Tag Archives: filmmaker

Does Robert Pattinson Want to be a Pornstar now? (Video)

Robert Pattinson is no stranger to sex scenes in movies, in fact he seems quite comfortable with them. But is he so comfortable with them that he’d consider venturing into the porn industry? while at the premiere of his crazy new film Cosmopolis in new York City, reporters asked Robert to comment on his sexy scenes and if he does them willingly — or with reluctance.

“I mean it depends who the director is, it depends what the reason is for it, I wouldn’t be particularly comfortable doing straight up porn,” R-Pattz said at the Cosmopolis premiere in an interview with the Associated Press. There’s your answer, folks. It looks like his break up with Kristen Stewart wasn’t devastating enough to force him into the sex industry.

Robert’s new movie, which will have an exclusive run at only six cinemas, is directed by David Cronenberg — an influential filmmaker who’s known for his eccentric sci-fi movies that tend to blur together both the psychological and horrific natures of the human condition.

Paul Giamatti, who’s also in the film, jokingly said, “[The film is] kind of a science-fiction-psycho-sexual-thriller-black-comedy-satire . . . it’s one of those. Kind of like the Twilight films.” In other words, it sounds like nobody in the world has a clue as to what it’s about — not event the actors. Whatever it is, I hear it’s incredibly trippy. despite the film’s limited release, it received much praise at the 2012 Cannes Film Festival and continues to intrigue critics.

What about you? Are you eager to see Cosmopolis, or are you more eager to find out what happens with the whole Robert Pattinson and Kristen Stewart situation? for some reason I have a feeling you’re less concerned about his new movie and more concerned about the affairs swimming around in the Twilight kingdom. Hit up the comments below and leave us some of your thoughts.

Image credit to FameFlynet

Does Robert Pattinson Want to be a Pornstar now? (Video)

'The Hunger Games': There Won't Be Blood

oh the agony of being a fan! Specifically a fan of those gotta-read serial books that recapture a youthful ardor for deep, long reading that we’d mostly thought gone in these quick-burst internet times. I’m speaking of Harry Potter, of Game of Thrones, and, most pertinently to the moment, of Suzanne Collins’ Hunger Games novels, the first of which, called the Hunger Games, has just been turned into an at times thrilling but too often frustrating feature film.

the agony part comes when, all popcorned up and sweaty ticket holding, one is finally in the theater after a long and arduous wait, ready to watch whatever magic has been conjured from such treasured pages. In the Hunger Games’ case, there isn’t much joy to be expected — this is a brutal, unrelenting story about a dystopian future world in which children from once-rebellious outer districts are forced to compete in to-the-death gladiatorial combat for the delight of the cruelly whimsical denizens of a wealthy, oblivious Capitol. But there is certainly the hope that the filmmaker, in this case director Gary Ross (Pleasantville, Seabiscuit), has figured out how to present the story in a way that satisfies what fans already have living large in their heads. It’s a tough assignment, and also a nerve-wracking experience for the fanboy viewer — what if they get this wrong or omit this or elide that? then the whole thing will be ruined! not just the movie, but in some strange way the book too, the whole thing of it will be tainted by a manifest motion picture that just didn’t get it right. we board this expectations rollercoaster over and over again, sometimes to be pleasantly surprised (Harry Potters 3 through 7.0), but other times, all too often in fact, end up dismayed (The Golden Compass).

the Hunger Games falls somewhere in the middle of that spectrum. Ross has admirably not gone for any tween/young adult easiness in his film’s aesthetic — the serious stakes are evident in the opening scenes’ shaky, danger-boding camera work, in the altogether aching, haunting, and rousing music by T-Bone Burnett and James Newton Howard. Ross chose his lead actress, Jennifer Lawrence, well too. As our heroine Katniss Everdeen, Lawrence once again satisfyingly digs into the guts of a tough girl from mountain country, though it should be noted that Katniss is nowhere near as fully realized a creation as Winter Bone’s Ree Dolly. the architecture is the same — hunger, impoverishment, frustration, toughness masking a fatalistic woundedness — but Katniss is far more storybook, she’s kissed with a kind of flinty luck that perpetually eludes Ms. Dolly. In the beginning scenes of the Hunger Games, Katniss volunteers herself for the competition, which each year pulls a boy and a girl from ages 12 to 18 from each of the twelve districts of the post-America land called Panem (bread, see), because her 12-year-old sister has been selected in the lottery and Katniss, being both big sis and defacto mom, is desperate to protect her. so she whizzes off with her male counterpart, the thickly-built baker’s son Peeta (heh! Like bread, see!), to the Capitol to prepare herself for the games. up to this point the film has been somber and, at times, verges on poetic. There are small bits of action, like Katniss staring at a dress on a bed, laid out for her to wear to the selection ceremony, that hum with a quiet, anxious sadness. Ross is taking this material seriously, this is no kiddie fable.

But then, alas, we arrive in the gleaming, fascistic city, and things, for both the characters and the viewer, begin to fall apart. what only made sense in a threadbare sort of way in the books, namely the tenuous idea that the annual conscription of 24 children to be ritually slaughtered would cow rebellion rather than violently stoke it, becomes gapingly ridiculous in the movie. the awfulness of this enterprise is so ludicrous, so beyond the rational bounds of a world that, despite some crazy plastic surgery and ridiculous hairstyles, looks mostly like ours, that the film loses any shred of credibility. Suspension of disbelief is easier in books, maybe, when there is comfortable room for historical exposition and inner-monologue ruminating. In the Hunger Games movie, like in so many of these popular book adaptations, everything instead feels hurried and rushed. And unfortunately we really need the particulars of why the Capitol does this, really need to feel the oppressive and year-after-year impossible weight of it, to understand or accept that this is just allowed to happen. We’re asked to take a lot on faith in the movie, and it ultimately proves too hefty a request.

