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Kids from one to ninety-two will be celebrating the holidays by spending hours with KQED – we hope you will join as well!\u003c/p>\n\u003cp>\u003cstrong>December 24: \u003c/strong>\u003cbr>\nThis Christmas Eve, settle in for a marathon of children’s holiday specials on \u003ca href=\"http://www.kqed.org/tv/schedules/daily/kids.jsp?format=long&ymd=2015-12-24\">KIDS (Comcast 192, DT54.4)\u003c/a>\u003cbr>\n3pm: Arthur’s Perfect Christmas\u003cbr>\n4pm: Peg + Cat + Holidays\u003cbr>\n5pm: Curious George: A Very Monkey Christmas\u003cbr>\n6pm: The Cat in the Hat Knows a Lot About Christmas!\u003cbr>\n7pm: Wild Kratts: A Creature Christmas\u003cbr>\n8pm: Odd Squad #104 (Reindeer Games)\u003c/p>\n\u003cp>\u003cstrong>December 25: \u003c/strong>\u003cbr>\nIt’s time for dessert! Watch the entire second season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22703\">The Great British Baking Show\u003c/a> and root for your favorite to be crowned the best amateur baker.\u003cbr>\nStarting at noon on LIFE (Comcast 189, DT54.3)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>January 1:\u003c/strong>\u003cbr>\nCelebrate the New Year with the Crawley family and get ready for the new season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> with a look back at the entire fifth season. After the marathon, stay tuned for the premiere of the new Sherlock special!\u003cbr>\nStarting at 9:30am on PLUS (Sherlock: The Abominable Bride begins at 9pm)\u003c/p>\n\u003cp>\u003cstrong>January 3: \u003c/strong>\u003cbr>\nIt’s another chance to catch up on last season before the sixth (and final) season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> begins that evening.\u003cbr>\nStarting at 8:30am on KQED (Downton Abbey season 6 premiere begins at 9pm)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy Holidays all!\u003cbr>\nMeredith Speight\u003cbr>\nAssistant Program Director\u003c/p>\n\n","disqusIdentifier":"5866 http://ww2.kqed.org/about/?p=5866","disqusUrl":"https://ww2.kqed.org/about/2015/12/21/your-guide-to-binge-watching-with-kqed-tv/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":299,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":10},"modified":1450825548,"excerpt":null,"headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"’Tis the season everyone! You have a short (or a long) break from work coming up, kids will be out of school, and it’s about to get really rainy. What better time to curl up on the couch for hours and hours with your favorite KQED television programs? Over the next couple of weeks, viewers","title":"Your Guide to Binge-Watching with KQED TV | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Guide to Binge-Watching with KQED TV","datePublished":"2015-12-21T18:09:56-08:00","dateModified":"2015-12-22T15:05:48-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"your-guide-to-binge-watching-with-kqed-tv","status":"publish","path":"/about/5866/your-guide-to-binge-watching-with-kqed-tv","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>’Tis the season everyone!\u003c/p>\n\u003cp>You have a short (or a long) break from work coming up, kids will be out of school, and it’s about to get really rainy. What better time to curl up on the couch for hours and hours with your favorite KQED television programs?\u003c/p>\n\u003cp>Over the next couple of weeks, viewers have some fun binge-watching opportunities across multiple KQED television channels. Kids from one to ninety-two will be celebrating the holidays by spending hours with KQED – we hope you will join as well!\u003c/p>\n\u003cp>\u003cstrong>December 24: \u003c/strong>\u003cbr>\nThis Christmas Eve, settle in for a marathon of children’s holiday specials on \u003ca href=\"http://www.kqed.org/tv/schedules/daily/kids.jsp?format=long&ymd=2015-12-24\">KIDS (Comcast 192, DT54.4)\u003c/a>\u003cbr>\n3pm: Arthur’s Perfect Christmas\u003cbr>\n4pm: Peg + Cat + Holidays\u003cbr>\n5pm: Curious George: A Very Monkey Christmas\u003cbr>\n6pm: The Cat in the Hat Knows a Lot About Christmas!\u003cbr>\n7pm: Wild Kratts: A Creature Christmas\u003cbr>\n8pm: Odd Squad #104 (Reindeer Games)\u003c/p>\n\u003cp>\u003cstrong>December 25: \u003c/strong>\u003cbr>\nIt’s time for dessert! Watch the entire second season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22703\">The Great British Baking Show\u003c/a> and root for your favorite to be crowned the best amateur baker.\u003cbr>\nStarting at noon on LIFE (Comcast 189, DT54.3)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>January 1:\u003c/strong>\u003cbr>\nCelebrate the New Year with the Crawley family and get ready for the new season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> with a look back at the entire fifth season. After the marathon, stay tuned for the premiere of the new Sherlock special!\u003cbr>\nStarting at 9:30am on PLUS (Sherlock: The Abominable Bride begins at 9pm)\u003c/p>\n\u003cp>\u003cstrong>January 3: \u003c/strong>\u003cbr>\nIt’s another chance to catch up on last season before the sixth (and final) season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> begins that evening.\u003cbr>\nStarting at 8:30am on KQED (Downton Abbey season 6 premiere begins at 9pm)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy Holidays all!\u003cbr>\nMeredith Speight\u003cbr>\nAssistant Program Director\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5866/your-guide-to-binge-watching-with-kqed-tv","authors":["6618"],"programs":["about_13"],"featImg":"about_5872","label":"about_13"},"about_5805":{"type":"posts","id":"about_5805","meta":{"index":"posts_1716263798","site":"about","id":"5805","score":null,"sort":[1450374326000]},"parent":0,"labelTerm":{"site":"about","term":13},"blocks":[],"publishDate":1450374326,"format":"standard","disqusTitle":"KQED Casting Call!","title":"KQED Casting Call!","headTitle":"Behind the Scenes | About KQED","content":"\u003cp>Love talking about the stories you hear on KQED or NPR? We may have a role for you! KQED is casting a diverse group of volunteers ages 16 years and older to participate in an awareness campaign for KQED News. Participants will potentially appear on billboards, street pole banners, television spots, print ads, social media videos, etc.\u003c/p>\n\u003ch6>\u003cstrong>CAMPAIGN DESCRIPTION\u003c/strong>\u003c/h6>\n\u003cp>The upcoming KQED News campaign is based on a simple assumption: the stories listeners hear from KQED News spark conversations that bring people together. The campaign will feature these conversations in videos and in photos shot by celebrated street photographer \u003ca href=\"https://youtu.be/rCAC-Nk6pAI\">Travis Jensen\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>PRODUCTION DETAILS\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Cast members must be available to participate in either our Oakland or San Francisco shoots.\u003c/p>\n\u003cp style=\"padding-left: 30px\">Oakland\u003cbr>\nSaturday, January 9th\u003cbr>\n9am-Noon\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"padding-left: 30px\">OR\u003c/p>\n\u003cp style=\"padding-left: 30px\">San Francisco\u003cbr>\nSaturday, January 9th\u003cbr>\n2:30-5:30pm\u003c/p>\n\u003cp>Participation is on a volunteer basis.\u003c/p>\n\u003ch6>AUDITION\u003c/h6>\n\u003cp>Help us inspire better conversations throughout the Bay Area. We’re looking for personalities who love to meet new people and have great discussions about politics, culture, science, the arts, etc. ... the topics you hear on KQED News and NPR.\u003c/p>\n\u003cp>To audition, email Bryce Eberhart (beberhart@kqed.org) at KQED Marketing and Communications. Please include the following in your email:\u003c/p>\n\u003col>\n\u003cli>First and Last Name\u003c/li>\n\u003cli>Age\u003c/li>\n\u003cli>Phone\u003c/li>\n\u003cli>Current hometown\u003c/li>\n\u003cli>Video or picture. \u003ca href=\"http://www.ehow.com/how_6245275_send-video-cell-phone-email.html\">Make a quick (less than a minute) selfie video\u003c/a> of yourself telling us why this project interests you or about the best story you've heard on KQED and why you liked it. If you prefer to send a picture, please write why this project interests you in less than three sentences.\u003c/li>\n\u003c/ol>\n\u003cp>[youtube https://www.youtube.com/watch?v=OTKNnHOkoxU?rel=0&w=480&h=360]\u003c/p>\n\u003cp>Those under 18 must include a parent's contact information.\u003c/p>\n\u003ch6>ABOUT KQED\u003c/h6>\n\u003cp>KQED serves the people of Northern California with a community-supported alternative to commercial media. We provide citizens with the knowledge they need to make informed decisions; convene community dialogue; bring the arts to everyone; and engage audiences to share their stories. We help students and teachers thrive in 21st century classrooms, and take people of all ages on journeys of exploration—exposing them to new people, places and ideas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We celebrate diversity, embrace innovation, value lifelong learning and partner with those who share our passion for public service.\u003c/p>\n\n","disqusIdentifier":"5805 http://ww2.kqed.org/about/?p=5805","disqusUrl":"https://ww2.kqed.org/about/2015/12/17/casting-call/","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":385,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":13},"modified":1450479635,"excerpt":null,"headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Love talking about the stories you hear on KQED or NPR? We may have a role for you! KQED is casting a diverse group of volunteers ages 16 years and older to participate in an awareness campaign for KQED News. Participants will potentially appear on billboards, street pole banners, television spots, print ads, social media","title":"KQED Casting Call! | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"KQED Casting Call!","datePublished":"2015-12-17T09:45:26-08:00","dateModified":"2015-12-18T15:00:35-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"casting-call","status":"publish","path":"/about/5805/casting-call","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Love talking about the stories you hear on KQED or NPR? We may have a role for you! KQED is casting a diverse group of volunteers ages 16 years and older to participate in an awareness campaign for KQED News. Participants will potentially appear on billboards, street pole banners, television spots, print ads, social media videos, etc.