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"content": "\u003cp>In 1964, two guys walk into a movie studio. One of them was Buster Keaton, a silent film master of physical comedy, and the other was Samuel Beckett, a master of cerebral literature. They were there to make a movie together, and now a \u003cem>new\u003c/em> movie tells the story of their unlikely collaboration.\u003c/p>\n\u003cp>Beckett and Keaton’s project was called \u003cem>Film\u003c/em>, and the new account of that project — created by former UCLA archivist Ross Lipman — is called \u003ca href=\"http://filmbysamuelbeckett.com/\">Notfilm\u003c/a>. Lipman was fascinated by the Beckett-Keaton collaboration. “I love storytelling,” he says, “and I love all the historical figures involved and I love pursuing these strange little nooks and crannies of cultural history.”\u003c/p>\n\u003cp>\u003cem>Film\u003c/em> is certainly one of those crannies, but making a movie about the making of a movie posed a problem. In the beginning of \u003cem>Notfilm\u003c/em>, Lipman says, “I’ve never quite trusted films about film. Art shouldn’t be about art; it should be about life, and speak to life — or so I told myself, as if they were somehow distinguishable.”\u003c/p>\n\u003cp>As an archivist, Lipman worked on a bunch of restoration projects, from silent films to the movies of John Sayles and John Cassavetes. His research on the Beckett-Keaton project led him to the apartment of the man who funded \u003cem>Film\u003c/em>. 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I remember Beckett one time said to Buster, ‘Mr. Keaton, could you hold that blink three more frames?’ Buster looked at me and said, ‘Sure!’ I just said, ‘Take my word for it, these are respectable people.’ And he said, ‘Well, I know Beckett has done a lot of work,’ he says, ‘but do people really like it?’ ”\u003c/p>\n\u003cp>According to \u003cem>Notfilm\u003c/em>, Beckett himself thought his first (and last) foray onto the big screen was a failure, but film historian Bruce Kawin says the playwright was wrong. He thinks \u003cem>Film\u003c/em> was a well done, simple story about someone who doesn’t want to be seen.\u003c/p>\n\u003cp>“You have to think about what the great, modern experiments were like, and how many of them are actually entertaining,” Kawin says. “Like, you know, \u003cem>Ulysses\u003c/em> is really great if you like it; and if you don’t, it’s just too long, about too little, you know? And Beckett is cleaner and faster and simpler. We’re talking about simplicity, genius and clarity, which is something that Beckett had and Keaton had. … Keaton’s the real thing. … Beckett’s the real thing. These are \u003cem>amazing\u003c/em> artists, just amazing artists.”\u003c/p>\n\u003cp>And Kawin can’t understand why they didn’t have a great time making a movie that he thinks is funny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think you can really mess it up by being too intellectual about it,” he says. “And that may have been Beckett’s mistake and it may have been Schneider’s mistake. They may have just not understood that they were dealing with an absolute genius — Keaton. And Keaton may not have understood how brilliant and funny Beckett was.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 KUNC-FM. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1964, two guys walk into a movie studio. One of them was Buster Keaton, a silent film master of physical comedy, and the other was Samuel Beckett, a master of cerebral literature. They were there to make a movie together, and now a \u003cem>new\u003c/em> movie tells the story of their unlikely collaboration.\u003c/p>\n\u003cp>Beckett and Keaton’s project was called \u003cem>Film\u003c/em>, and the new account of that project — created by former UCLA archivist Ross Lipman — is called \u003ca href=\"http://filmbysamuelbeckett.com/\">Notfilm\u003c/a>. Lipman was fascinated by the Beckett-Keaton collaboration. “I love storytelling,” he says, “and I love all the historical figures involved and I love pursuing these strange little nooks and crannies of cultural history.”\u003c/p>\n\u003cp>\u003cem>Film\u003c/em> is certainly one of those crannies, but making a movie about the making of a movie posed a problem. In the beginning of \u003cem>Notfilm\u003c/em>, Lipman says, “I’ve never quite trusted films about film. Art shouldn’t be about art; it should be about life, and speak to life — or so I told myself, as if they were somehow distinguishable.”\u003c/p>\n\u003cp>As an archivist, Lipman worked on a bunch of restoration projects, from silent films to the movies of John Sayles and John Cassavetes. His research on the Beckett-Keaton project led him to the apartment of the man who funded \u003cem>Film\u003c/em>. Under the sink, Lipman found reels of outtakes and a prologue that was eventually rejected.