Tag Archives: movie

Omaha’s Saint: Father Flanagan and the Cause for Canonization

February 20, 2017 by
Photography by Bill Sitzmann

A small, framed black-and-white photo hangs on the living room wall of the Rev. Clifford Stevens’ modest apartment, located on the south campus of Omaha’s famous Village of Boys Town. It shows Monsignor Edward J. Flanagan sitting at his desk, looking up at several teenage boys standing around him.

“That’s me, second from the right,” declares Stevens, pointing to a dark-haired, good-looking 16-year-old with a dimpled grin. “That picture was taken in 1942 to commemorate the school’s 25th anniversary, the year I came to Boys Town.”

As someone who knew the tall, affable Irish priest personally—and those numbers keep dwindling—Stevens never doubted his mentor and biggest champion would one day travel the road to sainthood.

“He was very warm and gentle, with the kindest smile I ever saw in my life,” says Stevens, still energetic and sharp at age 91. “He was very considerate and completely dedicated to the welfare of children.”

The longtime Omaha priest and prolific author recently discontinued presiding over daily Mass at Dowd Chapel, the Catholic house of worship on campus, to concentrate on writing his third biography of Father Flanagan. Stevens expects publication by the fall as part of Boys Town’s centennial celebration.

“Boys Town has been around 100 years and I’ve been part of it for 75 years,” he says with a mixture of pride and wonder.

Those who have benefited directly from the safe haven created by Father Flanagan for poor, orphaned, abused, neglected, or at-risk boys (the school opened its doors to girls in 1980) need no convincing of the priest’s Christ-like presence on earth. Convincing Rome, that’s another story. It takes years and enormous preparation, as dictated by ancient Catholic canon law.

Four boxes filled with leather-bound dossiers attesting to Father Flanagan’s “heroic virtue” arrived at the Holy See in Rome in June 2015, the result of a 2 1/2 year investigation into the priest’s life by the Omaha archdiocese.

“They literally put Father Flanagan’s whole life on trial here in Omaha,” explains Steve Wolf, a member of the Boys Town alumni group that helped ignite the quest for sainthood in 1999. “Everything that could possibly be known about Father Flanagan, through any number of sources, was all examined thoroughly.”

Although 2,000 names precede Father Flanagan’s on the list of sainthood causes, the boxes from Omaha have not sat idly in some Vatican room.

“We know the tribunal in Rome is reviewing the work of the Omaha archdiocese because they’ve been communicating with us here, trying to clarify information or asking for additional testimony,” Wolf says. “It’s absolutely an active, open case, and that’s encouraging.”

Will Rome agree Father Flanagan led a life so good and so holy in service to others that he put his own life in peril? Does he meet the requirement of “historic virtue?” Wolf, a 1980 graduate of Boys Town, sees no other conclusion.

“He received death threats many times because he was without prejudice or discrimination, integrating Boys Town with blacks and kids of Jewish faith,” he says. “The Ku Klux Klan once threatened to burn Boys Town down,” prompting Father Flanagan to respond, “What color is a man’s soul?”

If the case for sainthood didn’t exist, “[Omaha] Archbishop [George] Lucas would never have signed off on it and sent the boxes to Rome,” says Wolf, who readily admits Boys Town turned his life around. The father of five girls now heads The Father Flanagan League: Society of Devotion, an organization made up of alumni and lay Catholics that focuses on fundraising and forwarding the cause of sainthood through an international groundswell of support. Wolf credits the hard work of Boys Town historian Tom Lynch with enabling a speedy local investigation into Father Flanagan’s life.

“When I was hired by Boys Town 30 years ago as a graduate student in history, our archives weren’t organized,” explains Lynch, chairman of the historical commission that gathered written material for the sainthood cause. “We had about 2 million documents and half-a-million pictures just dumped in the building without rhyme or reason.”

Every day for more than 10 years, Lynch picked up pieces of paper, read them, then placed them in the proper category until the archives became a major resource center. Lynch and his “great crew of volunteers” eventually created a timeline accounting for nearly every day of the priest’s life, from his birth in Ballymoe, Ireland, in 1886, to his death from a heart attack in 1948 while on a goodwill trip to post-war Germany.

Lynch created the Hall of History, where thousands of visitors come every year to learn the story of Boys Town and the man who founded it. When the representative Rome sent to Omaha to investigate the sainthood request saw all the required material on display, he told Lynch, “You’ve taken about 25 years off the process.”

