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      National Endowment for the Humanities Announces $31.5 Million in Grants

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      The third round of funding for the year will support 226 projects across the country.A PBS documentary on the 400-year history of Shakespeare’s plays, a New York Public Library summer program for educators on efforts to secure equitable access to education in Harlem in the 20th century, and research for a book on the history of red hair are among 226 beneficiaries of new grants from the National Endowment for the Humanities announced on Tuesday.The grants, which total $31.5 million and are the third round awarded this year, will support projects at museums, libraries, universities and historic sites in 45 states and Washington, D.C., as well as in Canada, England and the Netherlands.Such projects include a documentary, to be co-produced by Louisiana Public Broadcasting, about the Colfax Massacre — named after the town and parish where dozens of former slaves were killed during Reconstruction. Another, at Penn State, uses computational methods to analyze the clouds in landscapes by John Constable and to trace the adoption of his Realist techniques by other 19th-century European artists. Funding will also go toward research for a book examining how different cultures have envisioned Jesus, both in his own time and throughout history, by Elaine Pagels, a historian of religion at Princeton University.Shelly C. Lowe, the endowment’s chairwoman, said in a statement that the projects, which include educational programming for high school and college students, “will foster the exchange of ideas and increase access to humanities knowledge, resources and experiences.”In New York, 31 projects at the state’s cultural organizations will receive $4.6 million in grants. Funding will support the creation of a new permanent exhibition exploring 400 years of Brooklyn history at the Brooklyn Children’s Museum, as well as books about St. Vincent’s Hospital in New York during the height of the AIDS crisis and the Hospital of the Innocents, a 600-year-old children’s care institution in Florence, Italy.Funding will also go toward the development of a podcast about the Federal Writers’ Project, a U.S. government initiative that provided jobs for out-of-work writers during the Great Depression, by the Washington-based Stone Soup Productions. Another grant will benefit a history of the Cherokee Nation being co-authored by Julie Reed, a historian at Penn State, and Rose Stremlau, a historian at Davidson College in North Carolina.The grants will also benefit the Peabody Collections, one of the oldest African American library collections in the country, at Hampton University, and a book by John Lisle on a 1980s lawsuit against the Central Intelligence Agency over its Cold War-era MK-Ultra program, which involved experiments in mind control. More

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      Nicholas Evans, Author of ‘The Horse Whisperer,’ Dies at 72