\u003c/p>\n\u003cp>“There were lots of outtakes of the camera panning across this abandoned room — this decrepit, decaying space,” Lipman says. “And they were so evocative. … I’ve got all this wonderful material that obviously speaks to me from a historical and intellectual standpoint, but underneath it got to me at this emotional level, and that was the thing that pushed me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lipman’s film grew into a movie essay on the meaning of images — how we see ourselves on screen and how others see us. He says, “The film by Beckett is about someone who is afraid of being looked at, and Beckett uses the camera as a metaphor for that. And Keaton was one of those people who did have this aversion to the limelight. In his private life, he didn’t really like to be invaded in that way. So at a physical level, he understood this aversion to being observed that Beckett was using as the subject of his film.”\u003c/p>\n\u003cp>But Keaton wasn’t Beckett’s first choice. Actor James Karen, who appears in \u003cem>Film\u003c/em>, says, “Beckett had written it for Jack MacGowran and MacGowran couldn’t do it, so I suggested Buster.”\u003c/p>\n\u003cp>Karen has acted on Broadway, TV and film, including 1985’s \u003cem>The Return of the Living Dead\u003c/em>. He was a close friend of Keaton’s, but he says he had to convince him to do the Beckett project. Once Keaton was on set, Karen says, the seasoned silent film star didn’t think Beckett or his first-time director, acclaimed theater director Alan Schneider, knew what they were doing.\u003c/p>\n\u003cp>“They were terrific in the theater,” Karen says, “but they knew nothing about making a movie. They would ask for things which no actor could do. I remember Beckett one time said to Buster, ‘Mr. Keaton, could you hold that blink three more frames?’ Buster looked at me and said, ‘Sure!’ I just said, ‘Take my word for it, these are respectable people.’ And he said, ‘Well, I know Beckett has done a lot of work,’ he says, ‘but do people really like it?’ ”\u003c/p>\n\u003cp>According to \u003cem>Notfilm\u003c/em>, Beckett himself thought his first (and last) foray onto the big screen was a failure, but film historian Bruce Kawin says the playwright was wrong. He thinks \u003cem>Film\u003c/em> was a well done, simple story about someone who doesn’t want to be seen.\u003c/p>\n\u003cp>“You have to think about what the great, modern experiments were like, and how many of them are actually entertaining,” Kawin says. “Like, you know, \u003cem>Ulysses\u003c/em> is really great if you like it; and if you don’t, it’s just too long, about too little, you know? And Beckett is cleaner and faster and simpler. We’re talking about simplicity, genius and clarity, which is something that Beckett had and Keaton had. … Keaton’s the real thing. … Beckett’s the real thing. These are \u003cem>amazing\u003c/em> artists, just amazing artists.”\u003c/p>\n\u003cp>And Kawin can’t understand why they didn’t have a great time making a movie that he thinks is funny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think you can really mess it up by being too intellectual about it,” he says. “And that may have been Beckett’s mistake and it may have been Schneider’s mistake. They may have just not understood that they were dealing with an absolute genius — Keaton. And Keaton may not have understood how brilliant and funny Beckett was.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 KUNC-FM. To see more, visit \u003ca href=\"http://kunc.org\">KUNC-FM\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buster+Keaton+And+Samuel+Beckett+Walk+Into+A+Movie+Studio+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hunting and Fishing at the SF Green Film Festival",
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"content": "\u003cp>How does the food we eat end up on our plates? Decades in to an increasingly active and aware food movement, this question still yields perplexing and complicated responses. For we carnivores, the answers also involve facing — or in many cases consciously avoiding — the hard realities of animal life within the meat industry. Two documentaries at this year’s San Francisco Green Film Festival peer into the complex and surprisingly emotional worlds of hunting and fishing. \u003c/p>\n\u003cp>In Vanessa Lemaire’s \u003cem>An Acquired Taste\u003c/em> (World Premiere, Saturday, April 16, 3:30pm, Roxie Theater, SF), three teens tackle the issue of how the meat they crave comes to the table. Lemaire follows 12-year-old Nicholas and 13-year-old Alex through a one-year hunting program based in the Santa Cruz mountains. Meanwhile in Colorado, 13-year-old Ashlie has also developed the desire to hunt and goes through a similar, though notably less hippie, program teaching hunting and tracking skills to youngsters. \u003c/p>\n\u003cp>https://youtu.be/4t4NYMjxLi8\u003c/p>\n\u003cp>The documentary is decidedly ambiguous. It is interesting to sit quietly beside the kids as they willingly struggle with the complicated issue of taking life to sustain life — in the midst of the fraught transition from child to teen. Meanwhile, their parents wrestle with complicated reactions to their children’s quest for a kind of knowledge none are equipped to provide, much less guide. There are moments of genuine uneasiness caused by this seemingly spontaneous desire to learn to kill. None of the parents are hunters, so they try not to communicate their fears, which are mostly about safety. But there is a deep, almost subconscious undertone in the film that feels informed by school shootings and an increasingly incoherent national debate about gun violence. This issue remains largely unspoken by the parents, though one of the kids addresses it head-on. Considering how much we depend on killing for our food, this concern seems irrational next to the kids’ genuine desire for knowledge and experience. \u003c/p>\n\u003cfigure id=\"attachment_108445\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi.jpg\" alt=\"Still from An Acquired Taste\" width=\"1912\" height=\"1083\" class=\"size-full wp-image-108445\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi.jpg 1912w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-400x227.