Manh(a)ttan

“Welcome to nowhere,” a man in a black suit and glasses says to Abbey Isaacs, the young wife of Charlie Isaacs, an ambitious, young scientist arriving at the army base in Los Alamos, New Mexico. The WGN series, Manh(A)ttan dramatizes the lives of the physicists who worked to develop the nuclear bomb and end World War II. The show ultimately concerns itself with people, though: their relationships, their needs, their sins and their struggles, all amidst war, secrets, and pressure.

The show immediately introduces the 1940’s scene by revealing women in tea- length, collared, short- sleeved dresses, curly hair and bright red lips, all according to the fashions of the time. They fan themselves as they walk through the make-shift markets on the dusty streets lined with shabby pre-fab houses. The men wear either army uniform or dress suits, the former to monitor the latter, who are physicists and scientists. Their job is to build an atomic bomb that will end WWII.

Tension rises and the plot deepens in the early episodes, presenting a frustrated workforce battling both time and the army’s paranoia. Multiple times the lead, Dr. Frank Winter portrayed by John Benjamin Hickey, continues his count of child deaths around the world because of the war. As time moves forward, the pressure to complete the job builds. The actors do an excellent job capturing the rising tension through angry stares, sweaty foreheads, bloodshot eyes, and shaking hands.

Frank’s need for solitude expresses this increasing pressure; during their Fourth of July party, Frank’s wife, Liza, played by Olivia Williams, follows him outside. As they sit on a bench under the calm, desert stars in their secret town, she reminds him of a speech she once gave about orchids; it could survive in any condition, in the cold, in the dessert, but it couldn’t survive alone. Williams presents Liza as a voice of reason in a very poignant scene, reminding the stressed character and apprehensive viewer that no matter what happens, people have to stick together.

Yet, as secrets turn into deception and time passes, the tension between the army and the scientists escalates until location is their only common bond; a scientist is unjustly accused and loses his life, the army covers up the truth, and an undeserving soldier gets promoted for heroism.   The strain deepens within the scientists themselves, as physicists bicker and obstruct each other’s work.   Injustice, corruption and the perversion of truth begin to take over Los Alamos.

Manh(A)ttan effortlessly shows the flaws in human relationships; the use of others for personal gain, the injustice and deceit in partnerships, and the problem of pride in collaboration. It poignantly stages the bond of humans forced to unite under common purpose despite their different roles, making the viewer question throughout which bomb will go off first: the one to end all wars, or the one that defeats the mission of Los Alamos.

Network — A Tale of Two Generations

By Steve Craton

It’s easy to call the darkly satirical 1976 film Network a prognosticator of television’s current state of shock and awe.  In this age of “reality television,” viewers have come to accept as just another broadcast staple shows that focus on the everyday lives of dysfunctional families and annoying (if sometimes likable) individuals.  We’re accustomed to the idea that the networks and their multi-national corporate owners try hourly to influence our thoughts, our lives and — most importantly — our spending habits.  Similarly, we’ve known for a long time that these corporate entities are concerned primarily with profits rather than quality.  In this respect, Network still functions like the canary in the coalmine, prophesying the rise of trash television as a by-product of the corporate fixation on ratings over everything else.

Directed by Sidney Lumet (12 Angry Men, Dog Day Afternoon, The Verdict), Network (1976) is a scathing critique of that era’s television industry.  Written by Paddy Chayefsky —the renowned television writer who won the Academy Award for Marty (1955) and The Hospital (1971) —the film focuses on a fictional television network and its poorly rated news division following a corporate takeover.

Max Schumacker (William Holden), a middle-aged network executive, struggles to keep control over his news division in the wake of lead anchor Howard Beale’s (Peter Finch) televised nervous breakdown – which happens to boost the flagging show’s ratings through the roof.  His nemeses are corporate hatchet-man Frank Hackett (played menacingly by Robert Duval) and the hatchet-man’s young go-to executive, Diana Christensen (Faye Dunaway).  In the midst of the drama surrounding the incredible ratings generated by the news anchor’s meltdown and his new “angry common man” show, the married Schumacher and career-obsessed Christensen begin an ill-fated affair.

