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Figgs leaves lasting impression on audiences, Academy

In September 1994, British director Mike Figgis began filming "Leaving Las Vegas" -- with a 28-day shoot schedule, a budget of only $3.5 million, permission from Lumiere production company to could compose the score and use Super 16 cameras, and a trail of less-successful films ("The Browning Version," "Mr. Jones") behind him.

Back then, our little friend Oscar certainly wasn't in the picture. Nobody, including Figgis, could have predicted that his latest film would make it this far.

"Leaving Las Vegas" is the story about the love between Ben (Nicholas Cage), an alcoholic, and Sera (Elisabeth Shue), a prostitute. We follow their relationship over the course of its many hardships. Although we may not understand their pain, we can certainly see it. Figgis makes sure that we do.

In a conversation over water at Espresso Royale Cafe, Mike Figgis revealed his reaction to his sudden success. "It's a little unreal and very pleasant. I got so used to the fact that you make movies and people piss on them. Afterward, reviews are bad and you just get used to it."

Mike Figgis can light up a room with his intensity -- and he does. Sitting across the table from me, the director's eyes widened under his black beret the moment he began telling me how "Vegas" came to be.

Figgis adapted the story from a novel by 34-year-old John O'Brien, an author and depressed alcoholic. O'Brien committed suicide only two weeks after Figgis committed to the project. The author's death uncovered just how autobiographical his novel actually was.

"It's a beautiful book. At the end, I was actually in tears, which is not something I do very often," admitted Figgis. "I was just really moved by the characters. It's such a brilliantly dark story which ultimately is deeply romantic."

And what was the director's reaction to O'Brien's suicide? "I know that this suddenly adds a huge weight to the story because it's becoming drama/documentary as opposed to fiction. It's almost like he wrote the book and then he did it. There's something quite perverse about that," Figgis said.

After briefly wavering on whether to go through with the film, Figgis finally moved forward. Ultimately, he believed, performances by Elisabeth Shue and Nicholas Cage would bring this tragedy to life.

Figgis spoke considerably about his selection of the two central characters. Naturally, I had to ask why he thought Elisabeth Shue was perfect for the role. (Those of us who have seen her in "Cocktail" and have skipped "Vegas" might think otherwise.) "I knew she could do it," he said. "She was dying to vent some pretty dark feelings ... they were wanting to come out."

Nicholas Cage was a different story. Figgis got him for 7 percent of his usual $5 million range (Wow!). And what was Cage's reaction to the script? "He loved it," Figgis emphasized. "He read it literally within 24 hours and called me up saying, `I don't care about the money. I'll just do it.'"

But even with the two actors and his own instrumental score behind him, Figgis still felt that "Vegas" needed texture; he knew that he could achieve this with Super 16 cameras. "I like painting, so I like to be able to use texture on the screen. I don't really like the kind of professional look ... it's just too clean. I'd rather do a slow exposure and get some blur. Then you'd have more painterly imagery.

"Elisabeth and Nick were nervous because they've never shot anything like that," the director continued. "They're Americans, you know. You just don't shoot Super 16 over here."

As our conversation continued, Figgis began to talk about what he feels is the most important part of any movie -- the music. Figgis had to fight with the studio to be able to compose the score of "Vegas." And now, coming out a winner, his film, he claims, "has legitimized what I do."

But how exactly did Figgis get where he is now? The director described his experience growing up in a unique period in England. "When I left college after three years of music, I had already gotten involved in some kind of experimental music group ... and they worked with an experimental theater group so I joined them.

"I never made any delineation between music and performance. To me, they are the same thing. From there, I kind of slid into film by accident. It was really a great period. A very high-energy, creative period."

Mike Figgis has certainly brought the high energy to "Leaving Las Vegas." Everything about him screams intensity. My thoughts were verified when I asked him his reasons for having a 28-day shoot schedule.

"Energy," he immediately answered. "The way films are usually made ... it's so fucking boring. Blah, blah, blah. Now we'll have another meal break. We're supposed to be making a film and everybody's just getting fat and driving big pickup trucks."

Figgis knew from the start how to avoid the problem. "I said, let's make some rules: We'll shoot it in 28 days. The audience will thank you for it because they'll pick up on the energy of the film."

And it seems as if many audiences all over are thanking him already. The Academy Awards Ceremony is approaching next month, and Figgis' "Vegas" has received several nominations, including Cage for Best Actor, Shue for Best Actress and Figgis himself for Achievement in Writing and Best Director.

Before I left, I wished Figgis luck in the future and, of course, at the Academy Awards.

"Oh, those Oscars," he responded, with a smile.