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{{dc|dc=I|n September 2008, three of Norman Mailer’s films}} were deposited in The Harvard Film Archive in Cambridge, Massachusetts. For six months, I assisted in the archiving of these films, Mailer’s “sixties trilogy,” ''Wild 90'' (1967), ''Beyond the Law'' (1968) and ''Maidstone'' (1968–70). The Norman Mailer Estate and Harvard University together have endeavored to preserve these important films. As I analyzed these cinematic materials, what immediately struck me was how much of a collaborative effort these films had been, evinced by countless notes affixed to film cans, coded in the private language of like-minded artists.
{{dc|dc=I|n September 2008, three of Norman Mailer’s films}} were deposited in The Harvard Film Archive in Cambridge, Massachusetts. For six months, I assisted in the archiving of these films, Mailer’s “sixties trilogy,” ''Wild 90'' (1967), ''Beyond the Law'' (1968) and ''Maidstone'' (1968–70). The Norman Mailer Estate and Harvard University together have endeavored to preserve these important films. As I analyzed these cinematic materials, what immediately struck me was how much of a collaborative effort these films had been, evinced by countless notes affixed to film cans, coded in the private language of like-minded artists.


When I spoke to Mailer about his films in 2005, he was quick to dismiss the notion that these films were anything but a collective effort: “My editors Jan Welt and Lana Jokel were vastly more skillful at frame to frame cutting than I could ever be. They were both immensely talented and I turned over entire sequences to them. I built the structure of the films myself, for better or worse, working with them as closely as any Hollywood film director would.” In early 2010, Criterion will release these films in a DVD boxed set, digitally restored from source material. In helping Criterion prepare this collection, I had the opportunity to speak at length with Mailer’s two main film collaborators, Jan Welt and Lana Jokel. I spoke to Jan Welt by phone on the evening of June 15, 2009 as he is currently living in Anchorage, Alaska. My conversation with Lana Jokel took place in her New York apartment over a period of many months, concluding on July 21, 2009.What follows are our conversations over their recollections of working with Mailer during one of the most productive periods in his career, an experience that led to Jan and Lana emerging as filmmakers in their own right.
When I spoke to Mailer about his films in 2005, he was quick to dismiss the notion that these films were anything but a collective effort: “My editors Jan Welt and Lana Jokel were vastly more skillful at frame to frame cutting than I could ever be. They were both immensely talented and I turned over entire sequences to them. I built the structure of the films myself, for better or worse, working with them as closely as any Hollywood film director would.” In early 2010, Criterion will release these films in a DVD boxed set, digitally restored from source material. In helping Criterion prepare this collection, I had the opportunity to speak at length with Mailer’s two main film collaborators, Jan Welt and Lana Jokel. I spoke to Jan Welt by phone on the evening of June 15, 2009 as he is currently living in Anchorage, Alaska. My conversation with Lana Jokel took place in her New York apartment over a period of many months, concluding on July 21, 2009. What follows are our conversations over their recollections of working with Mailer during one of the most productive periods in his career, an experience that led to Jan and Lana emerging as filmmakers in their own right.


===Jan Welt===
===Jan Welt===
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'''Welt:''' Haig Manoogian was largely it at that point. Also Calder Willingham,
'''Welt:''' Haig Manoogian was largely it at that point. Also Calder Willingham,
who wrote the screenplay for ''One Eyed Jacks'' (1961) and The Graduate (1967).
who wrote the screenplay for ''One Eyed Jacks'' (1961) and The Graduate (1967).
And of course Shirley Clarke, who was my editing instructor. She gave me my first job as assistant editor on a twelve-screen film she was working on
And of course Shirley Clarke, who was my editing instructor. She gave me my first job as assistant editor on a twelve-screen film she was working on called ''Man in Polar Regions'' (1967). Graham Ferguson, who went on to inventIMAX, shot most of that film. It screened at the World’s Fair in Montreal in 1967.
called ''Man in Polar Regions'' (1967). Graham Ferguson, who went on to inventIMAX, shot most of that film. It screened at the World’s Fair in Montreal in 1967.
<br>
<br>