Those closely involved in the cause, though sworn to secrecy, cautiously think all the requisites for beatification and canonization exist. A separate tribunal in Rome is examining two of the 17 alleged miracles attributed to Father Flanagan (after his death), where someone was cured after praying to him, defying medical explanation. If proved, the Vatican will declare him Blessed, followed by a declaration of sainthood.

Father Flanagan began his life with people praying to God on his behalf, offering up pleas for divine intervention. On the day he came into the world, Eddie Flanagan, the eighth of 11 children born to a sheep farmer and his wife in County Roscommon, Ireland, turned blue, then purple and started convulsing. The midwife told the family the baby wouldn’t last the night.

But Eddie’s grandfather, a veterinarian, unbuttoned his flannel shirt, wrapped the newborn in a blanket and held him against his chest. He paced in front of the large kitchen hearth all night, holding the baby close. By morning, the baby’s coloring had returned to normal. Prayers had been answered.

“We believe he was born prematurely, which would explain why the family was so worried those first few days,” says Wolf. It would also help explain why Eddie was susceptible to respiratory problems all his life—health so fragile it nearly derailed his deep desire to follow his older brother, Patrick, into the priesthood.

Illness forced him to leave the seminary twice, once in Yonkers, outside New York City, the other time in Rome. After nearly dying from double pneumonia while studying in New York, his brother Patrick, who had been dispatched from Ireland to minister in “the Middle Western Plains of Nebraska,” suggested Eddie stay with him in Omaha. “The air is clean and brisk here, where your lungs can heal,” wrote Patrick.

The younger Flanagan regained his health in Omaha, but “the archbishop didn’t want him! He thought he was too sickly to become a priest and wouldn’t let him study here,” says Stevens, shaking his head. “So he got a job as an accountant at the Cudahy meat packing plant in South Omaha. That’s where he acquired his business skills.”

The young man finally finished his seminary studies in the warmer climes of Innsbruck, Austria, and returned to Omaha after his ordination in 1912. Five years later, on Dec. 12, 1917, Father Flanagan opened his first Boys Home at 25th and Dodge streets. He had found his calling.

People who only know Father Flanagan from Spencer Tracy’s Oscar-winning performance in the 1938 movie Boys Town may understand his mission, “but they don’t know this man,” says Wolf. “He was a consultant to world leaders on youth care after World War II. Who did President Truman send to Japan and Germany—countries we had defeated—to assess the problem of displaced or orphaned children? A priest. This priest.”

Almost 70 years after his death, Father Flanagan can still reach out from beyond the grave and touch souls, Wolf believes. He experienced it personally.

Raised in Omaha as a Baptist by a single mom, Wolf had shrugged off all organized religion by the time he graduated from Boys Town, and he held a particular disdain for the Catholic Church. Wolf returned to campus for an alumni convention in 1999, shortly after the group announced plans to seek sainthood for their founder.

“I was sitting in the very last pew of Dowd Chapel for a special Mass that I felt obligated to attend,” he relates, “and I looked over my right shoulder and there’s Father Flanagan’s tomb right there in that little room. Suddenly, I was just overcome, almost crying. Here I am trying to do something to honor him, and I realized I’m not even the kind of kid he would have wanted me to be.”

At that moment, Wolf’s conversion to Catholicism began.

Even historian Tom Lynch, who has immersed himself in all things Flanagan his entire adult life, came away from the tribunal experience with renewed respect for the sanctity of Boys Town’s founder.

“People laughed at him, told him it would never work because he wanted to treat the kids humanely,” Lynch says. “There are no fences or gates around Boys Town. No physical punishment. He was very much their champion.”

As Omaha awaits a decision from Rome, which could take years, Father Flanagan’s legacy continues to better the lives of more than 2 million children and families, with outreach programs and medical services on 11 Boys Town campuses from New York to California.

Father Flanagan must have sensed that his belief in the basic goodness of children would bear fruit. Shortly before his death, he wrote, “… the work will continue, you see, whether I’m here or not, for it’s God’s work, not mine.”

Visit fatherflanagan.org for more information.

Timeline of Father Flanagans Life

July 13, 1886 – Edward Joseph Flanagan born in Leabeg, County Roscommon, Ireland. Parents: John and Honora (Larkin) Flanagan.

July 18, 1886 – Edward Joseph Flanagan baptized, St. Croan’s Catholic Church, Ballymoe, Ireland. Father Crofton officiated. Godparents: Patrick and Mary Jane Flanagan.

August 27, 1904 – Edward Joseph Flanagan arrived in United States aboard S.S. Celtic, White Star Line.

