Genius at Work

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Mention the name Elizabeth Gilbert, author of the runaway best-selling book Eat, Pray, Love, and you’ll get a host of opinions. As usually happens when women achieve fame, labels start flying; Gilbert’s been called narcissistic, privileged, out of touch and untalented by everyone from respected newspaper columnists to anonymous internet trolls.

This, frankly, is a bunch of baloney. Watch her 2009 TED talk on “Your Elusive Creative Genius” and witness an articulate, self-aware, funny and sharply philosophical mind at work. Steve Almond, a brilliant fiction writer and essayist in his own right, addresses misconceptions about Gilbert—including but not limited to her proven writing ability, her transformation into a cultural icon, her long, workhorse-style writing career before the freakish success of her Oprah-embraced memoir—in a fascinating New York Times profile, titled, appropriately, “Eat, Pray, Love, Get Rich, Write a Novel Nobody Expects,” on the occasion of the publication of her latest effort, The Signature of All Things.

Not a memoir at all, Gilbert’s newest is what Almond calls a “rip-roaring” adventure novel—way more George Eliot than Augusten Burroughs, and an unexpected move from a writer who could have rested on her intellectual laurels and cannibalized from Eat, Pray, Love for the rest of her days. Elizabeth Gilbert appears in conversation with Kelly Corrigan on Wednesday, Oct. 16, at Dominican University. 50 Acacia Ave., San Rafael. 7pm. $35, includes signed book. 415.485.3239.

Come to Me

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In Lerner & Loewe’s 1947 musical fantasy Brigadoon, two traveling American hunters come upon a tiny Scottish village from the 1700s that, as it turns out, appears from the highland mists for a single day only once every 100 years. That’s about how often modern theater companies take on the tuneful yet dated musical, which is remembered primarily for a somewhat creaky 1954 film starring Gene Kelly and Cyd Charisse.

So why did director Gene Abravaya elect to stage the show as part of the current season of the new Spreckels Theater Company?

The answer is simple: the play changed his life.

“There are two shows in my life that have made an incredible impact,” Abravaya reveals. “One was Camelot, the very first show I ever saw, and the other was Brigadoon, the very first show I ever acted in, in high school. That was a time in my life when I was having a lot of personal problems. My parents had just split up, my father left town—and I really needed something to cling to. Being part of the drama club, and being a part of the cast of Brigadoon, with its uplifting messages and magical vibe, it just helped keep me going at a time when things were pretty rough.”

Since, Abravaya has hoped to someday return to Brigadoon, and he’s finally doing it, presenting the beguiling but rare story of a lonely modern-day guy accidentally discovering love, safety and a sense of purpose when he wanders into little Brigadoon on the sole day it rematerializes.

“I’ve always carried an affection for this show, and wanted to someday direct it,” Abravaya says. His production opens this weekend, in a staging that combines authentic costumes, elements of which were acquired earlier this year in Scotland, with high-tech effects and projections that bring the hills and heather of the Scottish countryside onto the stage.

“Spreckels has a stage big enough for a show like this,” he explains, “and we do fill this stage—with actors, with dancers, with gorgeous set pieces and props and slide projections and video sequences. It’s going to be quite beautiful.”

Abravaya believes that the time is right for audiences to rediscover the show that has always meant so much to him.

“The message of the show is simple,” he says. “The message is that there are places, places we long for in our heart—and some of us are lucky enough to find that in our lives.

‘Brigadoon’ runs Oct.11–27, at the Spreckels Performing Arts Center. 5409 Snyder Lane, Rohnert Park. Showtimes vary. $22-$26. 707.588.3400.

Notes from Beyond

Chris Cornell was a ladies’ man. Over the years, a string of lovers had kept him occupied, but never very satisfied. Tonight he was with a tall blonde who’d been at every show on his last tour. Soundgarden groupies were a dime a dozen, though, even if he broke their hearts. As he closed his eyes with the girl asleep by his side, a lucid dream began to form in his psyche. . . .

Cornell was awakened by a soft rap at the door. The room smelled of perfume, and the touch of red silk swathed his body. The room was dark, except for a sliver of light through the heavy drapes. A woman’s voice broke the silence. “Bittersweet memories, that is all I’m taking with me.” He could make out the silhouette of a woman. “Please don’t cry,” she said. “We both know I’m not what you need.” Just then a man came charging through the door. “Damn right, you’re not!” He was as big as a bodyguard. His stride was swift and powerful towards the bed, and at that moment Cornell knew something terrible was about to happen. As he threw the silks up to protect his face, he could hear Whitney cry out, “I will always love you!” Everything went dark.

