I am cut to the brains

Sugar Ray Robinson: Bright Lights and Dark Shadows

2012-01-02T18:21:00.000-05:00

An excellent biography of one of the two greatest prizefighters of all time.

A profile of the man considered by many to be the best pound-for-pound fighter of all time includes film clips and interviews with Jake LaMotta, journalist Nigel Collins, wife Edna Mae Robinson and son Ray Robinson Jr. The original score was composed and performed by Wynton Marsalis...

Antineoplaston petition ASAP

2011-10-06T19:23:00.000-04:00

Urgent. Please sign and get others to as well.

The Eyes of Van Gogh

2011-07-11T22:37:00.001-04:00

I am very pleased to announce that my film, The Eyes of Van Gogh, has just completed a five year distribution deal with China. With prior deals for Hong Kong and Taiwan that just about covers southeast Asia.

http://www.imdb.com/title/tt0460789/combined

Stand with Aung San Suu Kyi

2011-07-02T14:10:00.000-04:00

A courageous woman who should, rightfully, be the leader of her country's people. Support her in her battle against the brutal thugs who run her country.

International pressure helped free Burmese Nobel laureate Aung San Suu Kyi, but thousands of other activists remain in brutal jails. I've just signed a petition to support Suu Kyi's call for their freedom, join me!

Peter Falk Dies at 83

2011-06-30T21:09:00.000-04:00

His Columbo was a wonderful creation. He will be greatly missed.

Burzynski Movie subscribers

2011-06-25T19:13:00.000-04:00

June 24, 2011

Screening June 26, 2011 - Ridgefield, CT:
This Sunday June 26, 2011 at 6:30PM "Burzynski, the Movie" will screen at the Ridgefield Playhouse as part of their Documentary Film Series.

Director Eric Merola, Dr. Greg Burzynski (Dr. Stanislaw Burzynski's son), and lung, liver and adrenal cancer survivor Kelsey Hill and her mother Sarah (who are featured in the documentary) will participate in a Q&A after the screening.
80 East Ridge Ave. Ridgfield, CT 06877. For tickets call (203) 438-5795

FREE Screening June 26, 2011 - Frankfort, Michigan
Also this Sunday June 26th at 1PM "Burzynski, the Movie" will screen for free at 1:00 PM. Doors open at 12:30 PM.
For more info: marti.jeffs@yahoo.com • (231) 357-0864
Results from free online viewing: Since we placed this documentary online for free on June 10, 2011, it has been viewed over 500,000 times and still growing. Both Mr. Merola and The Burzynski Clinic have received hundreds of emails and inquiries into both this story and Burzynski's treatment itself. Although we only intended it to be a limited free release, due to high demand we are leaving it online for free until further notice. The first step in this fight is mass awareness, once we have a large enough percentage of the population willing to stand up and demand the release of these medicines for worldwide public use—a force for change can occur. The 500,000 online views in merely 2 weeks is a great start so far. This fight is just getting started. Please keep emailing the free link to the film and spreading the word! (Some people emailed about having trouble viewing the film online, this is also the direct ink to the film: http://vimeo.com/24821365

Synetic Theater

2011-06-14T21:25:00.000-04:00

I have the greatest admiration for this company. Brilliant, beautiful theatre. Go.

The Great Cancer Hoax: The Brilliant Cure the FDA Tried Their Best to Shut Down...

2011-06-14T21:13:00.001-04:00

I urge anyone who has cancer or has a friend or relative with cancer to see this film. I've read every book written on Dr. Burzynski and there is no question that the man is a brilliant pioneer in the treatment of cancer. For those who trust the government, the F.D.A., or the drug companies re: medical care, you're in for a very rude awakening.

Go to Dr. Mercola's website for Sat. 6/11 and hit 'The great cancer hoax' and then watch the movie for free through 6/20. The title is 'Burzynski: The movie'. Tell everyone you know about it. http://vimeo.com/24821365

Burzynski the Movie tells the story of Polish doctor Stanislaw Burzynski, who developed the gene-targeted cancer treatment method using antineoplastons.

King Lear

2011-04-30T23:09:00.000-04:00

I congratulate Paata Tsikurishvili on a brilliantly reimagined King Lear along with the splendid Synetic theatre company. Bravo.

Putin: Freedom Fighter

2011-04-09T17:56:00.000-04:00

It’s so refreshing and enlightening to have Putin (that great humanitarian and human rights advocate) weigh in on NATO’s action in Libya. This is the man who has carried out atrocities in Chechnya. This is the man who has had political enemies either murdered or imprisoned. This is the man who called the breakup of the Soviet Union the greatest tragedy of the 20th century. Yes, greater than the genocides committed b the Turks against the Armenians, the Nazis and East Europeans against the Jews, gypsies, gays, etc; the slaughter of 1/5 of the Cambodian people by Pol Pot; the decimation of over 800,000 Tutsis by the Hutus; the murder of millions in the Congo; the starvation of millions of Chinese by the loathsome Chinese communists and, closer to home, the murder of countless millions in Russia and neighboring areas by Stalin, a man whom Putin has spoken of with admiration; the rape and slaughter by the Japanese in Nanking. Unfortunately, the list goes on and on.

I, for one, hope that the rebels in Libya prevail and that Gaddafi, his sons, and all his supporters are totally eliminated. I don’t, for a second, believe in an afterlife, but if there were one, I would passionately hope that Gaddafi and his forenamed brothers in horrors find a special, reserved place. We can dream, can’t we?

UN Action on Libya. Finally.

2011-03-19T17:17:00.002-04:00

Finally, after Rwanda, Darfur and the inexcusable delay in Bosnia and Croatia, the UN has voted to intervene and stop the slaughter of innocent people in Libya.

Amazing. Even Russia and China, who never saw a situation that justified foreign intervention, abstained but did not vote against it.

Finally we can act by principle and not some feel good barometer and not by a balance sheet consideration. This is the chance for the US to fundamentally reorder, at last, its relations with key Arab states.

We have the chance to support both the government and the democratic movements erupting throughout the Middle East. We have the chance, for the first time, to change the narrative, fundamentally, throughout this area and hopefully throughout Africa. Perhaps we can show, finally, that we can practice what we preach.

Even Al Jazeera and the Arab League (another first) support a no-fly zone and arms for the rebels. There are many who say the slaughter of the rebels is very unfortunate but we must be purely objective. To that I say, “Never at the expense of being human.” If we lose our humanity what do we possibly have left of any value?

“Responsibility to protect”, adopted by the UN in 2005 and affirmed by the Obama administration stresses the responsibility of the international community to protect people threatened with mass atrocities including by their own government.

Remember, we’re not talking about troops on the ground, we’re talking about a no-fly zone and, if they keep on attacking (and there has, as yet, been no let up) the destruction of all government armed vehicles.

Some of the arguments against it are: “If a civilian population takes up arms they should no longer be considered civilians. Gaddafi has every right to reign his country back in.” This is nonsense. Civilians took up arms only after many were killed by Gaddafi’s thugs.

“Intervention will violate Libya’s sovereignty. As soon as intervention begins the Libyan people will start to lost control of their own county and future.” That sacred word of the non-interventionists: Sovereignty. Totally flawed reasoning. When you threaten and kill your own people then you have given up the right to call this your country. The whole point is the Libyan people don’t have control of their own country. That control rests with Gaddafi and his hired killers. The Libyan people want to take it away from them. Human life trumps sovereignty.

“No-fly zones and supplying arms will not be able to halt the conflict and will lead to more bloodshed, not less.” The fact is, one of the key reasons the rebels have been losing this war is the air supremacy of Gaddafi. It is ludicrous to think that a no-fly zone will lead to the loss of more life that allowing Gaddafi a free hand would. If he prevails by using jets, tanks and gunships, there will be a terrible settling of scores. He has sworn that he will exterminate every single rebel fighter and supporter.

If you don’t believe it, you haven’t’ followed Gaddafi’s past actions (one of the biggest supporters of international terrorism, Lockerbie bombing, etc. Or you’ve been living in a cave for the past 41 years.)

“We have no obligation nor owe anything to the rebels opposing Gaddafi.” Dead wrong. We helped (along with Europe) to enable this monster, Gaddafi, over the past 41 years. So we cannot just avert our gaze and wash our hands.

