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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Oakland-based filmmaker Melinda James is still, in her words, “figuring it out.” A sociologist by trade, James transitioned to filmmaking to honor a population in Oakland often relegated to statistics and academic scrutiny by scholars and researchers. With just a camcorder and the internet at her fingertips, she sought instead to celebrate the creativity and joy among the city’s underserved communities.\u003c/p>\n\u003cp>Today, in her new life as a full-time filmmaker, her work carries a sense of obligation. 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It’s a unique form of revolution, and one that she hopes will give rise to a more equitable future.\u003c/p>\n\u003cp>We talked to James about coming-out narratives, Ursula from \u003cem>The Little Mermaid\u003c/em>, and the value of cinema in social justice.\u003c/p>\n\u003cp>https://youtu.be/6o0SU04_eIc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What does the name of the production company you founded, About Her Films, represent for you and your work?\u003c/strong>\u003c/p>\n\u003cp>It’s open to interpretation. I’m so curious when people ask me about this. It’s like “Oh, it’s you!” It’s “About Her,” it’s all about you. And that’s one way. But for me, it’s about representing any woman in your life. Whenever there’s an opportunity that comes up where I can work with women, showcase women, folks of color, and other underrepresented groups, okay, I’ll do it all. I’ll be it all.\u003c/p>\n\u003cp>If I could just hang out with people that I think are very talented and are doing something for their communities — for the world — if I could just hang out and document that, that would be it. I would love that. I’m so amazed at the process of creativity, and I feel like I’m a vehicle for either someone’s vision or if I see someone who’s doing really good work, and I want to showcase that. It’s a privilege to represent Oakland in an authentic, positive, and well-meaning way.\u003c/p>\n\u003cp>\u003cstrong>One of your most compelling projects to date was “\u003ca href=\"http://aboutherfilms.com/When-Women-Disrupt\">When Women Disrupt\u003c/a>” a tour you went on with artists Jessica Sabogal and Tatyana Fazlalizadeh. Can you talk a bit about that experience and what that meant for you?\u003c/strong>\u003c/p>\n\u003cp>It was really amazing. Just imagine being on the road with two of your highly talented friends, and you just get to see them work. You get to see what goes into that process, and you get to hang out, and you get to be a part of that, and you’re road-tripping through some of the most beautiful parts of America. It’s a little conflicting because those parts are not welcoming to folks of color, to women, to queer folks. And yeah, it makes you think about other places in America that you may not know about because they’re Republican, they’re conservative, because folks of color don’t belong there. It was an amazing trip.\u003c/p>\n\u003cfigure id=\"attachment_13789665\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg\" alt=\"Melinda James.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Melinda James. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a filmmaker who went through a less-than-traditional route, what inspires and informs your work?\u003c/strong>\u003c/p>\n\u003cp>A way that I keep myself pushed and inspired are finding the images that make me feel something and lend themselves to some sort of narrative, that mean something other than looking good. Anyone can make a good image, but to make an impactful image — an image that you can take now and 50, 100 years from now, that would provide some context to what was going on in that moment in time — that’s what I strive to do.\u003c/p>\n\u003cp>The things that inspire me are long projects, when people spend time with communities and other people to create this really beautiful body of work. People like Mary Ellen Mark and Gordon Parks spend years and years with people and have big, vast bodies of work. That’s what I try to use to keep myself grounded when I’m feeling impatient or when I’m feeling frustrated. When I don’t feel inspired, I just remind myself that good things take time. If I spend the rest of my life to only get one good thing, I’ve done my life’s work.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot of people who talk about a shift in media representation toward inclusivity across underrepresented groups. Do you feel as if there is, indeed, a shift?\u003c/strong>\u003c/p>\n\u003cp>People are hungry for different stories, stories from different people, stories that show different representations of life, especially Black life. From what I remember as a young kid, when I was a kid, just watching all those Disney movies with my parents in the movie theater, and it was like, the damsel-in-distress, but the characters are all white. In \u003cem>The Little Mermaid,\u003c/em> you have Ursula, she’s like…you know.\u003c/p>\n\u003cp>I think about that where we are now, and you have Ava Duvernay, who’s directing \u003cem>A Wrinkle in Time,\u003c/em> and her whole cast is just very inclusive. There’s lots of really great, strong women in the media. When you think about \u003cem>Master of None\u003c/em> — that Thanksgiving episode — could you imagine seeing something like that 15 years ago? A coming out story about a Black, queer woman? Although it’s still white, it’s still male, there are avenues to make sure that we are represented and that our voices are heard and respected.\u003c/p>\n\u003cp>You have an opportunity as a maker and as a creative to have a platform to talk about real issues. It’s my duty — my responsibility — to make sure that what I do with my craft not only serves me and my creative needs, but also serves other communities and voices that aren’t often heard. The more that I do this, the more I have that in mind. The idea of making something just for me, just because, seems like a waste of energy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>It’d be great if there were a way to bring everyone together and showcase all of their different work. It would just be nice to see a gallery of awesome women doing incredible work all at once. It feels like there isn’t a lot of space for it, so it’d be really nice to see people come together. I just wish that more people know about all the rad work that a lot of women are doing out there. I’d love to shout it from the rooftops.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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 floatright]\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Oakland-based filmmaker Melinda James is still, in her words, “figuring it out.” A sociologist by trade, James transitioned to filmmaking to honor a population in Oakland often relegated to statistics and academic scrutiny by scholars and researchers. With just a camcorder and the internet at her fingertips, she sought instead to celebrate the creativity and joy among the city’s underserved communities.\u003c/p>\n\u003cp>Today, in her new life as a full-time filmmaker, her work carries a sense of obligation. Her production company, \u003ca href=\"http://www.aboutherfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">About Her Films\u003c/a>, spotlights creatives from marginalized communities with an intimate, vibrant, and lucid spirit. James’ latest project, \u003ca href=\"http://whenwomendisrupt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">When Women Disrupt\u003c/a>, involves traveling with artist-activists Jessica Sabogal and \u003ca href=\"https://www.instagram.com/tlynnfaz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tatyana Fazlalizadeh\u003c/a> in the rural Southwest for two weeks to facilitate a willful, difficult dialogue about anti-Blackness, misogyny and xenophobia in states that voted for a leader who embodies much of these issues. It’s a unique form of revolution, and one that she hopes will give rise to a more equitable future.\u003c/p>\n\u003cp>We talked to James about coming-out narratives, Ursula from \u003cem>The Little Mermaid\u003c/em>, and the value of cinema in social justice.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6o0SU04_eIc'\n title='//www.youtube.com/embed/6o0SU04_eIc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What does the name of the production company you founded, About Her Films, represent for you and your work?\u003c/strong>\u003c/p>\n\u003cp>It’s open to interpretation. I’m so curious when people ask me about this. It’s like “Oh, it’s you!” It’s “About Her,” it’s all about you. And that’s one way. But for me, it’s about representing any woman in your life. Whenever there’s an opportunity that comes up where I can work with women, showcase women, folks of color, and other underrepresented groups, okay, I’ll do it all. I’ll be it all.\u003c/p>\n\u003cp>If I could just hang out with people that I think are very talented and are doing something for their communities — for the world — if I could just hang out and document that, that would be it. I would love that. I’m so amazed at the process of creativity, and I feel like I’m a vehicle for either someone’s vision or if I see someone who’s doing really good work, and I want to showcase that. It’s a privilege to represent Oakland in an authentic, positive, and well-meaning way.\u003c/p>\n\u003cp>\u003cstrong>One of your most compelling projects to date was “\u003ca href=\"http://aboutherfilms.com/When-Women-Disrupt\">When Women Disrupt\u003c/a>” a tour you went on with artists Jessica Sabogal and Tatyana Fazlalizadeh. Can you talk a bit about that experience and what that meant for you?\u003c/strong>\u003c/p>\n\u003cp>It was really amazing. Just imagine being on the road with two of your highly talented friends, and you just get to see them work. You get to see what goes into that process, and you get to hang out, and you get to be a part of that, and you’re road-tripping through some of the most beautiful parts of America. It’s a little conflicting because those parts are not welcoming to folks of color, to women, to queer folks. And yeah, it makes you think about other places in America that you may not know about because they’re Republican, they’re conservative, because folks of color don’t belong there. It was an amazing trip.\u003c/p>\n\u003cfigure id=\"attachment_13789665\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg\" alt=\"Melinda James.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Melinda James. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a filmmaker who went through a less-than-traditional route, what inspires and informs your work?