When he opened his eyes, Cornell found himself on a crowded New York City street. He realized he was the only man in a sea of beautiful women. He thought to himself, “I am the one.” They gazed at him lovingly at first, but quickly turned on him, lunging for his arms and legs as he flailed and twisted away. He was being hunted like a fox. In the chaos Cornell fell to the ground, and the sea of bodies parted before him to reveal a man standing on a soapbox. Sprawled and bruised on the concrete, Cornell looked up to see the King of Pop twirl on his heels, a single white glove tipping his black fedora. “The smell of sweet perfume, can happen much too soon,” M. J. proclaimed. “Be careful what you do, because the lie becomes the truth.”

The sky began to darken and the earth began to shake. The women were closing in again. Cornell gripped the cement, hoping to wake up from this nightmare.

Suddenly he opened his eyes, drenched in a cold sweat. The blonde was shaking him with anguish in her eyes. “It must have been a nightmare,” Chris explained. But the blonde was not impressed.

“You were screaming, ‘She’s just a girl, who claims that I am the one,'” she said. “What the hell does that mean?!”

Chris Cornell, who’s recently covered both Whitney Houston and Michael Jackson, plays a solo acoustic show Wednesday, Oct. 16, at the Uptown Theatre. 1350 Third St, Napa. 8pm. $65. 707.259.0123.

Single-Origin Philosophy

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Philosophy degree? Yeah, that and two bucks will get you a cup of coffee. “What’s that saying, ‘Jack of all trades, master of none?'” says Steve Decosse, owner of Acre Coffee. Describing his Master’s degree in integral philosophy, the Midwest-raised deep thinker suggests with a smile, “It’s more like jack of all trades, master of the nothingness. The process is more important than the content.”

Acre Coffee’s shops in Petaluma (which opened in 2011), San Francisco (2012) and Santa Rosa (2013) all offer single-origin specialty coffees brewed by trained baristas, but they offer more than just what’s in the cup. The new shop in Santa Rosa, for instance, was designed to let in as much light as possible; with odd angles and high ceilings, it feels open and calming, a comfortable space to linger, talk, read a newspaper or get some work done on deadline. In Petaluma, the shop has a homey feel, with natural wood counters and windows that open to the street on a less-traversed area of Kentucky Street. The “neighborhood coffee shop,” in fact, is something that Decosse feels was missing from the city.

“People always say to us, ‘after Deaf Dog closed, we were lost,'” says Decosse. The independent coffee chain headquartered in Petaluma filed for bankruptcy in 2006; a Starbucks, which moved in across the street, still thrives. “[Starbucks] is a really aggressive company,” says Decosse. “I think I want to come across with a positive message. I think about it a lot, actually.”

Decosse’s background as a former yoga instructor shows in his business. “Slow and steady wins the race,” he likes to say, and to that effect, Decosse opened Slow Club, a restaurant in San Francisco’s Potrero Hill, over 20 years ago and was a business partner in Healdsburg’s Acre Cafe in the late ’90s. He also founded Acre Gourmet, a company dedicated to serving high-quality school lunches. The concept has taken off in private school settings, with Acre placing chefs at school sites to create custom meals; Decosse also offers consulting for public schools.

Education extends to Acre’s coffee shops as well. Once Acre begins roasting its own beans, offering them alongside roasts from Verve (Santa Cruz) and Sightglass (San Francisco), “then we’ll offer public tastings and classes on home brewing,” says Decosse, who moved to Portland, Ore. for three months to experience the concept first-hand from the experts at renowned roaster Stumptown Coffee.

In the coffee world, process is everything. Decosse knows his customers care about the beans’ origins, and will be among a rare but increasingly popular breed of cafes serving beans from different roasters, a formerly taboo trend that’s now catching on in big markets like New York City and San Francisco. “It’s like a wine tasting room,” says Decosse. “You want to bring the best of a region into one place.”

The Bohemian‘s Java Jive reading takes place Thursday, Oct. 17, at Acre Coffee. 2365 Midway Dr, Santa Rosa. 6pm. Free. 707.595.5984.