I could discuss the various minutiae of the film and what it gets right and wrong for pages and pages, but with the non-diehard Hunger Games fans out there in mind, I’ll just say that the way the film strains its premise is, unfortunately, not its chief sin. No, that dishonor goes to what happens when Katniss and her twenty-three foes enter the fighting arena. this is a PG-13 movie and Lionsgate clearly hopes that teenagers come to see it in droves and droves (and they will), so we can’t really, with any business savvy in mind, find fault in some gentle whitewashing. But boy if Ross and his producers don’t, in an effort to appease censors and whoever else, totally denude the story of its most important aspect: this shit is supposed to be awful and gory and terrifying and so graphically and matter-of-factly dreadful to behold that it shakes us to our core. But instead Ross cuts away from the most visceral violence. Small spatters of blood replace total flayings, heads are smashed off screen, and an all-important spear impaling is barely glimpsed. Collins’ ultimate intent in writing her novels was to make us question our society’s lust for destruction, but in order to horrify our systems we must first be exposed to all the bare-bone brutality the scenario can muster. But Ross shies away, he demures. Katniss is an expert marksman with a bow, and yet none of her arrows land with a thwack. Ross takes it easy on everyone, far too easy, and so the story is sapped of its most potent, most shocking, and most necessary aspect. the Hunger Games don’t, actually, seem all that bad. Sure they’re scary and kids are dying left and right, but none of the unrelenting stress and terror that Collins built in her narrative is present in the movie. Yes, I’ll say it: this movie should be a hell of a lot more violent than it is.

so, yes, alas, this film does omit and elide. not just where violence is concerned, either. As this is a trilogy of books, and a planned quadriology of movies, some important groundwork needs to be laid to make the rest of the tale make sense. And I’m just not sure that Ross (who co-wrote the screenplay with Billy Ray and Collins) hits the necessary notes. Does the performative nature of the budding romance between Katniss and Peeta (the likable if unmemorable Josh Hutcherson) really resonate the way it needs to? do Katniss’ ultimately revolutionary actions feel as big as they’re supposed to? Sigh, no, they don’t. As if to stamp out the worry that not enough is being explained, Ross often cuts to the control room where the Games are being orchestrated by their callous overseer (Wes Bentley, ever-so-slightly hamming it up), and while I suppose that may be an expository necessity to keep neophytes following the thread of the story, it mostly seems like distraction, like a sloppy way to explain things that, in Collins’ book, are revealed more gracefully.

the Hunger Games is an entertaining, bracing picture, but I couldn’t help but leave the theater ruefully thinking that it could have been so much more. Maybe this is just the sour, anticlimactic feeling of a much-anticipated movie only competently doing its job rather than gloriously — which is to say that maybe people who haven’t read the books will outright love it — but for me, and I suspect for many longtime fans, this film will resonate with a vague chord of disappointment. Sure they get many things right — the movie sounds and looks terrific, despite some wonky, lower-budget-than-expected special effects — but the film is direly lacking an essential grim animus. It’s the bloody soul of the story that’s missing, I think. when the righteous, cataclysmic revolution finally comes (and it will), will anyone know why? And, far more importantly, will anyone care?

want to add to this story? let us know in comments or send an email to the author at rlawson at theatlantic dot com. You can share ideas for stories on the Open Wire. Richard Lawson

'The Hunger Games': There Won't Be Blood

‘Saving Face,’ the Oscar-Winning Documentary, Has Its TV Premiere – News Watch

Saving Face, which won the Oscar for best Documentary Short, highlights the issue of acid attacks against women in Pakistan. about 150 cases are reported each year in that country, which is one of a dozen or so to experience this form of violence. but incidents are likely underreported.

U.S. filmmaker Daniel Junge, 42, teamed up with Pakistani director Sharmeen Obaid Chinoy, 33, to tell the story of Rukhsana and Zakia, two Pakistani mothers disfigured when their husbands threw acid –known as “tezaab” or “sharp water” in Urdu—on them. in the film, Zakia, 39, decides to take on her ex-husband in court, in a landmark case testing a new Pakistani law punishing perpetrators of acid violence. Rukhsana, 25 and pregnant, remains with her abusive husband. Both seek medical help from Mohammed Jawad, a Pakistani-born plastic surgeon who earns his living by performing cosmetic surgery in the United Kingdom but devotes part of every year to pro bono work in Pakistan reconstructing the faces of women who have suffered acid burns.Saving Face airs this evening at 8:30 p.m. ET on HBO.

Do you think your film’s Oscar will have an impact in Pakistan?Daniel Junge: The global platform we have now is unparalleled. Sharmeen has been completely embraced by the government of Pakistan. They’re awarding her the country’s highest civilian honor. This means they’re accountable now for this problem and might have the ability to eradicate it.

Has the film been shown there yet?We hope to show the film in Pakistan, but we need to ensure the women’s safety first.

Sharmeen is the first Pakistani director to be honored with an Academy Award. How does that feel?Sharmeen Obaid Chinoy: It’s incredible the Academy has given an Oscar for a film on such an important subject and to a team of Pakistanis and American filmmakers. it showed me that you can be anyone and do good work and it will be appreciated.

What’s been the reaction of Rukhsana and Zakia to the Oscar win?Chinoy: They’re both very delighted and excited that acid violence has received global attention. but they’re not used to being exposed to attention and the media, so they’re slightly apprehensive, especially Zakia, because her ex-husband has appealed [his conviction] to a high court.