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      He was a first-time novelist whose tale of a manly vocation and family trauma broke publishing and then movie rights records when Robert Redford bought them.Nicholas Evans, the British journalist turned author whose novel-turned-film, “The Horse Whisperer,” broke publishing and movie records, along with the hearts of readers who made the book a best seller in 20 countries, died on Aug. 9 at his home in London. He was 72.The cause was a heart attack, said his longtime agent, Caradoc King.In 1993, Mr. Evans, at 43, was broke and adrift. He had been working as a journalist and documentary filmmaker, and had spent two years on a film project that ultimately collapsed, when he began casting about for an idea for a novel. It was perhaps not the most winning formula for worldly success, as he noted in retrospect on his website: “Why would a debut novel from an unknown author have any more chance of getting off the ground than a movie?”Yet he had found an intriguing subject: the mystical, manly art of horse whispering. His source was a farrier, and Mr. Evans soon learned that the vocation of calming horses had a long history stretching back centuries.In England, however, horse-y matters have too much class baggage, as he put it, so he looked to the American West for his story. He came up trumps when he met Tom Dorrance, a terse cowboy then in his 80s, and watched him soothe a frenzied mare in California. He then found two other cowboys who practiced the same compelling magic, and began to craft a character inspired by these three men.Mr. Evans sat down and wrote some 150 pages of what would become “The Horse Whisperer,” a soapy drama about a young girl and her horse who are hit by a truck, and what happens when her hard-driving East Coast magazine editor mother finds a horse whisperer in Montana to heal their trauma.The healing that ensues involved more than the horse. Mr. Evans showed his draft to Mr. King, who sent the partial manuscript to a number of publishers on their way to the Frankfurt book fair that year. Suddenly, Mr. Evans was in the middle of a bidding maelstrom, juggling offers from Hollywood as well as from book publishers on both sides of the Atlantic.When Bob Bookman, the agent at the Creative Artists Agency negotiating the sale of the film rights, asked Mr. Evans what he wanted, Mr. Evans proposed a modest $50,000. “I think we can get $3 million,” said Mr. Bookman, as Sarah Lyall of The New York Times reported. And they did. Hollywood Pictures and Robert Redford’s film studio, Wildwood Pictures, won the bid, at the time the largest amount ever paid for the rights to a first novel (almost $6 million in today’s money). Mr. Evans’s North American book advance, of $3.15 million from Dell Publishing, set another record.Mr. Evans had only written 150 pages of his novel when publishers began bidding for it. His advance, of $3 million, was a record for a first time novelist. no creditThen Mr. Evans had to finish the book. He told Ms. Lyall he had become morbidly superstitious: He stopped riding his bicycle, and took the slow lane when driving. What he did not disclose, not even to his agent, was that he had been diagnosed with melanoma. Nonetheless, he survived, and thrived. The book, which was published in 1995, was a global best seller that was translated into 40 languages, though critics slammed it for its melodrama. Michiko Kakutani, writing in The New York Times, called it “a sappy romance novel, gussied up with some sentimental claptrap about the emotional life of animals and lots of Walleresque hooey about men and women.”“About the only thing missing,” she added, “is a picture of Fabio on the cover.”The movie, which came out in 1998, was more favorably reviewed and a modest box office success, thanks to Mr. Redford’s star power and firm hand as director. He delivered a more restrained version of Mr. Evans’s tale, playing Tom Brooker, the horse whisperer. Kristin Scott Thomas was Annie MacLean, the mother, and Scarlett Johansson played Grace, the daughter. Sam Neill was Annie’s cuckolded husband. Mr. Redford’s version ended rather ambiguously; Mr. Evans had chosen a more confrontational route, and he was initially upset by the change.Robert Redford as the star in the film “The Horse Whisperer (1998), which he also directed.TouchstoneFor better or worse, Mr. Evans had unknowingly introduced the word “whisperer” into the popular lexicon as a catchall term for experts who can tame complicated creatures, like babies.“It was an extraordinary event,” said Mr. King, remembering the frenzy surrounding Mr. Evans’s novel. “It was just the magic of the story. That was the thing.”Nicholas Evans was born on July 26, 1950, in Worcestershire, in England’s West Midlands. He studied law at Oxford University, graduating with a First, the highest honors. He worked as a journalist for newspapers and television and produced a weekly current affairs show. In the 1980s, he made documentary films about the artists David Hockney and Francis Bacon, the writer Patricia Highsmith and the filmmaker David Lean, among others.He followed “The Horse Whisperer” with three more novels, all best sellers. “The Divide” (2005), explores what led to the death of a young woman whose body is found in a frozen mountain creek. The story was inspired, he told The Associated Press, by his own interrogations into what causes rifts in a marriage — a marriage come asunder is the book’s back story. His own 25-year marriage had recently ended, he said.Like his characters, Mr. Evans was an avid outdoorsman, a charming Bill Nighy look-alike who skied and hiked. And in August of 2008 he seemed to fall into the plot of one of his own stories, a family idyll turned into a near tragedy.He and his second wife, Charlotte Gordon Cumming, a singer-songwriter, were staying with her brother, Alastair Gordon Cumming, and his wife, Lady Louisa, in the Scottish Highlands. They had picked and enjoyed a meal of wild mushrooms, which turned out to be poisonous. All four became sick, and their kidneys soon failed. Mr. Evans, Ms. Gordon Cumming and her brother required years of dialysis — and new kidneys. Mr. Evans’s daughter Lauren donated one of hers. Ms. Gordon Cumming was offered the kidney of her son’s best friend’s mother, and Mr. Cumming’s came from a patient who had died. Mr. Evans became a patron of a kidney donation charity. Ms. Gordon Cumming made a documentary film about her experience.Mr. Evans’s survivors include his wife and four children, Finlay, Lauren, Max and Harry.His reviews grew more positive with every book. Nonetheless, he tended to avoid reading them.“The book business is such a strange one — and the very definition of literary versus commercial fiction has always seemed to me to be bizarre,” Mr. Evans told The Guardian in 2011. “One is defined by how many it sells, and the other by its ideas and so-called literary merit. And there are all kinds of assumptions brought to bear on this. So for example, if you sell tons of books you can’t possibly have any interesting ideas or themes or things to say. And on the other hand, if nobody buys the book, it’s considered a mark of its esteem because nobody is bright enough to understand it.” More

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      You Are Getting Sleepy. When You Wake Up, You Will Be an Improv Star.

