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"content": "\u003cp>The effort by a group of investors to buy the Weinstein Co., founded by the disgraced Hollywood mogul Harvey Weinstein, has ended.\u003c/p>\n\u003cp>The collapse of the deal was confirmed in a statement issued Tuesday by Maria Contreras-Sweet, a former Obama administration official.\u003c/p>\n\u003cblockquote>\n\u003cp>“All of us have worked in earnest on the transaction to purchase the assets of The Weinstein Company. However, after signing and entering into the confirmatory diligence phase, we have received disappointing information about the viability of completing this transaction.\u003c/p>\n\u003cp>“As a result, we have decided to terminate this transaction.”\u003c/p>\n\u003c/blockquote>\n\u003cp>A source familiar with the deal told NPR that the “disappointing information” was the revelation of another $50 million-plus of debt, in addition to that previously known by the investors. Another source close to the negotiations said it was a combination of the new information and the worry that more debt could be uncovered later that killed the deal.\u003c/p>\n\u003cp>Contreras-Sweet had headed the Small Business Administration under President Barack Obama. She led a group of investors backed by billionaire Ron Burkle.\u003c/p>\n\u003cp>As the Two-Way \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/01/590091949/investor-group-has-deal-to-buy-weinstein-co-start-new-movie-studio\">reported\u003c/a>, the investor group had hoped to salvage the New York-based Weinstein Co. after it announced in late February that it would file for bankruptcy in the wake of a storm of allegations of sexual misconduct, including rape, against Harvey Weinstein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company also was hit by a civil rights lawsuit filed by New York Attorney General Eric Schneiderman alleging that it broke state laws against sexual harassment and discrimination.\u003c/p>\n\u003cp>“We’ll be disappointed if the parties cannot work out their differences and close the deal. Our lawsuit against the Weinstein Company, Bob Weinstein, and Harvey Weinstein remains active and our investigation is ongoing,” said Schneiderman’s press secretary Amy Spitalnick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Contreras-Sweet thanked Schneiderman, Burkle and other investors involved in the now-collapsed deal. She also left open the possibility of pursuing company assets in bankruptcy proceedings.\u003c/p>\n\u003cblockquote>\n\u003cp>“I believe that our vision to create a women-led film studio is still the correct course of action. To that end, we will consider acquiring assets that may become available in the event of bankruptcy proceedings, as well as other opportunities that may become available in the entertainment industry.\u003c/p>\n\u003cp>“I remain committed to working to advance women’s business ownership in all sectors and to inspire girls to envision their futures as leaders of important companies.”\u003c/p>\n\u003c/blockquote>\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=Deal+To+Take+Over+The+Weinstein+Co.+Falls+Through&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The effort by a group of investors to buy the Weinstein Co., founded by the disgraced Hollywood mogul Harvey Weinstein, has ended.\u003c/p>\n\u003cp>The collapse of the deal was confirmed in a statement issued Tuesday by Maria Contreras-Sweet, a former Obama administration official.\u003c/p>\n\u003cblockquote>\n\u003cp>“All of us have worked in earnest on the transaction to purchase the assets of The Weinstein Company. However, after signing and entering into the confirmatory diligence phase, we have received disappointing information about the viability of completing this transaction.\u003c/p>\n\u003cp>“As a result, we have decided to terminate this transaction.”\u003c/p>\n\u003c/blockquote>\n\u003cp>A source familiar with the deal told NPR that the “disappointing information” was the revelation of another $50 million-plus of debt, in addition to that previously known by the investors. Another source close to the negotiations said it was a combination of the new information and the worry that more debt could be uncovered later that killed the deal.\u003c/p>\n\u003cp>Contreras-Sweet had headed the Small Business Administration under President Barack Obama. She led a group of investors backed by billionaire Ron Burkle.\u003c/p>\n\u003cp>As the Two-Way \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/01/590091949/investor-group-has-deal-to-buy-weinstein-co-start-new-movie-studio\">reported\u003c/a>, the investor group had hoped to salvage the New York-based Weinstein Co. after it announced in late February that it would file for bankruptcy in the wake of a storm of allegations of sexual misconduct, including rape, against Harvey Weinstein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company also was hit by a civil rights lawsuit filed by New York Attorney General Eric Schneiderman alleging that it broke state laws against sexual harassment and discrimination.\u003c/p>\n\u003cp>“We’ll be disappointed if the parties cannot work out their differences and close the deal. Our lawsuit against the Weinstein Company, Bob Weinstein, and Harvey Weinstein remains active and our investigation is ongoing,” said Schneiderman’s press secretary Amy Spitalnick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Contreras-Sweet thanked Schneiderman, Burkle and other investors involved in the now-collapsed deal. She also left open the possibility of pursuing company assets in bankruptcy proceedings.\u003c/p>\n\u003cblockquote>\n\u003cp>“I believe that our vision to create a women-led film studio is still the correct course of action. To that end, we will consider acquiring assets that may become available in the event of bankruptcy proceedings, as well as other opportunities that may become available in the entertainment industry.\u003c/p>\n\u003cp>“I remain committed to working to advance women’s business ownership in all sectors and to inspire girls to envision their futures as leaders of important companies.”\u003c/p>\n\u003c/blockquote>\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=Deal+To+Take+Over+The+Weinstein+Co.+Falls+Through&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The powerhouse ratings grabber that is the Oscars telecast dropped to record low viewership this year, falling nearly 20 percent from 2017. It’s the fourth consecutive year that viewership has declined.\u003c/p>\n\u003cp>Usually tied to the success of blockbuster movie hits, normally no fewer than 30 million people tune in on the big night to see the outcome of movie nominees. But this year just 26.5 million people watched, according to Nielsen records — which is even fewer than this year’s Winter Olympics opening ceremony in Pyeongchang, which drew 27.8 million viewers.\u003c/p>\n\u003cp>Box office numbers for nominated films have often signaled how ratings on the big night will fare, per The Associated Press:\u003c/p>\n\u003cblockquote>\n\u003cp>“The previous low-water mark for the Oscars came in 2008, when ‘No Country For Old Men’ won best picture.\u003c/p>\n\u003cp>Only four years ago the Oscar reached nearly 44 million viewers. The biggest Academy Awards audience on record came in 1998, when the blockbuster ‘Titanic’ was named best picture.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Acute political statements from celebrities also took center stage at this year’s 90th Academy Awards. Conservative media didn’t hesitate to link the low ratings to the powerful messages from social advocates.\u003c/p>\n\u003cp>\u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2018/03/05/the-anti-trump-oscars-were-a-ratings-disaster-conservatives-are-delighted/?utm_term=.5a70664b3381\">The Washington Post highlighted\u003c/a> sentiments perceived as “anti-Trump”:\u003c/p>\n\u003cblockquote>\n\u003cp>“On Monday, the awards show’s low ratings were a hot topic on Fox News, discussed at the top of the hour on both Tucker Carlson’s and Sean Hannity’s evening shows. Piers Morgan’s column for ‘The Daily Mail’ was \u003ca href=\"http://www.dailymail.co.uk/news/article-5465085/PIERS-MORGAN-10-point-plan-save-Oscars.html\">a 10-point plan to save the Oscars\u003c/a>. A headline \u003ca href=\"http://dailycaller.com/2018/03/05/oscars-ratings-all-time-low/\">on The Daily Caller’s website\u003c/a> read, ‘The Ratings For Jimmy Kimmel’s Trump Hate-Fest Oscars Crater Towards All-Time Low.’ And \u003ca href=\"http://www.breitbart.com/big-hollywood/2018/03/05/collapse-oscar-ratings-crash-double-digits/\">John Nolte of Breitbart News\u003c/a> said the ‘writing was on the wall for this ratings catastrophe,’ calling Kimmel one of the most ‘divisive and polarizing figures in the country’ and a ‘Trump-hating Democrat.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>On Tuesday, President Trump echoed the sentiments of conservatives in a morning tweet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/realDonaldTrump/status/971013841395027968\u003c/p>\n\u003cp>The Oscars are also facing competition with streaming video, a recent challenge incurred by all major television events, according to the \u003cem>Los Angeles Times.\u003c/em> Viewing habits are changing as well, and “younger viewers are also showing a tendency to watch highlights of major TV events on social media platforms rather than watch a program in real time on television.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Nielsen, which has been registering ratings for the The Academy Awards since 1974, the Oscars still bests other awards shows, such as The Golden Globes which “reached 19 million viewers in January and the Grammys [with] an audience of 19.8 million.” \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=Oscars+TV+Ratings+Fall%2C+Again+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The powerhouse ratings grabber that is the Oscars telecast dropped to record low viewership this year, falling nearly 20 percent from 2017. It’s the fourth consecutive year that viewership has declined.\u003c/p>\n\u003cp>Usually tied to the success of blockbuster movie hits, normally no fewer than 30 million people tune in on the big night to see the outcome of movie nominees. But this year just 26.5 million people watched, according to Nielsen records — which is even fewer than this year’s Winter Olympics opening ceremony in Pyeongchang, which drew 27.8 million viewers.