Tag Archive | "Hamptons"

“Harvey” Watches Over The Hampton Theatre Company

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John Kern and Matthew Conlon.  TOM KOCHIE photo.

John Kern and Matthew Conlon. TOM KOCHIE photo.

By Annette Hinkle

This weekend, the Hamptons Theatre Company kicks off its 30th anniversary season with a production of “Harvey,” Mary Chase’s 1945 Pulitzer Prize winning comedy.

Which may help explain why last week, director Diana Marbury was running around like crazy hunting down a seemingly random list of unrelated items.

“I’m looking for Zippo lighters and a 1940s chair — it can be older than the 1940s, just not newer,” explained Ms. Marbury who, after nearly 30 years of association with HTC, freely admits to having several “starring sofas” in her home of various styles.

“My house is very eclectic,” she confides.

Chalk it up to another day in the life of a small town community theater company —one in which all involved jump in to do what it takes to get the job done — including the play’s director, for whom it isn’t unusual to be scouring the area for props.

“We all wear so many hats in the theater, it’s such a small group of people who make this happen,” says Ms. Marbury, who is also HTC’s artistic director. “It’s a miracle really.”

When HTC began, it was a community theater without a real home. Instead, productions were presented wherever space could be found. These days, the HTC is the resident theater at the Quogue Community Hall and the company now produces five shows between October and June. Because of its commitment to the community, the company has developed a loyal following and audiences appreciates the fact that HTC sticks around long after the summer folks flee for the winter.

“When we’re coming to the end of one show, we’re auditioning for the next,” says Ms. Marbury. “With the instant gratification people get these days through channel surfing, theater has fallen a bit by the wayside for many people. We’ve been very fortunate because the theater, as it stands today, has a great group of supporters who come to see every show.”

If live theater is the antithesis to on-demand entertainment, then as a play, in many respects “Harvey” is similarly a throwback to simpler times.

Amanda Griemsmann, Pamela Kern and John J. Steele, Jr.  TOM KOCHIE photo.

Amanda Griemsmann, Pamela Kern and John J. Steele, Jr. TOM KOCHIE photo.

“We thought this play was appropriate for the 30th season because it’s a wonderful classic,” says Ms. Marbury. “People are familiar mainly with the movie version, but plays are just so more intimate than film. People feel more of a connection in theater than film.”

“This is a very appealing play because it has such wonderful characters in it,” explains Ms. Marbury. “The basic story is very endearing and touching.”

The play tells the story of Elwood P. Dowd (played in this production by Matthew Conlon) a good natured, but somewhat eccentric man whose constant companion is an invisible six-foot rabbit named “Harvey” which, in Celtic mythology, is what would be referred to as pooka, something like a spirit animal.

“The idea is that you have this being watching over you and letting you know what’s happening next and how it affects the various people around you,” explains Ms. Marbury. “Elwood is kind of an everyman character. He’s very simplistic. He can never have too many friends and is very open to people. This spirit of Harvey has opened people up to him in terms of acceptance and makes people curious and open to discovery.”

As a result, Harvey becomes a devise used by Elwood to test the character of the people he encounters. Those willing to indulge Elwood’s fantasy by accepting the existence of Harvey prove themselves as empathetic and compassion beings. But one individual definitely not amused by the presence of Harvey is Elwood’s own sister Veta (played by Pamela Kern). She worries that Elwood’s over-active imagination will scare away potential suitors for her daughter Myrtle Mae (played by Amanda Griemsmann). As a result, Veta seeks to have her brother committed.

“‘Harvey’ is a test of sorts,” notes Ms. Marbury. “Watching the effects of Harvey on all the various people Elwood encounters is fascinating. There’s this wonderful spirit of being able to be free and not so be so based in reality all the time.”

The play comes to a head at the sanitarium where Elwood is taken to be “cured” of his rabbit delusions. When the medical professionals assure Veta they can make Elwood “normal” with a simple injection, Veta realizes that Elwood, even with his delusional flaws, is at heart a far better human being than most of those whom society would label normal. It’s an endearing message of love and acceptance that Ms. Marbury thinks the audience will appreciate.

“It’s a very warm human story and very simple,” she says. “It’s not a big body farce, it’s a kind of feel good play that warms the heart and brings a big smile to your face. Hopefully there will also be a lot of good laughs.”

Hampton Theatre Company’s production of “Harvey” runs October 23 to November 9 at the Quogue Community Hall, 125 Jessup Avenue. Shows are Thursdays and Fridays at 7 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m. The Hampton Theatre Company offers special dinner and theater packages in collaboration with the Southampton, Westhampton Beach, Hampton Bays and Quogue libraries. Tickets are $25 ($10 students). Visit hamptontheatre.org for tickets or more information or call OvationTix at 1-866-811-4111.

The cast also includes John Kern, Sebastian Marbury, Krista Kurtzberg, Russell Weisenbacher, John J. Steele, Jr., Doug O’Connor, Catherine Maloney and Martha Kelly. Set design is by Sean Marbury with lighting design by Sebastian Paczynski and costumes by Teresa Lebrun.

 

 

Keanu Reeves Talks About Playing “John Wick”

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JohnWickPoster

By Danny Peary

An action-revenge thriller with a high body count, John Wick opens theatrically this Friday, and the advance word is good.  For the Australian magazine FilmInk, I went on a set-visit in Brooklyn last winter with five other international journalists.  Filming took place outside, in a large parking lot outside an abandoned bank. It was freezing, causing all of us to huddle around a space heaters between takes.  When we could brave the cold, we stood to the side and watched a shoot-out amidst several parked cars, a meticulously choreographed scene that took two days to film.  There was a lot of gunfire and well-dressed thugs fell dying into the mud, ruining their suits, and clearly the victor was the title character played by Keanu Reeves.  Afterward Reeves, in a dark suit and tie and with slick hair that was parted down the middle, sat in a tent getting his makeup reapplied. He wasn’t made up to look handsome.  He emerged with his face covered with scratches, cuts, and blood.  That’s how he looked when we did the following, very informal roundtable at a square table in the unheated building.  I note my questions as I represented FilmInk.

Keanu Reeves in a scene from "John Wick."

Keanu Reeves in a scene from “John Wick.”

Q: What are you shooting today?

Keanu Reeves: My character is trying to get to a Russian crime lord, Viggo, played by Michael Nyqvist.  To find out where he is, he first goes after Viggo’s son Iosef [Alfie Allen] and he has to kill his henchmen.

Q: Talk about your character.

KR: John Wick is a former assassin who worked for Viggo but fell in love and got married and kind of put his past behind him. He literally buried his past, his guns, in his basement. His wife [Bridget Monahan] passes away from an illness and she gives him her dog.  She tells him, you need someone or something to love. John Wick has been robbed of his ability to grieve and to have this kind of hope, but he got this gift from his wife. The son has two henchmen with him and they steal John’s car and kill the dog.  So he seeks revenge. The film plays with worlds. There’s the normal world he has lived in and the underground world from his past that he goes back into.

Q: You’re the protagonist in this, and you’re a cold-blooded killer.

KR: Yeah, it’s pretty Old-Testament. It’s not a New Testament story until, maybe,  the final scenes. The journey starts off, he wants revenge–maybe not revenge, but reclaiming.  Someone’s taken something from him, and instead of saying, Q: You’re the protagonist in this, and you’re a cold-blooded killer.

KR: Yeah, it’s pretty Old-Testament. It’s not a New Testament story. But maybe it is in the final scenes. The journey starts off, goes into a kind of revenge… not revenge, but reclaiming.  Someone’s taken something from him, and instead of saying, Okay, I’ll deal with that loss and move on, he’s the kind of person who’ll say, No, you can’t take that from me. John Wick is a little extreme. Viggo describes John as someone you would send after the bogeyman.

Danny Peary: The most dangerous revenge characters are those who have nothing to lose. Does your character at this point have anything to lose?

KR: I guess the deepest and easiest answer is yes, his soul. It’s the good part of him. When this switch goes on with John, I don’t think he reflects a lot about the dark side that he goes into, but I guess if he doesn’t do what he does in the film and he doesn’t reclaim his good side, he’ll be lost in the dark side of death.

DP: With your character, there’s resurrection, but how can he allow his dark nature to take over in order to defeat all these people and still get redemption?

KR: I think it’s because when we first see John, we see the good side of him. He’s with his wife and he’s loved.  He restores old books. He’s a nice guy. I think of him as an orphan who went into the military and kind of got pulled out of the military. That backstory is not spoken about, but hopefully I can transmit that he’s not a monster. Because I feel like he’s relatable. When things that we love are taken away, I think we all strive to protect and reclaim them, so I think in terms of relating to this character and what he does, there’s some wish fulfillment.  If they did that to me, that would be my way of dealing with it! [Laughter] An impulse, a basic impulse.

DP: It’s like peaceful Viggo Mortensen being forced to resort to his old ways in The History of Violence.

KR: Yes. I don’t know, I sympathize with the guy.

Q: What was your weapons training for this?

KR: It’s been fun.  I’ve had some movie gun training in the past, so some of the techniques I was familiar with, but each character I play requires something different so I worked for a while with a gentleman from LAPD SWAT.  I also worked with a guy from the army, because I would be doing different kinds of weapon and tactical techniques.  So it was basically reacquainting myself with weapons and techniques while training new things on the job and trying to get it right under the circumstances. One thing I needed to get right was a tricky holster!

Q: What about training for hand-to-hand combat?

KR: I worked with some very accomplished jujitsu and judo practitioners. I’m very much a beginner, but when I can focus on certain techniques, I can hopefully get pretty good at them.  I hasn’t been easy, and my knees aren’t as fresh as they were ten years ago, but with experience comes efficiency–and I’m a lot more efficient.

Q: When you do something like this, is there an adrenaline rush or something that elevates your excitement levels?

KR: Yeah, this film gives me a lot of opportunities to do action.  They wanted me to not do everything.  The way that they’re filming, they’re doing some inserts but they’re very long takes, and you’re seeing it happen. They want me to do a couple of throws, jujitsu and some judo. Some neat things that I haven’t really haven’t had the chance to do much of before.  So I was excited by that. There are fight sequences when it’s Action!, and you have to go for it.  And there is an adrenaline rush.  But even the scene you saw today, it’s movie fighting.

Q: After months of training and the end of the shoot now, are you exhausted?

KR: I really love this project.  You know, you go into a project with lots of hopes.  We’ve been filming for a couple of months now and the directors, David Leitch and Chad Stahelski, have really realized all that I could hope for. We have a wonderful cinematographer, Jonathan Sela, a great cast, and the right tone for the film, so it’s going to be a unique genre picture.

DP: What do you mean by right tone?

KR: It has a real tone but it’s a hyper-reality.  It’s really hard-boiled. And I like that. It depends on your sense of fun, but for me it’s fun.

Q: Has directing given you a different perspective on the set, as an actor?