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-800x453.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-768x435.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-1440x816.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-1180x668.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-960x544.jpg 960w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Still from An Acquired Taste\u003c/figcaption>\u003c/figure>\n\u003cp>Our culture has trivialized rites of passage, relegating them to superficial rituals that test neither skill nor fortitude. The film is a chronicle of three teens who face this void and choose to test themselves. No matter how you feel about hunting or even about eating meat, you cannot help but rejoice when, after months of study, the kids win their hunting licenses. It is a gift to witness the play of conflicting emotions that break over the kids’ faces when they finally succeed at killing. “\u003cem>An Acquired Taste\u003c/em>” is a pretty apt title for this film as an experience, given how many subtly intertwined ideas surround hunting in today’s pre-packaged world. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ditto the use and abuse of the ocean’s resources. Just as it is difficult to know the lives of the animals we eat, it is also increasingly hard — in a global seafood market — to understand the nature of the catch. \u003c/p>\n\u003cfigure id=\"attachment_108442\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4.jpg\" alt=\"Still from Of the Sea\" width=\"818\" height=\"460\" class=\"size-full wp-image-108442\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4.jpg 818w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4-768x432.jpg 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">Harvesting sea urchin; still from Of the Sea\u003c/figcaption>\u003c/figure>\n\u003cp>Mischa Hedges’ 2015 documentary \u003cem>Of the Sea\u003c/em> (Sunday, April 17, 3pm, Roxie Theater, SF) is an in-depth exploration of the Bay Area’s fisheries and the people who work harvesting and protecting them. The film is lush with gorgeous photography and beautiful (if repetitive) graphics. It’s chock full of facts and figures about the nature and state of health of northern California fish populations, with intimate portraits of a handful of local fishermen who mine and manage the abundant resources of the coast. \u003c/p>\n\u003cp>https://youtu.be/daf41l55_18\u003c/p>\n\u003cp>In the course of ninety minutes, we learn the ins and outs of fishing for Black Cod and King Salmon, crabbing, netting squid and harvesting sea urchin. The fact that fishing is not an easy way to make a living is on abundant display. According to the film, the number of fishing vessels in California has declined from over 6,900 in 1981 to just 1,800 today, which is a pretty good illustration of the state’s boom and bust ethos at work. It’s nice to see that the gold rush mentality seems to be a thing of the past, at least where the fisheries are concerned. According to the film, after years of struggle, California has adopted much more sustainable models for managing the coast. (What happens in international waters is only very briefly discussed.) \u003c/p>\n\u003cp>However, given the intricacies of a global fish market, it is fascinating to learn just how convoluted the journey of fish to plate has become. Other populations, whose diets are richer in seafood products than our own, often have a better appreciation for subtleties of taste that are lost on the American palate, and will therefore pay higher prices for the wild things we pull from our own local waters. Additionally, given America’s propensity for sending jobs overseas, we now lack the infrastructure to efficiently process much of the fish we catch, so some end up frozen, taking unnecessary journeys across the ocean just to be cut into pieces, refrozen and sent back to us! \u003c/p>\n\u003cp>Anyone paying attention will understand the benefits and the distortions of globalism on the food that arrives on our plates. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 6th Annual San Francisco Green Film Festival runs Thursday, April 14 through Wednesday, April 20, 2016 at various Bay Area locations. For more information, visit \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\">greenfilmfest.