The Simple Life

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The Johnson family is labeled many things—extreme, obsessive-compulsive, privileged, entitled, out of touch, hypocritical, fanatic. Their minimalist Mill Valley home gets described as cold, void of personality, influence run amok and “as warm and welcoming as a bus station bathroom.”

So what did Bea Johnson—the public face of this family of four—do to deserve such vitriol? Did she shut down the government to keep low-income Americans from getting affordable health insurance? Did she bomb a village in Pakistan in the name of killing terrorists and maim a toddler?

Not exactly. Johnson is the author of the blog-turned-book Zero Waste Home: The Ultimate Guide to Simplifying Your Life by Reducing Your Waste, the story of an eight-year journey to pare down a household’s consumption to nearly a trickle. What Bea (pronounced Bay-ah) Johnson, along with husband Scott, a sustainability consultant and middle school- aged sons Max and Leo have done is minimized the waste stream leaving their house to such an extent that their yearly trash fits perfectly inside a quart-sized Le Parfait jar. They’ve done this by employing the 5Rs: refuse, reduce, reuse, recycle and rot.

The money saved—a 40 percent reduction in household expenses since 2005, according to Scott’s calculations—is what allows the family to stay in their 1921 two-level cottage in one of the Bay Area’s wealthiest enclaves, says Johnson, brushing off suggestions that her lifestyle is a sign of privilege. “It’s funny because people say, ‘You’re living minimalist because you’re wealthy.’ If we live minimally, it means we’re not buying stuff and we’re saving money.”

During a tour of her home on a drizzly September afternoon, Johnson appears unfazed by the criticism, and, if anything, more energized by the challenge to share the aesthetic, environmental and economic benefits of the zero-waste lifestyle. Today, she’s wearing an electric blue strapless dress (purchased at Goodwill) with a gold-colored necklace and black-heeled booties. It’s one piece from an entire wardrobe that can fit into a carry-on suitcase. Seven pairs of shoes, two dresses, two skirts . . .you get the picture. To keep from buying new clothes and shoes, she’s on a first-name basis with her tailor and her cobbler. “That’s how Charles Ingalls did it,” she says with a laugh.

‘We’re not telling people how to live our lives—that was never our intention,” Johnson says, who’s been critiqued for traveling by plane, driving a car (a used Prius) and depriving her children of Halloween candy and toys. “The blog started because people were asking me how to do zero waste. If I didn’t, it would be a waste of information. It’s better to share what we know.”

Inside the house, the sparse, clean space is the culmination of a journey that began in 2005 when the Johnsons stopped buying big and started living small. Stepping into the living room, the first thing visitors notice is a severe lack of furniture or decoration, with the exceptions of a space-age looking hanging chair (currently occupied by a white Chihuahua), two white sectionals, a brightly-colored set of stripes painted across the facing wall and a living-plant wall. For those accustomed to houses crammed full of family photos, books, toys, plants, rugs and assorted tchotchkes, it’s disconcerting. A deck with a view of Mount Tamalpais holds only a simple herb garden, a white patio set (bought second hand) and two Meyer lemon trees. Johnson mentions with a laugh how she encourages her sons to pee in the pot as a trick for making the soil more acidic.

The kitchen counters are bare and the drawers hold only the most necessary of utensils—not even a vegetable peeler. Under the sink, instead of a trash can, sit two bins: one for recycling and one for compost. A meticulously organized pantry contains rows of glass jars filled with the basics: flour, sugar, pasta, grains. Upstairs, the two bedrooms contain only beds, a bookstand for each boy with one library book each, and a plant in the master bedroom. A family room holds a flat screen TV, a rug, a couple of electronic devices, some well-worn board games and four labeled crates filled with used video games and musical instruments.

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A native of the Provence region of France, where shopping bulk and getting wine bottles refilled isn’t looked at askance, Johnson traveled to California at age 18 to become an au pair. She met Scott soon after. They lived abroad for a while, but returned to the states where a pregnant Johnson, by her own admission, got caught up in living as a pampered soccer mom in Pleasant Hill, complete with a 3,000-square-foot home, a gas-guzzling SUV and Botox treatments.