\u003c/strong>\u003c/p>\n\u003cp>A way that I keep myself pushed and inspired are finding the images that make me feel something and lend themselves to some sort of narrative, that mean something other than looking good. Anyone can make a good image, but to make an impactful image — an image that you can take now and 50, 100 years from now, that would provide some context to what was going on in that moment in time — that’s what I strive to do.\u003c/p>\n\u003cp>The things that inspire me are long projects, when people spend time with communities and other people to create this really beautiful body of work. People like Mary Ellen Mark and Gordon Parks spend years and years with people and have big, vast bodies of work. That’s what I try to use to keep myself grounded when I’m feeling impatient or when I’m feeling frustrated. When I don’t feel inspired, I just remind myself that good things take time. If I spend the rest of my life to only get one good thing, I’ve done my life’s work.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot of people who talk about a shift in media representation toward inclusivity across underrepresented groups. Do you feel as if there is, indeed, a shift?\u003c/strong>\u003c/p>\n\u003cp>People are hungry for different stories, stories from different people, stories that show different representations of life, especially Black life. From what I remember as a young kid, when I was a kid, just watching all those Disney movies with my parents in the movie theater, and it was like, the damsel-in-distress, but the characters are all white. In \u003cem>The Little Mermaid,\u003c/em> you have Ursula, she’s like…you know.\u003c/p>\n\u003cp>I think about that where we are now, and you have Ava Duvernay, who’s directing \u003cem>A Wrinkle in Time,\u003c/em> and her whole cast is just very inclusive. There’s lots of really great, strong women in the media. When you think about \u003cem>Master of None\u003c/em> — that Thanksgiving episode — could you imagine seeing something like that 15 years ago? A coming out story about a Black, queer woman? Although it’s still white, it’s still male, there are avenues to make sure that we are represented and that our voices are heard and respected.\u003c/p>\n\u003cp>You have an opportunity as a maker and as a creative to have a platform to talk about real issues. It’s my duty — my responsibility — to make sure that what I do with my craft not only serves me and my creative needs, but also serves other communities and voices that aren’t often heard. The more that I do this, the more I have that in mind. The idea of making something just for me, just because, seems like a waste of energy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>It’d be great if there were a way to bring everyone together and showcase all of their different work. It would just be nice to see a gallery of awesome women doing incredible work all at once. It feels like there isn’t a lot of space for it, so it’d be really nice to see people come together. I just wish that more people know about all the rad work that a lot of women are doing out there. I’d love to shout it from the rooftops.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Johnnie To’s Crime Wave",
"headTitle": "Now Playing! Johnnie To’s Crime Wave | KQED",
"content": "\u003cp>Back in the late ’80s and early ’90s, before film noir festivals and Tarantino wannabes sated San Franciscans’ bloodlust for stylized cruelty, Hong Kong action films were our drug of choice. John Woo emerged as the most exciting HK director through a series of flashy gangster shootouts that led to a lucrative stint in Hollywood. But for all the visceral pleasure of Woo’s crime flicks, they were pretty shallow. It was left to Woo’s prolific peer and successor, Johnnie To, to mine the genre for societal, political and familial insights.\u003c/p>\n\u003cp>SFFILM and SFMOMA’s latest three-weekend Modern Cinema focus, \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-johnnie-to/#more-upcoming-events-74345\" target=\"_blank\" rel=\"noopener\">Johnnie To: Cops and Robbers\u003c/a>, concludes this Thursday through Sunday with a bang — or rather, a volley. The renowned director and producer takes the stage Aug. 3 for a lengthy conversation with SFFILM executive director Noah Cowan, followed the next night by \u003cem>Election\u003c/em> and \u003cem>Triad Election\u003c/em> (aka \u003cem>Election 2\u003c/em>), To’s acclaimed, ambitious studies of a powerful gang adjusting (that is, increasing its profits and influence) after Hong Kong became a special administrative region of China in 1997.\u003c/p>\n\u003cfigure id=\"attachment_13788961\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200.jpg\" alt=\"Still from 'Life without Principle.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13788961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Life without Principle.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To will be on hand Saturday for \u003cem>The Mission\u003c/em> (2pm) and \u003cem>Exiled\u003c/em> (8:30pm), though one wishes he (and Francis Ford Coppola) would hang around to riff about the influence of \u003cem>The Godfather\u003c/em> (4:30pm). His S.F. visit wraps with an appearance Sunday afternoon with \u003cem>Breaking News\u003c/em> (2:30pm), leaving his fans to bathe in the bloody, haunting morality plays of Sam Peckinpah’s \u003cem>The Wild Bunch\u003c/em> (5 p.m.) and To’s \u003cem>Life Without Principle\u003c/em> (8:15pm). In the movies we love, crime and conscience are thick as thieves.\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cp>\u003c/p>\n",
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"excerpt": "SFFILM and SFMOMA salute the prolific Hong Kong filmmaker's ability to mine the genre for societal and political insights.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the late ’80s and early ’90s, before film noir festivals and Tarantino wannabes sated San Franciscans’ bloodlust for stylized cruelty, Hong Kong action films were our drug of choice. John Woo emerged as the most exciting HK director through a series of flashy gangster shootouts that led to a lucrative stint in Hollywood. But for all the visceral pleasure of Woo’s crime flicks, they were pretty shallow. It was left to Woo’s prolific peer and successor, Johnnie To, to mine the genre for societal, political and familial insights.\u003c/p>\n\u003cp>SFFILM and SFMOMA’s latest three-weekend Modern Cinema focus, \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-johnnie-to/#more-upcoming-events-74345\" target=\"_blank\" rel=\"noopener\">Johnnie To: Cops and Robbers\u003c/a>, concludes this Thursday through Sunday with a bang — or rather, a volley. The renowned director and producer takes the stage Aug. 3 for a lengthy conversation with SFFILM executive director Noah Cowan, followed the next night by \u003cem>Election\u003c/em> and \u003cem>Triad Election\u003c/em> (aka \u003cem>Election 2\u003c/em>), To’s acclaimed, ambitious studies of a powerful gang adjusting (that is, increasing its profits and influence) after Hong Kong became a special administrative region of China in 1997.\u003c/p>\n\u003cfigure id=\"attachment_13788961\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200.jpg\" alt=\"Still from 'Life without Principle.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13788961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Life-Without-Principle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Life without Principle.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To will be on hand Saturday for \u003cem>The Mission\u003c/em> (2pm) and \u003cem>Exiled\u003c/em> (8:30pm), though one wishes he (and Francis Ford Coppola) would hang around to riff about the influence of \u003cem>The Godfather\u003c/em> (4:30pm). His S.F. visit wraps with an appearance Sunday afternoon with \u003cem>Breaking News\u003c/em> (2:30pm), leaving his fans to bathe in the bloody, haunting morality plays of Sam Peckinpah’s \u003cem>The Wild Bunch\u003c/em> (5 p.m.) and To’s \u003cem>Life Without Principle\u003c/em> (8:15pm). In the movies we love, crime and conscience are thick as thieves.\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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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"title": "'Atomic Blonde' Is A Blast",
"headTitle": "‘Atomic Blonde’ Is A Blast | KQED",
"content": "\u003cp>Set in the days leading up to the fall of the Berlin Wall, \u003cem>Atomic Blonde\u003c/em> takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect — and perhaps that respect only — it belongs to the tradition of post-war thrillers like Carol Reed’s \u003cem>The Third Man\u003c/em> or Andrzej Wajda’s \u003cem>Ashes and Diamonds\u003c/em>, where danger and intrigue exist where they shouldn’t and the players involved are enmeshed in self-doubt and crippling mission drift. For the spies of \u003cem>Atomic Blonde\u003c/em>, the purpose of chasing a MacGuffin called “The List” has been vastly diminished by world events, but they keep on fighting regardless. That’s who they are. \u003c/p>\n\u003cp>The degree to which \u003cem>Atomic Blonde\u003c/em> takes any of this business seriously is an open question, given how little time is spent on political and existential chin-stroking and how much is devoted to fetishizing the era-specific fashion, interior design, and New Wave music. Yet it does explain why the film’s hollowness is a feature rather than a flaw, reflecting the mindset of kick-ass pulp heroine who submerges herself in an ice bath every night, as much to numb her conscience as to salve her wounds. She doesn’t know who to trust. She doesn’t know what she’s fighting for anymore. But nevertheless, she persists. \u003c/p>\n\u003cp>https://youtu.be/yIUube1pSC0\u003c/p>\n\u003cp>Based on Antony Johnson and Sam Hart’s graphic novel \u003cem>The Coldest City\u003c/em>, \u003cem>Atomic Blonde\u003c/em> opens with Lorraine Broughton (Charlize Theron), a MI6 spy, debriefing her superiors about a sensitive mission gone awry. From there, it backtracks to Lorraine getting sent to Berlin, where a British spy has just been killed over a list that includes the names of every espionage agent working in the city, regardless of allegiance. With the identities and lives of her colleagues on the line, Lorraine partners up with Berlin station chief David Percival (James McAvoy), but his erratic behavior immediately draws her suspicion. As Lorraine and David track down “The List” and protect the source (Eddie Marsan) who gave it to them, they face threats from Russian adversaries, black marketers, and a double-agent referred to as “Sachel.” \u003c/p>\n\u003cp>Director David Leitch spent nearly two decades as a stuntman and stunt coordinator before he and his partner, Chad Stahelski, put their choreographic skills to use on the terrific Keanu Reeves action thriller \u003cem>John Wick\u003c/em>. (Only Stahelski is credited, but the two co-directed.) \u003cem>John Wick\u003c/em> and