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"content": "\u003cp>The signifiers of the season, for better or worse, include an onslaught of ads for holiday movies—as anyone with a television is aware. Hollywood is aiming to win children’s hearts and minds with a yellow, anthropomorphic Hasbro toy and the sugar-spun homilies of Mary Poppins. Is there any place, a parent might ask, that conjures the spell of wonderment without the artificial enhancements of special effects and product placements?\u003c/p>\n\u003cp>The current Exploratorium exhibit, \u003ca href=\"https://www.exploratorium.edu/curious-contraptions\" rel=\"noopener\" target=\"_blank\">Curious Contraptions: Inside the Fairy Tale Factory\u003c/a> (on view through Jan. 20), displays a jaw-dropping collection of automata—that is, one-of-a-kind, handmade mechanical geegaws. Devised, designed and constructed by people whose talents encompass toy-making, puppeteering, sculpting and recycling, each piece achieves a kind of pinnacle of electricity-free art, inventiveness and interactivity. (If, like me, you need an image to fully grasp the concept, check out the delightful short video at the link above.) \u003c/p>\n\u003cfigure id=\"attachment_13846260\" class=\"wp-caption aligncenter\" style=\"max-width: 1419px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Dot_4.png\" alt=\"Sumo Science, Still from 'Dot,' 2010.\" width=\"1419\" height=\"800\" class=\"size-full wp-image-13846260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4.png 1419w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Dot_4-1200x677.png 1200w\" sizes=\"(max-width: 1419px) 100vw, 1419px\">\u003cfigcaption class=\"wp-caption-text\">Sumo Science, Still from ‘Dot,’ 2010. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can readily see how automata are catnip for children of all ages, but especially for those who take their egg nog straight, no chaser. As a bonus, the Exploratorium has curated a Saturday Cinema program of very short films, \u003ca href=\"https://www.exploratorium.edu/visit/calendar/saturday-cinema-curious-creations-12-8-18\" rel=\"noopener\" target=\"_blank\">Curious Creations\u003c/a>, that provides a visual venture into other realms of automata as well as a sit-down break from the hands-on exhibit.\u003c/p>\n\u003cp>The films (which screen Dec. 8 and again on Jan. 12) traverse the mind-blowing breadth of human ingenuity, including chain-reaction machines rigged for a Japanese children’s TV show, kinetic sculptor Arthur Ganson’s whimsical mechanisms, and a solar-powered contraption built in the 1950s by Charles and Ray Eames. If there’s a “product placement” for an Eames chair in that last one—and I’m not saying there is—would you complain?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). 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The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. His characters didn’t so much speak as intone their lines in a flat, affectless monotone which served at first to amuse and fascinate, then ultimately to unsettle, our perceptions. \u003cem>The Favourite\u003c/em> forgoes such verbal constraints to freely admit messy human emotions—it’s downright awash with them—and the vocal inflections that attend them. The fact that Lanthimos didn’t write the script means that the dialogue is sharper and more acidic than usual, favoring the venomous over the vacuous.\u003c/p>\n\u003cp>Yet this is unmistakably a Lanthimos joint: The world of the film feels both familiar and foreign. Here are all the expected period-drama trappings: wigs and Whigs, Tories and topiaries, bustles and corsets and flounces. But Lanthimos films the action from low angles, to highlight the well-appointed yet oppressive ceilings hanging over everything, and underscores the artifice by employing fish-eye lenses and double-exposure to allow us to see the world through his characters’ skewed perceptions. And he doesn’t skimp on the vaguely absurdist details: dandies in powdered wigs parade their beloved ducks; a naked man gleefully withstands an odd pomegranate fusillade; a decorous waltz transforms into a kind of antic soul-train line-dance.\u003c/p>\n\u003cp>Everything looks both stately and grubby, somehow. Cinematographer Robbie Ryan’s dull, colorless light leaches through heavily leaded windows to make the rooms, with their dark rich wood and sumptuous fabrics, look passionless, even sickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That grayed-out quality of light suggests Anne’s emotional and physical state: She’s fading, and not terribly slowly. Gout and depression are catching up with her, leading to a final shot that’s even more arresting, and mysterious, and unforgettable than the uncompromising, charmingly merciless film that preceded it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). Weisz and Stone constantly plot and counter-plot against each other as Colman’s Anne dithers and waffles and screams at whatever unlucky attendant should happen to enter her field of vision.\u003c/p>\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/SYb-wkehT1g'\n title='//www.youtube.com/embed/SYb-wkehT1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, Colman makes Anne a downright hateful figure. Having spent her reign infantilized by those around her, she barks willfully childish demands from her bedchamber, throws tantrums, hurls herself into salty spirals of self-pity and too-willingly shunts the affairs of state onto Weisz’s Sarah. But Colman’s just too damn good to leave it at that; Anne’s initial repellent awfulness soon softens into something more pitiable, even empathetic, while her mewling self-pity hardens into a kind of resigned self-awareness—often over the course of a single scene. It’s a remarkable performance, at once hilarious and achingly sad.\u003c/p>\n\u003cp>As Sarah, Rachel Weisz gazes out at the world from behind a fixed, steely, calculating expression, her mouth pressed into a thin reptilian smile that should be registered as a lethal weapon. As she trades waspishly witty barbs with Stone (the screenplay by Deborah Davis and Tony McNamara teems with quotable insults, both veiled and very, very not), what begins as a hairline fracture in her cocksure veneer soon spiders into a crackle finish; she’s worried about her station. She has every right to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s because she’s watching, in horror, the same thing we’re watching: Emma Stone’s Abigail shuffling off her plain, humble outer layer to reveal the shrewd and cunning creature of raw ambition that lies beneath. Stone’s never been better than she is here, as the character of Abigail threads a perilous needle. The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. His characters didn’t so much speak as intone their lines in a flat, affectless monotone which served at first to amuse and fascinate, then ultimately to unsettle, our perceptions. \u003cem>The Favourite\u003c/em> forgoes such verbal constraints to freely admit messy human emotions—it’s downright awash with them—and the vocal inflections that attend them. The fact that Lanthimos didn’t write the script means that the dialogue is sharper and more acidic than usual, favoring the venomous over the vacuous.\u003c/p>\n\u003cp>Yet this is unmistakably a Lanthimos joint: The world of the film feels both familiar and foreign. Here are all the expected period-drama trappings: wigs and Whigs, Tories and topiaries, bustles and corsets and flounces. But Lanthimos films the action from low angles, to highlight the well-appointed yet oppressive ceilings hanging over everything, and underscores the artifice by employing fish-eye lenses and double-exposure to allow us to see the world through his characters’ skewed perceptions. And he doesn’t skimp on the vaguely absurdist details: dandies in powdered wigs parade their beloved ducks; a naked man gleefully withstands an odd pomegranate fusillade; a decorous waltz transforms into a kind of antic soul-train line-dance.\u003c/p>\n\u003cp>Everything looks both stately and grubby, somehow. Cinematographer Robbie Ryan’s dull, colorless light leaches through heavily leaded windows to make the rooms, with their dark rich wood and sumptuous fabrics, look passionless, even sickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That grayed-out quality of light suggests Anne’s emotional and physical state: She’s fading, and not terribly slowly. Gout and depression are catching up with her, leading to a final shot that’s even more arresting, and mysterious, and unforgettable than the uncompromising, charmingly merciless film that preceded it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The history of post-war Italian cinema is a mellifluous litany of household names, from Rossellini and De Sica to Taviani and Benigni. But recognizable icons are in short supply these days, a byproduct of the vagaries of foreign film distribution in the U.S. So partly by happenstance and partly by design, the annual \u003ca href=\"http://www.newitaliancinema.org/2018\" rel=\"noopener\" target=\"_blank\">New Italian Cinema\u003c/a> series, running Nov. 30–Dec. 2 at San Francisco’s Vogue Theatre, is a festival of discovery.