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How does the food we eat end up on our plates? Decades in to an increasingly active and aware food movement, this question still yields perplexing and complicated responses. For we carnivores, the answers also involve facing — or in many cases consciously avoiding — the hard realities of animal life within the meat industry. Two documentaries at this year’s San Francisco Green Film Festival peer into the complex and surprisingly emotional worlds of hunting and fishing. \u003c/p>\n\u003cp>In Vanessa Lemaire’s \u003cem>An Acquired Taste\u003c/em> (World Premiere, Saturday, April 16, 3:30pm, Roxie Theater, SF), three teens tackle the issue of how the meat they crave comes to the table. Lemaire follows 12-year-old Nicholas and 13-year-old Alex through a one-year hunting program based in the Santa Cruz mountains. Meanwhile in Colorado, 13-year-old Ashlie has also developed the desire to hunt and goes through a similar, though notably less hippie, program teaching hunting and tracking skills to youngsters. \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/4t4NYMjxLi8'\n title='//www.youtube.com/embed/4t4NYMjxLi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The documentary is decidedly ambiguous. It is interesting to sit quietly beside the kids as they willingly struggle with the complicated issue of taking life to sustain life — in the midst of the fraught transition from child to teen. Meanwhile, their parents wrestle with complicated reactions to their children’s quest for a kind of knowledge none are equipped to provide, much less guide. There are moments of genuine uneasiness caused by this seemingly spontaneous desire to learn to kill. None of the parents are hunters, so they try not to communicate their fears, which are mostly about safety. But there is a deep, almost subconscious undertone in the film that feels informed by school shootings and an increasingly incoherent national debate about gun violence. This issue remains largely unspoken by the parents, though one of the kids addresses it head-on. Considering how much we depend on killing for our food, this concern seems irrational next to the kids’ genuine desire for knowledge and experience. \u003c/p>\n\u003cfigure id=\"attachment_108445\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi.jpg\" alt=\"Still from An Acquired Taste\" width=\"1912\" height=\"1083\" class=\"size-full wp-image-108445\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi.jpg 1912w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-400x227.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-800x453.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-768x435.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-1440x816.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-1180x668.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/An-Acquired-Taste-Still1-300dpi-960x544.jpg 960w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Still from An Acquired Taste\u003c/figcaption>\u003c/figure>\n\u003cp>Our culture has trivialized rites of passage, relegating them to superficial rituals that test neither skill nor fortitude. The film is a chronicle of three teens who face this void and choose to test themselves. No matter how you feel about hunting or even about eating meat, you cannot help but rejoice when, after months of study, the kids win their hunting licenses. It is a gift to witness the play of conflicting emotions that break over the kids’ faces when they finally succeed at killing. “\u003cem>An Acquired Taste\u003c/em>” is a pretty apt title for this film as an experience, given how many subtly intertwined ideas surround hunting in today’s pre-packaged world. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ditto the use and abuse of the ocean’s resources. Just as it is difficult to know the lives of the animals we eat, it is also increasingly hard — in a global seafood market — to understand the nature of the catch. \u003c/p>\n\u003cfigure id=\"attachment_108442\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4.jpg\" alt=\"Still from Of the Sea\" width=\"818\" height=\"460\" class=\"size-full wp-image-108442\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4.jpg 818w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/OF-THE-SEA-promo-still-4-768x432.jpg 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">Harvesting sea urchin; still from Of the Sea\u003c/figcaption>\u003c/figure>\n\u003cp>Mischa Hedges’ 2015 documentary \u003cem>Of the Sea\u003c/em> (Sunday, April 17, 3pm, Roxie Theater, SF) is an in-depth exploration of the Bay Area’s fisheries and the people who work harvesting and protecting them. The film is lush with gorgeous photography and beautiful (if repetitive) graphics. It’s chock full of facts and figures about the nature and state of health of northern California fish populations, with intimate portraits of a handful of local fishermen who mine and manage the abundant resources of the coast. \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/daf41l55_18'\n title='//www.youtube.com/embed/daf41l55_18'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the course of ninety minutes, we learn the ins and outs of fishing for Black Cod and King Salmon, crabbing, netting squid and harvesting sea urchin. The fact that fishing is not an easy way to make a living is on abundant display. According to the film, the number of fishing vessels in California has declined from over 6,900 in 1981 to just 1,800 today, which is a pretty good