch loves using musicians as actors in his films. These include Tom Waits, Iggy Pop, Joe Strummer, John Lurie, RZA, Jack & Meg White and Screaming Jay Hawkins.

Jarmusch is currently completing a romantic vampire film called Only Lovers Left Alive. He is also working on a documentary about Iggy Pop and the Stooges as well as an experimental opera about Nikola Tesla. Jarmusch is the founding member of the tongue-in-cheek 'semi-secret' society called the Sons of Lee Marvin. Members supposedly include Tom Waits, John Lurie, Iggy Pop, Josh Brolin, Neil Young and Nick Cave. The qualification for membership is that you possess a passing resemblance or plausibly look like a son of actor Lee Marvin. (5" x 7", black ink print)

The Entrepreneur

Josh Richman is godfather of the Los Angeles club scene.  His record of renowned clubs includes "Grand Ville," "Teddys," "Les Deux" and "Greystone Manor." He is a founding member of the Alliance, an event promoting agency that organizes A-List parties for companies like Sony, Cadillac and Heineken. With his ever-present fedora and walking stick, Josh has no business card, no office and no website. His success is built on a vibrant personality and a magnetic pull to the people and places "that matter."

Josh and I grew up across the street from each other in a Studio City suburb. We were best friends as kids but Josh was always a step ahead of me.  While I listened to Elton John, Josh listened to T-Rex.  While I watched Beanie & Cecil, Josh viewed Fritz The Cat.  Josh's family was the first in the neighborhood to subscribe to the Z Channel and we spent many nights watching movies like Freebie and the Bean and California Suite.

We were both latch key kids. We played sports year round until the streetlights came on and we scoured the nearby Auto Graveyard beneath Mulholland Drive searching for snakes and scorpions.  We shared the surreal experience of seeing our local ice cream man suffer a heart attack and crash his truck into a fire hydrant.  We also raised hell together, breaking into people's homes and rearranging their furniture and changing their answering machine messages.

At age 5, Josh began recording radio commercials with his father Don Richman, a legendary radio producer and tv writer.  As a teenager, Josh parlayed his radio experience into an acting career.  He appeared in The River's Edge, Heathers and Natural Born Killers.  Josh was orphaned by the deaths of both parents by age 21.  His surrogate family became confidantes like Johnny Depp, Robert Downey Jr. and Keanu Reeves.  In 1991, he forged a relationship with Axl Rose that led to Josh writing the Guns N' Roses music video "Don't Cry" as well as his directing the video for "Live And Let Die."

In 1992, Josh produced the film The Last Party in which Robert Downey travelled along the presidential campaign trail. Josh was also manager for the rock band Deadsy which featured lead singer Elijah, son of Cher & Gregg Allman. Always a diehard USC Football fan, Josh is a Dodger dugout staple and a courtside regular at both Lakers and Clippers games. Like his father, Josh is a true renaissance man and I'm fortunate to call him a true friend. (6" x 8", black ink print)