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'''Welt:''' In the mid-sixties, I lived with my wife on St. Mark’s Place, directly
'''Welt:''' In the mid-sixties, I lived with my wife on St. Mark’s Place, directly
across from the Bridge Cinema where the New American Cinema was
across from the Bridge Cinema where the New American Cinema was exploding. It was literally ground zero for all of that stuff and I was constantly over there seeing new work by Clarke, John Cassavetes, Jonas Mekas and others. When we first moved to the neighborhood, it was this quiet little Polish-Ukranian community and it seemed like within a week of arriving it became this epicenter of culture known as the East Village. It was an amazing time to be there; a constant flutter of activity that one couldn’t help but be inspired by.
exploding. It was literally ground zero for all of that stuff and I was constantly over there seeing new work by Clarke, John Cassavetes, Jonas Mekas and others. When we first moved to the neighborhood, it was this quiet little Polish-Ukranian community and it seemed like within a week of arriving it became this epicenter of culture known as the East Village. It was an
amazing time to be there; a constant flutter of activity that one couldn’t help but be inspired by.
<br>
<br>


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'''Welt:''' They were the giants whose shoulders I climbed up on. In fact, just
'''Welt:''' They were the giants whose shoulders I climbed up on. In fact, just
before graduation, I was offered a job at Leacock-Pennebaker Films. The funny thing was right before that happened, I had shot this film about the
before graduation, I was offered a job at Leacock-Pennebaker Films. The funny thing was right before that happened, I had shot this film about the
rematch between Jose Torres and Dick Tiger. The film was called Split Decision ~1967! and was directed by Jon Ostriker. We were shooting in Torres’
rematch between Jose Torres and Dick Tiger. The film was called ''Split Decision'' (1967) and was directed by Jon Ostriker. We were shooting in Torres’ hotel room when in walks Norman Mailer. That’s where I met him for the first time. I remember Norman being fascinated by the French Éclair 16mm camera I was using. So, when I went to Pennebaker’s a few months later,
hotel room when in walks Norman Mailer. That’s where I met him for the
there’s Norman trying to cut ''Wild 90'' (1967). The first job Pennebaker gave me was helping Norman cut his film.
first time. I remember Norman being fascinated by the French Éclair 16mm
<br>
camera I was using. So, when I went to Pennebaker’s a few months later,
 
there’s Norman trying to cut Wild 90 ~1967!. The first job Pennebaker gave
me was helping Norman cut his film.
'''Chaiken:''' How far along was he?
'''Chaiken:''' How far along was he?
<br>
<br>
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came somewhat naturally as I think it does for most people who’ve grown up
came somewhat naturally as I think it does for most people who’ve grown up
watching movies. Just by watching films, almost by osmosis, you arrive at
watching movies. Just by watching films, almost by osmosis, you arrive at
some basic notion of the rhythm and language of film editing. On Wild 90,
some basic notion of the rhythm and language of film editing. On ''Wild 90'',
unlike the films that followed, I was essentially an extra pair of hands. He
unlike the films that followed, I was essentially an extra pair of hands. He
would come into Pennebaker’s studio and review the material on the Steenbeck. He would make decisions on what to cut and would leave me detailed notes. I’d take over from there and implement whatever it was he wanted. It was all pretty straightforward. Wild 90 was shot in real time, so that dictated the order of events. Also, there was only one camera, so whatever footage Norman ended up with was what we had to work with. Unlike the other
would come into Pennebaker’s studio and review the material on the Steenbeck. He would make decisions on what to cut and would leave me detailed notes. I’d take over from there and implement whatever it was he wanted. It was all pretty straightforward. ''Wild 90'' was shot in real time, so that dictated the order of events. Also, there was only one camera, so whatever footage Norman ended up with was what we had to work with. Unlike the other
films, just in terms of shots, there weren’t a huge amount of options. It was
films, just in terms of shots, there weren’t a huge amount of options. It was
cut, more or less, slate to slate based on the rolls Norman liked best.
cut, more or less, slate to slate based on the rolls Norman liked best.
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'''Chaiken:''' Was Norman a patient supervising editor? What was the dynamic
'''Chaiken:''' Was Norman a patient supervising editor? What was the dynamic
like that developed between the two of you? Michael Chaiken { 509
like that developed between the two of you? Michael Chaiken.
Welt: Needless to say, Norman was an extraordinarily complex guy. Enormously warm hearted and loyal, though I would sometimes see him fly into a rage with people he felt were insulting to him. I remember watching David McMulllin, a Wall St. guy who ran Leacock-Pennebaker Films, once trying to negotiate a deal with him. They got into this argument, over what I don’t
<br>
remember exactly, but it got more and more vituperative until finally Norman went into this ferocious Texas drawl that so startled David that the negotiation immediately went in Norman’s favor. Almost instantly, he could become this whole other person entirely. In terms of our relationship, I honored him, he honored me and we always got along ... unless there was a
 