“A justly motivated revolutionary movement doesn’t need outside assistance to prevail.” Oh, really. Without Frances’s help it is highly unlikely we would have prevailed against the British.

“This is like the invasion of Iraq repeating itself.” Wrong. That was an illegal bombing and an illegal invasion. Here, the international community has spoken and through the UN Security Council a no-fly zone is clearly what is wanted by the majority of rebel fighters and the Libyan people. Therefore no self-determination issue exists.

In the 90s, when the Rwanda massacre was on the verge of beginning, Clinton, Annan and the UN and Europe did nothing and after the massacre started, still did nothing. Like today, there were many people who said we shouldn’t get involved. Of course, after the numbers were released, 800,000 to one million murdered, they became very quiet. When the slaughter started in Bosnia and Croatia, the same protest against involvement. And of course, most recently, Darfur. Over 350,000 killed by Bashir and his thugs. I spent four years working for the “Save Darfur” movement and we tried desperately to enact, at the least, a no-fly zone, all to no avail. Many of the same people are against the no-fly zone in Libya. They were wrong then and they are wrong now. I am convinced they will never change.

The Libyan people are demanding the right to choose their own destiny. They do not want foreign troops on their soil. They just want us to level the playing field. Without this their struggle is doomed. If we don’t act to stop the killing in Libya, how can the US and Europe credibly encourage the Egyptian military to hold free and fair elections, push for commitments for non-violence by new political parties and convince the Arab autocrats to reform? Inaction is a statement to all brutal regimes.

Black Leaders: Their Romance With Qaddafi and Other Dictators

2011-03-15T21:54:00.001-04:00

This is one of the finest and most intelligent articles ever written on this extremely important topic.

Join the 2011 Boycott to Save Seals

2011-03-15T21:50:00.002-04:00

Please write to the Canadian government and tell them you are boycotting Canadian seafood until they stop this barbaric practice. It's been going on for years and it must be stopped once and for all.

The Tracer

2011-03-08T18:45:00.001-05:00

Congrats to Francisco Campos-Lopez and Greg Hess whose short film, The Tracer, just won BEST PICTURE and BEST CINEMATOGRAPHY for the DC 48 Hour Go Green competition. I'm pleased to have been part of it.

Egyptian Heroine

2011-02-07T20:52:00.003-05:00

This is a video made by a young Egyptian woman which is being credited as the spark that ignited the Revolution. The young woman is Asmaa Mahfouz. Asmaa’s bravery to put her name, number and face on the video is extraordinary considering the terrifying risk of retribution from the Egyptian Ministry of the Interior. She is a 26 year old human rights activist, and one of the founders of the April 6 Youth Movement.
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New Film Poster

2011-01-17T18:40:00.003-05:00

A new poster has been designed for my feature film The Eyes of Van Gogh. I hope you like it.

A Sense of Outrage

2010-12-21T23:07:00.001-05:00

This is a must read. A great piece by a great lady about an outstanding man. If it hadn't been for Holbrooke we never would have intevened in Bosnia. Clinton had to be dragged into it. If it had been solely left to him he would have done what he did in Rawanda. Nothing. And of course the cowardly Europeans stood by and did nothing. Par for the course. One of the greatest tragedies in our world today is the lack of a sense of outrage. Holbrooke had it and so does Ms. Amanpour. There are still a few left.

No danger from Wikileaks

2010-12-20T22:41:00.000-05:00

Julian Assange claims, unequivocally, that no one's life has been put in danger by the release of all the transcripts. Okay, fine. I'm just very curious, how does he know this? I just assume that if he's certain of this he must have read all 250,000 plus transcripts. Or perhaps the private who gave him the transcripts read all of them and assured Assange that no one was put in danger. I would also assume that both of them are familiar with all the people mentioned and the particular work they do and again are quite certain that none of them have been put in danger. Just curious.

Cross-posted to Salon.com

The Eyes of Van Gogh

2010-12-06T16:05:00.004-05:00

I am so pleased to announce that my film, The Eyes of Van Gogh, has been picked up by Unicorn Entertainment International LTD., in a 5-year distribution deal for Hong Kong. My thanks to Sales Agent Wonderphil Productions.

The Life and Legacy of Simon Wiesenthal

2010-11-03T21:42:00.001-04:00

What can one man do to improve the human condition and to make a positive difference in the world? I urge anyone who has asked this question to see, 'I HAVE NEVER FORGOTTEN YOU' [ The life and legacy of Simon Weisenthal]. After viewing it, ask yourself what would have happened , or better, what wouldn't have happened, ...if this man had not survived the war.See More

The Passion of Joan of Arc

2010-11-03T21:29:00.002-04:00

I cannot recommend this film from Theodore Dreyer too highly. It is a cinematic feast. You can watch it instantly on Netflix.

Nobel Peace Prize

2010-10-20T19:16:00.002-04:00

I am so pleased to learn that Chinese prisoner of conscience Liu Xiaobo was awarded the Nobel Peace Prize. Liu is a writer and human rights defender who was chosen by the Nobel Committee for "his long and non-violent struggle for fundamental human rights in China."

It has been a long time since the committee honored someone for a profound commitment to individual liberty.

In whose world is this sane?

2010-07-30T14:25:00.002-04:00

Just consider the implications of the last line in this quote from the article.

Meanwhile, those exploding budgets increasingly line the coffers of private firms who provide not only an arsenal of spy gadgets, but some 30 percent of the staff at the intelligence agencies. Assuming that private contracts continue to account for about 70 percent of the intelligence budget, the firms in the secret sector are competing for some $50 billion annually in tax money. (By way of comparison, the global movie industry pulled in a hair under $30 billion in 2009.)

I hope you'll read the article and pass it along.

Othello

2010-07-08T15:33:00.002-04:00

I congratulate the Synetic Theater Company on a brilliantly conceived and performed movement adaptation of Othello. Bravo.

Killing Whales is a Crime

2010-06-16T21:36:00.000-04:00

I urge everyone to contact the president and tell him to make the moratorium on the killing of whales stronger not weaker. If we can't keep from killing these magnificent, incredibly intelligent and peace loving creatures how can we ever keep from killing our own? Ultimately we must outlaw commercial whaling. Amazingly the president and his people are going in the opposite direction. Please make your voice heard.

Gulf Oil Spill

2010-06-16T21:33:00.002-04:00

I recommend this very intelligent commentary from the Cato Institue senior fellow Gerald P. O'Driscoll Jr. on the Gulf Spill, the Financial Crisis and Government Failure.

Lear Seeks Liberation in Madness - A rebuttal

2010-04-14T20:53:00.003-04:00

In regard to the character of King Lear, Stacy Keach says, ‘In Lear’s case, the decision to enter into the world of madness liberated him from the painful realities before him.’
This cannot be the King Lear I’m familiar with. The main quality that gives Lear epic status is his implacable nature and total refusal to give in to adversity. Lear has always taken huge pride in his total control of himself and everyone around him.
Note what Kent says to him in 3/6 after his mind is broken: ’ O pity! Sir, where is the patience now
That you so oft have boasted to retain?’
For Lear, the idea of going mad would be the most atrocious thing imaginable and his greatest battle is against encroaching madness.
Note what he says throughout the play until his mind cracks:
1/5 ’ O, let me not be mad, not mad, sweet heaven! Keep me in temper; I would not be mad!’
2/4 ’ I prithee daughter, do not make me mad…."
‘You heavens, give me that patience, patience I need…'
'O’ fool, I shall go mad.'
3/2 ‘No I will be the pattern of all patience. I will say nothing.’
‘My wits begin to turn.’
3/4 'But I will punish home! No, I will weep no more….'
'Pour on I will endure.’
'O,that way madness lies; let me shun that.'
'No more of that.’ ‘This tempest will not give me leave to ponder on things would hurt me more.’
This is most definitely not a man seeking an outlet in madness . One final thought. The scene at Dover, 3/6, where Lear enters mad is invariably played quietly, as though he were soothed and free of pain. Shakespeare had something very different in mind. Near the end of the scene, when Lear is surrounded by French soldiers he says, in what to me is one of the most powerfully dramatic and horrific lines in all of Shakespeare: 'Let me have surgeons; I am cut to the brains.’
That line is the key to Lear’s mental condition here. Rather than quiet and subdued, throughout the scene Lear is going through the torments of hell. Anything less is a betrayel of the character.

cross-posted to DC Theatre Scene

The Eyes of Van Gogh

2010-04-06T22:45:00.004-04:00

The DVD for my film, The Eyes of Van Gogh, is now on sale for $14.99 at http://www.theeyesofvangogh.com/. The DVD is also available from http://www.amazon.com/.