\u003c/p>\n\u003cp>The “design” element is embodied by the City of Florence Award competition of first or second features. The six new talents on offer range from wunderkind scaremeister Antonio Padovan’s Northern Italian murder mystery \u003cem>The Last Prosecco\u003c/em> (Dec. 1 at 6pm) to documentary filmmaker Andrea Magnani’s poignantly comic narrative debut, \u003cem>Easy\u003c/em> (Dec. 2 at 4:30pm), about an overweight slacker determined to transport the body of a Hungarian construction worker to his home.\u003c/p>\n\u003cfigure id=\"attachment_13845638\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg\" alt=\"Still from 'Open to the Public.'\" width=\"1280\" height=\"716\" class=\"size-full wp-image-13845638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1200x671.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Open to the Public.’ \u003ccite>(Courtesy of New Italian Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Happenstance” is an unfair word to apply to the rest of the program, except in the sense that every festival of new films is dependent on this year’s output. The Italian Cultural Institute (who presents the fest with New Italian Cinema Events of Florence) has done the great service of programming a pair of one-hour docs about Italian institutions (Dec. 2 at 7:15pm) that U.S. audiences would almost certainly never see otherwise: Enrico Maisto’s verite \u003cem>The Call\u003c/em> spends a day in Milan’s criminal courts with a batch of querulous jurors, while Silvia Bellotti’s \u003cem>Open to the Public\u003c/em> visits the offices of Naples’ public housing administrators. Humanity meets bureaucracy, Italian-style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The history of post-war Italian cinema is a mellifluous litany of household names, from Rossellini and De Sica to Taviani and Benigni. But recognizable icons are in short supply these days, a byproduct of the vagaries of foreign film distribution in the U.S. So partly by happenstance and partly by design, the annual \u003ca href=\"http://www.newitaliancinema.org/2018\" rel=\"noopener\" target=\"_blank\">New Italian Cinema\u003c/a> series, running Nov. 30–Dec. 2 at San Francisco’s Vogue Theatre, is a festival of discovery.\u003c/p>\n\u003cp>The “design” element is embodied by the City of Florence Award competition of first or second features. The six new talents on offer range from wunderkind scaremeister Antonio Padovan’s Northern Italian murder mystery \u003cem>The Last Prosecco\u003c/em> (Dec. 1 at 6pm) to documentary filmmaker Andrea Magnani’s poignantly comic narrative debut, \u003cem>Easy\u003c/em> (Dec. 2 at 4:30pm), about an overweight slacker determined to transport the body of a Hungarian construction worker to his home.\u003c/p>\n\u003cfigure id=\"attachment_13845638\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg\" alt=\"Still from 'Open to the Public.'\" width=\"1280\" height=\"716\" class=\"size-full wp-image-13845638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1200x671.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Open to the Public.’ \u003ccite>(Courtesy of New Italian Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Happenstance” is an unfair word to apply to the rest of the program, except in the sense that every festival of new films is dependent on this year’s output. The Italian Cultural Institute (who presents the fest with New Italian Cinema Events of Florence) has done the great service of programming a pair of one-hour docs about Italian institutions (Dec. 2 at 7:15pm) that U.S. audiences would almost certainly never see otherwise: Enrico Maisto’s verite \u003cem>The Call\u003c/em> spends a day in Milan’s criminal courts with a batch of querulous jurors, while Silvia Bellotti’s \u003cem>Open to the Public\u003c/em> visits the offices of Naples’ public housing administrators. Humanity meets bureaucracy, Italian-style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bernardo Bertolucci, the Oscar-winning director whose groundbreaking films set in turbulent times, including \u003cem>Last Tango In Paris \u003c/em>and\u003cem> The Last Emperor, \u003c/em>died Monday at 77.\u003c/p>\n\u003cp>His publicist \u003ca href=\"https://variety.com/2018/film/global/bernardo-bertolucci-dead-dies-director-the-last-emperor-1203036077/\">confirmed to Variety\u003c/a> that Bertolucci died Monday morning in his home from cancer.\u003c/p>\n\u003cp>Bertolucci’s provocative five decades as a filmmaker left audiences thrilled and shocked thanks to his brazen subject matter and pristine visual talent. A key figure in Italian cinema, Bertolucci is the only filmmaker of his nationality to have won the Academy Award for best director.\u003c/p>\n\u003cp>His best films depicted “human nature as it messily expresses itself among others, in society,” Tomas Hachard has written\u003ca href=\"https://www.npr.org/2014/07/03/327657398/isolation-spells-frustration-in-bertoluccis-me-and-you\"> for NPR\u003c/a>.\u003c/p>\n\u003cp>“The word transgression, which was so common in the ’60s, I think I never hear it today,” Bertolucci \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1647586\">told NPR in 2004\u003c/a> upon the release of his film \u003cem>The Dreamers\u003c/em>. “It’s like a forgotten word.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His 1987 film \u003cem>The Last Emperor\u003c/em> swept up a total of nine Academy Awards, including Best Picture and Best Director — winning every category for which it recieved a nomination.\u003c/p>\n\u003cp>An adaptation of the autobiography of Pu Yi, China’s last imperial ruler, “was also the first Western epic about China made with the Chinese government’s cooperation,” \u003cem>Variety\u003c/em> reports.\u003c/p>\n\u003cp>Bertolucci was born in 1941 to a wealthy family in northern Italy. His father, Attilio Bertolucci, was a well-regarded poet. The elder Bertolucci was married to his third wife, British screenwriter and director \u003ca href=\"http://www.moviemaker.com/archives/moviemaking/directing/articles-directing/the-triumph-of-clare-peploe/\">Clare Peploe\u003c/a>, from 1979 until his death.\u003c/p>\n\u003cp>The filmmaker received his first Oscar nod in 1970 for the adapted screenplay of \u003cem>The Conformist. \u003c/em>The film, one of his most celebrated, follows a young man coming of age in fascist Italy who is recruited by state forces to take out his anti-Fascist former teacher.\u003c/p>\n\u003cp>\u003cem>Last Tango in Paris\u003c/em>, his provocative 1973 film starring Marlon Brando and Maria Schneider, became one of the first X-rated Hollywood “art” films to make it to mainstream American theaters.\u003c/p>\n\u003cp>The film chronicled the sexual relationship with a recently widowed American man and a young Parisian woman. As \u003cem>Variety\u003c/em> reports,\u003c/p>\n\u003cblockquote>\u003cp>“Although \u003cem>Tango \u003c/em>is regarded as one of the most important films of the 20th century, it generated particular controversy for its anal rape scene, in which butter is used as a lubricant. Bertolucci acknowledged later that \u003ca href=\"https://variety.com/2016/film/news/last-tango-in-paris-rape-scene-consensual-bernardo-bertolucci-1201933117/\">the scene was sprung as a surprise on Schneider\u003c/a>, then 19, in order to elicit an authentic reaction from her ‘as a girl, not as an actress.’\u003c/p>\n\u003cp>Before her death in 2011, Schneider told an interviewer that she had ‘felt humiliated and…a little raped’ by Brando and Bertolucci. But the director always denied he had mistreated her.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Bertolucci’s final film, 2014’s \u003cem>Me and You\u003c/em>, was his first in a decade due to ongoing health issues, including his use of a wheelchair.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bernardo+Bertolucci%2C+%27Last+Tango+In+Paris%27+Director%2C+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bernardo Bertolucci, the Oscar-winning director whose groundbreaking films set in turbulent times, including \u003cem>Last Tango In Paris \u003c/em>and\u003cem> The Last Emperor, \u003c/em>died Monday at 77.\u003c/p>\n\u003cp>His publicist \u003ca href=\"https://variety.com/2018/film/global/bernardo-bertolucci-dead-dies-director-the-last-emperor-1203036077/\">confirmed to Variety\u003c/a> that Bertolucci died Monday morning in his home from cancer.\u003c/p>\n\u003cp>Bertolucci’s provocative five decades as a filmmaker left audiences thrilled and shocked thanks to his brazen subject matter and pristine visual talent. A key figure in Italian cinema, Bertolucci is the only filmmaker of his nationality to have won the Academy Award for best director.