KR: Absolutely, and not only on the set.  While it’s definitely everything on the floor in terms of the camera and shooting, I also see things differently in regard to pre-production and post-production, and try to support the directors with everything involved with the picture.

Q: What is your relationship with the directors?

KR: I first worked with Chad when he was a stunt double on The Matrix.  That’s where I met him. We did the Matrix trilogy together.  After that, I also worked on pictures with David. They went on to create a company called 8711, which is action design. They did a lot of second unit filming for some really big Hollywood movies. I’d seen their work so on the action side of it, I was really confident and excited about what they could do with the opportunity to direct. Working with them on the script and my character, I felt that they were so creative and understood the material really well.  They’re really collaborative, they pay attention to detail, they know what they want, they accept my help.  For me, it’s everything that I could look for in an actor-director relationship.

Q: What about a sequel for this?

KR: I don’t know, it depends on how they end this version, if I die or not. There’s a question about whether or not John Wick survives. We’ve shot different versions of the ending. John Wick, the Beginning! Yeah, I mean if they wanted to do something like that, I’d be game, hopefully with the same directors. I really enjoyed playing the character.  I still love acting, because every role has variety. Each role, including John Wick, has its puzzle and its journey. I really enjoy figuring it out and going on that journey.

 

Bishop, Zeldin Offer Divergent Views at Debate

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Congressman Tim Bishop addresses the Concerned Citizens of Montauk on Sunday, as his challenger, Lee Zeldin, listens. Michael Heller photo,

Congressman Tim Bishop addresses the Concerned Citizens of Montauk on Sunday, as his challenger, Lee Zeldin, listens. Michael Heller photo.

By Stephen J. Kotz

In what has become an almost daily occurrence in this year’s campaign, the two candidates for Congress in the 1st District, incumbent Democrat Tim Bishop and Republican challenger Lee Zeldin, offered up sharply differing views in a debate last Thursday, October 16.

Mr. Bishop touted his track record of providing excellent constituent service and his ability to bring the federal government “to the table to solve individual problems,” calling it “life-altering work.” He said he was recently told he had “a laser-like focus on my constituents. I took that as very high praise because that is exactly what I have done.”

Mr. Zeldin, who repeatedly attacked the size of government, wasteful spending as well as the domestic and foreign policies of President Barack Obama and said he supported term limits, said Mr. Bishop was part of the problem. “If you elected enough people like my opponent,” he said, “Nancy Pelosi would be the Speaker of the House.”

With the spread of the Ebola virus into the United States a top news story in recent weeks, both candidates said they agreed on at least one thing: that President Obama has not done enough.

“I think the president is making a mistake in not putting into place a travel ban to west Africa,” where the virus is spreading unchecked, said Mr. Bishop. He said he would support reconvening Congress before its scheduled November 12 session to deal with the problem.

Mr. Zeldin described the president’s handling of the health crisis as “terrible” and said it was time to “have maximum security procedures at our airports.”

Last week’s debate, one of some 75 joint appearances by the candidates scheduled between Labor Day and Election Day, was sponsored by the League of Women Voters of the Hamptons and held at Westhampton Beach High School. The pair also faced off at a candidates’ forum sponsored by the Concerned Citizens of Montauk on Sunday.

Both candidates spent a considerable amount of time complaining about the negative tone the campaign has taken, with political action committees on both sides filling mailboxes with literature and radio and television with ads targeting the opponent.

Mr. Zeldin said “Nancy Pelosi’s super PAC is spending seven figures targeting us, trying to scare women” into believing that if he were elected women would wind up paying more for health care coverage and lose the right to have abortions. Other campaign literature wrongly suggested he would require taxpayers to foot the bill for corporate polluters, Mr. Zeldin complained.

“You can repeat a lie over and over and over again and eventually people will be believe it,” he said.

That brought a chuckle from Mr. Bishop. “It’s pretty cheeky on the part of my opponent to talk about our end, given the scurrilous nature of the ads his side is running against us,” he said.

The incumbent Congressman said Supreme Court rulings opening campaigns to unlimited corporate and special interest financing were “fundamentally imperiling our democracy. We are now in the realm where elections are bought and sold as opposed to won or lost,” he said.

Mr. Zeldin complained that a Bishop ad campaign was trying to scare senior citizens into believing he wanted to cut Social Security payments. “I would never vote for any piece of legislation that would take one dime away from anyone who is a senior or close to retirement,” Mr. Zeldin said.

But Mr. Bishop said Mr. Zeldin has in the past supported the idea of allowing those 40 and younger to put their Social Security withholding into personal investment accounts. “That’s privatization, folks,” he said. And the result would be dramatic shortfall in funding for the Social Security trust fund, which would require a reduction in benefits paid to current retirees.

“We either tell seniors we were only kidding or we borrow,” said Mr. Bishop, adding, “My opponent obviously does not understand how the trust fund works.”

The $17.8 billion national debt is growing beyond control, according to Mr. Zeldin, who said both the Obama and George W. Bush administrations had spent too much money. “We need to pick a number…. $18 trillion? $20 trillion? $22 trillion? When is enough in regards to our nation’s debt,” he said.

“The easiest thing in the world is to say cut spending,” responded Mr. Bishop. “The hardest thing in the world is to actually do it.”

To illustrate his point, he said 48 cents of every federal dollar is earmarked for retirees, 18 cents for defense and 9 cents for interest on the national debt. That leaves only 25 cents of every federal dollar eligible for cuts, he said, adding that he was not going to be the one to cut Social Security payments, veterans’ healthcare or federal law enforcement.”

Mr. Zeldin said that more needs to be done to reduce welfare fraud and provide private sector jobs to entice people to leave the unemployment rolls.

“The incumbent is not giving you a single thing that is going to make this bloated federal government operate more efficiently,” Mr Zeldin said.

“What the incumbent Congressman has done was vote for a piece of legislation that capped the growth of domestic spending and saved $2 trillion,” Mr. Bishop shot back.

The Affordable Care Act, or Obamacare, was also a topic of contention, with Mr. Zeldin saying there were portions of the sweeping healthcare legislation that should be preserved, such as allowing children to remain on their parents’ policies until the age of 26 and the requirement that prevents insurers from refusing coverage to those with preexisting conditions. But most of the program needs to be scrapped because it has resulted in higher premiums, fewer choices for consumers and other problems,” he said.

“There should be a productive dialog between Republicans and Democrats, liberals and conservatives” to fix the healthcare system, he said.

“I suppose that conversation should begin with repeal rather than fixing,” said Mr. Bishop, pointing out that “there is no commitment on the part of the majority party to fix it,” noting that the House has voted more than 50 times, along party lines, to repeal the legislation. He described it as “a work in progress” that needs to be improved. “There are many good things that we should keep and build on and elements that we should fix,” he said.

On immigration, Mr. Zeldin said the first order of business was to tighten border security. “When you a leak, the first thing you do is shut off the faucet,” he said. “You don’t grab a mop.”

Mr. Bishop said that the Republican-controlled House has refused to recognize the need to deal with the millions of illegal immigrants who are already here. A bipartisan Senate bill offered increased border security as well as a path to citizenship, he said, but the House would not act on it. “Is it perfect?” he said. “No. But it is a way that is dealing with a problem that has no easy solutions.”

Mr. Zeldin also criticized President Obama’s leadership against the Islamic State of Iraq and Syria, saying the president’s strategy would never be successful in defeating the militants. For his part, Mr. Bishop cited the chairman of the joint chiefs of staff who told a Senate committee there was no easy way to militarily defeat ISIS. Mr. Bishop said he would not support a return of American troops to Iraq.

The candidates parted along predictable party lines on a number of other issues, with Mr. Bishop supporting an increase in the minimum wage, a woman’s right to have an abortion, and same sex marriage, while Mr. Zeldin said a minimum wage hike would backfire, that he was pro-life and that he believed marriage should be considered between a man and a woman.

Mr., Bishop said he would work for federal money to help solve some of the growing problems with Long Island’s groundwater, while Mr. Zeldin said he thought such solutions were better left at the state and local level.

Although it is a state initiative, Mr. Zeldin said he opposed Common Core, which he said was setting school children up to fail, while Mr. Bishop said he supported higher educational standards and recognized that the “rollout of Common Core was the only thing that could make the rollout of Obamacare look good.”

Calendar, October 25 Through October 31

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Halloween Happenings

FRI OCT 24

CMEE Halloween Bash, 4 to 6 p.m., Children’s Museum of the East End, 376 Bridgehampton-Sag Harbor Turnpike, Bridgehampton, $10 for non-members; free for members. (631) 537-8250 or cmee.org.

Teen Pumpkin Carving, 4 to 5 p.m., Rogers Memorial Library, 91 Coopers Farm Road, Southampton, for grades six through 12. (631) 283-0774 or myrml.org.

Haunted Path/Sports & Rec Night, 7 p.m. to 10 p.m., Southampton Youth Services (SYS), 1370A Majors Path, Southampton, fifth grade and up, $5, $2 round-trip transportation available. (631) 702-2425 or sysinc.org.

Groundworks Trail of Terror, 7 to 10 p.m., also on Saturday October 25, Thursday, October 30 and Friday, October 31, Groundworks Landscaping, 530 Montauk Highway, Amagansett, not recommended for children under 13, free. (631) 324-7373 or groundworkslandscaping.com.

Stages: Frankenstein Follies, 7:30 p.m., also Saturday and Sunday at 2:30 p.m., Bay Street Theater, 1 Bay Street, Sag Harbor, $15. (631) 725-9500 or stagesworkshop.org.

SAT OCT 25

Halloween Parade, 10 a.m., Hampton Library, 2478 Montauk Highway, Bridgehampton, all ages, free. (631) 537-0015 or hamptonlibrary.org.

Halloween Party, 10:30 to 11:15 a.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, all ages, free, no registration required. (631) 725-0049 or johnjermain.org.

Pumpkin Decorating Workshop, 11 a.m., Guild Hall, 158 Main Street, East Hampton, ages four to 11. (631) 324-0806 or guildhall.org.

Halloween Happenings Trunk or Treat, 1 p.m. to 3 p.m. Southampton Youth Services (SYS), 1370A Majors Path, Southampton, free. (631) 283-1511 or sysinc.org.

Little Lucy’s Halloween Pet Parade, 1 p.m., Little Lucy’s, 91 Jobs Lane, Southampton, $10 registration to benefit the Southampton Animal Shelter Foundation. (631) 287-2352.

Halloween Ghost Walking Tour with Annette Hinkle and Tony Garro, 5 to 7 p.m., Sag Harbor Whaling & Historical Mueseum, 200 Main Street, Sag Harbor. (631) 725-0770, sagharborwhalingmuseum.org.

Family Fun: Nature’s Halloween Trail, 5 to 6:30 p.m., Mashomack Preserve, 79 South Ferry Road, Shelter Island, allow 30 minutes to complete the trail. (631) 749-1001.