\u003c/p>\n\u003cp>Box office numbers for nominated films have often signaled how ratings on the big night will fare, per The Associated Press:\u003c/p>\n\u003cblockquote>\n\u003cp>“The previous low-water mark for the Oscars came in 2008, when ‘No Country For Old Men’ won best picture.\u003c/p>\n\u003cp>Only four years ago the Oscar reached nearly 44 million viewers. The biggest Academy Awards audience on record came in 1998, when the blockbuster ‘Titanic’ was named best picture.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Acute political statements from celebrities also took center stage at this year’s 90th Academy Awards. Conservative media didn’t hesitate to link the low ratings to the powerful messages from social advocates.\u003c/p>\n\u003cp>\u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2018/03/05/the-anti-trump-oscars-were-a-ratings-disaster-conservatives-are-delighted/?utm_term=.5a70664b3381\">The Washington Post highlighted\u003c/a> sentiments perceived as “anti-Trump”:\u003c/p>\n\u003cblockquote>\n\u003cp>“On Monday, the awards show’s low ratings were a hot topic on Fox News, discussed at the top of the hour on both Tucker Carlson’s and Sean Hannity’s evening shows. Piers Morgan’s column for ‘The Daily Mail’ was \u003ca href=\"http://www.dailymail.co.uk/news/article-5465085/PIERS-MORGAN-10-point-plan-save-Oscars.html\">a 10-point plan to save the Oscars\u003c/a>. A headline \u003ca href=\"http://dailycaller.com/2018/03/05/oscars-ratings-all-time-low/\">on The Daily Caller’s website\u003c/a> read, ‘The Ratings For Jimmy Kimmel’s Trump Hate-Fest Oscars Crater Towards All-Time Low.’ And \u003ca href=\"http://www.breitbart.com/big-hollywood/2018/03/05/collapse-oscar-ratings-crash-double-digits/\">John Nolte of Breitbart News\u003c/a> said the ‘writing was on the wall for this ratings catastrophe,’ calling Kimmel one of the most ‘divisive and polarizing figures in the country’ and a ‘Trump-hating Democrat.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>On Tuesday, President Trump echoed the sentiments of conservatives in a morning tweet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Oscars are also facing competition with streaming video, a recent challenge incurred by all major television events, according to the \u003cem>Los Angeles Times.\u003c/em> Viewing habits are changing as well, and “younger viewers are also showing a tendency to watch highlights of major TV events on social media platforms rather than watch a program in real time on television.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Nielsen, which has been registering ratings for the The Academy Awards since 1974, the Oscars still bests other awards shows, such as The Golden Globes which “reached 19 million viewers in January and the Grammys [with] an audience of 19.8 million.” \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=Oscars+TV+Ratings+Fall%2C+Again+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 'Wrinkle In Time' Movie Began as a Fifth-Grader's Dream",
"headTitle": "The ‘Wrinkle In Time’ Movie Began as a Fifth-Grader’s Dream | KQED",
"content": "\u003cp>To create the fantastical, otherworldly story in \u003cem>A Wrinkle In Time\u003c/em>, the cast and crew traveled to the mountains of New Zealand and to a sequoia forest in Northern California. They also created elaborate sets on a soundstage in Santa Clarita, north of Los Angeles, which is where director Ava DuVernay was behind the camera over a year ago.\u003c/p>\n\u003cp>She was shooting the climactic action sequence of the science fantasy movie. Actors Storm Reid and Chris Pine ran though a complicated set that would later be digitally rendered to represent a tesseract — a portal through space and time, by way of a fifth dimension.\u003c/p>\n\u003cp>When DuVernay became the first African-American woman to direct a movie with a budget over $100 million, it was her job to help create new worlds. That included hiring a diverse cast and crew.\u003c/p>\n\u003cp>“I’m proud of what this crew looks like,” DuVernay says. “It looks like the real world. Different kinds of people, colors, creeds, cultures of people. I cast it with what came to my mind, what came to my imagination, what came to my heart.”\u003c/p>\n\u003cp>DuVernay imagined the hero of the story — Meg Murry — as a biracial teen with curly hair and glasses. She leaves her home (filmed in Compton, Calif., DuVernay’s hometown) and travels through time and space looking for her father, a scientist who has mysteriously disappeared.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meg’s father is portrayed by Chris Pine, the blond and blue-eyed actor who played \u003cem>Star Trek\u003c/em>‘s Captain Kirk and \u003cem>Wonder Woman\u003c/em>‘s boyfriend. Meg herself is played by 14-year-old Storm Reid, who made her debut in the Oscar-winning film \u003cem>Twelve Years A Slave\u003c/em>. Here’s how she explains her role:\u003c/p>\n\u003cp>“Meg is a lost teenager, as in trying to find herself,” Reid says. “And she’s just getting in a lot of trouble. She is worried about her dad, and her dad’s been missing for the past four years, and not knowing if her dad really did get lost in the universe or if her dad left her.”\u003c/p>\n\u003cp>In her search, Meg goes on an interplanetary adventure with her precocious little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller). They’re guided by three mysterious celestial beings — Mrs. Whatsit, Mrs. Who, and Mrs. Which — played by Reese Witherspoon, Mindy Kaling and Oprah Winfrey, respectively.\u003c/p>\n\u003cp>It’s Mrs. Which who tells Meg that she’s the only one who can save her father from an evil in the universe. “Be a warrior,” she urges.\u003c/p>\n\u003cfigure id=\"attachment_13826428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg\" alt=\"L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney's 'A Wrinkle In Time.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney’s ‘A Wrinkle In Time.’ \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get to the origin of this film, you have to wrinkle time back to the early 1960s, when Madeleine L’Engle finished a young adult novel inspired by quantum physics. It opens with the familiar line: “It was a dark and stormy night.”\u003c/p>\n\u003cp>She was rejected by dozens of publishers who said the themes were too complicated for kids. But Farrar, Straus and Giroux took a chance, publishing\u003cem> A Wrinkle In Time\u003c/em> in 1962. The following year, the sci-fi book with a female hero won a prestigious Newbery Award for children’s literature.\u003c/p>\n\u003cp>And it caught the imagination of a Los Angeles fifth grader named Catherine Hand. She says she’d been sent to her school library for talking too much in class.\u003c/p>\n\u003cp>“And this librarian comes over to me and says, ‘I have a book I think that you would like,'” Hand says. “‘It’s about a little girl just like you.'”\u003c/p>\n\u003cp>That night, she sat down with the book. The Santa Ana winds were blowing through the open window of her bedroom.\u003c/p>\n\u003cp>“It was a dark and stormy night,” Hand says. “And I read the book. I loved it. And I started a letter to Walt Disney to tell him about this book and have me star as Meg. And I was a little shy in sending him the letter, so I kind of put it to the side.”\u003c/p>\n\u003cp>Walt Disney died a year later.\u003c/p>\n\u003cp>“And I knew of nobody who made movies for children other than Walt Disney,” Hand says. “So I made a promise to myself that I would grow up and make the movie.”\u003c/p>\n\u003cp>Fast forward through time and space to 1979: Catherine Hand is in her 20s and is an executive assistant to writer-producer Norman Lear — creator of hit 1970s TV shows such as \u003cem>All In The Family\u003c/em> and \u003cem>The Jeffersons\u003c/em>. Hand says she convinced him to ask for the movie rights to her favorite book. Then she met up with Madeleine L’Engle at the restaurant on top of the World Trade Center.\u003c/p>\n\u003cp>“I was so nervous,” Hand says. “I mean, to me, she had been the goddess in my life. She had painted the picture of the universe that was so real to me. And we’re sitting at lunch and she leans over and she says, ‘You know, there really is such a thing as a tesseract.’ And I thought: Oh my god! I’m sitting here with Mrs. Whatsit!”\u003c/p>\n\u003cp>L’Engle gave her blessing — and the movie rights — to Lear’s company. But Lear’s first choice as director, Stanley Kubrick, passed on the project.\u003c/p>\n\u003cp>“And I went through many, many different writers, many different screenplays. I worked on it for about 10 years with Norman. And then his option was up. And by that time, I had become extremely close to Madeleine. And so basically she said, ‘Well, OK, you go set it up someplace else, and I won’t sign anything unless you’re the producer.'”\u003c/p>\n\u003cp>Hand went on to become vice president of Embassy Pictures and development director for Francis Ford Coppola’s American Zoetrope production company. She also worked in politics, helping launch the liberal advocacy group People for the American Way. And for decades, she continued to pursue \u003cem>A Wrinkle In Time\u003c/em> as a movie.\u003c/p>\n\u003cp>Finally, in 2003, Hand executive-produced a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1890065\">made-for-TV version\u003c/a> by Miramax and ABC Films. But Hand says she and L’Engle, who died in 2007, felt the final product fell flat.\u003c/p>\n\u003cp>“She was disappointed with that and so was I,” she says. “We had so many constraints. And number one was budget. At the end of the day, you take a look at it and go: Wait a minute, was that my childhood dream? No it’s not. So it took another 14 years to get here.”\u003c/p>\n\u003cp>So 54 years after she first read the book, Hand is now one of the producers for Disney’s new $100 million dollar film.\u003c/p>\n\u003cp>“It’s a very emotional story,” she says. “It’s about growing up. You know, what is good, what is evil, what is family, what is love — amidst a cosmic backdrop of a grand adventure. I used to say it was it was a cross between \u003cem>The Wizard Of Oz\u003c/em> and \u003cem>Star Wars\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13826433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg\" alt=\"'A Wrinkle In Time' follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O'Keefe (Levi Miller) in their adventures through space and time.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wrinkle In Time’ follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller) in their adventures through space and time. \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back on set, director Ava DuVernay says L’Engle had a lot to say about society.