How did you contact with these women initially and establish trust so that they felt comfortable telling their stories?Chinoy: The Acid Survivors Foundation [a Pakistani charity] connected us with those women, and because I’m Pakistani, I was able to connect with them and made them feel comfortable. I was allowed into this inner sanctum, which is very rare. We treated them with dignity and respect.

Mohammed Jawad, the plastic surgeon who volunteers his services to help reconstruct the women’s faces, says at one point in the film that he feels a moral obligation to do the work that he does. do you feel the same way as a filmmaker?

Chinoy: There is a moral obligation to tell these stories and make Pakistan a better place to live in, to effect change and mobilize change. We are privileged and educated and if we don’t do it, who will?

Do you see yourselves as journalists or activists? A little of both?

Chinoy: I was born an activist. I became a journalist but I will always be an activist. all my films are centered on activism, whether they take place in Canada, Sweden, or Pakistan. My motivation in all these films is, does [the subject] make me angry? are others not talking about it? if not, why not? I choose topics that make people uncomfortable.

Junge: I don’t see myself as an activist. I am a filmmaker first and foremost. There’s no better dramatic conflict than in social justice situations around the world. if my films are able to help effect change, then I sleep better at night. I have the highest regard for activists. but as a filmmaker, I’d get tripped up by that.

Sharmeen, both you and Dr. Jawad are Pakistanis who also have lived elsewhere—he in the UK and you in the U.S. and Canada. but it’s been important to you both to go back and devote yourselves to working in Pakistan. do you identify with Dr. Jawad?

Chinoy: It’s hard not to identify with Dr. Jawad. When I first met him, he gave me an analogy that Pakistan is like a sick, dying mother who needs her sons and daughters to come home and help her recover. So the doctors and lawyers and engineers who left, the onus is on all these people to come back. We are the first to criticize ourselves, we should be the first to help. now I spend more time in Pakistan. I have moved back and I am working on a lot of projects there.

One of the most disturbing scenes in the film is when Rukhsana’s husband denies any role in her injuries and says she inflicted them on herself. Then he says, “Ninety-nine percent of all women burn themselves alive.” What was it like to hear him say that?

Chinoy: I had to restrain myself from punching his face out! it was very hard to hear that. but it provides us with an understanding of what some men believe, and what these women are up against. You realize they have no exposure or education. He would have benefited from state education.

Is education the way to end this violence?

Chinoy: There’s no single solution. There also has to be advocacy on the ground and a greater understanding of the impact on women–that this is one of the unmanliest things to do.

The film ends after Rukhsana has given birth to her baby and has to wait for her reconstructive surgery. How is she now?

Chinoy: Rukhsana went back to her husband [at first but] now has left for the Acid Survivors Foundation [a safe house]. Dr. Jawad has had to wait to do the surgery because she was breastfeeding her baby, but he will do the surgery in the coming months.

Your Oscar win helps shine a spotlight on Pakistani film, about which the world knows very little. What’s happening in the Pakistani film industry?

Chinoy: We had a very vibrant film industry in the 50s and 60s but it died when [1980s military dictator] General Zia ul Haq killed art and culture that was not within the confines of Islam. now, 25 or 30 years later, there’s a generation of filmmakers eager to tell stories. And now it’s easier to tell stories, but we don’t have enough filmmakers to teach the basics, so sometimes the quality isn’t up to par. I recently started teaching a filmmaking class and am mentoring younger filmmakers. We should have an in-house pool to draw from rather than relying on help from outside.

Toward the end of the film, Dr. Jawad says that by doing his work, “I am saving my own face, because I’m part of a society that has this disease” of acid violence. The perpetrators of the violence also feel, in a way that’s less easy to understand, that their honor is at stake—in Zakia’s husband’s case, his honor was wounded because she wanted to divorce him. What does honor mean in the context of the film?

Junge: Honor is a malleable thing, isn’t it? Jawad sees people [like the perpetrators] using “dignity” in the wrong way. I hope in the case of our film, we give voice to the most honorable thing, which is human beings helping others and making the world a better place.

What’s next for both of you?

Junge: I’m working on a film called Alpha Boys, about a school for disadvantaged boys in Jamaica that gave birth to reggae, and two other films.

Chinoy: I’m working on an animated superhero series called Super Jawan [Jawan means young], with a cast of three—one girl and two boys. There’s such a void in children’s programming in Pakistan and this is a great vehicle.-Hannah Bloch

‘Saving Face,’ the Oscar-Winning Documentary, Has Its TV Premiere – News Watch

Carol Alt strikes a pose

the modeling business has changed a lot since Carol Alt came up the ranks. the 51-year-old New York native was one of the first “girls’’ to become a bona fide celebrity and gain household-name status.

Now Alt is part of local filmmaker Timothy Greenfield-Sanders’ latest documentary, about Face, and will appear at the Miami International Film Festival to speak about her life on Wednesday evening. the film also costars Paulina Porizkova, Jerry Hall and Beverly Johnson.

When Alt started out in the 1970s, her mother, a former showroom model, was concerned about her daughter’s career choice.

“back in the 1940s, modeling was another name for prostitution; people looked down on it,’’ Alt says. “My mother was concerned, and I certainly didn’t want to be a disappointment to her.’’

But after Alt started getting big and made the much-coveted cover of Sports Illustrated in 1982, her mother started to realize that the industry had evolved.

“Ultimately, she calmed down enough and saw how hard I worked and my dedication.’’

But the supermodel’s time has come and gone, she believes.

“the big models are actors and celebrities now,’’ she says. “Victoria’s Secret is kinda sorta the only way to get famous. but I can’t name any of the girls working for [the lingerie retailer] because every year it changes.’’