Sag Harbor Wailing Museum Halloween Costume Party, 7 to 9 p.m., Sag Harbor Whaling Museum, 200 Main Street Sag Harbor, children must be accompanied by an adult. (631) 725-0770 or sagharborwhalingmuseum.org.

Southampton Arts Center Halloween Party & Spooktacular Haunted House, 7 p.m., Southampton Arts Center, 25 Jobs Lane, Southampton, $70. (631) 283-0967 or southamptonartscenter.org.

SUN OCT 26

Sag Harbor Rag a Muffin Parade, 1 p.m., beginning at Nassau Street next to the Sag Harbor Laundromat on Main Street and ending at The Custom House. For more information, visit sagharborchamber.org.

23 Annual Southampton Rag a Muffin Parade & Pumpkin Trail, 1 p.m., beginning at Agawam Park in Southampton Village. (631) 283-0402 or southamptonchamber.com.

Great Pumpkin Blaze Family Pumpkin Carving Event, 4 to 7:30 p.m., Mulford Farm, 10 James Lane, East Hampton, free, children under 16 must be accompanied by an adult. (631) 324-6850.

AJB Grunge Pop Zombie Party, 5 to 7 p.m., Hampton Ballet Theatre School, 213 Butter Lane, Unit J, Bridgehampton, all ages, $5. (631) 921-6406.

MON OCT 27

Bridgehampton Lions Club Carving Contest, 5 p.m., cash awards between $20 and $250, Bridgehampton Community House, 843 Bridgehampton-Sag Harbor Turnpike, Bridgehampton. Bridgehamptonlions.org.

THURS OCT 30

Shadows of the Paranormal, with paranormal investigators from Long Island, 7 to 8:30 p.m., Hampton Library, 2478 Montauk Highway, Bridgehampton. (631) 537-0015 or hamptonlibrary.org.

FRI OCT 31

Halloween at the Long Island Aquarium & Exhibition Center, all day, anyone dressed in costume receives 50-percent off regular admission prices, Long Island Aquarium & Exhibition Center, 431 East Main Street, Riverhead. (631) 208-9200 or longislandaquarium.com.

Rocky Horror Picture Show Screening & Halloween After-Party, 8 p.m. The Suffolk Theater, 118 East Main Street, Riverhead, $20 bar/restaurant minimum. (631) 727-4343 or SuffolkTheater.com.

SAT NOV 1

Family Pumpkin Carving Workshop, sponsored by East End Arts, The Town of Riverhead and the Riverhead Business Improvement District, 1 to 3 p.m., East End Arts, 133 East Main Street, Riverhead, $5 per family. (631) 369-2171 or eastendarts.org.

                                                                                                     Outdoors

FRI OCT 24

After School Nature: Fall Flurry, 3 to 4:30 p.m., Mashomack Preserve, 79 South Ferry Road, Shelter Island, free, requires registration. (631) 749-1001.

SAT OCT 25

The History & Ecology of The Walking Dunes of Napeague, 9 a.m. to 4 p.m., two day course continues Sunday with instructor Mike Bottini, $190, meet at Hither Hills State Park, Montauk. (631) 267- 5228 or mikebottini.com.

Foster & Paumanock Paths, 10 a.m. East Hampton Trails Preservation Society as a part of South Fork Trails Day, featuring East Hampton Town Supervisor Larry Cantwell, former planning chair Debra Foster and former planning board attorney Rick Whalen who will speak about the creation and preservation of more than 200 miles of trails in East Hampton, includes two mile hike and five mile loop, meet at Two Holes of Water Road at Chatfield’s Hole, East Hampton. Leader: Lee Dion, (631) 375-2339 and Jim Zajac, (212) 769-4311.

Flanders Meander to Camp Tekawitha, Southampton Trails Preservation Society as a part of South Fork Trails Day, 10 a.m., meet at the parking lot of Red Creek Path on Old Riverhead Road, Hampton Bays, 4.5 miles. Leader: Jim Crawford, (631) 369-2341.

TUE OCT 28

Walk Your Talk! 10 a.m., met at the John Jermain Memorial Library, 34 West Water Street, Sag Harbor, 1 or 2-mile route, free, no advanced registration required. (631) 725-0049.

WED OCT 29

Big Reed Harvest Hike, East Hampton Trails Preservation Society, meet at the Nature Trails site off East Lake Drive, Montauk. Leader: Eva Moore, (631) 238-5134.

SAT NOV 1

Downs Farm Preserve, Southampton Trails Preservation Society, 10 a.m. to noon, meet at 23800 Main Road in Cutchogue on the south side of the road after Elijah’s Lane, 4-mile hike. Leader: Liz Karpin, (631) 728-6492.

 

For the Kids

 

THU OCT 23

Tot Art, Goat on a Boat Puppet Theatre, 4 Hampton Street, Sag Harbor. (631) 725-4193.

Stories, Songs & Playtime, 10:30 to 11:15 a.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, free. (631) 725-0049.

SAT OCT 25

Backpack Adventures: Exploring Vineyard Field, 10 a.m., South Fork Natural History Museum (SoFo), 377 Bridgehampton-Sag Harbor Turnpike, for children ages 8 to 12. (631) 537-9735 or sofo.org.

Mixed Media with Artist Lori Colavito, 2 to 4 p.m., The Parrish Art Museum, 279 Montauk Highway, Water Mill, $120 for members for the four-week class; $150 for non-members. (631) 283-2118.

SUN OCT 26

Finger Knitting, 1:30 p.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, ages 7 to 12, free, please register in advance. (631) 725-0049.

WED OCT 29

Mommy & Me Yoga (or Daddy or Nanny), 9:15 to 10 a.m., Goat on a Boat Puppet Theatre, 4 Hampton Street, Sag Harbor, ages 1 to 3. (631) 725-4193.

ADHD Parent Support Group, 9:30 a.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, free, no registration required. (631) 725-0049.

THU OCT 30

Tot Art, Goat on a Boat Puppet Theatre, 4 Hampton Street, Sag Harbor. (631) 725-4193.

Stories, Songs & Playtime, 10:30 to 11:15 a.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, free. (631) 725-0049.

SAT NOV 1

Mixed Media with Artist Lori Colavito, 2 to 4 p.m., The Parrish Art Museum, 279 Montauk Highway, Water Mill, $120 for members for the four-week class; $150 for non-members. (631) 283-2118.

 

Stage and Screen

THURS OCT 23

The Hampton Theatre Company Presents: Harvey, 7 p.m., also Friday, 7 p.m., Saturday, 8 p.m., and Sunday, 2:30 p.m., Quogue Community Hall, 125 Jessup Avenue, Quogue, $25, $23 for seniors, $10 students under 21. hamptontheatre.org or (631) 653-8955.

The World Goes ‘Round’, a musical revue, 7:30 p.m., also Friday and Saturday, 8 p.m., Sunday, 2:30 p.m. Southampton Cultural Center, 25 Pond Lane, Southampton, $25, $12 students under 12. scc-arts.org. (631) 287-4377.

FRI OCT 24

National Theatre Live presents “Skylight”, 8 p.m., Guild Hall, 158 Main Street, East Hampton, $18, $16 members. (631) 324-4050.

SAT OCT 25

The Met: Live in HD – Verdi’s  Encore, 1 p.m., Guild Hall, 158 Main Street, East Hampton, $22, $20 members, $15 students. (631) 324-4050.

Stages 20th Anniversary Alumni Performance and Benefit Reception, 7:30 p.m., Bay Street Theater, 1 Bay Street, Sag Harbor, $35; $25 for students. (631) 725-9500 or stagesworkshop.org.

TUE OCT 28

John Drew Theater Lab: Orphans by Lyle Kessler, 7:30 p.m., Guild Hall, 158 Main Street, East Hampton, free. (631) 324-4050.

THURS OCT 30

The Hampton Theatre Company Presents: Harvey, 7 p.m., also Friday, 7 p.m., Saturday, 8 p.m., and Sunday, 2:30 p.m., Quogue Community Hall, 125 Jessup Avenue, Quogue, $25, $23 for seniors, $10 students under 21. hamptontheatre.org or (631) 653-8955.

The World Goes ‘Round’, a musical revue, 7:30 p.m., also Saturday and Sunday, 8 p.m., Sunday, 2:30 p.m., Southampton Cultural Center, 25 Pond Lane, Southampton, $25, $12 students under 12. scc-arts.org. (631) 287-4377.

SAT NOV 1

The Met: Live in HD – Bizet’s Carmen, 1 p.m., Guild Hall, 158 Main Street, East Hampton, $22, $20 members, $15 students. (631) 324-4050.

WHBPAC Finest in World Cinema: Tracks, 4 p.m. and 7:30 p.m., also on Sunday, 4 p.m., Westhampton Beach Performing Arts Center, 76 Main Street, Westhampton Beach. (631) 288-1500 or whbpac.org.

Comedy Show Featuring Mark Lundhom, to benefit “Dr. Bob’s House,” 7 to 9 p.m., Southampton High School Auditorium, 141 Narrow Lane, Southampton, $25. (631) 566-6397.

 

Art & Museums

FRI OCT 24

Front & Back: Glass Paintings by Gabriele Raacke, opening reception 5 to 8 p.m., on view through Sunday, Ashawagh Hall, 780 Springs Fireplace Road, East Hampton. (631) 605-1190 or raacke.us.

SAT OCT 25

Mary Ellen Bartley, Guild Hall Museum Permanent Collection New Works: 2010-2014 Opening Reception, 4 to 6 p.m., Guild Hall, 158 Main Street, East Hampton, $7. (631) 324-4050.

SUN OCT 26

Steven and William Ladd: Mary Queen of the Universe Exhibit Opening, 11 a.m., on view through January 19, 2015, Parrish Art Musem, 279 Montauk Highway, Water Mill. (631) 283-2118.

Temple Adas Israel Fall/Holiday Exhibit: Common Themes, opening wine and cheese reception 4 to 6 p.m., Temple Adas Israel, 30 Atlantic Avenue, Sag Harbor. (631) 725-0904 or templeadasisrael.org.

Alan Shields: In Motion Exhibit Opening, on view through January 19, 2015, Parrish Art Museum, 279 Montauk Highway, Water Mill. (631) 283-2118 or parrishart.org.

SAT NOV 1

Poetics of Space: Michael Chiarello and Jonathan Beer, opening reception 5 p.m. to 7 p.m., Tripoli Gallery, 30A Jobs Lane, Southampton. (631) 377-3715 or tripoligallery.com.

Life in the Abstract, opening reception 5 to 8 p.m., on view through November 10, Ille Arts, 216e Main Street, Amagansett. (631) 905-9894.

Alan Shields: In Motion, reception 5:30 p.m., on view through January 19, 2015, Parrish Art Museum, 279 Montauk Highway, Water Mill. (631) 283-2118 or parrishart.org.

 

 

Music & Night Life

 

THURS OCT 23

Glenn Tilbrook, 8 p.m. The Suffolk Theater, 118 East Main Street, Riverhead, $40. (631) 727-4343 or SuffolkTheater.com.

