Posts Tagged ‘Inside Moves’

The Devolution of Basketball

Saturday, October 31st, 2009

birthday jester

John Wooden, the legendary coach of the UCLA basketball team just turned ninety-nine. Wooden coached the UCLA team from 1948 to 1975 and won ten National Championships in a span of 12 years, including 7 in a row from 1967 to 1973, a feat so unimaginable today it seems more myth than fact. As a college player, Wooden was a three-time consensus All-American, the first ever, and spent several years playing in the early professional leagues while simultaneously coaching high school teams. During one 46-game stretch as a pro he made 134 consecutive free throws. During World War II, he enlisted in the Navy and rose to the rank of lieutenant. He never made more than $35,000 a year as the UCLA coach, and never asked for a raise.

Wooden said: “The main ingredient of stardom is the rest of the team,” and “What you are as a person is far more important that what you are as a basketball player.”

In an interview with him on the day before his 99th birthday, he was lucid and wry, and made a fervent wish that “they” wouldn’t do anything special for his birthday. “If I make it to a hundred, well, okay.”

Among Wooden’s many famous protégé’s was Lew Alcindor who became Kareem Abdul Jabbar. We often hear superlatives connected to the superstars of today, but none of them single-handedly changed the game of basketball as Alcindor did. Few remember that when Alcindor began his college career at UCLA, freshmen were not permitted to play on varsity teams. Alcindor’s freshman squad played the UCLA varsity squad, the number one-ranked team in America, and beat them 75-60. Alcindor scored 51 points, many of his baskets dunks.

As a result of this overwhelming display of his dominance, and before Alcindor could join the varsity squad as a sophomore, the NCAA banned the dunk in college basketball, a ban that was lifted three years later when Alcindor graduated and turned pro. That’s right. They imposed a national ban to contain one specific player. But even without the dunk, Alcindor was so dominant (and seven-foot two inches tall) that for the first time in the history of basketball, referees allowed defenders to constantly foul another player (Alcindor) to keep him from scoring. I am absolutely certain that when defenders were given the green light to hold and push and hack Alcindor, the game of basketball began its swift devolution to the completely different game we have today.

Basketball was invented as a non-contact sport in 1892. And by non-contact, I mean No Contact. No touching; something hard to imagine as one watches the physicality of today’s pro and college games. When I played basketball in high school in 1964, we were stringently coached that any contact with the player we were guarding was a foul. Any touching at all, even a slap on the wrist, was a foul. The only permissible contact was when players bumped each other going for a rebound. If you went over somebody’s back or intentionally pushed another player to get a rebound, you were committing a foul. Five fouls and you were out of the game.

I played on the university team in the early days of UC Santa Cruz. We played in an industrial league that included Sylvania, a cannery, a meat packing company, a couple taverns, and a Bible college. No contact allowed. Good referees. Big fun. When I dropped out of college, I continued to play in pickup games and on city league teams wherever I lived. Then in 1974 I moved to Eugene, Oregon and encountered the newest kind of basketball, a dangerously violent game wherein if I dared call a foul when someone shoved me or punched me, I might get punched again.

As it happened, John Wooden was in his next to last year as coach at UCLA when I lived in Eugene, and he seriously considered forfeiting the Eugene game with the University of Oregon because “the kamikaze kids”, as the Oregon team was nicknamed, might seriously injure one or more of the UCLA players as part of their game strategy. Yikes. I soon discovered that such intentional violence had taken hold in the gymnasiums and on the playgrounds of Eugene, along with another truly absurd wrinkle in the game: legal traveling. Traveling in basketball refers to a basketball player carrying the ball several steps without dribbling the ball, a thing that used to be verboten. But in Eugene, players were suddenly taking several steps with the ball before shooting or passing, and the few times I called someone for traveling I was threatened with bodily harm.

I am not a large person, and one of the supreme joys of the original game of basketball came from knowing that the rules protected me from having to go mano a mano with anyone, let alone someone a hundred pounds heavier and a foot taller. Finding these protective rules removed, I spent the remainder of my year in Eugene shooting hoops solo or playing volleyball with a net separating me from my opponents.