Thank you all

2010-04-02T22:43:00.004-04:00

I'd like to thank all of you on LinkedIn who took the time to comment on the trailer for my film The Eyes of Van Gogh.

Group: Film Independent
What a wonderful and inspired portrayal of a troubled mind! Posted by Stanley N. Lozowski

Group: Film Independent
Congratulations on the new film. I am a Van Gogh fan so the topic matter is of much interest. I have a screening room in New Mexico and would love to show your film. Posted by Kenneth Segura Knoll

Group: DC Media
Excellent hair and makeup! Captured Von Gogh's self-portrait look. Perhaps you'd consider a voiceover like the one I did for Random House Books?http://www.youtube.com/watch?v=YdT8S0RT9Qk

Group: DC Media
Looks like an awesome film, Alexander! When will it premiere? Posted by Katherine Hutt

Group: Filmmakers
The trailer looks excellent and from what I see the performances are great. Let us know if we can be of any assistance in the musical score department on any future productions----Good Luck, Brad Hord

Group: Media & Entertainment Professionals
Cool trailer, the man playing Van Gogh looks just like him! Good LUCK!Mike E.T.http://www.miketrapp.com Posted by Michael Trapp

Group: Independent Filmmakers and Screenwriters
Looks very intense and I like its tone when compared to, "Lust for Life". Posted by Brian Duggan

Group: Actors and Casting Directors
Impressive. Nicely done, Alexander! Posted by Lee Armstrong

Group: Actors and Casting Directors
Wow, that was hard to watch. You captured a lifetime in Three minutes, can't wait for the film. Posted by Paul Marshall

Group: Actors and Casting Directors
Looks good. Great job casting! Posted by Tony Folden

Assault on the Fourth Amendment

2010-03-25T13:31:00.002-04:00

I saw this film at the Cato Institute. It was written and produced by interns who had worked there. Not only is the film hugely important for civil rights, but is expertly produced, cast and directed. Please give the film and the group exposure.

Women as Tools of War

2010-03-12T18:34:00.002-05:00

The article by Mr. Goldberg is excellent. The response is frightening and yet totally predictable. I have done enormous research re atrocities committed against women, especially in Africa, the Middle East and Eastern Europe. The statistics are horrific and quite accurate. Rape and the enslavement of women are being used as a tools of war throughout the world. Women are being treated like road kill. Unfortunately this has been true throughout history and the problem has gotten progressively worse. For those sceptics, I invite them to check out what's happening now in The Republic Of the Congo and then research the practice of honor killings and the murder of female babys and genital mutilation of women and the enormous slave trade in women (which by the way would never survive without all the customers from the so-called civilized countries like the U.S. Japan, England, France, etc.) Check out what the Japanese did to the Chinese women in Nanking and what the Serbs did in Bosnia and what the Russians did to the German women near the end of World War 11. In Bosnia and herzegovina over 70000 women and girls were raped by the Serbs, often in front of their parents, many as young as 12 or 13. Scores of them were killed, their bodies dumped like garbage. In Africa as in most other third world countries men reign supreme. Women are not committing any of these atrocities: Men are. Cross posted to the Chigago Tribune.

New trailer for The Eyes of Van Gogh

2010-03-11T22:45:00.006-05:00

Please take a look at the trailer for my film The Eyes of Van Gogh here.

Exploring King Lear

2010-02-21T14:37:00.004-05:00

King Lear is Shakespeare's greatest play and very likely the greatest work in all of English literature: Its themes are of the most profound nature -- self realization; the myth of universal justice; fortuitousness in the battle between good and evil; the nature of evil. First and foremost Lear is a fighter and never gives in to adversity. In any production of King Lear we must see the lion in Lear and his raging battle between his age and failing mind. What makes him so fascinating and exciting are his tremendous extremes of temperment. He fights an epic and and magnificent struggle against overwhelming physical and emotional turmoil and his implacable refusal to surrender make him one of the greatest, most towering and passionate tragic characters ever created. This is why Lear is both a tragic and yet an uplifting experience.

Cross-posted to E-Notes

An End to the Myth of the Tortured Soul??

2010-01-15T12:33:00.006-05:00

Overall a well written and intelligent article. However there are several errors. "His best paintings were produced in the last 15 months of his life which he spent in Arles where he went to live in 1888...and at nearby St. Remy where he spent a year at a mental institution." He spent 15 months in Arles (2/88 to 5/89) where he did indeed produce most of his best paintings, but the last 15 months of his life was spent at St.Remy (12 months) and Auvers sur Oise, (2 1/2 months.) Vincent did some excellent work at St. Remy and nothing exceptional at Auvers, so he did not produce his best work in his final 15 months. "Italian art didn't get a look-in." Not true. He referred several times to Raphael and several others whom he didn't care for, primarily because he found their work rather cold and because they were totally unable to depict workers who really worked. However, he absolutely adored Michaelangelo, because his figures depicted, not reality, but hyper reality.

Regarding Theo's support of Vincent, I agree that Vincent would never have been able to achieve what he did without his support. However, Vincent and Theo came to an agreement in 1882 whereby Theo would send Vincent money and in return he would get to keep all of Vincent's work and and do with it what he pleased. Certainly this was not a handout but reasonable recompense. Finally, the title of this article is totally misleading since there is nothing in it that indicates that Van Gogh was not a tortured soul.

Getting Away with Torture

2010-01-07T12:44:00.001-05:00

David Cole does a superb job documenting the horror the United States government perpetrated upon an entirely innocent civilian in the name of the "war of terror."

Robert Barnete Studio

2010-01-01T20:28:00.011-05:00

If you are not already familiar with his artistry, then I am very proud and honored to introduce you to my late brother's work.

Robert Barnete was most of all a painter of passionate motion, which found its greatest expression in the equestrian arts and within the culture of Spain.
During his mid-career he fell under the enchantment of the Bedouin and the Blue People.

Although born in New York, his work took him from Mexico to Paris to Madrid to Tangiers and finally to London.

Van Gogh in Taiwan

2009-11-19T17:09:00.006-05:00

I'm very pleased to note that my last film, The Eyes of Van Gogh, has been picked up for distribution in Taiwan by International Productions Association Asia. The film will also be seen at the Taipei exhibition "Van Gogh: the Flaming Soul" for its three-month run. This exhibition will display an overall of 98 pieces of artworks by Van Gogh, including 77 sketches and 21 oil paintings. Most of the exhibits are from the Kroller Muller Museum of Netherlands, famed for its collections of Van Gogh's paintings. In particular, "Flower Vase with Thistles," Van Gogh's later period creation, is borrowed from Pola Museum of Art in Japan this time.

An artist making art

2009-11-02T17:13:00.001-05:00

As the author of both the stage play "Stranger on the Earth" as well as the writer/director of the film "The Eyes of Van Gogh" I made extensive use of these extraordinary documents. Vincent's letters are profound, brilliant and fascinating, offering keen insights into the world in which he lived as well as laying bare his soul. Although this new volume is beautiful, the original English translation issued many years ago serves the purpose just as well at a lesser cost, so there is no excuse not to explore them. Almost as remarkable is the story of how they came to be saved, translated and published through the efforts of his sister-in-law, a woman for the ages. For more information please visit www.theeyesofvangogh.com.