FRI OCT 24

Candlelight Fridays at Wölffer Estate Vineyards: Lily-Anne Merat, 5 to 8 p.m., Wölffer Estate Vineyards, 139 Sagg Road, Sagaponack. (631) 537-5106.

Salon Series: Andrew Staupe, 6 p.m. The Parrish Art Museum Lichtenstein Theater, 279 Montauk Highway, Water Mill, $20, $10 for Parrish members. (631) 283-2118.

Jettykoon, a benefit for the Surfrider Foundation, 7:30 to 10 p.m., The Stephen Talkhouse, 161 Main Street, Amagansett. (631) 921-1842 or jettykoon.com.

Hamptons Music Festival: Duncan Sheik, 8 p.m., Westhampton Beach Performing Arts Center, 76 Main Street, Westhampton Beach, $55 to $65. (631) 288-2350.

Bad Girls … A Disco Tribute to Donna Summer, 8 p.m., The Suffolk Theater, 118 East Main Street, Riverhead, $35. (631) 727-4343 or SuffolkTheater.com.

SAT OCT 25

Salon Series: Andrew Staupe 2 p.m. The Parrish Art Museum Lichtenstein Theater, 279 Montauk Highway, Water Mill, $20, $10 for Parrish members. (631) 283-2118.

Hamptons Music Festival: Natalie Merchant, 8 p.m., Westhampton Beach Performing Arts Center, 76 Main Street, Westhampton Beach, $95 to $150. (631) 288-2350.

SUN OCT 26

East Meets West – The Best Music from Montauk to Patchogue, 12:30 to 8 p.m., Westhampton Beach Performing Arts Center, 76 Main Street, Westhampton Beach, $39 all-access pass. (631) 288-2350.

FRI OCT 31

Candlelight Fridays at Wölffer Estate Vineyards: Iris Ornig, 5 to 8 p.m., Wölffer Estate Vineyards, 139 Sagg Road, Sagaponack. (631) 537-5106.

Salon Series: Sandro Russo, 6 p.m. The Parrish Art Museum Lichtenstein Theater, 279 Montauk Highway, Water Mill, $20, $10 for Parrish members. (631) 283-2118.

SAT NOV 1

Salon Series: Sandro Russo, 2:30 p.m. The Parrish Art Museum Lichtenstein Theater, 279 Montauk Highway, Water Mill, $20, $10 for Parrish members. (631) 283-2118.

Perlman Music Program Alumni Recital: Michelle Ross, violin, 5 p.m. Clarks Art Center, 73 Shore Road, Shelter Island, $25. (212) 721-8769 or perlmanmusicprogram.org.

Suzanne Vega, 8 p.m., Westhampton Beach Performing Arts Center, 76 Main Street, Westhampton Beach, $30 to $50. (631) 288-2350.

 

Readings, Lectures & Classes

FRI OCT 24

Materials & Methods with Abstract Artist Eric Dever, 10 a.m. to 1 p.m., The Parrish Art Museum, 279 Montauk Highway, Water Mill, $120 for members for month long class, $150 for non-members. (631) 283-2118.

Making the Most of Your iPhone, 10:30 a.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, free, advanced registration required, limit 16. (631) 725-0049.

SAT OCT 25

Camellia Group, moderated by Bridget DeCandido, Horticultural Library in the ground floor of the Bridgehampton Community House, 843 Bridgehampton-Sag Harbor Turnpike, Bridgehampton, free. (631) 537-2223.

The Year-Round Garden, 10:30 a.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, free, advanced registration required, limit 12. (631) 725-0049.

Readings from “Italoamericana: The Literature of the Great Migration, 1880-1943, with Robert Viscusi and others, 4 p.m. Canio’s Books, 290 Main Street, Sag Harbor. (631) 725-4926.

MON OCT 27

Come Knit with Us, 1 p.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, no registration necessary. (631) 725-0049.

TUE OCT 28

Long Island On-Farm Compost Workshop and Compost Facility Tour, 9 a.m. to 4 p.m., Cornell Cooperative Extension of Suffolk County, First Floor Meeting Room, 423 Griffing Avenue, Riverhead, $30 for the workshop. (631) 852-3289.

English Conversation Classes/Clases de Conversación en Inglés, 5 p.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, free, no advanced registration required. (631) 725-0049.

American Heart Association Community Heartsaver CPR-AED Course, 6:30 to 9 p.m., Pierson High School, 200 Jermain Avenue, Sag Harbor, $35 includes manual and certification card. sdenis@sagharborschools.org.

WED OCT 29

East Hampton Cemetery Tour, 6:30 p.m., East Hampton Historical Society, meet at 14 James Lane, East Hampton, $15, reservations required. (631) 324-6850.

Writers Speak Wednesdays: Julia Fierro, 7 p.m., Radio Lounge, Chancellors Hall, Stony Brook-Southampton, 239 Montauk Highway, Southampton. (631) 632-5030.

FRI OCT 31

Materials & Methods with Abstract Artist Eric Dever, 10 a.m. to 1 p.m., The Parrish Art Museum, 279 Montauk Highway, Water Mill, $120 for members for month long class, $150 for non-members. (631) 283-2118.

Apps for Your iPad, 10:30 a.m., John Jermain Memorial Library, 34 West Water Street, Sag Harbor, free, advanced registration required, limit 12. (631) 725-0049.

SAT NOV 1

Radical Descent: The Cultivation of American Revolutionary, a reading by author Linda Coleman, 5 p.m., Canio’s Books, 290 Main Street, Sag Harbor. (631) 725-4926.

 

Events, Workshops & Meetings

 

FRI OCT 24

The Night Sky – Celestial Viewing with the Custer Institute, 7 p.m., co-sponsored by the South Fork Natural History Museum (SoFo) and the Friends of the Long Pond Greenbelt, SoFo, 377 Bridgehampton-Sag Harbor Turnpike, Bridgehampton. (631) 537-9735 or sofo.org.

SAT OCT 25

Sag Harbor Farmers’ Market, 9 a.m. to 1 p.m., Saturdays through October 25, corner of Bay and Burke Streets, Sag Harbor.

Groundworks Fall Festival Weekend, 9 a.m. featuring Sue Wee Flying Pig Races at 10 a.m., noon, 2 p.m. and 4 p.m., also on Sunday, Groundworks Landscaping, 530 Montauk Highway, Amagansett, free. (631) 324-7373.

Farming’s Future on the East End, with Scott Chaskey, of Quail Hill Farm, David Falkowski of Open Minded Organics, Mary Woltz of Bees Needs & others, 2 p.m., Bridgehampton Museum Archives, 2539A Montauk Highway in Bridgehampton. (631) 537-1088 or bhmuseum.org.

WED OCT 29

College Fair at Pierson High School, 6:30 to 8:30 p.m., Pierson High School Gymnasium, 200 Jermain Avenue, Sag Harbor. Over 100 colleges will be in attendance. For students grades 8 through 12. For more information, visit sagharborschools.org.

Balancing Screen Time with Green Time, a special program for parents and educators, 7 p.m., South Fork Natural History Museum (SoFo), 377 Bridgehampton-Sag Harbor Turnpike, Bridgehampton. (631) 537-9735 or sofo.org.

Ladies Night Out, a benefit for The Retreat hosted by White’s Apothecary, 5 to 7 p.m., White’s Apothecary, 81 Main Street, East Hampton. $50 (includes a $25 giftcard to White’s Pharmacy). (631) 329-4398.

SAT NOV 1

Marine Meadows Workshop, 10 a.m. to noon, South Fork Natural History Museum (SoFo), 377 Bridgehampton-Sag Harbor Turnpike, Bridgehampton, (631) 537-9735.

 

If you would have a calendar item that you would like to see printed in the Sag Harbor Express or online at sagharboronline.com please email assistant@sagharboronline.com.

 

 

 

 

Bridgehampton Lions Club Carving Contest Next Monday, October 27

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The Bridgehampton Lions Club will host its annual pumpkin carving contest on Monday, October 27 at 5 p.m. at the Bridgehampton Community House, 843 Bridgehampton-Sag Harbor Turnpike, Bridgehampton. Cash awards between $20 and $250 will be awarded in a variety of categories including Area 51, Mythic Monstrosity, Poultrygeist, Sea Screecher and Classic Jack. For more information, visit bridgehamptonlions.org.

Calling All Rag-a-Muffins! Halloween Parades This Saturday in Sag Harbor & Southampton

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Serene Smith in masquerade at the 2013 Rag-a-muffin parade in Sag Harbor. K Menu photo.

Serene Smith in masquerade at the 2013 Rag-a-muffin parade in Sag Harbor. K Menu photo.

One of the centerpieces of pre-Halloween festivities in Sag Harbor is the Rag a Muffin Parade, organized by the Sag Harbor Chamber of Commerce, which will take place on Sunday, October 26 at 1 p.m. beginning at Nassau Street next to the Sag Harbor Laundromat on Main Street and ending at The Custom House. For more information, visit sagharborchamber.org. In Southampton, that chamber of commerce will also host its own Rag a Muffin parade, also at 1 p.m., beginning at Agawam Park in Southampton Village. For more information, visit southamptonchamber.org.

 

Payman Maadi on the Small but Powerful Camp X-Ray

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By Danny Peary

Kristen Stewart and Payman Maadi in "Camp X-Ray."

Kristen Stewart and Payman Maadi in “Camp X-Ray.”

Camp X-Ray fits my category “Movies That Should Play in Sag Harbor.”  This Friday Peter Sattler’s beautifully acted, troubling,  touching, and important debut feature–which makes it clear why America must close Guantanamo–opens theatrically in New York City and on VOD.  The synopsis in the press notes: “A young woman (Kristen Stewart, giving her most mature performance, excels as Amy Cole) joins the military to be part of something bigger than herself and her small town roots, but ends up as a rookie guard at Guantanamo Bay.  Her mission is far from black and white, as she is surrounded by hostile jihadists and aggressive male squad mates.  When she strikes up an unusual friendship with one of the detainees (Iranian actor Payman Maadi, who follows the Oscar-winning A Separation with another extraordinary performance), both of their worlds are forever shifted.  Written and directed by Peter Sattler, Camp X-Ray is a deeply human story of two people, on opposite sides of war, trapped and struggling to find a way to live together.”  I met Payman Maadi when I interviewed him and director Asghar Farhadi about the terrific About Elly several years ago. We have stayed in touch and last week I spoke to him in the city about his first American film. As we were having breakfast at Sarabeth’s, a couple passing by recognized the budding international star.

Danny Peary: Do you get recognized a lot in America?

Payman Maadi: Yes, from A Separation.  In Los Angeles more than New York.  Each time it happens, it surprises me.

DP: Is there a community of Iranian actors and filmmakers in America?

PM: Yes.  Actors, filmmakers, artists, singers.  If I don’t know them personally, I do know who they are.  Most of those I know are banned from working in or going back to Iran because they did or said something against the government.  Which is not me.   I now live with my wife and daughter in L.A. and in Iran.  I’d like to manage my career where I can go back and forth.