John Wooden was horrified by this sea change in the game he loved, and he became a vocal advocate of raising the height of the hoop from ten feet to at least eleven feet, and the addition of a new rule: when the shooting team got a rebound, the rebounding player had to make a pass before that team could take another shot. He tried using this new rule with his teams in scrimmages, and sure enough, much of the bullying big man domination was neutralized.

But Wooden’s suggestions came too late, as size and brute strength and dunking became all the rage in college and pro ball, and by the time Magic Johnson played one year of varsity college ball as a freshman and then turned pro in 1979, the old game was dead. Magic was six-foot nine inches tall, and played guard, the little guy’s position.

In 2008, the NBA added yet another new rule to professional basketball: players who have the ball low in the key, within five feet of the hoop, can charge and knock over any player between them and the hoop without being called for a foul. They’ve even painted a No Charge Will Be Called stripe in the lane to mark the magic boundary. This ridiculous new rule allows huge players like Shaquille O’Neal and LeBron James to use their enormity to shove or scare defenders out of their way. Violence has now been officially written into the professional rules, along with allowing players more and more steps without dribbling prior to a dunk. This new dunking protocol facilitates more spectacular dunks, which are now the most popular part of the professional game.

As a teenager, basketball was my escape from an unhappy home, and as a young adult basketball was a big part of my social life. If I had a dollar for every hour I spent shooting hoops from age twelve to forty I could buy a nice new Japanese pickup truck. Two of my eight published books are novels with basketball as backdrop to the human comedy, which is to say the devolution of what was once my favorite sport saddens me. My novels Ruby & Spear and Inside Moves can be purchased for mere pennies, and I mean a few coppers, from myriad used bookseller on the internet.

For many of us who knew the game thirty years ago, today’s professional games are fairly redundant variety shows of semi-staged performances by amazingly gifted athletes, but not often contests between whole teams. And as the pros play, so do the young players who watch them. I recently gave a ride to a tall young man hitchhiking with a basketball under his arm. We began to speak about the game, but within a sentence or two, I realized he might as well be Russian and I Turkish, with no common language regarding the game, so we fell silent.

I have a friend with whom I used to avidly play basketball. For the last twenty years, he has been playing basketball four mornings a week at the YMCA in Sacramento with a bunch of guys who play by the old non-contact rules. He says the game continues to be a fabulous workout and a supreme blast, and I am deeply jealous.

Todd’s web site is underthetablebooks.com

Three Presidents (and a First Lady)

Thursday, October 15th, 2009

For most of my sixty years on the planet I have been a social recluse. Yet through no conscious intention on my part, I have come face-to-face with three presidents of the United States (and a First Lady).

In 1962 I was in the seventh grade in Menlo Park, California. I was a baseball fanatic and not much interested in politics, though I was fascinated by Fidel Castro and the possibility of nuclear war.

“Class,” said Mr. Arbanas, our perpetually befuddled teacher. “President Kennedy is coming to the University of California to give a speech. Each core class will elect two students, one boy and one girl, to attend. If you want to go, raise your hand.”

We all raised our hands. By secret ballot and the intercession of angels, I was the boy chosen to represent my class. On the morning of March 23, 1962, I boarded a school bus with several other students and a gang of teachers, and we rumbled across the San Mateo Bridge and up through Oakland to Berkeley. We had been advised to bring a sack lunch and binoculars. I was one of those unfortunate children whose mother had no interest in making my lunch. Ever. From the age of five I made my own lunch, the same lunch, every day: a peanut butter and jelly sandwich, an apple, and a carrot. This is the lunch I brought and ate on that historic day.

I did not have a pair of binoculars, but everyone else had a pair, so my plan was to borrow. We most definitely needed binoculars since our seats were the very highest in the stadium, the podium on the stage at midfield barely visible to our naked eyes.

There came a great parade of men and women in caps and gowns representing their illustrious alma maters, the day being the 94th anniversary of the charter establishing the public universities of America, which is what Kennedy spoke about. To my twelve-year-old ears and mind, the speeches preceding Kennedy’s speech, and his speech, too, were numbingly boring. I certainly enjoyed my glimpses of Kennedy and his marvelous hair through borrowed binoculars, and I thrilled to his voice, but not nearly so much as I thrilled to the myriad alluring females filling the stands around us.

