Guest Post: Oscars 2019: Roma, Yalitza Aparicio and the fascinating history of non-professional actors

Catherine O'Rawe, University of Bristol

The surprise nomination of non-professional indigenous woman Yalitza Aparicio for this year’s best actress Oscar for her role as a domestic servant in Alfonso Cuarón’s critically acclaimed Roma has been greeted as a “fairytale”.

Aparicio was training to be a teacher when she reluctantly went to an audition where Cuarón was immediately struck by her. Her presence and her similarity to his own childhood maid – on whom the film is based – secured her the role.

Propelled into the spotlight by her role, she has become the first indigenous woman to grace the cover of Mexican Vogue. She also endeared herself to her growing social media following by uploading to Twitter a video of her sobbing reaction to news of her nomination.

If Aparicio wins, she will be the first indigenous Latina Oscar winner and will join the small number of non-professional actors to win an Oscar in recent times. This number includes Anna Paquin for her role in The Piano (1993) and Haing S Ngor, a former doctor from Cambodia, who won the 1985 best supporting actor Oscar for his role in Roland Joffe’s The Killing Fields, in which his own traumatic experiences informed his outstanding performance as a local journalist.

In the same year as acclaimed indie hits such as Chloé Zhao’s The Rider, in which Brady Jandreau played a version of himself as an injured rodeo rider, and Crystal Moselle’s Skate Kitchen, featured an all-girl skate collective from New York, it seems that authenticity in casting and performance is all the rage.

But Aparicio also stands out as being typical of the non-professional’s experience throughout cinema history. Her “journey” from naïve provincial girl to the red carpet hits many familiar notes. Interviews emphasise how little she understood of cinema, and how she had never heard of Cuarón and feared the job offer might be a trafficking scam.

Authenticity

Aparicio’s unpolished and untrained authenticity is sharply juxtaposed with the glamorous world in which she now finds herself. Part of the non-professional’s effect is to throw into relief the extraordinariness of stars, as well as their proficiency, understood as a product of years of training and dedication to their craft. Aparicio’s novelty, spontaneity, and natural appearance are all singled out as antithetical to the professionalism of her co-star, experienced stage actress Marina De Tavira, who has also been nominated for an Oscar.

Her story mirrors the “discovery” of Barkhad Abdi, the untrained Somali-American who played a memorable co-lead to Tom Hanks in Captain Phillips. It also recalls the children recruited by Danny Boyle from the Mumbai slums for global hit Slumdog Millionaire.

In the latter case, ethical concerns around the effects of sudden fame on vulnerable children were recognised by Boyle. He set up a trust fund for them, though this didn’t prevent allegations that the father of one of the girls tried to sell her to capitalise on her fame.

Power imbalance

The non-professional child actor came to prominence in post-WWII Italian neorealism, which specialised in taking performers from the streets. Vittorio De Sica’s Oscar-winning 1948 classic Bicycle Thieves was particularly celebrated for its non-actors, chosen for their faces and bodies rather than any acting talent.

Lamberto Maggiorani, who played the tragic father, lost his factory job after the film and struggled to find work as an actor; he repeatedly begged De Sica to help him out. Meanwhile, nine-year-old Enzo Staiola made several further films and retired at the age of 15. However, accounts of his treatment on set , which included De Sica publicly humiliating him to make him cry, match other testimonies of neorealist directors extracting performances from non-professionals by insulting and even beating them.

This power differential, always implicit in the actor-director relationship, is obviously exacerbated when the actor is inexperienced and has no manager to guide them through the film industry. While Aparicio and Cuarón’s on-set relationship seems to have been affectionate, one anecdote about the film’s shooting is somewhat disturbing. In a central, traumatic scene for her character Cleo, Cuarón admitted that he deliberately withheld from Aparicio what would happen. Her anguished reaction is genuine – and presumably she could not be trusted to generate that response otherwise.

Aparicio has declared that she would like to continue to act, though she admits that Roma may be a one-off. French film critic André Bazin wrote of neorealist actors that the non-professional can be used only once because their effect can never be replicated. But non-professionals have gone on to career success – Paquin, obviously, as well as Sasha Lane, discovered by Andrea Arnold for her film American Honey, is continuing to work. So is Abdi, though in low-profile parts. Others, like the kids of Slumdog Millionaire, have returned to their old lives.