DP: Which you couldn’t do if you criticized the government there.  So do you get support from the Iranian government when you make movies in Iran?

Payman Maadi. Photo by Danny Peary.

Payman Maadi. Photo by Danny Peary.

PM: I don’t do anything for or against the government. I’ve tried not to ask for its financial support, even when I directed my film Snow in the Pines two years ago in Iran and had no money.

DP: Did you direct Snow in the Pines before or after A Separation?

PM: I was ready to direct my own movie but I got the script for A Separation and it was brilliant, so I stopped and made the film with Asghar Farhadi.  We had worked together before on About Elly. 

DP:  Of course, it won an Oscar in America., but was A Separation received differently outside of Iran than in Iran?

PM: Asghar told me, “I doubt if it will have the success of About Elly.”

DP: About Elly had Hitchcockian elements so you two recognized it had universal appeal.

PM: Right, it could have taken place in Denmark or Mexico, anywhere.  But A Separation wasn’t like that and we weren’t sure it would be liked outside of Iran. We thought it was more an Iranian film that was very much about society there.  It turned out that it was really well received first by the Iranian people and then out of the country. What we learned is that if you make films outside of America and want to get known internationally, you must first become successful locally.  The people of your own country must agree with you that it’s a true, authentic portrait of your country. Asghar did a great job and I owe him a lot.  It was successful because people everywhere left the theater thinking about their wives or husbands, their daughters, their relationships, their marriages.  What we learned from showing the film in New York, Los Angeles, Germany, China, France, Abu dhabi is that we’re not that different.

DP: In interviews you’ve said you want the films you act in or write or direct to show that people are alike everywhere.

Payman Maadi and Kristen Stewart in "Camp X-Ray."

Payman Maadi and Kristen Stewart in “Camp X-Ray.”

PM: To be honest with you, this belief came to me only after I experienced watching A Separation with people from around the world.   It wasn’t before that.  As Asghar says, it’s to the benefit of the media to show differences between nations not similarities.  They profit from that.  But when you have a character like mine in A Separation whose father is suffering from Alzheimer’s, it’s the same for everybody around the world who has that experience.  Whether you’re Iranian or an American, it’s sad watching your father deteriorate like that or watching a couple with a child separating.

DP: Was A Separation instrumental in your getting cast in Camp X-Ray?

PM: Peter Sattler was a big fan of A Separation and it was a big reason I got this film.

I was in Iran making Melbourne when my agent sent me the script.  When I read a script, the first thing I focus on is the story.  Maybe it’s the writer in the me, but it’s the experience I have had since A Separation.  The film must be a good film.  If the only award a movie gets at a film festival is Best Actor, it doesn’t matter, no one will see me. If it gets a Best Picture award it will seen by a wider audience and will open more doors for the actors.  So for me the story must be good, then the character must be good, and the third thing is the director. I didn’t know Peter at the time.  This was his first movie.  I liked his script right away.  But  I had to read it again. The second time I went through it I focused on the characters.   English isn’t my first language so I had to focus on every word.  Then Peter called me.  He wanted to see me so we spoke for about ten minutes on Skype.

DP: It seems so odd to me that someone in Hollywood can Skype with an actor in Iran about being in his film.

PM: There are a lot of things that are filtered in Iran but not Skype. The Internet can be slow and you often get disconnected but it’s not something that can be controlled by the government.  A lot of my friends are in America and they Skype or Face Time with their families back in Iran.  I did that when I was here and my wife and daughter were there.

DP: In the press notes it says Peter was reluctant to contact you because he wasn’t sure you were right for the part.  Did he tell you that?

PM: After he confirmed that I was in the film and we became really close friends he told me,  “I loved A Separation and I loved your performance but I felt I needed somebody louder, who expressed himself and didn’t keep things inside.”  He wanted somebody who would shout and laugh loudly…

DP: But in A Separation you weren’t particularly quiet or withdrawn. There was anger and shouting.

PM: I know.  But what happened was very funny.  When Peter Skyped me, I don’t know what kind of mood I was in that day but I had a very loud greeting, “Hello, Peter!”  I later told him, “Peter, don’t worry about the loudness because I am very loud.  In fact, whenever I’m talking to my wife in public, she has to tell me to lower my voice.”

Kristen Stewart and Payman Maadi promoting "Camp X-Ray. Photo courtesy of Payman Maadi.

Kristen Stewart and Payman Maadi promoting “Camp X-Ray. Photo courtesy of Payman Maadi.

DP: Also in the press notes, he says he cast you because he saw the chemistry between you and Kristen Stewart when the two of you Skyped.

PM: The next night the three of us met on Skype for about forty-five minutes because Kristen wanted to meet me.  Then she said she wanted to see A Separation.  She got a DVD and watched it and said she loved it.

DP: So she hadn’t seen your films yet?

PM: No, but to be honest, I had never seen Twilight or any of her movies before, either.   So I had no prejudgments about her.  I saw her the first time at Peter’s home in Los Angeles and she was more than friendly.  She came to me and said, “I’m very happy to work with you.”  I asked Peter if Cole’s hair color will be blond or dark because in the movie, Ali always calls her “Blondie.”  He said dark, like Kristen’s natural color.  He asked me what I thought about that.  I said I loved it.  To Ali, all American girls are “Blondie.”  That’s funny

DP: What’s great is that Cole accepts being called “Blondie.” You and Kristen come from two different parts of the world, you have made different kinds of movies, her acting is very low-key while you are expressive and verbal. I do think it paid off for creating two different characters that you were so different as actors.

PM: Kristen said, “Let’s rehearse and talk.  Tell me about your style of working or let’s create something together.”  People come to me and ask, “How is she on the set?  Is she friendly at all?”  And she is. She was very thoughtful, very hard-working, full of energy, very eager to do something great.  She was never satisfied with whatever she did, she was always asking for another take, saying “Let’s do it the other way.”  I liked that very much.  It was very, very important to me because most of my performance was dependent on my partner.  It was all dialogue between Kristen and me, it was like ping pong.  I couldn’t be a good actor unless I had a good partner in this film.  So I was glad we rehearsed a lot trying different versions.

DP: Did you talk to Kristen about what her character’s reactions were supposed to be in response to Ali’s imprisonment at Guantanamo and all the different ways he communicates with Cole?

PM: I asked her what she was thinking about.  She was thinking a lot about these issues and about her character every day and she would tell Peter and me if she thought her character should react differently from what we had planned.  And Peter would say, “That’s true.”  And I’d say, “Kristen, can you do it for me because I need to know what I must do if you change your reaction like that.”  I’d say, “If you change something here, then we have to also change that other action.”  Peter would say, “Payman is a screenwriter and he remembers everything.”

DP: So was Peter accepting changes from each of you?

PM: More than other directors I’ve worked with here, he’s like Ashar Farhadi in that he leaves you to do whatever you want to do, minimize it or maximize it, and observes you to see what worked and what didn’t work. He didn’t talk to us and say for us to do this or that, which happens a lot in America. For him, performance comes first, then the camera.

DP: Did you rehearse in the same place you shot the film?

PM: We rehearsed and filmed at a former juvenile detention center [in Whittier, Ca.] that looked almost exactly like Guantanamo. We did this because sometimes you get surprised when you move from one location to another.  At the prison we rehearsed for two or three days with closed doors.  We wanted to determine what we could hear if the doors were closed between us.  I didn’t have much space and Kristen didn’t have much space so there weren’t so many things we could do.

DP: Even during, I imagine you sat close to each other?

PM: We found some rooms and we tried to stay very close, to get used to the small space.  I wanted to watch Kristen very closely to make sure nothing was exaggerated. When you are close, you use your eyes to see all parts of a face.  There’s big meaning in how the eyes go up or down or to the sides. We asked Peter to watch these things through the camera lens during the final days of rehearsal.

DP: Were you told you would watch dailies?

PM: I never developed the habit of seeing dailies, but for this film we had to do it because of the close shots.  We needed to see when we moved our eyes how big the movement was.   When I made my own film I didn’t let any of the actors watch dailies. And the result was good.  But after this experience, when I make another film I will definitely show some dailies and rushes to my actors.

DP: What were those last days of preproduction like?

PM:  In the mornings we rehearsed or did a table reading and then we were through as actors.  Peter was going to the set to make sure everything was ready and I would go with him whenever I had a chance. He was working on other things and I had nothing else to do, so I asked him, “Can I stay in the prison by myself.”  One cell was ready and I decided to go inside and stay there for hours.  He said, “Yes, but do you want me to leave the door open?’  I said, “No, close the door.”  Peter said, “We’ll be working over there, so whenever you want to come out let us know.” I stayed in there over a few days and it was very helpful.  Peter also asked Kristen to walk around the hallway outside the cells and she would do it for hours, as Cole would.  It helped me a lot, knowing she was outside.  I was in a very small room, all Ali has in this world.  There were no other tools I had as an actor, but no matter how small the room was you find a variety of things around you.

There was just a small window looking out into the hall, so if I moved my head to the left or right while filming, I was out of the frame. So I’m in there thinking, what can I do?  If I go to the back of the cell and shout it sounds low but if I walk toward the door shouting it’s totally different.

DP: But while you were trying to get into Ali’s character are you thinking always that he’s someone who can’t leave?  Are you asking how does he exist? and how does he not go crazy other than by refusing to do so?  And are you also thinking how heartbreaking his life is?

PM: Yes, yes!  I was thinking of that and many other things.  Ali is surely thinking, Where is my country?  Where is my family? Where are my friends?   He’s thinking of his mom: they grabbed me and took me away and she hasn’t heard of her son for eight years.  They’re probably searching for me.  What is in the news about me?  Does everyone in my neighborhood now think I’m a terrorist?  Sometimes you get suspicious about yourself–what if I was a terrorist and did something I don’t remember?  If I admit I did something and said, “I did it, hang me please,” it would be end of story.  Those are things I thought he’d be thinking.

DP: Ali tells Cole he is from Germany.

PM: Ali is Tunisian, but was raised in Germany.

DP: In the opening, Ali is taken prisoner in his apartment.  He had just emptied a bag of what looks to be cellphones, not weapons.

PM: That’s what they are.  Perhaps he was regarded as suspicious because of that.  I read how Americans pay money for leads to terrorists, so that means somebody can accuse anyone of being a terrorist and the Americans will pay him $5,000. So the situation is risky when you are, for example, buying cellphones.

DP: This movie makes us think that it doesn’t matter if he did anything or not, but that he should receive due process and be treated humanely.

PM: Exactly. We are not saying whether he’s guilty or not.  There are guilty people in Guantanomo who were caught doing terrorist acts and they deserve punishment–but punish them already, don’t just keep them there without judgment or being subject to the Geneva Convention [just because they're called detainees, rather than prisoners].  Give them life in prison, even hang them but keeping them there is bad for not just the “detainees” but for the US government.  The people of America don’t want this!  They just can’t close it.