\u003c/p>\n\u003ch6>\u003cstrong>CAMPAIGN DESCRIPTION\u003c/strong>\u003c/h6>\n\u003cp>The upcoming KQED News campaign is based on a simple assumption: the stories listeners hear from KQED News spark conversations that bring people together. The campaign will feature these conversations in videos and in photos shot by celebrated street photographer \u003ca href=\"https://youtu.be/rCAC-Nk6pAI\">Travis Jensen\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>PRODUCTION DETAILS\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Cast members must be available to participate in either our Oakland or San Francisco shoots.\u003c/p>\n\u003cp style=\"padding-left: 30px\">Oakland\u003cbr>\nSaturday, January 9th\u003cbr>\n9am-Noon\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"padding-left: 30px\">OR\u003c/p>\n\u003cp style=\"padding-left: 30px\">San Francisco\u003cbr>\nSaturday, January 9th\u003cbr>\n2:30-5:30pm\u003c/p>\n\u003cp>Participation is on a volunteer basis.\u003c/p>\n\u003ch6>AUDITION\u003c/h6>\n\u003cp>Help us inspire better conversations throughout the Bay Area. We’re looking for personalities who love to meet new people and have great discussions about politics, culture, science, the arts, etc. ... the topics you hear on KQED News and NPR.\u003c/p>\n\u003cp>To audition, email Bryce Eberhart (beberhart@kqed.org) at KQED Marketing and Communications. Please include the following in your email:\u003c/p>\n\u003col>\n\u003cli>First and Last Name\u003c/li>\n\u003cli>Age\u003c/li>\n\u003cli>Phone\u003c/li>\n\u003cli>Current hometown\u003c/li>\n\u003cli>Video or picture. \u003ca href=\"http://www.ehow.com/how_6245275_send-video-cell-phone-email.html\">Make a quick (less than a minute) selfie video\u003c/a> of yourself telling us why this project interests you or about the best story you've heard on KQED and why you liked it. If you prefer to send a picture, please write why this project interests you in less than three sentences.\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OTKNnHOkoxU?rel=0'\n title='//www.youtube.com/embed/OTKNnHOkoxU?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Those under 18 must include a parent's contact information.\u003c/p>\n\u003ch6>ABOUT KQED\u003c/h6>\n\u003cp>KQED serves the people of Northern California with a community-supported alternative to commercial media. We provide citizens with the knowledge they need to make informed decisions; convene community dialogue; bring the arts to everyone; and engage audiences to share their stories. We help students and teachers thrive in 21st century classrooms, and take people of all ages on journeys of exploration—exposing them to new people, places and ideas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We celebrate diversity, embrace innovation, value lifelong learning and partner with those who share our passion for public service.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5805/casting-call","authors":["6626"],"programs":["about_13"],"label":"about_13"},"about_5548":{"type":"posts","id":"about_5548","meta":{"index":"posts_1716263798","site":"about","id":"5548","score":null,"sort":[1445462744000]},"parent":0,"labelTerm":{"site":"about","term":13},"blocks":[],"publishDate":1445462744,"format":"aside","disqusTitle":"RICHARD MOORE—A TRIBUTE","title":"RICHARD MOORE—A TRIBUTE","headTitle":"Behind the Scenes | About KQED","content":"\u003cp>June 19, 2015 – Put together by Jim Scalem, former KQED Producer and Program Manager, and former PBS VP of Fundraising Programming\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>Richard Moore, an influential public broadcasting pioneer in Northern California and Minnesota, died March 25 at his home in The Redwoods retirement community in Mill Valley, CA. He was 95. Although widely known as a veteran public broadcaster and respected filmmaker, Moore was also a poet. He died two days before publication of his final book of poetry, \u003cem>Particulars of Place\u003c/em>.\u003c/p>\n\u003cp>Moore’s long and eclectic career in public broadcasting (he was a dancer, poet and lumber mill worker before that) began in 1949 when he cofounded KPFA-FM in Berkeley, CA with Eleanor McKinney and fellow pacifist Lewis Hill. KPFA was the first station in what became the non-commercial Pacifica Radio network – which also includes NYC 'S WBAI.\u003c/p>\n\u003cp>In 1954, Moore was hired as one of the original employees of KQED in San Francisco, starting out as the Membership Director and backup announcer to Bill Triest, another former KPFA employee. Broadcasting on Channel 9, KQED was one of the very first non-commercial educational television stations to take to the air.\u003c/p>\n\u003cp>Moore joined KQED's Founding Fathers: General Manager, Jim Day and Program and Production Director, Jonathan Rice to present a varying array of mostly live, locally produced programs ranging from \u003cem>The Home Handyman\u003c/em> and \u003cem>Japanese Brush Painting\u003c/em> to \u003cem>Profile Bay Area\u003c/em> and \u003cem>The Scotch Gardener\u003c/em>. They even brought in renowned Shakespeare scholar from USC, Dr. Frank C. Baxter to teach \u003cem>Shakespeare On TV\u003c/em> to a national ETV audience and later host a BBC-produced series of Shakespeare plays including \u003cem>An Age Of Kings\u003c/em> – one of the forerunners of today's Sunday night staple, MASTERPIECE.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At KQED, Richard Moore went on to become an accomplished television producer, writer, and director. He eventually founded its documentary film unit, which was responsible for creating over 100 films funded and distributed by PBS’s predecessor, National Educational Television.\u003c/p>\n\u003cp>Some of these historic films were:\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Take This Hammer\u003c/em>: An exploration of racism which followed author and activist James Baldwin on a visit to San Francisco in the early 1960's.\u003c/li>\n\u003cli>\u003cem>Love You Madly\u003c/em>, A profile of Duke Ellington, soon followed by Ellington's\u003c/li>\n\u003cli>\u003cem>Concert of Sacred Music\u003c/em>, recorded at San Francisco's Grace Cathedral.\u003c/li>\n\u003cli>\u003cem>The Messenger from Violet Drive\u003c/em>: A portrait of the African-American religious leader Elijah Muhammad.\u003c/li>\n\u003cli>Two Films on the work and legacy of photographer and photojournalist Dorothea Lange.\u003c/li>\n\u003cli>\u003cem>Louisiana Diary\u003c/em>: A chronicle of a 1963 summer African American voter registration drive conducted by CORE.\u003c/li>\n\u003cli>\u003cem>Anatomy of a Hit\u003c/em>, the story of how SF jazz pianist Vince Guaraldi composed and recorded the hit single \"Cast Your Fate to the Winds.\" Guaraldi was also well-known for composing and playing the music for Lee Mendelsohn's locally produced PEANUTS television specials.\u003c/li>\n\u003cli>\u003cem>USA: Poetry\u003c/em>: a series of 10 films spotlighting the lives and work of some 17 American poets including Allen Ginsberg, Frank O'Hara, and Robert Duncan.\u003c/li>\n\u003c/ul>\n\u003cp>One of the first films Moore made at KQED was \u003cem>Photography the Incisive Art, with Ansel Adams\u003c/em>. Phil Greene had been a student of Adams at the SF Art Institute and had recently joined the KQED Film Unit. He went on to team with Moore and editor-photographer Irving Saraf as the key members of Moore's prolific and creative team. Greene became the Principal Cinematographer on most of the KQED-Moore films including some he also directed like \u003cem>The Long Walk Home\u003c/em> on the Navajo Nation and \u003cem>The Place for No Story,\u003c/em> a helicopter's aerial views of California beautifully shot by Greene with Moore voicing an opening narrative taken from the poetry of Robinson Jeffers.\u003c/p>\n\u003cp>Greene, now 87, looks back fondly at those super-creative times when he and Moore teamed up. \"We got along famously right from the start – about 1960 – he was an unusual guy, so sharp and insightful, so aware, yet quiet and unassuming with hugely meaningful values. At heart he was a poet and a delightful human being!”\u003c/p>\n\u003cp>Moore also produced an outdoor ballet in Ghirardelli Square, \u003cem>Assemblage\u003c/em>, choreographed by Merce Cunningham and set to a soundtrack of “The Cackle of Taxi Radios,” arranged by John Cage.\u003c/p>\n\u003cp>During the 1960s, Richard Moore teamed with SF Chronicle jazz critic, Ralph J. Gleason, to produce the first jazz performance series in the history of American television. Thirty-one half-hour performance-interview programs were taped in the KQED studios and shown nationally on the PBS predecessor NET under the series title \u003cem>Jazz Casual\u003c/em>, with Gleason as the host. Featured artists included John Coltrane, Louis Armstrong, Dave Brubeck, Turk Murphy, The Mjq, Dizzy Gillespie, Sonny Rollins, Earl Hines, Cannonball Adderly, Mel Torme and Carmen McRae.\u003c/p>\n\u003cp>Bob Zagone directed the programs featuring B. B. King (his first national TV Appearance), the Count Basie Quartet, and the 1963 Woody Herman Orchestra. Zagone started his KQED career as a volunteer working with Greene, Saraf, and Moore. \"Dick was never a mere mortal to me,” says Zagone. “He was a mystical angel who hovered over all of us, graciously transporting those who could feel his presence into a pure world of creativity, allowing us to pursue thoughts and ideas. He was always giving, friendly, and caring towards me, sharing his unique sense of humor. He was a loving man to his family and friend to us all – Dick Moore was an accomplished and incredible man!\"\u003c/p>\n\u003cp>In the late 1960s Moore became KQED’s second President. “He always seemed like the consummate artist and intellectual,” says Catherine Allen, senior executive producer at Twin Cities Public TV. “But obviously he was also someone with organizational and leadership skills, and more importantly, he could move easily from one world to the other.”