Chayefsky provides scathing commentary on the post-60s/post-Watergate era, pointing to the differences between the old guard of network news and the corporate newcomers who will sacrifice news programming — and investigative reporting, as well as decency — for ratings to make a profit.   Beale is allowed to go on the air, ranting and raving over the evils of the television culture, simply because his wildly popular show gets phenomenal ratings.  The irony here is clear; networks no longer fear the subversive when its entertainment — and ratings — value trumps any revolutionary message.  For a contemporary comparison, look at episodes of Seth MacFarlane’s Family Guy as well as its animated predecessor The Simpsons.  The network that airs both shows, Fox Broadcasting, is often the butt of many of both show’s jokes.

Chayefsky even goes so far as to suggest that a show advocating communism and the overthrow of its “capitalist overlords” would make it on TV if it drew ratings and made money.  The Mao Tse-Tung Hour, a money-making enterprise for the network and a soapbox for American Communist Party official Laureen Hobbs (Marlene Warfield), follows The Howard Beale Show.  But money’s corruptive influence infects everyone, and eventually, even Hobbs falls for to its thrall, screaming about distribution charges, script approval, and syndication while a bunch of lawyers work out the finer points of their highly rated show’s contract.

The corporation’s love affair with The Howard Beale Show ends when Beale shares the facts of a secret corporate buyout of the network.  His rant succeeds in stopping the Saudi Arabian investor, but corporation chairman Arthur Jensen (Ned Beatty) is not pleased and explains his personal “corporate cosmology” to Beale.  Espousing this “cosmology” on the show results in a massive ratings drop, but Jensen’s order is that Beale’s show must never be canceled regardless of ratings.  A meeting is called – minus Schumacher, no longer an executive or Christensen’s lover – to plan the assassination of Beale live on television.  The assassination occurs and a bullet-ridden Beale is shown over and over amid commercials for breakfast food and skyrocketing ratings.

How does Network rate in today’s televise-everything landscape?  Within the last two months alone, a suicide and police vehicle assault – both victims being suspects chased by police – have been televised.  In the former, the news outlet actually broadcasted the suspect shooting himself in the head.  These days, television networks have taken it upon themselves to broadcast live events – no matter how heinous – and either just apologize or pay a fine while they reap profits.  Today’s network executives may have seen Network, but if they did they failed to understand the moral of the story.

‘Do No Harm’ Doesn’t Do Much Good

By Dominica Nemec

When NBC came out with Do No Harm in 2013, it seemed like just another medical drama with a quirky “twist.” In the pilot, the acting, cinematography and music score wouldn’t be described as a masterpiece, but viewers couldn’t help but wonder what was going to happen. Why was Dr. Jason Cole, played by Steven Pasquale, racing against the clock? Then the big reveal came: he has an alternate personality that emerges for 12 hours each day, starting at 8:25 p.m. After a few exciting minutes of originality, it’s Dr. Jekyll/Mr. Hyde all over again. You’re slightly disappointed in the lack of original thought, but you stick around to watch and see how well the writers twist the story into their own.

The show has good intentions. The battle between Jason and Ian, the alternate personality, is a classic tale of good vs. evil. Jason is a responsible, smart neurosurgeon who is a total gentleman to Dr. Lena Solis (played by Alana De La Garza), a fellow doctor romantically interested in her colleague. He’s also genuinely and affectionately concerned for the safety of his ex-fiancée, Olivia, who appears to have dumped him (for Ian’s poor behavior, not Jason’s). Simply put, though, he is too perfect. Enter Ian, who is everything Jason is not. He’s a drug-abusing, partying, womanizing jerk who knows nothing about being a doctor, tries to sexually abuse Lena and stalks Olivia. The intentions of the writers were to create a compelling contrast, but it would have made for more intriguing cognitive dissonance — and much more entertaining viewing — if the line between the two personalities wasn’t as clear.

While it’s important to keep in mind that TV shows don’t reflect reality, it can sometimes be hard to get over small details that you just know are unrealistic. If Jason is such a superstar surgeon, how was he able to get through college, medical school and residency while only being able to function 12 hours a day? If there is one thing we have learned from Grey’s Anatomy, it’s that doctors do not sleep. The creators of Do No Harm could have thought this through a little better.

While the pilot grabbed our attention by becoming more entertaining toward the end, it started as a poorly written, poorly acted show. Lines were predictable and almost bordered on plain cheesy (like when Jason said, “I promised Ruby I wouldn’t rush” during Ruby’s brain surgery), and the writers took away any element of surprise (was the line “it’s not working” really necessary when it was obvious the drugs were not working?). However, not only did the end of the episode create enough suspense to overcome these pitfalls, but the following episodes greatly improved. Although the actors still could have not tried so hard to seem genuine (sometimes less is more, guys), other aspects such as the score became much more fitting, such as the use of popular tunes like “Paint It Black” by The Rolling Stones.