But something didn’t feel right, and a few years later the family decided to move to a more walkable community, settling in Mill Valley. During the search for a new home, they put most of their stuff in storage and realized that it wasn’t much missed. The couple sold off most of their possessions, in the meantime educating themselves about the devastating effects of climate change on ecosystems and communities. In other words, they woke up: “It was like taking the red pill and waking to The Matrix,” Johnson says, referring to one of her favorite films. “Our whole world has been changed all around.”

“We started to understand for the first time not only how profoundly endangered our planet is but also how our careless everyday decisions were making matters worse for our world and the world we’d leave behind for our kids,” writes Johnson in Zero Waste Home.

Still, Johnson says that, at first Scott wasn’t on board with the zero-waste goal, especially since it involved shopping at places as expensive as Whole Foods. Then he did the calculations. He discovered that they’d saved 40 percent in household expenses when comparing 2005 to 2010 and became as gung ho has his wife. They’ve even collaborated on an app together called Bulk—it’s free, crowd-sourced, and helps people find bulk items in their own communities.

All of this has led to a barrage of media attention. From the New York Times to The Today Show, Johnson’s rhapsodic embrace of zero waste has been featured nationwide. A 2012 Sunset magazine feature stirred up some particularly pointed responses, and if the online comments and letters to the editor were to be believed, it led to an exodus of subscribers appalled by the Johnsons’ decision to return the Netflix plastic strip along with their DVDs (before instant watch became the norm) and “fly in” toothbrushes from Australia. A recent article in the San Francisco Chronicle soon after the release of the new book cast Johnson as an anti-waste stream Carrie Nation, exchanging the famous hatchet-wielding temperance advocate’s saloon raids with imaginary X-ray vision goggles that “see through the hemp shopping tote where you slipped that plastic bag of fair-trade bananas, BPA/phthalate-free container of kombucha and organic Gorilla Munch that’s packaged in a bag inside a box” (italics theirs).

But Johnson says that she’s let go of such judgment towards the unenlightened, with their single-use water bottles, cans and plastic wrap. She’s no street evangelist. “I don’t want to force anyone to go zero waste,” she explains. “I’m not here to tell anyone, ‘You shouldn’t be living the way you are living.’ All I want to do is show the way we live, and if it inspires someone, great, and if it doesn’t, well, just go on about your day. I used to be there myself.”

Johnson shops almost exclusively in the bulk section, and purchases items without any sort of packaging whenever possible. She brings cloth bags to fill with staples like flour, sugar, grains and pasta. She brings jars for cheese, meat, fish and olives. In the book, she advises to act confidently and avoid eye contact to get past suspicious counter people with the Department of Health on their minds. Milk and yogurt are always bought in returnable vessels. Johnson cans tomatoes at the end of the season, makes jam, hot sauce and vanilla essence. She forages Yerba Santa in the surrounding hills for use as a decongestant.

Because of this extra work, some accuse her of being a stay-at-home mom with too much time on her hands, an accusation that Johnson doesn’t take lightly.

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“I really do work professionally full time,” she says. “I would have thought the same thing seven years ago—these people are crazy, forget about it. But how come you don’t have time to live the simple life, but you have time to live the complicated one? Living simply, by definition, saves a lot of time.”

There was a point when she did go overboard, Johnson admits. “I had foraged moss to use in lieu of toilet paper, for God’s sake!” she writes in the book’s introduction. She stopped making butter, cheese and kefir after seeing that these practices had become “socially restrictive and time-consuming, and thus unsustainable.” Now, she’s got her shopping routine down to a science, shopping strictly secondhand for clothes twice a year, in October and April, events that she anticipates with joy, and for groceries on Fridays, all according to an organizational system rivaling the Library of Congress. Yet the way she tells it, the whole endeavor is manageable once the systems are in place. When you own so little, there’s not much left to maintain, clean up or repair.

One thing is certain, and that’s the Johnsons’ chosen lifestyle opens up all sorts of political and philosophical questions. They’ve been called obsessive in their lack of material belongings, but perhaps it’s crazier that the average American uses only about 20 percent of their belongings on a regular basis.

Should we all follow the Johnsons’ lead? Or are their actions so extreme that normal people could never accomplish the same? Or, is it possible that we live in an upside-down world that has normalized a blasé attitude towards the disposal of incredible amounts of packaging and the easy replacement of the broken with the new. It’s convenient to assume that once a plastic container is thrown into the recycling bin, it’ll be turned into something equally useful. It’s even more convenient not to think about it at all.