\u003c/p>\n\u003cp>“You know, the battle of light and dark, the moral battles that are happening with the characters in the film, certainly figure into what folks might be thinking about right now — politically, culturally, economically,” she says. “It existed for the author at the time that she wrote it … and certainly we haven’t combatted those issues now. So this material still resonates today.”\u003c/p>\n\u003cp>Over the years, some people have objected to the book’s themes. \u003cem>A Wrinkle In Time\u003c/em> remains one of the most frequently banned American books.\u003c/p>\n\u003cp>“That’s why this book is awesome,” DuVernay says. “It was a banned book. That’s my favorite thing about this project. It’s like on the top 10 banned book list, and that just makes me say: Yes! Let’s do it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>DuVernay says this is the right moment to tell a story about fighting darkness with light. \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=The+%27Wrinkle+In+Time%27+Movie+Began+As+A+Fifth-Grader%27s+Dream&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To create the fantastical, otherworldly story in \u003cem>A Wrinkle In Time\u003c/em>, the cast and crew traveled to the mountains of New Zealand and to a sequoia forest in Northern California. They also created elaborate sets on a soundstage in Santa Clarita, north of Los Angeles, which is where director Ava DuVernay was behind the camera over a year ago.\u003c/p>\n\u003cp>She was shooting the climactic action sequence of the science fantasy movie. Actors Storm Reid and Chris Pine ran though a complicated set that would later be digitally rendered to represent a tesseract — a portal through space and time, by way of a fifth dimension.\u003c/p>\n\u003cp>When DuVernay became the first African-American woman to direct a movie with a budget over $100 million, it was her job to help create new worlds. That included hiring a diverse cast and crew.\u003c/p>\n\u003cp>“I’m proud of what this crew looks like,” DuVernay says. “It looks like the real world. Different kinds of people, colors, creeds, cultures of people. I cast it with what came to my mind, what came to my imagination, what came to my heart.”\u003c/p>\n\u003cp>DuVernay imagined the hero of the story — Meg Murry — as a biracial teen with curly hair and glasses. She leaves her home (filmed in Compton, Calif., DuVernay’s hometown) and travels through time and space looking for her father, a scientist who has mysteriously disappeared.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meg’s father is portrayed by Chris Pine, the blond and blue-eyed actor who played \u003cem>Star Trek\u003c/em>‘s Captain Kirk and \u003cem>Wonder Woman\u003c/em>‘s boyfriend. Meg herself is played by 14-year-old Storm Reid, who made her debut in the Oscar-winning film \u003cem>Twelve Years A Slave\u003c/em>. Here’s how she explains her role:\u003c/p>\n\u003cp>“Meg is a lost teenager, as in trying to find herself,” Reid says. “And she’s just getting in a lot of trouble. She is worried about her dad, and her dad’s been missing for the past four years, and not knowing if her dad really did get lost in the universe or if her dad left her.”\u003c/p>\n\u003cp>In her search, Meg goes on an interplanetary adventure with her precocious little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller). They’re guided by three mysterious celestial beings — Mrs. Whatsit, Mrs. Who, and Mrs. Which — played by Reese Witherspoon, Mindy Kaling and Oprah Winfrey, respectively.\u003c/p>\n\u003cp>It’s Mrs. Which who tells Meg that she’s the only one who can save her father from an evil in the universe. “Be a warrior,” she urges.\u003c/p>\n\u003cfigure id=\"attachment_13826428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg\" alt=\"L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney's 'A Wrinkle In Time.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney’s ‘A Wrinkle In Time.’ \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get to the origin of this film, you have to wrinkle time back to the early 1960s, when Madeleine L’Engle finished a young adult novel inspired by quantum physics. It opens with the familiar line: “It was a dark and stormy night.”\u003c/p>\n\u003cp>She was rejected by dozens of publishers who said the themes were too complicated for kids. But Farrar, Straus and Giroux took a chance, publishing\u003cem> A Wrinkle In Time\u003c/em> in 1962. The following year, the sci-fi book with a female hero won a prestigious Newbery Award for children’s literature.\u003c/p>\n\u003cp>And it caught the imagination of a Los Angeles fifth grader named Catherine Hand. She says she’d been sent to her school library for talking too much in class.\u003c/p>\n\u003cp>“And this librarian comes over to me and says, ‘I have a book I think that you would like,'” Hand says. “‘It’s about a little girl just like you.'”\u003c/p>\n\u003cp>That night, she sat down with the book. The Santa Ana winds were blowing through the open window of her bedroom.\u003c/p>\n\u003cp>“It was a dark and stormy night,” Hand says. “And I read the book. I loved it. And I started a letter to Walt Disney to tell him about this book and have me star as Meg. And I was a little shy in sending him the letter, so I kind of put it to the side.”\u003c/p>\n\u003cp>Walt Disney died a year later.\u003c/p>\n\u003cp>“And I knew of nobody who made movies for children other than Walt Disney,” Hand says. “So I made a promise to myself that I would grow up and make the movie.”\u003c/p>\n\u003cp>Fast forward through time and space to 1979: Catherine Hand is in her 20s and is an executive assistant to writer-producer Norman Lear — creator of hit 1970s TV shows such as \u003cem>All In The Family\u003c/em> and \u003cem>The Jeffersons\u003c/em>. Hand says she convinced him to ask for the movie rights to her favorite book. Then she met up with Madeleine L’Engle at the restaurant on top of the World Trade Center.\u003c/p>\n\u003cp>“I was so nervous,” Hand says. “I mean, to me, she had been the goddess in my life. She had painted the picture of the universe that was so real to me. And we’re sitting at lunch and she leans over and she says, ‘You know, there really is such a thing as a tesseract.’ And I thought: Oh my god! I’m sitting here with Mrs. Whatsit!”\u003c/p>\n\u003cp>L’Engle gave her blessing — and the movie rights — to Lear’s company. But Lear’s first choice as director, Stanley Kubrick, passed on the project.\u003c/p>\n\u003cp>“And I went through many, many different writers, many different screenplays. I worked on it for about 10 years with Norman. And then his option was up. And by that time, I had become extremely close to Madeleine. And so basically she said, ‘Well, OK, you go set it up someplace else, and I won’t sign anything unless you’re the producer.'”\u003c/p>\n\u003cp>Hand went on to become vice president of Embassy Pictures and development director for Francis Ford Coppola’s American Zoetrope production company. She also worked in politics, helping launch the liberal advocacy group People for the American Way. And for decades, she continued to pursue \u003cem>A Wrinkle In Time\u003c/em> as a movie.\u003c/p>\n\u003cp>Finally, in 2003, Hand executive-produced a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1890065\">made-for-TV version\u003c/a> by Miramax and ABC Films. But Hand says she and L’Engle, who died in 2007, felt the final product fell flat.\u003c/p>\n\u003cp>“She was disappointed with that and so was I,” she says. “We had so many constraints. And number one was budget. At the end of the day, you take a look at it and go: Wait a minute, was that my childhood dream? No it’s not. So it took another 14 years to get here.”\u003c/p>\n\u003cp>So 54 years after she first read the book, Hand is now one of the producers for Disney’s new $100 million dollar film.\u003c/p>\n\u003cp>“It’s a very emotional story,” she says. “It’s about growing up. You know, what is good, what is evil, what is family, what is love — amidst a cosmic backdrop of a grand adventure. I used to say it was it was a cross between \u003cem>The Wizard Of Oz\u003c/em> and \u003cem>Star Wars\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13826433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg\" alt=\"'A Wrinkle In Time' follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O'Keefe (Levi Miller) in their adventures through space and time.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wrinkle In Time’ follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller) in their adventures through space and time. \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back on set, director Ava DuVernay says L’Engle had a lot to say about society.\u003c/p>\n\u003cp>“You know, the battle of light and dark, the moral battles that are happening with the characters in the film, certainly figure into what folks might be thinking about right now — politically, culturally, economically,” she says. “It existed for the author at the time that she wrote it … and certainly we haven’t combatted those issues now. So this material still resonates today.”\u003c/p>\n\u003cp>Over the years, some people have objected to the book’s themes. \u003cem>A Wrinkle In Time\u003c/em> remains one of the most frequently banned American books.\u003c/p>\n\u003cp>“That’s why this book is awesome,” DuVernay says. “It was a banned book. That’s my favorite thing about this project. It’s like on the top 10 banned book list, and that just makes me say: Yes! Let’s do it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The water is getting higher, both literally and metaphorically. Will we face reality, and take responsibility? That’s the underlying challenge of so many of the wondrous movies from around the globe in the annual \u003ca href=\"http://intloceanfilmfest.org\" rel=\"noopener\" target=\"_blank\">International Ocean Film Festival\u003c/a> (Mar. 8-11 at the Cowell Theater at Fort Mason with stops at the Roxie and the Lark). \u003c/p>\n\u003cp>Consider the world premiere of photographer Chris Jordan’s conscience-raising \u003cem>Albatross\u003c/em>, shot over a period of years on Midway Island in the vast North Pacific. Charting a course for the environmental documentary that transcends both nature travelogue and advocacy film, \u003cem>Albatross\u003c/em> touches a part of us that only movies have the ability to access. (Check out the powerhouse \u003ca href=\"http://www.albatrossthefilm.com/trailer/\" rel=\"noopener\" target=\"_blank\">trailer\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13826115\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kim-Swims.jpg\" alt=\"Still from 'Kim Swims.'