\u003c/p>\n\u003cp>His best films depicted “human nature as it messily expresses itself among others, in society,” Tomas Hachard has written\u003ca href=\"https://www.npr.org/2014/07/03/327657398/isolation-spells-frustration-in-bertoluccis-me-and-you\"> for NPR\u003c/a>.\u003c/p>\n\u003cp>“The word transgression, which was so common in the ’60s, I think I never hear it today,” Bertolucci \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1647586\">told NPR in 2004\u003c/a> upon the release of his film \u003cem>The Dreamers\u003c/em>. “It’s like a forgotten word.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His 1987 film \u003cem>The Last Emperor\u003c/em> swept up a total of nine Academy Awards, including Best Picture and Best Director — winning every category for which it recieved a nomination.\u003c/p>\n\u003cp>An adaptation of the autobiography of Pu Yi, China’s last imperial ruler, “was also the first Western epic about China made with the Chinese government’s cooperation,” \u003cem>Variety\u003c/em> reports.\u003c/p>\n\u003cp>Bertolucci was born in 1941 to a wealthy family in northern Italy. His father, Attilio Bertolucci, was a well-regarded poet. The elder Bertolucci was married to his third wife, British screenwriter and director \u003ca href=\"http://www.moviemaker.com/archives/moviemaking/directing/articles-directing/the-triumph-of-clare-peploe/\">Clare Peploe\u003c/a>, from 1979 until his death.\u003c/p>\n\u003cp>The filmmaker received his first Oscar nod in 1970 for the adapted screenplay of \u003cem>The Conformist. \u003c/em>The film, one of his most celebrated, follows a young man coming of age in fascist Italy who is recruited by state forces to take out his anti-Fascist former teacher.\u003c/p>\n\u003cp>\u003cem>Last Tango in Paris\u003c/em>, his provocative 1973 film starring Marlon Brando and Maria Schneider, became one of the first X-rated Hollywood “art” films to make it to mainstream American theaters.\u003c/p>\n\u003cp>The film chronicled the sexual relationship with a recently widowed American man and a young Parisian woman. As \u003cem>Variety\u003c/em> reports,\u003c/p>\n\u003cblockquote>\u003cp>“Although \u003cem>Tango \u003c/em>is regarded as one of the most important films of the 20th century, it generated particular controversy for its anal rape scene, in which butter is used as a lubricant. Bertolucci acknowledged later that \u003ca href=\"https://variety.com/2016/film/news/last-tango-in-paris-rape-scene-consensual-bernardo-bertolucci-1201933117/\">the scene was sprung as a surprise on Schneider\u003c/a>, then 19, in order to elicit an authentic reaction from her ‘as a girl, not as an actress.’\u003c/p>\n\u003cp>Before her death in 2011, Schneider told an interviewer that she had ‘felt humiliated and…a little raped’ by Brando and Bertolucci. But the director always denied he had mistreated her.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Bertolucci’s final film, 2014’s \u003cem>Me and You\u003c/em>, was his first in a decade due to ongoing health issues, including his use of a wheelchair.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bernardo+Bertolucci%2C+%27Last+Tango+In+Paris%27+Director%2C+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'At Eternity's Gate': Dafoe Is Van Gogh, And You Should Go",
"headTitle": "‘At Eternity’s Gate’: Dafoe Is Van Gogh, And You Should Go | KQED",
"content": "\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\u003c/p>\n\u003cp>https://youtu.be/T77PDm3e1iE\u003c/p>\n\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\u003c/p>\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/T77PDm3e1iE'\n title='//www.youtube.com/embed/T77PDm3e1iE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! ‘Hale County’ is a Cryptic, Haunting Southern Exposure",
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"content": "\u003cp>When Billie Holiday’s lilting version of the romantic ballad \u003cem>Stars Fell on Alabama\u003c/em> slips in under the end credits of \u003cem>Hale County This Morning, This Evening\u003c/em>, it seems an odd choice. How does a mid-20th-century icon of dissolute urban coolness relate to off-the-grid black lives in the present-day rural South? In just a few seconds, though, the viewer conjures a slew of associations: the Alabama connection; the themes of ephemeral longing and eternal loss; and, inevitably, Billie’s rendition of the lynching lament \u003cem>Strange Fruit\u003c/em>.\u003c/p>\n\u003cp>By this point, RaMell Ross’s gorgeously impressionistic documentary has spent 70-odd minutes encouraging us to find our own meanings. \u003cem>Hale County This Morning, This Evening\u003c/em> (beginning Friday, Nov. 23 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/hale-county-this-morning-this-evening/?instance_id=\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, with Ross and executive producer Danny Glover in the house after the opening night show) is a vaguely longitudinal saga of two young men, a determined college basketball player and a less motivated father, filmed in the years after the photographer-cum-filmmaker moved to Alabama. But its heart beats closer to experimental filmmaking than to dramatic narrative or social-issue exposé. Ross’s real subjects are the nature of time and the illusion of movement: Reality is sped up and slowed down via time-lapse photography and long takes, while all activity seems grounded (fixed in place, that is) by a thick air of stasis.\u003c/p>\n\u003cfigure id=\"attachment_13845232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/7_1200-1200x675.jpg\" alt=\"Science class from 'Hale County This Morning, This Evening.'\" width=\"640\" height=\"360\" class=\"size-complete_open_graph wp-image-13845232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Science class from ‘Hale County This Morning, This Evening.’ \u003ccite>(IDIOM Film; courtesy RaMell Ross & Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em> does embody a political point of view in that it wants us to see black people through a prism that upends the usual framing. The athlete, Daniel, isn’t a naïve hoop dreamer, while Quincy, the easygoing father, isn’t on his way to jail or deadbeat dad-dom. Nonetheless, “What is the orbit of our dreaming?” is the film’s initial onscreen question (and erstwhile chapter heading), foregrounding the modesty of Daniel, Quincy and everyone else’s aspirations and opportunities.\u003c/p>\n\u003cp>One doesn’t take away a philosophy from \u003cem>Hale County\u003c/em> so much as memories of cryptic, haunting images. Sunlight refracting through the smoke of a burning tire, a little girl relentlessly running back and forth while her oblivious father watches TV, a nocturnal amateur bluesman in a red coat and hat delivering the raw essence. And a patient, perfectly composed shot looking up through a basketball rim at the crystalline nighttime sky, as if waiting for stars to miraculously drop through the basket onto us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Billie Holiday’s lilting version of the romantic ballad \u003cem>Stars Fell on Alabama\u003c/em> slips in under the end credits of \u003cem>Hale County This Morning, This Evening\u003c/em>, it seems an odd choice. How does a mid-20th-century icon of dissolute urban coolness relate to off-the-grid black lives in the present-day rural South? In just a few seconds, though, the viewer conjures a slew of associations: the Alabama connection; the themes of ephemeral longing and eternal loss; and, inevitably, Billie’s rendition of the lynching lament \u003cem>Strange Fruit\u003c/em>.\u003c/p>\n\u003cp>By this point, RaMell Ross’s gorgeously impressionistic documentary has spent 70-odd minutes encouraging us to find our own meanings. \u003cem>Hale County This Morning, This Evening\u003c/em> (beginning Friday, Nov. 23 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/hale-county-this-morning-this-evening/?instance_id=\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, with Ross and executive producer Danny Glover in the house after the opening night show) is a vaguely longitudinal saga of two young men, a determined college basketball player and a less motivated father, filmed in the years after the photographer-cum-filmmaker moved to Alabama. But its heart beats closer to experimental filmmaking than to dramatic narrative or social-issue exposé. Ross’s real subjects are the nature of time and the illusion of movement: Reality is sped up and slowed down via time-lapse photography and long takes, while all activity seems grounded (fixed in place, that is) by a thick air of stasis.\u003c/p>\n\u003cfigure id=\"attachment_13845232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/7_1200-1200x675.jpg\" alt=\"Science class from 'Hale County This Morning, This Evening.'