September 1906 – Edward Joseph Flanagan entered St. Joseph’s Seminary, Dunwoodie, New York.

May 31, 1907 – Left St. Joseph’s Seminary, Dunwoodie, New York.

July 4, 1907 – John, Nora, and Edward Flanagan arrive in Omaha, Nebraska.

July 26, 1912 –  Edward Joseph Flanagan ordained by Bishop Elder for the Brixon Diocese in St. Ignatius Church, Innsbruck, Austria.

July 27, 1912 – Father Edward Joseph Flanagan celebrated his first Mass in the Jesuit Church at St. Ignatius Church, Innsbruck, Austria.

August 25, 1912 – Father Edward Joseph Flanagan celebrated his first Solemn High Mass at Holy Angels Church, Omaha, Nebraska.

September 5, 1912 – Father Edward Joseph Flanagan assigned as assistant pastor, St. Patrick Parish, O’Neill, Nebraska.

March 15, 1913 – Father Edward Joseph Flanagan assigned as assistant pastor, St. Patrick’s Church, Omaha (Pastor: John T. Smith).

February 2, 1915 – The Rev. John T. Smith died. Flanagan became acting pastor of St. Patrick’s Parish.

Mid-January 1916 – Father Flanagan opened the Workingmen’s Hotel in the Old Burlington Hotel, leased by St. Vincent de Paul Society.

July 9, 1916 – Father Flanagan assigned as assistant pastor, St. Philomena Parish, Omaha, Nebraska (Pastor: James W. Stenson).

Early September 1916 – Father Flanagan moved Workingmen’s Hotel to Livesay Flats where he could care for 300 men.

December 12, 1917 – Founded Father Flanagan’s Boys’ Home.

December 12, 1917 – Flanagan celebrated last Mass as assistant pastor, St. Philomena. Relieved of all parish duties.

May 8, 1919 – Flanagan became a citizen of United States of America.

February 24, 1920 – Articles of Incorporation for Father Flanagan’s Boys’ Home filed with state of Nebraska.

Summer 1921 – Began construction of five buildings on Overlook Farm: two school buildings, two dormitories, and a refectory/dining hall.

October 17-22, 1921 – Father Flanagan’s Boys’ Home moved to Overlook Farm.

July 2, 1922 – Elected president of Omaha Welfare Board.

September 1925 – Inauguration of periodical radio broadcasts for Father Flanagan broadcast over WOAW, sponsored by Woodmen of the World Insurance.

March 1927 – Father Flanagan moved into new home, Father Flanagan House.

October 12, 1930 – Radio program ”Voice of the Homeless Boy” expanded outside of Omaha.

October 23, 1937 – Flanagan appointed Domestic Prelate with title of “Right Reverend Monsignor” by His Holiness, Pope Pius XI.

November 21, 1937 – Investiture service for Father Flanagan to Monsignor, Boys Town Auditorium.

December 2, 1937 – Appointed to Childrens’ Committee of National Conference of Catholic Charities.

February 20, 1939 – Honorary Life Member of the Boys’ Republic of Arlington, Virginia.

June 26, 1939 – Father Flanagan received First Annual Humanitarian Award from Variety Clubs International. Presented by founder, John W. Harris, at Fontenelle Hotel, Omaha, Nebraska.

November 1939 – Father Flanagan appointed to Board of Diocesan Consultors to succeed Monsignor A. M. Colaneri.

April 2, 1941 – Father Flanagan appointed by governor of California to Governor’s Committee on the Whittier State School.

May 27, 1942 – Father Flanagan received certificate for Distinguished Service on Behalf of the National War Savings Program, U.S. Treasury Department.

November 3, 1942 – Father Flanagan began weeklong war bond tour, during which he sold almost $3 million in bonds.

February 1944 – Father Flanagan made life member of the National Humanitarian Award Committee, Variety Clubs International.

September 5, 1944 – Certificate of Service from U.S. Navy, Letter from Secretary of the Navy, James Forrestal to Father Flanagan.

October 17, 1944 – Father Flanagan received letter naming him Number One War Dad in America by the National Council, American War Dads.

February 1, 1946 – Father Flanagan named to National Panel for Study of Juvenile Delinquency Problems by U.S. Attorney General Tom Clark.

April 7, 1946 – Father Flanagan appointed member of the Naval Civilian Committee by Secretary of the Navy, James Forrestal.