\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13826115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Kim Swims.’ \u003ccite>(Courtesy of the International Ocean Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who appreciate human protagonists as much or more than winged characters, \u003cem>Touched by the Ocean\u003c/em> (U.S. premiere) follows two ordinary Latvians on their quest to row across the South Atlantic. Closer to home and no less impressive, Kate Webber’s inspiring doc debut \u003cem>Kim Swims\u003c/em> follows San Franciscan-by-way-of-New Zealand Kim Chambers’ recovery from a serious leg injury, culminating in her attempt to become the first woman to traverse the 30 miles from the Farallon Islands to the Golden Gate.\u003c/p>\n\u003cp>Persistence and inspiration are in ample supply at this year’s OIFF, plainly, and so is old-fashioned, eye-popping spectacle. Australian surf filmmaker Tim Boynthon delivers all the visceral thrills and righteous camaraderie you’d expect in a movie entitled \u003cem>The Big Wave Project\u003c/em>. The International Ocean Film Festival invites us to get waterlogged on our terms, before the option is no longer ours.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The International Ocean Film Festival plays March 8-11 at the Cowell Theater and Roxie in San Francisco and the Lark Theater in Larkspur. For tickets and more information, \u003ca href=\"http://intloceanfilmfest.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The water is getting higher, both literally and metaphorically. Will we face reality, and take responsibility? That’s the underlying challenge of so many of the wondrous movies from around the globe in the annual \u003ca href=\"http://intloceanfilmfest.org\" rel=\"noopener\" target=\"_blank\">International Ocean Film Festival\u003c/a> (Mar. 8-11 at the Cowell Theater at Fort Mason with stops at the Roxie and the Lark). \u003c/p>\n\u003cp>Consider the world premiere of photographer Chris Jordan’s conscience-raising \u003cem>Albatross\u003c/em>, shot over a period of years on Midway Island in the vast North Pacific. Charting a course for the environmental documentary that transcends both nature travelogue and advocacy film, \u003cem>Albatross\u003c/em> touches a part of us that only movies have the ability to access. (Check out the powerhouse \u003ca href=\"http://www.albatrossthefilm.com/trailer/\" rel=\"noopener\" target=\"_blank\">trailer\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13826115\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kim-Swims.jpg\" alt=\"Still from 'Kim Swims.'\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13826115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kim-Swims-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Kim Swims.’ \u003ccite>(Courtesy of the International Ocean Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who appreciate human protagonists as much or more than winged characters, \u003cem>Touched by the Ocean\u003c/em> (U.S. premiere) follows two ordinary Latvians on their quest to row across the South Atlantic. Closer to home and no less impressive, Kate Webber’s inspiring doc debut \u003cem>Kim Swims\u003c/em> follows San Franciscan-by-way-of-New Zealand Kim Chambers’ recovery from a serious leg injury, culminating in her attempt to become the first woman to traverse the 30 miles from the Farallon Islands to the Golden Gate.\u003c/p>\n\u003cp>Persistence and inspiration are in ample supply at this year’s OIFF, plainly, and so is old-fashioned, eye-popping spectacle. Australian surf filmmaker Tim Boynthon delivers all the visceral thrills and righteous camaraderie you’d expect in a movie entitled \u003cem>The Big Wave Project\u003c/em>. The International Ocean Film Festival invites us to get waterlogged on our terms, before the option is no longer ours.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The International Ocean Film Festival plays March 8-11 at the Cowell Theater and Roxie in San Francisco and the Lark Theater in Larkspur. For tickets and more information, \u003ca href=\"http://intloceanfilmfest.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "shape-of-water-triumphs-at-an-oscars-full-of-change",
"title": "'Shape of Water' Triumphs at an Oscars Full of Change",
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"content": "\u003cp>Against all odds, love won out at the 90th Academy Awards.\u003c/p>\n\u003cp>Guillermo del Toro’s lavish, romantic monster fable \u003cem>The Shape of Water\u003c/em> swam away with best picture at an Oscar ceremony flooded by a sense of a change for a movie business confronting the post-Harvey Weinstein era.\u003c/p>\n\u003cp>The ceremony, held Sunday at the Dolby Theatre in Los Angeles, exorcised some demons — like last year’s envelope fiasco — and wrestled with other, deeper problems in Hollywood, like gender equality and diversity.\u003c/p>\n\u003cp>\u003cem>The Shape of Water\u003c/em>, which came in with 13 nods, took a leading four awards, including best production design, best score and best director for del Toro. He became the third Mexican-born filmmaker to win the award, joining his friends and countrymen Alejandro Inarritu and Alfonso Cuaron — who once were dubbed “the Three Amigos.”\u003c/p>\n\u003cp>“The greatest thing that art does, and that our industry does, is erase the lines in the sand,” said del Toro.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jordan Peele won for his script to his horror sensation \u003cem>Get Out\u003c/em>, becoming the first African-American to win for best original screenplay. Peele said he stopped writing it “20 times,” skeptical that it would ever get made.\u003c/p>\n\u003cp>“But I kept coming back to it because I knew if someone would let me make this movie, that people would hear it and people would see it,” said Peele. “So I want to dedicate this to all the people who raised my voice and let me make this movie.”\u003c/p>\n\u003cp>In a year lacking a clear front-runner the awards were spread around. Christopher Nolan’s World War II epic \u003cem>Dunkirk\u003c/em> landed three awards, all for its technical craft: editing, sound editing and sound design.\u003c/p>\n\u003cp>Things went expected in the acting categories, where Frances McDormand won her second Oscar for her performance in \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>. McDormand asked all the attending female nominees stand up in the theater.\u003c/p>\n\u003cp>“Look around, ladies and gentlemen, because we all have stories to tell and projects that need financing,” declared McDormand. “I have two words to leave with you tonight, ladies and gentlemen, Inclusion Rider.”\u003c/p>\n\u003cp>Subbing for last year’s best-actor winner, Casey Affleck, in presenting the best-actress award were Jodie Foster and Jennifer Lawrence. “It’s a new day in Hollywood,” said Lawrence.\u003c/p>\n\u003cp>Three widely admired veteran actors won their first Oscars. Gary Oldman won for his Winston Churchill in \u003cem>Darkest Hour\u003c/em>, Allison Janney (\u003cem>I, Tonya\u003c/em>) took best supporting actress, and Sam Rockwell (\u003cem>Three Billboards\u003c/em>) won best supporting actor. Oldman thanked his “99-years young” mother. “Put the kettle on,” he told her. “I’m bringing Oscar home.”\u003c/p>\n\u003cfigure id=\"attachment_13826256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg\" alt='Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for \"The Shape of Water\" from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. ' width=\"800\" height=\"450\" class=\"size-medium wp-image-13826256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for “The Shape of Water” from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. \u003ccite>(Mark Ralston/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But many of the show’s most powerful moments came in between the awards. Ashley Judd, Anabella Sciorra and Salma Hayek — who all made allegations of sexual misconduct against Weinstein — together assembled for a mid-show segment dedicated to the #MeToo movement that has followed the downfall of Weinstein, long an Oscar heavyweight. They were met by a standing ovation.\u003c/p>\n\u003cp>“We work together to make sure the next 90 years empower these limitless possibilities of equality, diversity, inclusion and intersectionality,” said Judd. “That’s what this year has promised us.”\u003c/p>\n\u003cp>Host Jimmy Kimmel opened with a monologue that mixed Weinstein punchlines with earnest comments about reforming gender equality in Hollywood. And of course, Kimmel — returning to the scene of the flub — dove straight into material about last year’s infamous best-picture mix-up.\u003c/p>\n\u003cp>“I do want to mention, this year, when you hear your name called, don’t get up right away,” said Kimmel. “Give us a minute.”\u003c/p>\n\u003cp>But while Kimmel spent a few moments on the fiasco known as Envelopegate, he expended far more minutes frankly and soberly discussing the parade of sexual harassment allegations in the wake of the revelations regarding Weinstein. Kimmel cited the industry’s poor record for female directors and equal pay.\u003c/p>\n\u003cp>“We can’t let bad behavior slide anymore,” said Kimmel. “The world is watching us.”\u003cbr>\nGesturing to a giant statue on the stage, he praised Oscar, himself for keeping “his hands where you can see them” and for having “no penis at all.” But Kimmel introduced the broadcast as “a night for positivity,” and cited, among other things, the box-office success of \u003cem>Black Panther\u003c/em> and \u003cem>Wonder Woman\u003c/em>.\u003c/p>\n\u003cp>“I remember a time when the major studios didn’t believe a woman or a minority could open a superhero movie — and the reason I remember that time is because it was March of last year,” said Kimmel.\u003c/p>\n\u003cp>Several cinema legends won their first Oscar. James Ivory, 89, won best adapted screenplay for his script to the coming-of-age drama \u003cem>Call Me By Your Name\u003c/em>, becoming the oldest winner ever. After 14 nominations, revered cinematographer Roger Deakins finally won for his photography on \u003cem>Blade Runner 2049\u003c/em>. In the category, Rachel Morrison (\u003cem>Mudbound\u003c/em>) became the first woman nominated for best cinematography.