its sequel made a kind of macabre ballet out of Reeves’ retired assassin shooting dozens of henchmen in the head for two hours. American films had been trying to mimic Hong Kong action cinema since John Woo and Chow Yun-Fat revolutionized the action genre with \u003cem>The Killer\u003c/em> and \u003cem>Hard-Boiled\u003c/em>, but Leitch and Stahelski were the first to fully capture the savage beauty of its aestheticized violence. It may be style over substance — but wow what style! \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the Cold War trappings, \u003cem>Atomic Blonde\u003c/em> continues along the same lines, with the spy-versus-spy intrigue serving mainly as a delivery system for magnificent butt-kickings. Leitch clears his throat with a sequence where Lorraine fends off two assailants inside a moving car, using the business end of a red high-heeled shoe as her weapon of choice. From there, he offers a striking range of different looks, including a bravura single-shot scene of close combat near an stairwell, an apartment melee where Lorraine relies on available materials (chiefly a garden hose), and a behind-the-screen silhouette fight at an East German theater showing Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>. \u003c/p>\n\u003cp>Though Lorraine’s fight for survival in this changing and confusing time isn’t as clear and effective a motivation as Reeves avenging his dog’s death in \u003cem>John Wick\u003c/em>, the premise does give Leitch the opportunity to explore the graphic possibilities of the setting and uncork a soundtrack that includes moody delectables like David Bowie’s “Cat People (Putting Out Fire),” ‘Til Tuesday’s “Voices Carry” and Depeche Mode’s “Behind the Wheel.” \u003cem>Atomic Blonde\u003c/em> is foremost an entry in the cinema of cool, with each fussed-over frame drenched in the noir trappings of chiaroscuro lighting and cigarette smoke or luxuriating in late-’80s German iconography or the contours of beautiful bodies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Atomic Blonde\u003c/em> may be high in empty calories, but craftsmanship of this level is rare and exhilarating, and worth surviving some muddled plotting to appreciate. Theron has a background as a dancer — she trained in ballet until a knee injury altered her career — and the choreography not only serves the deadly elegance of her form, but makes the camera her invisible partner. Their \u003cem>pas de deux\u003c/em> is a knockout.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Set in the days leading up to the fall of the Berlin Wall, \u003cem>Atomic Blonde\u003c/em> takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect — and perhaps that respect only — it belongs to the tradition of post-war thrillers like Carol Reed’s \u003cem>The Third Man\u003c/em> or Andrzej Wajda’s \u003cem>Ashes and Diamonds\u003c/em>, where danger and intrigue exist where they shouldn’t and the players involved are enmeshed in self-doubt and crippling mission drift. For the spies of \u003cem>Atomic Blonde\u003c/em>, the purpose of chasing a MacGuffin called “The List” has been vastly diminished by world events, but they keep on fighting regardless. That’s who they are. \u003c/p>\n\u003cp>The degree to which \u003cem>Atomic Blonde\u003c/em> takes any of this business seriously is an open question, given how little time is spent on political and existential chin-stroking and how much is devoted to fetishizing the era-specific fashion, interior design, and New Wave music. Yet it does explain why the film’s hollowness is a feature rather than a flaw, reflecting the mindset of kick-ass pulp heroine who submerges herself in an ice bath every night, as much to numb her conscience as to salve her wounds. She doesn’t know who to trust. She doesn’t know what she’s fighting for anymore. But nevertheless, she persists. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yIUube1pSC0'\n title='//www.youtube.com/embed/yIUube1pSC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Antony Johnson and Sam Hart’s graphic novel \u003cem>The Coldest City\u003c/em>, \u003cem>Atomic Blonde\u003c/em> opens with Lorraine Broughton (Charlize Theron), a MI6 spy, debriefing her superiors about a sensitive mission gone awry. From there, it backtracks to Lorraine getting sent to Berlin, where a British spy has just been killed over a list that includes the names of every espionage agent working in the city, regardless of allegiance. With the identities and lives of her colleagues on the line, Lorraine partners up with Berlin station chief David Percival (James McAvoy), but his erratic behavior immediately draws her suspicion. As Lorraine and David track down “The List” and protect the source (Eddie Marsan) who gave it to them, they face threats from Russian adversaries, black marketers, and a double-agent referred to as “Sachel.” \u003c/p>\n\u003cp>Director David Leitch spent nearly two decades as a stuntman and stunt coordinator before he and his partner, Chad Stahelski, put their choreographic skills to use on the terrific Keanu Reeves action thriller \u003cem>John Wick\u003c/em>. (Only Stahelski is credited, but the two co-directed.) \u003cem>John Wick\u003c/em> and its sequel made a kind of macabre ballet out of Reeves’ retired assassin shooting dozens of henchmen in the head for two hours. American films had been trying to mimic Hong Kong action cinema since John Woo and Chow Yun-Fat revolutionized the action genre with \u003cem>The Killer\u003c/em> and \u003cem>Hard-Boiled\u003c/em>, but Leitch and Stahelski were the first to fully capture the savage beauty of its aestheticized violence. It may be style over substance — but wow what style! \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the Cold War trappings, \u003cem>Atomic Blonde\u003c/em> continues along the same lines, with the spy-versus-spy intrigue serving mainly as a delivery system for magnificent butt-kickings. Leitch clears his throat with a sequence where Lorraine fends off two assailants inside a moving car, using the business end of a red high-heeled shoe as her weapon of choice. From there, he offers a striking range of different looks, including a bravura single-shot scene of close combat near an stairwell, an apartment melee where Lorraine relies on available materials (chiefly a garden hose), and a behind-the-screen silhouette fight at an East German theater showing Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>. \u003c/p>\n\u003cp>Though Lorraine’s fight for survival in this changing and confusing time isn’t as clear and effective a motivation as Reeves avenging his dog’s death in \u003cem>John Wick\u003c/em>, the premise does give Leitch the opportunity to explore the graphic possibilities of the setting and uncork a soundtrack that includes moody delectables like David Bowie’s “Cat People (Putting Out Fire),” ‘Til Tuesday’s “Voices Carry” and Depeche Mode’s “Behind the Wheel.” \u003cem>Atomic Blonde\u003c/em> is foremost an entry in the cinema of cool, with each fussed-over frame drenched in the noir trappings of chiaroscuro lighting and cigarette smoke or luxuriating in late-’80s German iconography or the contours of beautiful bodies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Atomic Blonde\u003c/em> may be high in empty calories, but craftsmanship of this level is rare and exhilarating, and worth surviving some muddled plotting to appreciate. Theron has a background as a dancer — she trained in ballet until a knee injury altered her career — and the choreography not only serves the deadly elegance of her form, but makes the camera her invisible partner. Their \u003cem>pas de deux\u003c/em> is a knockout.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beware '90s Cool-Guy Hair in Gillian Robespierre’s ‘Landline’",
"headTitle": "Beware ’90s Cool-Guy Hair in Gillian Robespierre’s ‘Landline’ | KQED",
"content": "\u003cp>\u003ci>Landline\u003c/i> should come with a warning for those old enough to remember the mid-’90s. “Watch at your own risk: may cause bouts of uncontrollable nostalgia, extreme hairstyle regret and wistful memories of CD shopping.”\u003c/p>\n\u003cp>As a follow-up to Robespierre’s 2014 directorial debut \u003ci>Obvious Child\u003c/i>, \u003ci>Landline\u003c/i> — opening in theaters July 28 — keeps a star (Jenny Slate) and a location (New York City), but broadens its focus from an individual experience to a familial one. \u003c/p>\n\u003cfigure id=\"attachment_13754374\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/image7_1200.jpg\" alt=\"Abby Quinn, Jenny Slate, and John Turturro in 'Landline.'\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13754374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abby Quinn, Jenny Slate, and John Turturro in ‘Landline.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Slate plays Dana, the straight-laced 20-something older sister to snarky high school senior Ali (Abby Quinn), whose parents Pat and Alan (the always wonderful Edie Falco and John Turturro) have an upper-middle-class Manhattan marriage of mutual disregard. \u003c/p>\n\u003cp>The film opens on Labor Day 1995 to the sounds of Dana and her fiance Ben (Jay Duplass) trying to live out someone’s fantasy of having sex in the woods (most likely Ben’s). “Are you okay?” he asks, “Because I kind a feel like you’re not into it.” (She isn’t, but claims otherwise.)\u003c/p>\n\u003cp>Such failures in communication are a dime a dozen in \u003ci>Landline\u003c/i>. Characters who think they’re on the same page discover they’ve been operating under vastly different assumptions. Equally and opposite, characters who think they’re good at hiding something invariably find out their skills lie elsewhere.\u003c/p>\n\u003cfigure id=\"attachment_13754371\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/image3_1200.jpg\" alt=\"Jenny Slate and Finn Wittrock in 'Landline.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13754371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Slate and Finn Wittrock in ‘Landline.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we reductively identify \u003ci>Obvious Child\u003c/i> as “romcom about abortion,” \u003ci>Landline\u003c/i> is a “dramedy about infidelity.” When Ali discovers a floppy disk filled with her father’s ardent love poems about a woman he calls “C,” the disillusioned teenager turns amateur detective, printing the texts out on the family’s dot-matrix printer for further study.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dana joins this P.I. effort, but only after a confession of her own: an extra-monogamous moment with college friend Nate (Finn Wittrock, with ’90s cool-guy hair) that has her questioning her relationship with Ben. “I just think maybe this is a sign that there’s somebody else that I’m supposed to be that is trying to get out of me,” Dana says. Ali tries to wrap her head around this latest revelation: “We’re just, in like, a family of cheaters.”