Polanski's Supporters

2009-10-17T19:13:00.003-04:00

I am both independent and progressive in my thinking and I applaud your article in the Weekly standard on that sleaze bag, Roman Polanski. He and his fellow sleaze bags in Hollywood are one big reason why I've never wanted to be part of the culture [I use the word loosely] that these people represent. The garbage that these people produce is only matched by the quality of those who produce it. The tactic of making the victim the guilty party, [13 no less] is typical and beneath contempt. I keep thinking if the victim had been the daughter of one of Polanski's supporters they would feel quite differently, but frankly I have my doubts. Since the enslavement and brutalization of women is one of the greatest problems in the world today, the overt support in the celebrity community for this miserable creep, Polanski, is despicable and inexcusable. Thank you for a most excellent article. Cross Posted to The Weekly Standard

From Mad Painter to Mad King

2009-09-24T21:57:00.002-04:00

I'm grateful to Joe Montague of Riveting Riffs for the interview.

Letters of Vincent van Gogh

2009-09-22T11:19:00.007-04:00

In this article, the author Waldemar Januszczak is certainly correct when he refers to van Gogh's letters as "the greatest cache of writing about art left behind by any artist".
For more information go here.

Gauguin and van Gogh in Arles

2009-09-04T13:31:00.006-04:00

Director’s Notes

In my film The Eyes of van Gogh, Paul Gauguin’s arrival at the Yellow House in Arles is the happiest day in Vincent van Gogh’s life. He will now be able to work with the man who, among living artists, he regards with the highest respect and esteem. He’ll have a friend and companion in art. From this will come his greatest dream: the realization of the School of the South. From this day forth, he believes, everything he’s dreamt of is possible.

To prepare for Gauguin’s arrival, Vincent has been working day and night with little sleep or food. He’s determined to show Gauguin as much good work as possible. All of Vincent’s hyperactivity and nervousness are focused completely on Gauguin. He and what he represents to Vincent are the emotional center of the scene. In his overwhelming excitement and eagerness he cuts off thoughts in mid-sentence and then jumps to a different thought entirely.

Aural Hallucinations in the film The Eyes of Van Gogh

2009-09-02T14:06:00.006-04:00

In my film The Eyes of Van Gogh, the audience first becomes aware that Vincent van Gogh is hearing voices when Dr. Peyron, played by Roy Thinnes escorts him to his room in the insane asylum at St. Remy.

Vincent absorbs the atmosphere of the room like a sponge. He finds it desolate. He can feel it, taste it - almost hear it. When he hears the voices of his mother and father he reacts very much as he did at the time as a child. He is, in turn, startled, confused, and ultimately trembling in fear and anticipation.

Those voices began to torment van Gogh the night he threatened Paul Gauguin with a razor and continued after Gauguin left Arles. They are insidious and ugly yet, perversely, irresistible.

Throughout the film, he has no control over them. When they occur he feels transported to another world. Voices and sounds in the present are barely heard. He reacts to them, not retrospectively, but rather in relation to what they meant when they took place. He lives in the moment they occurred and takes the audience with him.

Character Analysis: Death of a Salesman

2009-06-15T22:52:00.003-04:00

Director's Notes Part Three

It is a sad and frightening truth that Linda, Willy's wife, who is so totally devoted and loyal to him, who is his pillar of strength, who will let no one speak ill of him (no matter how justified it may be), who does everything possible to make his life peaceful and happy, who knows so well how to handle him, who can anticipate almost his every mood and who prides herself on understanding him so well, in actuality knows Willy very little.

She encourages him to stay at a job he is obviously unfit for; she is unaware of his self-esteem crisis and his pie-in-the-sky delusions; she discourages him from starting other pursuits (this because of her ultra-conservative nature); and is completely bewildered by his suicide, despite the clues that are dropped everywhere.

Her fundamental decency, integrity, loyalty and love are remarkable and unquestionable, but it must be realized that she unwittingly feeds Willy’s problem. The love and devotion she gives him, however, are truly a wonder. Tragically, Willy never understands the depth of her commitment.

Fundamentally, Biff is decent, gentle and sensitive. He is extremely stubborn, with a strong independent streak. Right to the very end it is love, not hatred, that drives the relationship between Biff and Willy. Biff hates Willy for betraying his mother, but still loves him deeply for the love and affection Willy lavished on him. He is furious with himself for being unable to remove what he considers this yoke of love, and this exacerbates his antagonism toward Willy.

It is said that Biff’s life is ruined after discovering that Willy is a philanderer. Certainly, it is a tremendous setback, but there are other factors at work here. His innate nature plus his prior experiences and conditioning are of major importance. It is not the discovery of the event itself that causes Biff to give up and leaves him unable to cope with the experience.

Memory and Flashback Scenes in Death of a Salesman

2009-06-15T22:46:00.002-04:00

Part Two of Director's Notes

In all of the memory scenes Willy, unlike the other characters, never actually leaves the present, but re-experiences the past. In effect, he revisits the pivotal moments in his life and tries to make sense of them. Subconsciously, however, he already knows what has and what will happen.

Example: In Act ll when he is in the hotel room with the woman and hears the knocking, he knows that if he opens the door it will be disastrous, but is so lost in the memory he cannot comprehend why. The memory scenes are subjective and emotional; a pure visualization of Willy’s feelings and thoughts. Thus, they are fragmented, elliptical and epitomized. He will sometimes remember four or five separate events within one sequence.

The set must be light, minimal and portable. There should be as much free and open space as possible. The confines of the home should be created primarily by the lights, not by actual, permanent walls. We should be able to expand and retract easily and naturally. When his brother Ben enters, for example, we must go from the confines of the kitchen to the open space of Alaska, Africa and the prairies.

Rarely will there be a blackout. Lights will frequently overlap or cross-fade. The action must never stop. Willy’s mind is on a collision course and the lights must reflect this. The set and lights must serve Willy’s mind, which is constantly changing, striving, searching.

There can come a point in a man’s life when it is too late. After this point is reached the truth, and not delusion, becomes the killer. Contrary to most opinion, Willy does achieve self-awareness, and this very awareness is something he is unable to come to terms with. He cannot live with the reality and so hangs on to the delusion and dies with it.

Death of a Salesman is a tragedy of the first order. Consider: a theme of epic importance; the strength, immensity and uncompromising nature of Willy’s struggle; his fatal flaw; his intensity, passion, love, devotion and total single-mindedness; his ultimate destruction; Biff’s ultimate self-awareness. And finally, the fact that true tragedy must have the potential for creating self-awareness in the audience. From this will follow a purging of the soul. Death of a Salesman most definitely creates this self-awareness.

Death of a Salesman: Director’s Notes

2009-06-15T22:32:00.003-04:00

Thematic Content and Structure

This is not the story of a salesman: It is the story of Willy Loman who just happened to be a salesman. This is not the story of Everyman. Willy’s passion, love and drive go way beyond the norm. Perhaps most people will relate to Willy, be moved by him and, most importantly, think, contemplate and learn from his life and his mistakes.

Willy, like Eddie Carbone in Arthur Miller’s A View from the Bridge, demands to be “totally known”. Like Eddie, he could never settle for half. He must attempt everything even if it means ending up with nothing. He will risk his very life to achieve his “due”, what he considers his rightful status. As Arthur Miller says, “The commonest of men may take on that [tragic stature] to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in the world”. Of course, this willingness automatically removes him from being the commonest of men.

Self-esteem based upon the approval of others is evanescent and leads to self-delusion and self-destruction. This, to me, is the primary theme of Death of a Salesman. All of Willy’s other problems--his lack of self-knowledge, his refusal to follow his natural instincts, his constant self-doubt, confusion and lack of confidence (no sooner does he make a decision then he needs to be reassured that it’s the right one), his stubborn, pigheaded determination to do things his own way, positive that he’s right and yet in the next moment afraid that he’s wrong, begging for another opinion, the very bad influence he is on his sons--all of this stems from the primary theme.

Having achieved his self-esteem through the approval of others, Willy has watched these ‘approvers’ go to their graves and take his self-esteem with them. As the play progresses, it becomes more and more difficult for Willy to lie and delude himself. One after another, all the myths he has created in the past are exposed before his eyes. There is no self-pity, only frustration, bewilderment and epic struggle. The more he struggles the faster his decline. Subconsciously, Willy knows where he went wrong, but consciously is unable to come to terms with it. The constant and horrendous turmoil Willy endures is based upon his subconscious awareness and conscious refutation.