\u003c/p>\n\u003cp>Pakistan-born comedian Kumail Nanjiani joined Kenyan-born Lupita Nyong’o to salute the so-called Dreamers — immigrants brought to the U.S. illegally as children and here without permanent protection from deportation. “Dreams are the foundation of Hollywood and dreams are the foundation of America. And, so, to all the Dreamers out there, we stand with you,” Nanjiani said.\u003c/p>\n\u003cp>Later, Pixar’s colorful ode to Mexican culture \u003cem>Coco\u003c/em> won best animated film as well as best song for “Remember Me.” Best foreign language film went to Chile’s \u003cem>A Fantastic Woman\u003c/em>, Sebastian Lelio’s drama starring transgender actress Daniela Vega.\u003c/p>\n\u003cp>“The biggest thank you of all to the people of Mexico,” said director Lee Unkrich to loud applause. “Marginalized people deserve to feel like they belong. Representation matters.”\u003c/p>\n\u003cp>Netflix scored its first feature-film Oscar, with best documentary going to \u003cem>Icarus\u003c/em>, Bryan Fogel’s investigation into doping in sports, aided by the assistance of Grigory Rodchenkov, the head of the Russian anti-doping laboratory who candidly discussed the doping scheme under Vladimir Putin. Fogel dedicated the award to Rodchenkov, “our fearless whistleblower who now lives in grave danger.”\u003c/p>\n\u003cfigure id=\"attachment_13826255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg\" alt=\"(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for 'Three Billboards Outside Ebbing, Missouri;' actor Frances McDormand, winner of the Best Actress award for 'Three Billboards Outside Ebbing, Missouri;' actor Allison Janney, winner of the Best Supporting Actress award for 'I, Tonya;' and actor Gary Oldman, winner of the Best Actor award for 'Darkest Hour,' poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Frances McDormand, winner of the Best Actress award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Allison Janney, winner of the Best Supporting Actress award for ‘I, Tonya;’ and actor Gary Oldman, winner of the Best Actor award for ‘Darkest Hour,’ poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \u003ccite>(Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Darkest Hour\u003c/em> won for best makeup. The period romance P\u003cem>hantom Thread\u003c/em> won for costume design.\u003c/p>\n\u003cp>The ceremony was the crescendo of one of Hollywood’s most turbulent awards seasons ever — one that saw cascading allegations of sexual harassment topple movie moguls, upended Oscar campaigns and new movements launched to improve gender equality throughout the industry.\u003c/p>\n\u003cp>No Golden Globes-style fashion protest was held by organizers of Time’s Up, the initiative begun by several hundred prominent women in entertainment to combat sexual harassment. Their goals go beyond red carpets, organizers said in the lead-up to the Oscars. “We did the dress code thing and now we’re doing the work,” said #MeToo founder Tarana Burke on the red carpet.\u003c/p>\n\u003cp>The parade of sexual harassment allegations made the normal superficial red carpet a place of sometimes more serious discussion than attire. Scrutiny fell Sunday on E! host Ryan Seacrest after his former stylist, Suzie Hardy, alleged sexual harassment against the red-carpet regular. Seacrest has denied it and E! has supported him. Best supporting actress Oscar nominee Mary J. Blige said Seacrest is “fighting for his life right now.”\u003c/p>\n\u003cp>Twenty years ago, a \u003cem>Titanic\u003c/em> sweep won record ratings for the Oscar broadcast. But ratings have recently been declining. Last year’s show drew 32.9 million viewers for ABC, a 4 percent drop from the prior year. Even more worrisome was a slide in the key demographic of adults aged 18-49, whose viewership was down 14 percent from 2016.\u003c/p>\n\u003cp>Movie attendance also hit a 24-year low in 2017. But this year is already off to a strong start, thanks largely to Ryan Coogler’s B\u003cem>lack Panther\u003c/em>, which many analysts believe will play a prominent role at next year’s Oscars. In three weeks, it has already grossed about $500 million domestically. The film’s star, Chadwick Boseman, was placed front-and-center, at the Dolby Theatre.\u003c/p>\n\u003cp>This year, the academy prohibited the PwC accountants who handle the envelopes from using cellphones or social media during the show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With just a few minutes before the show started, Kimmel and his team emerged from his dressing room chanting, “Let’s get it right this time!”\u003cbr>\n___\u003cbr>\nAssociated Press’ Lindsey Bahr, Nicole Evatt, Sandy Cohen and Kristin M. Hall contributed to this report.\u003c/p>\n\n",
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"excerpt": "Guillermo del Toro's lavish, romantic monster fable \u003cem>The Shape of Water\u003c/em> swam away with best picture",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Against all odds, love won out at the 90th Academy Awards.\u003c/p>\n\u003cp>Guillermo del Toro’s lavish, romantic monster fable \u003cem>The Shape of Water\u003c/em> swam away with best picture at an Oscar ceremony flooded by a sense of a change for a movie business confronting the post-Harvey Weinstein era.\u003c/p>\n\u003cp>The ceremony, held Sunday at the Dolby Theatre in Los Angeles, exorcised some demons — like last year’s envelope fiasco — and wrestled with other, deeper problems in Hollywood, like gender equality and diversity.\u003c/p>\n\u003cp>\u003cem>The Shape of Water\u003c/em>, which came in with 13 nods, took a leading four awards, including best production design, best score and best director for del Toro. He became the third Mexican-born filmmaker to win the award, joining his friends and countrymen Alejandro Inarritu and Alfonso Cuaron — who once were dubbed “the Three Amigos.”\u003c/p>\n\u003cp>“The greatest thing that art does, and that our industry does, is erase the lines in the sand,” said del Toro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jordan Peele won for his script to his horror sensation \u003cem>Get Out\u003c/em>, becoming the first African-American to win for best original screenplay. Peele said he stopped writing it “20 times,” skeptical that it would ever get made.\u003c/p>\n\u003cp>“But I kept coming back to it because I knew if someone would let me make this movie, that people would hear it and people would see it,” said Peele. “So I want to dedicate this to all the people who raised my voice and let me make this movie.”\u003c/p>\n\u003cp>In a year lacking a clear front-runner the awards were spread around. Christopher Nolan’s World War II epic \u003cem>Dunkirk\u003c/em> landed three awards, all for its technical craft: editing, sound editing and sound design.\u003c/p>\n\u003cp>Things went expected in the acting categories, where Frances McDormand won her second Oscar for her performance in \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>. McDormand asked all the attending female nominees stand up in the theater.\u003c/p>\n\u003cp>“Look around, ladies and gentlemen, because we all have stories to tell and projects that need financing,” declared McDormand. “I have two words to leave with you tonight, ladies and gentlemen, Inclusion Rider.”\u003c/p>\n\u003cp>Subbing for last year’s best-actor winner, Casey Affleck, in presenting the best-actress award were Jodie Foster and Jennifer Lawrence. “It’s a new day in Hollywood,” said Lawrence.\u003c/p>\n\u003cp>Three widely admired veteran actors won their first Oscars. Gary Oldman won for his Winston Churchill in \u003cem>Darkest Hour\u003c/em>, Allison Janney (\u003cem>I, Tonya\u003c/em>) took best supporting actress, and Sam Rockwell (\u003cem>Three Billboards\u003c/em>) won best supporting actor. Oldman thanked his “99-years young” mother. “Put the kettle on,” he told her. “I’m bringing Oscar home.”\u003c/p>\n\u003cfigure id=\"attachment_13826256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg\" alt='Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for \"The Shape of Water\" from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. ' width=\"800\" height=\"450\" class=\"size-medium wp-image-13826256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for “The Shape of Water” from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. \u003ccite>(Mark Ralston/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But many of the show’s most powerful moments came in between the awards. Ashley Judd, Anabella Sciorra and Salma Hayek — who all made allegations of sexual misconduct against Weinstein — together assembled for a mid-show segment dedicated to the #MeToo movement that has followed the downfall of Weinstein, long an Oscar heavyweight. They were met by a standing ovation.\u003c/p>\n\u003cp>“We work together to make sure the next 90 years empower these limitless possibilities of equality, diversity, inclusion and intersectionality,” said Judd. “That’s what this year has promised us.”\u003c/p>\n\u003cp>Host Jimmy Kimmel opened with a monologue that mixed Weinstein punchlines with earnest comments about reforming gender equality in Hollywood. And of course, Kimmel — returning to the scene of the flub — dove straight into material about last year’s infamous best-picture mix-up.\u003c/p>\n\u003cp>“I do want to mention, this year, when you hear your name called, don’t get up right away,” said Kimmel. “Give us a minute.”\u003c/p>\n\u003cp>But while Kimmel spent a few moments on the fiasco known as Envelopegate, he expended far more minutes frankly and soberly discussing the parade of sexual harassment allegations in the wake of the revelations regarding Weinstein. Kimmel cited the industry’s poor record for female directors and equal pay.\u003c/p>\n\u003cp>“We can’t let bad behavior slide anymore,” said Kimmel. “The world is watching us.”\u003cbr>\nGesturing to a giant statue on the stage, he praised Oscar, himself for keeping “his hands where you can see them” and for having “no penis at all.” But Kimmel introduced the broadcast as “a night for positivity,” and cited, among other things, the box-office success of \u003cem>Black Panther\u003c/em> and \u003cem>Wonder Woman\u003c/em>.\u003c/p>\n\u003cp>“I remember a time when the major studios didn’t believe a woman or a minority could open a superhero movie — and the reason I remember that time is because it was March of last year,” said Kimmel.\u003c/p>\n\u003cp>Several cinema legends won their first Oscar. James Ivory, 89, won best adapted screenplay for his script to the coming-of-age drama \u003cem>Call Me By Your Name\u003c/em>, becoming the oldest winner ever. After 14 nominations, revered cinematographer Roger Deakins finally won for his photography on \u003cem>Blade Runner 2049\u003c/em>. In the category, Rachel Morrison (\u003cem>Mudbound\u003c/em>) became the first woman nominated for best cinematography.