\u003c/p>\n\u003cfigure id=\"attachment_13754375\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/image6_1200.jpg\" alt=\"Jenny Slate and Abby Quinn in 'Landline.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13754375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Slate and Abby Quinn in ‘Landline.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of another filmmaker, this might be where things turn dark. But instead of dwelling on the looming implosion of a nuclear family, Robespierre and screenplay co-writer Elisabeth Holm focus on the misadventures of Slate and Quinn’s sisterly odd couple. As much as they might sometimes irritate each other (Ali, of course, gets all the best comeback lines), theirs might be the only truly honest relationship in the entire film. \u003c/p>\n\u003cp>The infidelities of upper-middle-class Manhattanites aren’t a taboo subject by any stretch of the imagination. And those seeking the same thrill \u003ci>Obvious Child\u003c/i> provided — of witnessing an untold but deeply important women’s experience on the big screen — won’t find anything comparable in \u003ci>Landline\u003c/i>. But it’s short-sighted to dismiss the film as a nostalgic throwback to the days when pay phones still existed (and cost just 25 cents). \u003ci>Landline\u003c/i>’s temporal location is more than just fun set dressing, it’s key to the core of the movie: even when things were once technologically simpler, relationships — familial and romantic — have always been complicated, and rife with miscommunication. \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>\n\u003cp>\u003ci>‘Landline’ opens July 28 in San Francisco, Berkeley and Palo Alto, and Aug. 4 in San Jose. For more information, \u003ca href=\"http://www.landlinemovie.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In her follow-up to 'Obvious Child,' Gillian Robespierre captures mid-’90s Manhattan — an era where technology was simple but communication remained complex.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Landline\u003c/i> should come with a warning for those old enough to remember the mid-’90s. “Watch at your own risk: may cause bouts of uncontrollable nostalgia, extreme hairstyle regret and wistful memories of CD shopping.”\u003c/p>\n\u003cp>As a follow-up to Robespierre’s 2014 directorial debut \u003ci>Obvious Child\u003c/i>, \u003ci>Landline\u003c/i> — opening in theaters July 28 — keeps a star (Jenny Slate) and a location (New York City), but broadens its focus from an individual experience to a familial one. \u003c/p>\n\u003cfigure id=\"attachment_13754374\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/image7_1200.jpg\" alt=\"Abby Quinn, Jenny Slate, and John Turturro in 'Landline.'\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13754374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image7_1200-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Abby Quinn, Jenny Slate, and John Turturro in ‘Landline.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Slate plays Dana, the straight-laced 20-something older sister to snarky high school senior Ali (Abby Quinn), whose parents Pat and Alan (the always wonderful Edie Falco and John Turturro) have an upper-middle-class Manhattan marriage of mutual disregard. \u003c/p>\n\u003cp>The film opens on Labor Day 1995 to the sounds of Dana and her fiance Ben (Jay Duplass) trying to live out someone’s fantasy of having sex in the woods (most likely Ben’s). “Are you okay?” he asks, “Because I kind a feel like you’re not into it.” (She isn’t, but claims otherwise.)\u003c/p>\n\u003cp>Such failures in communication are a dime a dozen in \u003ci>Landline\u003c/i>. Characters who think they’re on the same page discover they’ve been operating under vastly different assumptions. Equally and opposite, characters who think they’re good at hiding something invariably find out their skills lie elsewhere.\u003c/p>\n\u003cfigure id=\"attachment_13754371\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/image3_1200.jpg\" alt=\"Jenny Slate and Finn Wittrock in 'Landline.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13754371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Slate and Finn Wittrock in ‘Landline.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we reductively identify \u003ci>Obvious Child\u003c/i> as “romcom about abortion,” \u003ci>Landline\u003c/i> is a “dramedy about infidelity.” When Ali discovers a floppy disk filled with her father’s ardent love poems about a woman he calls “C,” the disillusioned teenager turns amateur detective, printing the texts out on the family’s dot-matrix printer for further study.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dana joins this P.I. effort, but only after a confession of her own: an extra-monogamous moment with college friend Nate (Finn Wittrock, with ’90s cool-guy hair) that has her questioning her relationship with Ben. “I just think maybe this is a sign that there’s somebody else that I’m supposed to be that is trying to get out of me,” Dana says. Ali tries to wrap her head around this latest revelation: “We’re just, in like, a family of cheaters.”\u003c/p>\n\u003cfigure id=\"attachment_13754375\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/image6_1200.jpg\" alt=\"Jenny Slate and Abby Quinn in 'Landline.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13754375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/image6_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Slate and Abby Quinn in ‘Landline.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of another filmmaker, this might be where things turn dark. But instead of dwelling on the looming implosion of a nuclear family, Robespierre and screenplay co-writer Elisabeth Holm focus on the misadventures of Slate and Quinn’s sisterly odd couple. As much as they might sometimes irritate each other (Ali, of course, gets all the best comeback lines), theirs might be the only truly honest relationship in the entire film. \u003c/p>\n\u003cp>The infidelities of upper-middle-class Manhattanites aren’t a taboo subject by any stretch of the imagination. And those seeking the same thrill \u003ci>Obvious Child\u003c/i> provided — of witnessing an untold but deeply important women’s experience on the big screen — won’t find anything comparable in \u003ci>Landline\u003c/i>. But it’s short-sighted to dismiss the film as a nostalgic throwback to the days when pay phones still existed (and cost just 25 cents). \u003ci>Landline\u003c/i>’s temporal location is more than just fun set dressing, it’s key to the core of the movie: even when things were once technologically simpler, relationships — familial and romantic — have always been complicated, and rife with miscommunication. \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>\n\u003cp>\u003ci>‘Landline’ opens July 28 in San Francisco, Berkeley and Palo Alto, and Aug. 4 in San Jose. For more information, \u003ca href=\"http://www.landlinemovie.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "inside-jasdeep-kangs-meticulous-interrogative-filmmaking",
"title": "Inside Jasdeep Kang's Meticulous, Interrogative Filmmaking",
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"content": "\u003cp>“Blue (American Dream),” a \u003ca href=\"https://www.youtube.com/watch?v=pEw-RpqPxuY\" target=\"_blank\" rel=\"noopener\">music video\u003c/a> directed by filmmaker Jasdeep Kang, opens with a woman (Tia Cabral, better known by her stage name, \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\" target=\"_blank\" rel=\"noopener\">SPELLLING\u003c/a>) leaning on the back of a dancer, eyes closed and neck extended to catch the last waning wisps of afternoon light. The characters remain motionless as the camera’s slow, leftward pan highlights the faint glimmer of an Oakland warehouse’s corrugated steel wall — a shine outdone by the sharp sparkle of Cabral’s metallic gold dress further down the frame. Transforming the drab industrial setting into an ethereal, dream-like space is an iridescent lens flare, instantly setting the tone for the remainder of the surreal video in its first two seconds.\u003c/p>\n\u003cp>Released in late June, the four-minute long collaboration with up-and-coming Berkeley songwriter Cabral is the most recent installment of Kang’s visual work. The music video addresses and criticizes the notion of the American Dream achievable by the immigrant body. It brims with dramatic cinematography, meticulous attention to detail, and a profound interrogation of cultural identity — facets of Kang’s style that have grown to characterize her films with collaborators in the Bay Area.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pEw-RpqPxuY\u003c/p>\n\u003cp>“One of the biggest things that inspires my work is the concept of identity,” Kang shares. “I look for people who speak truth, [regardless of] whether it’s about identity, spirituality, or decolonization. The people that I’ve worked with so far — I think that they address their identity in a very present way. They’re very open about their ancestral roots… but want to redefine identity in the space that we live in now [while] also addressing how they’re represented in various degrees.”\u003c/p>\n\u003cp>Kang’s collaborations are few but mighty, perhaps due to the care with which the filmmaker decides her projects. In the last year, she’s collaborated extensively with \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">ONX\u003c/a>, an artistic collective that \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">focuses on the black experience\u003c/a>. Kang shot \u003cem>Copper\u003c/em>, the gorgeous, 14-minute long film on the topic of black death, which acted as the focal point of ONX’s third major release this spring. Previously, she also filmed “Azaadi: Is Freedom Is Fate,” a music video for Berkeley-based musician \u003ca href=\"https://soundcloud.com/kohinoorgasm\" target=\"_blank\" rel=\"noopener\">Kohinoorgasm\u003c/a> which explores the intersections of hair, expression, and freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vuZNAjvhK7Q\u003c/p>\n\u003cp>For Kang, a Punjabi-Sikh American, the inclusive and celebratory energy of the East Bay played an enormous role in shaping her current cinematic style. Although Kang recalls being behind the camera for as long as she can remember, it wasn’t until she moved back to the Bay — Kang originally hails from north of Sacramento — after graduating from UC Irvine in 2014 that she truly understood her position as a woman of color behind the lens.