In all the press talk and interviews with Cuarón and Aparicio, one thing is never mentioned: pay. While one presumes that she received a fair salary for the part, non-professionals generally come cheap because it’s often assumed that part of the reward is the experience itself, the fairytale story. But when the magic finishes and the closing credits roll, they all too often find themselves alone.

Catherine O'Rawe, Professor of Italian Film and Culture, University of Bristol

This article is republished from The Conversation under a Creative Commons license. Read the original article.

'Big Stone Gap' Cast and Author Visit the Virginia Film Festival

Ashley Judd, Adriana Trigiani, and Terry McAuliffe

Last month in Charlottesville, the director and screenwriter of Big Stone Gap (based on her own novel), Adriana Trigiani, brought along several cast members to the Virginia Film Festival for a screening of the movie, which was produced in its namesake town in Wise County.

Just before the screening at the Paramount Theater on the downtown mall, Trigiani and the cast spoke at a press conference about the making of the film, the hospitality of the town's 5,600 residents, and the value of producing an independent film in Virginia.

The actors who participated in the press conference were Erika Coleman, Jenna Elfman, Bridget Gabbe, Jasmine Guy, Ashley Judd, Patrick Wilson, and Paul Wilson. Not present were additional cast members Whoopi Goldberg, John Benjamin Hickey, Judith Ivey, Jane Krakowski, Anthony LaPaglia, and Chris Sarandon, among others (including a large number of non-professional local actors from Southwest Virginia who appear in the film).

Virginia Governor Terry McAuliffe made a surprise appearance at the end of the presser and posed for photos with the cast.  He used the opportunity to tout Virginia's film industry and the tax credits and other subsidies available to film makers.  (McAuliffe's comments to local news media about the Virginia film industry are reported here.)

A video recording of the entire press conference, including Governor McAuliffe's interactions with the cast members, is below.

During the press conference, Trigiani reveals that she originally conceived of the story as a screenplay but decided first to put it in novel form and then adapt it as a film. She also notes that she has known actress Jasmine Guy since they both worked on the TV series, A Different World, a spinoff from The Cosby Show. (Guy played Whitley Gilbert on the show; Trigiani worked on the writing staff along with executive consultant Bill Cosby and Kadeem Hardison.)

My understanding is that Big Stone Gap did not have a distributor at the time of its world premiere at the 2014 Virginia Film Festival. 

The press conference and screening of Big Stone Gap took place on Thursday, November 6, 2014.

SNL Alumnus Will Forte Discusses 'Nebraska' at 2013 Virginia Film Festival

Will Forte at 2013 Virginia Film Festival

The new Alexander Payne film, Nebraska, opens in cinemas across the United States today. It has already won wide acclaim, including a best-actor award for leading player Bruce Dern at the Cannes Film Festival last May.

The movie is about an aging man's journey across the plains from Billings, Montana, to Lincoln, Nebraska, with his younger son, and a reunion with family members and friends in his long-ago hometown (location-shot in Plainview, Nebraska, represented as the fictional "Hawthorne").

Dern's turn as Woody Grant is getting plenty of Oscar buzz. The generally talkative (in real life) Bruce Dern plays a taciturn octogenarian who falls for a sweepstakes scam and insists on picking up his winnings.

Although Nebraska is set in the present day, the black-and-white cinematography by Phedon Papamichael recalls period pieces like Paper Moon (1930s) and The Last Picture Show (1950s), both directed by Peter Bogdanovich in the early 1970s.

Last week, co-star (and SNL alumnus) Will Forte came with Nebraska to the Virginia Film Festival.

Before the capacity screening at the Paramount Theater downtown, Forte bantered with local reporters about the film and his career. (You'll hear my voice asking him about his experience with animated comedies like The Cleveland Show and Bob's Burgers.)

After the screening, Forte was joined on stage by one of the film's producers, Ron Yerxa, for a question-and-answer session moderated by NYU film studies professor Harry Chotiner.

In addition to the Cannes and Virginia film festivals, Nebraska was also screened at the new Middleburg Film Festival in Northern Virginia, where Bruce Dern came to promote it, along with Ron Yerxa and his producing partner, Albert Berger.

At the 2009 Virginia Film Festival, actor Matthew Broderick discussed another Alexander Payne film set in Nebraska, Election.