If Alt had a daughter, she is not sure she would recommend the path she took.

“Women need role models. That’s the real issue for me,’’ she says. “I was a girl who starved myself. at one point, I was 165 at five foot eight and lost 50 pounds [for her SI shoot] in all the wrong ways and suffered for it. I wish there was someone who could speak to the younger generation.’’

Alt looks fantastic in her middle years and credits the strict raw diet she has been following for close to two decades.

“I understand the issue with upkeep. [Raw food] is how I’ve managed the aging issue and stay slim and healthy.’’

She has no problem with those who go under the knife like famed model Carmen, who also appears in the film, likening plastic surgery to getting a broken roof fixed.

“There’s a lot of truth in what she has to say; this is her commodity and her tool and what she has to sell to make a living,’’ says Alt of the still-elegant 80-year-old. “but you can stick a two-by-four in that roof and shore it up. You’re still going to need a good base.’’

So the Eating in the Raw author opts for good food over good doctors.

“I go back to the basics. what do you do every day? You eat. It’s the most powerful drug there is.’’

“about Face” will be screened at 7 p.m. Wednesday at Coral Gables Art Cinema, 260 Aragon Ave., and be followed by MIFF’s inaugural “Miami Mavericks” discussion of the film with Greenfield-Sanders and Alt. Tickets: $12. miamifilmfestvial.com or 305-405-MIFF.

Carol Alt strikes a pose

‘X-Men’ vet Famke Janssen peers through director’s lens

Copyright ©2010. The Associated Press. Produced by NewsOK.com all rights reserved. This material may not be published, broadcast, rewritten, or redistributed.  

CANNES, France — getting downsized out of screen roles is inevitable for most actors — and particularly actresses — as they get into their 40s and beyond. with her writing-directing debut, Famke Janssen is taking the do-it-yourself route to ensuring she still has a film career.

Janssen’s mother-son comic drama “Bringing Up Bobby,” starring Milla Jovovich, is playing in the huge movie market that accompanies the Cannes Film Festival, where the filmmaker hopes to find distributors to put it into theaters in the United States and elsewhere.The 46-year-old Janssen aims for a career balance of acting and directing.“I’m hoping that I can juggle both for a little bit, at least,” Janssen said in an interview. “The older you get as a woman, the less parts you’ll have just by nature. And then I really don’t want to go down the whole plastic surgery route and become obsessed with the way I look, which is very much a part of being an actress, sadly.”Janssen, who played telepath Jean Grey in the “X-Men” franchise and a James Bond villain who crushes victims with her legs in “GoldenEye,” took a couple of years off from big-screen acting to raise money to get her own film off the ground.“Bringing Up Bobby” stars Jovovich as Ukrainian con artist Olive, a brash, boisterous woman raising her young son in Oklahoma through a variety of schemes and grifts. Bobby (Spencer List) adores his mom, but Olive is forced to decide if he might have a better future in the custody of a grieving couple (Bill Pullman and Marcia Cross) who take an interest in the boy.Janssen wrote the screenplay based on a story idea she and her boyfriend, Cole Frates, came up with. A native of the Netherlands who moved to New York City to work as a model in her late teens, Janssen said she was inspired by her own experiences as an immigrant observing America, particularly in heartland states such as Oklahoma, where Frates grew up. The movie was filmed in July and August 2010 in locations in and around Oklahoma City, Edmond, Arcadia and Guthrie.“I just wanted to play around with the idea of what is it like to look from the outside into a country? What’s the perception?” Janssen said. “Then very much the idea of living the American dream, which I feel like I’m the perfect example of. America’s a land of immigrants and people who come there with big dreams, and that’s my journey. It’s Olive’s journey.”Potential financial backers asked Janssen why she did not simply play the lead herself. Janssen did that once on a short film she directed years ago and decided she did not want to work in front of and behind the camera at the same time again.The workload becomes too heavy, and the demands of acting would have pulled her away from her duties as director, Janssen said.she also got tired of looking at herself on film.“I couldn’t stand it in the editing room. ‘Oh my God, me again. I can’t! I’m terrible in this movie! I hate myself!’” Janssen said. “Also, I did not want to be in the makeup trailer. It’s very different. There’s a lot of men who direct movies and act in them, but they don’t have to sit in the makeup trailer for two hours getting ready. … I only wanted to be on set, and it was spectacular. I loved every minute of it.”Since finishing “Bringing Up Bobby,” Janssen has gone back to work as an actress-for-hire in “Hansel and Gretel: Witch Hunters,” a dark twist on the fairy tale in which the young siblings (Jeremy Renner and Gemma Arterton) grow up to become bounty hunters of the supernatural. Janssen plays the head witch in the action tale, due out next year.Janssen said it was a challenge rejoining the troops and taking orders after being in charge on her own movie set. While she seeks out acting jobs to pay the bills, Janssen will be developing projects she can direct herself on the side.“I’m not really good at waiting for the phone to ring to see if someone wants me for a part,” Janssen said. “And most of the time, I don’t really like being told what to do, frankly. so it’s much nicer to tell people what to do, instead. so it suits me a lot better, and I hope to more and more go do this.” News Photo Galleriesview all

<a href="http://newsok.com/x-men-vet-famke-janssen-peers-through-directors-lens/article/3569485tag:news.google.com,2005:cluster=http://newsok.com/x-men-vet-famke-janssen-peers-through-directors-lens/article/3569485Fri, 20 May 2011 05:09:08 GMT 00:00″>‘X-Men’ vet Famke Janssen peers through director’s lens

Hugo Chavez’s Latest Target in Venezuela: Breast Implants – TIME NewsFeed

He’s outspoken about, well, everything. and now to the list of things Venezuelan President Hugo Chavez opposes — golf, whiskey — we can add breast augmentation surgery. (via The New York Times)

In an address on state-run television over the weekend, Chavez criticized doctors who he said “convince some women that if they don’t have some big bosoms they should feel bad.” Chavez said some poor women seek costly breast lifts while at the same time struggling to make ends meet, which he called a “monstrous thing.”