\u003c/p>\n\u003cp>“I’ve been on sets where I was the only brown person, or I was the only woman — [with] no one knowing how to pronounce my name. I felt so belittled by that… [It wasn’t] until I graduated college and started working with people in the Bay that I realized how powerful of a community I could be a part of behind the camera,” she explains. “I wanted to [do] work about race, addressing my identity and spaces [I occupy] with people that didn’t understand it or didn’t understand the importance of it.” Until she came back to the Bay Area, she says, “I wasn’t able to find that.”\u003c/p>\n\u003cfigure id=\"attachment_13748818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg\" alt=\"Jasdeep Kang's filmmaking is simultaneously exploratory and hazy.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13748818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasdeep Kang’s filmmaking is simultaneously exploratory and veiled. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since coming into her own in the local art community, Kang has grown particularly passionate about ensuring that she and her creative collaborators remain dedicated to exploring the nuances of her actual and stereotyped identity — and continuing to work in redefining those nuances through their art. She cites her own family’s history and immigration story as primary sources of inspiration in her work. \u003c/p>\n\u003cp>“I’ve seen my parents reclaim their identity, and I’ve seen my grandparents reclaim theirs, because both generations have gone through their own genocides and have been displaced. The history of [my family] even being in this country alone has always made them challenge their identities. And, therefore, it’s forced me to challenge my own and every single space that I’ve been in.”\u003c/p>\n\u003cfigure id=\"attachment_13749234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg\" alt=\"A still from 'Copper,' a short film by Jasdeep Kang.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13749234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Copper,’ a short film shot by Jasdeep Kang. \u003ccite>(Jasdeep Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The solution to some of that cultural displacement, as it appears in Kang’s films, is the creation of an imaginary dream space — one that Kang has ultimately found possible to construct through the support of her diverse collaborators in the Bay. Although the filmmaker has recently moved to New York to pursue various freelancing opportunities, she has numerous long-term projects — like video and film installations — she’ll return to complete in the coming months. \u003c/p>\n\u003cp>Regardless of where Kang might be, however, she hopes to continue encouraging artists, no matter how established or how fledging, to take up space in areas they feel they aren’t allowed to.\u003c/p>\n\u003cp>“I’m trying to dream up spaces so people can fill them in, in real life,” she says. “That’s it honestly. That’s what really inspires the motion and my work.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\n\u003cp>\u003cem>For more from Jasdeep Kang, see the \u003ca href=\"http://www.jasdeepkang.com/\" target=\"_blank\" rel=\"noopener\">artist’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Inside Jasdeep Kang's Meticulous, Interrogative Filmmaking | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Blue (American Dream),” a \u003ca href=\"https://www.youtube.com/watch?v=pEw-RpqPxuY\" target=\"_blank\" rel=\"noopener\">music video\u003c/a> directed by filmmaker Jasdeep Kang, opens with a woman (Tia Cabral, better known by her stage name, \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\" target=\"_blank\" rel=\"noopener\">SPELLLING\u003c/a>) leaning on the back of a dancer, eyes closed and neck extended to catch the last waning wisps of afternoon light. The characters remain motionless as the camera’s slow, leftward pan highlights the faint glimmer of an Oakland warehouse’s corrugated steel wall — a shine outdone by the sharp sparkle of Cabral’s metallic gold dress further down the frame. Transforming the drab industrial setting into an ethereal, dream-like space is an iridescent lens flare, instantly setting the tone for the remainder of the surreal video in its first two seconds.\u003c/p>\n\u003cp>Released in late June, the four-minute long collaboration with up-and-coming Berkeley songwriter Cabral is the most recent installment of Kang’s visual work. The music video addresses and criticizes the notion of the American Dream achievable by the immigrant body. It brims with dramatic cinematography, meticulous attention to detail, and a profound interrogation of cultural identity — facets of Kang’s style that have grown to characterize her films with collaborators in the Bay Area.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pEw-RpqPxuY'\n title='//www.youtube.com/embed/pEw-RpqPxuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“One of the biggest things that inspires my work is the concept of identity,” Kang shares. “I look for people who speak truth, [regardless of] whether it’s about identity, spirituality, or decolonization. The people that I’ve worked with so far — I think that they address their identity in a very present way. They’re very open about their ancestral roots… but want to redefine identity in the space that we live in now [while] also addressing how they’re represented in various degrees.”\u003c/p>\n\u003cp>Kang’s collaborations are few but mighty, perhaps due to the care with which the filmmaker decides her projects. In the last year, she’s collaborated extensively with \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">ONX\u003c/a>, an artistic collective that \u003ca href=\"https://ww2.kqed.org/arts/2017/05/11/onx-the-collective-redefining-black-grief-and-creative-allyship/\" target=\"_blank\" rel=\"noopener\">focuses on the black experience\u003c/a>. Kang shot \u003cem>Copper\u003c/em>, the gorgeous, 14-minute long film on the topic of black death, which acted as the focal point of ONX’s third major release this spring. Previously, she also filmed “Azaadi: Is Freedom Is Fate,” a music video for Berkeley-based musician \u003ca href=\"https://soundcloud.com/kohinoorgasm\" target=\"_blank\" rel=\"noopener\">Kohinoorgasm\u003c/a> which explores the intersections of hair, expression, and freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vuZNAjvhK7Q'\n title='//www.youtube.com/embed/vuZNAjvhK7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Kang, a Punjabi-Sikh American, the inclusive and celebratory energy of the East Bay played an enormous role in shaping her current cinematic style. Although Kang recalls being behind the camera for as long as she can remember, it wasn’t until she moved back to the Bay — Kang originally hails from north of Sacramento — after graduating from UC Irvine in 2014 that she truly understood her position as a woman of color behind the lens.\u003c/p>\n\u003cp>“I’ve been on sets where I was the only brown person, or I was the only woman — [with] no one knowing how to pronounce my name. I felt so belittled by that… [It wasn’t] until I graduated college and started working with people in the Bay that I realized how powerful of a community I could be a part of behind the camera,” she explains. “I wanted to [do] work about race, addressing my identity and spaces [I occupy] with people that didn’t understand it or didn’t understand the importance of it.” Until she came back to the Bay Area, she says, “I wasn’t able to find that.”\u003c/p>\n\u003cfigure id=\"attachment_13748818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg\" alt=\"Jasdeep Kang's filmmaking is simultaneously exploratory and hazy.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13748818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasdeep Kang’s filmmaking is simultaneously exploratory and veiled. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since coming into her own in the local art community, Kang has grown particularly passionate about ensuring that she and her creative collaborators remain dedicated to exploring the nuances of her actual and stereotyped identity — and continuing to work in redefining those nuances through their art. She cites her own family’s history and immigration story as primary sources of inspiration in her work. \u003c/p>\n\u003cp>“I’ve seen my parents reclaim their identity, and I’ve seen my grandparents reclaim theirs, because both generations have gone through their own genocides and have been displaced. The history of [my family] even being in this country alone has always made them challenge their identities. And, therefore, it’s forced me to challenge my own and every single space that I’ve been in.”\u003c/p>\n\u003cfigure id=\"attachment_13749234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg\" alt=\"A still from 'Copper,' a short film by Jasdeep Kang.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13749234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jasdeep.Copper.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Copper,’ a short film shot by Jasdeep Kang. \u003ccite>(Jasdeep Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The solution to some of that cultural displacement, as it appears in Kang’s films, is the creation of an imaginary dream space — one that Kang has ultimately found possible to construct through the support of her diverse collaborators in the Bay. Although the filmmaker has recently moved to New York to pursue various freelancing opportunities, she has numerous long-term projects — like video and film installations — she’ll return to complete in the coming months. \u003c/p>\n\u003cp>Regardless of where Kang might be, however, she hopes to continue encouraging artists, no matter how established or how fledging, to take up space in areas they feel they aren’t allowed to.\u003c/p>\n\u003cp>“I’m trying to dream up spaces so people can fill them in, in real life,” she says. “That’s it honestly. That’s what really inspires the motion and my work.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\n\u003cp>\u003cem>For more from Jasdeep Kang, see the \u003ca href=\"http://www.jasdeepkang.com/\" target=\"_blank\" rel=\"noopener\">artist’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ken Burns and Lynn Novick Spent a Decade Capturing Stories of 'The Vietnam War'",
"headTitle": "Ken Burns and Lynn Novick Spent a Decade Capturing Stories of ‘The Vietnam War’ | KQED",