\u003c/p>\n\u003cp>It was during Moore's Presidency that KQED created a nightly local news program that was to change the face forever of how local news was presented, even on commercial television. Spawned by a San Francisco newspaper strike, the \u003cem>KQED NEWSROOM\u003c/em> was anchored by former San Francisco Chronicle City Hall reporter Mel Wax. It featured a group of reporters who told their stories to Editor Wax and viewers. Those reporters included George Dusheck (science), Jim Benet (education), Bill Dorais (transportation), Joe Russin (politics) and Ed Radenzel (foreign news). NEWSROOM was to become the single most viewed local series in KQED's now 61-year history. \u003cem>KQED\u003c/em> \u003cem>NEWSROOM\u003c/em> recently paid tribute to Moore with \u003ca href=\"http://current.org/2015/04/eclectic-and-creative-richard-moore-dies-at-95-led-kpfa-kqed-tpt/\">this video piece\u003c/a>, written and produced by Rachel Berger.\u003c/p>\n\u003cp>Moore retired to northern California, where he continued to write and publish poetry. His work appeared in literary journals, several privately published chapbooks, and in his books \u003cem>Writing in the Silences\u003c/em> (UC Press, 2010) and \u003cem>Particulars of Place\u003c/em> (Omnidawn, 2015).\u003c/p>\n\u003cp>Moore was born in 1920 in Ohio. His mother died of tuberculosis in the early 1930s, and he was left in foster care in Los Angeles while his father looked for work during the Depression. He attended the University of California, Berkeley in 1939, but was expelled for his antiwar activities. He later completed his bachelor’s degree there.\u003c/p>\n\u003cp>He was a member, along with Kenneth Rexroth, of the original circle of avant-garde poets that came to be known as the San Francisco Renaissance. Moore was also a ballet dancer for several years.\u003c/p>\n\u003cp>Moore was preceded in death by his wives Eleanor and Ruth. He is survived by daughter Flinn Moore Rauck and her husband John Rauck; son David Moore and wife Kathryn Shanley; daughter Lisa Moore Nardini and husband Paulo Nardini; son Michael Moore and wife Janet Tumpich; son Anthony Moore and fiancée Mary Thorsen; son Aran Moore and wife Denise Lamott; 10 grandchildren; and four great-grandchildren.\u003c/p>\n\u003cp>Here is Moore’s poem “Lately Removed” from his last book, \u003cem>Particulars of Place\u003c/em>. He wrote in an introduction to his collection of “Blindness Sonnets” that he had been acutely aware of his failing vision over the years but was unprepared to face the emotional devastation of a letter he received in the summer of 2013 confirming that he was legally blind.\u003c/p>\n\u003cp>\"Lately Removed\"\u003c/p>\n\u003cp>\u003cem>It is the furniture that’s odd — it floats \u003c/em>\u003c/p>\n\u003cp>\u003cem>In heavy syrup-space and adds nothing \u003c/em>\u003c/p>\n\u003cp>\u003cem>(although the world overflows with furniture) \u003c/em>\u003c/p>\n\u003cp>\u003cem>To the history of furniture, nothing except \u003c/em>\u003c/p>\n\u003cp>\u003cem>The counter attack things lately removed \u003c/em>\u003c/p>\n\u003cp>\u003cem>From sight. There is recognition: a couch,\u003c/em>\u003c/p>\n\u003cp>\u003cem>A table. This is, however, provisional until \u003c/em>\u003c/p>\n\u003cp>\u003cem>Knocked into with the usual result:\u003c/em>\u003c/p>\n\u003cp>\u003cem>A splash of tears, a reach into the past \u003c/em>\u003c/p>\n\u003cp>\u003cem>For objects firmly anchored as, for example \u003c/em>\u003c/p>\n\u003cp>\u003cem>Furniture of the ordinary not the floating kind. \u003c/em>\u003c/p>\n\u003cp>\u003cem>I have lost touch with a familiar world \u003c/em>\u003c/p>\n\u003cp>\u003cem>Become passing strange, increasingly remote \u003c/em>\u003c/p>\n\u003cp>\u003cem>With the absurdity of furniture afloat.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Jim Scalem wants to express his special Thanks to Flinn Elizabeth Rauck, one of Richard Moore's daughters; Dru Sefton of the Public Broadcasting Newspaper \u003cem>Current\u003c/em>; Henry Kroll, former Director of Research for KQED's \u003cem>NEWSROOM\u003c/em>; and Megan Mariner for their invaluable help and support in putting together this tribute to Richard Moore.\u003c/p>\n\n","disqusIdentifier":"5548 http://ww2.kqed.org/about/?p=5548","disqusUrl":"https://ww2.kqed.org/about/2015/10/21/richard-moore-a-tribute/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1537,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":37},"modified":1445462744,"excerpt":null,"headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"June 19, 2015 – Put together by Jim Scalem, former KQED Producer and Program Manager, and former PBS VP of Fundraising Programming. Richard Moore, an influential public broadcasting pioneer in Northern California and Minnesota, died March 25 at his home in The Redwoods retirement community in Mill Valley, CA. He was 95. Although widely known as","title":"RICHARD MOORE—A TRIBUTE | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"RICHARD MOORE—A TRIBUTE","datePublished":"2015-10-21T14:25:44-07:00","dateModified":"2015-10-21T14:25:44-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"richard-moore-a-tribute","status":"publish","path":"/about/5548/richard-moore-a-tribute","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>June 19, 2015 – Put together by Jim Scalem, former KQED Producer and Program Manager, and former PBS VP of Fundraising Programming\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>Richard Moore, an influential public broadcasting pioneer in Northern California and Minnesota, died March 25 at his home in The Redwoods retirement community in Mill Valley, CA. He was 95. Although widely known as a veteran public broadcaster and respected filmmaker, Moore was also a poet. He died two days before publication of his final book of poetry, \u003cem>Particulars of Place\u003c/em>.\u003c/p>\n\u003cp>Moore’s long and eclectic career in public broadcasting (he was a dancer, poet and lumber mill worker before that) began in 1949 when he cofounded KPFA-FM in Berkeley, CA with Eleanor McKinney and fellow pacifist Lewis Hill. KPFA was the first station in what became the non-commercial Pacifica Radio network – which also includes NYC 'S WBAI.\u003c/p>\n\u003cp>In 1954, Moore was hired as one of the original employees of KQED in San Francisco, starting out as the Membership Director and backup announcer to Bill Triest, another former KPFA employee. Broadcasting on Channel 9, KQED was one of the very first non-commercial educational television stations to take to the air.\u003c/p>\n\u003cp>Moore joined KQED's Founding Fathers: General Manager, Jim Day and Program and Production Director, Jonathan Rice to present a varying array of mostly live, locally produced programs ranging from \u003cem>The Home Handyman\u003c/em> and \u003cem>Japanese Brush Painting\u003c/em> to \u003cem>Profile Bay Area\u003c/em> and \u003cem>The Scotch Gardener\u003c/em>. They even brought in renowned Shakespeare scholar from USC, Dr. Frank C. Baxter to teach \u003cem>Shakespeare On TV\u003c/em> to a national ETV audience and later host a BBC-produced series of Shakespeare plays including \u003cem>An Age Of Kings\u003c/em> – one of the forerunners of today's Sunday night staple, MASTERPIECE.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At KQED, Richard Moore went on to become an accomplished television producer, writer, and director. He eventually founded its documentary film unit, which was responsible for creating over 100 films funded and distributed by PBS’s predecessor, National Educational Television.\u003c/p>\n\u003cp>Some of these historic films were:\u003c/p>\n\u003cul>\n\u003cli>\u003cem>Take This Hammer\u003c/em>: An exploration of racism which followed author and activist James Baldwin on a visit to San Francisco in the early 1960's.\u003c/li>\n\u003cli>\u003cem>Love You Madly\u003c/em>, A profile of Duke Ellington, soon followed by Ellington's\u003c/li>\n\u003cli>\u003cem>Concert of Sacred Music\u003c/em>, recorded at San Francisco's Grace Cathedral.\u003c/li>\n\u003cli>\u003cem>The Messenger from Violet Drive\u003c/em>: A portrait of the African-American religious leader Elijah Muhammad.\u003c/li>\n\u003cli>Two Films on the work and legacy of photographer and photojournalist Dorothea Lange.\u003c/li>\n\u003cli>\u003cem>Louisiana Diary\u003c/em>: A chronicle of a 1963 summer African American voter registration drive conducted by CORE.\u003c/li>\n\u003cli>\u003cem>Anatomy of a Hit\u003c/em>, the story of how SF jazz pianist Vince Guaraldi composed and recorded the hit single \"Cast Your Fate to the Winds.\" Guaraldi was also well-known for composing and playing the music for Lee Mendelsohn's locally produced PEANUTS television specials.\u003c/li>\n\u003cli>\u003cem>USA: Poetry\u003c/em>: a series of 10 films spotlighting the lives and work of some 17 American poets including Allen Ginsberg, Frank O'Hara, and Robert Duncan.\u003c/li>\n\u003c/ul>\n\u003cp>One of the first films Moore made at KQED was \u003cem>Photography the Incisive Art, with Ansel Adams\u003c/em>. Phil Greene had been a student of Adams at the SF Art Institute and had recently joined the KQED Film Unit. He went on to team with Moore and editor-photographer Irving Saraf as the key members of Moore's prolific and creative team. Greene became the Principal Cinematographer on most of the KQED-Moore films including some he also directed like \u003cem>The Long Walk Home\u003c/em> on the Navajo Nation and \u003cem>The Place for No Story,\u003c/em> a helicopter's aerial views of California beautifully shot by Greene with Moore voicing an opening narrative taken from the poetry of Robinson Jeffers.\u003c/p>\n\u003cp>Greene, now 87, looks back fondly at those super-creative times when he and Moore teamed up. \"We got along famously right from the start – about 1960 – he was an unusual guy, so sharp and insightful, so aware, yet quiet and unassuming with hugely meaningful values. At heart he was a poet and a delightful human being!”\u003c/p>\n\u003cp>Moore also produced an outdoor ballet in Ghirardelli Square, \u003cem>Assemblage\u003c/em>, choreographed by Merce Cunningham and set to a soundtrack of “The Cackle of Taxi Radios,” arranged by John Cage.