Near the end of Kennedy’s address, a lunatic classmate threw an orange that struck the back of my neck. The shock of this sudden and unexpected attack caused me to pick up the exploded orange, turn in my seat, and hurl the gucky missile back at my assailant. He ducked, and the mess struck Miss Imbach (destined to be my eighth grade teacher) in the face. For this heinous crime, I was immediately yanked from my seat and marched out of the stadium by someone (I can’t recall who) to wait in ignominy on the bus.

However, my ejection coincided precisely with Kennedy finishing his speech and exiting the stadium ahead of the ceremonial finale so he might escape the ensuing gridlock. In the tumult outside the stadium, I was separated from my escort and swept along in a crowd of people hoping for a glimpse of the president.

And lo and behold, I found myself walking beside President Kennedy. Right beside him. And he was smiling. And he had a big head and fabulous teeth. And here’s the thing, honestly, he seemed genuinely happy, even perhaps enthralled, as he strolled along in the excitement of Berkeley in early spring being President of the United States. Then he looked at me and said “Hello,” or “How are you?” though I might have imagined that. But I didn’t imagine what I said to him, which was, “Thank you.”

I’m not sure why I said “Thank you”, but it may have been because I was grateful he hadn’t started a nuclear war with Russia over Cuba.

Back on the bus, one teacher after another chewed me out for throwing the orange at Miss Imbach. I was threatened with expulsion for dishonoring our school, and told I would definitely not be allowed to go on the upcoming field trip to the beach. But all I could think about was how happy Kennedy had seemed, and how I wished I had said to him, “Can’t we be friends with Fidel?”

The text of the speech Kennedy gave that day, which is both sad and ironic in light of today’s economic and educational meltdowns, can be read at the John F. Kennedy Library & Museum web site.

&

May 1969. I was nineteen and in my last few weeks of college (forever) at UC Santa Cruz. The People’s Park revolt was underway in Berkeley and I was involved in sympathetic protests at our new university in the redwoods. At the height of the carnage in Berkeley, the Regents of the University of California, including Governor Reagan, came to the Santa Cruz campus to hold their annual meeting. Perhaps they thought Santa Cruz was far enough away from bloody Berkeley for them to be safe, but it’s more likely they were just arrogant despots.

So the fat cats had their meeting in the new cafeteria at Crown College, and I went with a gang of demonstrators to mill around outside and voice our dismay at the university’s support for the war in Vietnam and to protest their violent response to unarmed people trying to create a park in Berkeley on vacant land. That’s what I was dismayed about. The more sophisticated demonstrators were dismayed about many other things, too, but I just wanted the stupid war and needless violence to end so I wouldn’t lose any more friends and we could have, you know, a cultural renaissance.

I suppose for the same reason Kennedy made an early exit from the stadium in 1962, Reagan was hustled out of the Crown cafeteria several minutes before the regents’ meeting officially adjourned. We saw the governor board one of the large snout-nosed yellow school buses used to ferry people around the bucolic campus, and we, the people, went chasing after him.

Crown College was a maze of buildings on a steep hillside with more dead ends than through streets, and it was up one of these dead ends that Reagan’s misguided driver turned. We followed en masse and effectively corked Ronald’s escape route with our bodies, and then several of the protestors began to rock the bus. There were some, perhaps, who hoped to roll the bus, but most of us just wanted to scare the crap out of our putrescent governor.

The cool thing was, before the police came and chased us away, we had several minutes of this good college fun, during which I was hoisted onto the shoulders of my fellows and brought face-to-face with Ronald Reagan. His nose and mine were no more than two feet apart, only the glass of the bus window separating us.