illustration of the state’s boom and bust ethos at work. It’s nice to see that the gold rush mentality seems to be a thing of the past, at least where the fisheries are concerned. According to the film, after years of struggle, California has adopted much more sustainable models for managing the coast. (What happens in international waters is only very briefly discussed.) \u003c/p>\n\u003cp>However, given the intricacies of a global fish market, it is fascinating to learn just how convoluted the journey of fish to plate has become. Other populations, whose diets are richer in seafood products than our own, often have a better appreciation for subtleties of taste that are lost on the American palate, and will therefore pay higher prices for the wild things we pull from our own local waters. Additionally, given America’s propensity for sending jobs overseas, we now lack the infrastructure to efficiently process much of the fish we catch, so some end up frozen, taking unnecessary journeys across the ocean just to be cut into pieces, refrozen and sent back to us! \u003c/p>\n\u003cp>Anyone paying attention will understand the benefits and the distortions of globalism on the food that arrives on our plates. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 6th Annual San Francisco Green Film Festival runs Thursday, April 14 through Wednesday, April 20, 2016 at various Bay Area locations. For more information, visit \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\">greenfilmfest.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Remember how awkward your teen years were? Most would like to forget those cringey times, but filmmaker Angel Kristi Williams has a different strategy: look at those formative moments straight in the face. So it is in her latest short film \u003cem>Charlotte, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/06/good-girl-charlotte-interview-with-angel-kristi-williams/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/04/06/good-girl-charlotte-interview-with-angel-kristi-williams/\" target=\"_blank\" title=\"Good Girl Charlotte: Interview with Angel Kristi Williams\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "environmental-film-fests-aim-to-activate-their-audiences",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258067543″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Rachel Caplan, founder and director of the \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, remembers clearly when she got the idea for a movie series devoted to exploring environmental issues.\u003c/p>\n\u003cp>Caplan was at a screening of Al Gore’s \u003cem>\u003ca href=\"https://www.algore.com/library/an-inconvenient-truth-dvd\" target=\"_blank\" rel=\"noopener\">An Inconvenient Truth\u003c/a>,\u003c/em> a film that helped make the risks of global warming an international priority in 2006. “I could see that film could really have the power to move people to action,” Caplan says.\u003c/p>\n\u003cfigure id=\"attachment_11476091\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11476091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rachel-Caplan.jpg\" alt=\"San Francisco Green Film Festival Executive Director Rachel Caplan\" width=\"320\" height=\"232\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Green Film Festival Executive Director Rachel Caplan \u003ccite>(Photo: Courtesy of Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caplan and I were talking in her tiny San Francisco office. She seemed a bit frazzled that day, with the festival fast approaching, and 70 films and filmmakers to shepherd into eight venues in San Francisco and Berkeley for the seven-day festival, which opens Thursday, Apr. 14.\u003c/p>\n\u003cp>Complicating things is that Caplan books environmental groups to appear along with the filmmakers at every screening. It’s not enough, she says, to just show a film; she wants to connect audiences with a way to take action when they’re most open to the idea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The “aha moment”\u003c/strong>\u003c/p>\n\u003cp>“There’s this moment when the lights come up and the credits roll.” Caplan says. “There’s this great ‘aha’ in the theater. People are feeling something very strong and emotional at that point, and it’s a powerful moment to then connect them to the next steps for action.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e1wpbCbPP7U\u003c/p>\n\u003cp>With the illegal poaching of Cecil the lion, and the US adding the African lion to the endangered species list, the festival will show \u003cem>Born Free\u003c/em>, a landmark film telling the story of a couple returning a lion cub to the wilds of Kenya. The movie is celebrating its 50th anniversary this year. “\u003cem>Born Free\u003c/em> was the first mainstream Hollywood film to have a conservation message,” Caplan says. “And what an impact it had.”\u003c/p>\n\u003cp>The film inspired a wave of environmental action. Its star, Virginia McKenna, created the\u003ca href=\"http://www.bornfree.org.uk/\" target=\"_blank\" rel=\"noopener\"> Born Free Foundation\u003c/a>, an international wildlife protection non-profit. The film also inspired the creation of other groups working to preserve African wildlife and their habitat.