"content": "\u003cp>Over four decades ago, the last U.S. helicopter lifted away from Saigon and the North Vietnamese Army captured the city soon thereafter. Now, \u003ca href=\"http://www.pbs.org/kenburns/the-vietnam-war/home/\">a new documentary\u003c/a> from \u003ca href=\"http://kenburns.com/\">Ken Burns\u003c/a> and \u003ca href=\"http://kenburns.com/principals/lynn-novick/\">Lynn Novick\u003c/a> takes a panoramic look at the conflict, including accounts from 79 witnesses from all sides of the war. The 10-part series premieres Sept. 17 on PBS. Long-time collaborators Burns and Novick previously worked together on “The Civil War” and “Prohibition” documentaries. Burns and Novick join us to talk about the lasting effects of the Vietnam era and the stories they uncovered from a decade’s worth of filming.\u003c/p>\n\u003cp>\u003cstrong>Guests:\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Ken Burns\u003c/b>\u003cspan style=\"font-weight: 400\">, filmmaker & historian, “The Vietnam War”\u003cbr>\n\u003c/span>\u003cb>Lynn Novick\u003c/b>\u003cspan style=\"font-weight: 400\">, producer & documentary filmmaker, “The Vietnam War”\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Their new documentary, “The Vietnam War,” premieres Sept. 17 on PBS.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Over four decades ago, the last U.S. helicopter lifted away from Saigon and the North Vietnamese Army captured the city soon thereafter. Now, a new documentary from Ken Burns and Lynn Novick takes a panoramic look at the conflict, including accounts from 79 witnesses from all sides of the war. The 10-part series premieres Sept. 17 on PBS. Long-time collaborators Burns and Novick previously worked together on “The Civil War” and “Prohibition” documentaries. Burns and Novick join us to talk about the lasting effects of the Vietnam era and the stories they uncovered from a decade’s worth of filming.",
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"content": "\u003cp>Entertainers Danny Glover, David Cross and Patton Oswalt have joined the cast of \u003cem>Sorry To Bother You,\u003c/em> the directorial debut from rapid-fire rapper Boots Riley. The online entertainment publication \u003ca href=\"http://deadline.com/2017/07/sorry-to-bother-you-movie-danny-glover-david-cross-patton-oswalt-boots-riley-1202136106/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline.com\u003c/a> announced the expansion of the cast on Wednesday.\u003c/p>\n\u003cp>Riley, who performs with the band \u003ca href=\"https://www.facebook.com/TheCoup/\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, and crew began shooting the \u003ca href=\"https://en.wikipedia.org/wiki/Sorry_to_Bother_You_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">comedy fantasy sci-fi film\u003c/a> in Riley’s hometown of Oakland last month.\u003c/p>\n\u003cp>“Boom. All this amazing talent coming together to make \u003cem>Sorry To Bother You\u003c/em> fly,” Riley wrote on his \u003ca href=\"https://www.facebook.com/boots.riley/posts/10155541981183664\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> about the casting update.\u003c/p>\n\u003cp>The new additions round-out an already star-packed cast that includes \u003ca href=\"http://www.imdb.com/name/nm3147751/\" target=\"_blank\" rel=\"noopener noreferrer\">Lakeith Stanfield\u003c/a> (\u003ci>Get Out\u003c/i>, \u003ci>Selma\u003c/i>) \u003ca href=\"http://www.imdb.com/name/nm1935086/\" target=\"_blank\" rel=\"noopener noreferrer\">Tessa Thompson \u003c/a>(\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm2309517/\" target=\"_blank\" rel=\"noopener noreferrer\">Armie Hammer\u003c/a> (\u003ci>Birth Of A Nation\u003c/i>, \u003ci>The Lone Ranger\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm3081796/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a> (\u003ci>The Walking Dead\u003c/i>, \u003ci>Okja\u003c/i>) and \u003ca href=\"http://www.imdb.com/name/nm0187719/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Crews\u003c/a> (\u003ci>Brooklyn Nine-Nine\u003c/i>, \u003ci>Idiocracy\u003c/i>).\u003c/p>\n\u003cp>The film, which is about a black telemarketer who discovers a magical key to success in business, was written by 46-year-old Riley, who once worked as a tele-fundraiser. Riley studied film at San Francisco State before his music career took off, and workshopped \u003cem>Sorry To Bother You\u003c/em> last year at the Sundance Directors Lab.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Significant Productions, the company behind \u003ci>Fruitvale Station\u003c/i> and \u003ci>Dope\u003c/i>, is producing the project. The shoot is scheduled to wrap up Friday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Entertainers Danny Glover, David Cross and Patton Oswalt have joined the cast of \u003cem>Sorry To Bother You,\u003c/em> the directorial debut from rapid-fire rapper Boots Riley. The online entertainment publication \u003ca href=\"http://deadline.com/2017/07/sorry-to-bother-you-movie-danny-glover-david-cross-patton-oswalt-boots-riley-1202136106/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline.com\u003c/a> announced the expansion of the cast on Wednesday.\u003c/p>\n\u003cp>Riley, who performs with the band \u003ca href=\"https://www.facebook.com/TheCoup/\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, and crew began shooting the \u003ca href=\"https://en.wikipedia.org/wiki/Sorry_to_Bother_You_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">comedy fantasy sci-fi film\u003c/a> in Riley’s hometown of Oakland last month.\u003c/p>\n\u003cp>“Boom. All this amazing talent coming together to make \u003cem>Sorry To Bother You\u003c/em> fly,” Riley wrote on his \u003ca href=\"https://www.facebook.com/boots.riley/posts/10155541981183664\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> about the casting update.\u003c/p>\n\u003cp>The new additions round-out an already star-packed cast that includes \u003ca href=\"http://www.imdb.com/name/nm3147751/\" target=\"_blank\" rel=\"noopener noreferrer\">Lakeith Stanfield\u003c/a> (\u003ci>Get Out\u003c/i>, \u003ci>Selma\u003c/i>) \u003ca href=\"http://www.imdb.com/name/nm1935086/\" target=\"_blank\" rel=\"noopener noreferrer\">Tessa Thompson \u003c/a>(\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm2309517/\" target=\"_blank\" rel=\"noopener noreferrer\">Armie Hammer\u003c/a> (\u003ci>Birth Of A Nation\u003c/i>, \u003ci>The Lone Ranger\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm3081796/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a> (\u003ci>The Walking Dead\u003c/i>, \u003ci>Okja\u003c/i>) and \u003ca href=\"http://www.imdb.com/name/nm0187719/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Crews\u003c/a> (\u003ci>Brooklyn Nine-Nine\u003c/i>, \u003ci>Idiocracy\u003c/i>).\u003c/p>\n\u003cp>The film, which is about a black telemarketer who discovers a magical key to success in business, was written by 46-year-old Riley, who once worked as a tele-fundraiser. Riley studied film at San Francisco State before his music career took off, and workshopped \u003cem>Sorry To Bother You\u003c/em> last year at the Sundance Directors Lab.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actor John Heard, whose many roles included the father in the \u003cem>Home Alone\u003c/em> series and a corrupt detective in \u003cem>The Sopranos,\u003c/em> has died. He was 71.\u003c/p>\n\u003cp>Heard was found dead Friday in a hotel in Palo Alto, Calif., the Santa Clara County Medical Examiner’s office said Saturday.\u003c/p>\n\u003cp>An investigation which includes a toxicology test is underway to determine the cause of death, but so far there is no evidence of foul play, the office said.\u003c/p>\n\u003cp>TMZ reported that a representative for Heard said he was staying in the hotel while he recovered from back surgery at Stanford University Medical Center.\u003c/p>\n\u003cp>Heard played Peter McCallister, the father of Kevin, played by Macaulay Culkin, in \u003cem>Home Alone\u003c/em> and \u003cem>Home Alone 2: Lost in New York.\u003c/em> He said in later interviews that he sought a movie with kids in it so his son, age 5 at the time, could come to the set and have someone to play with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After it became a big hit, he was reluctant to revisit the role. But his agent convinced him the money was too good to pass up.\u003c/p>\n\u003cp>“I didn’t want to be the ‘Home Alone’ dad for the rest of my life,” he told Yahoo News in 2013.\u003c/p>\n\u003cp>He was born March 7, 1946, in Washington, D.C., and grew up performing in local theater. One of his memorable early roles was as a disabled Vietnam War veteran in the 1981 film \u003cem>Cutter’s Way.\u003c/em>\u003c/p>\n\u003cp>He was active in film for the next decade, playing Tom Hanks’ rival in \u003cem>Big,\u003c/em> actress Geraldine Page’s son in \u003cem>The Trip to Bountiful\u003c/em> and in the movies \u003cem>The Pelican Brief,\u003c/em> \u003cem>Beaches,\u003c/em> \u003cem>Gladiator,\u003c/em> \u003cem>Rambling Rose\u003c/em> and \u003cem>After Hours.\u003c/em>\u003c/p>\n\u003cp>He earned an Emmy nomination for playing Vin Makazian in \u003cem>The Sopranos.\u003c/em> Heard said in a 2015 interview with The A.V. Club that he got the part after running into series star James Gandolfini in a gym. His time on \u003cem>The Sopranos\u003c/em> ended like it did for many other actors there — with his character’s death.\u003c/p>\n\u003cp>Heard said he approached series creator David Chase and said “‘Why me? I’m a detective! You can use me forever!’ And he told me, ‘John, there’s a rule in television. Somebody has to die that the audience likes.’ I said, ‘They like me? How do you know they like me?’ He said, ‘Well, they like you. So we’re gonna kill you.’\u003c/p>\n\u003cp>“My mother said, ‘Why do you have to die in everything?’ I said, ‘You’re telling me? I could’ve made a fortune!”\u003c/p>\n\u003cp>Other television roles kept Heard busy. He acted in \u003cem>CSI: Crime Scene Investigation,\u003c/em> \u003cem>Elementary,\u003c/em> \u003cem>Prison Break,\u003c/em> \u003cem>Modern Family\u003c/em> and \u003cem>Entourage.\u003c/em> One of his favorite jobs came in the original \u003cem>Sharknado\u003c/em> television movie in 2013.\u003c/p>\n\u003cp>“I knew it was going to be a cult classic,” he told the Baltimore Media Blog last year. “It’s just ridiculous. I thought it would replace people\u003cbr>\ncalling me the ‘Home Alone’ dad.”\u003c/p>\n\u003cp>Fellow actor Michael McKean paid tribute on Twitter Saturday: “RIP John Heard. Never not good.”\u003c/p>\n\u003cp>Actor James Woods said Heard was “a complex and brilliant man and a true artist. I will miss him dearly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Heard was married and divorced three times, including briefly to actress Margot Kidder. He had three children.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After it became a big hit, he was reluctant to revisit the role. But his agent convinced him the money was too good to pass up.\u003c/p>\n\u003cp>“I didn’t want to be the ‘Home Alone’ dad for the rest of my life,” he told Yahoo News in 2013.\u003c/p>\n\u003cp>He was born March 7, 1946, in Washington, D.C., and grew up performing in local theater. One of his memorable early roles was as a disabled Vietnam War veteran in the 1981 film \u003cem>Cutter’s Way.