Both Biff and Happy, his sons, are confused, but Biff is desperately searching for answers; Happy is under the delusion that he is searching, but in many ways has found his niche. Like most womanizers, he’s mindless and self-gratifying. In no way is Hap a young Willy as has sometimes been stated. He lacks the love, passion and depth. Hap is puerile where Biff is undisciplined. Biff, being deeper and more sensitive than Happy, suffers more from Willy’s influence.

Art historians claim Van Gogh's ear 'cut off by Gauguin'

2009-05-17T16:58:00.003-04:00

As one who has also spent many years researching the life of Vincent van Gogh, first as the author and director of the play Stranger on the Earth and later as the writer and director of the film The Eyes of Van Gogh, I empathize with the effort spent in producing the book, Van Gogh’s Ear: Paul Gauguin and the Pact of Silence, by Hans Kaufmann and Rita Wildegans.

I understand and appreciate their fascination with this extraordinary individual.

Nonetheless, it must be said that the entire basis of their book rests on a regrettable but enormous misunderstanding of what it was van Gogh wrote to his brother Theo and to Paul Gauguin. That, plus a very selective editing of the same letters and an apparent lack of awareness of certain key facts about Gauguin, led them to a very flawed premise. They then proceeded to shore up their thesis with assertions easily rebutted and with one ludicrous and fabricated incident.

Frankly, I am astonished and appalled by the unthinking reception and attention this book has received from the press.

The authors have concluded that Gauguin, not Vincent himself, is responsible for the mutilation of van Gogh’s ear. They state “We carefully re-examined witness accounts and letters written by both artists and we came to the conclusion that van Gogh was terribly upset over Gauguin’s plan to go back to Paris.” This in itself is no revelation. Anyone who has studied the letters van Gogh wrote to his brother Theo after he mutilated himself, as well as the references to the incident in Gauguin’s memoirs, would know this.

Again quoting the authors: “In the first letter that Vincent van Gogh wrote after the incident, he told Gauguin, ‘I will keep quiet about this and so will you.’ That apparently was the beginning of the ‘pact of silence.’”

The first letter that Vincent wrote after the maiming was to Theo on January 1, 1889, eight days after the event. On the lack of the letter he wrote a note to Gauguin questioned the necessity of having Theo come to Arles. “Look here – was my brother Theo’s journey really necessary, old man?” It pained Vincent terribly to live off of Theo; the last thing he wanted was to burden him with this.

Vincent never wrote “I will keep silent about this and so will you.” There is absolutely no reference to this so called “pact of silent” anywhere in the letter. The only reference to silence, per se, is in a letter to Theo written January 17, 1889 where he mentions that after the incident he had continually asked for Gauguin but he refused to come. He wrote, “How can Gauguin pretend that he was afraid of upsetting me by his present, when he can hardly deny that he knew I kept asking for him continually, and that he was told over and over again that I insisted on seeing him at once. Just to tell him that we should keep it between him and me, without upsetting you. He would not listen.” Meaning that Gauguin did tell Theo what had happened. There was no cover-up. No pact of silence. How could there have been since Vincent makes it clear in this letter that Gauguin refused to see him after the mutilation. Any silence Vincent wanted was in regard to Theo’s learning what he had done to himself – completely in keeping with his character, actions and statements throughout his life, up to and including his suicide, when he pleaded with Dr. Gachet not to let Theo know he shot himself.

Another point: The telegram Gauguin sent to Theo telling him what happened was sent the following morning – after the injury – when Gauguin, seeing a crowd at the Yellow House, discovered what Vincent had done. Obviously, if he had injured Vincent, he wouldn’t have retired to a hotel and let his friend bleed to death, but would have notified Theo immediately.

Kaufmann also cites correspondence between van Gogh and his brother in which the painter hints at what happened that night without directly breaking the “pact of silence’ writing that, “…it is lucky that Gauguin does not have a machine gun or other firearms.” This is very selective editing. What Vincent actually wrote in that letter of January 17, 1889 is, “Fortunately, Gauguin and I and other painters are not yet armed with machine guns and other very destructive elements of war.” He was expressing his disdain for violence disguised as sport.

Finally, again quoting the authors: ‘On the evening of December 23, 1888 van Gogh, seized by an attack of a metabolic disease, became very aggressive when Gauguin said he was leaving him for good. The men had a heated argument near the brothel and Vincent might have attacked his friend. Gauguin, wanting to defend himself and wanting to get rid of ‘the madman’ drew his weapon and made a move towards van Gogh and by that he cut off his left ear.”

Several points: 1. It was not Vincent’s entire ear that was cut off, but rather the lower third of the ear. 2. If in the course of a heated argument Vincent attacked him, Gauguin would have had no need for a sword since he was an expert boxer and would have made short work of a totally inept fighter like Vincent. (While in Brittany in 1893, Gauguin was attacked by a large group of sailors. He more than held his own until he tripped and severely injured his leg.) 3. Gauguin was also an expert swordsman. The swords he fenced with were, of course, foils. For those who don’t know, a foil is a thrusting, not a cutting, weapon and does not have a cutting edge. The idea of Gauguin striking downward with a foil and cutting off a third of Vincent’s lower ear is ludicrous; in fact, damn near impossible. If Gauguin did have a cutting sword (which, of course, he didn’t) and was able to cut of Vincent’s lower ear, rest assured he would have cut off part of his face and shoulder with it.

How sad this whole thing is. As I have written before, there are more myths and misinformation about Vincent van Gogh than any artist who ever lived. What should capture the attention of the world are the facts: The most significant and revelatory things about van Gogh are not that he cut off his earlobe or that he suffered attacks of madness or that he committed suicide, but rather that he lived life to the fullest, realized his artistic potential as much as humanly possible, fought magnificently against the attacks and all forms of adversity - never willingly giving in to them. Most important, he created a superb body of work that will live as long as the human race survives. The theme of his life is his quest to achieve immortality through his work.

Vincent van Gogh Myths: Myth #4

2009-05-09T23:12:00.003-04:00

The myth: Vincent was forced into the asylum by the citizens of Arles and his brother.

The truth: Vincent van Gogh admitted himself to the insane asylum at St. Remy voluntarily because he wanted to be isolated from the outside world; because he considered himself a potential danger to others; and because he wanted to be in a protective environment.

His brother Theo was strongly against his going the St. Remy and wanted Vincent to come to Paris where Theo and Johanna, his wife, could look after him.

The Where did Vincent van Gogh shoot himself myth

2009-05-07T15:10:00.007-04:00

Vincent van Gogh Myths: Myth #3

The myth: Vincent shot himself in the chest.

The truth: No. The reason Vincent van Gogh died slowly and lingered for two days was because he shot himself in the upper abdomen rather than the chest, which had been his intention. The wound he suffered was not necessarily fatal but he no longer had the will to live.

The Only One Painting Vincent van Gogh Myth

2009-05-06T23:36:00.005-04:00

Vincent van Gogh Myths: Myth #2

The myth: Vincent van Gogh sold only one painting.

The truth: It made little difference in his life but van Gogh, in fact, sold two paintings ( and may have sold one or two others as well). On October 3, 1888 his brother, Theo, wrote to the London art dealers, Sulley & Lori. In this letter he said: "We have the honour to inform you that we have sent you the two pictures you have bought and duly paid for; a landscape by Camille Corot,...a self portrait by V. van Gogh." Another picture, therefore, was sold in England nearly fifteen months before Anna Boch bought The Red Vines.

Vincent van Gogh and Dr. Peyron Myth 1

2009-05-05T15:44:00.008-04:00

Vincent van Gogh Myths: Myth #1

The myth: The institution of St. Remy and the man in charge, Dr. Peyron, strongly encouraged Vincent van Gogh to paint and cared for him using advanced modalities in the treatment of psychiatric illness.

The truth: The institution of St. Remy never encouraged Vincent to work; on the contrary, Dr. Peyron opposed the idea from the very beginning and with the greatest reluctance allowed him to paint. I am very glad to hear that they now offer workshops in art therapy, etc. but this was definitely not the case when Vincent was there. The sole treatment was hydrotherapy-hot baths, twice a week. The idea of any kind of work was anathema. There were no books in the asylum, no distractions except bowls and draughts. Vincent found it loathsome that they were given nothing to do. As he said, they were like vegetables, sitting around all day eating, digesting and waiting for their next meal.