\u003c/p>\n\u003cp>McKenna, now 84, will\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202523~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\"> be at the Festival screening on Wednesday, Apr. 20 t\u003c/a>o talk about the film and her foundation. Other organizations present will include \u003ca href=\"http://amazonwatch.org/\" target=\"_blank\" rel=\"noopener\">Amazon Watch\u003c/a> and the F\u003ca href=\"http://felidaefund.org\" target=\"_blank\" rel=\"noopener\">elidae Conservation Fund\u003c/a>, both Bay Area based groups devoted to preserving wildlife habitats.\u003c/p>\n\u003cp>The Festival will also feature the premiere of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Not Without Us\u003c/a>\u003c/em>, a documentary by San Francisco filmmaker Mark Decena tracing the personal and political journey of seven climate change activists attending the U.N. climate talks in Paris in December.\u003c/p>\n\u003cp>\u003cstrong>Inspiring people to change their behavior\u003c/strong>\u003c/p>\n\u003caside class=\"aligncenter\">\n[vimeo 161547474 w=640h=360]\u003cbr>\n\u003c/aside>\n\u003cp>Decena, looking tired as he raced to get his film ready in time for the \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">world premiere at San Francisco’s Castro Theater\u003c/a> April 20, says \u003cem>Not Without Us\u003c/em> asks audience members to mobilize — as he himself has. “There is the dramatic arc of the characters, becoming activated, but also the realization that global governments can only take it so far, so now it’s up to us,” Decena says. “I didn’t consider myself an activist. But I am definitely changing. I shower less.”\u003c/p>\n\u003cp>Other highlights at the Green Film Festival include \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204720~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">An American Ascent\u003c/a>\u003c/em>, about nine African Americans climbing Mt. Denali in Alaska, and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204725~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Catching the Sun\u003c/a>, \u003c/em>a film about a solar jobs program in the East Bay city of Richmond.\u003c/p>\n\u003cp>The San Francisco Green Film Festival is one of the largest movie series devoted to environmental issues in the world. There are several other smaller environmental-themed film festivals in California. Nevada City hosts\u003ca href=\"https://www.wildandscenicf\" target=\"_blank\" rel=\"noopener\"> The Wild and Scenic Film Fest \u003c/a>each January, the city of Venice near Los Angeles has the \u003ca href=\"http://www.theg2gallery.com/g2_green_earth_film_festival.html\" target=\"_blank\" rel=\"noopener\">Green Earth Film Fest\u003c/a> in August. Closer to the Bay Area, there’s T\u003ca href=\"http://oceanfilmfest.org/\" target=\"_blank\" rel=\"noopener\">he San Francisco International Ocean Film Festival\u003c/a>, which wrapped up its screenings in March.\u003c/p>\n\u003cfigure id=\"attachment_11476094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476094\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg\" alt=\"San Francisco International Ocean Film Fetival Executive Director Ana Blanco\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1920x1171.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco International Ocean Film Fetival Executive Director Ana Blanco \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the Green Film Festival, the Ocean Film Festival aims to galvanize action through showing potent content. “It’s not just about getting the facts out there,” says Ocean Film Festival executive director Ana Blanco. “Someone will walk away and say ‘maybe I should change my behavior, maybe I should change my habits, maybe I should encourage my friends to do the same thing.’”\u003c/p>\n\u003cp>\u003cstrong>Appealing to the emotions\u003c/strong>\u003c/p>\n\u003cp>Among the films Blanco showed this year, and which is getting a screening this weekend in \u003ca href=\"http://oceanfilmfest.org/events/arena-ocean-film-festival-april-9-2016\" target=\"_blank\" rel=\"noopener\">Mendocino’s Pt. Arena, \u003c/a>is \u003cem>\u003ca href=\"http://oftheseamovie.com/\" target=\"_blank\" rel=\"noopener\">Of The Sea\u003c/a>. \u003c/em>The film tackles the decline in California fisheries and the toll it’s taken on fishermen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EWFgd7mPUGU\u003c/p>\n\u003cp>One of the Ocean Film Festival sponsors is the \u003ca href=\"http://farallones.noaa.gov/\" target=\"_blank\" rel=\"noopener\">Greater Farallones National Marine Sanctuary\u003c/a>, an area of almost 1300 square miles of ocean off the Golden Gate. Superintendent Maria Brown says there’s nothing odd about a federal agency providing resources to a film festival. “By showing the films we’re not advocating one view or another,” Brown says. “What we want to do is stimulate that conversation.”\u003c/p>\n\u003cfigure id=\"attachment_11476097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/019-800x600.jpg\" alt=\"Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown sees the festival as a great way to connect audiences to the mission of the sanctuary because of the empathy the films generate for wildlife preservation. “Art has a way of evoking emotion,” Brown says. “And in order for us to protect something, we have to feel some emotion towards it.”\u003c/p>\n\u003cp>\u003cstrong>All doom and gloom\u003c/strong>\u003c/p>\n\u003cp>In an age of global warming and species extinction, Green Film Festival director Rachel Caplan admits the films she shows can sometimes be a bit of a downer. “It can be a lot doom and gloom, and we’re all going to hell in a handbasket,” Caplan says. “It’s hard to pick yourself up and keep going.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But Caplan believes that’s all the more reason for the festival to offer people ways to change that narrative, and fix what the filmmakers have shown us needs work.\u003c/p>\n\n",
