Director counts on hometown

Omahans were intrigued when first-time movie director Nik Fackler, then 23, managed to cast Oscar winners Ellen Burstyn and Martin Landau in “Lovely, Still.” Fackler, a Millard West grad who had made lots of music videos, shot “Lovely, Still” in Omaha in November and December 2007, casting a couple of dozen Omaha actors as well. It's the Christmastime story of a grocery sacker (Landau) who falls in love for the first time.

“Lovely, Still” was chosen for screening at the prestigious Toronto Film Festival in September 2008. But no national distribution deal followed, and most Omahans have never had a chance to see Fackler's movie.

Fackler and Landau will introduce the film to a VIP audience in Omaha tonight. They'll also take questions from the audience Friday night at 8:30 p.m. before a public screening that's part of the grand opening of Marcus Midtown Cinema, 3201 Farnam St. “Lovely, Still” will play at Marcus Midtown for a week. We reached Fackler by e-mail in South America last week with our own Q and A:

Q. Well, the first obvious question: What are you doing in Brazil?

A. I am attending the Sao Paulo Film Festival (where “Lovely, Still” was screened last week).

Q. How was the response to the film in Sao Paulo?

A. It was great. I was worried what a foreign audience would think. Would the jokes work? Would an obviously Midwestern love story work in South America? It really did. People were laughing at the jokes and crying at the love.

Q. Do you have a distribution deal for “Lovely, Still”?

A. A national release is planned in the first quarter of 2010. Get people to come to the screenings here! We need to prove to the world that people will go and see the film, and it's all starting here in my hometown. I want nothing more than to share with everyone in Omaha the work that living in this town has inspired.

Q. How was the film received at the Toronto Film Festival?

A. Really well. We got a standing ovation and lots of great press. Not all great press. Some people really hated it. But that is beautiful. Something true must have good and bad. It can't be all good or all bad. It has to be both. It's like atomic energy.

Q. How do you feel about “Lovely, Still” now, a year after Toronto?

A. I still watch it and learn things about myself. I learned some deep-rooted thoughts that were going through my head when I was writing it. To me, the film is like watching me as a 17-year-old, realizing the truth of love, the truth of life. And growing up hoping it stays as mysterious, new and magical. Then the tight grasp you hold on it when you realize it's not. Then the power of finding new ways to create the things you lost.

Q. What feedback did you get in Toronto that caused you to do reshoots (in March 2009)?

A. The film's dream scenes scared people. It was never my intention to frighten people as much as I did with them. So we reshot all new sequences, using an experimental lighting technique inspired by the work of (British artist) Alan Jaras.

Q. Who has given you the most valuable feedback about “Lovely, Still” so far?

A. Probably Martin Landau. He and I worked a lot on the script, on set and in the editing room. And the producers (including Dana Altman of North Sea Films in Omaha). It is a team effort. Oh! And Derek Pressnall (guitarist/vocalist for Omaha alt-rock band Tilly and the Wall) gave me some feedback after he saw the Toronto cut that was really great.

Come to think of it, all feedback is helpful. But in the end it has to filter through me and the film. Martin must have repeated to me a million times, “It's your movie. Take my thoughts, and do what you want with them.”

Q. Describe your impressions of Landau and what your relationship is like.

A. We both are kind and friendly and very eager to talk and meet with people. Both goofy and like to play around. But when it's time to work, we work really hard. I just saw Martin in Chicago a few weeks back. He rules. We eat dinner and talk about movies. He is without a doubt a mentor and friend.

Q. Did you get to talk to Omaha director-screenwriter Alexander Payne at the Sept. 13 fundraiser for Film Streams? Has he seen your film or offered any friendly advice?

A. He has seen my film, and we have talked many times. He gave me the best advice that came at the perfect time. He said, “Nik, your first film is like your first waffle. It's not gonna be perfect, but just keep making waffles. They get better and better.”

Q. What do you think you learned from making your first feature film?

A. Lots of technical things. Working with actors. Watching the pace of the film while you are shooting. Little things here and there. But the most important is to not take anything seriously. That goes for life, too. Nothing is important enough for you to destroy yourself over.

Q. Are you still living in Omaha most of the time? Do you still work at your folks' restaurant (Shirley's Diner) now and then?

A. When my folks' restaurant isn't burning down I work there. We just reopened (Oct. 24) after a large fire (Sept. 1), so everyone, please GO EAT! We are broke! I live in Omaha still but am planning to move soon. Not to L.A. or N.Y. But the world is too big. To not explore every bit of it would severely limit my life experience.

Q. Are you working on another film project? What can you tell me about it?

A. I have many scripts written and ready that all reflect what I'm interested in at the moment. One is an existential children's film based on the work of the underground cartoonist Tony Millionaire (cartoon strip “Maakies,” comics series “Sock Monkey”).

The other is a film based on the power and need for myth, which I am writing with local artist Seth Johnson.

Contact the writer:

444-1269, bob.fischbach@owh.com