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      In “Hyprov,” audience members are hypnotized into performing sketches. The show’s creators argue that the novices make stronger choices than pros would.“The deeper you go, the better you feel. The deeper you go, the better you feel.”Last month, an hour before midnight at the Improv Asylum’s basement theater in Chelsea, a hypnotist made a surprise drop-in at a comedy show and growlingly repeated this phrase over and over, casting a spell on 20 strangers.Asad Mecci, a broad-shouldered charmer in black jeans, trained his unblinking stare on two rows of seated volunteers — heads slumped, bodies relaxed, eyes closed — and told them they had lost their belly buttons. Then he snapped his fingers and his limp subjects snapped upright, looking around, peeking underneath chairs, searching. The audience erupted in laughter. Then Mecci, 47, asked one frantic man what he was doing. “I know I had my belly button when I got here,” the man said, flabbergasted. It killed.In the popular consciousness, hypnotism is the stuff of vampires, side shows and watch-waving therapists. But can it be the building block of a new comedic art?That is the ambition of the makers of “Hyprov,” a marriage of improv comedy and hypnotism that was workshopped here this summer in advance of its New York premiere at the Daryl Roth Theater on Aug. 12. “We’re trying to heighten hypnosis from a vaudevillian show into the theatrical level,” Mecci said in the Times Square office of his producer, a day after the performance I attended. Sitting next to him was his co-star and co-creator, Colin Mochrie, a star of “Whose Line Is It Anyway?,” the television show that introduced many to improv comedy.Mochrie, left, and Mecci, right, and their cast of hypnotized audience members. Krista Schlueter for The New York Times“In both of our careers, we have gotten ‘Those people are plants,’” Mochrie, 64, said, explaining the skepticism these performers face. “No one wants to believe the thing we’re doing, the thing we trained our lives to do, is something we’re actually doing.”Mochrie conceded that he had at first been skeptical of hypnosis, but after bringing “Hyprov” on tour to more than 50 cities in North America along with London and the Edinburgh Fringe, he now speaks with the zeal of a convert. He pointed to an improvised sketch from the previous night’s show, built from audience suggestions: Hypnotized novices were encouraged to play a scene at a wake for a half-penguin, half-beaver creature, and they responded with performances full of wailing and even real tears. When Mochrie mentioned that this animal was the product of two different ones, one woman didn’t pause before adopting a morally outraged posture. “It’s unnatural!” she shouted.Mochrie wondered if a professional comic would have made such a strong choice. It isn’t just the quality of the line, but the speed and intensity of the delivery that matters. “Improvisers don’t always have emotional content, but when she said, ‘It’s unnatural,’ it felt like something against the core of her being,” he said. He added that while new improvisers take a second to think about what to do, hypnotized performers just react, because they have “the part of their brain that deals with self-criticism wiped clean.”It’s true that the show I saw featured performers as committed as any improv comic I had seen. At no point did anyone appear close to breaking. To be sure, though, there was something uncanny — even a little creepy — about these performers who moved a little sluggishly, their eyes drooped.Mecci with a newly minted improv performer. The show is rooted in Second City classes Mecci took.Krista Schlueter for The New York TimesIf this sounds like comedy from a zombified future, Mecci was quick to point out that the biggest misconception about hypnosis is that people have lost control. “I can make you do things onstage that you normally wouldn’t do, but I can’t make you do anything you don’t want to do,” he said, drawing a distinction that can seem blurry. He said that no one had ever expressed regrets about participating in one of his shows — but, of course, they are told that the deeper they go, the better they will feel.Asked what was going on inside the heads of those looking for their belly buttons, Mecci said some would later say they were hallucinating, and others that they were just compelled to look. One woman I interviewed after the show said that while hypnotized, she heard everything and knew what she was doing.There is disagreement among hypnotists over whether they are putting subjects in a hypnotic state, or if the subjects are acting as a result of suggestibility. Mecci, who has studied stage hypnosis and is a member of the National Guild of Hypnotists, a professional organization that certifies practitioners, is careful not to choose a side. But his tendency is to demystify, likening hypnosis to mundane moments of extreme focus, like watching a horror movie or daydreaming.When he fixes his probing gaze on you, it can be disorienting. Mecci speaks in a steady pace and with authority, but if you listen closely to him while he is working, you might notice that he prefers statements that don’t entirely cohere. “As you wonder about what you are wondering about, you can begin to understand many things, can’t you?” he says so quickly that you can barely register it.“Vague and ambiguous language causes hypnotic trance states,” he said, a point that might help explain some political slogans and mission statements.The genesis of “Hyprov” goes back to a 2015 class Mecci took at the Second City in Toronto to help with his stage act. He had been doing hypnosis shows on cruises, in addition to working with people on reducing stress, losing weight and other kinds of therapy. (Rufus Wainwright composed music for “Hyprov” after Mecci helped his husband quit smoking through hypnosis, Mecci said.)The show’s creators found that complex scenes don’t work as well as simple, direct concepts.Krista Schlueter for The New York TimesIn Second City’s introductory courses, “a lot of their exercises engage and confuse the conscious mind,” he said. “They’re getting to a point where the improviser doesn’t get a chance to think, where it becomes automatic and unconscious.” A common note was “get out of your head,” but Mecci thought he could achieve similar results through hypnosis.So he asked Mochrie for help. Mochrie was eager for a challenge, even if he worried that the laughs would come from making audiences cluck like chickens. And while he conceded that the crowd might at first laugh at the hypnotized improvisers, they soon lose themselves in the scene and laugh with them.“This art form is about acceptance,” Mochrie said of the comedy that is famous for utilizing the concept of “Yes, and” to build scenes. “Our first thing as humans is to go, ‘No, I have a better idea.’ The beauty of hypnosis is: That’s gone. We now have pure improvisers.”The process of hypnosis takes several minutes, after Mecci first brings 20 people onstage, runs through exercises, then picks five of the most suggestible. He looks for “physiological tells” and expressionless faces. He tells his volunteers to breathe, relax and close their eyes as his voice shifts from a light baritone into the range of the narrator of movie trailers.In touring the show, Mecci and Mochrie discovered that hypnosis would not work as well for more complex scenes. The best moments result from simple and direct objectives that can be delivered concisely. And they make a point of reassuring audience members that they will not do anything they don’t want to do.Mecci has ambitions to create a Blue Man Group-like franchise, but he also said hypnosis could unlock other creative pursuits, like stand-up or theater. When I asked Mecci if hypnosis could help me finish this article, Mochrie whispered in his ear: “Do it! Do it!”Making direct eye contact, Mecci calmly explained how hypnosis could help me imagine hitting my deadline and writing the perfect piece. His voice was steady, his gaze fixed. And if he did hypnotize me, I asked, could he influence the story I was going to write? The deeper I went, the more awkward I felt.“I’m not sure,” he said, with a glance piercing enough that made me, for an instant, turn away. More