I suppose I might have shouted, “Off the pigs,” or “Get out of Vietnam,” or “Free People’s Park,” but I could only muster a hopeless, contemptuous, bewildered smile, because I really couldn’t think of anything to say that would mean anything to him. I could see by his face and demeanor and, if you will allow me, his aura, that he didn’t have the slightest understanding of why we were so upset. To Reagan, we were just hooligans, and to me Reagan was just a mean man of no great intelligence working for a bunch of other mean men and saying whatever they told him to say. He was a puppet. He was the guy who introduced Death Valley Days and sold Borax. He was nobody. He was a rich dupe and he was annoyed we had him temporarily bottled up, but he wasn’t afraid. He looked me in the eye and smiled a sneering smile, and then he slowly shook his head as if to say, “You’ll be sorry,” and he was right because my comrades dropped me like a hot potato when the cops converged on us, and I hit the ground hard before I ran off into the woods.

Okay. So Reagan wasn’t yet president, but he would be soon enough.

&

My dear friends Bob and Patty were married in Sacramento on September 4, 1975. I took the train down from Eugene, Oregon to be in their wedding in an old brick cathedral. The processional was Stevie Wonder singing, “I believe when I fall in love this time it will be forever,” and the recessional was the overture from Camelot. Thirty-five years later I’m delighted to report that Bob and Patty are still happily married.

The morning after the wedding, I was strolling down L Street and nearing the capitol when my way was blocked by a barrier of police tape stretching across L Street and the sidewalk and up to the capitol building. Why? President Gerald Ford was staying at the Senator Hotel on L Street and was soon to cross over to the capitol. Had they not strung up this barrier, I am certain no one would have known or cared that Gerald Ford was planning to cross the street there; but that was only the prelude to a most peculiar presidential event.

I was no fan of Gerald Ford or the mass murderer he’d replaced, but I thought it might be fun to see the president and then tell Bob and Patty I had. There were only a few dozen people on hand to witness Ford’s transit, all of them “caught” as I had been and not there out of any abiding love for Gerald. As we stood behind the flimsy barricade in the growing heat, I noticed a woman dressed as Little Red Riding Hood on the wrong side of the barrier chatting with a state policeman. They spoke amicably for a moment, and then he gestured for her to get back on the spectator side of the tape, and she did so, standing a few feet away from me.

A moment later, Ford came out of the Senator Hotel flanked by several men in suits. They crossed L Street and started along the walkway that transects the lawn to the capitol building. I remember being struck by how big Ford and the Secret Servicemen were, as if they had armor on under their suits. I remember, too, there was nothing festive in this transit, and that when Ford was ten feet away from me, his face looked grim to the point of horror.

Then Gerald abruptly veered away from the tape until he was at least thirty feet away from the nearest spectator, at which moment one of the Secret Servicemen launched himself toward, I thought, me, but actually toward Little Red Riding Hood, who turned out to be Lynette “Squeaky” Fromme, a follower of Charles Manson. The big guy wrestled the little woman to the ground as Gerald was literally picked up and carried into the capitol building by his huge henchmen.

Squeaky was sentenced to life in prison for what she allegedly did that day, attempting to assassinate Gerald Ford. She was released from prison in August of 2009 after serving nearly thirty-five years for pointing an unloaded gun in the direction of the president. At the time of Squeaky’s symbolic act, there was hope among Republicans that Squeaky’s and a similarly bizarre attempt on Ford’s life by another woman two weeks later, might improve Gerald’s chances of election, but that was not to be.

The odd thing from my point of view was that in the immediate aftermath of the incident, none of the authorities on hand were interested in speaking to me, though they eagerly recorded the testimony of people standing much farther away than I had been from the flying Secret Serviceman. Perhaps my unruly hair and raggedy clothes and overall counter culture appearance rendered me an undesirable witness. And, yes, whether it was or not, the entire event seemed so obviously staged as to be laughable.

&

Three years after my brief encounter with Gerald Ford, I published my first novel Inside Moves (you can download my new reading of it from Audible.com) and the publisher was Doubleday.

My editor was a young woman named Sherry Knox. She and I had spoken on the phone while working on the rewrite, but we didn’t meet in-person until I flew back to New York for the publication party in the spring of 1978. Judging by her voice and her manner of speaking, I assumed Sherry was a highly educated white woman. As I sat in the foyer at Doubleday, I rose twice as white female editors came out to meet their authors, but neither woman was my editor. Then a beautiful black woman emerged from the editorial catacombs, recognized me from my author’s photo, and introduced herself as Sherry.