If the authorities today claim otherwise they're lying. Vincent's letters prove it. Vincent suffered four attacks at St. Remy. After the final one Dr. Peyron forbid him to paint in spite of his pleading. It was then that he left St.Remy.

David Sweetman's The Love of Many Things - A Life of Vincent Van Gogh corroborates the official version. And what, pray tell, was Sweetman’s source? Probably the institution’s own account. Who do we believe, Vincent and Theo or Sweetman and the institution?

Vincent wrote to Theo at this time: “M. Salles has been to St. Remy – they are not willing to let me point outside the institution.” April1889. Theo, over the strong objections of the administrators, persuaded them to allow Vincent to paint and arranged that he should have two rooms, one to be used as a bedroom and the other as a studio. Both, mere dingy cells with bars like all the other cells. Sweetman's description makes it sound like a resort.Reiterating my earlier point, prior to Vincent, no patient at St. Remy was ever allowed to do any work of any kind. Their whole philosophy was to keep all the patients as quiet and inactive as possible. Vincent again, “Above all I must not waste my time, I am going to set to work again as soon as M. Peyron permits it; if he does not permit it, then I shall be through with this place. … The rather superstitious ideas they have here about painting sometimes depress me more than I can tell you.” January 1890. For them to claim that they pioneered the treatment of psychiatric illness (at least when Vincent was there) is belied directly by Vincent’s own account. Again: “The treatment of patients in the hospital is certainly easy for they do absolutely nothing; they leave them to vegetate in idleness and feed them with stale and slightly spoiled food.” Sept. 1889. “The food is so-so. Naturally it tastes rather moldy, like in a cockroach infested restaurant in Paris.” May 1889. As to the people, Peyron included, who ran the institution, “Perhaps they would like nothing better than for the thing to become chronic, and we should be culpably stupid to give into that. They inquire a great deal too much to my liking about what not only I but also what you earn, and so on.” August 1889.

Vincent’s stay at St. Remy was indeed a nightmare. For them now to try to rewrite history is very typical and very wrong. I made my film The Eyes of Van Gogh to set the record straight, to show what really happened there and also to reveal the truth behind his relationships to his brother, his father and Gauguin. All from his point of view.

DARFUR: THE PEOPLE THE WORLD HAS FORGOTTEN

2009-04-01T22:59:00.002-04:00

The tragedy in Darfur has been going on for four years and all we've had from the world at large is fancy talk and much posturing. I ask these rabid non intervationists, what would you do if your wife was raped or your children were murdered or they were in danger of this happening? I'm not talking about invading Karthoum or supporting the rebels. I'm talking about protecting totally innocent people who have no way of protecting themselves, by creating a no-fly zone so that Bashir's butchers can't get near them. And please, don't tell me that we have more immediate problems to worry about. The economic problems that we and other countries currently face is child's play compared to what these people are going through. What they wouldn't give to exchange their problems for ours. Check the above link for a typically excellent article on Darfur by one of my biggest heroes, Nat Hentoff.

Bashir: Murderer

2009-03-04T15:31:00.001-05:00

In my view, for the immiserated people of Darfur, this is far too little and far too late.

ART AND HUMAN REALITY

2009-02-24T12:56:00.000-05:00

Human life is lived in a middle position between our genetic determinants on the one hand and culture on the other. It's out of that that human freedom emerges. And artistic works, the plays of Shakespeare, the novels of Jane Austen, the works of Wagner and Beethoven, Rembrandt and Hokusai, are among the freest, most human acts ever accomplished. These creations are the ultimate expressions of freedom.

Perfectly said.

At What Cost? HIV and Human Rights Consequences of the Global "War on Drugs"

2009-02-24T12:11:00.000-05:00

This OSI report examines the unintended consequences of aggressive antidrug policies on people who use drugs, their families, and the health care providers who work with them.

Manufacturing Guilt?

2009-02-20T23:29:00.002-05:00

I urge you to get this into the hands of as many people as possible. AB.

Video Raises Serious Questions About Death Row Conviction. In 1993, 23-month-old Haley Oliveaux drowned in her bathtub in West Monroe, Louisiana. Bite mark identification and analysis performed by forensic experts Steven Hayne and Michael West tied Jimmie Duncan to Oliveaux’s death. Duncan was convicted of murdering the baby girl and sentenced to death. He has been on death row for 10 years. But an autopsy videotape obtained by Reason magazine’s Radley Balko shows the bite marks were not on Oliveaux’s body at the time of her death. You can see the video, and still photos from it, here. Balko asked Michael Bowers, a deputy medical examiner for Ventura County, California, and a past chairman of the American Board of Forensic Odontology’s Exam and Credentialing Committee, to review the tape. When asked how abrasions on Oliveaux's cheek that were not present when the video begins could later appear, Bowers said, "Because Dr. West created them. It was intentional. He's creating artificial abrasions in that video, and he's tampering with the evidence. It's criminal, regardless of what excuse he may come up with about his methods."

Balko's Reporting on Mississippi's Criminal Forensics System

New film clip from The Eyes of Van Gogh

2009-02-11T22:42:00.006-05:00

Dr. Peyron (Roy Thinnes) tells Vincent (Alexander Barnett) that he will never be cured.

http://www.youtube.com/watch?v=tWF8neMFQfw

The official site of the film is http://www.theeyesofvangogh.com/.

The Eyes of Van Gogh Film Clip

2009-02-11T22:37:00.006-05:00

In this scene from the film Vincent (Alexander Barnett) and Gauguin (Lee Godart) battle for the last time.

http://www.youtube.com/watch?v=ak9iffBLF7w

Thoughts on directing Macbeth

2009-01-20T23:07:00.004-05:00

Classic Theatre International, which I founded, was an American company dedicated to performing Shakespeare and contemporary classics throughout the world. One of those productions was Macbeth.

We interpreted Macbeth as an in-depth study of fear and tyranny and as one of Shakespeare’s most brutal and savage plays. Our Macbeth does not enter from battle as a finely-robed, unmarked general who has the sophisticated soul of a poet, but rather as a bloodied, scarred, intrepid, unsurpassed gladiator. Macbeth’s imagery expresses his subconscious mind but that in no way makes him a poet. Neither is he a victim of circumstances or a man whose fate is determined by supernatural influences or an overbearing wife. He is one of those people who would love to enjoy the fruits of treachery without having had to commit the treachery, thereby retaining a clean conscience even as he reaps the results of evil. Macbeth knows what he wants and what he must do to get it.

The idea of killing Duncan occurs to him before he is confronted by the three sisters. He tells his wife of his desires because he knows that she will give him the emotional and moral support he most desperately needs in order to achieve them. Macbeth has no predisposition to murder, merely an inordinate ambition and a lust for power that make murder itself seem a lesser evil than a failure to secure the crown. After he commits the murder it is fear, not guilt that infects Macbeth’s dreams and causes his intense paranoia.

Macbeth and Lady Macbeth are devoid of pathos and tenderness. They are not innocent sufferers but self-corrupted and guilty workers of horror. They do not command our affection or our sympathy, but we should be riveted, astounded and overwhelmed by their passion, brutality and determination. Above all they are human beings and not unreal monsters or evil incarnate. In Macbeth there are no neutral characters. Every person opposes, allows or encourages the tyranny unleashed by Macbeth. We do not treat the witches as supernatural beings but as the outward manifestation of Macbeth’s inner struggles and desires. Macbeth’s inner struggle and turmoil are expressed literally and theatrically.

I trained the company not to treat poetry as a strange, peculiar or awkward form of speech but as an absolutely natural and necessary way of expressing the highest and most profound thoughts in the most precise and perfect way possible. We tried to combine the perfect blending of the cerebral and the emotional; the thinking heart as Victor Hugo called it. This, plus a reverence for clarity and form, overcame much of the language barrier we encountered.