\u003c/em>\u003c/p>\n\u003cp>He was active in film for the next decade, playing Tom Hanks’ rival in \u003cem>Big,\u003c/em> actress Geraldine Page’s son in \u003cem>The Trip to Bountiful\u003c/em> and in the movies \u003cem>The Pelican Brief,\u003c/em> \u003cem>Beaches,\u003c/em> \u003cem>Gladiator,\u003c/em> \u003cem>Rambling Rose\u003c/em> and \u003cem>After Hours.\u003c/em>\u003c/p>\n\u003cp>He earned an Emmy nomination for playing Vin Makazian in \u003cem>The Sopranos.\u003c/em> Heard said in a 2015 interview with The A.V. Club that he got the part after running into series star James Gandolfini in a gym. His time on \u003cem>The Sopranos\u003c/em> ended like it did for many other actors there — with his character’s death.\u003c/p>\n\u003cp>Heard said he approached series creator David Chase and said “‘Why me? I’m a detective! You can use me forever!’ And he told me, ‘John, there’s a rule in television. Somebody has to die that the audience likes.’ I said, ‘They like me? How do you know they like me?’ He said, ‘Well, they like you. So we’re gonna kill you.’\u003c/p>\n\u003cp>“My mother said, ‘Why do you have to die in everything?’ I said, ‘You’re telling me? I could’ve made a fortune!”\u003c/p>\n\u003cp>Other television roles kept Heard busy. He acted in \u003cem>CSI: Crime Scene Investigation,\u003c/em> \u003cem>Elementary,\u003c/em> \u003cem>Prison Break,\u003c/em> \u003cem>Modern Family\u003c/em> and \u003cem>Entourage.\u003c/em> One of his favorite jobs came in the original \u003cem>Sharknado\u003c/em> television movie in 2013.\u003c/p>\n\u003cp>“I knew it was going to be a cult classic,” he told the Baltimore Media Blog last year. “It’s just ridiculous. I thought it would replace people\u003cbr>\ncalling me the ‘Home Alone’ dad.”\u003c/p>\n\u003cp>Fellow actor Michael McKean paid tribute on Twitter Saturday: “RIP John Heard. Never not good.”\u003c/p>\n\u003cp>Actor James Woods said Heard was “a complex and brilliant man and a true artist. I will miss him dearly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Heard was married and divorced three times, including briefly to actress Margot Kidder. He had three children.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Elvis Presley, James Dean and Marlon Brando each cracked open the ossified ’50s, setting in motion the rapid evolution of youth culture into popular culture. But the landmark event in that transformation? \u003cem>West Side Story\u003c/em>, which opened on Broadway in 1957, hit movie theaters in 1961, and skillfully co-opted the attitude and fashion of the next generation into a mainstream hit. It’s difficult to find fault with its bravura inspiration, however, and impossible to quibble with its stunning execution, when the likes of Leonard Bernstein, Stephen Sondheim, Jerome Robbins, Robert Wise, Rita Moreno, Natalie Wood and “Wild Bill” Shakespeare are involved.\u003c/p>\n\u003cp>Sixty years later, \u003cem>West Side Story\u003c/em> remains one of the greatest musicals ever made, persuasively integrating street-level realism into a genre defined by (and loved for) its embrace of fantasy. It succeeds in being flamboyantly entertaining without trivializing the weighty issues and ideas at the core of the story: immigration, xenophobia, identity, self-expression, love and violence. Transporting and wrenching, timeless and universal, \u003cem>West Side Story\u003c/em> is still a breathtaking accomplishment.\u003c/p>\n\u003cp>BAMPFA, in cahoots with Berkeley Rep and the Downtown Berkeley Association, shows \u003cem>West Side Story\u003c/em> on its \u003ca href=\"http://bampfa.org/event/west-side-story-5\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor screen\u003c/a> on Addison Street (at Oxford) this Saturday, July 29 at 7:30pm. (All of Us, a trio, warms up the arriving crowd with songs from the soundtrack beginning at 7pm. They might consider a rendition of Springsteen’s “Jungleland,” which feels inspired in part by \u003cem>West Side Story\u003c/em>.) In the dusk, with the proper breeze, you might detect the veiled threats that youth culture once aimed at the mainstream.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elvis Presley, James Dean and Marlon Brando each cracked open the ossified ’50s, setting in motion the rapid evolution of youth culture into popular culture. But the landmark event in that transformation? \u003cem>West Side Story\u003c/em>, which opened on Broadway in 1957, hit movie theaters in 1961, and skillfully co-opted the attitude and fashion of the next generation into a mainstream hit. It’s difficult to find fault with its bravura inspiration, however, and impossible to quibble with its stunning execution, when the likes of Leonard Bernstein, Stephen Sondheim, Jerome Robbins, Robert Wise, Rita Moreno, Natalie Wood and “Wild Bill” Shakespeare are involved.\u003c/p>\n\u003cp>Sixty years later, \u003cem>West Side Story\u003c/em> remains one of the greatest musicals ever made, persuasively integrating street-level realism into a genre defined by (and loved for) its embrace of fantasy. It succeeds in being flamboyantly entertaining without trivializing the weighty issues and ideas at the core of the story: immigration, xenophobia, identity, self-expression, love and violence. Transporting and wrenching, timeless and universal, \u003cem>West Side Story\u003c/em> is still a breathtaking accomplishment.\u003c/p>\n\u003cp>BAMPFA, in cahoots with Berkeley Rep and the Downtown Berkeley Association, shows \u003cem>West Side Story\u003c/em> on its \u003ca href=\"http://bampfa.org/event/west-side-story-5\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor screen\u003c/a> on Addison Street (at Oxford) this Saturday, July 29 at 7:30pm. (All of Us, a trio, warms up the arriving crowd with songs from the soundtrack beginning at 7pm. They might consider a rendition of Springsteen’s “Jungleland,” which feels inspired in part by \u003cem>West Side Story\u003c/em>.) In the dusk, with the proper breeze, you might detect the veiled threats that youth culture once aimed at the mainstream.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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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"title": "A Behind-The-Scenes Couple Get Star Treatment In 'Harold And Lillian'",
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"content": "\u003cp>What it is like to be married in Hollywood? We have a good idea about what it’s like to be \u003cem>divorced\u003c/em> in Hollywood, we’ve seen famous couples run aground by egos and scandal, and we’re well-versed in the ups-and-downs of a lifestyle where fortunes vary and relationship are jostled like luggage on a turbulent flight. The beautiful documentary \u003cem>Harold and Lillian: A Hollywood Love Story\u003c/em> celebrates a marriage and creative partnership that lasted six decades in the business, one that survived stretches of poverty and joblessness, catastrophic injury and alcoholism, and the challenges of raising an autistic son at a time when “refrigerator mothers” were blamed for the condition. Bottom line: A Hollywood marriage can be sublime and inspiring, but it’s always an adventure.\u003c/p>\n\u003cp>Though well-known and beloved by their peers, Harold and Lillian Michelson had the sorts of jobs that are often so far below the line that they’re not credited at all. As a production designer and art director, Harold would eventually earn Academy Award nominations for \u003cem>Star Trek: The Motion Picture\u003c/em> and \u003cem>Terms of Endearment\u003c/em>, but for the bulk of his career, dating back to an apprenticeship at Columbia Pictures in the late ’40s, he worked the art department as a concept illustrator and storyboard artist. Despite a passion for books and a formidable intellect — she was a spelling bee champion in her youth — Lillian stayed home and raised their three children until the early ’60s, when Harold was brought onto the lot at Samuel Goldwyn. He helped land her a volunteer position in the research library across the street, and a second career was born.\u003c/p>\n\u003cp>https://youtu.be/yA6fdelvNtw\u003c/p>\n\u003cp>Only the most hardcore cinephiles have heard of the Michelsons, but even casual viewers are familiar with their work. Harold’s talent for adjusting his storyboards for different camera lenses and telling stories shot-by-shot is readily apparent in sword-and-sandal epics like \u003cem>The Ten Commandments\u003c/em>, \u003cem>Ben Hur\u003c/em>, and \u003cem>Spartacus\u003c/em>, and he worked side-by-side with Alfred Hitchcock on \u003cem>The Birds\u003c/em> and \u003cem>Marnie\u003c/em>, two of the master’s most strikingly composed films. One of the most famous shots in cinema history — Benjamin Braddock framed by Mrs. Robinson’s leg in \u003cem>The Graduate\u003c/em> — appeared first on Harold’s sketchbook before it was immortalized on screen. He wouldn’t start collecting more prominent credits until later, when he worked in production design and/or art direction for filmmakers like Mel Brooks and Danny DeVito.\u003c/p>\n\u003cp>For her part, Lillian toiled in the research department, where she quietly unearthed the specific period details and bric-a-brac that would lend real-world authenticity to Hollywood fictions. In \u003cem>Harold and Lillian\u003c/em>, she describes the extraordinary lengths she would go to get things right, like querying old Jewish women at a deli to find out what 1890s bloomers looked like for \u003cem>Fiddler on the Roof\u003c/em> or pressing ex- (and current) drug lords and DEA agents for information relevant to \u003cem>Scarface\u003c/em>. When asked the impossible, like getting photos from inside CIA headquarters, she could deliver. She talks about research as a “time machine” that allows her to access other worlds, much as she did as a five-year-old orphan in Miami Beach.\u003c/p>\n\u003cfigure id=\"attachment_13703784\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/1-1020x1466.jpg\" alt=\"Lillian and Harold Michelson\" width=\"640\" height=\"920\" class=\"size-large wp-image-13703784\">\u003cfigcaption class=\"wp-caption-text\">Lillian and Harold Michelson \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lillian’s voice carries the documentary — Harold died in 2008, though he left a wealth of interview footage behind — and collaborators like DeVito (who also executive-produced), Brooks, and Francis Ford Coppola offer themselves as talking heads, along with other researchers, storyboard artists and technicians in the field. Harold’s extensive illustrations of their lives together — including a marvelous tradition of homemade birthday and anniversary cards, adorned by sweet poems and artwork — give \u003cem>Harold and Lillian\u003c/em> all the visual panache it needs, much like a real-life version of the side-by-side comparisons between his storyboards and a finished sequence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The stories Lillian tells are a treasure-trove of personal and professional anecdotes, doubling as a side history of Hollywood itself. But \u003cem>Harold and Lillian\u003c/em> is most affecting as a tribute to their marriage, which was full of romance and hardship and uncertainty, but built from the beginning on mutual respect and enthusiasm. “You must have shared experiences for a marriage to have some kind of soil to grow on,” she says, offering a key insight into why so many Hollywood marriages struggle to last. In a business where individual success waxes and wanes, and each new production is a job that will eventually be lost, the Michelsons rode out its crazy vicissitudes with something approaching harmony and grace. Theirs is a model few will ever get to follow.