What’s more difficult is facing the thought of the vast floating plastic debris comprising the Great Pacific Garbage Patch—twice the size of Texas, at last count. It’s even harder to think of how American consumption habits connect to climate change, droughts, food shortages and severe weather events befalling humans the world over, and mainly the poor, sick and young in poverty-stricken developing countries.

But Johnson does think about these things. Hand her a pen—one of those plastic ballpoints that banks hand out on customer appreciation days—and she doesn’t see a harmless writing instrument; she sees the global repercussions brought on by a slavish worship of objects. She sees rising oil prices and the catastrophic results of the thirst for fossil fuel. Hand Johnson a pen, or a business card, a pizza box, or just about anything made from plastic, and she’ll hand it right back to you with a firm “No thanks.”

It’s an aesthetic concern too. Johnson hopes to live by example, proving that being green isn’t just for hippies or bohemians. On her blog, she employs high-fashion poses for photos of stylized thrifted outfits, details how to throw a zero-waste dinner party and explains how to inject chic modernism into waste-conscious living.

“I find zero waste beautiful,” she says, standing in the well-stocked pantry filled with jar upon jar of canned tomatoes, jam and bottles of wine. “I find that using my cocoa powder instead of blush pulled out of a plastic tube is beautiful. I find it beautiful to get my homemade lip balm out of a little tin container. The pantry to me, it’s relaxing. It’s not some big company’s choice about what your pantry should look like. It’s only the food that’s shining itself.”

Letters to the Editor: Oct. 9, 2013

Willits Bypass

It is disappointing to see this very one-sided article about the Willits Bypass (“Bypass Mayhem,” Oct. 2). Many of us here in Willits are just thrilled that we are finally getting relief from all the through traffic on our Main Street. We are astonished and disgusted that Will Parrish and a handful of other extremists continue to fight the project, which is already 25% completed. The bypass will occupy just 200 acres out of a 7,500-acre valley. Thousands of acres will still be available for the agricultural enterprises that exist in Little Lake Valley. The protesters have accomplished nothing, other than adding millions in totally unnecessary costs to this project and turning a sweet, peaceful town into a battleground.

Parrish probably neglected to mention that he was initially only charged with an infraction. It was he who raised the stakes by demanding a jury trial, available only for misdemeanors and felonies. He got what he wanted—a bigger soapbox. But the evidence might not make him look like the hero he claims to be. One of the police officers that arrested him testified at a recent hearing that Parrish asked the officers to carry him because “it’s more dramatic that way.”

Last week’s cover article is a must-read. I appreciate the divergent perspectives of the Willits residents on this matter, but there is a much bigger picture here about the problems with the Willits Bypass and the tree-sitting by reporter Will Parrish and others in Mendocino County. It helps us understand why we are likely to see more such “direct action” here as conditions in the U.S. worsen.

Some “background,” as they say in journalism. Parrish writes for the Anderson Valley Advertiser. He has done some of the best research and writing about the bloated Sonoma County wine industry and how it rules our county. Rachel Dovey’s article appropriately compares Parrish to both 350.org‘s Bill McKibben and The Guardian’s Glenn Greenwald, the latter of whom assisted whistle-blower Edward Snowden in exposing the National Security Administration (NSA). Let’s also remember that another journalist, Thomas Paine, was key in starting the American Revolution with his pamphleteering. There is a long history of advocacy journalism and direct action by courageous writers. Why might one risk eight years in jail, as Parrish has? Because “the Willits Bypass destroys wetlands, kills Coho salmon and forever changes a valley,” as the cover reads.

Parrish has laid his life on the line, high up in those trees, and now faces a sentence of up to eight years in jail. This is the non-violent way that Gandhi, Martin Luther King, Jr. and others have pursued. This young man’s trial is scheduled to begin in November—he deserves our support.

I totally agree with Randi Covin, as I’m sure the majority of Willits does. Hopefully Will Parrish and all the other protesters that break the law will get the punishment they deserve. They have cost us taxpayers millions of unnecessary dollars.

Caltrans began by telling Willits government and businesses that the freeway would aid them by diverting excessive thru-traffic and Highway 20 volumes. Then it made no turn-offs in Willits. Then it insisted only four-lane freeways were its charge and solution, rejecting an at-grade, in-scale truck-route. Then it insisted traffic volumes would go up in 20 years, even though they have gone down in those 20 years. Now they have compromised a sensitive ecological area, bought up a quarter of the valley farmland, and overrun archaeological Pomo sites.