The cinematography also improved as the series went on, and could even be described as excellent by the beginning of third episode, “Morning, Sunshine.” That’s when the camera alternated shots between Jason speaking in his support group, describing the rules he came up with for Ian, and Ian walking down a dark road, lighting a cigarette. Also by the third episode, the writers eased up on the expository storytelling, and at times we could hardly distinguish between the show and a horror movie, it was that good. Despite a slow, underdeveloped start, the show surprisingly took a turn for the better, leaving us wanting more.

What really makes the show work is the constant banter between the two drastically different personalities. Ian’s bad boy image and care-free attitude gives the show much-needed comedic relief, like when Jason wakes up while driving a new car with a high-class blow-up doll riding shotgun.  We all watch television for the same reason, to exchange our own realities for a few hours of pure entertainment. Our obsession with bad boys is just that, entertainment. Most of us wouldn’t dare become meth dealers like Walter White from Breaking Bad, or heads of organized crime like Tony Soprano from The Sopranos, but we sure enjoy watching them on TV. With Do No Harm, we find ourselves craving more of Ian, and Jason just seems like a necessary nuisance. Relax Jason, and live a little.

From Hunger Games to Homeland, Charlotte Locals Work as Extras

By Haley Twist

“Run like hell!” someone screams, inspiring pedestrians and shoppers to run for their lives outside the TCL Chinese Theater on the historic Hollywood Walk of Fame. Groups of men and women dart pell-mell down the street past a traffic jam of cars and buses. But it’s too late: some people are thrown through the sky, while others melt and vaporize into thin air.

“Cut!” yells the assistant director of Iron Man 3, putting an instant halt to the pandemonium. These busy streets of Hollywood are actually the Iron Man 3 film set, and the pedestrians are standing in a huge green room where the filmmakers can later use computer-generated imagery (CGI) to add cinematic special effects.

Among the pedestrians is Lewis Herman, movie extra by day and J. Murrey Atkins Library information desk employee at UNC-Charlotte by night, hired as an extra for the scene. His job when the cameras start rolling is to quickly run in a predetermined direction until someone calls “cut.” When he hears this, he walks back to his mark and waits for “action!” to be called, alert and ready to shoot the scene many times more.

“The scene’s not done until they say ‘checking the gate,’” Herman says, who first began taking extra calls in 80s. “Usually there’s a long break while the cameras are moved and set up again.”

Like the other extras, Herman’s given specific instructions about how to act and when. In between takes, the extras wait — and wait…and wait…and wait — while equipment moves around, gaffers gaffe, actors re-think their motivation and writers’ re-write. In the life of an extra, there’s a whole lot of ‘hurry up and wait.’

In recent years, Charlotte and surrounding areas have become increasingly popular film locales. From older films like Steve Rash’s 1996 comedy Eddie and Peter Farrelly’s 2001 romantic comedy Shallow Hal, to the more recent Gary Ross novel adaptation The Hunger Games and the Showtime Emmy award-winning series Homeland, Charlotte is being featured more frequently on the big (and little) screen. This gives local movie or television buffs the chance to see the action first-hand — and sometimes even get paid for it.

Often called “the background,” “the atmosphere” or “the non-principal performers,” film and television extras have a unique job that differs on every set. From long days consisting of minimal work to short days filled with tedious activity, an extra’s point of view is unlike that of any other position on set.

“Each set is different,” said Richard Poplin, a recent UNC-Charlotte graduate who frequently appears on locally filmed television shows. “Each time you go, it’s something different because we are always shooting different things, from raves to being a cop. You never know what you are going to get.”

Whether it’s a vaporized pedestrian, a high-class businessman, an concert-goer or an Amish countryman, extras get the chance to wear many masks.

“It was a lot of things: terrifying, ego-squelching, boring, exhausting, and, yeah, kind of fun,” MSNBC.com contributor Kim Foreman wrote about her experiences as an extra on the set of Ugly Betty. “You get to go behind the scenes, get into secret places and see and do things that are normally off-limits. And when you see yourself on TV you jump up and down shrieking ecstatically and then show your friends the tape.”