\" width=\"640\" height=\"360\" class=\"size-complete_open_graph wp-image-13845232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Science class from ‘Hale County This Morning, This Evening.’ \u003ccite>(IDIOM Film; courtesy RaMell Ross & Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em> does embody a political point of view in that it wants us to see black people through a prism that upends the usual framing. The athlete, Daniel, isn’t a naïve hoop dreamer, while Quincy, the easygoing father, isn’t on his way to jail or deadbeat dad-dom. Nonetheless, “What is the orbit of our dreaming?” is the film’s initial onscreen question (and erstwhile chapter heading), foregrounding the modesty of Daniel, Quincy and everyone else’s aspirations and opportunities.\u003c/p>\n\u003cp>One doesn’t take away a philosophy from \u003cem>Hale County\u003c/em> so much as memories of cryptic, haunting images. Sunlight refracting through the smoke of a burning tire, a little girl relentlessly running back and forth while her oblivious father watches TV, a nocturnal amateur bluesman in a red coat and hat delivering the raw essence. And a patient, perfectly composed shot looking up through a basketball rim at the crystalline nighttime sky, as if waiting for stars to miraculously drop through the basket onto us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite.",
"headTitle": "‘Fantastic Beasts: The Crimes Of Grindelwald’: Beasts? Check. Crimes? Check. Fantastic? Not Quite. | KQED",
"content": "\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/8bYBOVWLNIs\u003c/p>\n\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n",
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"excerpt": "The second installment of J.K. Rowling's follow-up 'Potter' franchise is as overstuffed as the first, but it's less muddled.",
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"title": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite. | KQED",
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"headline": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\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/8bYBOVWLNIs'\n title='//www.youtube.com/embed/8bYBOVWLNIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "aretha-franklin-touches-the-infinite-in-the-long-delayed-film-amazing-grace",
"title": "Aretha Franklin Touches The Infinite In The Long-Delayed Film 'Amazing Grace'",
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"headTitle": "Aretha Franklin Touches The Infinite In The Long-Delayed Film ‘Amazing Grace’ | KQED",
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"content": "\u003cp>Music fans have been waiting almost half a century to see a storied documentary that many thought might never see the light of day: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Amazing Grace\u003c/em>. Originally directed by Sydney Pollack and completed by Alan Elliott, the film has been talked about since it was filmed in a Watts, California church in 1972 during the recording sessions for a live album of the same name. Now, 46 years after it was shot, the \u003cem>Amazing Grace\u003c/em> movie was finally shown in public for the first time Monday, with initial screenings in New York City and more on the way nationwide. (It will be have limited runs in Los Angeles and New York before the end of the year in order to qualify for the 2019 Academy Awards; it’s then expected to go into wider circulation early next year.)\u003c/p>\n\u003cp>[contextly_sidebar id=”YDmuodBeetkpX9nsMCWREQF3PzXrFAPd”]\u003c/p>\n\u003cp>As a document of an iconic musician’s skills, the film is essential. But \u003cem>Amazing Grace \u003c/em>is far more than that: Watching it is a transcendent, spine-tingling, uplifting, utterly joyous experience. As cherished as the album version has been since its release, the film is nothing short of a revelation, soaring from one chill-inducing moment to another.\u003c/p>\n\u003cp>Recorded over two January nights at Watts’ New Temple Missionary Baptist Church, \u003cem>Amazing Grace \u003c/em>marked Franklin’s thrilling return to her gospel roots after she’d earned 11 consecutive No. 1 pop and R&B singles, won five Grammys and released more than 20 albums. (In a marketing plan that must have made demographic sense at the time but now seems almost unfathomably tone-deaf, Warner Bros. originally planned to pair the \u003cem>Amazing Grace\u003c/em> movie with \u003cem>Superfly\u003c/em> as a theatrical double-bill.)\u003c/p>\n\u003cp>In short order, the album version became a classic: It went double-platinum and remains one of the biggest-selling recordings in gospel music history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvin Gaye, whose “Wholy Holy” Franklin covers on \u003cem>Amazing Grace\u003c/em>, told her biographer, David Ritz, that the album is “Aretha’s singular masterpiece … her greatest work.” And it’s with “Wholy Holy” that Franklin begins her performance, seated at the piano, with plushly arranged vocals from the choir backing her. It sets the reverent mood for the sessions.\u003c/p>\n\u003cp>That sense of shared spiritual experience, a communion of believers and their God, is what defines \u003cem>Amazing Grace\u003c/em> — a project recorded not in a studio, but in a living church. Moreover, Franklin is surrounded by a community that she understands innately, says Aaron Cohen, who saw the film’s raw footage about a decade ago at Elliott’s invitation. Cohen is a professor at the City Colleges of Chicago, as well as the author of a 2011 \u003ca href=\"https://bloomsbury.com/us/aretha-franklins-amazing-grace-9781441148889\">book\u003c/a> about the album \u003cem>Amazing Grace\u003c/em>.\u003c/p>\n\u003cp>Cohen says it’s essential to understand the community in which Franklin chose to record: the Watts neighborhood of Los Angeles, which, just six and a half years earlier, had \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4795093\">exploded\u003c/a> in riots. The unrest — which stemmed from deep-seated anger in the community over high unemployment, poor medical care, inferior housing, bad schools and tensions with police — left 34 people dead, hundreds injured and the neighborhood devastated.\u003c/p>\n\u003cfigure id=\"attachment_13844893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844893 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg\" alt=\"Singer Aretha Franklin in a still from the documentary Amazing Grace.\" width=\"640\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220.jpg 1032w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Singer Aretha Franklin in a still from the documentary Amazing Grace. \u003ccite>(Courtesy of Al's Records And Tapes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The film shows not just Aretha performing,” he says, “but also this congregation and what it was like to be in a church in Watts in the early ’70s, in the post-civil rights era, in a time when the community was redirecting its energy and deciding where to go next. I believe you can feel that,” he continues, “through the music, through what she’s singing in ‘How I Got Over'” — a song that Clara Ward’s sister \u003ca href=\"http://www.bbc.com/culture/story/20130827-a-song-that-made-america-believe\">claimed\u003c/a> was inspired by a specific incident of racial bullying that the family experienced, but whose lyrics were a touchstone for many black Americans.\u003c/p>\n\u003cp>In David Ritz’s standalone biography of Franklin, 2014’s \u003cem>Respect: The Life of Aretha Franklin\u003c/em>, the singer’s late brother Cecil strikes a similar tone. “I see [\u003cem>Amazing Grace\u003c/em>] as the sacred moment in the life of black people,” he told Ritz. “Think back. We had lost Martin; we had lost Malcolm; we had lost Bobby Kennedy. We were still fighting an immoral war. We had Tricky Dick in the White House. Turmoil, anger, corruption, confusion. We needed reassurance and recommitment. We needed redirection.”\u003c/p>\n\u003cp>As dramatic as the footage is, the \u003cem>Amazing Grace \u003c/em>documentary was plagued by troubles from the outset. The film of the recording sessions was made at the behest of Warner Bros. (the parent company of Franklin’s label, Atlantic Records), which hired actor and director Sydney Pollack to create it. Pollack, who had recently earned his first Oscar nomination (for \u003cem>They Shoot Horses, Don’t They?\u003c/em>), was still green enough as a director to forget an essential need in the pre-digital era: clapper boards to mark the starting points of the visual and audio elements of the film, meaning that what one saw and what one heard were out of sync. The screw-up was so bad that the 20 hours of footage were deemed useless, and the film was jettisoned.