'''Welt:''' Needless to say, Norman was an extraordinarily complex guy. Enormously warm hearted and loyal, though I would sometimes see him fly into a rage with people he felt were insulting to him. I remember watching David McMulllin, a Wall St. guy who ran Leacock-Pennebaker Films, once trying to negotiate a deal with him. They got into this argument, over what I don’t remember exactly, but it got more and more vituperative until finally Norman went into this ferocious Texas drawl that so startled David that the negotiation immediately went in Norman’s favor. Almost instantly, he could become this whole other person entirely. In terms of our relationship, I honored him, he honored me and we always got along ... unless there was a
major fuck up of some sort. Don’t forget Norman produced these films with his own money, so any fuck up was going to be a costly one. But, in the years we worked together, things rarely ever went in that direction.
major fuck up of some sort. Don’t forget Norman produced these films with his own money, so any fuck up was going to be a costly one. But, in the years we worked together, things rarely ever went in that direction.
<br>
<br>


'''Chaiken:''' Wild 90 is notorious for its muffled sound. Unless you are in a
'''Chaiken:''' ''Wild 90'' is notorious for its muffled sound. Unless you are in a
closed setting and can hear what’s being said, it can make for a distressing
closed setting and can hear what’s being said, it can make for a distressing
viewing experience. What happened?
viewing experience. What happened?
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<br>
<br>


'''Welt:''' Initially, I was being paid by Leacock-Pennebaker, then Norman,
'''Welt:''' Initially, I was being paid by Leacock-Pennebaker, then Norman, myself, Buzz Farber and Mickey Knox formed our own production and distribution company, Supreme Mix, Inc. This was during the ''Beyond the Law'' (1968) period when I was pretty much left alone to do my thing while Norman was off working on The Armies of the Night. I would do the edits and he would come into the studio a couple days a week. We’d look over material, confer and then I’d keep going. I was taking a salary from Supreme Mix, whose very existence was thanks to Norman’s investment in it.We had great ambitions for the company. Had the films been more successful we probably would have been able to realize some of them.
myself, Buzz Farber and Mickey Knox formed our own production and distribution company, Supreme Mix, Inc. This was during the ''Beyond the Law'' (1968) period when I was pretty much left alone to do my thing while Norman was off working on The Armies of the Night. I would do the edits and he would come into the studio a couple days a week. We’d look over material,
confer and then I’d keep going. I was taking a salary from Supreme Mix,
whose very existence was thanks to Norman’s investment in it.We had great
ambitions for the company. Had the films been more successful we probably would have been able to realize some of them.
<br>
<br>


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<br>
<br>


'''Welt:''' When Wild 90 failed to reach any kind of audience it was dispiriting,
'''Welt:''' When ''Wild 90'' failed to reach any kind of audience it was dispiriting,
but since the film was a bit of a lark to begin with we got over it pretty quickly. With Beyond the Law it all got more serious. More cameras, better sound and a host of talented players. Norman was wise about shooting. The sine qua non of a no budget film is to have only one location. For ''Beyond the Law'' that location became the tenth floor of 56 W 45th St., the same building where Leacock-Pennebaker had their offices. They were on the ninth
but since the film was a bit of a lark to begin with we got over it pretty quickly. With Beyond the Law it all got more serious. More cameras, better sound and a host of talented players. Norman was wise about shooting. The sine qua non of a no budget film is to have only one location. For ''Beyond the Law'' that location became the tenth floor of 56 W 45<sup>th</sup> St., the same building where Leacock-Pennebaker had their offices. They were on the ninth floor, so we moved lights to the vacant floor above them. That became our
floor, so we moved lights to the vacant floor above them. That became our
police station. It was me, Nick Proferes, D.A. Pennebaker and this guy we
police station. It was me, Nick Proferes, D.A. Pennebaker and this guy we
hijacked into shooting for us, Richard Leiterman, who was part of a BBC
hijacked into shooting for us, Richard Leiterman, who was part of a BBC
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than ''Wild 90''. Can you talk about how the structure of that film developed?
than ''Wild 90''. Can you talk about how the structure of that film developed?
'''Welt:''' ''Wild 90'' was essentially cut flash frame to flash frame with complete,
'''Welt:''' ''Wild 90'' was essentially cut flash frame to flash frame with complete,
or almost complete, takes from a single camera. Much of what was used in
or almost complete, takes from a single camera. Much of what was used in ''Beyond the Law'' was also single camera stuff, but we had many more options since some of the scenes had two, even three, cameras on them. We could pick the best angle or cross cut between the two if we wanted to capture a particular expression or a certain action. We had three crews in different rooms, so with Beyond you have all of this stuff happening simultaneously. That helped to dictate the parallel structure of the film. We tried to give a sense that all of the scenes were happening in real time over a single evening when in fact it was shot over several evenings. The parallel structure of the film was determined as much by the shooting as it was by the editing. As Norman says to his troops in Maidstone, ‘you find out the nature of your attack, by attacking’ and that’s essentially how these films were made since there wasn’t any kind of script or storyboard to follow. In that sense, these films were conceived and edited almost like a verité documentary would be. You’d shoot and shoot and shoot, and then with the material you had you’d make sense of it all in the editing room.
Beyond the Law was also single camera stuff, but we had many more options
since some of the scenes had two, even three, cameras on them. We could
pick the best angle or cross cut between the two if we wanted to capture a
particular expression or a certain action. We had three crews in different
rooms, so with Beyond you have all of this stuff happening simultaneously.
That helped to dictate the parallel structure of the film. We tried to give a
sense that all of the scenes were happening in real time over a single evening when in fact it was shot over several evenings. The parallel structure of
the film was determined as much by the shooting as it was by the editing. As
Norman says to his troops in Maidstone, ‘you find out the nature of your
attack, by attacking’ and that’s essentially how these films were made since
there wasn’t any kind of script or storyboard to follow. In that sense, these
films were conceived and edited almost like a verité documentary would be.
You’d shoot and shoot and shoot, and then with the material you had you’d
make sense of it all in the editing room.
<br>
<br>