\u003c/p>\n\u003cp>During the 1960s, Richard Moore teamed with SF Chronicle jazz critic, Ralph J. Gleason, to produce the first jazz performance series in the history of American television. Thirty-one half-hour performance-interview programs were taped in the KQED studios and shown nationally on the PBS predecessor NET under the series title \u003cem>Jazz Casual\u003c/em>, with Gleason as the host. Featured artists included John Coltrane, Louis Armstrong, Dave Brubeck, Turk Murphy, The Mjq, Dizzy Gillespie, Sonny Rollins, Earl Hines, Cannonball Adderly, Mel Torme and Carmen McRae.\u003c/p>\n\u003cp>Bob Zagone directed the programs featuring B. B. King (his first national TV Appearance), the Count Basie Quartet, and the 1963 Woody Herman Orchestra. Zagone started his KQED career as a volunteer working with Greene, Saraf, and Moore. \"Dick was never a mere mortal to me,” says Zagone. “He was a mystical angel who hovered over all of us, graciously transporting those who could feel his presence into a pure world of creativity, allowing us to pursue thoughts and ideas. He was always giving, friendly, and caring towards me, sharing his unique sense of humor. He was a loving man to his family and friend to us all – Dick Moore was an accomplished and incredible man!\"\u003c/p>\n\u003cp>In the late 1960s Moore became KQED’s second President. “He always seemed like the consummate artist and intellectual,” says Catherine Allen, senior executive producer at Twin Cities Public TV. “But obviously he was also someone with organizational and leadership skills, and more importantly, he could move easily from one world to the other.”\u003c/p>\n\u003cp>It was during Moore's Presidency that KQED created a nightly local news program that was to change the face forever of how local news was presented, even on commercial television. Spawned by a San Francisco newspaper strike, the \u003cem>KQED NEWSROOM\u003c/em> was anchored by former San Francisco Chronicle City Hall reporter Mel Wax. It featured a group of reporters who told their stories to Editor Wax and viewers. Those reporters included George Dusheck (science), Jim Benet (education), Bill Dorais (transportation), Joe Russin (politics) and Ed Radenzel (foreign news). NEWSROOM was to become the single most viewed local series in KQED's now 61-year history. \u003cem>KQED\u003c/em> \u003cem>NEWSROOM\u003c/em> recently paid tribute to Moore with \u003ca href=\"http://current.org/2015/04/eclectic-and-creative-richard-moore-dies-at-95-led-kpfa-kqed-tpt/\">this video piece\u003c/a>, written and produced by Rachel Berger.\u003c/p>\n\u003cp>Moore retired to northern California, where he continued to write and publish poetry. His work appeared in literary journals, several privately published chapbooks, and in his books \u003cem>Writing in the Silences\u003c/em> (UC Press, 2010) and \u003cem>Particulars of Place\u003c/em> (Omnidawn, 2015).\u003c/p>\n\u003cp>Moore was born in 1920 in Ohio. His mother died of tuberculosis in the early 1930s, and he was left in foster care in Los Angeles while his father looked for work during the Depression. He attended the University of California, Berkeley in 1939, but was expelled for his antiwar activities. He later completed his bachelor’s degree there.\u003c/p>\n\u003cp>He was a member, along with Kenneth Rexroth, of the original circle of avant-garde poets that came to be known as the San Francisco Renaissance. Moore was also a ballet dancer for several years.\u003c/p>\n\u003cp>Moore was preceded in death by his wives Eleanor and Ruth. He is survived by daughter Flinn Moore Rauck and her husband John Rauck; son David Moore and wife Kathryn Shanley; daughter Lisa Moore Nardini and husband Paulo Nardini; son Michael Moore and wife Janet Tumpich; son Anthony Moore and fiancée Mary Thorsen; son Aran Moore and wife Denise Lamott; 10 grandchildren; and four great-grandchildren.\u003c/p>\n\u003cp>Here is Moore’s poem “Lately Removed” from his last book, \u003cem>Particulars of Place\u003c/em>. He wrote in an introduction to his collection of “Blindness Sonnets” that he had been acutely aware of his failing vision over the years but was unprepared to face the emotional devastation of a letter he received in the summer of 2013 confirming that he was legally blind.\u003c/p>\n\u003cp>\"Lately Removed\"\u003c/p>\n\u003cp>\u003cem>It is the furniture that’s odd — it floats \u003c/em>\u003c/p>\n\u003cp>\u003cem>In heavy syrup-space and adds nothing \u003c/em>\u003c/p>\n\u003cp>\u003cem>(although the world overflows with furniture) \u003c/em>\u003c/p>\n\u003cp>\u003cem>To the history of furniture, nothing except \u003c/em>\u003c/p>\n\u003cp>\u003cem>The counter attack things lately removed \u003c/em>\u003c/p>\n\u003cp>\u003cem>From sight. There is recognition: a couch,\u003c/em>\u003c/p>\n\u003cp>\u003cem>A table. This is, however, provisional until \u003c/em>\u003c/p>\n\u003cp>\u003cem>Knocked into with the usual result:\u003c/em>\u003c/p>\n\u003cp>\u003cem>A splash of tears, a reach into the past \u003c/em>\u003c/p>\n\u003cp>\u003cem>For objects firmly anchored as, for example \u003c/em>\u003c/p>\n\u003cp>\u003cem>Furniture of the ordinary not the floating kind. \u003c/em>\u003c/p>\n\u003cp>\u003cem>I have lost touch with a familiar world \u003c/em>\u003c/p>\n\u003cp>\u003cem>Become passing strange, increasingly remote \u003c/em>\u003c/p>\n\u003cp>\u003cem>With the absurdity of furniture afloat.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jim Scalem wants to express his special Thanks to Flinn Elizabeth Rauck, one of Richard Moore's daughters; Dru Sefton of the Public Broadcasting Newspaper \u003cem>Current\u003c/em>; Henry Kroll, former Director of Research for KQED's \u003cem>NEWSROOM\u003c/em>; and Megan Mariner for their invaluable help and support in putting together this tribute to Richard Moore.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5548/richard-moore-a-tribute","authors":["6626"],"programs":["about_13"],"featImg":"about_5551","label":"about_13"},"about_5068":{"type":"posts","id":"about_5068","meta":{"index":"posts_1716263798","site":"about","id":"5068","score":null,"sort":[1441207936000]},"parent":0,"labelTerm":{"site":"about","term":13},"blocks":[],"publishDate":1441207936,"format":"standard","disqusTitle":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece","title":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece","headTitle":"Behind the Scenes | About KQED","content":"\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n","disqusIdentifier":"5068 http://ww2.kqed.org/about/?p=5068","disqusUrl":"https://ww2.kqed.org/about/2015/09/02/interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1673,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":27},"modified":1441302362,"excerpt":null,"headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.","title":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece","datePublished":"2015-09-02T08:32:16-07:00","dateModified":"2015-09-03T10:46:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece","status":"publish","path":"/about/5068/interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5068/interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece","authors":["42"],"programs":["about_13"],"categories":["about_59","about_225"],"featImg":"about_5069","label":"about_13"},"about_4696":{"type":"posts","id":"about_4696","meta":{"index":"posts_1716263798","site":"about","id":"4696","score":null,"sort":[1433800438000]},"parent":0,"labelTerm":{"site":"about","term":13},"blocks":[],"publishDate":1433800438,"format":"image","disqusTitle":"KQED Wins Four Emmy Awards!","title":"KQED Wins Four Emmy Awards!","headTitle":"On KQED Insider | Behind the Scenes | About KQED","content":"\u003cp> \u003c/p>\n\u003cp>\u003cstrong>KQED was the recipient of four Emmy awards at the 44th Annual Northern California Area Emmy® Awards at the SFJAZZ Center in San Francisco on Saturday June 6 !\u003c/strong>\u003c/p>\n\u003cp>KQED received a total of 17 nominations from features and segments produced by our teams in Arts, Science, News, Education to documentaries or specials we presented or coproduced. Four Emmys were ultimately awarded across our News, Arts and Science content, as well a fifth award associated with KQED as part of the winner’s composite entry.\u003c/p>\n\u003cp>Please join us in congratulating the team at KQED, and watch the award-winning videos below!\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>“\u003cem>Andres Amador's Earthscapes: Art that Goes Out with the Tide\u003c/em>” KQED 9 \u003c/strong>(Arts/Entertainment-Feature/Segment)\u003c/li>\n\u003c/ol>\n\u003cp>[youtube http://www.youtube.com/watch?v=T_tIG5mo1DM]\u003c/p>\n\u003cp>\u003cstrong>CYNTHIA STONE\u003c/strong>, Producer; \u003cstrong>JOE MATAZZONI\u003c/strong>, Managing Editor;\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>NORMAN BONNEY\u003c/strong>, Cinematographer/Director; \u003cstrong>ANDREW MARSON\u003c/strong>, Assistant Camera\u003c/p>\n\u003col start=\"2\">\n\u003col start=\"2\">\n\u003cli>\u003cstrong>\u003cem>“State of Surveillance” KQED 9/The Center for Investigative Reporting \u003c/em>\u003c/strong>(Public/Current/Community Affairs-Program/Special)\u003c/li>\n\u003c/ol>\n\u003c/ol>\n\u003cp>[youtube http://www.youtube.com/watch?v=b_65kknGV5s]\u003c/p>\n\u003cp>J\u003cstrong>OANNE ELGART JENNINGS\u003c/strong>, Executive Producer; \u003cstrong>MIA ZUCKERKANDEL\u003c/strong>,\u003c/p>\n\u003cp>Senior Producer; \u003cstrong>MONICA LAM\u003c/strong>, \u003cstrong>AMANDA PIKE\u003c/strong>, Producers; \u003cstrong>SCOTT SHAFER\u003c/strong>,\u003c/p>\n\u003cp>\u003cstrong>THUY VU\u003c/strong>, Hosts; \u003cstrong>GEORGE SCHULZ\u003c/strong>, Reporter; \u003cstrong>BUD GUNDY\u003c/strong>, Director;\u003c/p>\n\u003cp>\u003cstrong>DAVID RITSHER\u003c/strong>, Editor\u003c/p>\n\u003col start=\"3\">\n\u003cli>\u003cstrong>“\u003cem>Future of You\u003c/em>” KQED 9\u003c/strong> (Technology-Program/Special)\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong> \u003c/strong>\u003cbr>\n[youtube http://www.youtube.com/watch?v=QTyWv2e1yWs]\u003c/p>\n\u003cp>\u003cstrong>SHERAZ SADIQ\u003c/strong>, Producer; \u003cstrong>ARWEN CURRY\u003c/strong>, Associate Producer;\u003c/p>\n\u003cp>\u003cstrong>LISA LANDERS\u003c/strong>, \u003cstrong>PAUL ROGERS\u003c/strong>, Managing Editors;\u003c/p>\n\u003cp>\u003cstrong>ANDREA KISSACK\u003c/strong>, Senior Editor; \u003cstrong>SHIRLEY GUTIERREZ\u003c/strong>, Editor\u003c/p>\n\u003cp> \u003c/p>\n\u003col