\u003c/p>\n\u003cp>Pollack reportedly \u003ca href=\"https://www.hollywoodreporter.com/news/sydney-pollacks-amazing-grace-tortured-820294\">dreamed\u003c/a> of returning to the material, but that never came to fruition. There were other attempts, though. “It was a very tedious and long process. Initially they tried, and they only got through about 20 feet of film and they gave up,” Franklin’s niece and the executor of her estate, Sabrina Owens, tells NPR. “And so it ended up on somebody’s cutting floor somewhere for years — for decades, actually.”\u003c/p>\n\u003cp>Years later, a former Atlantic A&R staffer-turned-producer named Alan Elliott took up the cause of seeing the \u003cem>Amazing Grace\u003c/em> film through, and by around 2010 had painstakingly matched the movie with the sound. But Franklin wouldn’t allow the documentary to be released. In 2011, she sued Elliott on the grounds of using her likeness without her permission. In 2015, she sued \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/04/437648259/aretha-franklin-blocks-premiere-of-concert-film-amazing-grace\">again\u003c/a> to prevent the film from being screened at the Telluride Film Festival.\u003c/p>\n\u003cp>Elliott was tenacious, however. In the weeks after Franklin’s death in August, he persuaded her family to let the film be released at long last. Owens says it started with a call she received from Elliott. “He asked if he could come and preview the film for friends and family,” she recalls. “I said yes. They previewed it for us at the Charles H. Wright Museum of African-American History [in Detroit] before about 40 or 50 family members, and we all delighted in what we saw.”\u003c/p>\n\u003cp>Part of that pleasure is in seeing Franklin work alongside her colleagues; these are musicians who innately feel each other, who are able to anticipate each other’s every move. Franklin had a crack team of collaborators, including her band of stellar players (Bernard “Pretty” Purdie on drums, guitarist Cornell Dupree and bassist Chuck Rainey). The backing choir was directed by Rev. James Cleveland, who had formerly served as the minister of music at Aretha’s father’s church, New Bethel Baptist in Detroit, and was one of Franklin’s mentors and a gospel-music giant in his own right.\u003c/p>\n\u003cp>And, as \u003cem>Amazing Grace\u003c/em> abundantly demonstrates, his Southern California Community Choir was an extraordinary ensemble — a group which Franklin called “one of the best anywhere” in the 1999 autobiography, \u003cem>From These Roots\u003c/em>, which she co-wrote with author David Ritz. Cleveland also serves as the genial emcee for the recording sessions. (At the start of the first night, he reminds the people in attendance that this is a church service taking place in the Lord’s house — but adds at the beginning of the second session, “Don’t be bashful when the camera comes your way … so while it comin’ your way, get in on it, all right?!”)\u003c/p>\n\u003cp>There’s no narrative to the film, and — aside from nothing more of a glimpse of a rehearsal — no behind-the-scenes segments to make viewers feel as if they’re learning more about Franklin’s process or gaining insights into her day-to-day life.\u003c/p>\n\u003cp>Instead, what viewers bear witness to is the \u003cem>work\u003c/em> of creating ecstasy: the rivers of sweat on Franklin and Cleveland, the eye makeup streaking down her face. The you-are-there framing keeps a close watch on Aretha as she swoops and sweeps with the greatest of ease, skipping between dizzying runs and effortless slides that remind you of what a masterful jazz singer she was. We see mental wheels spinning as Cleveland and Alexander Hamilton, the assistant choir director, keep driving the choir into ever-greater surges of emotion while keeping them immaculately tight.\u003c/p>\n\u003cp>Moreover, the film captures the breathtaking force of feeling from both artists and congregants. Near the end of the song “Amazing Grace,” for which Cleveland has been accompanying Franklin on the piano, he slides off the piano bench, giving his space to Hamilton, and surrenders to shoulder-heaving sobs, rocking himself back and forth in a congregational seat. He’s not the only one — by this point, audience and performers alike are wiping tears from their faces — and when Franklin herself sinks down into a seat at the song’s conclusion, she well may be weeping, too. But her face is so sparkling with perspiration, it’s impossible to tell for sure.\u003c/p>\n\u003cp>Sabrina Owens says that such moments reveal an intimate facet of the resplendent Queen of Soul. “I think that seeing her in this setting helps them to understand Aretha as a person,” she says. “She came from the church. She is a daughter of the church. Her faith was so strong and she just loved gospel music. And I think seeing her in this element, it has to make you feel \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Franklin was surrounded by family at these performances. There are some beautiful moments between Franklin and her father, the famed preacher Rev. C.L. Franklin, who comes to the second night’s session to sit in the front row alongside gospel legend Clara Ward, one of Aretha Franklin’s closest guides and her father’s longtime girlfriend. Ward seems caught between delight and other feelings — wistfulness? melancholy? — as Franklin, nearly 20 years younger, wails “Never Grow Old” from the piano a few feet away. Meanwhile, Clara Ward’s mother, Gertrude, the founder of the Ward Singers, appears to faint a short distance away, as Pollack gestures wildly to his cameramen to capture the scene. (There were at least a couple of other celebrities in attendance that night: The cameras alight upon Mick Jagger and Charlie Watts of The Rolling Stones at the back of the congregation.)\u003c/p>\n\u003cp>During that second night of recording, Franklin watches her father with shining eyes as he mounts the pulpit to wax ecstatic about her talents. After delivering remarks in his stentorian, mahogany tones, he gleefully tells the congregation, “She is a \u003cem>stone\u003c/em> singer,” while she melts into a smile. But in a gesture and response intimately familiar to generations of parents and children, we also see a flicker of annoyance in the nearly 30-year-old’s fleetingly pursed lips as her father, apparently unbidden, daubs some perspiration off her face while she sings.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those kinds of understated and elemental moments, Sabrina Owens says, is what makes the film so special. “It was just Aretha standing there singing,” she says. “In her element, in a church setting, just doing what she does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Touches+The+Infinite+In+The+Long-Delayed+Film+%27Amazing+Grace%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It's been worth the long, long wait: \u003cem>Amazing Grace\u003c/em>, from 1972, is an extraordinary document that depicts an artist at her height.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music fans have been waiting almost half a century to see a storied documentary that many thought might never see the light of day: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Amazing Grace\u003c/em>. Originally directed by Sydney Pollack and completed by Alan Elliott, the film has been talked about since it was filmed in a Watts, California church in 1972 during the recording sessions for a live album of the same name. Now, 46 years after it was shot, the \u003cem>Amazing Grace\u003c/em> movie was finally shown in public for the first time Monday, with initial screenings in New York City and more on the way nationwide. (It will be have limited runs in Los Angeles and New York before the end of the year in order to qualify for the 2019 Academy Awards; it’s then expected to go into wider circulation early next year.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a document of an iconic musician’s skills, the film is essential. But \u003cem>Amazing Grace \u003c/em>is far more than that: Watching it is a transcendent, spine-tingling, uplifting, utterly joyous experience. As cherished as the album version has been since its release, the film is nothing short of a revelation, soaring from one chill-inducing moment to another.\u003c/p>\n\u003cp>Recorded over two January nights at Watts’ New Temple Missionary Baptist Church, \u003cem>Amazing Grace \u003c/em>marked Franklin’s thrilling return to her gospel roots after she’d earned 11 consecutive No. 1 pop and R&B singles, won five Grammys and released more than 20 albums. (In a marketing plan that must have made demographic sense at the time but now seems almost unfathomably tone-deaf, Warner Bros. originally planned to pair the \u003cem>Amazing Grace\u003c/em> movie with \u003cem>Superfly\u003c/em> as a theatrical double-bill.)