Our goal was not to perform only once in a city but to return year after year with the purpose of enriching all our lives. I firmly believe that there is a universal language that can be expressed through the correct combination and execution of text, mind, voice and body.

http://www.youtube.com/watch?v=G1UN055OM2w

Thematic Structure of my Production of Othello

2009-01-20T22:52:00.010-05:00

The production of Othello that I directed for Classic Theatre International was stark, brutal and unsentimental. We interpret it as a sixteenth century horror story that, tragically, is incredibly more than applicable in our modern world. In this production the tragedy is not in the downfall of a great man but rather in the cold-blooded murder of two marvelous and heroic women, Desdemona and Emilia. We view the production from a woman’s as well as a man’s point of view. We show the results of a male-dominated society where vanity, ego and appearance dominate rational and logical considerations and where women are treated as property and second-class citizens. It is a stinging indictment of the warrior mentality of Othello and the analytical yet maniacal and inhuman mentality of Iago.

We see Othello not as great man but rather as a very flawed individual who happens to be an outstanding warrior. Self-delusion is at the core of his character. His greatest flaws are his refusal to face the reality of his nature and his firm belief that he has the right to be judge, jury and executioner. Watching him we learn the importance of humility, of constantly questioning our motives, of knowing and admitting our weaknesses and failures and of constantly striving to improve ourselves. We are also reminded that no one except a legally appointed person, operating within the framework of a humanistic and ethical code, has the right to pass sentence on another human being.

In regard to Iago - unlike the standard portrayal of a dispassionate, unmotivated and coldly objective creature we see an obsessive, irrational, subjective, compulsive, reckless, maniacal paranoid who is overwhelmed with hatred and yet has the incredible ability to present to the world an entirely different personality. He literally thrives on danger and excitement.
http://www.youtube.com/watch?v=Ix9ZEy-ndvE

Themes in King Lear

2009-01-16T16:51:00.004-05:00

KING LEAR is Shakespeare’s greatest play and very likely the greatest work of literature ever written. Its themes are of the most profound nature. What is the ultimate power that moves the universe? What is the meaning of justice? What motivates man to be evil or good?

The play takes place in 800 B.C. King Lear has led Britain for sixty years. During his reign he has created a fantasy land not founded on truth. He is blind to what is really around him. He is a man of vast potential; a man of enormous passion, humanity, dignity and strength who has been inundated with lies, flattery unchallenged obedience and false adoration. He who most needed and demanded truth, he whose inner being was so honest, trusting and ethical learned to compromise his integrity, thriving on lies while his subconscious, his essence, has been devastated. He has denied himself his most important need: self-realization.

When the play opens, Lear’s psychological state is such that he is often incapable of controlling his strongest emotions. He is aware of this lack of control. Even as he indulges it he fears the consequences Lear has always been a man of lowering passion but had the incredible mind and will to match it. Now, however, his purpose and control have been eroded by his increasingly irrational emotional state.

Lear’s madness is not the result of evil or unjust actions, but that his actions belie his essence. Emotionally induced madness is brought on by an overwhelming accumulation of lies that the subconscious rebels against. The manifestation of madness is the body and mind’s defense against total physical destruction. Immoral actions do not induce madness in those whose essence condones them. Witness the unethical characters in KING LEAR who rarely lose their equanimity and are always objectively aware of what they are doing.

Edmund, the bastard son of Gloucester, knows exactly what he wants and is willing to do anything to get it. He is not immoral but amoral. He will be anything and do anything to achieve his nefarious end. He has an uncanny ability to encourage people to be what they are arid to express themselves fully. Then he uses this knowledge to destroy them. He radiates concern and empathy, and always for his own malevolent purposes.

Goneril, Lear’s eldest daughter, trusts no one, anticipating chicanery and duplicity from everyone she deals with. She believes that there are two kinds of people, those who will kill and destroy to achieve their goals and those who won’t, simply because they lack the courage. To the extent that she practices evil is the extent to which she sees and anticipates it in others. No sooner is she given new power than she is already afraid of losing it. No moment in her life is savored or enjoyed, no victory brings satisfaction. In effect, every gain in her life is a loss because it creates a new problem. She is not defeated because of complacency, but because she sees everything as a potential threat and so she continually strikes out and finally overreaches.

Cornwall, husband of Regan, is an excellent study of a purely sadistic brutal and vicious character. He is hot-tempered, ambitious, cowardly, ruthless and arrogant. He is a born dictator with a rigid code by which he judges others, but he considers himself sacrosanct. He believes that he who has the ability or good fortune to achieve power automatically has the right to use it any way he deems fit. Unlike Edmund, he is not amoral. He does have a code and rules by which he lives. He is a religious man. He believes that if one achieves power on his own it results in a divine authority and that if one inherits power (as he has) it demonstrates God’s recognition of this authority.

Goneril’s sister Regan is an insidious, vicious, mean-tempered woman who unlike Goneril has always given the appearance of being docile and even sweet. This stems from a certain diffidence and a basically quieter nature which in no way makes her morally superior. Both sisters view everything in terms of themselves and how it relates to them. Nothing else is important. Nothing else means anything. When any of these evil characters taste blood they seem to become infected by it. But it is not the taste of blood that is the catalyst, but the desire to taste it.
Cordelia and Kent are outstanding studies of the virtuous and ethical nature. They are impulsive, emotional and loyal creatures who can neither lie to themselves or others. Since they are so totally discerning and selective, their devotion to Lear tells us a great deal about his ultimate worth.

Gloucester, father to Edmund and Edgar, is an undiscerning, selfish, credulous and superstitious man. He is opinionated and cynical and is constantly seeking re-affirmation of his cynicism. While Lear seeks confirmation of love and trust, Gloucester seeks the opposite. He is a kind and decent man with a weak, impressionable nature. It is his nature to be acted upon and led by stronger personalities. When the events and people who influence him are decent and moral he acts accordingly, but when they are not he goes against his essence. Lear and Gloucester are both lied to, but this is secondary. What is paramount is that they, by accepting these lies as truth, have lied to themselves. They knew better but did not act on their knowledge.

2009-01-11T17:03:00.000-05:00

New Website

2009-01-11T16:46:00.002-05:00

My new website www.alexanderbarnett.com is now published. I hope you'll visit. There will be new updates frequently.

Pre-production thoughts on my upcoming film of King Lear.

2008-12-29T15:28:00.008-05:00

Alexander Barnett in the Classic Theatre International production of King Lear.

King Lear is Shakespeare's greatest play and very likely the greatest work in all of literature. Its themes are of the most profound nature: redemption; self-realization; the myth of universal justice; fortuitousness in the battle between good and evil; the nature of evil.

The 80-year old Lear has been King for many decades. During his reign he has slowly and inexorably become blind to reality. He is a man of vast potential; a man of enormous passion, humanity, dignity and strength who has been inundated with lies, flattery, unchallenged obedience and false adoration.

When the play opens, Lear's psychological state is such that he is often incapable of controlling his strongest emotions. Lear has always been a man of towering passion, but had the incredible mind and will to match it. Now, however, his purpose and control have been eroded by his increasingly irrational emotional state.

In any production of King Lear, we must see the lion in Lear and his raging battle between his age and failing mind. T here must be a constant struggle between the Lear of old and the present Lear. If we don't see the towering Lear we're left with the ill, debilitated, sorrowful Lear and the conflict is gone - we never see his basic nature, which is the cause of decline. What make him so fascinating and exciting are his tremendous extremes of temperament. First and foremost he must always be a fighter and never give in to adversity. This is a man who fights an epic and magnificent struggle against overwhelming physical and emotional turmoil and whose implacable refusal to surrender makes him one of the greatest, most towering and passionate tragic characters ever created.

And the most difficult portrayal in the entire Shakespearean canon. The actor portraying Lear can't drive the torment, confusion and bewilderment that emanates from Lear – they must drive him. No amount of brilliant faking will work. I t's either real or not. We must see the torment.

