Tag Archives: actor

Elle Lien Lynch

February 25, 2013 by
Photography by Bill Sitzmann

“If this were a movie set,” says Elle Lien Lynch, gesturing to the coffee shop, “everything that you see would be something that the set dec buyer would have to find and buy. The one thing I wouldn’t have been responsible for would have been the things you and I, the actors, touch.” Suddenly, the ceramic mug on the table seems glamorous. A prop.

Last December, Lien finished her work as set-decorating buyer for Alexander Payne’s film Nebraska. The movie, estimated for a late 2013 release, follows “an aging, booze-addled father [as he] makes the trip from Montana to Nebraska with his estranged son in order to claim a million-dollar Publisher’s Clearing House sweepstakes prize,” according to IMDb.

Though Lien had no prior experience in the industry (she’s the former owner of closed downtown restaurant Daily Grub), Deidre Backs, a friend who had worked with Payne in film, suggested she submit her resume for the set-decorating buyer position. “Being a local is a huge plus as a buyer,” Backs says of the reasons she encouraged Lien, “because locals know where all the bodies are buried. And with her history of running a restaurant, I knew that handling the accounting side of the job would be no sweat.”

Though Lien says she knows Payne from around town, he had no idea she had applied for a job on Nebraska. “My resume got tossed into a pile with a bunch of other people,” she says. Still, something about it obviously caught the eye of set decorator Beauchamp Fontaine. “I am a hunter,” Lien says, referring to her experience in interior design and buying vintage furniture. “I put that on my resume. I’m a hunter-gatherer. I find old things and breathe new life into them.”

She started work in Norfolk, Neb., last September for a month of preproduction before filming began in October. Lien says she went into the experience without knowing much about the film besides the fact that Payne was directing. “Everything’s very vague,” she says. She read the script on her first day at work. When Payne noticed her in the film’s office one day, he told her, “Welcome to the circus.”

“I’m a hunter-gatherer. I find old things and breathe new life into them.”

“I think he was surprised to see me there,” she recalls.

While Lien says that Fontaine determined the look and feel of a set, she would occasionally defer to Lien’s Midwest background. “These are my people,” Lien says with a laugh. That familiarity with small-town Nebraska culture was probably helpful considering that much of what Lien found to decorate the sets (oh, and every item had to shoot well in both color and black-and-white, thanks to the look of the film) was in people’s garages or thrift stores. “If it had been ordering curtains or buying new things, I wouldn’t have enjoyed it as much,” she adds. “I would have been fine, but I loved this job.” She delightfully describes her responsibilities as speed shopping with someone else’s money.

Of course, she came from running her own restaurant where “you have your finger on absolutely every aspect of everything.” Working on Nebraska, Lien says she was more like a piece of a puzzle. “It’s very structured,” she says, describing how within the set decorating department, there’s the set decorator (Fontaine); the set decorating buyer (Lien); the lead man, who’s in charge of getting the stuff to the set, returning it, and storing it; and the set dressers, who place and install the various pieces in the set.

But wait, there’s more. Set decorating is a department within the art department. And, surprise, the art department is also a department within the art department. Then there’s scenic and prop. “You all feel like you’re doing your part,” Lien says, “but it’s just so big and decentralized.” When asked if she’d like to work on a film again, she says, “I would love to be a lead man. But it all appeals to me. It was the absolute perfect place for me to land for my first film.”

Though she and husband Joey Lynch had been seriously contemplating a move to New Orleans to be closer to more film industry opportunities, Lien credits Nebraska with gently changing her mind. “I felt like maybe it was why we didn’t move,” she says. “I felt a real sense of pride in this place.”

Erich Hover

October 25, 2012 by
Photography by Bill Sitzmann

Erich Hover still speaks of his father, Ed, in a tone of respect, describing him as a “big, strong, tall, handsome, six-foot-two guy” who liked to fish and hunt, play racquetball, and work in his garden.

“My dad was always strong for us…he always wanted to provide for us…he never wanted us to think that there was anything wrong with him,” Hover says.

But the younger Hover, an actor and producer, will be telling a different story about his father on the big screen. At 62, Ed Hover is in the advanced stages of Alzheimer’s disease only four years after his initial symptoms and diagnosis, typifying the early-onset form of the disease (his son prefers the term “younger-onset”) as being particularly aggressive and swift. Erich Hover is currently in pre-production for a feature film that will be based on his family’s experience.