And I, thunderstruck by the realization that Sherry must have bought my book (about black and white people loving each other) at least in part because she was black, said without a care for political correctness, “Sherry, I never once thought you were black.”

To which she replied, “I’m glad.”

On our way to Sherry’s office, we stopped to pay obeisance to Betty Prashker, the powerful editor-in-chief who lent Sherry sufficient clout to purchase my unlikely novel, and then Sherry whispered, “Would you like to meet Jackie Kennedy? Her office is right next to mine.”

So we popped into Jackie’s office, and there was the former First Lady looking trim and slim in a crisp white blouse and a gray skirt, her eyes shielded by gray-tinted glasses. She was poring over proofs of an enormous glossy coffee table book, probably something to do with the lives of the super wealthy, of which she was an authority. Sherry introduced me. Jackie took off her glasses, smiled a crinkly smile, and shook my hand.

What I remember most about her was that she didn’t sound at all like the soft-spoken Jackie Kennedy I recalled from her days as First Lady. There was nothing soft or slow in her speech, but rather roughness, even harshness, as if she had taken on the accent of greater Manhattan.

“Sherry’s great. You’re in good hands,” said Jackie, her grip impressively strong. “Good luck to you.” And then for some reason she laughed, and I heard the same harshness in her laughter, and I laughed, too, though more out of nervousness than because anything was funny.

Then Sherry took me to lunch at a snazzy restaurant where we were joined by Sherry’s close friend, Olga Adderly, the widow of a great hero of mine, the tenor sax giant Julian “Cannonball” Adderly. And for the entire meal I marveled that both Jackie and Olga had been married to men who were now legends, both men dying at forty-six, which even at my tender age of twenty-eight seemed terribly young to me.

(This article originally appeared in the Anderson Valley Advertiser in October 2009)

audiobooks available

Thursday, June 18th, 2009

Audiobook editions of two of Todd’s works, Inside Moves and Buddha in a Teacup, are now available for sale and download at Audible.com. Now, you can hear these books in their entirety and in Todd’s own voice.

Inside Moves

Wednesday, April 15th, 2009

Here’s Todd reading the first four chapters of his novel Inside Moves.

The Resurrection of Inside Moves

Thursday, December 11th, 2008

(First published in The Anderson Valley Advertiser, thanks to Bruce Anderson)

I wrote the novel that would become Inside Moves in 1975, just as the United States was finally pulling out of Vietnam. I was living in a garage in Eugene, Oregon, having been saved from an ignominious return to college by the sale of a short story to Cosmopolitan magazine. My rent was thirty dollars a month, so the nine hundred dollars from Cosmo was, to me, a vast fortune and would enable me to write two novels, two plays, and several short stories before the largesse was finally spent.

 The voice that spoke Inside Moves through me was that of a young man wounded and disabled in the Vietnam war. My first and finest literary agent, Dorothy Pittman, now deceased, showed the manuscript to thirteen publishers in two and a half years (this was before simultaneous submissions were permitted in the publishing business.) The book was declared a narrative tour de force by several of the first twelve editors to read the manuscript, each anointing the book “an impossible sell.” Cripples and Vietnam were not popular topics in those days.

Miracle Number 1

The book was eventually bought in 1977 by a young editor at Doubleday named Sherry Knox under the auspices of the powerful Betty Prashker. I believe this was the first novel Sherry ever purchased. My advance, minus Dorothy’s commission, was thirteen hundred and fifty dollars, which money lifted me out of dire poverty into semi-functional poverty in my garret in Seattle.

When I had rewritten the book to Sherry’s satisfaction, and my brother Steve had come up with the stellar title to replace my original title, The Gimp, the great minds at Doubleday decided to let Inside Moves die before publication. This is common practice in large corporate publishing houses when Sales decides they don’t want to push a book.

However, to minimally fulfill their contractual obligations, Doubleday listed the book in small print at the back of their Spring catalogue with this briefest of descriptors: “Inside Moves: story of friendship between two men in San Francisco bar, basketball sub-plot.”