DP: It will surprise many people to see Kristen Stewart starring in a low-budget film against the inhumane treatment of Muslims at Guantanamo Bay. Do you think it is important that Cole is a female, to contrast her even more with Ali?

PM: It makes it more interesting.  I think it separates them more.  Cole could be a male and I think Peter wrote that character as a male.  I like that it’s a female and man and their relationship isn’t sexual.  It’s not about opposites attracting.  Before we were shooting we received a book two-inches thick, DVDs, photos, and links for Internet research.  I saw documentaries on Guatanamo and trials with lawyers talking about the prison and the issues.  I spent hours doing research and saw that the movie is very precise and correct about everything.  Everything in the movie is similar to how it really is in Guantanamo Bay.  And there are female guards.

DP: A lot of this film has to do with how Americans, the guards in this case, are naive about politics and who the detainees really are.  All these soldiers are young and Ali is more educated than any of them.  The danger Peter surely wanted to avoid was having it seem to viewers that Cole is just a naive prison guard who is attracted to a smarter, more worldly prisoner, whether it’s in Guantanamo or any prison, and he manipulates her.  But we don’t think that because Cole gets closer to Ali as she becomes less naive about the situation.  There’s a learning process with her, while none of the other soldiers want to learn anything and stay naive about the detainees.

PM: We are watching only American soldiers, not American citizens.  They are young and maybe that’s why they are so naive.  They aren’t interested in books.  Soldiers have a lot of things to do so maybe they don’t have time to read.  Ali has nothing to do but read.  He says, “Each time the new guards arrive, they treat us like bad guys.” She says a good thing to him, that the other guards “will learn.” Like she has. That is not a small thing for him.  Earlier he asked her, “What did you learn?”

DP: When he says that to her he’s skeptical that she’s learned anything.

PM: Very skeptical. He asks her what she learned from such things as the hunger strikes?

DP: She does learn and opens up to him.  I would think you shot this film chronologically because of how they both change and their relationship evolves.

PM: We had to. It was very helpful for Ali and Cole to gradually become connected to each other.  Indoor and outdoor scenes could be filmed chronologically because everything was shot at the juvenile facility. The outdoor shower scene and the scene where I kick the soccer ball were dependent on how the weather was. Doing it chronologically was very beneficial.

DP: Do you think your two characters start reacting positively toward each other at the same time?

PM: I can’t say that.  From the beginning, Ali is studying her.  I don’t know when exactly he realizes she is not a bad person. After she says, “I’ll try,” and he says, “I’ll try, too,” he tries not to be bad toward her.  In the first days Peter and I were talking about my character, and he said that what is very important for you to understand is that this guy can be the nicest character on the earth, with a soft voice, and ten seconds later he can be acting like an animal.  They treat him like an animal there, making him act like a mad man.  They want to dehumanize him.  In some scenes, you can see that he’s trying to make a connection to Cole and tries to be nice but when she doesn’t respond, he starts shouting and cursing.

DP: Is he really that mad at her or is he just trying to get a reaction from her?

PM: No, he’s not trying to get a reaction.  He is disappointed that she is the same as the other guards, like the other Americans.  He is mad at her.  He says, “You think we’re the terrorists but you are the bad people.  You are trying to show yourself to the world as good people by putting us here, torturing us, and doing all these things to us.  But you know what?  You are the bad people.”

DP: In such scenes Ali is extremely frustrated and angry, and Cole is trying not to lose him and trying to make him understand, without saying it, that she cares and is listening.  They seem like hard scenes to play.

PM: Again, Peter cared about our performances and trusted us completely but he knew what he didn’t want. He’d explain to us what wasn’t right because of this or that. He’d say, “Don’t use that word,” or “Don’t shout when you want to say this.”  I remember his reluctance when we filmed a very intense scene in which Ali says that the detainees are being treated like animals. I started shouting and making sounds of tigers and dogs.  Peter came to me the second day and said, “You know what? Do it a little bit lower.”  I thought back to when we first Skyped and said, “I told you I’m loud!”

DP: Ali shouts a lot in the film, but some of the moments that have the most impact are when he isn’t talking at all.

PM: The first thing that caught my attention when I read the script is that Ali has a second layer to him where he just observes and says everything he needs to say with his eyes.  I would later ask Peter to please let me use silence as a tool between my lines.  So I may say a line and then stop and watch her, then say something else.  I said if everyone stops speaking it will be terrifying.

DP: When I think about that now, it’s not so much his loudness that is important, it’s that Ali is university educated and verbal and he is in a situation where he can’t talk to anybody. That’s the shame.

PM: Yes, yes, what you say is totally true.  He’s very talkative and nobody will talk back to him.  He always tries to engage new guards in conversation.  He isn’t manipulating them, he just wants so much to communicate with someone else. What he needs is someone to listen to him.  It doesn’t matter if he doesn’t express a political opinion; he’d be happy just to talk about Harry Potter or Nebraska or Alfred Hitchcock or Hannibal Lechter.  It doesn’t matter.  Whatever comes up, it’s a conversation.  Did you know it’s actually true that Harry Potter is the most popular book in Guantanamo Bay? They have different translations for it.

DP: Why do you think that’s true?

PM: It’s magical, it’s entertaining.

DP: Also it’s escape.  And it’s long, the same length as the Koran.

PM: It’s not a short story, each book takes a long time to read.  And as you say it takes people beyond reality.

DP: Does Ali read the Koran?

PM: He has read it a thousand times.  I think he becomes a little doubtful to everything, he’s losing his beliefs because he thinks too much.  He’s not getting in the prayer lines with other detainees.  The worst part is you don’t know what to hang on to when you’re suspicious of everything around you.  That’s what happens to a lot of prisoners who don’t have anything to do.  They doubt everything. But I think that after this Ali will go back to normal and go back to believing what he did.  The best thing for him is to become more stable.

DP: In movies set in American prisons, the hero often spends his time studying law books, trying to figure out a legal way to get out.  But those imprisoned at Guantanamo have no due process.

PM: Yeah, they have no legal rights.

DP: I think it’s important when Ali explains why detainees shouldn’t follow the rules because that would mean the rules are legitimate.

PM: That’s one of his principles.  He doesn’t believe in a lot of things, but that he believes in strongly.  If he was a terrorist he wouldn’t say something like that. I think.  As a terrorist, you understand why they would have rules saying you can’t do certain things.  But if you’re not a terrorist, you don’t see it like that.  I’m not a terrorist so you don’t have the right to tell me what to do and treat me like a terrorist.  It is not something trivial that he is saying.  It is coming from the inside.  If they say, “Do this and that or you can’t watch TV,” he says,  ”Fuck TV, I don’t need permission from you to watch TV.  I haven’t done anything.”  I think the rules line is very important.

DP: Ali is less belligerent than the large detainee who follows no rules, but they’re both being treated badly.  It’s much more likely that he was a terrorist, but the film asks that they both to be treated humanely and released.

PM: I don’t know if the others are real terrorists and Ali doesn’t know either.  He knows he’s not guilty of being a terrorist but not of the others’ guilt or innocence.  When she asks Ali why the big detainee doesn’t use the elliptical machine that they demanded, Ali says that it might be because he’s an asshole. It’s assumed that the detainees are all together and that they’re all brothers, but it’s not like that.  Still none of the detainees deserve to stay at Guantanamo, guilty or not, and be treated like that. That is a theme of the movie.

DP: Talk about the emotions you were having as filming was coming to an end.

PM: The ending scenes were the last scenes we shot.  It was very hard and very dependent on the situation that they prepared for us on the set.  I was very happy with the situation but I asked something from Peter as well. I asked for two minutes before every scene was shot, to just be by myself.  When they said, “We’re ready,” I needed two or three minutes in total silence in the cell to focus.  I even told Peter before one or two scenes not to ask me if I was ready but to see through the lens if I looked ready.   The circumstances on the set were very important for such emotional scenes.

DP: Did you or Kristen cry during the making of this movie?

PM: A lot.  That’s a good thing that you ask. The final days I cried for 48 hours.  In every take I was crying.  Kristen was standing behind the camera and she was crying every time.  That’s why I can tell you that she was a lovely partner.  She was helping me a lot.  Whenever I was standing behind the camera watching her, I was crying for her, too.

DP: Were you both crying for the same reasons?

PM: Yes. We didn’t talk about it with each other.  When the shot was done, each of us found our corners.  We didn’t go to each other say, “That was good, that was great.” Never.

DP: That’s interesting because I would have thought that when playing roles that take such a toll on you that you’d want your costar to come over and comfort you.

PM: No, no, we didn’t do that at all.  Sometimes I’d see Peter from afar and his facial expressions told me his reaction.  Sometimes I want to see reactions, but I usually don’t want to watch people after takes, I don’t want to see the reaction of the crew.   I don’t want to see the camera, I don’t want to see anybody.  I just want to be the lone person on the planet.  If you want to play a detainee at Guantanamo you have to delete everyone else around from your mind.  You can’t go to anyone and ask, “How was it?  How did I do?”  Kristen was like that too.

DP: At one point, Cole starts being punished by her superiors for associating with Ali, just as Ali is being punished by them as well for being insubordinate.  Did you, Kristen, and Peter talk about the parallels?

PM: We were aware what was happening but we didn’t talk about it that much.  Kristen and I tried to stay as close as we could to the characters we were playing and they don’t speak to each other about such issues.  Amy Cole and Ali don’t talk about what is happening with Amy.  She doesn’t tell him.  We tried to avoid talking about what was happening in the scenes we weren’t in.  I do remember asking Kristen, “How did it go yesterday when you shot the scene with Cole’s superior officer?”  She told me that John Carroll Lynch was brilliant in that scene.  That’s about the level we went to, talking about those scenes.  We didn’t go through them and discuss their meanings. We didn’t have to.

DP: There are usually not a lot of words being said between Cole and Ali, so was there telepathy?

PM: What comes to mind is when he says, “I just want to know how all these things end,” and she asks, “The book?”  And he says, “Yes, the book.”  Then he says, “You know what I mean.”  They were definitely talking about something else.  In the rehearsal, we did a lot of improvisations for some scenes.  And for that scene we talked for about five minutes about the book, but both Kristen and I, like our characters, were talking about something else.  It would be impossible for Ali to say all that is in his mind, so there are metaphors.

DP: In an interview about Melbourne, you were asked about what happens after the movie ends.  And you answered that you didn’t think about what happens, that you wanted to play in the moment.  But in Camp X-Ray, your character wants to know how things will end.  Is it healthy for your character to think about endings, or does he have to go day by day so he won’t go crazy?

PM: No, he doesn’t.   All these years he has been going day by day but also thinking what’s going to happen at the end.  That’s very logical and reasonable thing for a detainee there.

DP: He even wants to know the ending of the last Harry Potter book, which he can’t get a copy of.