start=\"4\">\n\u003cli>\u003cstrong>“\u003cem>Becoming California\u003c/em>” KQED 9/The American Mercury\u003c/strong> (NEWS & PROGRAM SPECIALTY Documentary-Cultural/Historical)\u003c/li>\n\u003c/ol>\n\u003cp>\u003cem>\u003ca href=\"http://video.kqed.org/video/2365328971/\" target=\"_blank\">Watch the award-winning video here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>JAMES BAXTER\u003c/strong>, \u003cstrong>JEFFREY WHITE\u003c/strong>, Executive Producers; \u003cstrong>KIT TYLER\u003c/strong>, Producer;\u003c/p>\n\u003cp>\u003cstrong>RICHARD TSAI\u003c/strong>, \u003cstrong>RICHARD YORK\u003c/strong>, Associate Producers;\u003c/p>\n\u003cp>\u003cstrong>RON CHAPPLE\u003c/strong>, Aerial Photographer\u003c/p>\n\u003col start=\"5\">\n\u003cli>“\u003cem>Kit Tyler Composite\u003c/em>” KQED 9/The American Mercury (Editor-Program-Non-News)\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>KIT TYLER\u003c/strong>, Editor\u003c/p>\n\n","disqusIdentifier":"4696 http://ww2.kqed.org/about/?p=4696","disqusUrl":"https://ww2.kqed.org/about/2015/06/08/kqed-wins-four-emmy-awards/","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":310,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1444671889,"excerpt":null,"headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":" KQED was the recipient of four Emmy awards at the 44th Annual Northern California Area Emmy® Awards at the SFJAZZ Center in San Francisco on Saturday June 6 ! KQED received a total of 17 nominations from features and segments produced by our teams in Arts, Science, News, Education to documentaries or specials we presented or","title":"KQED Wins Four Emmy Awards! | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"KQED Wins Four Emmy Awards!","datePublished":"2015-06-08T14:53:58-07:00","dateModified":"2015-10-12T10:44:49-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"kqed-wins-four-emmy-awards","status":"publish","path":"/about/4696/kqed-wins-four-emmy-awards","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>KQED was the recipient of four Emmy awards at the 44th Annual Northern California Area Emmy® Awards at the SFJAZZ Center in San Francisco on Saturday June 6 !\u003c/strong>\u003c/p>\n\u003cp>KQED received a total of 17 nominations from features and segments produced by our teams in Arts, Science, News, Education to documentaries or specials we presented or coproduced. Four Emmys were ultimately awarded across our News, Arts and Science content, as well a fifth award associated with KQED as part of the winner’s composite entry.\u003c/p>\n\u003cp>Please join us in congratulating the team at KQED, and watch the award-winning videos below!\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>“\u003cem>Andres Amador's Earthscapes: Art that Goes Out with the Tide\u003c/em>” KQED 9 \u003c/strong>(Arts/Entertainment-Feature/Segment)\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T_tIG5mo1DM'\n title='//www.youtube.com/embed/T_tIG5mo1DM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>CYNTHIA STONE\u003c/strong>, Producer; \u003cstrong>JOE MATAZZONI\u003c/strong>, Managing Editor;\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>NORMAN BONNEY\u003c/strong>, Cinematographer/Director; \u003cstrong>ANDREW MARSON\u003c/strong>, Assistant Camera\u003c/p>\n\u003col start=\"2\">\n\u003col start=\"2\">\n\u003cli>\u003cstrong>\u003cem>“State of Surveillance” KQED 9/The Center for Investigative Reporting \u003c/em>\u003c/strong>(Public/Current/Community Affairs-Program/Special)\u003c/li>\n\u003c/ol>\n\u003c/ol>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b_65kknGV5s'\n title='//www.youtube.com/embed/b_65kknGV5s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>J\u003cstrong>OANNE ELGART JENNINGS\u003c/strong>, Executive Producer; \u003cstrong>MIA ZUCKERKANDEL\u003c/strong>,\u003c/p>\n\u003cp>Senior Producer; \u003cstrong>MONICA LAM\u003c/strong>, \u003cstrong>AMANDA PIKE\u003c/strong>, Producers; \u003cstrong>SCOTT SHAFER\u003c/strong>,\u003c/p>\n\u003cp>\u003cstrong>THUY VU\u003c/strong>, Hosts; \u003cstrong>GEORGE SCHULZ\u003c/strong>, Reporter; \u003cstrong>BUD GUNDY\u003c/strong>, Director;\u003c/p>\n\u003cp>\u003cstrong>DAVID RITSHER\u003c/strong>, Editor\u003c/p>\n\u003col start=\"3\">\n\u003cli>\u003cstrong>“\u003cem>Future of You\u003c/em>” KQED 9\u003c/strong> (Technology-Program/Special)\u003c/li>\n\u003c/ol>\n\u003cp>\u003cstrong> \u003c/strong>\u003cbr>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QTyWv2e1yWs'\n title='//www.youtube.com/embed/QTyWv2e1yWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SHERAZ SADIQ\u003c/strong>, Producer; \u003cstrong>ARWEN CURRY\u003c/strong>, Associate Producer;\u003c/p>\n\u003cp>\u003cstrong>LISA LANDERS\u003c/strong>, \u003cstrong>PAUL ROGERS\u003c/strong>, Managing Editors;\u003c/p>\n\u003cp>\u003cstrong>ANDREA KISSACK\u003c/strong>, Senior Editor; \u003cstrong>SHIRLEY GUTIERREZ\u003c/strong>, Editor\u003c/p>\n\u003cp> \u003c/p>\n\u003col start=\"4\">\n\u003cli>\u003cstrong>“\u003cem>Becoming California\u003c/em>” KQED 9/The American Mercury\u003c/strong> (NEWS & PROGRAM SPECIALTY Documentary-Cultural/Historical)\u003c/li>\n\u003c/ol>\n\u003cp>\u003cem>\u003ca href=\"http://video.kqed.org/video/2365328971/\" target=\"_blank\">Watch the award-winning video here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>JAMES BAXTER\u003c/strong>, \u003cstrong>JEFFREY WHITE\u003c/strong>, Executive Producers; \u003cstrong>KIT TYLER\u003c/strong>, Producer;\u003c/p>\n\u003cp>\u003cstrong>RICHARD TSAI\u003c/strong>, \u003cstrong>RICHARD YORK\u003c/strong>, Associate Producers;\u003c/p>\n\u003cp>\u003cstrong>RON CHAPPLE\u003c/strong>, Aerial Photographer\u003c/p>\n\u003col start=\"5\">\n\u003cli>“\u003cem>Kit Tyler Composite\u003c/em>” KQED 9/The American Mercury (Editor-Program-Non-News)\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>KIT TYLER\u003c/strong>, Editor\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/4696/kqed-wins-four-emmy-awards","authors":["6626"],"programs":["about_13"],"series":["about_19"],"featImg":"about_4699","label":"about_13"},"about_4602":{"type":"posts","id":"about_4602","meta":{"index":"posts_1716263798","site":"about","id":"4602","score":null,"sort":[1433182055000]},"parent":0,"labelTerm":{"site":"about","term":13},"blocks":[],"publishDate":1433182055,"format":"standard","disqusTitle":"FILM: Meet the Man Behind Big Bird and Oscar the Grouch","title":"FILM: Meet the Man Behind Big Bird and Oscar the Grouch","headTitle":"On KQED Insider | Behind the Scenes | About KQED","content":"\u003cp>Who is Caroll Spinney? If your answer was \u003ci>\u003ca href=\"http://www.iambigbird.com/\" target=\"_blank\">I Am Big Bird\u003c/a>\u003c/i> then you’ve already seen the documentary by co-directors Dave LaMattina and Chad Walker.\u003c/p>\n\u003cp>If you haven’t, then you’ll also find out that, in addition to being the man inside that giant avian puppet, Spinney has also been portraying Oscar the Grouch since the day \u003ci>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=6510\" target=\"_blank\">Sesame Street\u003c/a>\u003c/i> was first broadcast into our living rooms. Jim Henson was the mastermind behind the show’s creations but Caroll Spinney endowed them with his soul -- and as we watch his life story unfold in the film, Spinney knew from the inside out that \u003ca href=\"https://www.youtube.com/watch?v=hpiIWMWWVco\" target=\"_blank\">“It’s Not Easy Being Green.”\u003c/a> I spoke with the filmmakers behind \u003ci>\u003ca href=\"http://www.iambigbird.com/\" target=\"_blank\">I Am Big Bird\u003c/a>\u003c/i> on bringing Spinney's story to the screen:\u003c/p>\n\u003cp>\u003cb>Before you went into production on a film about Big Bird, am I correct in assuming you were fans of \u003c/b>\u003cb>\u003ci>Sesame Street?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave LaMattina\u003c/b>\u003cb>:\u003c/b> We both grew up with and loved the show. I loved the show so much, that it's actually where I wanted to work. I had an internship there in 2005, which is where this project started. I had a friend, who happened to be family friends with Caroll Spinney. I was rather embarrassed when I told her, I didn't know who that was. She explained to me that Caroll \u003ci>was\u003c/i> Big Bird and Oscar the Grouch. Chad and I thought this would be a fascinating film. Thankfully Caroll, and his lovely wife Deb said, \"Yes\" and allowed us to make the movie.\u003c/p>\n\u003cp>\u003cb>Chad N. Walker: \u003c/b>Until we started making this movie, I had forgotten how much of an effect \u003ci>Sesame\u003c/i> had on me, how deeply ingrained it was. Seeing the archival footage, and especially old episodes as we were doing our research, it was amazing how many times I would see something small, and then be brought right back to where I was when I was watching that episode when I was kid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Did you know in pre-production, or after you started filming, that this would be a film for adults? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Chad N. Walker: \u003c/b>Our intent was never to make a film for children. We thought his story was interesting, and it happened to be about a children's character. We have festival screenings that we've had a lot of kids go to. I think the kids who are 12 and older get it a little bit more. We really wanted to tell a complete story of Caroll and Deb's lives. That really was the driving force behind the movie. To do that justice, there's going to be the story about Caroll’s divorce and his other challenges.\u003c/p>\n\u003cp>\u003cb>There's an interesting moment of unveiling, when we see the man inside of the costume: did you think that might be confusing for younger kids?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> I haven't really seen the kids’ reactions to that moment specifically. Honestly, parents who bring their kids to a documentary in a theater may explain things differently to that kid. You are not necessarily getting kids into that theater who think Big Bird is a real being. I think that when Caroll gets into Big Bird, (even though Chad and I have been with Caroll now for 5 or 6 years), it really is still like Big Bird is there. It doesn't matter that we know Carol, that we know how it works, that we know there's a monitor inside, with a script inside. It's still this really weird feeling that there's a new person in the room, and that person is Big Bird that you've known forever. It's really a testament to not just Caroll, but the whole muppets and \u003ci>Sesame\u003c/i> family that can design a character like that.