November 1, 1946 – Father Flanagan received the Kiwanis Medal for Distinguished Service from Kiwanis Club of Lincoln, Nebraska.

February 28, 1947 – Father Flanagan received an invitation from Secretary of War Robert P. Patterson to tour Japan on behalf of war orphans, etc.

April 7, 1947 – Father Flanagan left Omaha for Japan and Korea at invitation of Secretary of War Robert Patterson and General Douglas MacArthur regarding juvenile welfare.

July 8-11, 1947 – Father Flanagan went to Washington, D.C., to report to Secretary of War and Navy and President Harry S. Truman.

May 15, 1948 – Died, Berlin, Germany.

May 17, 1948 – Funeral for Monsignor Edward Joseph Flanagan in Berlin Cathedral. Conrad Cardinal V on Preysing, Bishop of Berlin, officiated.

May 21, 1948 – Funeral for Edward Joseph Flanagan in The Chapel of the Immaculate Conception, Dowd Memorial Chapel, Boys Town, Nebraska.

Steps Toward Canonization

by Thomas Lynch

Attaining sainthood follows three phases and four steps of recognition. The phases are pre-diocesan, diocesan, and Roman. The levels of recognition are (in sequential order) Servant of God, Venerable, Blessed, and Saint.

The pre-diocesan phase requires a spontaneous or groundswell of devotion. The Father Flanagan League: Society of Devotion initiated this first phase of the process.

Omaha archbishop George Lucas initiated the second phase by appointing a tribunal to investigate the life and virtues of Father Flanagan. This is the diocesan phase, during which the candidate is recognized as Servant of God. In a formal ceremony during June 2015, the archbishop advanced the cause to the Vatican for further investigation.

Currently, Father Flanagan is in the Roman phase. A tribunal appointed by the Vatican further investigates the life and virtues of Father Flanagan and the miracles associated with him. The canonization process takes many years. To be canonized a saint, there must be proof of at least two miracles attributed to Father Flanagan that have occurred after his death.

The Vatican determines whether he would be recognized as Venerable based on investigation of miracles attributed to Father Flanagan after his death. After being recognized as Venerable, additional miracles (miracles not already submitted for his canonization cause) must be submitted and verified for Father Flanagan to be formally recognized as Blessed. After the tribunal makes recommendations to the pope, he decides whether to declare the priest a saint of the church. Confirmation of sainthood is then scheduled for an official ceremony at a later date.

This article was printed in the March/April 2017 edition of Omaha Magazine.

The Making of Nebraska

November 15, 2013 by
Photography by Martin Magnuson

When you watch Alexander Payne’s acclaimed new film Nebraska, keep in mind that each and every acting part was cast in a collaboration between the two-time Oscar-winning filmmaker and his casting director, John Jackson.

Under the name John Durbin, Jackson long ago established himself as a character actor in Hollywood and beyond. IMDb.com lists 61 credits in the filmography of the Council Bluffs native and resident. Jackson returned home in 1988 to run a local casting service while taking acting gigs here and on the coast.

For Payne’s first feature, Citizen Ruth (1996), Jackson was hired to do Omaha location casting. He filled 32 speaking roles, plus all the extras. From the start, Jackson says, “We had a great working relationship. The same thing happened when Alexander came back to work on Election (1999). And then he began slowly to include me. The New York casting people would send him tapes and he’d say, ‘John, why don’t you watch this and tell me what you think,’ and that built.”

On About Schmidt (2002), Jackson says Payne entrusted him with ever more responsibility and increasingly sounded out his advice. “Until finally the producer of Schmidt said to Alexander, ‘Why do you hire these people in New York and L.A.? Why don’t you just get this guy?’ Meaning me.”

Jackson was back home directing and playing a supporting role in a Brigit Saint Brigit Theatre Company production when Payne called to say he was casting Sideways (2004), and he needed Jackson in 
California immediately.

“So that started a process of me being in L.A. Monday, Tuesday, Wednesday, Thursday,” recalls Jackson. “Then Friday morning, I’d get on a plane, fly back home, land, grab something to eat, go to the theater, do the show Friday, Saturday, Sunday. Then Monday fly back.”

Jackson says Sideways “was a new experience for both of us in many ways.” It found Payne shooting his first feature away from Neb., and it marked the first time Jackson served as the filmmaker’s sole casting director, a role he has continued for The Descendants (2011) and Nebraska (2013).

“In honing our working method over the last 18 years,” Payne says, “we just have developed a very similar aesthetic of what we want to see in a film, the type of reality we want. Also, I think the two of us have developed a pretty good eye for spotting acting talent in nonactors.”