\u003c/p>\n\u003cp>Pakistan-born comedian Kumail Nanjiani joined Kenyan-born Lupita Nyong’o to salute the so-called Dreamers — immigrants brought to the U.S. illegally as children and here without permanent protection from deportation. “Dreams are the foundation of Hollywood and dreams are the foundation of America. And, so, to all the Dreamers out there, we stand with you,” Nanjiani said.\u003c/p>\n\u003cp>Later, Pixar’s colorful ode to Mexican culture \u003cem>Coco\u003c/em> won best animated film as well as best song for “Remember Me.” Best foreign language film went to Chile’s \u003cem>A Fantastic Woman\u003c/em>, Sebastian Lelio’s drama starring transgender actress Daniela Vega.\u003c/p>\n\u003cp>“The biggest thank you of all to the people of Mexico,” said director Lee Unkrich to loud applause. “Marginalized people deserve to feel like they belong. Representation matters.”\u003c/p>\n\u003cp>Netflix scored its first feature-film Oscar, with best documentary going to \u003cem>Icarus\u003c/em>, Bryan Fogel’s investigation into doping in sports, aided by the assistance of Grigory Rodchenkov, the head of the Russian anti-doping laboratory who candidly discussed the doping scheme under Vladimir Putin. Fogel dedicated the award to Rodchenkov, “our fearless whistleblower who now lives in grave danger.”\u003c/p>\n\u003cfigure id=\"attachment_13826255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg\" alt=\"(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for 'Three Billboards Outside Ebbing, Missouri;' actor Frances McDormand, winner of the Best Actress award for 'Three Billboards Outside Ebbing, Missouri;' actor Allison Janney, winner of the Best Supporting Actress award for 'I, Tonya;' and actor Gary Oldman, winner of the Best Actor award for 'Darkest Hour,' poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Frances McDormand, winner of the Best Actress award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Allison Janney, winner of the Best Supporting Actress award for ‘I, Tonya;’ and actor Gary Oldman, winner of the Best Actor award for ‘Darkest Hour,’ poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \u003ccite>(Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Darkest Hour\u003c/em> won for best makeup. The period romance P\u003cem>hantom Thread\u003c/em> won for costume design.\u003c/p>\n\u003cp>The ceremony was the crescendo of one of Hollywood’s most turbulent awards seasons ever — one that saw cascading allegations of sexual harassment topple movie moguls, upended Oscar campaigns and new movements launched to improve gender equality throughout the industry.\u003c/p>\n\u003cp>No Golden Globes-style fashion protest was held by organizers of Time’s Up, the initiative begun by several hundred prominent women in entertainment to combat sexual harassment. Their goals go beyond red carpets, organizers said in the lead-up to the Oscars. “We did the dress code thing and now we’re doing the work,” said #MeToo founder Tarana Burke on the red carpet.\u003c/p>\n\u003cp>The parade of sexual harassment allegations made the normal superficial red carpet a place of sometimes more serious discussion than attire. Scrutiny fell Sunday on E! host Ryan Seacrest after his former stylist, Suzie Hardy, alleged sexual harassment against the red-carpet regular. Seacrest has denied it and E! has supported him. Best supporting actress Oscar nominee Mary J. Blige said Seacrest is “fighting for his life right now.”\u003c/p>\n\u003cp>Twenty years ago, a \u003cem>Titanic\u003c/em> sweep won record ratings for the Oscar broadcast. But ratings have recently been declining. Last year’s show drew 32.9 million viewers for ABC, a 4 percent drop from the prior year. Even more worrisome was a slide in the key demographic of adults aged 18-49, whose viewership was down 14 percent from 2016.\u003c/p>\n\u003cp>Movie attendance also hit a 24-year low in 2017. But this year is already off to a strong start, thanks largely to Ryan Coogler’s B\u003cem>lack Panther\u003c/em>, which many analysts believe will play a prominent role at next year’s Oscars. In three weeks, it has already grossed about $500 million domestically. The film’s star, Chadwick Boseman, was placed front-and-center, at the Dolby Theatre.\u003c/p>\n\u003cp>This year, the academy prohibited the PwC accountants who handle the envelopes from using cellphones or social media during the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With just a few minutes before the show started, Kimmel and his team emerged from his dressing room chanting, “Let’s get it right this time!”\u003cbr>\n___\u003cbr>\nAssociated Press’ Lindsey Bahr, Nicole Evatt, Sandy Cohen and Kristin M. Hall contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Shape Of Water' Creature Actor Understands the Monsters",
"headTitle": "‘Shape Of Water’ Creature Actor Understands the Monsters | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/590062505/590063233\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Actor Doug Jones has had a long and prolific career in Hollywood, though many wouldn’t recognize him on the street. That’s because he’s usually masked by latex, silicone and makeup, playing some of Hollywood’s most recognizable monsters – including the so-called Amphibian Man in Guillermo del Toro’s \u003cem>The Shape of Water\u003c/em>. Underneath it all, Jones infuses his characters with real emotion, communicating not with words but with movement and touch.\u003c/p>\n\u003cp>“We think it’s all about words, but it’s not,” he says. “Words can often pollute and deceive, but a glance of the eyes doesn’t lie. Touch doesn’t lie. It’s a whole other dialogue.”\u003c/p>\n\u003cp>Still, Jones has a lot to say, and he’s comfortable talking about his role in the Oscar-nominated film. But when Guillermo del Toro first sat him down and explained that Jones would be playing a monster who’s also the romantic lead, he says his reaction was “utter terror.”\u003c/p>\n\u003cp> “I have not felt that kind of fear ever when being offered a movie. When I look at myself in the mirror, that doesn’t work and then in a fish suit? Boy, wow, on paper, you think ‘this is ridiculous,’ ” he laughs. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie is about a female janitor in a Cold-War era laboratory who falls in love with a humanoid fish creature, but Jones was intrigued by the offer.\u003c/p>\n\u003cp> “Storytime with Guillermo del Toro is ‘light the campfire, get the marshmallows,’ you’re in for a good ride. I was having that moment, you know, chin in hands, tell me more!” \u003c/p>\n\u003cp>By the time del Toro was finished explaining the story, Jones was won over, but he had one big concern about playing an animalistic love interest, especially in the film’s bathtub scenes.\u003c/p>\n\u003cp> “I was concerned that, you know, in a bathtub, that means she’s going to disrobe and get in there with me! So I was going to be playing a scene with a nude woman — well, I hadn’t done that! That’s the good Catholic boy in me.” \u003c/p>\n\u003cp> For del Toro, however, Jones is always prepared to say yes.\u003c/p>\n\u003cp> “I just trust him that much,” the actor says.\u003c/p>\n\u003cfigure id=\"attachment_13826206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg\" alt=\"Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including 'Pan's Labyrinth' and 'The Shape of Water.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including ‘Pan’s Labyrinth’ and ‘The Shape of Water.’ \u003ccite>(Charley Gallay/Getty Images for Vulture Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That trust began on the set of del Toro’s 1997 film \u003cem>Mimic\u003c/em>, in which Jones played a giant, insect-like creature known as Mother Bug. At lunch one day, del Toro sat across the table from Jones.\u003c/p>\n\u003cp>“He says, ‘So tell me everything you’ve been in before,” Jones says. “He wanted to hear about all the monsters I played. He was really, really like a fanboy mixed with a brilliant artist. I’d never met anyone like him, and I loved him immediately.”\u003c/p>\n\u003cp> When the conversation ended, del Toro asked him for a business card. According to the actor, five years later, when it came time to cast Abe Sapien in \u003cem>Hellboy\u003c/em>, the creature artists suggested del Toro call up a guy named Doug Jones. “Doug Jones?” del Toro said, “I know Doug Jones,” and pulled the business card out of his wallet.\u003c/p>\n\u003cp> “\u003cem>Hellboy\u003c/em> was where we connected on a longer, ongoing basis,” Jones says. “That’s where we developed our shorthand as actor-director.” \u003c/p>\n\u003cp>That shorthand is a mixture of a deep knowledge of each other’s style of acting and directing. Jones is a visual, physical learner, so sometimes del Toro will give him a hand gesture and a sound to communicate how to play a character. Sometimes, the director will refer to a monster or film they both know. \u003c/p>\n\u003cp>Their shorthand has helped make Jones one of del Toro’s go-to creature actors. Through the years, Jones has featured in several of the director’s films, including \u003cem>Pan’s Labyrinth\u003c/em>, in which he portrayed both the faun and the Pale Man, a terrifying monster with eyes in its hands. \u003c/p>\n\u003cp>Jones has played almost every monster imaginable in more than 30 years as an actor; the problem, though, is that they can all start to seem the same. \u003c/p>\n\u003cp>He approaches each character with one question: “How do I make this one different from everything else that I’ve played?” \u003c/p>\n\u003cp>To do that, he says he has to find what he calls “the silent voice,” the way each one carries itself. For \u003cem>The Shape of Water\u003c/em>, del Toro wanted him to be animalistic, but royal and regal. \u003c/p>\n\u003cp>To find the body language of each character, Jones goes to a dance studio by himself, the kind with wall-to-wall mirrors.\u003c/p>\n\u003cp> “I will walk back and forth and find its walk, find its home stance. Where does he come back to? What’s his posture? And your posture can be informed by so many things — the shoulders, the neck, the middle of your back, the hips, the knees. Everything plays into that stand.”\u003c/p>\n\u003cp> Jones then builds off that to figure out how the character moves, how it might run, crawl, lunge or anything the script calls for it to do. When he tests with makeup and costume, though, things often change.