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'''Welt:''' The absolute chaos. All of the cameramen were mobile chess pieces. I
'''Welt:''' The absolute chaos. All of the cameramen were mobile chess pieces. I
was initially assigned to follow Rip and his group, The Cashbox, but when
was initially assigned to follow Rip and his group, The Cashbox, but when
nothing was happening with them I decided I would go look for better targets of opportunity and just start shooting anything that moved. I can
nothing was happening with them I decided I would go look for better targets of opportunity and just start shooting anything that moved. I can remember having lunch at Barney Rosset’s East Hampton estate when his wife came running into the living room screaming ‘There’s a dead baby floating face down in the swimming pool!’ So Jose Torres runs out and discovers it’s not a baby, but actor Hervé Villechaize. He’d drank himself into a stupor and was floating face down in the Rosset’s pool. They were able to resuscitate him, but still had to take him to the hospital. It was quite an ordeal as he nearly drowned to death.
remember having lunch at Barney Rosset’s East Hampton estate when his
wife came running into the living room screaming ‘There’s a dead baby
floating face down in the swimming pool!’ So Jose Torres runs out and discovers it’s not a baby, but actor Hervé Villechaize. He’d drank himself into a stupor and was floating face down in the Rosset’s pool. They were able to resuscitate him, but still had to take him to the hospital. It was quite an ordeal as he nearly drowned to death.
<br>
<br>


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a roll as priceless as that from a film that essentially had no ending? It terms
a roll as priceless as that from a film that essentially had no ending? It terms
of structure, it had to be in there. It gave the film this whole other dimension and made it much more affecting.
of structure, it had to be in there. It gave the film this whole other dimension and made it much more affecting.
<br>
'''Chaiken:''' Was there any indication beforehand that Rip was going to attack
'''Chaiken:''' Was there any indication beforehand that Rip was going to attack
Norman in the way that he did?
Norman in the way that he did?
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on a KEM with three screens going simultaneously. It was a very convenient
on a KEM with three screens going simultaneously. It was a very convenient
way for us to handle that much material.
way for us to handle that much material.
<br>


'''Chaiken:''' Did you watch all the rushes with Norman?
'''Chaiken:''' Did you watch all the rushes with Norman?
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'''Chaiken:''' Did you make a dupe print of the long version?
'''Chaiken:''' Did you make a dupe print of the long version?
Welt: No, I don’t think I ever did. I certainly agitated for it to be done, but
 
'''Welt:''' No, I don’t think I ever did. I certainly agitated for it to be done, but
unfortunately it never happened. That version is probably lost forever. I
unfortunately it never happened. That version is probably lost forever. I
know we never kept the original edit of the dream sequence, which was
know we never kept the original edit of the dream sequence, which was
something I took utter pride in because it flowed so nicely. It had a much
something I took utter pride in because it flowed so nicely. It had a much more lyrical feel than what we ended up with. I remember Norman apologizing to me since he thought he’d ruined it.
<br>
 
'''Chaiken:''' What made you decide to cut the film down?
<br>
 
'''Welt:''' It was really just the pragmatics of making it viable for a commercial
audience, though once Norman got into it there was no stopping him. It was
a very meticulous process of elimination, but also a difficult one because we
all thought there was so much great stuff in the 3 1/2 hours.
 