 Miracle Number 2

An editor named Bill Contardi at the paperback house New American Library read the descriptor and asked to see the manuscript. He loved the book, showed it to NAL editor-in-chief Elaine Koster, and she offered Doubleday 100,000 dollars for the paperback rights.

 Miracle Number 3

When Dorothy called with news of the paperback offer, I was quite ill and in a very dark mood. Rather than rejoicing (we would get half of that 100 thou) I said, “Did they show it to the other paperback houses? They’re supposed to, aren’t they?”

Dorothy said, “Honey (she was from Georgia), this is a mahvelous offer.”

And I said, “They were going to kill the book. They should at least show it to other paperback houses. Maybe more than one will be interested.”

Dorothy reluctantly relayed my wishes to Doubleday. Some honcho (I can’t remember his name) called me and berated me, saying this was a wonderful offer and I was a fool not to take it. I explained to him that though I was grossly naive, I did know they had decided to kill the book, and since I might never get another chance in New York, I wanted them to show it to other paperback houses.

Miracle Number 4

So the honcho called Elaine Koster and asked for a few more days to consider her offer, and she countered with a take-it-or-leave-it offer of 150,000 dollars and the promise of a big bonus if a movie was made. Dorothy begged me to accept the offer, so I did.

 Miracle Number 5

Two weeks later, Bob Evans, having recently produced Chinatown, The Godfather, and Love Story, optioned the book for Paramount Pictures for 100,000 buckeroos.

 Miracle Number 6

I was flown to Los Angeles to meet with Bob Evans in his mansion. He wanted me to rewrite the entire novel per his directions. He wanted to eliminate the Vietnam connection and not have so many disabled characters. I refused. He was not happy.

 Miracle Number 7

Bob Evans hired Barry Levinson (before he became a famous director) and Valerie Curtin (then Barry’s wife) to write a screenplay of the book. They changed the narrator from a man crippled while serving in Vietnam to a failed suicide, but were otherwise faithful to the heart of the book. Bob Evans dropped the project.

 Miracle Number 8

Dick Donner, fresh from Superman I and before he made all his Lethal Weapon movies, got hold of the script and eventually made the film with independent money. The film starred John Savage, David Morse (his first role) and Diana Scarwid, nominated for an Academy Award for her role in this film.

 Miracle Number 9

I was on the set of the film (Echo Park imitating Oakland) for a week and got to watch them shoot scenes with dialogue intact from my novel, most of which ended up on the cutting room floor, and it was a huge thrill to hear good actors acting out my scenes.

 Sudden End to Miracles

The distribution company, AFD, went bankrupt just as the film was being released and the little beauty was barely distributed. And though the book eventually sold over a hundred thousand copies, and I subsequently published five more works of fiction and two works of non-fiction, I was never again (not yet, anyway) to have a place on the larger literary stage.

 Recent Resumption of Miracles

A month ago, thirty years after publishing Inside Moves, I got an email from a man in charge of preparing the DVD release of Inside Moves for Lionsgate Entertainment. At first I thought he was joking, but he was not. Two days ago, he and his assistant arrived at our house in Mendocino to interview me about the novel and how it became a movie.

I think the interview went well. Had I known Cliff was going to let me ramble and say whatever came to my mind, I might have waxed more dramatically, but all in all I felt good about what I said (and didn’t say) and Cliff said he was pleased. A very professional duo, David Chan the camera person, Cliff Stephenson the director/interviewer, spent twenty minutes setting up, mixing the natural light of the living room with two of their own lights, and they even backlit my hair slightly and powdered my impressive brow to reduce reflection.

More interesting to me than my own memories was hearing how this DVD project came to be after so many years of deep freeze. Turns out Dick Donner has wanted to release this film (his favorite) in DVD since the advent of that medium but no one could untangle the corporate mess and discover who actually owned the film. When they concluded the owner was probably a British conglomerate that had eaten an earlier owner of the movie, and Lionsgate had a good connection with that behemoth, they decided to release the film. Initially they were just going to find a decent VHS copy, transfer to DVD, and bring it out with no extras.