\u003c/p>\n\u003cp>\u003cb>Chad: \u003c/b>We do Q&As after screenings and sometimes Caroll will bring out Oscar. When we had our first meeting with Caroll and Deb, he brought out Oscar. You see Oscar doesn't have legs or anything, he's just dissolved into a pile on Carol's lap. Everyone sitting there looking at Oscar is like, \"Oscar is alive. Oscar is right there.\" Carol often says, \"That's the power of the puppet.” When it's done right, you can really forget that there's a performer manipulating the puppet.\u003c/p>\n\u003cp>\u003cb>In your interviews with Caroll, he comes across as staid and serious. It’s hard to put that person together with the character of Big Bird.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> There are parts of Caroll that are still like a shy kid. I think when he has a puppet, he is allowed to be who he really is. Chad and I have gone to family barbecues at his house. When we do, there's always this part of the day where Carol brings out the puppet. When he doesn't have the puppet, he's little bit more quiet, more reserved. Some of the bigger personalities in his family take over. He is perfectly content to to live that way.\u003c/p>\n\u003cfigure id=\"attachment_4604\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-4604\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED.jpg\" alt=\"Oscar the Grouch and Caroll Spinney. (Courtesy PBS)\" width=\"750\" height=\"521\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED.jpg 750w, https://ww2.kqed.org/app/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED-400x278.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oscar the Grouch and Caroll Spinney. (Courtesy PBS)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Chad:\u003c/b> You can have a conversation with Caroll (this happens a lot when he has Oscar on his arm) and he'll be himself and then Oscar just interrupts him, as if it's totally somebody else. Then, he can go into the Big Bird voice. He's so much Big Bird, he's so much Oscar, he's so much himself. When he's performing that way, he can go in and out of all those characters.\u003c/p>\n\u003cp>\u003cb>At the beginning of his career, the film points out that he didn’t initially fit in with the crew at \u003c/b>\u003cb>\u003ci>Sesame Street, \u003c/i>\u003c/b>\u003cb>but that same his individuality led to the creation of Oscar and Big Bird.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> I think that comes back to Jim Henson and his ability to spot the right people for the characters he had in mind. Jim was looking for someone like Caroll, who could be the star of \u003ci>Sesame Street, \u003c/i>someone who was more independent. One of the things that we both wish, is to have been able to have 5 minute conversation with Jim just to...\u003c/p>\n\u003cp>\u003cb>Chad:\u003c/b> Just to speak with him and say like, \"Why Caroll? What did you see in him?\" You know Caroll addresses it in the film, but it would be really fascinating to hear what Jim had to say. Although he couldn’t have predicted that he would become the super star of \u003ci>Sesame Street.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What were your memories of \u003c/b>\u003cb>\u003ci>Big Bird in China\u003c/i>\u003c/b>\u003cb>, a TV movie made in 1983?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> It was the first \u003ci>Sesame Street\u003c/i> primetime TV special. \u003ci>Sesame Street\u003c/i> is all over world. There is a version of \u003ci>Sesame Street \u003c/i>all over the world, but no one was ever allowed to have their own Big Bird, except China. The reason China was allowed to have their own Big Bird on their version of the show, was because \u003ci>Big Bird in China\u003c/i> was released in China. It was a massive hit. China said, \"If we have this program, then we have to have Big Bird. No one will watch it without Big Bird.\" For me particularly, that was the tape in my childhood that I wore out because I watched it so much. To really go revisit that as an adult was really special.\u003c/p>\n\u003cfigure id=\"attachment_4605\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-4605\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED.jpg\" alt=\"Caroll Spinney and Xiao Foo on the set of Big Bird in China. (Courtesy PBS)\" width=\"750\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED.jpg 750w, https://ww2.kqed.org/app/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED-400x271.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroll Spinney and Xiao Foo on the set of Big Bird in China. (Courtesy PBS)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://www.pbs.org/independentlens/being-elmo/\" target=\"_blank\">Being Elmo\u003c/a>\u003c/i>\u003c/b>\u003cb> came out in 2011. Did that influence your approach to \u003cem>I Am Big Bird?\u003c/em>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave\u003c/b>: Years before \u003ci>Being Elmo\u003c/i> came out, \u003ci>Sesame \u003c/i>said, “There's an Elmo doc in the works, and it's been in the works for five years.\" We're sports fans and my stand was, you could make a documentary about Mickey Mantle and Derek Jeter, because they both play for the Yankees.They're very different people, with very different lives.\u003c/p>\n\u003cp>\u003cb>Chad:\u003c/b> When we went into that first meeting with Caroll, Dave and I both thought, Caroll is almost 80, he's probably going to retire in the next year or two. They’ve been working on the Elmo doc for a long time, which probably won’t affect us because we’re going to be done pretty soon. This just happens in documentary filmmaking all the time, right? In the first meeting with Caroll he says, \"I have no plans to retire. I've been doing this for 40 years and I want to do it for 50.\" We looked at each other like, \"Oh, well that changes the whole way we're going to make this movie.\" That's why we love making documentaries. You learn as you go, and it's always an adventure.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","disqusIdentifier":"4602 http://ww2.kqed.org/about/?p=4602","disqusUrl":"https://ww2.kqed.org/about/2015/06/01/film-meet-the-man-behind-big-bird-and-oscar-the-grouch/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1485,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":23},"modified":1433184183,"excerpt":null,"headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Who is Caroll Spinney? If your answer was I Am Big Bird then you’ve already seen the documentary by co-directors Dave LaMattina and Chad Walker. If you haven’t, then you’ll also find out that, in addition to being the man inside that giant avian puppet, Spinney has also been portraying Oscar the Grouch since the day","title":"FILM: Meet the Man Behind Big Bird and Oscar the Grouch | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"FILM: Meet the Man Behind Big Bird and Oscar the Grouch","datePublished":"2015-06-01T11:07:35-07:00","dateModified":"2015-06-01T11:43:03-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"film-meet-the-man-behind-big-bird-and-oscar-the-grouch","status":"publish","path":"/about/4602/film-meet-the-man-behind-big-bird-and-oscar-the-grouch","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who is Caroll Spinney? If your answer was \u003ci>\u003ca href=\"http://www.iambigbird.com/\" target=\"_blank\">I Am Big Bird\u003c/a>\u003c/i> then you’ve already seen the documentary by co-directors Dave LaMattina and Chad Walker.\u003c/p>\n\u003cp>If you haven’t, then you’ll also find out that, in addition to being the man inside that giant avian puppet, Spinney has also been portraying Oscar the Grouch since the day \u003ci>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=6510\" target=\"_blank\">Sesame Street\u003c/a>\u003c/i> was first broadcast into our living rooms. Jim Henson was the mastermind behind the show’s creations but Caroll Spinney endowed them with his soul -- and as we watch his life story unfold in the film, Spinney knew from the inside out that \u003ca href=\"https://www.youtube.com/watch?v=hpiIWMWWVco\" target=\"_blank\">“It’s Not Easy Being Green.”\u003c/a> I spoke with the filmmakers behind \u003ci>\u003ca href=\"http://www.iambigbird.com/\" target=\"_blank\">I Am Big Bird\u003c/a>\u003c/i> on bringing Spinney's story to the screen:\u003c/p>\n\u003cp>\u003cb>Before you went into production on a film about Big Bird, am I correct in assuming you were fans of \u003c/b>\u003cb>\u003ci>Sesame Street?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave LaMattina\u003c/b>\u003cb>:\u003c/b> We both grew up with and loved the show. I loved the show so much, that it's actually where I wanted to work. I had an internship there in 2005, which is where this project started. I had a friend, who happened to be family friends with Caroll Spinney. I was rather embarrassed when I told her, I didn't know who that was. She explained to me that Caroll \u003ci>was\u003c/i> Big Bird and Oscar the Grouch. Chad and I thought this would be a fascinating film. Thankfully Caroll, and his lovely wife Deb said, \"Yes\" and allowed us to make the movie.\u003c/p>\n\u003cp>\u003cb>Chad N. Walker: \u003c/b>Until we started making this movie, I had forgotten how much of an effect \u003ci>Sesame\u003c/i> had on me, how deeply ingrained it was. Seeing the archival footage, and especially old episodes as we were doing our research, it was amazing how many times I would see something small, and then be brought right back to where I was when I was watching that episode when I was kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Did you know in pre-production, or after you started filming, that this would be a film for adults? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Chad N. Walker: \u003c/b>Our intent was never to make a film for children. We thought his story was interesting, and it happened to be about a children's character. We have festival screenings that we've had a lot of kids go to. I think the kids who are 12 and older get it a little bit more. We really wanted to tell a complete story of Caroll and Deb's lives. That really was the driving force behind the movie. To do that justice, there's going to be the story about Caroll’s divorce and his other challenges.