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      Anne Heche, Actress Known for ’90s Film Roles, Dies at 53

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      Ms. Heche, who won a Daytime Emmy early in her career and whose films included “Donnie Brasco” and “Wag the Dog,” had been critically injured in a car crash.Anne Heche, an actress who was as well known for her roles in films like “Six Days, Seven Nights” and “Donnie Brasco” as for her personal life, which included a three-year romance with the comedian Ellen DeGeneres, died on Sunday in Los Angeles, nine days after she was in a devastating car accident there. She was 53.Her death was announced by a representative, Holly Baird, who said late Sunday in an email that Ms. Heche had been “peacefully taken off life support.”Ms. Heche was critically injured on Aug. 5 when a Mini Cooper she was driving crashed into a two-story home in the Mar Vista neighborhood of Los Angeles, causing a fire that took firefighters more than an hour to extinguish. Ms. Heche, who was alone in the car, sustained burns and a severe anoxic brain injury, caused by a lack of oxygen to the brain.A spokesman for the Los Angeles Police said the department was continuing to investigate whether drug use contributed to the accident.A statement released by her publicist on behalf of her family on Thursday night said Ms. Heche had remained in a coma at the Grossman Burn Center at West Hills Hospital in Los Angeles.“It has long been her choice to donate her organs, and she is being kept on life support to determine if any are viable,” the statement said.On Friday, a representative said Ms. Heche had been declared brain-dead on Thursday night.Ms. Heche was a soap opera star before she became known to movie audiences. In the late 1980s, soon after she graduated from high school, she joined the cast of the daytime drama “Another World,” where she played the good and evil twins Vicky Hudson and Marley Love. She won a Daytime Emmy Award in 1991 for outstanding younger actress in a drama series.By the mid-1990s, she was a rising star in Hollywood. She played Catherine Keener’s best friend in “Walking and Talking” (1996); Johnny Depp’s wife in “Donnie Brasco” (1997); a presidential aide in the political satire “Wag the Dog” (1997), with Dustin Hoffman and Robert De Niro; and a fashion magazine editor who crash-lands on a South Seas island in an airplane piloted by Harrison Ford in “Six Days, Seven Nights” (1998).Ms. Heche with Dustin Hoffman, left, and Robert De Niro in a scene from the movie “Wag the Dog” (1997).P. Caruso/New Line Cinema“Romantic comedies don’t get more formulaic than this bouncing-screwball valentine, but they don’t get much more delightful, either,” Rita Kempley wrote in her review of “Six Days, Seven Nights” in The Washington Post. “The same goes for Heche and Ford as squabbling opposites drawn together during this tropical adventure.”Ms. Heche began a relationship with Ms. DeGeneres in 1997, at a time when same-sex relationships in Hollywood were not fully accepted. The relationship became widely known in April of that year when they appeared, hand in hand, at the annual White House Correspondents’ Dinner in Washington. A few days later, Ms. DeGeneres’s character on her sitcom, “Ellen,” came out as gay.Ms. Heche’s decision to reveal that she was in a lesbian relationship, The New York Times wrote, “confronted Hollywood with a highly delicate problem: how to deal with a gay actress whose career has been built on playing heterosexual roles.”After that relationship ended, Ms. Heche married and later divorced a man, Coleman Laffoon, with whom she had a son, Homer. She also had a son, Atlas Heche Tupper, from her relationship with the actor James Tupper.Remembering Anne Heche (1969-2022)The actress, who appeared in several popular Hollywood films and TV shows, died on Aug. 14, after being critically injured in a car accident.Obituary: Anne Heche started her career as a soap opera star on “Another World.” In the 1990s, she dated Ellen Degeneres, becoming one half of one of Hollywood’s most scrutinized couples.‘Donnie Brasco’: Heche starred in the 1997 gangster film as the wife of an F.B.I. agent who infiltrates a crime family. Read our review of the film.On Stage: The actress made her Broadway debut in 2002, in David Auburn’s Tony Award and Pulitzer Prize-winning play “Proof,” stepping into a coveted female role.Playing It Normal: In 2009, she spoke with The Times about her journey to success, facing professional downturns and making new starts.Complete information on her survivors was not immediately available.Ms. Heche told The New York Post in 2021 that she had been “blacklisted” in Hollywood because of her relationship with Ms. DeGeneres.