'''Chaiken:''' Did you attend the premiere of Maidstone?
<br>
 
'''Welt:''' I don’t think I was at the first public screening, but I was almost certainly at the Whitney Museum of Art premiere. A great success. We all thought we had a big hit on our hands.
<br>
 
'''Chaiken:''' When Maidstone didn’t hit, was there a sense of . . .
<br>
 
'''Welt:''' Finality? Yes. Financially, it was ruinous for Norman. There was also
this shared sense of bewilderment that the film never really caught on as we
all thought and hoped it would. In any event, I made it clear to Norman that
I had to move on, although we remained close friends. We lived four or five
blocks away from each other in Brooklyn Heights and would often meet for
lunch. We also did ''Beyond the Law (Blue)'' (1970) together.
<br>
 
'''Chaiken:''' What brought that about? Before I saw the footage, I had thought
Blue was done shortly after the original version, when, in fact, it was shot
almost two years later in the summer of 1970. Norman was still thinking
about the film all that time?
<br>
 
'''Welt:''' He always felt that Beyond the Law needed a stronger ending and
wanted to get back to it. Blue was shot very quickly with my Éclair 16mm
camera, on black and white reversal stock, over an evening in actress Lee
Roscoe’s Manhattan apartment. The only major difference between the two
versions is in the final reel where, in a rage of passion, Pope goes mad and
kills his mistress played by Roscoe. I also tinted the opening title sequence
blue, otherwise the two versions are identical. I edited Blue and thought it
turned out pretty good, though afterwards Norman had second thoughts. I
don’t think it ever really screened.We showed it once to invited guests at the
Rizzoli Store in New York and I think that was it. It’s been permanently
shelved.
<br>
 
 
'''Chaiken:''' Where did you end up after working with Norman?
<br>
 
'''Welt:''' The next project I worked on after Maidstone, oddly enough, was
something for Allen Funt. I came in at the tail end and did some clean up
work on his film ''What Do you Say to a Naked Lady?'' (1970) which would go
on to outgross ''Diamonds Are Forever'' (1971). Funt was contracted to make
another film with United Artists, so I stayed on and shot and edited ''Money
Talks'' (1972), a nice film that has totally disappeared. I was still with Funt for
a couple of years after that and worked with him on ''The New Candid Camera'' (1974) for CBS. I was also writing my own scripts and hoping to get one produced. I remember at one point, this was maybe a year or two after ''Maidstone'', Norman got the idea that he wanted to produce a porno film. This was right around the time ''Deep Throat'' (1972) and Behind the ''Green Door'' (1972) were breaking all kinds of box office records and porn was becoming chic, mainstream and profitable. I wasn’t doing much of anything so I rounded up some cohorts—Peter Locke, who now owns the Castle Studio Complex in Romania, Nina Schulman and Harvey Greenstein. For a couple of weeks we sat around the screening room of Supreme Mix tossing ideas back and forth, though in the end nothing ever came of it. Norman wanted me to not only write the script, but to also direct this thing. Finally, I put all of my notes together and came up with a screenplay titled ‘It’s a Business Doing Pleasure With You.’ I still have it kicking around and not so long ago rewrote it
as a mafia comedy.
<br>
 
'''Chaiken:''' What can you tell me about the ''City Blues'' project?
<br>
 
'''Welt:''' That came later—about 1976 or so. It was all happenstance. This guy
in New Jersey had gotten in touch with me to try to sell me on a screenplay.
I read it and thought it was pretty good. It was a short, gritty, screenplay
about a relationship between a cop and a prostitute, but it needed a lot of
work so I expanded it into a feature length film. Norman worked on it with
me as did Terry Southern. Simultaneous to all of this, I get a telephone call
and this gravelly voice on the other end says,‘Jan, this is Nicholas Ray and I’d
like you to look at this footage I have. I want to talk to you about editing it.’
I had enormous respect for Ray, so I went to see him. It was this project he
was working on with his students at Binghampton, a very experimental, multi-screen, autobiographical film. I said to him ‘Nick, I just finished a film like this ... ,’ meaning Maidstone,‘but I have this script ....’ So I gave him the script of City Blues and, along with Norman and Norris Mailer, showed him ''Beyond the Law''. Ray was planning a move back to NY and became interested in the script and in working on it with me. Little did I know that he was a drowning man and would grab at anything that came his way. But he was Nick Ray, a hero figure of sorts, so I went along with it. The film was to star Rip Torn and Marilyn Chambers, both of whom I had worked with previously.
<br>
 