\u003c/p>\n\u003cp>\u003cb>There's an interesting moment of unveiling, when we see the man inside of the costume: did you think that might be confusing for younger kids?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> I haven't really seen the kids’ reactions to that moment specifically. Honestly, parents who bring their kids to a documentary in a theater may explain things differently to that kid. You are not necessarily getting kids into that theater who think Big Bird is a real being. I think that when Caroll gets into Big Bird, (even though Chad and I have been with Caroll now for 5 or 6 years), it really is still like Big Bird is there. It doesn't matter that we know Carol, that we know how it works, that we know there's a monitor inside, with a script inside. It's still this really weird feeling that there's a new person in the room, and that person is Big Bird that you've known forever. It's really a testament to not just Caroll, but the whole muppets and \u003ci>Sesame\u003c/i> family that can design a character like that.\u003c/p>\n\u003cp>\u003cb>Chad: \u003c/b>We do Q&As after screenings and sometimes Caroll will bring out Oscar. When we had our first meeting with Caroll and Deb, he brought out Oscar. You see Oscar doesn't have legs or anything, he's just dissolved into a pile on Carol's lap. Everyone sitting there looking at Oscar is like, \"Oscar is alive. Oscar is right there.\" Carol often says, \"That's the power of the puppet.” When it's done right, you can really forget that there's a performer manipulating the puppet.\u003c/p>\n\u003cp>\u003cb>In your interviews with Caroll, he comes across as staid and serious. It’s hard to put that person together with the character of Big Bird.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> There are parts of Caroll that are still like a shy kid. I think when he has a puppet, he is allowed to be who he really is. Chad and I have gone to family barbecues at his house. When we do, there's always this part of the day where Carol brings out the puppet. When he doesn't have the puppet, he's little bit more quiet, more reserved. Some of the bigger personalities in his family take over. He is perfectly content to to live that way.\u003c/p>\n\u003cfigure id=\"attachment_4604\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-4604\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED.jpg\" alt=\"Oscar the Grouch and Caroll Spinney. (Courtesy PBS)\" width=\"750\" height=\"521\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED.jpg 750w, https://ww2.kqed.org/app/uploads/sites/19/2015/05/088_B4_ARC_Photo_020_CS_Oscar_RESIZED-400x278.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oscar the Grouch and Caroll Spinney. (Courtesy PBS)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Chad:\u003c/b> You can have a conversation with Caroll (this happens a lot when he has Oscar on his arm) and he'll be himself and then Oscar just interrupts him, as if it's totally somebody else. Then, he can go into the Big Bird voice. He's so much Big Bird, he's so much Oscar, he's so much himself. When he's performing that way, he can go in and out of all those characters.\u003c/p>\n\u003cp>\u003cb>At the beginning of his career, the film points out that he didn’t initially fit in with the crew at \u003c/b>\u003cb>\u003ci>Sesame Street, \u003c/i>\u003c/b>\u003cb>but that same his individuality led to the creation of Oscar and Big Bird.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> I think that comes back to Jim Henson and his ability to spot the right people for the characters he had in mind. Jim was looking for someone like Caroll, who could be the star of \u003ci>Sesame Street, \u003c/i>someone who was more independent. One of the things that we both wish, is to have been able to have 5 minute conversation with Jim just to...\u003c/p>\n\u003cp>\u003cb>Chad:\u003c/b> Just to speak with him and say like, \"Why Caroll? What did you see in him?\" You know Caroll addresses it in the film, but it would be really fascinating to hear what Jim had to say. Although he couldn’t have predicted that he would become the super star of \u003ci>Sesame Street.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What were your memories of \u003c/b>\u003cb>\u003ci>Big Bird in China\u003c/i>\u003c/b>\u003cb>, a TV movie made in 1983?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave:\u003c/b> It was the first \u003ci>Sesame Street\u003c/i> primetime TV special. \u003ci>Sesame Street\u003c/i> is all over world. There is a version of \u003ci>Sesame Street \u003c/i>all over the world, but no one was ever allowed to have their own Big Bird, except China. The reason China was allowed to have their own Big Bird on their version of the show, was because \u003ci>Big Bird in China\u003c/i> was released in China. It was a massive hit. China said, \"If we have this program, then we have to have Big Bird. No one will watch it without Big Bird.\" For me particularly, that was the tape in my childhood that I wore out because I watched it so much. To really go revisit that as an adult was really special.\u003c/p>\n\u003cfigure id=\"attachment_4605\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-4605\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED.jpg\" alt=\"Caroll Spinney and Xiao Foo on the set of Big Bird in China. (Courtesy PBS)\" width=\"750\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED.jpg 750w, https://ww2.kqed.org/app/uploads/sites/19/2015/05/044_B6_ARC_Photo_067_BB_IC_CS_Xiao_Foo_RESIZED-400x271.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroll Spinney and Xiao Foo on the set of Big Bird in China. (Courtesy PBS)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://www.pbs.org/independentlens/being-elmo/\" target=\"_blank\">Being Elmo\u003c/a>\u003c/i>\u003c/b>\u003cb> came out in 2011. Did that influence your approach to \u003cem>I Am Big Bird?\u003c/em>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave\u003c/b>: Years before \u003ci>Being Elmo\u003c/i> came out, \u003ci>Sesame \u003c/i>said, “There's an Elmo doc in the works, and it's been in the works for five years.\" We're sports fans and my stand was, you could make a documentary about Mickey Mantle and Derek Jeter, because they both play for the Yankees.They're very different people, with very different lives.\u003c/p>\n\u003cp>\u003cb>Chad:\u003c/b> When we went into that first meeting with Caroll, Dave and I both thought, Caroll is almost 80, he's probably going to retire in the next year or two. They’ve been working on the Elmo doc for a long time, which probably won’t affect us because we’re going to be done pretty soon. This just happens in documentary filmmaking all the time, right? In the first meeting with Caroll he says, \"I have no plans to retire. I've been doing this for 40 years and I want to do it for 50.\" We looked at each other like, \"Oh, well that changes the whole way we're going to make this movie.\" That's why we love making documentaries. You learn as you go, and it's always an adventure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/4602/film-meet-the-man-behind-big-bird-and-oscar-the-grouch","authors":["42"],"programs":["about_13"],"series":["about_19"],"featImg":"about_4603","label":"about_13"},"about_1019":{"type":"posts","id":"about_1019","meta":{"index":"posts_1716263798","site":"about","id":"1019","score":null,"sort":[1428012201000]},"parent":0,"labelTerm":{"site":"about","term":13},"blocks":[],"publishDate":1428012201,"format":"standard","disqusTitle":"Meet the Cast of 'Wolf Hall'","title":"Meet the Cast of 'Wolf Hall'","headTitle":"On KQED Insider | Behind the Scenes | About KQED","content":"\u003cp style=\"text-align: left\">\u003cstrong>By Jeffrey Edalatpour\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">When you tune in to PBS' long-awaited \u003ca title=\"Wolf Hall\" href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22874\" target=\"_blank\">\u003cem>Wolf Hall\u003c/em> \u003c/a>this Sunday night at 10pm on KQED 9, you’re going to recognize some familiar famous faces and then ask yourself, “Wasn’t he in…? And I’m sure I’ve seen her before!” To save you the trouble of endless Googling, here’s an abbreviated cast resumé.\u003c/p>\n\u003cfigure id=\"attachment_1025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/whalley.jpg\">\u003cimg class=\"size-medium wp-image-1025\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/whalley-800x450.jpg\" alt=\"Joanne Whalley as Catherine of Aragon\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-320x180.jpg 320w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley.jpg 976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joanne Whalley as Catherine of Aragon \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">Among the many stars who populate this production of Henry VIII’s court in the 1520s, you’ll surely recognize the captain of Kate Winslet’s \u003cem>Titanic,\u003c/em> Bernard Hill a.k.a the Duke of Norfolk. \u003cem>Game of Thrones\u003c/em> fans loved Thomas Brodie-Sangster as Jojen Reed. Here in \u003cem>Wolf Hall\u003c/em> he's sidekick Rafe Sadler, sporting the jauntiest of jaunty trousers. Joanne Whalley, late of \u003cem>The Borgias\u003c/em> (and the former Mrs. Val Kilmer), is cast as the unfortunate first wife of Henry, Catherine of Aragon. And who can forget Jonathan Pryce (playing Cardinal Wolsey here) harmonizing with Madonna, the Material Girl herself, as the ambitious Perons of \u003cem>Evita?\u003cbr>\n\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_1026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/Capture.jpg\">\u003cimg class=\"size-medium wp-image-1026\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/Capture-800x484.jpg\" alt=\"Damien Lewis as King Henry VIII\" width=\"800\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-800x484.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-400x242.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-1180x714.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-768x464.