Chavez’s critique takes aim at a booming industry in his country. According to estimates by the Venezuelan Society of Plastic Surgeons, between 30,000 and 40,000 women in the country undergo breast augmentation each year, which makes the South American nation one of the world’s leading markets for the procedure.

According to the New York Times, filmmaker Mireia Sallares, who focuses on feminist issues, told the newspaper Tal Cual, “I’ve never seen more silicone anywhere else.”

The state-run newspaper, Correo, sided with Chavez, reporting that plastic surgery is as common as dentist appointments and wealthy parents have been known to buy their 15-year-old daughters breast implants for “coming of age” presents.

While the opposition newspaper, El Nacional, had a different take. Comparing Chavez to Libya’s Col. Muammar Gaddafi, the paper said, “Now comes this antiquated, militaristic, coarse, repressive attitude on the freedom of women to do what they want with their bodies.”

Hugo Chavez’s Latest Target in Venezuela: Breast Implants – TIME NewsFeed.

Hugo Chavez’s Latest Target in Venezuela: Breast Implants – TIME NewsFeed

All In The Mind – 19 February 2011 – The Day My Mother’s Head Exploded

In 1987, 46-year-old Nikki Palin’s head ‘exploded’, according to her daughter Hannah. after a ruptured aneurysm, Nikki’s personality radically changed and recovery was slow, but surprisingly Nikki likes her post-aneurysm self so much more! A before and after story that’ll make you grin…and sing.

Natasha Mitchell: On Friday 24 August 1987 Nikki Palin’s life was turned upside down. an aneurysm ruptured in her brain just near her pituitary gland. she was just 46 and really nothing was to be the same — but in ways you might be surprised to hear. Sixteen years later her daughter Hannah, now a film archivist then an actor and filmmaker, turned to radio to process what the family went through during Nikki’s slow and torturous recovery.

Today on ABC’s Radio National’s All in the Mind I want you to meet Hannah Palin and her mother Nikki. Hello, Natasha Mitchell here welcome. First let’s hear Hannah’s 2003 documentary the Day My Mother’s Head Exploded. Remember cerebral aneurysms usually burst with no notice and often with devastating consequences, but as you’ll hear this is one hell of a glass half-full story.

[Song: 'Goodbye my Coney Island Baby']

Nikki Palin: There’s something about that experience that was very freeing because it was just a typical Friday morning for me, you know, and all of a sudden by the end of the day I was almost dead.

Hannah Palin: Fifteen years ago my mother had a brain aneurysm when she was only 46 years old. I’ve come to refer to it as the Day My Mother’s Head Exploded. for those who don’t know — and I didn’t either — a brain aneurysm is a bulging spot on the wall of a brain artery, kind of like a thin balloon that can pop at the slightest provocation. When that happens 50% of people die within minutes.

The mother I grew up with died that day and was replaced by an entirely different person who just happens to have the same memories, and body, and family and address as my dead mother.

[Song: 'Goodbye my Coney Island Baby']

That’s my mother and I singing together. My mother never used to sing. now she’ll erupt into song at the mere hint of an attentive audience. A few years ago she branched out into composition and wrote a song about Wendy’s because she loves going there so much. She’ll look at my stepfather and start singing ‘Wendy’s, Wendy’s, Wendy’s…’and she won’t stop until she has a frostie in one hand and a hamburger with mustard, no pickle, in the other.

Last year she got a tattoo above her left knee, a little red heart on a green stem. It’s the way she always signed her letters, she’ll show her tattoo to anyone who asks, she’ll even pull down her sweat pants so you can get a real good look at it. she always wears a pair of Groucho Marx glasses when she picks me up from the airport. She’ll hand me my very own pair at the gate and then I’m obligated to wear the thick black frames with the plastic nose and the fuzzy little moustache attached all the way to baggage claim.

I tell myself my mother wasn’t always like this. My mother used to be very proper, very meticulous, very aware of social conventions, the ones that usually discourage people from wearing Groucho Marx glasses while singing ‘Hey, good lookin…’in the middle of an airport.

Nikki Palin: I’m just a completely different person. I used to be very uptight all the time. I was a great worrier, I would worry about the grocery shopping, about what I had to buy, or my schedule the next day, and what I had to do, and if I had to take a shower, and what time I had to get up. and I worried right up to the very day.

Hannah Palin: last summer my mother was visiting me in Seattle and it happened to be the anniversary of her aneurysm. after years of avoidance we finally talked about ‘it’.

Nikki Palin: It was Friday 20th August and I woke up with a bad headache and in the past, I’d go to an aerobic class and my headache would go away. It was just like magic, it was great. and I went to the aerobics class and I worked out a little bit and then my headache just kept getting worse and worse. so I was really overcome by this headache. and somebody took it upon themselves to call 911 and I was lying on the couch and all these little men came in with a stretcher and whisked me off to St Francis Hospital in Beacon and that’s the last thing I remember for four months.

Hannah Palin: When my mother’s head exploded I was 24 years old, living in Chicago, an aspiring actor — which of course means I was working as a waitress — and on this particular morning I was watching My Three Sons, just waking up, drinking coffee, when my stepfather called from upstate New York to let me know my mother had had a brain aneurysm. so on this steamy summer day all I could think was, I’m going to a funeral, you’re supposed to wear black clothes, pack black clothes.