“I didn’t do a studio picture for 10 years,” she was quoted as saying. “I was fired from a $10 million picture deal and did not see the light of day in a studio picture.”After she starred in “Six Days, Seven Nights” and in Gus Van Sant’s 1998 remake of Alfred Hitchcock’s “Psycho” as Marion Crane, the role originally played by Janet Leigh, leading roles in movies largely gave way to guest appearances on television shows like “Ally McBeal” and “Nip/Tuck.”She also starred in the short-lived sitcom “Men in Trees,” had recurring roles on “Everwood” and “Chicago P.D.” and landed a featured part on the HBO series “Hung,” which starred Thomas Jane as a male prostitute.Ms. Heche, right, with Ellen DeGeneres at a fund-raising dinner for the Human Rights Campaign in 1997. They began seeing each other at a time when same-sex relationships in Hollywood were not fully accepted.Win McNamee/ReutersShe appeared on Broadway in the play “Proof” from 2002 until it closed in 2003, then in the 2004 revival of “Twentieth Century,” the 1932 comedy about a Broadway producer (Alec Baldwin) who, as a passenger on the Twentieth Century Limited train, meets a former discovery, Lily Garland (Ms. Heche), who has become a Hollywood star. The role earned Ms. Heche a Tony Award nomination for best performance by a leading actress in a play.In his review in The Times, Ben Brantley wrote, “Her posture melting between serpentine seductiveness and a street fighter’s aggressiveness, her voice shifting between supper-club velvet and dime-store vinyl, Ms. Heche summons an entire gallery of studio-made sirens from the Depression era: Jean Harlow, the pre-mummified Joan Crawford and, yes, Carole Lombard, who famously portrayed Lily in Howard Hawks’s screen version of ‘Twentieth Century.’”In 2004, Ms. Heche was nominated for a Primetime Emmy for outstanding supporting actress in a mini-series or movie, for her performance in “Gracie’s Choice,” a TV film about a teenager faced with raising her half siblings after their drug-addicted mother is sent to prison.She appeared most recently in the films “The Vanished” (2020), a psychological thriller, and “13 Minutes” (2021), which centers on a tornado, as well as several episodes of the courtroom drama “All Rise.” Ms. Heche with Johnny Depp in “Donnie Brasco” (1997).PhotofestAnne Celeste Heche was born on May 25, 1969, in Aurora, Ohio, to Nancy and Donald Heche. Her father was an evangelical Christian and, it turned out, a closeted gay man. Her first acting role was in a New Jersey dinner theater production of “The Music Man,” which paid her $100 a week.In 1983, after her father died of AIDS, her mother became a Christian therapist and lectured on behalf of James Dobson’s organization Focus on the Family about “overcoming” homosexuality.Ms. Heche wrote in her 2001 memoir, “Call Me Crazy,” about being sexually abused by her father, and about her mother’s denial of that abuse. She said that when she called her mother after years of therapy to confront her about it, her mother ended the conversation by saying, “Jesus loves you, Anne,” before hanging up.Ms. Heche was critically injured on Aug. 5 when the car she was driving crashed into a two-story house in Los Angeles.Chris Delmas/AFP via Getty Images“People wonder why I am so forthcoming with the truths that have happened in my life,” Ms. Heche said in an interview with The Times in 2009. “And it’s because the lies that I have been surrounded with and the denial that I was raised in, for better or worse, bore a child of truth and love.”In 2018, she said she had been fired from a job at Miramax when she refused to give oral sex to Harvey Weinstein, the disgraced film magnate who founded the company with his brother, Bob, and who was accused of sexual assault by dozens of women. He was convicted of two felony sex crimes in 2020 and is serving a 23-year prison sentence.“If I wasn’t sexually abused as a child, I don’t know if I would have had the strength to stand up to Harvey — and many others, by the way,” she told the podcast “Allegedly … With Theo Von & Matthew Cole Weiss.” “It was not just Harvey, and I will say that.”Vimal Patel More