How could these foul deeds and lies occur? Because the big fish eat the small in the ocean of gigantic taxpayer robbery.

Thank you so much for the article extolling Will Parrish’s act of civil disobedience. Will is a hero. He is soft spoken, articulate, self effacing, dedicated and intelligent. So many of us on the outskirts of this struggle wish we had his courage. Future generations will shake their heads at this freeway to nowhere and wonder how we could have been so stupid and shortsighted. Thank you for bringing this battle to the attention of the larger public.

Write to us at le*****@******an.com.

American Icon

It’s no news that Tom Hanks is America as it wants to see itself: brave, boyish, modest, loyal, sometimes bewildered, always kind. The real news is that, like Jimmy Stewart in his later roles, Hanks is starting to become seriously interesting as an actor.

This week, Hanks stars in Captain Phillips, director Paul Greengrass’ account of the real-life hijacking of the cargo ship Maersk Alabama in 2009—the first kidnapping by pirates of an American citizen in two centuries. Hanks plays Merchant Marine Captain Richard Phillips, who was captured and held hostage by the pirates for five days in an enclosed lifeboat, just a few hundred yards from American Navy ships waiting for their chance to strike.

Hanks arrived last week for an interview at the Four Seasons on San Francisco’s Market Street, dressed head-to-toe in Johnny Cash black: black sports coat, black shirt and a thin brown leather bracelet studded with small blue gems on one wrist. We convened in an empty ballroom, myself and two long-time colleagues, in which the management had placed some large banquet tables. After sitting down, Hanks’ theatrical background shows; his voice fills the room. I haven’t been insane about all of Hanks’ movies, and I’ve been fairly rude about a few of them. Forgive me, and believe me when I say that in person, Hanks radiates those qualities you want to see when you view a serious movie star in real life: a great glowing tan, a sense of ageless vitality, health and confidence, a style of unforced courtesy. His talk is saltier than you’d expect. Or maybe he’s in a chipper mood because he’s just made one of the best movies of the year.

“I felt that in Captain Phillips,” Hanks says, “number one, I could explore all the details, which is what I love to do. Number two, the film could look at the true essence of piracy today. It’s global organized crime. There are big figures involved in it. It’s not just thugs with guns trying to get rich.”

Phillips gently reminds us in his memoir, A Captain’s Duty, that almost everything we own in America comes here on a ship. I mention to Hanks how odd it is that there haven’t been movies about life aboard these container ships.

“I’d like to see a documentary where we’d just follow one container, as it goes around the world and arrives at its destination,” Hanks responds, fascinated by what he’s learned about the shipping process from shooting the film. “I asked Richard Phillips, ‘Do you have those moments where you have a cup of coffee in your hand, and you’re watching the sea at dawn, thinking, “Ah, my true mistress?”‘ He said, ‘I haven’t done that in 35 years.’ The pressures are relentless. He told me, ‘I’ve got to deal with three unions as a captain. Three unions that don’t give a shit about the other unions’ grievances.’ There are constant emails and texts from the shipping company: ‘Why are you burning so much fuel? Why aren’t you there yet?’ And when you get to, say, the port of Mombasa, there’s a line of people who have to be bribed with everything from ballpoint pens to $1,500 in cash, just to get the paperwork signed.'”

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The shoot for Captain Phillips, off the coast of Malta aboard the sister ship of the Maersk Alabama, was fast paced. “There was one scene that was 16 script pages long,” Hanks says. “Getting that into acting shape, it takes hours. You’re toying with dialogue. You’re negotiating the physical stuff, and you just shoot that all day from first moment to the last. Before I saw the movie with the subtitles, I didn’t know what the guys playing my captors were saying in Somali. Greengrass comes from that documentary background with that ideal: ‘I’m not going to make the story; I’m going to capture it.’

“A lot of filmmakers are really not interested in that truthful element at all. There are people I respect who say you’ve got to take what really happened and just throw it right out if you’re going to make a movie. I disagree. When you can find the real-life procedures, you can react to them. I can learn the procedures, and then I can do the behavior, based on that procedure. I can then react to what goes on. This is the only stuff I know as an actor. Basically, that’s what the job is. Lawyer, cab driver, physicist, alien from Mars: you’ve got to figure out what the procedures in their lives are, and then react to that.”