The pair filled a large number of roles in Nebraska with real-life farmers and small-town bar denizens. As with any project, they painstakingly searched for the right needle-in-a-haystack fit for characters. Payne’s particularly proud of the challenges overcome in casting Nebraska. To make it all work, he asked lead actors Bruce Dern and Will Forte to “flatten” their performances to be in synch with the low-key non-actors.

Jackson says the cast immersed themselves in the story’s “magnificent simplicity.” He says his job was to “build the world” Payne envisions for the characters in the script. “We paint with people. We want it to be as authentic as possible.”

nebraska-outline

Alexander Payne (left) provided by Alexander Payne. John Jackson (right) by Martin Magnuson.

Payne is often praised for his casting, and he always deflects credit to Jackson, whom he calls “my secret weapon.” Jackson now finds himself in-demand as a CD and is currently casting two new films, Car Dogs and 
Phantom Halo.

“Everybody told me when I left L.A. in ’88 I was throwing away everything I’d built,” Jackson says, “but I never believed I was throwing it all away, and it was because of moving back here the greatest thing from a creative and professional stand-
point happened.”

He says Payne engenders loyalty by “building a rapport that ends up showing up in the work.” The entire crew is encouraged to speak their minds.

“If Alexander and I didn’t have that commitment,” Jackson continues, “I would cave to the pressure of the producers who say to me, ‘You need to convince Alexander these are the people he needs.’ Instead, I’m like, ‘That’s not my job, my job is to support, encourage, and grow his vision.”

Nebraska will premiere Nov. 22 at Film Streams’ Ruth Sokolof Theater. A Nov. 24 Feature V fundraising benefit for Film Streams will feature Studio 360  host Kurt Andersen interviewing Payne, Dern, and Forte on the Holland Performing Arts Center stage.

In their “give and take,” the pair always aims to serve the script and its characters ahead of commercial considerations. It’s all about fleshing out the universe of the actors who best inhabit those characters.

With a work like Nebraska, Payne says, “It’s as much anthropological as it is cinematic. I knew that this film would really live or die on his casting.”

Read more of Leo Adam Biga’s work at leoadambiga.wordpress.com.

Dan Susman

June 20, 2013 by
Photography by Bill Sitzmann

Behind the glass doors and up the stairs at 2626 Harney St., Dan Susman sits tucked away from the world with just his computer equipment, morning coffee, and a big smile slapped on his face. The ambitious 25-year-old is at work on a dream project that emerged from a fascination with urban farming, and he’s hoping his work will inform and drive others to the trend.

Susman graduated from Central High School in 2006, then headed off to the prestigious Dartmouth College in New Hampshire where he earned a bachelor’s degree with dual majors: biology and environmental studies.

After spending some time working on an urban farm in Portland, Ore., Susman’s passion for the farming practice and sustainable agriculture grew. Upon returning to Omaha in 2010, Susman got together with childhood friend Andrew Monbouquette and decided to make a documentary about the trend. Growing Cities has been over two years in the making. It’s taken the crew from Boston to Seattle and 19 other cities in between.

“I got the idea that I wanted to visit urban farms across the country, and Andrew was really more of the film guy at the time,” Susman explains. “He had made some short films, and I just kind of proposed it to him.”

That was it. With Monbouquette onboard, Susman felt confident moving forward with the idea. The partners raised $39,000 for documentary research and production expenses using Kickstarter, a funding platform for creative projects, and got to work.

“We took a giant road trip for about two months,” he continues. “On our trip, we visited everything from rooftop farmers to people with goats, bees, and chickens in their backyards. We have a scene in the film where a guy is walking across the street with his goat in Berkeley [Calif.],” he says with a laugh.

“We wanted to see how other cities were growing food, and we were really looking for positive examples across the country.”

Susman is not alone in his interest in the ecology trend. Urban farming—the practice of growing, processing, and distributing food all within a city—has exploded in popularity in recent years due to a downsized economy, a local food movement, and a greater push toward healthier eating.

According to the USDA, urban farming is taking off with around 15 percent of the world’s food now being grown in urban areas.

The reasons for the documentary film are several, Susman says. When he came home to Omaha, he noticed several giant billboards that said Omaha was one of the fattest cities in the country. He felt it was his obligation to do something about it.

“We wanted to see how other cities were growing food, and we were really looking for positive examples across the country,” he says. “We wanted to take those models and potentially apply them here. We wanted to show what you could do with very little space, such as your backyard or a window.”