PM: That’s a beautiful metaphor for that.  It’s funny and meaningful.  I say funny because the whole situation is funny.  It’s not only that he reads the final book and knows how it ends, it’s also that he becomes hopeful for his future.  He sees the light at the end of the tunnel, I think.  He’s now happy to know that there are good people in this world, not all Americans are bad guys and they don’t consider them bad guys.  The best thing in the world for him is what she says, not the freedom.  She’s an American and probably the last person on the planet who would say that he’s a good guy.  But she says, “You’re a good guy.”

DP: You may not have thought of this but the reason he wants to read the end of the book is to find out if Snape is a good guy or bad guy.

PM: Yeah, the twist of the character.  I didn’t see any of the “Harry Potter” movies but I was told that Snape turns from a bad guy to a good guy.

DP: Your character and Snape are seen wrongly until the end.  Peter snuck in that clever idea.

PM: I believe that.  One reason Peter and I get along and communicate so well is that we are both film buffs.  I’m sure he has seen all the Harry Potter movies.

SPOILER ALERT

DP: I get teary-eyed thinking about when he opens the newly-arrived library book, the final Harry Potter book that he has waited two years to read, and there is an inscription from Cole ending with “Love, Blondie.”  The shot of the book is an insert, but when you looked at that in your hand, what was your reaction?

PM: I cried. When I saw Camp X-Ray at Sundance I expected to see me crying.  Because we did about ten shots and in eight of them I was crying.  Each time we did that scene, it was like a emotional faucet being turned on and off.  If there were twenty more takes it would have been the same, crying at the very same moment.  But I like the version Peter used.

DP: When you first read the script, did you have a big reaction to reading, “Love, Blondie?”

PM: Yes, I did.  I was surprised.  That was one of those moments when I thought I’d like to share the movie with people.  That was a very lovely thing.  She tells him her real first name but still signs the book that way.  “I don’t know if Snape is a good guy, but I know you are.  Love, Blondie.”  Amazing.

DP: It’s a movie moment I won’t forget. I get choked up talking about it.

PM: The same here.  Peter is very kind, thoughtful, giving, supportive, and emotional.  He cares a lot about these issues, he loves people, he cares about the relationships between people.  A line like that would have to come out of a person such as Peter.

DP: Another huge scene late in the movie is when Ali considers suicide.  In the conversations you had with Peter and Kristen, I would think you had to convince yourself that Ali shouldn’t kill himself.

PM: Yeah. We knew about it from the script but we didn’t talk about the suicide scene more than a day before we shot it.  We did a lot of rehearsing for the movie but we didn’t rehearse that scene and did it in the moment.  We didn’t want to be self-conscious of what we were doing, we wanted it to be natural.  There’s a scene in A Separation, when my character is showering his father who has Alzheimer’s and he starts crying. We didn’t rehearse or talk about that scene either.  We were filming another scene but lost the light so we figured out what scene we could without light.  The shower scene.  Everyone expected me to say hell no because I didn’t have any preparation.  I said to give it a try.  And we did it on the first take.

DP: So you think it was a good idea not to prepare for the suicide scene?

PM: Very much. I told Peter, “Just tell me what you want and where the camera will be.”  We did several takes and each time we changed something.  We didn’t rehearse or talk about the way he’d do it that much.  The first time I saw the tool was when they gave it to me during the scene.  The knife came out of the Koran and I said, “Oh, my god.”

DP: He’s been in Guantanamo for eight years.  Do you think he’d done this before?

PM: Trying to kill himself, no.  I don’t think so.  There was a line in the script that isn’t in the film.  I’m happy it’s not in the film but it was very interesting.  He tells Cole that if she calls the medics with her radio it will take them three minutes to arrive.  Because he went to the university and is smart, he can calculate that it will take him two minutes to die. So don’t even think of making the call. That’s why she puts the radio down.  That was logical.

DP: Talk about when she puts her hand through the window in his door, takes the blade, and touches his arm.  It’s not just two people touching.  It’s an American woman touching a Muslim from the Mideast.  It’s a major thing for Ali to allow himself to be touched by her.

PM: We did it in totally different ways.  Peter, who is a very talented director, decided to do something minimal, not showing my face or Kristen’s face that much. I’m not in the shot.  Only my hand is in the shot, and I love that shot.  He didn’t want to do it this way but this was a shot that was supposed to be mixed with other shots.  But he looked at dailies and just used that.  That’s the magic of movies.

DP: Were you staying in character?

PM: Very much.

DP: What was Ali thinking of at that moment?

PM: Trust.  That’s extreme trust.  She puts her hand through the hole in the door and the knife is in his hand, it’s a really big thing.  He puts the tool in her hand, then she grabs his hand.  It’s a really beautiful scene and it’s the ultimate way of showing that two people can connect and trust each other by communicating and listening to each other.

DP: That’s the reason for the movie.

PM: That’s true.

DP: You shot that scene a long time ago, but when you think of it now, do you get watery-eyed?

PM: I do. Everything starts with throwing out prejudgments that this is a bad guy and Americans are bad guys and that Americans and Middle Easterners have nothing in common to talk about.  When you start talking you see that you’re that different and can learn from each other.  That’s what happens at the end of the movie. It’s very beautiful when she brings up the story of her seeing a lion in the zoo.  The result was that she thought the zoo people must let the lion decide whether to stay or be let loose in the unfamiliar wild.  If you want to kill yourself I will give you the space to do it.  At the beginning of the film, the chief guard tells the new guards that they are not there to prevent the detainees from living, the walls do that.  They are there to prevent the detainees from dying because that would cause a big scandal.  So they want to prevent them from killing themselves.  When she leaves, she gives the right to Ali to decide to kill himself or not.

DP: I agree with that.  But is there something more?  Because he talks about how no country will take him if he were released.

PM: Yes, because he was in Guantanamo as a terrorist.

DP: I’m thinking that she is saying release Ali even if he doesn’t have ideal options on the outside.

PM: I don’t know.  In her own way, she tries to stop him.  She proves she isn’t naive when she asks him he wants to kill himself to become a martyr and go to heaven.  She asks smart questions.  She hopes she has had enough impact on him that he won’t kill himself.  And she did.

DP: The reason that it is better that he doesn’t kill himself is that she truly believes things will change and he’ll get out.  If she believed that he’d forever be imprisoned I’m not sure she’d be so motivated to keep him alive.

PM: That’s true.  When you think about it, that makes sense.

END SPOILER ALERT

DP: So the shooting ends, the movie wraps, and it’s all over.

PM: Those last few days were very tough and amazing. Then Peter spent a couple of days on extra shots without the actors.  And two or three days after the crew had finished, there was a wrap party.  I came shaved and in a suit.  I wasn’t aware that I looked different because that was myself. Every person was, “Oh, my good, look at you.  You don’t look like a detainee anymore!”  I surprised everyone.

DP: You filmed this a year ago, so what’s it like getting together with everyone now to promote the film?

PM: Great, butI avoid talking about the film.  I believe that whatever I wanted to say I said in the film.   And the worst part, especially for a director, is to attach explanation to what you did.  If fans ask for explanations I don’t get irritated because we made the film for an audience.  Once the film is done, it’s not in your hands anymore.

DP: I know you want people to ask you, as I ask you, Do you still think of Ali sitting in that cell?

PM: Nobody has asked that yet.  As the credits run at the end of the film, you see the guards walking in the small hall between the cells for about five minutes.  It’s telling you that the prisoners are still there and life goes on there.

DP: In the production notes, Peter Sattler says, “It’s not a political film; it’s a deeply human one.”  I don’t agree.  Often filmmakers will say their very political films aren’t political because they don’t want to scare away American moviegoers. But if we look at the human element and we start identifying with the people who are imprisoned at Guantanamo, then we start asking what can be done for them, including closing the facility–and at that point it becomes political.

PM: That’s 100% true.  That’s good to hear.  I agree with you. You cannot say it’s not a political film.  When you say “Guantanamo Bay,” you’re talking about politics.  When you say “terrorist” or “suspected terrorist,” you’re talking about politics.  The focus is not on the political issues and that’s what Peter was trying to get across.  But we can’t escape from the fact that there are political things in the movie and after you leave the theater you will think about the situation in the United States that has kept Guantanamo from closing.

DP: Tell me about other projects that are out there already?

PM: Melbourne was at the Venice and Zurich Film Festivals and it will be at the Cairo and Tokyo Film Festivals.  I’ll try go but it depends on the schedule for the Criminal Justice series I’m doing for HBO.  It hasn’t been on the air yet because James Galdofini was in it, and he died.  We were in limbo for two years and now John Turturro is in it.  He’s absolutely great.

DP: The premise of Melbourne is A census taker arrives at the home of a middle-class couple as they are about to go to Melbourne and things change.

PM: That’s all you need to know. The other film I’ve done that’s out is Tales, which I made with a great director, Rakhshan Bani-E’temad, the “First Lady of Iranian Filmmaking.”  It’s a beautiful film that won the Best Screenplay award at Venice a month ago.

DP: How often do you go back and forth between Iran and America?

PM: It depends.  We just moved actually, to Los Angeles.  There’s no law about my having to return to Iran, so I could stay here for ten years if I wanted.  I’m still observing the situation, and finding out if it’s possible to make films in both America and Iran. I’ll see what happens. I’m trying to do this because I love to work in Iran, too.  A Separation was made in Iran, About Elly was made in Iran.  I made my own film, Snow in the Pines, in Iran. I’m here in New York until mid-February, in an apartment on the upper East Side. I’m writing seven or eight hours a day and am very productive. I’ve finished one screenplay after two years, and am working on three others. All have parts for me.  There’s one set in Los Angeles that I’ll direct.  There is a dramedy set in New York. The other two will be made in Iran, including one I’m writing with Rakhshan Bani-E’temad that she’ll direct.  I can’t make those kinds of films, my films, in the United States.

DP: Were you surprised that in the United States you could make Camp X-Ray?

PM: I was surprised.  You couldn’t make such a film in Iran.  I’m very happy to see that’s it’s possible to make films like Camp X-Ray today.

DP: Finally, for fans of A Separation, please talk about the ending.

PM: People always ask me about the end of A Separation, about whether the daughter will choose to live with her father or mother when the judge asks her.

DP: Do you know?

PM: Yes, we talked about it a lot.  But we talked about something else–more important than which parent she chooses is which way of living she chooses.  There are two different ways of thinking.  She is living in a country where there is something wrong.  She has the choice of leaving with her mother to live in a better place, or to stay with her father to fix it. His wife tells him that he can’t even manage the house issues without her there “but you want to fix the country?”  He says, “You want to leave, go.  I’m not like you that when there’s something wrong with the country, I just leave.”

DP: From what you just said, I would think the daughter would make the more difficult choice and stay with her father, who needs her help more than her mother does.  But I don’t want to know what she does!

PM: Me, neither!  That’s the beauty of the film.  We can change it in our minds every time we see it.

DP: The one thing we know is that she, like the slightly older Cole in Camp X-Ray, is smart enough and knows enough to make the right decision.