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      Anne Heche Onscreen: Wily and Funny but Also Unnerving

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      Hollywood tried to slot her into cookie-cutter blockbusters, sometimes successfully. She was at her best playing competent women in extreme situations.Long before the car crash that led to the actress Anne Heche being declared brain-dead at the age of 53, her work onscreen was always on the verge of being overshadowed by tabloid interest in her life.In 1997, she became best known as the girlfriend of the comedian Ellen DeGeneres, appearing with her on red carpets at a time when open same-sex relationships were still rare in Hollywood. Her name was the butt of countless jokes after a “20/20” interview with Barbara Walters in 2001 in which she revealed that she had concocted a separate world for herself called a “fourth dimension” and a personality named “Celestia.” Never mind the fact that she also told Walters about the horrific sexual abuse she had endured at the hands of her father. She was faced with mockery that followed her for the rest of her career.But to filmgoers, Heche was an idiosyncratic presence who never quite seemed to fit into cookie-cutter blockbusters. Instead, she was brilliantly unnerving and frequently very funny, her angular face a disarming mix of intelligence and wiliness that made her the perfect choice to play competent women in extreme situations.In some ways, she operated in the most mainstream arenas of the entertainment industry. She got her start as a soap opera star on “Another World” and did stints on network dramas like “Ally McBeal” and sitcoms like “Save Me” and “The Michael J. Fox Show.” And yet there was a subversiveness to Heche that threaded through her best performances, as well as an ability to laugh at herself that undermined her reputation in the culture at large.Early in her career, the director Nicole Holofcener identified Heche’s capacity for honesty in the 1996 “Walking and Talking” (available to rent on Prime Video). Heche plays Laura, a therapist-in-training and the longtime best friend of Catherine Keener’s Amelia. Laura is, theoretically, the more together of the two. While Amelia flounders, Laura is on a direct path, engaged to be married to her sweet jewelry-designer boyfriend (Todd Field).But as Amelia becomes jealous of the certainty in Laura’s life, doubt creeps into Laura’s psyche. In Heche, you can see Laura bristling at the restraints that come with the comforts of a close friendship and good relationship. As she tries on wedding dresses, Heche’s skin turns flushed amid the layers of tulle. Laura wrestles with the fabric as Amelia lightly paws at it, not helping much, as she describes her date with a man they had both mocked. Laura doesn’t say it, but you can tell she’s thoroughly overwhelmed. She grabs her rear end. “I’m farting,” she says, with resignation. In that little gesture, Heche admits that her body is betraying her before her mind will allow her to say so.In “Walking and Talking,” Heche, opposite Catherine Keener, subtly showed the doubts her character was beginning to experience.Andreas Rentsch/Miramax FilmsHolofcener’s screenplay allows this easy intimacy between women who have known each other for decades, but in Heche’s hands, Laura’s soul-searching becomes something hilariously palpable. When she and Amelia finally have it out, Heche never allows her character’s exasperation to fade into bitterness. Instead she finds all the wonderful nuances of a disagreement with a confidante, love still the dominant emotion.In the following year, Hollywood wrestled with how to fit Heche into its formulas. She appeared in four films in 1997, in roles ranging from the frustrated wife of an undercover cop in “Donnie Brasco,” opposite Johnny Depp, to a presidential aide trying to bury a scandal in “Wag the Dog,” opposite Robert De Niro. In the teen slasher “I Know What You Did Last Summer,” she’s the sister of a murder victim. She is oddly slotted into the goofy thrills of the disaster flick “Volcano,” in which she plays the seismologist who figures out that Los Angeles is about to be overtaken by lava. And yet even in the silliest of blockbusters, spouting ludicrous exposition about just how this geological event is taking place in a major American city, she brings an easy truth to the circumstances that most performers would struggle to achieve. (“Donnie Brasco” is available on Netflix; “I Know What You Did” is on HBO Max; and “Wag” and “Volcano” are on most major platforms.)With Tommy Lee Jones in “Volcano,” in which she played a seismologist who somehow detects a lava flow headed for Los Angeles.20th Century Fox, via Getty ImagesShe never stopped working, but the Anne Heche offscreen soon started to overshadow the Anne Heche on. Still, there were artists, like Jonathan Glazer, who recognized what she could bring to a project. He tapped her for a pivotal role in his surreal 2004 film, “Birth” (HBO Max), in which Nicole Kidman plays an Upper East Side bride-to-be visited by a young boy who claims to be her dead husband reincarnated. During one of the opening scenes, Heche is disconcertingly on edge, balking before entering a party and instead going to bury her gift in the woods, then rushing to a store to replace what she hid, eyes flooded with guilt. Her character hovers around the action like a threat, until she snaps into focus, the true purpose of her existence floating into her intense gaze.“Birth” is an otherworldly piece, and it’s almost as if Glazer uses Heche to further unsettle the audience, a task she takes on with vigor. More than 10 years later, Onur Tukel tapped into Heche’s rage in “Catfight” (Netflix), a comedy that cast her as an artist who gets into a vicious punching match with a college friend (Sandra Oh) over resentment and class conflict.There was a chance that Heche was on the verge of yet another career revival. She had finished a role in the forthcoming HBO series “The Idol,” created by the musician the Weeknd, Sam Levinson of “Euphoria” and Reza Fahim. For all the questions about what opportunities she may not have gotten — because of homophobia or ridicule or mental health stigmas — in an interview with Los Angeles magazine around the time of the release of “Birth” she explained, “It’s funny, it’s not necessarily the career I had before, but it’s the life I want.”It would be easy to let the circumstances of her crash cloud the memory of her artistry, but it’s just as easy to picture her as Laura in “Walking and Talking,” hair full of flowers and heart full of nerves, heading to her wedding with her best friend. More

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      The Composer Who Turns Hayao Miyazaki’s Humane Touch Into Music