Herman has similar feelings about appearing as an extra, but says the possibility of seeing himself on-screen never gets old. His Facebook cover photo even features a still of him appearing in The Hunger Games, made-up to look like a high-class member of the fictional Panem society and experiencing his own taste of stardom.

But the process to appear on the big screen is a long one, and it all begins with finding the gigs.

“Facebook is a great resource for finding these opportunities,” said Kayla Turner, a junior film studies student at UNC-Wilmington, who appears in multiple television shows shot regionally, including the CW’s One Tree Hill and Showtime’s Homeland. Turner adds that the local newspaper also lists which productions are in need of extras or stand-ins that are filming in town.  Another source is  the online film commission (website) and, of course, Google. But maybe the best resource of all is Tona B. Dahlquist, a casting agent who manages Charlotte-area productions as well as others in the southeast.

“(She) basically does all the casting for everything in the Charlotte area, so once you work for her one time on any set, and are reliable, you can pretty much count on working every project she has at least once,” says Poplin, who’s used social media to find casting opportunities like the The Hunger Games, Homeland and Cinemax’s Banshee.

Once added into her Facebook groups, which are often disguised as code words for larger, more well-known projects, extras have access to casting information and opportunities for surrounding area productions, including those in Charlotte, Gastonia, Wilmington and Atlanta.

Anyone interested in available casting opportunities can apply as long as they fit the criteria the filmmakers are requesting. That can range from “looking for a set of sisters ages 4-7” to “seeking women with an exceptionally unique derriere.” After an application is submitted and approved, the extras simply wait for the call sheet, which provides the where and when.

Once on set, which could be a studio, sound stage, green room or an outside location, extras are given their instructions for the day. Depending on the scale of the production and what the extras are playing, some have to bring their own clothing. But if it’s a larger or more specialized production, hair and makeup is often provided for the extras.

“One of the weirdest things was having to wear so much make-up during The Hunger Games,” said Poplin, who sported a teal toupee during the filming of the movie.

From there, the waiting game between takes begins. While some extras use the time to socialize and eat, others bring their own activities to keep them occupied, like their books, Nooks or crossword puzzles.

“A lot of people bring books or have their iPads, or even on the last set I was on, someone was knitting,” Poplin said. “Also, it’s not a bad idea to close your eyes and rest them for a few, considering most [shoots] are at least 12 hours.”

With such a unique job also come unique rules. Extras never talk to the actors while filming as to not distract them (after all, no one wants to experience a Christian Bale-like freak out from an uber-serious actor). Another is to never look at the camera while it’s filming. Herman admits that it’s really tempting to look in the direction of the camera, but it’s something that with practice can – and should — be avoided.

“If you ignore it, you can act much more naturally,” said Herman, who once ruined a scene by accidentally looking into the camera while filming Eddie in the old Charlotte Coliseum. “They yelled out ‘cut!’ and they said ‘Somebody looked at the camera and we have to do that over again.’”

While many extras first get involved in the business because of a passion for film, production or acting, the hard work and long hours earns them at least a little more than just experience. In Charlotte-area filming, the pay rate is usually $7.50 for the first eight hours, and then time-and-a-half for every hour worked after that.

“However, they also feed you and there are times where out of eight hours you might work two, so even though the pay is almost minimum wage, you still have a good chance to make a few dollars,” said Poplin, who has been using the money earned on film sets to sustain him during post-graduation life.

According to Herman, it’s possible to make a larger amount of money for contributing something additional that the production team is looking for, including smoking, biking and even nudity, the latter often paying a couple hundred dollars per day. If you’re able to land a speaking role, you may eventually be eligible for a SAG (Screen Actors Guild) card, which could result in massive pay raises.

Many extras who prove they’re hardworking can even be called back on set for re-shoots, which occur when the director is not happy with the primary footage. That chaotic Iron Man 3 scene, shot in Wilmington, is a re-shoot of the original scene shot last June on a Wilmington sound stage.

“I like re-shoots because we’re more likely to be seen in the final picture,” said Herman, who traveled to Wilmington to appear in both the original scene and the re-shoot. Herman hopes that being an extra will eventually lead to a featured role, which would pay more, as it may or may not contain speaking and even lead to SAG card eligibility. Others are happy to continue as an extra for the mere experience, which can sometimes be more interesting than anticipated.

“I did make really good friends with this one actor (I won’t name who) and he turned out to be really inappropriate in his conversations with me and wanted to fly me out to L.A.,” said Turner. “I stopped talking to him, to say the least.”