“We want to shed some light on Alzheimer’s disease, and we also want to portray a family that’s sticking together through a very difficult situation. We want to tell an uplifting story…it’s important to me for it not to have to be a downer,” Hover says.

The Hover family at Erich's brother's wedding, 2011. Photo provided by Erich Hover.

The Hover family at Erich’s brother’s wedding, 2011. Photo provided by Erich Hover.

Hover, who graduated from Omaha Benson High School in 1998, launched his acting career eight years ago, appearing in local commercials for Horseshoe Casino, Regency Court, and the Iowa Lottery (he is still remembered for bursting out of a bucket, doused in black oil). In 2006, he left his full-time real estate position and relocated to Los Angeles. Among other films, he’s appeared in 2009’s For the Love of Amy (beloved Omaha actor John Beasley was a lead), and he also had a small role in 2011’s Moneyball, starring Brad Pitt.

The feature film will be his first project serving as a producer, and Hover credits his education over his acting experience with getting him there. He graduated from the University of Nebraska-Kearney in 2002 with a degree in organizational communication and a minor in marketing.

“Communications and marketing is kind of what this business is. A film never gets seen unless you find ways of marketing it,” he explains. “It absolutely helped me having that degree. It gave me the confidence that I can go out and produce something,
 create something.”

Hover, who already visits Omaha frequently to see family, says he made a deliberate choice to film in the area, with shooting likely to begin next spring, if not this fall. Local actors will be included in the cast, and he’s also partnering with some of the same Omahans “in the business” who helped him along in his acting career, including filmmaker Derek Baker, Manya Nogg of Actors Etc., and businessman/executive producer Jeff Burton. The three will share producing credits with him.

“We want to shed some light on Alzheimer’s disease, and we also want to portray a family that’s sticking together through a very difficult situation.”

“[Omaha’s] where I was born and raised, and it’s important to me to be able to bring a project back here. And it’s a personal story about me and my family, so I want to keep it as close to home as possible,” he says.

Hover is also excited to have others he’s grown to respect attached to his project. “Jay Giannone, who has acted in such movies as Gone Baby Gone, The Departed, the recently-released Safe, and the upcoming The Iceman, will act in the film, produce with me, and write the screenplay with Eric Watson based on my story,” he said. “Eric will write and direct the film. His credits include Pi (which won The Sundance Film Festival), Requiem for a Dream, and The Fountain.”

His movie, in which Hover plays the lead character, is close to home in other ways, too. The film is filled with personal references, from a 1950s pickup truck that refuses to start to dogs with the names of real Hover family pets.

“The people in the film are parallel to my family, and the major elements are actual real-life occurrences my family has gone through,” Hover says. “Even the dialog—the conversations between me and my father—are from things my dad and I have actually said to each other in real life.”

Ironically, Ed Hover watched his mother, now 93, struggle with Alzheimer’s before his own diagnosis. His son says he is acutely aware that the odds of being a third-generation sufferer are significant.

Hover with actor Philip Seymour Hoffman on the set of Moneyball. Photo provided by Erich Hover.

Hover with actor Philip Seymour Hoffman on the set of Moneyball. Photo provided by Erich Hover.

“I don’t want to live my life in fear, so I want to create something that can help find a cure,” he says. “I don’t have millions that I can donate to research, I’m not a doctor who can be in a lab finding a cure…I’m an actor and a producer, and if I can put something up on the screen that can reach a large audience, well, then, that can increase awareness and hopefully motivate people to take action with their time and their donations to research.”

His family, who is depicted in the movie, has been behind him from the beginning, Hover says.
“I really couldn’t have done this without my parents’ and brothers’ blessing. I mean, we’re talking about something that’s happening with our family, with our father,” Hover says. “My father’s in a place where I don’t know if he’s really exactly aware of what we’re doing, but he has always been supportive of my career…If my dad would have said ‘No, don’t do this movie about me,’ I would not have done it; I would have respected his wishes.

“The fact that he’s in this place where [Alzheimer’s disease] has been so aggressive and he’s so far along with it, I feel like I have to do this for him to honor him and to help other people, including my own family.”