Tag Archives: Tanya Wexler
In my Business of Film class at Columbia, I’ve talked for many years about how unforeseeable events can affect the success or failure of a film in the marketplace. I’ve seen and worked on many films that would be examples of this, but no film I’ve ever been involved with had such a dramatic date with fate as Tanya Wexler’s second feature, “Ball in the House.”
My first collaboration with Tanya, an alum of the Columbia MFA Film Program, was as Producer’s Rep on her first feature, “Finding North.” The film was modest in scope, but beautifully acted and directed, and packed an emotional wallop at the end. It premiered to much acclaim at SXSW, ending up with a theatrical release through Cowboy Booking. I was eager to work with Tanya again.
Then from the bridge, we got our first glimpse of the new skyline. Beth recalls it being like a blow to the solar plexus. We were both getting choked up. Beth started to cry.
Entering our apartment provided a sense of security that only “home” can provide, no matter that everything outside was now different.
But our little adventure was over. Our hurried trip as a family to Toronto, Chicago and back had served many purposes. Born out of the perceived need to deliver a film print and to deliver our son to college, it turned into a family catharsis. We were able to work through our anger, our fears and a whole host of other issues, and to do it as a family. By staying together, we instinctively knew that whatever was to come, we would deal with it… together. And by staying on the move, we avoided sitting in front of the television and wallowing. In other words, we dealt with this new threat in our lives by staying busy. (more…)
When I awoke the next morning, Beth was already out and about. I went off to deliver the 35mm print of “Ball in the House” and to arrange for a tech check later in the day. The streets in Toronto’s Yorkville neighborhood were not bustling the way they usually are in the middle of the festival. Walking back to the hotel, I ran into Paul Cohen, then the head of Manhattan Pictures. He greeted me with “Have you found a way back to New York yet?” I responded, “I just got here last night.” He said “You’re kidding.” I explained that I had driven up to deliver the print and to premiere my film. He informed me that all the Americans at the festival were gone already or were desperately trying to get home, by whatever means necessary. My heart sank as I realized that whatever hopes we had of making a distribution deal on the film at the festival were pretty much over.
I found Beth back in the hotel room with the kids. She told me she had gotten up early and gone into the underground shopping mall that lies beneath the Marriott to get coffee. She bought a local newspaper, sat down with her coffee and as she started reading, she began to cry. That newspaper was to be the beginning of a collection of local newspapers that she began to acquire as we continued our trip. (more…)
Part 1 of this article can be found here.
When morning arrived, the apartment started to empty out. Subway service had been partially restored, and there was now a way for everyone to get home. Everyone, that is, except for Laura and her kids. Their Tribeca loft was still in a cordoned off zone, and it was unclear how much longer she would be kept from going home.
The phone rang, and it was a perfect stranger. This person wanted to reach out to a New Yorker to express her solidarity, so she dialed 212 and then her own phone number, hoping to reach someone that way. I thanked her for her good wishes, and it crossed my mind that this was the first time I had ever experienced being considered a “victim.” (more…)