The scene in Captain Phillips everyone will be talking about is when Phillips is examined by Navy corpsmen while in a noticeable state of shock: it’s one of the most impressive moments Hanks has committed to celluloid. “We didn’t know we were going to do that scene,” Hanks tells me. “While we were aboard the Navy ship, we learned that Phillips had been in the infirmary. We decided to have a look at it, and brought the cameras. The poor people in there, they didn’t know they were going to be in a movie that day. If the scene had been on the schedule, it might not have ended up as freeform as it did.”

Hanks talks a bit about Toy Story (“It’s actually grueling work”), and Greengrass’ previous films (“I was one of the few people who saw United 93 and I thought it was one of the best pictures of all time”), but with Captain Phillips, it’s the movies Hanks hasn’t yet made that are starting to look most enticing. Once upon a time, Hanks told a reporter he’d done 20 movies and that only five were any good. It’s some 70 movies now. I wonder out loud if he feels his acting is getting better as he ages.

“I’ve learned how to manage the distractions,” he replies. “I finally lost most of the degrees of self-consciousness that came with acting—I think it was working on Cloud Atlas (2012), which was so magically demanding every day. Being older is a help—you become less vain.”

To illustrate this last point, with his voice reverberating in the giant room, he launches into a story that only Tom Hanks could tell.

“When we did The Green Mile (1999) we had these prison uniforms. We’re trying them on. Frank [Darabont, the director] is worried the hats look silly. I said, ‘Frank, we need the hats. Because we’ve kind of got this thing. When they first bring in the prisoner, we have to have the hats, because we’ve gotta say, “OK, you’re on Death Row.” You know how you can tell that? Because we’re wearing our hats. Then we’ll take off the hats, and we’ll become regular guys.'”

“But when I first saw myself, I realized I look goofy in a hat, and I have to accept that,” he recalls. “I think in the old days, I would have said, ‘I’m not wearing that fucking hat, it’s stupid.’ Now I don’t care.”

Breath of Life

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Dispatch from The Life You Should Have Had: Become an architect, join Apple as an evangelist, transfer to their 3D printing team, quit, do the startup thing, retire to make art full-time and raise your elementary school-aged daughter someplace where she can go outside without risking a drive-by. Be happy.

Looks like you should have had the life of David Alan Boyd. But sorry, you’re too late; Boyd isn’t giving up the slot.

Tired of the tech world and able to do something about it, Boyd and his wife moved their family to Petaluma in 2005. Once there, Boyd created a studio behind his modest ranch-style home and dug in. Interested in many genres, not just those of the camera, Boyd’s photograph Crucible adorns the cover of the 2013 ARTrails catalogue, an event in which he is again proud to participate. Running Oct. 12-13 and 19-20, ARTrails open studios is a free self-guided tour of some 160 Sonoma County artists and their studios, all of whom are judged into the program to ensure the overall quality of the work.

“I’m a photographer at ARTrails,” Boyd says, “but I don’t consider myself . . . ” he trails off. “I’m an artist. It depends on what the situation calls for. It could be architecture—sometimes I do small buildings—to photography, to drawings, to pieces that incorporate all of those.”

While Boyd often constructs housings for his photos, boxes and cabinets that contain a surprise, he says that his main occupations are “image and form.”

He continues. “Photography is an art that’s been going through a profound transition. Photographic images have become so ubiquitous that people don’t even notice them any more. One of the things that I primarily want to do with my art is to get people to wake up and pay attention, open up their minds to something in particular, so I’ve tended to take my photography in two directions: One, toward abstraction; the other, towards the juxtaposition of form and the photographic image.”

What Boyd doesn’t mention here is water. Water is the reason he’s extensively photographed Death Valley, which was once an ancient sea. It’s why he’s documented the Lagunitas Creek watershed in western Marin County. It’s also the compulsion behind his shots of snow, ice spines, snow shadows and frigid winter surf. Because with water, there are patterns.

And with breath there are patterns. A longtime meditator, Boyd spent one three-month period documenting, as best one can, his morning practice. To do that, he drew an exhalation each morning. No—actually drew it.