Gloucester is an undiscerning, selfish, credulous and superstitious man. He is basically decent, but with a weak, impressionable nature. The portrayal must allow for catharsis is impossible. Edgar, Gloucester's legitimate son, is a totally trusting, inexperienced and ingenuous soul who has vast, untapped potential. He goes through an incredible process of development and maturity. Edmund, Gloucester's bastard son is willing to do anything to achieve his nefarious ends. He is not immoral, but amoral. He has the uncanny ability to unleash each woman's full sexual potential. This, plus his physical attractiveness, his feigned but convincing warmth and concern, his self-confidence and sense of humor make him an ideal, consummate lover. With the obvious obsession that Goneril and Regan have for Edmund, nothing less will suffice. He must have the charm, confidence, fearlessness, dominance and supreme ability to dupe others. Albany, Goneril's husband, is a decent, sensitive, ethical and intelligent man who prefers to avoid altercation and acrimony, but should possess both appeal and perception. Cordelia is not a sweet, frail, delicate ingénue. If she were, Lear would never favor her. She is, rather, much like Lear: resolute, dignified, proud, outspoken and fearless. This is why Lear adores her. Indeed, she must match Regan and Goneril in strength and tenacity. It must be conceivable to imagine Cordelia’s leading an army to rescue her father. The Fool should be a creature of nature. Pure instinct. Spontaneous, unpredictable and uncontrollable.

Ultimately, Lear, the 80-year old with the heart of a gladiator, should arouse in us, not tears, primarily, but awe that such a man could exist.

The Eyes of Van Gogh

2008-11-28T16:23:00.006-05:00

What Causes the "Death of Theo" Hallucination Scene in The Eyes of Van Gogh?Pre-Production Notes for the film The Eyes of Van Gogh

2008-11-13T18:25:00.005-05:00

As the director and screenwriter, what I wanted for this scene in my film The Eyes of Van Gogh was to capture Vincent van Gogh's overwhelming guilt for placing such a burden as caring for him upon his brother, Theo; his terrible fear that Theo would stop supporting him; the gnawing, growing doubts about the true value of his work and the sickening sense that his work is not worth the help given to him by Theo (played in the film by Gordon Joseph Weiss).

During the course of the scene the audience should sense Vincent's growing awareness that he has contributed only pain and suffering to Theo's life; his deepening conviction that he will never be able to pay Theo back and, ultimately, that the burden he is putting on Theo will kill him.

Beyond that, though, the scene reveals Vincent's tremendous need to see Theo, talk to him, touch him, reassure him. To assuage Theo's growing doubts about continuing to support him, his concerns about his family, his ill health, his job security as an art dealer.

Everything that happens to Vincent in this scene, every thought, every action, every fear has already occurred to him in a lucid, contemplative state. But here he is living it, literally, in a hallucinatory state.

The key motivating factors that drive both the scene and the character of Vincent are the first attack he had in the insane asylum at St. Remy, from which it took him three weeks to recover. He is still very vulnerable.

Five days prior to the scene, Theo wrote to tell him of the birth of his son, to whom he has given the dreaded name of Vincent. Vincent becomes acutely aware that Theo now has his own family to support. Finally, two days prior, Theo wrote to tell Vincent that his growing weakness had been diagnosed as a possible weak heart.

When Theo appears in the scene, things change dramatically. Now the scene takes on a heightened reality that represents all of Vincent's worst fears. In his hallucinatory state, van Gogh imagines all of Theo's most worrisome thoughts from numerous letters. Out of context they present horrifying pictures, though they constitute no more than 5% of the whole of the letters.

Theo, of course, obeys the logic of the hallucination.

On Filming The Eyes of Van Gogh : The Director's Viewpoint

2008-11-13T18:07:00.006-05:00

The goal I set for myself in transferring my film script for The Eyes of Van Gogh to the screen was never to present but rather to uncover.

My director of photography, Ian Dudley, and I employ a subjective camera throughout the entire film. The idea is to get inside Vincent's head. Everything seen and felt is from his point of view. In order to achieve this, the camera, rather than viewing the action, is always within the action. We strove to give objective expression to inner experience, i.e., to show what Vincent was thinking and feeling; to show how a memory, dream or hallucination registers in his mind: texture, sound, color, shape, tempo.

The purpose is not for the audience merely to be a witness, but rather for them to live within the image and to participate psychologically in the action. Vincent's mind, from beginning to end, is always engaged. His confusion, struggle, bewilderment and desperation grow and grow. He is never totally in one place. When he is in the past he still retains some of the present and vice versa.

Many scenes are dream, imaginary or hallucinatory sequences. In order to convey the intensity and obsessive quality and to maintain the subjective camera movement, all of the scenes were shot at 360 degrees with a handheld camera. From childhood on, Vincent van Gogh never took anything for granted. He always marveled at every new discovery; at all the wonders of the world.

Because of the burden he put on his brother, Theo van Gogh, and because his work never sold, Vincent suffered constantly with terrible bouts of guilt, remorse and regret Vincent came to the insane asylum at St. Remy because he wanted to be isolated from the outside world and be in a protective environment. As long as he could discover and reveal new truths and carry on with his work he could hold the horrible disease at bay.

The constant obsession by psychoanalysts, doctors and armchair experts to pigeonhole van Gogh's illness, to give it a specific name, to use it to explain his actions, to claim that the very quality of his personality and his genius can be attributed to a specific malady: bi-polar disease, schizophrenia, autism, tinnitus, gonorrhea, lead poisoning, ad finitum ad nauseam is utter rubbish. It's an insult to Vincent and proof that these people have absolutely no understanding of the man. For Vincent, inactivity was absolute torture. Painting was the only thing that protected him from the constant questions and doubts that haunted him. By going without proper sleep or food, by working himself to the point of exhaustion -- this alone helped silence the most frightening thoughts. It was vitally important to him that his work be recognized; for there to be some sense of recompense, because then he could ease the burden placed on Theo.

Vincent van Gogh's three greatest fears were: suffering another attack; being incapacitated and unable to work; and failing to justify though his work all that Theo had done for him. He felt that if he couldn't work he had no reason to live, no right to take money away from Theo. Vincent was completely original both in his work and in his illness.

Certainly he had severe emotional problems and no doubt they were exacerbated by malnutrition and traumatic experiences - the Borinage, etc. that made him more vulnerable - but ultimately he was defeated by an immense sensitivity and an overwhelming empathic nature that was unable to cope with the reality of the world and the nature of most people.

In spite of what most think, Vincent was a realist both in his life and his work, but his reality was light years beyond everyday reality and therein lay his genius. He indeed saw life as it was but was never able to come to terms with it. Most realists become cynics, but Vincent was totally incapable of this. When an artist becomes a cynic, he also become a hack and is no longer capable of producing heartfelt work. Technical virtuosity may remain, but the "soul" of the work is lost.

Vincent never lost either. By the world's standard of normalcy, then and now, Vincent was not an idealist but quixotic. However, the "world's standard of normalcy, then and now," is by definition pedestrian, mediocre, compliant, herdish, pragmatic, accommodating and compromising. Vincent was extremely difficult to deal with. If he saw some-thing unjust or wrong, he felt compelled to attack it. It was always love or hate and this created many enemies. Even Theo found him impossible to live with. All Vincent thought about, all he cared about was the work. Nevertheless, Theo, like Roulin the postman and Vincent's teacher in Amsterdam, Mendes da Costa, always thought that Vincent was a great and unique individual. Those three were the only friends Vincent ever had, the only people who under-stood and loved him for what and who he was. But they were also unique and wonderful people, atypical from the average person.

Many people today who adulate Vincent make him into a Christ-like martyr. He was neither and would have detested the notion. He is depicted as the ultimate "communal" artist. This is nonsense. He was in fact the ultimate "individualist" who was never able to work well with others, or to be bound by any sort of cooperative rules. His desire to work with others came from loneliness more than anything else. Another myth is that he sacrificed his life (again, the martyr syndrome) for humanity. No. He gave his life to his work. He did indeed have an obsessive desire to educate and inspire people. But he strove to do so through his work, which superseded everything else.

The most significant and revelatory things about van Gogh are not that he cut off his earlobe or that he suffered attacks of madness or that he committed suicide, but rather that he lived life to the fullest, realized his artistic potential as much as humanly possible, fought magnificently against the attacks and all forms of adversity, never willingly giving in to them. Most important, he created a superb body of work that will live as long as the human race survives. The theme of his life, and the theme of my film The Eyes of Van Gogh, is Vincent's quest to achieve immortality through his work.