As it happened, Cliff’s wife worked for Lionsgate, knew of Cliff’s love of Donner’s films, and asked Cliff if he wanted to oversee the project. He said Yes, and when he saw the quality of the print they were going to use, he said he thought Donner would be outraged. So began a hunt for a print of the actual 35 mm film, which they found in England. Not a perfect print, but better than any VHS. This was transferred to DVD, cleaned up, and then Cliff convinced Lionsgate to let him approach the extra matter for the DVD from the angle of how the movie went from book to screenplay to film. As they have gathered material, Lionsgate has gotten more enthusiastic, and they are now planning to do a somewhat snazzier release than originally planned. Feb 3, 2009!

I forgot all about trying to plug my soon-to-be-published novel Under the Table Books until the very end of the interview. Thirty years after publishing Inside Moves, I’m about to publish another novel about outcastes gathering to create an ersatz family. In Inside Moves they gather in Max’s Bar. In Under the Table Books they coalesce in an anarchist bookstore.

Who knows how much of what I said will make it onto the DVD? I suppose if I were really daring I would self-publish a new edition of the book to coincide with the release of the DVD, but I’m pushing the limits of my daringness (and bank account) these days. Cliff told me there is a surprisingly large cult following of the film and Lionsgate is expecting an initial response from that base to give the film a boost.

But the most fascinating part about these two very nice movie guys coming to our house (My wife Marcia was impressed with how down to earth they were) was my sense, and I mean this viscerally, that the same unseen powers that spoke the book through me and opened the way for the book to be written and published and made into a movie so long ago, had finally returned to my neck of the woods after a twenty-nine year exile (perhaps around Saturn.)

Or maybe it was just déjà vu all over again.

 

Todd Walton’s web site is underthetablebooks.com

 

Playing for Capra

Sunday, August 10th, 2008

The following memory was first published in The Anderson Valley Advertiser. Many Thanks to Bruce Anderson for his continuing support of my writing.

 


 

Playing For Capra

Marcia and I recently watched a new Israeli movie entitled The Band’s Visit about an Egyptian police band spending the night in a godforsaken Israeli settlement. Seeing this remarkable film coincided with my struggle to write about the time I played piano for Frank Capra, the famous movie director.

Why the struggle? Because the story of playing piano for Capra is entwined with my dramatic rise and fall as a professional writer nearly thirty years ago, a larger story with far too many unhappy chapters. By the time I played piano for Capra in 1982, I had gone from living on pennies in the slums of Seattle to being the toast of New York and Hollywood, and back to barely scraping by in Sacramento, all in the course of a few dizzying years.

Capra, for all his many triumphs, was a Hollywood outsider. Having succeeded brilliantly under the protection of the powerful mogul Harry Cohn, Capra only made the movies he wanted to make, which were almost never what his overlords desired. In that regard, Capra was my hero. I had failed to build relationships with the powerful producers of American movies and books despite the many opportunities my success provided me. I was young and naïve, and I believed that great stories and great screenplays would sell themselves. To my dismay, I experienced over and over again that quality and originality meant less than nothing to those who control our cultural highways. But I didn’t want to believe that, and so burned a thousand bridges.

Capra knew all about what I was going through, for he and his movies, despite their popularity with moviegoers, often received muted support from the power brokers. Why? Because he, too, was unwilling to compromise the integrity of his visions. Indeed, he made movies about these very conflicts: integrity versus corruption, kindness versus cruelty, generosity versus greed, and originality versus imitation.

Capra’s autobiography, an incomparable history of Hollywood from the days of silent movies until the 1960’s, was one of my bibles. In recent years, a confederacy of academic dunces has tried to discredit Capra’s recollections, but their pathetic efforts only amplify Capra’s importance.

So there I was in 1982, hoping to resuscitate my collapsing career, when we heard Capra was going to speak at a showing of It’s A Wonderful Life in an old movie house in Nevada City.