I found the first flight I could to upstate New York and spent the next six hours trying to see my mother one last time before she died. When I finally arrived by my mother’s bedside my stepfather led me into the tiny room where my mother lay hooked up to every conceivable wire and monitor. I took her hand just to let her know that I was finally there and she responded with a surprisingly tight squeeze, she knew her only child was there and her spirit wanted to let me know how happy she was, but her fragile body just couldn’t handle it. every monitor in the room went crazy, alarm bells went off, the room became this living thing, hissing and beeping, consuming my mother’s life blood. Nurses and doctors filled the room and my mother tightened her grip on my hand — and then I fainted.

It turns out that was the second time my mother died and was revived. the first was in the ambulance on the way to the hospital. Eventually her condition stabilised, she was moved into neurological intensive care — it was this large room staffed by two nurses working with three other patients who came and went with regularity. Stroke victims, head injuries, cerebral haemorrhages, while my mother stayed put until they could finally operate, until they could repair her aneurysm, sometime in October.

Nikki Palin: I woke up for very selective parts of it, you know. once I remember everybody being in a real fuss about –it snowed on October 4th and they called it snow leaf. I remember looking up out the windows and I could see red leaves in the trees and good size snow.

Hannah Palin: There were huge periods of time when we didn’t know what you were doing.

Nikki Palin: I was looking at the leaves…

Hannah Palin: A parade of people came to visit, while she was in neuro intensive care we could only see her for 15 minutes every three hours. We spent a lot of time in the cafeteria eating sinfully good French fries and drinking really bad coffee. I was in a new age phase at this point of my life so I insisted in putting healing crystals under her pillow and playing tapes of ocean waves and massaging her feet to make sure the chi was flowing. I’d sit outside in the sunshine and meditate trying to reach my mother on the astral plain, but the only message I ever received was she was still deciding whether to stay or go.

In early November my mother had been moved into a regular hospital room and she was able to sit up and talk a little bit and was conscious, although not exactly coherent. one day I couldn’t help but ask my mother where she thought her spirit had gone while the rest of her lay unconscious at the Westchester Medical Centre. she told me she’d been in Vietnam.

Nikki Palin: Well I remember that I was a little old man in Vietnam and I grew vegetables. It had something to do with reincarnation I think. I don’t know if that was a previous life or that’s the life I’m going to or what, but it was so far away from anything I know now. I know nothing about vegetables and I know nothing about Vietnam, and I know nothing about being a little old man — but that’s what it was.

Hannah Palin: do you remember the rehab centre?

Nikki Palin: oh yes, I hated that place, just hated it. the nurses were real brisk and rude. I mean the physical therapy staff were mean, I’d get in my wheelchair, I’d come to the door of my room, I’d look down the hall and I couldn’t remember which way to go and I’d have to go all the way around looking for the room where the food was. and then once I got to the food it was all just terrible. Have you ever had a piece of steak that’s been mushed up in the blender so that it’s just mushy and runny?

Hannah Palin: I remember the rehab hospital too. Everyone there seemed exhausted, like they all just wanted to go home. I used to hang out in the smoking lounge with stroke victims who just couldn’t kick the habit, with orderlies on break and in particular one woman who had been in a house fire with burns over 85% of her body. It made me just want to go home too.

Nikki Palin: and one day I was sitting in my wheelchair and a young man who was obviously a doctor walked by and he said, ‘You don’t know who I am, do you; you don’t remember me.’ and I looked at him, I didn’t have any idea who he was and I said, ‘No.’ and he’s the fellow who did my surgery. It was a funny kind of sensation to meet this person who had done such intimate surgery on me, that I had no idea who he was.

Hannah Palin: and that was one of the strangest of facts of my mother’s experience in the hospital. she doesn’t remember most of it, not Vivian the lovely neurological intensive care nurse who patiently explained my mother’s condition to us every day. she missed the daily 45 minute commutes down two-lane highways from the rented condo in Beacon to the hospital in White Plains. she didn’t know that we tried to find someone to visit her every single day she was in the hospital. she doesn’t have any idea how my stepfather and I spent our evenings eating my really bad cooking, watching TV and drinking a little too much so we could forget too.

When Christmas came around my mother was still just the show of a person, she could barely talk, she still had a feeding tube coming out of her stomach, she needed help going to the bathroom, she was using a walker, really she should not have been outside of a nursing facility.

Nikki Palin: I had to learn to walk again, I had to learn to climb stairs, I had to learn to read again. but I had to learn to do everything all over again because I just had to start from scratch almost, it was a real weird sensation being 46 years old and having to learn to walk again.

Hannah Palin: over the months I had become my mother, I’d taught myself to cook because she’d been a gourmet. I kept the house immaculate, because she always had. My father and I talked about what we had done that day over a glass of wine, or on really bad days a martini, because that was his routine with my mother. I began to see for the first time my stepfather was a really great husband and I enjoyed his friendship a lot. but the better my mother got the less my father needed me to fill that role, so the more I became the cantankerous, argumentative step-daughter again. It was just really time to go home.

In February my mother was released from the hospital. In March my grandmother came to take over the care-giving duties and I returned to Chicago to pick up my life where I left off. When I returned home I found myself grieving and feeling really guilty about it. I mean my mother was alive, I was supposed to be happy, but I just kept feeling like she was gone forever. I used to miss my mother so much I could barely breathe, especially early on. I wanted my pal, my confidante, my role model back. I tried to connect with the woman who’d taken her place but it was just so hard.