“I was really interested in how to bring form or image to that experience of the breath,” he says, pointing to a sheet of paper. “This is a gestural drawing of an out-breath.” Once completed, the series of drawings were incorporated into a cabinet Boyd constructed, which he likens to a rib cage.

The body’s ebb and flow, its construction, the fluidity of creation and destruction: it’s all there in the life you can’t have because David Alan Boyd already snagged it. Nice that he’s willing to share.

Garlic, Gadgets and Granges

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Ever want to get stuffed like a ravioli? Or maybe you’d prefer to be stuffed and then twisted around like a tortellini? Either way, the Festa Italiana is the way to go. The annual event sponsored by the North Bay Italian Cultural Foundation features food served in the traditional way (that is, in quantities far greater than could ever be consumed in one sitting), music for dancing (presumably led by accordion) and bocce (hopefully followed by a glass of sambuca with the boys) on Sunday, Oct.13, at the Santa Rosa Veterans Memorial Building. 1351 Maple Ave., Santa Rosa. 11am–6pm. $6–$10. 707.591.9696.

Modern kitchen gadgets are confusing enough, with more than half of Sur le Table’s inventory feeling completely foreign to many home cooks. But antique ones can be downright puzzling. Writer and collector Kathleen Hill demonstrates some of the more confounding contraptions at the Sonoma Valley Museum of Art as part of the exhibit “Kitchen Memories.” Saturday, Oct. 12. 551 Broadway, Sonoma. 2pm. 707.939.7862.

Sebastopol is such an important part of the grange revival that the California State Grange has chosen the town to host the 141st California State Grange Convention. Members from the 200-plus grange communities in the state converge for a showcase of grange talents, awards night dinner, talent show and other events beginning Thursday, Oct. 10 and continuing through Sunday, Oct. 13. 6000 Sebastopol Ave., Sebastopol. Times and prices vary. 707.573.6049.—Nicolas Grizzle

Ehlers Estate

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As he kicks back in the tasting room in the midst of a busy crush, Ehlers Estate winemaker and general manager Kevin Morrisey is in no apparent hurry to go anywhere. After all, he’s got his own full-time crew, grapes that grow within a short walk from here on the 43-acre estate, and he calls the shots when it’s time to pick. The winery’s owners, nearly 6,000 miles away in Paris, France, trust him completely to do the right thing. It’s such a plum job, it almost seems like charity. And that’s exactly what it is.

You’ve heard this one before: Research suggests that moderate consumption of wine may lesson the risk of heart disease. Has this finding been debated? Sure it has. But this is one winery that helps to promote better cardiovascular health with every bottle sold, no question about it.

Ehlers is owned by the Leducq Foundation, established by French industrial linen services entrepreneur Jean Leducq, who had a history of heart disease in his family. Leducq passed away in 2004 (at a respectable 80-plus years—was it the wine?), but the Foundation continues to give $30 million annually (including proceeds from the winery, which are actually a drop in the bucket—the tastiest drop—in comparison to the foundation at large) to support cardiovascular research in North America and Europe.

A businessman of a different vintage, Bernard Ehlers built a stone winery here in 1886. Today it’s just used for hospitality: groups are seated at tables or sofa sets while well-informed staff set them up with a tasting. Just around the corner, a crew picks over a steady stream of de-stemmed Cabernet grapes. Ehlers practices biodynamic farming in the vineyard, and grows what appear to be champion-sized gourds in the garden. The ubiquitous biodynamic chickens, they’ve got them, too.

The 2012 Sauvignon Blanc ($28) has indeterminate, soft and creamy aromas and flavors: lychee maybe; delicious, certainly. The 2010 One Twenty Over Eighty ($45), so named for an ideal blood pressure, is a Cab blend with a perfumed raspberry quality, furniture polish over charred wood and tantalizing maraschino cherry aromas. Strawberry sweetness on the attack, tannic on the back, it’s a lively, alluring wine.

Like a lot of wines in the top-tier spot, the 2010 “1886” Cabernet Sauvignon ($95) is more about complexity and integration that any fruit I could name; my notes read, “finish.” Now that we’re sideways, look at the label. If you turn “Ehlers” on its side, you’ll find a heart in the “E.” Who doesn’t love it now?

Ehlers Estate, 3222 Ehlers Lane, St. Helena. Daily by appointment, 10am–4pm. Tasting fee $35. 707.963.5972.

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