In 1980 a movie had been made of my novel, Inside Moves. Directed by Richard Donner with a screenplay by Barry Levinson, the movie—a Capraesque dramatic comedy if there ever was one—starred John Savage and launched the careers of David Morse and Diana Scarwid, who received an Oscar nomination for her performance in the film. But just as Inside Moves was about to be released, the distribution company went broke and the film was never widely seen. I was then hired by Warner Brothers to write a screenplay for Laura Ziskin (Spiderman) based on my second novel Forgotten Impulses, which was hailed by The New York Times as one of the best novels of 1980, but then Simon & Schuster inexplicably withdrew all support for the book and the movie was never made.

Indeed, as I drove from Sacramento to Nevada City with my pals Bob and Patty, I was in a state of shock. My previously doting movie agents had just dropped me, Simon & Schuster had terminated the contract for my next novel, and I had no idea why any of this was happening. Yet I still believed (and believe to this day) that my stories would eventually transcend the various obstructions and be read with joy by thousands of people—a quintessential Capraesque vision of reality. And I was sure Capra would say something in Nevada City that would help me and give me hope.

We arrived in the quiet hamlet in time to have supper before the show. We chose a handsome restaurant that was empty save for a single diner. On a small dais in the center of the room was a shiny black grand piano. The owner of the restaurant greeted us gallantly, and to our query, “Where is everybody?” replied, “You got me. We were expecting a big crowd for Capra, but…” He shrugged. “That’s show biz.”

Our table gave us a view of the piano and our elderly fellow diner, who we soon realized was Capra himself. Waiting for no one, eating slowly, sipping his red wine, the old man seemed to lack only one thing to complete the perfection of his moment: someone to play a sweet and melancholy tune on that fabulous piano. And I was just the person to do it if only the owner would allow me the honor.

I made the request and it was granted. Frank was done with his supper by then and having coffee. I sat down at the piano and looked his way. He smiled and nodded, directing me, as it were, to play. We were still the only people there, the room awaiting my tune.

I played a waltz, a few minutes long, something I’d recently composed, a form upon which I improvised, hoping to capture the feeling of what was to me a sacred moment.

When I finished, Frank applauded.

I blushed. “Another?”

Frank nodded. “Can you play that one again?”

“Not exactly, but close.”

He winked. “Perfect.”

So I played the tune again, longer this time, and slower at the end. Frank smiled and tapped his coffee cup with his fork. I approached him and told him we’d come to watch his movie and hear him speak.

He said, “Thank you. I love your music.”

His anointment of my waltz would have been more than enough to fulfill my wish that he say something to help me and give me hope. But the best was yet to come.

Capra’s genius was comprehensive. His best films are not only beautifully written and acted, they are gorgeous to behold. It’s A Wonderful Life was made when the art of black and white cinematography was at its apex, and we may never again see such artistry now that digital technology has replaced film and the secrets of the black and white masters are largely lost to time.

We marveled and wept at Capra’s masterwork, and then a nervous moderator gave Capra a succinct introduction, and the old man took the stage. He thanked the crowd for coming and took questions—questions that made me despair for humanity.

The worst of the many terrible queries was, “Do you think you’re a better director than Steven Speilberg?”

“Different,” said Capra, pointing to another raised hand.

And then came the one meaningful question of the evening. “Your humor seems so different than the humor today. Why is that?”

“Humor today,” said Capra, “for the most part, is pretty mean-spirited. We used to call it put down humor, and we consciously avoided that. With Wonderful Life, you’re laughing with the characters because you identify with them, which is very different than laughing at someone.”

The inane questions resumed, and finally Capra couldn’t take it anymore. He waved his hands and said, “Look, if you want to make good movies, and God knows we need them, you have to have a good story. That’s the first thing. That’s the foundation. And what makes a good story? Believable, compelling characters in crisis. That’s true of comedy or drama. And the highest form in my opinion is the dramatic comedy, which has become something of a lost art in America. Then you need to translate that story into a great script. And I’m sorry to tell you, but only great writers can write great scripts. So start practicing now. And when you think you have that story and that script, then get somebody who knows how to shoot and edit film and make your movie. And when you finish, make another one. And if you have talent, and you persist despite everybody telling you to quit, you might make a good movie some day. Thank you very much.”

Which brings us back to The Band’s Visit. Capra would have loved these characters and their crises, and though he never in a million years would have made such a movie, his influence is unmistakable.