\u003c/p>\n\u003cp>In short order, the album version became a classic: It went double-platinum and remains one of the biggest-selling recordings in gospel music history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvin Gaye, whose “Wholy Holy” Franklin covers on \u003cem>Amazing Grace\u003c/em>, told her biographer, David Ritz, that the album is “Aretha’s singular masterpiece … her greatest work.” And it’s with “Wholy Holy” that Franklin begins her performance, seated at the piano, with plushly arranged vocals from the choir backing her. It sets the reverent mood for the sessions.\u003c/p>\n\u003cp>That sense of shared spiritual experience, a communion of believers and their God, is what defines \u003cem>Amazing Grace\u003c/em> — a project recorded not in a studio, but in a living church. Moreover, Franklin is surrounded by a community that she understands innately, says Aaron Cohen, who saw the film’s raw footage about a decade ago at Elliott’s invitation. Cohen is a professor at the City Colleges of Chicago, as well as the author of a 2011 \u003ca href=\"https://bloomsbury.com/us/aretha-franklins-amazing-grace-9781441148889\">book\u003c/a> about the album \u003cem>Amazing Grace\u003c/em>.\u003c/p>\n\u003cp>Cohen says it’s essential to understand the community in which Franklin chose to record: the Watts neighborhood of Los Angeles, which, just six and a half years earlier, had \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4795093\">exploded\u003c/a> in riots. The unrest — which stemmed from deep-seated anger in the community over high unemployment, poor medical care, inferior housing, bad schools and tensions with police — left 34 people dead, hundreds injured and the neighborhood devastated.\u003c/p>\n\u003cfigure id=\"attachment_13844893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844893 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg\" alt=\"Singer Aretha Franklin in a still from the documentary Amazing Grace.\" width=\"640\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220.jpg 1032w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Singer Aretha Franklin in a still from the documentary Amazing Grace. \u003ccite>(Courtesy of Al's Records And Tapes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The film shows not just Aretha performing,” he says, “but also this congregation and what it was like to be in a church in Watts in the early ’70s, in the post-civil rights era, in a time when the community was redirecting its energy and deciding where to go next. I believe you can feel that,” he continues, “through the music, through what she’s singing in ‘How I Got Over'” — a song that Clara Ward’s sister \u003ca href=\"http://www.bbc.com/culture/story/20130827-a-song-that-made-america-believe\">claimed\u003c/a> was inspired by a specific incident of racial bullying that the family experienced, but whose lyrics were a touchstone for many black Americans.\u003c/p>\n\u003cp>In David Ritz’s standalone biography of Franklin, 2014’s \u003cem>Respect: The Life of Aretha Franklin\u003c/em>, the singer’s late brother Cecil strikes a similar tone. “I see [\u003cem>Amazing Grace\u003c/em>] as the sacred moment in the life of black people,” he told Ritz. “Think back. We had lost Martin; we had lost Malcolm; we had lost Bobby Kennedy. We were still fighting an immoral war. We had Tricky Dick in the White House. Turmoil, anger, corruption, confusion. We needed reassurance and recommitment. We needed redirection.”\u003c/p>\n\u003cp>As dramatic as the footage is, the \u003cem>Amazing Grace \u003c/em>documentary was plagued by troubles from the outset. The film of the recording sessions was made at the behest of Warner Bros. (the parent company of Franklin’s label, Atlantic Records), which hired actor and director Sydney Pollack to create it. Pollack, who had recently earned his first Oscar nomination (for \u003cem>They Shoot Horses, Don’t They?\u003c/em>), was still green enough as a director to forget an essential need in the pre-digital era: clapper boards to mark the starting points of the visual and audio elements of the film, meaning that what one saw and what one heard were out of sync. The screw-up was so bad that the 20 hours of footage were deemed useless, and the film was jettisoned.\u003c/p>\n\u003cp>Pollack reportedly \u003ca href=\"https://www.hollywoodreporter.com/news/sydney-pollacks-amazing-grace-tortured-820294\">dreamed\u003c/a> of returning to the material, but that never came to fruition. There were other attempts, though. “It was a very tedious and long process. Initially they tried, and they only got through about 20 feet of film and they gave up,” Franklin’s niece and the executor of her estate, Sabrina Owens, tells NPR. “And so it ended up on somebody’s cutting floor somewhere for years — for decades, actually.”\u003c/p>\n\u003cp>Years later, a former Atlantic A&R staffer-turned-producer named Alan Elliott took up the cause of seeing the \u003cem>Amazing Grace\u003c/em> film through, and by around 2010 had painstakingly matched the movie with the sound. But Franklin wouldn’t allow the documentary to be released. In 2011, she sued Elliott on the grounds of using her likeness without her permission. In 2015, she sued \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/04/437648259/aretha-franklin-blocks-premiere-of-concert-film-amazing-grace\">again\u003c/a> to prevent the film from being screened at the Telluride Film Festival.\u003c/p>\n\u003cp>Elliott was tenacious, however. In the weeks after Franklin’s death in August, he persuaded her family to let the film be released at long last. Owens says it started with a call she received from Elliott. “He asked if he could come and preview the film for friends and family,” she recalls. “I said yes. They previewed it for us at the Charles H. Wright Museum of African-American History [in Detroit] before about 40 or 50 family members, and we all delighted in what we saw.”\u003c/p>\n\u003cp>Part of that pleasure is in seeing Franklin work alongside her colleagues; these are musicians who innately feel each other, who are able to anticipate each other’s every move. Franklin had a crack team of collaborators, including her band of stellar players (Bernard “Pretty” Purdie on drums, guitarist Cornell Dupree and bassist Chuck Rainey). The backing choir was directed by Rev. James Cleveland, who had formerly served as the minister of music at Aretha’s father’s church, New Bethel Baptist in Detroit, and was one of Franklin’s mentors and a gospel-music giant in his own right.\u003c/p>\n\u003cp>And, as \u003cem>Amazing Grace\u003c/em> abundantly demonstrates, his Southern California Community Choir was an extraordinary ensemble — a group which Franklin called “one of the best anywhere” in the 1999 autobiography, \u003cem>From These Roots\u003c/em>, which she co-wrote with author David Ritz. Cleveland also serves as the genial emcee for the recording sessions. (At the start of the first night, he reminds the people in attendance that this is a church service taking place in the Lord’s house — but adds at the beginning of the second session, “Don’t be bashful when the camera comes your way … so while it comin’ your way, get in on it, all right?!”)\u003c/p>\n\u003cp>There’s no narrative to the film, and — aside from nothing more of a glimpse of a rehearsal — no behind-the-scenes segments to make viewers feel as if they’re learning more about Franklin’s process or gaining insights into her day-to-day life.\u003c/p>\n\u003cp>Instead, what viewers bear witness to is the \u003cem>work\u003c/em> of creating ecstasy: the rivers of sweat on Franklin and Cleveland, the eye makeup streaking down her face. The you-are-there framing keeps a close watch on Aretha as she swoops and sweeps with the greatest of ease, skipping between dizzying runs and effortless slides that remind you of what a masterful jazz singer she was. We see mental wheels spinning as Cleveland and Alexander Hamilton, the assistant choir director, keep driving the choir into ever-greater surges of emotion while keeping them immaculately tight.\u003c/p>\n\u003cp>Moreover, the film captures the breathtaking force of feeling from both artists and congregants. Near the end of the song “Amazing Grace,” for which Cleveland has been accompanying Franklin on the piano, he slides off the piano bench, giving his space to Hamilton, and surrenders to shoulder-heaving sobs, rocking himself back and forth in a congregational seat. He’s not the only one — by this point, audience and performers alike are wiping tears from their faces — and when Franklin herself sinks down into a seat at the song’s conclusion, she well may be weeping, too. But her face is so sparkling with perspiration, it’s impossible to tell for sure.