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      Joe Hisaishi’s scores have helped make Studio Ghibli films indelible. But in concert, the works stand on their own. That’s because “it’s about emotion,” he says.Alfred Hitchcock and Bernard Herrmann, Sergio Leone and Ennio Morricone, Steven Spielberg and John Williams: Some of the greatest filmmakers have cultivated enduring, mutually enriching relationships with musicians. The decades-long partnership between the Japanese animation master Hayao Miyazaki and the composer, pianist and conductor Joe Hisaishi certainly belongs in this hall of fame.Hisaishi first worked with Miyazaki on the eco-minded science-fiction feature “Nausicaa of the Valley of the Wind,” released in 1984. He has scored every Miyazaki feature since then, composing wonderfully evocative soundtracks for such favorites as the family fable “My Neighbor Totoro” (1988); the tale of young-girl independence “Kiki’s Delivery Service” (1989); the period epic “Princess Mononoke” (1997); and the Academy Award-winning “Spirited Away” (2002), a gem about a headstrong little girl that was the runner-up on The New York Times’s list of the 25 best films of the 21st century so far.This week, longtime fans and newcomers alike will be able to hear excerpts from those scores and more, when Hisaishi, 71, leads the American Symphony Orchestra in “Music From the Studio Ghibli Films of Hayao Miyazaki,” a series of concerts at Radio City Music Hall starting Saturday. (The performers will also include the MasterVoices choir and the Brooklyn Youth Chorus, as well as the singers Amanda Achen and Mai Fujisawa, who is Hisaishi’s daughter.)While excerpts from the movies will be projected on a giant screen, Hisaishi’s concerts stand on their own and are not meant to be simply compilations of classic scenes backed by a live ensemble.“Watching a film is a whole different thing from hearing the music in concert, which gives the audience a different experience,” the composer said through an interpreter in a recent video conversation.Though Hisaishi’s concerts include clips from films like “My Neighbor Totoro,” they go well beyond compilations of classic scenes.Laurent Koffel/Gamma-Rapho, via Getty ImagesIndeed, Hisaishi built the set list as if he were putting together a single large composition, citing Mahler symphonies as a source of inspiration. “For example, the first movement is ‘Nausicaa,’ the second movement is ‘Kiki,’ the third is ‘Princess Mononoke,’ and so on,” he said.Hisaishi (who was born Mamoru Fujisawa but goes by a stage name) is also known to make slight tweaks for concerts. “The images are screened so that you relive the emotions you had watching the film,” Marco Bellano, who teaches the history of animation at the University of Padua, Italy, said in a video chat. “But at the same time when Hisaishi plays these compositions in concert, they are not exactly in the same shape, the same arrangements they have in the films. There is a piece from ‘Porco Rosso’ called ‘Madness’ that is identical in the soundtrack and one of the concert versions, but many other pieces are completely different. It’s really remarkable how he really cares about offering a new experience.”Rest assured that the changes are not drastic and that the concerts preserve the Hisaishi touch. Taken out of “My Neighbor Totoro,” “The Path of the Wind” (which brings to mind another great Japanese musician, Ryuichi Sakamoto) retains its tender melancholy, while “Bygone Days,” from “Porco Rosso” (1992), is still just as wistful live, halfway between jazz and French chanson.For James Williams, the managing director of the Royal Philharmonic Orchestra in London, Hisaishi’s contributions are a perfect match for Miyazaki’s universe. “When you see those films, there’s a certain humanity about the story lines, and that’s absolutely reflected in Joe’s music,” said Williams, whose orchestra recently recorded an album of Hisaishi’s compositions. “It connects with people, regardless of their culture, and that’s really powerful. What Joe has done is somehow retain that integrity of Japanese culture, brought in that Western tonal system and found a way for the two to retain their identities in perfect harmony.”A distinctive appeal of Miyazaki’s films is that they trust viewers, no matter how young, to figure things out on their own. Partly, this means not using music to reinforce character traits or telegraph expected responses from a viewer. Fortunately, this suits Hisaishi. “The music does not need to match every character,” he said. “Rather, it’s about emotion, something the character might be feeling. And at the very deepest of a movie, the music doesn’t need to tell anything related to the character or even the feelings,” he continued. “There’s already something that the audience might be feeling just watching the film.”“Castle in the Sky,” released in Japan in 1986, neatly illustrates the way the Miyazaki-Hisaishi approach — which also involves knowing when not to score a scene — is different from that commonly found in American animation. In 1999, Hisaishi not only reworked his existing score for that film’s American release, by Disney, but he vastly expanded it, adding music in scenes that previously did not have any.For the American release of “Castle in the Sky,” Hisaishi reworked and expanded the score used in the Japanese version.Studio GhibliHisaishi also refrains from recycling catchy musical phrases over and over within the same movie. “From ‘Howl’s Moving Castle’ on, you find more this idea of leitmotif, but it’s different from the Hollywood style, where the leitmotif appears very clearly and is very easy to remember,” Bellano said. “With Miyazaki and Hisaishi, that melody appears when it’s needed and is not repeated many times.”Hisaishi does write stand-alone pieces, including symphonies, and has worked with other feature-film directors — most famously Takeshi Kitano, for whom he scored such 1990s high-water marks as “Sonatine,” “Fireworks” and “Kids Return.”“I started my career as a minimal composer,” Hisaishi said, “and I use more my melodic side in Miyazaki movies and my minimalist side in Kitano movies — they are closer to what originally drew me to music, style-wise.”Still, it is his work with Miyazaki that has placed him solidly on the international music map.Over the decades, the two men developed an intricate working method involving a lot of back and forth. Early in the production process, Miyazaki would give Hisaishi an idea of the story, some sketches, sometimes just a few words. Based on those meager elements, the musician would come up with a so-called image album (which would receive a commercial release down the line). “For ‘Princess Mononoke,’ an early word Miyazaki-san mentioned was tension, as in an arrow’s tension,” Hisaishi said, using the Japanese honorific. He added that this inspired him to write a piece that “eventually became the title theme.” Once the film was ready, Hisaishi would write the score, which could also be released in a symphonic suite version.The composer has not slowed down. In fact, being home during the pandemic further spurred his creativity — and led to an epiphany of sorts that Hisaishi evoked in terms that felt Miyazakian.“It took me seven years to write my first symphony, but in 2020 and 2021, I finished two,” he said, referring to “Dream Songs” and “Songs of Hope.” That experience “made me realize I have a mission as a composer. People watch this changing world and are so disappointed: Where is happiness? What is going on? Look at what’s going on in Ukraine,” he continued. “This is not something we expected to happen again in the 21st century. As a composer, I need to see the world as it is, but I also can’t be disappointed: We do need hope for the future.” More