\u003c/p>\n\u003cp> “Something I worked out in my T-shirt and shorts in the dance studio now has big horns that make my head really wide so a tilt of the head is extremely dramatic and more pronounced.” \u003c/p>\n\u003cp>It all comes together when he’s on set and in front of the camera, surrounded by cast and crew. On those days, he says, he’s fairly helpless because of the makeup or suits he has to wear.\u003c/p>\n\u003cp> “Often, my hands are in webbed fingers or talons so I can’t pull out a phone and look at that. I can’t even get a snack off the craft services table for myself.”\u003c/p>\n\u003cp>Jones says he was the kind of kid who was perfectly happy sitting and staring out the window for hours with his own thoughts. He doesn’t get stir-crazy or claustrophobic, and for him, the physical discomfort is just part of the job.\u003c/p>\n\u003cfigure id=\"attachment_13826210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg\" alt=\"Doug Jones speaks onstage at AARP's 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Jones speaks onstage at AARP’s 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> “The further you get from human, the harder it’s going to be,” he says. “When you’re trying to survive a day, and you hear the word ‘action,’ you have to forget that you’re in pain, forget that you’re sweating into your own eyeballs behind your mask and just click into ‘This is a natural beast that came from whatever fantasy or nature. It’s not a guy in a suit.’ ”\u003c/p>\n\u003cp>And Jones isn’t just a guy in a suit. It seems like he was made to play these creatures. \u003c/p>\n\u003cp>He’s a little more than 6 feet 3 inches tall with long limbs and fingers. Jones started miming while he was in college at Ball State University, and he’s also a contortionist – valuable skills in Hollywood’s creature effects industry. \u003c/p>\n\u003cp>Jones didn’t set out to build a career playing monsters, though. Growing up in Indiana with three older brothers, he says he was a “goofy kid,” the child everyone teased or made fun of. To survive, he developed a sense of humor. He watched a lot of sitcoms, like \u003cem>I Love Lucy\u003c/em>, \u003cem>The Dick Van Dyke Show\u003c/em> and \u003cem>The Andy Griffith Show\u003c/em>. \u003c/p>\n\u003cp>When he arrived in Los Angeles in 1985, he was “seeking fame and fortune as a goofy character actor” on a sitcom, he says. His first agent, however, had other ideas and kept sending him to audition for roles with pratfalls and heavy makeup. Jones’ first paid gig, and the one that made him eligible for membership with the Screen Actors Guild, was as a dancing mummy in an old Southwest Airlines commercial.\u003c/p>\n\u003cp> “I was blindsided by the monster creature side of things. I didn’t really know that that was a career option. I had seen those early movies in my childhood, the ones with monsters in them, but I never put two and two together that there was an actor under there and that it is a career option.”\u003c/p>\n\u003cp> Jones is 57 now, and he says that as he ages, he’s become interested in more human roles that don’t require several hours of makeup and uncomfortable costumes. In recent years, he’s played a middle-aged door-to-door book salesman in the 2009 indie \u003cem>Jerry\u003c/em> and a butler in \u003cem>The Ultimate Legacy\u003c/em>, a Hallmark Channel movie.\u003c/p>\n\u003cp> “I got to wear a three-piece suit, a bow tie and a watch chain. That was it! It was fantastic,” he laughs. “And 10 minutes for some powder and some hair-swishing and you’re done! It was great.”\u003c/p>\n\u003cp> Jones says creature roles now have to sing to him – and Amphibian Man in \u003cem>The Shape of Water\u003c/em> sang to him.\u003c/p>\n\u003cp>“For me, this movie is about love being possible no matter how flawed and ugly we think we are,” he says. And that spoke to the awkward, goofy kid he once was.\u003c/p>\n\u003cp>“When you’re a kid going through those awkward monster years, when you feel like you are the creature in the room that nobody understands and you look different from anyone else and love will not be possible for you, when you feel that way, you also feel like you’re the only one who has ever felt that way,” he says. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But I’m glad. I’m thankful that I had the experience of feeling like a monster because when I play monsters now, I understand them. I can relate to them.” \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=%27Shape+Of+Water%27+Creature+Actor+Doug+Jones+Understands+The+Monsters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/590062505/590063233\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Actor Doug Jones has had a long and prolific career in Hollywood, though many wouldn’t recognize him on the street. That’s because he’s usually masked by latex, silicone and makeup, playing some of Hollywood’s most recognizable monsters – including the so-called Amphibian Man in Guillermo del Toro’s \u003cem>The Shape of Water\u003c/em>. Underneath it all, Jones infuses his characters with real emotion, communicating not with words but with movement and touch.\u003c/p>\n\u003cp>“We think it’s all about words, but it’s not,” he says. “Words can often pollute and deceive, but a glance of the eyes doesn’t lie. Touch doesn’t lie. It’s a whole other dialogue.”\u003c/p>\n\u003cp>Still, Jones has a lot to say, and he’s comfortable talking about his role in the Oscar-nominated film. But when Guillermo del Toro first sat him down and explained that Jones would be playing a monster who’s also the romantic lead, he says his reaction was “utter terror.”\u003c/p>\n\u003cp> “I have not felt that kind of fear ever when being offered a movie. When I look at myself in the mirror, that doesn’t work and then in a fish suit? Boy, wow, on paper, you think ‘this is ridiculous,’ ” he laughs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie is about a female janitor in a Cold-War era laboratory who falls in love with a humanoid fish creature, but Jones was intrigued by the offer.\u003c/p>\n\u003cp> “Storytime with Guillermo del Toro is ‘light the campfire, get the marshmallows,’ you’re in for a good ride. I was having that moment, you know, chin in hands, tell me more!” \u003c/p>\n\u003cp>By the time del Toro was finished explaining the story, Jones was won over, but he had one big concern about playing an animalistic love interest, especially in the film’s bathtub scenes.\u003c/p>\n\u003cp> “I was concerned that, you know, in a bathtub, that means she’s going to disrobe and get in there with me! So I was going to be playing a scene with a nude woman — well, I hadn’t done that! That’s the good Catholic boy in me.” \u003c/p>\n\u003cp> For del Toro, however, Jones is always prepared to say yes.\u003c/p>\n\u003cp> “I just trust him that much,” the actor says.\u003c/p>\n\u003cfigure id=\"attachment_13826206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg\" alt=\"Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including 'Pan's Labyrinth' and 'The Shape of Water.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including ‘Pan’s Labyrinth’ and ‘The Shape of Water.’ \u003ccite>(Charley Gallay/Getty Images for Vulture Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That trust began on the set of del Toro’s 1997 film \u003cem>Mimic\u003c/em>, in which Jones played a giant, insect-like creature known as Mother Bug. At lunch one day, del Toro sat across the table from Jones.\u003c/p>\n\u003cp>“He says, ‘So tell me everything you’ve been in before,” Jones says. “He wanted to hear about all the monsters I played. He was really, really like a fanboy mixed with a brilliant artist. I’d never met anyone like him, and I loved him immediately.”\u003c/p>\n\u003cp> When the conversation ended, del Toro asked him for a business card. According to the actor, five years later, when it came time to cast Abe Sapien in \u003cem>Hellboy\u003c/em>, the creature artists suggested del Toro call up a guy named Doug Jones. “Doug Jones?” del Toro said, “I know Doug Jones,” and pulled the business card out of his wallet.\u003c/p>\n\u003cp> “\u003cem>Hellboy\u003c/em> was where we connected on a longer, ongoing basis,” Jones says. “That’s where we developed our shorthand as actor-director.” \u003c/p>\n\u003cp>That shorthand is a mixture of a deep knowledge of each other’s style of acting and directing. Jones is a visual, physical learner, so sometimes del Toro will give him a hand gesture and a sound to communicate how to play a character. Sometimes, the director will refer to a monster or film they both know. \u003c/p>\n\u003cp>Their shorthand has helped make Jones one of del Toro’s go-to creature actors. Through the years, Jones has featured in several of the director’s films, including \u003cem>Pan’s Labyrinth\u003c/em>, in which he portrayed both the faun and the Pale Man, a terrifying monster with eyes in its hands. \u003c/p>\n\u003cp>Jones has played almost every monster imaginable in more than 30 years as an actor; the problem, though, is that they can all start to seem the same. \u003c/p>\n\u003cp>He approaches each character with one question: “How do I make this one different from everything else that I’ve played?” \u003c/p>\n\u003cp>To do that, he says he has to find what he calls “the silent voice,” the way each one carries itself. For \u003cem>The Shape of Water\u003c/em>, del Toro wanted him to be animalistic, but royal and regal. \u003c/p>\n\u003cp>To find the body language of each character, Jones goes to a dance studio by himself, the kind with wall-to-wall mirrors.\u003c/p>\n\u003cp> “I will walk back and forth and find its walk, find its home stance. Where does he come back to? What’s his posture? And your posture can be informed by so many things — the shoulders, the neck, the middle of your back, the hips, the knees. Everything plays into that stand.”\u003c/p>\n\u003cp> Jones then builds off that to figure out how the character moves, how it might run, crawl, lunge or anything the script calls for it to do. When he tests with makeup and costume, though, things often change.\u003c/p>\n\u003cp> “Something I worked out in my T-shirt and shorts in the dance studio now has big horns that make my head really wide so a tilt of the head is extremely dramatic and more pronounced.” \u003c/p>\n\u003cp>It all comes together when he’s on set and in front of the camera, surrounded by cast and crew. On those days, he says, he’s fairly helpless because of the makeup or suits he has to wear.\u003c/p>\n\u003cp> “Often, my hands are in webbed fingers or talons so I can’t pull out a phone and look at that. I can’t even get a snack off the craft services table for myself.”