\u003c/p>\n\u003cp>Sabrina Owens says that such moments reveal an intimate facet of the resplendent Queen of Soul. “I think that seeing her in this setting helps them to understand Aretha as a person,” she says. “She came from the church. She is a daughter of the church. Her faith was so strong and she just loved gospel music. And I think seeing her in this element, it has to make you feel \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Franklin was surrounded by family at these performances. There are some beautiful moments between Franklin and her father, the famed preacher Rev. C.L. Franklin, who comes to the second night’s session to sit in the front row alongside gospel legend Clara Ward, one of Aretha Franklin’s closest guides and her father’s longtime girlfriend. Ward seems caught between delight and other feelings — wistfulness? melancholy? — as Franklin, nearly 20 years younger, wails “Never Grow Old” from the piano a few feet away. Meanwhile, Clara Ward’s mother, Gertrude, the founder of the Ward Singers, appears to faint a short distance away, as Pollack gestures wildly to his cameramen to capture the scene. (There were at least a couple of other celebrities in attendance that night: The cameras alight upon Mick Jagger and Charlie Watts of The Rolling Stones at the back of the congregation.)\u003c/p>\n\u003cp>During that second night of recording, Franklin watches her father with shining eyes as he mounts the pulpit to wax ecstatic about her talents. After delivering remarks in his stentorian, mahogany tones, he gleefully tells the congregation, “She is a \u003cem>stone\u003c/em> singer,” while she melts into a smile. But in a gesture and response intimately familiar to generations of parents and children, we also see a flicker of annoyance in the nearly 30-year-old’s fleetingly pursed lips as her father, apparently unbidden, daubs some perspiration off her face while she sings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those kinds of understated and elemental moments, Sabrina Owens says, is what makes the film so special. “It was just Aretha standing there singing,” she says. “In her element, in a church setting, just doing what she does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Touches+The+Infinite+In+The+Long-Delayed+Film+%27Amazing+Grace%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay's Scrappiness to Life",
"headTitle": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay’s Scrappiness to Life | KQED",
"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Virtue is often associated with beauty, and evil with ugliness. But in Argentina in the 1970s, there was a teen serial killer so strikingly becoming he was known as \u003cem>El Angel\u003c/em> — the Angel of Death. \u003c/p>\n\u003cp>When we meet him in Argentine writer/director Luis Ortega’s film, Carlos (Lorenzo Ferro) is a 17-year-old halo of curls in denim jacket and jeans — slender, baby-faced, pouty-lipped. The first thing we see him do is sneak into an empty mansion, fix himself a drink and help himself to jewelry. Then he puts on an LP, dances with loose-limbed abandon, steals a motorcycle and — still before the opening titles — heads home.\u003c/p>\n\u003cp>Carlos is a handful — he’s spent his teen years in and out of juvenile detention, selling his folks on the notion that friends just give him the things he steals. Dad’s skeptical: \u003c/p>\n\u003cp>“What you haven’t got, be patient,” he tells his son. “With hard work, you’ll get it.” \u003c/p>\n\u003cp>Carlos prefers shortcuts — picking a fight with a handsome classmate he has a crush on, say, to make him a pal. That classmate, Ramon (Chino Darin), is the son of a petty criminal (Daniel Fanago) who lets Carlos tag along as they case a gun shop after hours. But Carlos doesn’t just look around — he comes out with armloads of rifles, then goes back for ammo. This earns him a place in the family “business,” as it were, and a fake ID with a name that pleases him: Carlos Brown. (Which is to say: Charlie Brown.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A crime spree unfolds – first burglaries, then an accidental murder, then murders on purpose. It’s all stylized and swoony, as shot by Ortega. \u003cem>Seriously \u003c/em>swoony: While robbing a jewelry store, Carlos, looking for all the world like Marilyn Monroe, brushes back his blond ringlets to put on earrings. Ramon stands next to him, stares into the mirror before them, and strikes a pose. \u003c/p>\n\u003cp>“Che and Fidel,” Ramon says. \u003c/p>\n\u003cp>“Evita and Peron,” corrects Carlos — which leaves his partner looking vaguely nonplussed. “Hey, we’re alive,” he continues, as they fill bags with necklaces, “why can’t you enjoy it?” \u003c/p>\n\u003cp>The real story is less palatable than\u003cem> El Angel\u003c/em>‘s eroticized take. The real baby-faced serial killer had just turned 20 when he was arrested in the early ’70s for 11 murders, a rape, and numerous sexual assaults. \u003c/p>\n\u003cp>He’s still in prison, but his story continues to fascinate in Argentina, where\u003cem> El Angel\u003c/em> opened to the highest box-office take ever for an Argentine film. Credit a seductive performance by first-timer Ferro, who bears a striking resemblance to the real Angel of Death. The director surrounds him with mid-century details — the Ford Falcons favored by police thugs in pre-dictatorship Buenos Aires, and music cues from the 1970s. He also fills the screen with close-ups of pursed lips, luminous pearls, burning cigarette ash. \u003c/p>\n\u003cp>As a result, \u003cem>El Angel\u003c/em> is sensuous enough to suggest the work of Pedro Almodovar (who was, in fact, its producer). It’s also unsettling, as it makes a cinematic case for something Ramon tells the title character when they’re just starting out:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The world belongs to outlaws and artists,” he says. “Everyone else has to work for a living.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Death+Wears+A+Pleasing+Face+In+The+Swoony%2C+Stylized+%27El+Angel%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A crime spree unfolds – first burglaries, then an accidental murder, then murders on purpose. It’s all stylized and swoony, as shot by Ortega. \u003cem>Seriously \u003c/em>swoony: While robbing a jewelry store, Carlos, looking for all the world like Marilyn Monroe, brushes back his blond ringlets to put on earrings. Ramon stands next to him, stares into the mirror before them, and strikes a pose. \u003c/p>\n\u003cp>“Che and Fidel,” Ramon says. \u003c/p>\n\u003cp>“Evita and Peron,” corrects Carlos — which leaves his partner looking vaguely nonplussed. “Hey, we’re alive,” he continues, as they fill bags with necklaces, “why can’t you enjoy it?” \u003c/p>\n\u003cp>The real story is less palatable than\u003cem> El Angel\u003c/em>‘s eroticized take. The real baby-faced serial killer had just turned 20 when he was arrested in the early ’70s for 11 murders, a rape, and numerous sexual assaults. \u003c/p>\n\u003cp>He’s still in prison, but his story continues to fascinate in Argentina, where\u003cem> El Angel\u003c/em> opened to the highest box-office take ever for an Argentine film. Credit a seductive performance by first-timer Ferro, who bears a striking resemblance to the real Angel of Death. The director surrounds him with mid-century details — the Ford Falcons favored by police thugs in pre-dictatorship Buenos Aires, and music cues from the 1970s. He also fills the screen with close-ups of pursed lips, luminous pearls, burning cigarette ash. \u003c/p>\n\u003cp>As a result, \u003cem>El Angel\u003c/em> is sensuous enough to suggest the work of Pedro Almodovar (who was, in fact, its producer). It’s also unsettling, as it makes a cinematic case for something Ramon tells the title character when they’re just starting out:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The world belongs to outlaws and artists,” he says. “Everyone else has to work for a living.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Death+Wears+A+Pleasing+Face+In+The+Swoony%2C+Stylized+%27El+Angel%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nijla Mu'min Brings a Black Muslim Coming-of-Age Story to the Big Screen",