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      Anne Heche ‘Is Not Expected to Survive’ After Crash, Representative Says

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      The actress, 53, has been in a coma since shortly after the car she was in crashed into a Los Angeles home last week, her publicist said in a statement.The actress Anne Heche remained in a coma and was not expected to survive the injuries she sustained in a car crash last week, according to a statement that her publicist released Thursday night on behalf of her family and friends.Ms. Heche, 53, was critically injured on Aug. 5 when the Mini Cooper she was in crashed into a home in the Mar Vista neighborhood of Los Angeles, the authorities said. She suffered a severe anoxic brain injury and was being treated at the Grossman Burn Center at West Hills Hospital, the family statement said.“It has long been her choice to donate her organs and she is being kept on life support to determine if any are viable,” the statement said.The crash started a fire that took 59 firefighters more than an hour to extinguish, the Los Angeles Fire Department said. Ms. Heche was the only person in the car, the authorities said.In 1991, Ms. Heche won a Daytime Emmy award for outstanding younger actress in a drama series, for playing good and evil twins on the NBC soap opera “Another World.”She starred in several popular Hollywood films in the late 1990s, including “Donnie Brasco,” “Wag the Dog” and “Six Days Seven Nights.” She continued to have television roles, including on “Men in Trees” in 2006 and “Hung” in 2009, and performed on Broadway, starring in “Proof” in 2002 and “Twentieth Century” in 2004, for which she received a Tony nomination.She has several projects that are in postproduction, according to IMDb, including “Supercell,” a movie with Alec Baldwin, and the HBO show “The Idol.” She had recently finished filming on “Girl in Room 13,” a Lifetime movie that is scheduled to premiere in September, Variety reported.Mike Ives More

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      ‘13: The Musical’ Review: Mild Anxieties in Middle America

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      The Broadway show of the same name gets a Netflix screen adaptation directed by Tamra Davis.“13: The Musical,” a plucky crowd-pleaser about the pressure to put on a blowout bar mitzvah, opens with the young Manhattanite Evan Goldman (Eli Golden) raging at his parents’ ultimate party foul. They’ve divorced, forcing the boy and his mom (Debra Messing) to shift their lives — and his pending bash — to the home of his grandmother (Rhea Perlman) in Walkerton, Ind., a town so small that their arrival triples its Jewish population. Nevertheless, the social-climbing eighth grader is determined to pack his dance floor, even if it means enmeshing himself as a love adviser to the school’s most popular kids (JD McCrary and Lindsey Blackwell) and backing away from his initial friends (Gabriella Uhl and Jonathan Lengel) when he discovers that they’re dorks.Briefly, Evan is concerned that his religion will make him an outsider, especially as one classmate, a terrifically funny shallow snit played by Frankie McNellis, warns the other students that bar mitzvahs are “where they make you talk backwards and everyone gets circumcised.” But once the film checks off the expected city versus country gripes about bagels (none), cows (too many) and the unnerving rural silence (“How can anyone sleep with all this quiet!”), the director Tamra Davis aims to sell the film’s young audience on an inclusive vision of America that quickly soothes any apprehensions of antisemitism, as well as most of the other anxieties of adolescence. The screenwriter Robert Horn not only buffs the bullying subplots from the book of his 2008 Broadway musical (which he co-wrote with Dan Elish) until Evan no longer has to punch a football jock in the nose — he’s made the tensions so subterranean that certain dramatic plot points barely make sense.Still, Davis is a veteran at showcasing youthful singing talent. (Her previous credits include the Britney Spears vehicle “Crossroads,” the hip-hop cult comedy “CB4” and the Hanson music video for “MMMBop.”) She and the cinematographer Adam Santelli turn the frame into a shoe box diorama for the dynamic cast, who belt and dance while staring directly at the camera. While every image is as bright and colorful as a new box of crayons, the kids themselves never come across as artificial, thanks in part to Jamal Sims’ naturalistic but crisp choreography, which emphasizes stomps and leans and long-legged strides.The songs, by Jason Robert Brown, aren’t bad either, particularly a bluesy number crooned by the football squad (“Bad News”), a catty rock ballad backed by a marching band (“Opportunity”) and a new-for-the-screen, finger-snapping charmer where Evan entices his schoolmates to sneak into an R-rated horror movie (“The Bloodmaster”) — a gory flick that traumatizes him and the class far more than anything else happening onscreen.13: The MusicalRated PG. Running time: 1 hour 31 minutes. Watch on Netflix. More