PM: Exactly.

Stella Maris Regional School Property on the Block for $3.5 Million

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The Stella Maris Regional School building on Division Street in Sag Harbor.

The Stella Maris Regional School building on Division Street in Sag Harbor.

By Kathryn G. Menu

In 2011, after 134 years, the Stella Maris Regional School, the oldest Catholic school on Long Island, closed at the end of the school year. Now the building is for sale with a listed price of $3.5 million.

At Tuesday night’s Sag Harbor Village Board meeting, resident and Harbor Committee member Jeffrey Peters approached the board, asking whether or not it had considered purchasing the former school property. Mr. Peters suggested it would be an ideal place for the village to hold meetings or it could even use it as a community center.

The board was largely quiet about the prospect, some members shaking their heads.

“I’m not touching this,” said board member Ed Deyermond.

On Wednesday, Sag Harbor Mayor Brian Gilbride said he was unaware if there was any movement by members of the board to purchase the Division Street property.

“I would say it is listed at $3.5 million, so it is not something I am interested in,” he said. “I think there are major parking issues—it being in the middle of a residential neighborhood—for us to consider moving the village center that way.”

Mayor Gilbride said he would prefer to see the village spend that money to restore the four-story Municipal Building on Main Street, and perhaps fulfill a longtime goal of his—to expand the use of that building into the now vacant third floor. To access the third floor, the village would need to install a new elevator in addition to making other building improvements.

The school property is .74 acre. The one-story building has a total of 32,234 square feet of space, and is a pre-existing, non-conforming commercial space in a residential zone. An open listing is available through all real estate brokerages.

The property is owned by the St. Andrew’s Roman Catholic Church, which is a parish of the Diocese of Rockville Centre. The diocesan communications director, Sean Dolan, was not immediately available for comment. The Reverend Peter Deveraj, the pastor of St. Andrew’s, was also not immediately available for comment.

The diocese closed the school in 2011 after it was revealed it had a $480,000 deficit. While parents initiated a fundraising effort to keep the school afloat, enrollment declined with the news of the school’s financial issues. Since then, there have been two unsuccessful efforts to open pre-schools in the building. It has been used for fundraisers, and also for village police training since it was closed.

Masters of the Telecaster Come to Bay Street Theater

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GE Smith

GE Smith

By Emily J. Weitz

Jim Weidner

Jim Weidner

To understand the jam that is set to unfold at Bay Street Theater this weekend, you must first understand the Telecaster guitar as an instrument. Introduced to popular culture in 1950 by Fender, this solid-body electric guitar broadcasted its sound in a way that no other instrument had. The Telecaster has been a choice instrument of Keith Richards, Bruce Springsteen, and George Harrison, and has contributed greatly to the sound and history of rock and roll.

Jim Weider, former member of The Band, will be one of the three Telecaster virtuosos playing on Saturday. He first heard the instrument in the 1950s.

“I saw it with guys like Jim Burton, who played with Elvis,” recalled Mr. Weider, “and Steve Cropper, who played with Otis Redding.”

He was drawn to the sound, which had a distinctive ring to it.

“It’s harder than a Gibson, though,” he said, “because it has a longer scale length. You have to work harder to get notes to ring out of it.”

He committed himself to the instrument, and has become one of only a select group of musicians to be endorsed by Fender. He explores the range of sounds a telecaster can produce.

“There’s the clean twang,” he said, “to the distorted feedback through classic Fender amps. What made these classic tunes is the sounds and tones of these instruments.”

Mr. Weider, who played with The Band for 15 years and has since played with a variety of groups including the Midnight Ramble Band with the late Levon Helm and Larry Campbell, first decided to put together a show devoted to the telecaster guitar just for fun.

“It was Roy Buchanan’s birthday,” he said, “and he really inspired me on the telecaster.”

Larry Campbell with wife and fellow musician Teresa Williams.

Larry Campbell with wife and fellow musician Teresa Williams.

Mr. Weider first heard Buchanan, who’s considered a pioneer on the instrument, doing psychedelic feed on the telecaster in 1971, and was blown away by it. So for Buchanan’s birthday one year, he thought he’d bring together a few great telecaster players.

“I called up GE Smith to see if he wanted to do it,” he said, “and being a total tele player and great musicologist, he jumped aboard, and it was fantastic. It started growing.”

GE Smith led the Saturday Night Live Band for ten years, and has also toured with Bob Dylan. Together, Jim Weider and GE Smith have done many shows together over the decades since that birthday party, and they’ve experimented with the third player. At Bay Street, they’ll bring in Mr. Campbell, a band mate of Weider’s from the Midnight Ramble Band and a master telecaster player himself.

Larry Campbell is a three-time Grammy Award winning producer who plays many instruments, including the Telecaster. He also toured with Bob Dylan and has played with other artists like Judy Collings, Levon Helm, Sheryl Crow, BB King, and Willie Nelson.

“GE is one of the best I’ve heard on the planet,” said Mr. Weider, “and Larry too. The Telecaster is great for country, blues, rock and roll, and R and B. so each of us pick four or five songs and we go from one to the next with some solos.”

The backup band, which was Levon Helm’s backup band, consists of drums, bass, and keyboards. Together, they play classic songs that really allow the telecaster to shine.

“It’s no pressure, not all on one guy,” said Mr. Weider. “There are enough players that we can really throw it around and jam. We always try something we haven’t tried.”

The Telecaster, Mr. Weider says, is an expressive instrument, and that’s what comes across in these shows.

“More than just playing the tunes and rocking it up,” he said, “it’s about getting the real tones. Telecasters cut through the sound. You can really hear them… You have to experience it.”

The Masters of the Telecaster will give Sag Harbor precisely that experience on Saturday night 8pm at Bay Street Theater in Sag Harbor. Taylor Barton, a singer/songwriter who learned to play among the likes of Bob Dylan and Jerry Garcia, will open for them. Tickets are $35 and are available online at baystreet.org or at the box office – 725-9500.

 

Two Artists Share Common Themes in Temple Adas Israel Show

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Catherine Silver. Toil and Trouble. Jewish Mystic 2012.

Catherine Silver. Toil and Trouble. Jewish Mystic 2012.

By Annette Hinkle

Catherine Silver. Erruptions in the night Encaustic on wood copy.

Catherine Silver. Erruptions in the night Encaustic on wood copy.

Religious art isn’t something that most galleries specialize in — but at Temple Adas Israel in Sag Harbor, religious themed art is not only encouraged… it’s required.

The temple’s gallery space consists of three walls in the large meeting room just inside the building’s main entrance. Ann Chwatsky, a member of the temple’s art committee, curates the space and she explains that in order to exhibit at the temple, an artist’s work must relate to Judaism in some apparent way.

“This is a gallery space, but it’s not one people come to visit off the street,” explains Ms. Chwatsky. “Rather people come in when they’re here for services.”

“My goal is to communicate in an artistic way some Jewishness to add to the experience,” she says. “So far, it’s been really interesting and there’s always something on view.”

The work of two temple members, Barbara Freedman and Catherine Silver, is currently on view “Two Artists — Common Themes” at the temple. The show officially opens with a wine and cheese artist reception on Sunday, October 26 from 4 to 6 p.m.

Both artists divide their time between New York City and the East End, and took part in art workshops focused on Jewish text at the Skirball Center for Adult Jewish Learning at Temple Emanu-El in New York where Leon Morris, Temple Adas Israel’s former rabbi, was once director. Though their artistic styles are strikingly different, Ms. Freedman and Ms. Silver both use Hebrew text in their work as well as imagery reflective of Jewish tradition, mysticism and history.

“Both of them are looking to explore their own relationship to their religion artistically,” says Ms. Chwatsky. “The art helps you to understand more about not just your past but your religion.”

Barbara Freedman. Horizontal Texts 8 x 11

Barbara Freedman. Horizontal Texts 8 x 11

That is certainly true of Ms. Freedman whose work is dominated by collages comprised of various historical, traditional and religious imagery.

“In many of these images, I take photographs and then I bring them together in Photoshop which is everyone’s favorite device,” explains Ms. Freedman. “I paint a background that I photograph then add and subtract images and color and anything that appeals to me — a flower, or piece of text — and collage them.”

To find historic text for her work, Ms. Freedman visited the library at The Jewish Theological Seminary of America in New York where she was permitted to photograph Hebrew on papyrus sheets.

“They had been rolled up for years and never put in a book,” says Ms. Freedman who notes it wasn’t the meaning of the words that inspired her, but rather the visual nature of the texts themselves.

“They have a kind of curl to them. These were just art objects on beautiful paper,” she says. “They were found 100 years ago and very ancient and I was just fascinated.”

Other works by Ms. Freedman’s in this show reference a different kind of history — her own.

A box of old family photographs and mementos were the inspiration behind collages that share a very personal view of the past. One features a photograph of Ms. Freedman’s father along with his personal worship items — his prayer book, tallit, and his tefillin (leather straps inscribed with Torah verses worn by observant Jews during morning prayers).

“The teffilin is made of animal skin and through the years, it had all dried up,” explains Ms. Freedman. “I put the teffilin on the scanner and it picked up the edges of the leather bindings. It had shredded over time and I thought it was just so artistic.”

“I associated it with my dad because it must have been something he used when he was young and didn’t use later,” explains Ms. Freedman who was brought up in a decidedly less conservative religious tradition. “My parents loved the old traditions but they didn’t necessarily practice them in the way they had learned as children.”

Jewish identity is also an important aspect in the work of Catherine Silver. Like Ms. Freedman, Ms. Silver also works in collage, but her medium includes oils, pastels and an intriguing amount of encaustic — beeswax built up in layers. The result is extremely textural work that is chock-full of historical references and dense with imagery.

Ms. Silver notes some of her art was inspired by the text workshops at Temple Emanu-El, but she also draws inspiration from Israel, which she visits often.

“I also define myself as a feminist and some of the themes in my work are feminist,” she says. “It’s a different aspect of women’s identity, religiously speaking, and about finding one’s space.”

When asked about her own religious identity, Ms. Silver responds by saying, “I enjoy different kinds of Judaism. I enjoy Hassidim and go to their services from time to time, I also enjoy the orthodox and the reform service. They are all different in different ways.”

And while Hassidim practice separates the genders during services — hardly a model most modern feminists would embrace — Ms. Silver notes she finds the practice compelling in that is so deeply rooted in historical tradition.

And tradition is ultimately what it’s all about — whether that means preserving it or discovering it.

“My family was in Mexico during the war. My father was a French diplomat there in 1939 and when war broke out he decided to stay in Mexico,” explains Ms. Silver who grew up there and in France.

“My own Jewishness was only made clear and discovered when I was 12,” she adds. “So it has been a search for my roots and the art is part of my search.”

“Two Artists — Common Themes” opening reception is Sunday, October 26 from 4 to 6 p.m. Temple Adas Israel is at 30 Atlantic Avenue, Sag Harbor. Call (631) 725-0904 for details.