\u003c/p>\n\u003cp>Jones says he was the kind of kid who was perfectly happy sitting and staring out the window for hours with his own thoughts. He doesn’t get stir-crazy or claustrophobic, and for him, the physical discomfort is just part of the job.\u003c/p>\n\u003cfigure id=\"attachment_13826210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg\" alt=\"Doug Jones speaks onstage at AARP's 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Jones speaks onstage at AARP’s 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> “The further you get from human, the harder it’s going to be,” he says. “When you’re trying to survive a day, and you hear the word ‘action,’ you have to forget that you’re in pain, forget that you’re sweating into your own eyeballs behind your mask and just click into ‘This is a natural beast that came from whatever fantasy or nature. It’s not a guy in a suit.’ ”\u003c/p>\n\u003cp>And Jones isn’t just a guy in a suit. It seems like he was made to play these creatures. \u003c/p>\n\u003cp>He’s a little more than 6 feet 3 inches tall with long limbs and fingers. Jones started miming while he was in college at Ball State University, and he’s also a contortionist – valuable skills in Hollywood’s creature effects industry. \u003c/p>\n\u003cp>Jones didn’t set out to build a career playing monsters, though. Growing up in Indiana with three older brothers, he says he was a “goofy kid,” the child everyone teased or made fun of. To survive, he developed a sense of humor. He watched a lot of sitcoms, like \u003cem>I Love Lucy\u003c/em>, \u003cem>The Dick Van Dyke Show\u003c/em> and \u003cem>The Andy Griffith Show\u003c/em>. \u003c/p>\n\u003cp>When he arrived in Los Angeles in 1985, he was “seeking fame and fortune as a goofy character actor” on a sitcom, he says. His first agent, however, had other ideas and kept sending him to audition for roles with pratfalls and heavy makeup. Jones’ first paid gig, and the one that made him eligible for membership with the Screen Actors Guild, was as a dancing mummy in an old Southwest Airlines commercial.\u003c/p>\n\u003cp> “I was blindsided by the monster creature side of things. I didn’t really know that that was a career option. I had seen those early movies in my childhood, the ones with monsters in them, but I never put two and two together that there was an actor under there and that it is a career option.”\u003c/p>\n\u003cp> Jones is 57 now, and he says that as he ages, he’s become interested in more human roles that don’t require several hours of makeup and uncomfortable costumes. In recent years, he’s played a middle-aged door-to-door book salesman in the 2009 indie \u003cem>Jerry\u003c/em> and a butler in \u003cem>The Ultimate Legacy\u003c/em>, a Hallmark Channel movie.\u003c/p>\n\u003cp> “I got to wear a three-piece suit, a bow tie and a watch chain. That was it! It was fantastic,” he laughs. “And 10 minutes for some powder and some hair-swishing and you’re done! It was great.”\u003c/p>\n\u003cp> Jones says creature roles now have to sing to him – and Amphibian Man in \u003cem>The Shape of Water\u003c/em> sang to him.\u003c/p>\n\u003cp>“For me, this movie is about love being possible no matter how flawed and ugly we think we are,” he says. And that spoke to the awkward, goofy kid he once was.\u003c/p>\n\u003cp>“When you’re a kid going through those awkward monster years, when you feel like you are the creature in the room that nobody understands and you look different from anyone else and love will not be possible for you, when you feel that way, you also feel like you’re the only one who has ever felt that way,” he says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \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=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \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=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Director Andrey Zvyagintsev’s \u003cem>Loveless \u003c/em>— Russia’s submission to this year’s Academy Awards, and one of the five movies up for best foreign language film come Oscar night — begins with two parents screaming at each other about their upcoming divorce.\u003c/p>\n\u003cp>They’re trying to sell their apartment, and it quickly becomes clear that their relationship is so toxic they’d probably sell their kid, too, if they could get away with it. Neither of them wants to take care of 12-year-old Aloysha (Matvey Novikov), who’s sobbing quietly in the shower as they argue.\u003c/p>\n\u003cp>They don’t see that. We do.\u003c/p>\n\u003cp>https://youtu.be/6h5GuecUU-Q\u003c/p>\n\u003cp>Once the shouting’s over, the parents go on with their now-separate lives: Each has a new partner, and their divergent choices suggest just how doomed their marriage was. Dad (Aleksey Rozin) has already shacked up with his pregnant, very traditional Russian girlfriend. Mom (Maryana Spivak) is living what you might call a capitalism-on-steroids life with a rich, older businessman — dining in expensive restaurants, frolicking in his sleek penthouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she gets home that night, she goes to bed without checking on Alyosha; the next morning, seeing his bed empty, she assumes that he’s already left for school. Turns out he’s long gone.\u003c/p>\n\u003cp>The police show up, but prove useless. They point the family to a network of volunteers, and soon they’re combing forests and an abandoned, decaying Soviet-era complex that looks like something out of \u003cem>Mad Max\u003c/em>.\u003c/p>\n\u003cp>By this point in most movies, Mom and Dad would be working together out of necessity. But that’s not the story \u003cem>Loveless \u003c/em>wants to tell.\u003c/p>\n\u003cp>Director Zvyagintsev, who co-wrote the film, is intent on showing how calamity doesn’t necessarily unite people — it can push them further apart. As he did in his 2014 film \u003cem>Leviathan\u003c/em>, about a land-grab in a small town, he tells what seems to be an intimate story while calling attention to the social forces affecting it: A government bureaucracy that gets in the way when it should be helping; religion hampering; technology misleading; loyalties obstructing.\u003c/p>\n\u003cp>It’s no accident that a character in \u003cem>Loveless \u003c/em>is seen in a track suit emblazoned with the word RUSSIA in large block letters, while running-in-place on a treadmill: Effort expended, with no actual progress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the parents trek from hospitals to morgues in search of the child they’d once talked of abandoning to an orphanage, news blares in the background about disruptions in Ukraine. What chance, wonders this bleak, devastating film, has any child in a society so loveless?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she gets home that night, she goes to bed without checking on Alyosha; the next morning, seeing his bed empty, she assumes that he’s already left for school. Turns out he’s long gone.\u003c/p>\n\u003cp>The police show up, but prove useless. They point the family to a network of volunteers, and soon they’re combing forests and an abandoned, decaying Soviet-era complex that looks like something out of \u003cem>Mad Max\u003c/em>.\u003c/p>\n\u003cp>By this point in most movies, Mom and Dad would be working together out of necessity. But that’s not the story \u003cem>Loveless \u003c/em>wants to tell.\u003c/p>\n\u003cp>Director Zvyagintsev, who co-wrote the film, is intent on showing how calamity doesn’t necessarily unite people — it can push them further apart. As he did in his 2014 film \u003cem>Leviathan\u003c/em>, about a land-grab in a small town, he tells what seems to be an intimate story while calling attention to the social forces affecting it: A government bureaucracy that gets in the way when it should be helping; religion hampering; technology misleading; loyalties obstructing.\u003c/p>\n\u003cp>It’s no accident that a character in \u003cem>Loveless \u003c/em>is seen in a track suit emblazoned with the word RUSSIA in large block letters, while running-in-place on a treadmill: Effort expended, with no actual progress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the parents trek from hospitals to morgues in search of the child they’d once talked of abandoning to an orphanage, news blares in the background about disruptions in Ukraine. What chance, wonders this bleak, devastating film, has any child in a society so loveless?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Oscar Elders: 3 Octogenarians Make Academy Award History",
"headTitle": "The Oscar Elders: 3 Octogenarians Make Academy Award History | KQED",
"content": "\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \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=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \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=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I Can't Believe I Am the First,' Says Oscar-Nominated Female Cinematographer",
"headTitle": "‘I Can’t Believe I Am the First,’ Says Oscar-Nominated Female Cinematographer | KQED",
"content": "\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \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=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "You may know her from such films as 'Black Panther', where she was director of photography. Now, Rachel Morrison is the first woman ever nominated for an Academy Award in cinematography, for her work on 'Mudbound', ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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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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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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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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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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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": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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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"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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"
},
"link": "/radio/program/masters-of-scale",
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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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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