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What it is like to be married in Hollywood? We have a good idea about what it’s like to be \u003cem>divorced\u003c/em> in Hollywood, we’ve seen famous couples run aground by egos and scandal, and we’re well-versed in the ups-and-downs of a lifestyle where fortunes vary and relationship are jostled like luggage on a turbulent flight. The beautiful documentary \u003cem>Harold and Lillian: A Hollywood Love Story\u003c/em> celebrates a marriage and creative partnership that lasted six decades in the business, one that survived stretches of poverty and joblessness, catastrophic injury and alcoholism, and the challenges of raising an autistic son at a time when “refrigerator mothers” were blamed for the condition. Bottom line: A Hollywood marriage can be sublime and inspiring, but it’s always an adventure.\u003c/p>\n\u003cp>Though well-known and beloved by their peers, Harold and Lillian Michelson had the sorts of jobs that are often so far below the line that they’re not credited at all. As a production designer and art director, Harold would eventually earn Academy Award nominations for \u003cem>Star Trek: The Motion Picture\u003c/em> and \u003cem>Terms of Endearment\u003c/em>, but for the bulk of his career, dating back to an apprenticeship at Columbia Pictures in the late ’40s, he worked the art department as a concept illustrator and storyboard artist. Despite a passion for books and a formidable intellect — she was a spelling bee champion in her youth — Lillian stayed home and raised their three children until the early ’60s, when Harold was brought onto the lot at Samuel Goldwyn. He helped land her a volunteer position in the research library across the street, and a second career was born.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yA6fdelvNtw'\n title='//www.youtube.com/embed/yA6fdelvNtw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only the most hardcore cinephiles have heard of the Michelsons, but even casual viewers are familiar with their work. Harold’s talent for adjusting his storyboards for different camera lenses and telling stories shot-by-shot is readily apparent in sword-and-sandal epics like \u003cem>The Ten Commandments\u003c/em>, \u003cem>Ben Hur\u003c/em>, and \u003cem>Spartacus\u003c/em>, and he worked side-by-side with Alfred Hitchcock on \u003cem>The Birds\u003c/em> and \u003cem>Marnie\u003c/em>, two of the master’s most strikingly composed films. One of the most famous shots in cinema history — Benjamin Braddock framed by Mrs. Robinson’s leg in \u003cem>The Graduate\u003c/em> — appeared first on Harold’s sketchbook before it was immortalized on screen. 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She talks about research as a “time machine” that allows her to access other worlds, much as she did as a five-year-old orphan in Miami Beach.\u003c/p>\n\u003cfigure id=\"attachment_13703784\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/1-1020x1466.jpg\" alt=\"Lillian and Harold Michelson\" width=\"640\" height=\"920\" class=\"size-large wp-image-13703784\">\u003cfigcaption class=\"wp-caption-text\">Lillian and Harold Michelson \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lillian’s voice carries the documentary — Harold died in 2008, though he left a wealth of interview footage behind — and collaborators like DeVito (who also executive-produced), Brooks, and Francis Ford Coppola offer themselves as talking heads, along with other researchers, storyboard artists and technicians in the field. 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"content": "\u003cp>If every movie is a journey, the \u003ca href=\"https://sfjff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a> program is a veritable Rough Guide of staycation options: A summery New York romantic comedy with unusually challenged lovers. A modern Israeli rewriting of an unhappy Bible story. \u003cem>Bad Day at Black Rock\u003c/em> filtered through the fresh postwar guilt of a Hungarian village. A spare Gothic thriller played out in a religious neighborhood in Jerusalem. A libidinous elderly Argentinian’s final chapter, reverberating with the echoes of the Spanish Civil War.\u003c/p>\n\u003cfigure id=\"attachment_13681711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/aquietheart_01.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13681711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/aquietheart_01-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘A Quiet Heart.’ \u003ccite>(Courtesy Jewish Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The five narrative movies I sketched — the opening night film \u003cem>\u003ca href=\"https://sfjff.org/films/film-guide/keep-the-change\" target=\"_blank\" rel=\"noopener\">Keep the Change\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://sfjff.org/films/film-guide/harmonia\" target=\"_blank\" rel=\"noopener\">Harmonia\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://sfjff.org/films/film-guide/1945\" target=\"_blank\" rel=\"noopener\">1945\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://sfjff.org/films/film-guide/a-quiet-heart\" target=\"_blank\" rel=\"noopener\">A Quiet Heart\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://sfjff.org/films/film-guide/subte-polska\" target=\"_blank\" rel=\"noopener\">Subte-Polska\u003c/a>\u003c/em> — offer widely differing plotlines but share an important trait: Every character knows him or herself better by the end of their journey. The native currency of SFJFF is identity — that’s settled fact — but it has unique nuance for every protagonist.\u003c/p>\n\u003cp>The lineup also includes a strong contingent of documentaries that generally focus on individual lives rather than overarching issues. The festival slogan might as well be, “Take it personally.” The SFJFF opens this Thursday, July 20 at the Castro and continues through Aug. 6 with legs in San Francisco, Albany (in the East Bay), Palo Alto and San Rafael.\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>\u003cp>\u003c/p>\n",
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"title": "Academy Award-Winning Actor Martin Landau, Known for 'Mission: Impossible' Dies At 89",
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"content": "\u003cp>Academy Award-Winning Actor Martin Landau, known for his leading roles in \u003cem>North By Northwest\u003c/em> and the 1960s \u003cem>Mission: Impossible\u003c/em> TV series, has died. He was 89.\u003c/p>\n\u003cp>He died on Saturday of “unexpected complications” at the UCLA Medical Center, his publicist confirmed.\u003c/p>\n\u003cp>In his seven-decade acting career, Landau worked with a cast of Hollywood director greats, including Alfred Hitchcock, Francis Ford Coppola, Woody Allen and Tim Burton.\u003c/p>\n\u003cp>Francis Ford Coppola’s 1988 film \u003cem>Tucker: The Man and His Dream \u003c/em>won Landau a Golden Globe Award as well as an Oscar nomination for Best Supporting Actor. The following year, he was nominated for the same Oscar category for portraying philandering ophthalmologist Judah Rosenthal in Woody Allen’s \u003cem>Crimes And Misdemeanors \u003c/em>(1989).\u003c/p>\n\u003cp>It was his role as the haunting Bela Lugosi in Tim Burton’s biopic, \u003cem>Ed Wood\u003c/em>, that finally scored him the Oscar for Best Supporting Actor in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But he was probably best known for his three-season run as spy agent Rollin Hand in TV’s \u003cem>Mission: Impossible\u003c/em>, from 1966-1969.\u003c/p>\n\u003cp>Hand’s character, billed as “The World’s Greatest Impersonator,” also pinned Landau as a master of disguise in the eyes of casting directors, who saw him suited to play a variety of roles, notes the \u003ca href=\"https://www.nytimes.com/2017/07/16/movies/martin-landau-actor-academy-award-dies-89.html\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>Landau also notably turned down the role of science officer, Mr. Spock, leading \u003cem>Star Trek\u003c/em> creator Gene Rodenberry to cast his second choice, Leonard Nimoy.\u003c/p>\n\u003cp>At age 17, the Brooklyn-born actor got his first job as a newspaper cartoonist at the \u003cem>New York Daily News\u003c/em>. As he told \u003cem>Talk Of The Nation\u003c/em> Host Neal Conan\u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=129606331\"> in 2010\u003c/a>, he quit the \u003cem>News\u003c/em> five years later to give acting a shot.\u003c/p>\n\u003cp>“I was being groomed to be the theatrical caricaturist. And I know if I got that job, I’d never quit. So I quit,” Landau said. “I knew I wanted to go into the theater… I wanted to act.”\u003c/p>\n\u003cp>In the same interview, the alumnus of the prestigious Actors Studio told an NPR listener that he had never had much trouble learning lines because “I think of them as thoughts and ideas” that the character wants to express.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Told by Conan that he lights up the screen with his wonderful smile, “Oh, that’s so nice to hear. I mean, I always thought it looked like a piano.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Academy+Award-Winning+Actor+Martin+Landau%2C+Known+For+%27Mission%3A+Impossible%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"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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"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"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": {
"site": "radio",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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",
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"link": "/radio/program/fresh-air",
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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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"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
},
"link": "/podcasts/hyphenacion",
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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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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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