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-320x193.jpg 320w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damien Lewis as King Henry VIII \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">\u003cem> \u003c/em>However, Henry VIII and Thomas Cromwell — the king and his consigliere — are the principal players matching wits in \u003cem>Wolf Hall. \u003c/em>Damien Lewis as the sovereign imbues the spirit of Henry VIII with the kind of menace that can only come from holding the power of infinite privilege: he simply will not be constrained by the established rules of the court and country he presides over. In some ways, it feels like a natural progression from his Emmy-winning role on \u003cem>Homeland,\u003c/em> as the traitorous Sargeant Brody who betrayed his family and country. Lewis does willful like nobody’s business.\u003c/p>\n\u003cfigure id=\"attachment_1027\" class=\"wp-caption aligncenter\" style=\"max-width: 731px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/crop.jpg\">\u003cimg class=\"size-full wp-image-1027\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/crop.jpg\" alt=\"Mark Rylance as Thomas Cromwell\" width=\"731\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/crop.jpg 731w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/crop-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/crop-320x258.jpg 320w\" sizes=\"(max-width: 731px) 100vw, 731px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Rylance as Thomas Cromwell \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">In contrast, Mark Rylance as Cromwell is reserved and restrained, yet just as steadfast and principled. The director, \u003ca href=\"http://www.pbssocal.org/arts-life/laart/\">Peter Kosminsky\u003c/a>, often shoots Cromwell in shadowy light, indicating an interior world of thought that is half-seen, or merely hinted at. Rylance, celebrated for his stage work in England, is currently shooting his second film for Steven Spielberg. If any actor’s career is on the rise in this production, it’s surely the 55-year-old Rylance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: left\">And if you’re interested in learning more about \u003ca href=\"http://www.bbc.co.uk/programmes/b04stgz0\">Lewis\u003c/a> and \u003ca href=\"http://www.bbc.co.uk/programmes/b0520t2t\">Rylance\u003c/a>, Desert Island Discs recently interviewed them both in support of \u003cem>Wolf Hall. \u003c/em>Among their music choices, you’ll learn that Lewis was an early Elvis imitator, and that Rylance’s wife composed the music for \u003cem>Wolf Hall\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_1028\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII.jpg\">\u003cimg class=\"size-medium wp-image-1028\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-400x600.jpg\" alt=\"Damian Lewis as Henry VIII\" width=\"400\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-787x1180.jpg 787w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-320x480.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damian Lewis as Henry VIII \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">\u003ca title=\"Watch Wolf Hall on KQED 9\" href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22874\" target=\"_blank\">\u003cstrong>Wolf Hall premieres Sunday, April 5 at 10pm on KQED 9!\u003c/strong>\u003c/a>\u003c/p>\n\n","disqusIdentifier":"1019 http://ww2.kqed.org/about/?p=1019","disqusUrl":"https://ww2.kqed.org/about/2015/04/02/meet-the-cast-of-wolf-hall/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":471,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":2},"modified":1428012201,"excerpt":"Forget endless Googling: here’s an abbreviated cast resumé.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Forget endless Googling: here’s an abbreviated cast resumé.","title":"Meet the Cast of 'Wolf Hall' | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet the Cast of 'Wolf Hall'","datePublished":"2015-04-02T15:03:21-07:00","dateModified":"2015-04-02T15:03:21-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"meet-the-cast-of-wolf-hall","status":"publish","path":"/about/1019/meet-the-cast-of-wolf-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: left\">\u003cstrong>By Jeffrey Edalatpour\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">When you tune in to PBS' long-awaited \u003ca title=\"Wolf Hall\" href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22874\" target=\"_blank\">\u003cem>Wolf Hall\u003c/em> \u003c/a>this Sunday night at 10pm on KQED 9, you’re going to recognize some familiar famous faces and then ask yourself, “Wasn’t he in…? And I’m sure I’ve seen her before!” To save you the trouble of endless Googling, here’s an abbreviated cast resumé.\u003c/p>\n\u003cfigure id=\"attachment_1025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/whalley.jpg\">\u003cimg class=\"size-medium wp-image-1025\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/whalley-800x450.jpg\" alt=\"Joanne Whalley as Catherine of Aragon\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley-320x180.jpg 320w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/whalley.jpg 976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joanne Whalley as Catherine of Aragon \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">Among the many stars who populate this production of Henry VIII’s court in the 1520s, you’ll surely recognize the captain of Kate Winslet’s \u003cem>Titanic,\u003c/em> Bernard Hill a.k.a the Duke of Norfolk. \u003cem>Game of Thrones\u003c/em> fans loved Thomas Brodie-Sangster as Jojen Reed. Here in \u003cem>Wolf Hall\u003c/em> he's sidekick Rafe Sadler, sporting the jauntiest of jaunty trousers. Joanne Whalley, late of \u003cem>The Borgias\u003c/em> (and the former Mrs. Val Kilmer), is cast as the unfortunate first wife of Henry, Catherine of Aragon. And who can forget Jonathan Pryce (playing Cardinal Wolsey here) harmonizing with Madonna, the Material Girl herself, as the ambitious Perons of \u003cem>Evita?\u003cbr>\n\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_1026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/Capture.jpg\">\u003cimg class=\"size-medium wp-image-1026\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/Capture-800x484.jpg\" alt=\"Damien Lewis as King Henry VIII\" width=\"800\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-800x484.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-400x242.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-1180x714.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-768x464.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture-320x193.jpg 320w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/Capture.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damien Lewis as King Henry VIII \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">\u003cem> \u003c/em>However, Henry VIII and Thomas Cromwell — the king and his consigliere — are the principal players matching wits in \u003cem>Wolf Hall. \u003c/em>Damien Lewis as the sovereign imbues the spirit of Henry VIII with the kind of menace that can only come from holding the power of infinite privilege: he simply will not be constrained by the established rules of the court and country he presides over. In some ways, it feels like a natural progression from his Emmy-winning role on \u003cem>Homeland,\u003c/em> as the traitorous Sargeant Brody who betrayed his family and country. Lewis does willful like nobody’s business.\u003c/p>\n\u003cfigure id=\"attachment_1027\" class=\"wp-caption aligncenter\" style=\"max-width: 731px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/crop.jpg\">\u003cimg class=\"size-full wp-image-1027\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/crop.jpg\" alt=\"Mark Rylance as Thomas Cromwell\" width=\"731\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/crop.jpg 731w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/crop-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/crop-320x258.jpg 320w\" sizes=\"(max-width: 731px) 100vw, 731px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Rylance as Thomas Cromwell \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">In contrast, Mark Rylance as Cromwell is reserved and restrained, yet just as steadfast and principled. The director, \u003ca href=\"http://www.pbssocal.org/arts-life/laart/\">Peter Kosminsky\u003c/a>, often shoots Cromwell in shadowy light, indicating an interior world of thought that is half-seen, or merely hinted at. Rylance, celebrated for his stage work in England, is currently shooting his second film for Steven Spielberg. If any actor’s career is on the rise in this production, it’s surely the 55-year-old Rylance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">And if you’re interested in learning more about \u003ca href=\"http://www.bbc.co.uk/programmes/b04stgz0\">Lewis\u003c/a> and \u003ca href=\"http://www.bbc.co.uk/programmes/b0520t2t\">Rylance\u003c/a>, Desert Island Discs recently interviewed them both in support of \u003cem>Wolf Hall. \u003c/em>Among their music choices, you’ll learn that Lewis was an early Elvis imitator, and that Rylance’s wife composed the music for \u003cem>Wolf Hall\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_1028\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII.jpg\">\u003cimg class=\"size-medium wp-image-1028\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-400x600.jpg\" alt=\"Damian Lewis as Henry VIII\" width=\"400\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-787x1180.jpg 787w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2015/04/WH-GK-12-6-14-02950_HVIII-320x480.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damian Lewis as Henry VIII \u003ccite>(Masterpiece / BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">\u003ca title=\"Watch Wolf Hall on KQED 9\" href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22874\" target=\"_blank\">\u003cstrong>Wolf Hall premieres Sunday, April 5 at 10pm on KQED 9!\u003c/strong>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/1019/meet-the-cast-of-wolf-hall","authors":["6626"],"programs":["about_13"],"series":["about_19"],"tags":["about_45","about_44","about_43"],"featImg":"about_1023","label":"about_13"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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