Panel Discussions at the 2012 Virginia Film Festival

Carl Bernstein

Although a presidential election has intervened, absorbing much of our attention, since the last popcorn was popped and the last screening went dark, I think it's worthwhile to visit the 2012 Virginia Film Festival and look at a few of the stimulating panel discussions that followed some of the features.

The headliners on Friday night were former Virginia Governor Gerald Baliles, who was one of the founders of the Virginia Film Festival, along with authors Carl Bernstein and Bob Woodward. Baliles led a conversation with Woodward and Bernstein about the 1976 movie based on their book, All the President's Men, which chronicled their investigation of the Watergate break-in and cover-up as young reporters with the Washington Post.

Bob Woodward

All the President's Men won four Academy Awards (supporting actor, sound, art direction-set decoration, and adapted screenplay) and was nominated for four others, including Best Picture. (By odd coincidence for me, the screenplay was by William Goldman, who also wrote The Lion in Winter, a play I saw last night at the American Shakespeare Center's Blackfriars Playhouse in Staunton last night.)

Woodward and Bernstein discussed many aspects of their investigative work, the making of the movie, and the legacy of the Watergate scandal. One nugget that I excerpted from the longer discussion focused on President Gerald Ford's pardon of Richard Nixon just one month after Nixon resigned the presidency.

Woodward explained that he interviewed Ford about the pardon some 25 years after it occurred, and that Ford said he did it to spare the country of further pain over Watergate. Although he and Bernstein had been appalled by the pardon at the time it happened, they now agree that Ford "did the right thing."

Here's the clip:

The longer, more wide-ranging, conversation is also worth a look. Considering that Watergate happened 40 years ago, it is fascinating to hear the stories directly from some of the principal players in the investigation that brought down a president and proved that our Constitution can endure even the worst crisis that threatens its integrity.

Here's the complete panel discussion with Baliles, Bernstein, and Woodward:

For the record, here is Governor Baliles' introduction of the film and the participants:

Another political movie was also featured at this month's film festival. A screening of John Frankenheimer's 1962 psycho-political thriller, The Manchurian Candidate (starring Frank Sinatra, Laurence Harvey, Angela Lansbury, and a cast of distinguished character actors of the 1950s and 1960s), was followed by a discussion among the hosts of the public radio program, BackStory with the American History Guys.

The American History Guys are two University of Virginia historians, Brian Balogh (20th century history) and Peter Onuf (18th century), and the president of the University of Richmond, Ed Ayers (19th century).

The screening and panelists were introduced by Jody Kielbasa, director of the Virginia Film Festival, who notes that The Manchurian Candidate has been added to the Library of Congress's National Film Registry.

Here's the full discussion, including questions and comments from the audience:

In a non-political category, on Saturday afternoon, actor and Oscar-winning songwriter Keith Carradine discussed his role in Ridley Scott's 1978 film, The Duellists (costarring Harvey Keitel). The conversation was moderated by New York University film scholar Harry Chotiner and included questions from the audience about Carradine's career and the art/craft of acting.

Here's the post-screening discussion, which lasts just over one-half hour:

Finally, a new movie, based on a popular young adult (YA) novel, from a first-time director was one of the closing-night screenings in a newly refurbished Newcomb Hall Theatre on the grounds of the University of Virginia.

Director Matthew Lillard (better known as an actor for such films as Scream and Scooby-Doo) discussed his new film, Fat Kid Rules the World, along with actor Billy Campbell, who has a major role in it. The conversation was moderated by Sandy Hausman of WVTF-FM.

Fat Kid Rules the World is based on the novel of the same name by K.L. Going and stars Jacob Wysocki, Matt O'Leary, and Dylan Arnold, as well as Campbell (who attended Western Albemarle High School).

The conversation took some interesting turns. As Lisa Provence reported in The Hook, for instance,

Billy Campbell's shocking confession about what really went on at Fork Union Military Academy: The star of The Killing says his six years at FUMA provided the military experience for playing a former-Marine dad in Fat Kid. "What were you doing there?" asks Hausman. "A lot of masturbating," replies Campbell.

Here's the whole rollicking thing:

For more of my coverage of this year's Virginia Film Festival, see this Examiner.com article about Woodward & Bernstein and this pre-festival interview with Jody Kielbasa.

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