In the aftermath of an explosion there’s nothing, and I’d forgotten that it takes a long time to rebuild layer upon layer, to make something new, to make something different. I ordered myself to have patience, to wait it out, I was her daughter, she needed me. and then slowly, very slowly this other person began to emerge.

Nikki Palin: I used to be very perfectionist oriented. now if things are perfect that’s nice; if not so perfect it’s OK. I love sex now; I wasn’t too crazy about it before. I don’t know what the difference is but I’m just more open to that kind of thing now. They gave me an eye patch at the hospital because I had double vision after the aneurysm. the patch eliminated one of the visions so that I could at least read and drive and walk.

Hannah Palin: Whenever my mother went out to the grocery store or to the mall, little kids would stare at her and say mummy, it’s a pirate. and then my mother would stare right back at them and say boo — they usually started crying.

Nikki Palin: You should talk about Wendy’s.

Hannah Palin: Wendy’s, Wendy’s, Wendy’s.

Nikki Palin: oh I just love Wendy’s. That’s one thing before my aneurysm I never would ever, ever would I have set foot in a fast-food restaurant. if a Wendy’s hamburger is in that part that you define as living, you’d better do it, and it is in that part that I define as living.

Hannah Palin: As the years have gone on the memories of my old mother faded more and more. I’ve really come to love this new woman but in a completely different way. I’ve really come to love her outbursts of song and her rather brusque comments like, ‘Well, you are fat.’ You also like to sing now.

Nikki Palin: oh yes, I love to sing.

Hannah Palin: I don’t remember you singing before.

Nikki Palin: No. after the accident I could barely talk, I decided that singing would help me get my voice back and it made me feel good too. Somebody said I am so impressed that you know all the words to ‘Goodbye my Coney Island Baby’ and I never thought about it but it is kind of an obscure song to know all the words to.

Hannah Palin: Completely weird when you think about it, really strange. for me it’s like…it’s fun, but it also can be kind of embarrassing to stand up in front of a group of family and friends and start singing ‘Goodbye my Coney Island Baby’.

Nikki Palin: In front of family?

Hannah Palin: Yeah, I don’t know.

Nikki Palin: how do you think I felt at the Mayfield school getting up on the stage and singing ‘Goodbye my Coney Island Baby’ all by myself when singing both parts is really a bitch.

Hannah Palin: how long did they leave you standing up there? where was I? was I being embarrassed?

Nikki Palin: I don’t know…

Hannah Palin: I sang with you..

Nikki Palin: No, you didn’t. did you? Well you came in late, then .

Hannah Palin: You know you spend most of your life developing a persona that makes you feel all warm and fuzzy. the right clothes, attitude, outlook — and while it can be comfortable and secure it can also become a prison. When my mother’s head exploded she had a chance to start all over again, the slate was wiped clean, and for me too, really. In those months I became acutely aware of what was real, what was important, sitting at the hospital by my mother’s bedside — important; getting an audition for a telephone commercial — pointless. My mother’s illness was one of those moments when time stops, when normal disappears, when you marvel that everyone else in the world can still laugh and go to the movies and complain about the weather — that’s an explosion.

In those moments you can see life happen; it has clarity and meaning in the midst of all of its horror and pain. but then those moments pass and you’re consumed by the trivia of daily life once again. Sometimes when I’m overwhelmed by the task of making my way through the world I try to focus on the fact that the electric bill does not matter, the idiot glued to their cell phone does not matter, the mind-numbing day job truly does not matter. but welcoming the strange and the different, being open and available for my husband and my friends, my family, experiencing love and laughter as often as possible — that’s what matters, because it can all be taken away in one brilliant flash.

Do you feel different than other people?

Nikki Palin: Well I don’t know, I don’t know how other people feel. Well I do know that I don’t worry about death at all, not at all, because I’ve kind of seen it and I’ve been there and that’s very liberating.

Hannah Palin: did you have any memory of near death experience?

Nikki Palin: No, a lot of people have asked me that, but I didn’t.

Hannah Palin: Didn’t see the white light or [unclear...]

Nikki Palin: No, well not unless being a farmer, a vegetable farmer in Vietnam is the other side. You know that could be what heaven is all about, being a vegetable farmer in Vietnam. Maybe that’s the whole thing.

Natasha Mitchell: Nikki and her daughter Hannah, in the Day my Mother’s Head Exploded certainly puts life into perspective doesn’t it? You’re with All in the Mind here on ABC Radio National with me Natasha Mitchell, globally on Radio Australia and as podcast. now I’m wondering if Hannah’s telling of her mother’s story might inspire your own, and I’ll be inviting your verbal stories of brains under siege using our pilot audioboo channel. This is a way you can now record your own stories from our web page. look for ‘audio comments’ on our home page to find out how.

Well now it’s eight years since Hannah Palin made that extraordinary program and nearly 25 years since her mother’s aneurysm, so I was curious to know what’s happened since, perhaps you are too. Let’s put a call then through to Nikki in North Carolina and Hannah in Seattle to find out.

Hello, Hannah and Nikki welcome to All in the Mind from Seattle and North Carolina. how are you both?

Nikki Palin: oh I’m just wonderful thank you.

Hannah Palin: and I’m doing quite well too — thank you.

Natasha Mitchell: Nikki, I hear you’re off to the Bahamas this week no less.

Nikki Palin: yes, we leave on Friday, we’re going down to Charleston and then from there we’re going to the Bahamas.

Natasha Mitchell: how delicious, well look Nikki I have to ask this, do you still love to sing?

Nikki Palin: yes, I do, I do very much and I sing all the time around the house, in the car and to records and you know just all the time.

Natasha Mitchell: Well Hannah I have to ask this, what’s the deal in the family now with ‘Goodbye my Coney Island Baby’?