"headTitle": "Nijla Mu’min Brings a Black Muslim Coming-of-Age Story to the Big Screen | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nijla Mu’min didn’t grow up with much media that reflected her experience as an African-American Muslim woman, so she created her own. Her semi-autobiographical film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, follows a teen girl named Summer as she navigates friendship, love, sexuality—and all the confusing territory that comes with being a teenager—while adjusting to her mom’s newfound Islamic faith. “I love the African-American Muslim community I was born into, but just like many teenage girls and teenagers, I began to question a lot as I got older,” says \u003ca href=\"https://www.nijlamumin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mu’min\u003c/a>, who was born and raised in the East Bay and attended a mosque in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Summer’s mom converts to Islam, her expectations of her daughter clash with Summer’s lived reality as a high schooler in Los Angeles, where Mu’min shot the film. Questions of family and belonging, faith and community arise as Summer attempts to balance her religion and the pressures of being a teen—something Mu’min went through as a young girl in the Bay Area, though she says her parents weren’t quite as strict. Mu’min, whose directorial credits include Ava Duvernay’s hit series \u003ci>Queen Sugar\u003c/i> on Oprah’s TV network\u003c/span>\u003cspan style=\"font-weight: 400\">, addresses these threads of inquiry with skill; her characters don’t have all the answers, and the messy ways they respond to their complex circumstances makes them feel all the more human.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.jinnfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> enjoyed a successful run on the festival circuit, picking up awards at SXSW and the Blackstar Film Festival. Following a sold-out Oakland premiere last month at the Matatu Festival at Grand Lake Theatre, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hits theaters on Nov. 15. KQED Arts sat down with Mu’min to learn more about her first love of poetry, the motivations behind her filmmaking and how more diverse representation in Hollywood can lead to better, more nuanced storytelling.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13844456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844456 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaking was a natural progression from other arts forms that I was immersed in first — creative writing and poetry. I started writing poetry when I was a young girl and continued throughout college into adulthood. Then when I attended UC Berkeley, I developed a love of 35 millimeter film photography; developing and printing my own photos was just very cathartic for me, and I loved telling stories through photography. So I felt like filmmaking was the next destination for me. I started to take film classes at UC Berkeley and made my first short film on a North Oakland street corner. And from there I went to film school at \u003c/span>\u003cspan style=\"font-weight: 400\">the California Institute of the Arts (CalArts.) \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Success for me is being able to create and keep creating and to know that those creations are impacting people on an emotional level. At the same time I want to be able to live comfortably and be able to have a car and pay my bills. 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I was told that I couldn’t do something, and I said, ‘no, I can do it.’ And I feel like that’s my greatest strength. Being told that I couldn’t do something, only made me do it better.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2.jpg 1513w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What is something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I would tell myself to not always seek approval from other people, because if that’s what’s motivating you, that is not going to be sustainable. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nijla Mu’min didn’t grow up with much media that reflected her experience as an African-American Muslim woman, so she created her own. Her semi-autobiographical film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, follows a teen girl named Summer as she navigates friendship, love, sexuality—and all the confusing territory that comes with being a teenager—while adjusting to her mom’s newfound Islamic faith. “I love the African-American Muslim community I was born into, but just like many teenage girls and teenagers, I began to question a lot as I got older,” says \u003ca href=\"https://www.nijlamumin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mu’min\u003c/a>, who was born and raised in the East Bay and attended a mosque in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Summer’s mom converts to Islam, her expectations of her daughter clash with Summer’s lived reality as a high schooler in Los Angeles, where Mu’min shot the film. Questions of family and belonging, faith and community arise as Summer attempts to balance her religion and the pressures of being a teen—something Mu’min went through as a young girl in the Bay Area, though she says her parents weren’t quite as strict. Mu’min, whose directorial credits include Ava Duvernay’s hit series \u003ci>Queen Sugar\u003c/i> on Oprah’s TV network\u003c/span>\u003cspan style=\"font-weight: 400\">, addresses these threads of inquiry with skill; her characters don’t have all the answers, and the messy ways they respond to their complex circumstances makes them feel all the more human.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.jinnfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> enjoyed a successful run on the festival circuit, picking up awards at SXSW and the Blackstar Film Festival. Following a sold-out Oakland premiere last month at the Matatu Festival at Grand Lake Theatre, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hits theaters on Nov. 15. KQED Arts sat down with Mu’min to learn more about her first love of poetry, the motivations behind her filmmaking and how more diverse representation in Hollywood can lead to better, more nuanced storytelling.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13844456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844456 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaking was a natural progression from other arts forms that I was immersed in first — creative writing and poetry. I started writing poetry when I was a young girl and continued throughout college into adulthood. Then when I attended UC Berkeley, I developed a love of 35 millimeter film photography; developing and printing my own photos was just very cathartic for me, and I loved telling stories through photography. So I felt like filmmaking was the next destination for me. I started to take film classes at UC Berkeley and made my first short film on a North Oakland street corner. And from there I went to film school at \u003c/span>\u003cspan style=\"font-weight: 400\">the California Institute of the Arts (CalArts.) \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Success for me is being able to create and keep creating and to know that those creations are impacting people on an emotional level. At the same time I want to be able to live comfortably and be able to have a car and pay my bills. So that is a part of success too. We’re taught, ‘oh, we’re just artists, and we’re just here to make art.’ But we have to have a sustainable life. And I’m trying to get to the point where I don’t have to worry about how am I going to pay my rent and I can create every single day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration for you that might be surprising to other people? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t really share this a lot, but when I was a young girl, in the first grade, I had some struggles with reading. Reading and writing was difficult. And I had a teacher who even went to the point of saying that maybe I should repeat the grade. I didn’t want that, so it became like an obsession. I became such an avid reader. I started reading novels, adult fiction, black fiction, black history books, anything I could get my hands on. Then I started writing. So that core inspiration is I was doubted at an early age. I was told that I couldn’t do something, and I said, ‘no, I can do it.’ And I feel like that’s my greatest strength. Being told that I couldn’t do something, only made me do it better.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2.jpg 1513w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What is something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I would tell myself to not always seek approval from other people, because if that’s what’s motivating you, that is not going to be sustainable. Early on, I wanted to be in certain places; I wanted to be accepted by certain people. Sometimes we need that approval to just remind us that we need to keep going. But when it doesn’t come, you have to find another way to be inspired — either from inside yourself or being around other like-minded artists or going to a movie and being moved by someone else’s art. You have to know in your heart that you have to tell your truth, and you’re going to do it no matter what, and it’s something that people want to see.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
"link": "/radio/program/bbc-world-service",
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},
"californiareport": {
"id": "californiareport",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"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 />",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. 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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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