Uses Kosher
products in
separate kitchen
HIDING
from page 69
between East and West.
Working on this project has influ-
enced the author's view of history. "It
made me see the whole early 20th cen-
tury as one continuous tragedy begin-
ning in 1905 and ending in 1945. It
was a disaster that began in Czarist
Russia, for Jews and for everyone else."
Did Reiss like his subject? "I grew
very attached to Lev, as often hap-
pens with a biographer. I grew
defensive of him in an odd way and
went through stages of being dis-
turbed by his disguises and choice of
friends. Over time, I grew to not
exactly admire him; I grew deeply
sympathetic. I guess that means I
like him," he says.
"He feels like a friend who you
would want to shake, to come to his
senses. But what does it mean to come
to one's senses if living in Nazi
Europe? If he was crazy in behavior,
most people were much crazier.
There's something inspiring in him —
he's someone who creates ways of
escape even if in the end it's just imag-
inative."
Reiss, who lives on the Upper East
Side of Manhattan with his wife and
two daughters, still has Nussimbaum's
last notebooks and correspondence.
His hope is to find an institution, per-
haps in the United States or Israel,
interested in creating a collection. He
could see the letters published as "one
of the most interesting 20th-entury
correspondences."
To Pima's practical questions, Lev
would often respond with fantastical
tales, drawn from the invented life he
lived. "Up until his last letter," Reiss
says, "he thought he could save him-
self." ❑
• •
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few complaints about disrespect."
"Fortunately, we've always been
included in the process," Mandel says.
"Even early on, we worked with
people who valued the creative contri-
bution of anyone who seemed worthy
of respect," Ganz notes.
The pair's first films were with Ron
Howard, starting with Night Shift.
Since then, Ganz and Mandel have
continued to work with people who
did "not characterize us as somebody
automatically subordinate."
That's held true even to their latest
film, Fever Pitch, where they worked
with Peter and Bobby Farrelly, broth-
ers who have "huge reputations," says
Mandel. "Yet they were open and gen-
erous and collaborative, and we've
made them officially Jewish. We gave
them a diploma and everything."
To date, though, there has been no
mention of a bris. "We're building up
to it," says Mandel.
The writing partners don't do scripts
on spec.
"We're not salespeople. We're not
good at taking scripts and carrying
them around town trying to get them
produced," says Mandel.
They prefer to have someone come
to them with an idea, "someone who
already has some enthusiasm," Ganz
notes.
And also has a hunger and desire to
get it made," Mandel adds. "We take
it back to the office and work on it."
If something clicks, the pair sketch it
out, bring it back and say, "If we were
to do this movie, it would look like this.
,
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Lowell Ganz and Babaloo Mandel
If that pleases them, we make a deal."
That's what happened with Robots.
"The people at Fox had this idea
and were playing with a couple of
scripts," Ganz says. "I guess it wasn't
coming together. They asked us to
look at test drawings of characters and
atmosphere, and we made the decision
the way we make all our decisions" —
that is the project appealed to them.
Over the years, they have built a
reputation for having a nice, light way
with comedies, and that's just fine
with them. They have no desire to
write something serious and grave, say
The Passion of Moses. "If we did, it
would be funny," Mandel contends.
"Why fight with one hand tied
behind our back?" Ganz adds. "We
don't think we have to position our-
selves differently." ❑
Robots, rated PG, is currently in
theaters. Fever Pitch, rated PG-
13, opens Friday, April 8.
Check your local movie listings.
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