'''Chaiken:''' When did you work with Marilyn Chambers? Presumably, you
were behind the camera . . .
<br>
 
'''Welt:''' It’s a good story. Sean Cunningham, who would go on to make ''Friday the 13th'' (1979), was directing this film for American International Pictures called Together ~1971!. Wes Craven, the ''Nightmare on Elm Street'' (1984) guy, was his assistant editor and they were casting this thing out of ProferesDesmond offices. I’ll never forget the day Chambers, this beautiful eighteen year-old blonde, first came to the studio. Almost immediately she was
accosted by Buzz Farber in the elevator. He couldn’t resist and was all over her from the moment she walked in. Turns out Chambers was the daughter of Sean’s next door neighbor, literally the girl next door. He asked her parents’ permission to film her for a nude diving sequence and amazingly, you might say alarmingly, they said ‘yes’ to having their daughter appear in what was essentially a soft-core exploitation film. At the time, her name was still
Marilyn Briggs and our friend Roger Murphy, one of the cameramen on ''Monterey Pop'', shot this amazing footage of her repeatedly diving into a pool. It was like Reifenstahl’s Olympia (1936), only better, and I was dying to edit it, which I eventually did on top of narrating the entire film. So, when City Blues started to come together, I introduced Marilyn to Nick Ray. Even after all the notoriety of Behind the Green Door he didn’t know who she was, but
he certainly knew Rip having directed him years before in King of Kings
(1961).
<br>
 
'''Chaiken:''' Was any of City Blues ever shot?
<br>
 
'''Welt:''' Hollywood was a lot smarter than I was, they knew Nick Ray couldn’t
muster up another picture. The budget was $1.5 million and I raised half the
money, about $750,000, under a tax shelter. Shortly after, they passed a law
in New York getting rid of the shelter, so the money immediately disappeared. Nevertheless, Rip and I persevered. We recast the thing with Amy Wright as his co-star and I raised another $250,000. Milton Moses Ginsburg, a good friend who worked with Rip previously in ''Coming Apart'' (1969), took over as director. As soon as we started shooting, the Teamsters came down on us like a ton of bricks. We were doing this as an indie venture, totally outside Union regulations and that’s what ultimately eviscerated us.We got half the picture shot, but all the material is gone because I was never able to pay the lab bill.
<br>
 
'''Chaiken:''' How soon after that did you move to Alaska and what precipitated
the move?
<br>
 
'''Welt:''' Twenty five years of living in NY and LA is what did it. I was here back
in the 60s when I was working on the Shirley Clarke film. I made a vow then
that I’d return one day. It was the landscape that I found so astonishing.
650,000 people in a place twice the size of Texas. Yet there is this extraordinary cohesiveness among the people living here. Even in a place like Anchorage where I’m living now, which has a population of 250,000, it still feels like
a small town. I was able to start my own production company here called
Iceman Cinema and am currently the Media Director for the Alaskan Native
Tribal Health Consortium, the second highest public employer in Alaska,
who provide free health care to every Alaskan native. As media director, I’ve
been making documentaries and commercials on environmental and health
issues. I also was able to make a feature film called Florida ~2005!, set entirely
in Florida but shot entirely in Alaska. My first digitally shot and edited
feature.
<br>
 
'''Chaiken:''' Is there much of a film scene in Alaska? How many films a year are
shot there?
<br>
 
'''Welt:''' Alaska is more theater centric than film, but we have a guild called the
Alaskan Film Group which has been essentially moribund for the last twelve
or thirteen years because of the inroads Vancouver British Columbia have
made to get productions to shoot there. There is no reason for any feature
films to come to Alaska as long as there is Vancouver, B.C. However, the Alaskan Film Group finally agitated and got passed a bill that becomes law on June 18, 2009 that places Alaska among the top five states in the nation for a tax rebate for any productions that come here. A rebate of something like 42% of the total budget, which could be a huge incentive for producers. So, we’ll see how all that goes. In the meantime, I’ll continue to do my thing
regardless.
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