Hannah Palin: Mum is kind of banned from singing that one ever again, because we’d got to the point where we’d heard it one too many times. but we’re open to other songs.

Natasha Mitchell: Nikki, you had the aneurysm in 1987, Friday 24th August, you were a young woman, you were 46, I mean you describe having to learn to walk again, to read again, to talk again. Is the aneurysm something you still think about today, does it still have an impact on you physically or emotionally 25 years later?

Nikki Palin: Well I’ve changed a lot as a person, as Hannah said. I’m much more open to things. and I was talking with my husband the other day and I said something about doing something and he didn’t think I should do it. and I said well I think I deserve to do it because I almost died and I kind of have that attitude about a lot of things. In may on my birthday I’m going to be 70 years old, and I’m so thrilled to be 70 and I was going on and on about it and finally somebody said, ‘Nikki, why are you so excited about 70?’ and I said, ‘Well you’re forgetting that I almost didn’t make it at 46′ — that puts a whole different perspective on your life to know that you’ve died and then came back to life. It’s just monumental to me; it’s just been very liberating. It wasn’t at first. It was very scary, I don’t want to say everybody should go through it but I’m glad that I went through it and survived of course.

Natasha Mitchell: It’s an incredible story. are there aspects of the aneurysm that you still experience today, has it had any long term impacts on you? I hear memory is more complicated now.

Nikki Palin: It is, I seem to have no short term memory, in fact I can’t remember what I did two days ago. now my long term memory seems to be fine, I remember quite a lot of my childhood and all that kind of thing. and I saw a neurologist a couple of weeks ago and he was very concerned about it and he said I could go to see him on a regular basis, you know all these things, and it just seemed like a lot of trouble remembering what happened yesterday. and the other thing is I go to chapel on Friday nights and the rabbi always says, ‘Now think back over your week and think what you did on Monday and Tuesday,’ and I have no memory of what I did on Monday or Tuesday.

Natasha Mitchell: Is this a recent thing: do they think this is the aneurysm sort of playing out in the long term?

Nikki Palin: My neurologist said that the aneurysm definitely caused this lack of memory and I know it bothers my husband some but it doesn’t seem to bother me at all. I’m not happy with it but I can live with it.

Natasha Mitchell: Nikki I wonder, as you reflect over the last 25 years of surviving an aneurysm, do you like your post-aneurysm self more than your pre-aneurysm self? are there aspects of yourself that you miss from before the aneurysm?

Nikki Palin: No there aren’t, I’m much happier now, I like myself much better, I think I’m a better person, much more outgoing, talk to people that I don’t know, you know, I say hello to them and start up a conversation and I was always a little afraid of doing things when I was younger. yes, I’m much more confident now because I conquered death, and that’s something to be confident about.

Natasha Mitchell: I imagine that your long-time husband, Hannah’s stepfather, feels like he’s married two women in his lifetime.

Nikki Palin: I suppose he does, but he likes this one better than he did the other one.

Natasha Mitchell: Hannah, what offering do you want to give people with this story — because of course an aneurysm can have very serious consequences for people who have one, not all stories are so positive.

Hannah Palin: No, I think the main offering I would have for anyone is that the brain can heal, it really can. and if you can stay open and stay with your loved one in terms of their recovery and their journey through it ,there is potential light at the end of the tunnel. It’s hard to watch somebody completely change and you know when I think about it through the mists of time, you know the 25 years gets really compressed and it seems like oh, it wasn’t that bad but there were seconds that were really hard. and I was far away and I was just trying to call mum on a regular basis to try and stay connected, and I remember she couldn’t talk very well, she could barely speak, so there would be minutes of silence on the other end while she was trying to get out the words or trying to connect with what I was saying. It takes a long time to move through that and get everything working again as much support as you can find if it’s a husband. I started to go to head injury support groups, being able to connect with other people in a similar situation was really helpful. To understand some of the emotions I was going through were not unrealistic and that her progress was either much better or much worse or what she was going through was really a very typical reaction to a brain injury.

What I found to be the most fascinating about mum’s journey and ours as well is just how much the brain can heal. I was amazed, I mean that August afternoon I thought all was lost and as it turns out all these years later there’s this wonderful, vital and interesting person who is still part of our lives and her brain has sustained some damage along the way but it’s an amazing organ. the way it heals and how those new pathways and new ways of being that part is really fascinating to me.

Natasha Mitchell: Well Nikki and Hannah thank you so much for joining me on the program and Hannah thank you for your wonderful program.

Hannah Palin: oh you are so welcome, thank you for sharing it with everyone I appreciate that.

Natasha Mitchell: Well Nikki it’s a wonderful story thank you very much, have a great trip to the Bahamas this week.

Nikki Palin: Well thank you so much I’m sure we will and thank you it was nice to talk to you.

Natasha Mitchell: Nikki Palin on her way from North Carolina to the Bahamas no less and thanks also to her daughter Hannah. and perhaps you’ve got your own recovery story of a brain under siege, perhaps an aneurysm; perhaps a brain injury of another kind, you or your loved one, let me invite you to share them. You can now record your spoken stories on our audioboo channel which we’re trialling. look for ‘audio comments’ on the All in the Mind website at abc.net.au/rn/allinthemind. They might even form the basis of a show down the track — you never know. Extra audio on the blog this week and on the website links to more recent research and developments in the treatment of cerebral aneurysms since Nikki’s experience. I’m Natasha Mitchell, thanks to Corinne Podger and Miyuki Jokiranta. look forward to your company next week — and to your audioboos — ciao for now.

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All In The Mind – 19 February 2011 – The Day My Mother’s Head Exploded