Susman’s side project, Truck Farm Omaha, sprouted from the road trip the crew took while filming Growing Cities. Throughout his travels, he routinely discovered truck farms, which are little gardens planted in the flatbed of a truck. Once he was back in Omaha, he acquired a 1975 Chevy pickup truck, then planted a truckbed garden, and was soon visiting local schools. The purpose—to educate young people about where food comes from and the benefits of eating locally.

“If you don’t have space or time or tools or know-how to grow food, we want to say, ‘Here are some easy steps you can take.’ You don’t have to have a huge garden in your backyard,” he explains. “You could have a little pot and just have some basil or a tomato in there.

“We’re trying to educate people on the steps they can take to grow their own. That will make the biggest difference.”

Susman plans to finish post-production on Growing Cities in the near future and will be submitting the project to film festivals later this year. For more details on the film and its release, visit GrowingCitiesMovie.com.

OnTrack, Inc.

May 25, 2013 by
Photography by Bill Sitzmann

If you’ve ever found yourself singing “Pepper, Pepper, Pepperjax Grill,” or “You’ll like it…Kelly’s Carpet,” or “It pays to cross the bridge…Lake Manawa Kia,” Johnny Ray Gomez IV is the man largely responsible. He created these jingles, along with dozens and dozens of others, and it’s only a facet of what he does as the owner, president, and creative director of OnTrack.

Gomez rattles off a long list of OnTrack’s offerings: “We’re an audio post-production facility. We do original music jingles for radio, television, web, and multimedia. I do demos for singers and musicians. I do audio for video. We do ADR [Additional or Automated Dialogue Recording for TV and movies]. We do sound design, sound effects, a lot of voiceover work.”

Gomez manages all of this from his 3,200-square foot facility near 118th and Harrison streets in Omaha. “We have a main studio, one smaller studio, and what I call the composing suite. We have the latest computers with music software, industry standard. And we also have the capability to link up to studios worldwide, which basically brings anybody to your doorstep with the touch of a button,” he adds proudly.

This technical capability means Gomez works with clients from all over the country.

“Just last October, [actor and Saturday Night Live alum] Will Forte was in town working on the new Nebraska movie with Alexander Payne. He was in Norfolk filming for a month and doing a sequel to Cloudy with a Chance of Meatballs, so we actually recorded all of his voice animation parts here,” he says. “For three years, we did work for Teen Mom with Farrah Abraham. Instead of MTV flying her to New York, they just brought her here to OnTrack.” He adds that even YouTube sensation and Columbus, Neb., native Lucas Cruikshank recorded dialog as Fred Figglehorn for Nickelodeon’s Fred: The Movie.

“When I first started I did spec work, where you just pick a client and write a jingle [without] having it sold. I just kept going and started networking with ad agencies.” – Johnny Ray Gomez IV, owner

If Gomez seems rather casual about these brushes with fame, it’s because he’s met and worked with lots of well-known names in the music industry over the years, from Marvin Hamlisch and Bo Diddley to Peter Noone and Reba McEntire. A third-generation musician and master of multiple instruments, Gomez actually cut his teeth on the other side of the business. His father was a prolific regional performer who first brought his namesake onstage at age 3 as part of a family revue and later, to sometimes collaborate with nationally known singers and musicians.

“Back in the ’70s, my dad and brother and I had publicity shots with the ruffles and tuxes,” Gomez says, grinning at the memory. “We also had one where we kind of had the Elvis look…the jumpsuits.”

Gomez left home after high school at 17 and traveled the world for four years as the music director and pianist for The Platters, one of the most successful vocal groups of the ’60s.

“I got tired of being on the road. I literally lived out of a suitcase for five years. I knew I wanted to be in music, but I didn’t want to travel,” he says, explaining his impetus for starting a recording studio in his hometown and getting into the jingle business.

“When I first started I did spec work, where you just pick a client and write a jingle [without] having it sold,” he recalls. He sold his very first jingle to Camelot Cleaners and landed his second for Idelman Telemarketing. One of his early works, for Garden Café, ran for 12 years. “I just kept going and started networking with ad agencies.”

OnTrack is a one-man show, but Gomez says the connections and partnerships he’s developed over the years make it possible to offer a wide spectrum of services to his clients. “Even with the workflow I have, I’ve been able to do everything by using all of the resources I have.”

What lessons has Gomez learned in his decades in the biz? “Have a good quality product and do what you do well. And surround myself with people who also do what they do well.”

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.”