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"excerpt": "How helpful are environmental film festivals in moving the dial on the pressing ecological issues of our time?",
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"title": "SF Green Film Festival Aims to Activate Its Audience | KQED",
"description": "How helpful are environmental film festivals in moving the dial on the pressing ecological issues of our time?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258067543″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/258067543″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Rachel Caplan, founder and director of the \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, remembers clearly when she got the idea for a movie series devoted to exploring environmental issues.\u003c/p>\n\u003cp>Caplan was at a screening of Al Gore’s \u003cem>\u003ca href=\"https://www.algore.com/library/an-inconvenient-truth-dvd\" target=\"_blank\" rel=\"noopener\">An Inconvenient Truth\u003c/a>,\u003c/em> a film that helped make the risks of global warming an international priority in 2006. “I could see that film could really have the power to move people to action,” Caplan says.\u003c/p>\n\u003cfigure id=\"attachment_11476091\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11476091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rachel-Caplan.jpg\" alt=\"San Francisco Green Film Festival Executive Director Rachel Caplan\" width=\"320\" height=\"232\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Green Film Festival Executive Director Rachel Caplan \u003ccite>(Photo: Courtesy of Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caplan and I were talking in her tiny San Francisco office. She seemed a bit frazzled that day, with the festival fast approaching, and 70 films and filmmakers to shepherd into eight venues in San Francisco and Berkeley for the seven-day festival, which opens Thursday, Apr. 14.\u003c/p>\n\u003cp>Complicating things is that Caplan books environmental groups to appear along with the filmmakers at every screening. It’s not enough, she says, to just show a film; she wants to connect audiences with a way to take action when they’re most open to the idea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The “aha moment”\u003c/strong>\u003c/p>\n\u003cp>“There’s this moment when the lights come up and the credits roll.” Caplan says. “There’s this great ‘aha’ in the theater. People are feeling something very strong and emotional at that point, and it’s a powerful moment to then connect them to the next steps for action.”\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/e1wpbCbPP7U'\n title='//www.youtube.com/embed/e1wpbCbPP7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With the illegal poaching of Cecil the lion, and the US adding the African lion to the endangered species list, the festival will show \u003cem>Born Free\u003c/em>, a landmark film telling the story of a couple returning a lion cub to the wilds of Kenya. The movie is celebrating its 50th anniversary this year. “\u003cem>Born Free\u003c/em> was the first mainstream Hollywood film to have a conservation message,” Caplan says. “And what an impact it had.”\u003c/p>\n\u003cp>The film inspired a wave of environmental action. Its star, Virginia McKenna, created the\u003ca href=\"http://www.bornfree.org.uk/\" target=\"_blank\" rel=\"noopener\"> Born Free Foundation\u003c/a>, an international wildlife protection non-profit. The film also inspired the creation of other groups working to preserve African wildlife and their habitat.\u003c/p>\n\u003cp>McKenna, now 84, will\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202523~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\"> be at the Festival screening on Wednesday, Apr. 20 t\u003c/a>o talk about the film and her foundation. Other organizations present will include \u003ca href=\"http://amazonwatch.org/\" target=\"_blank\" rel=\"noopener\">Amazon Watch\u003c/a> and the F\u003ca href=\"http://felidaefund.org\" target=\"_blank\" rel=\"noopener\">elidae Conservation Fund\u003c/a>, both Bay Area based groups devoted to preserving wildlife habitats.\u003c/p>\n\u003cp>The Festival will also feature the premiere of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Not Without Us\u003c/a>\u003c/em>, a documentary by San Francisco filmmaker Mark Decena tracing the personal and political journey of seven climate change activists attending the U.N. climate talks in Paris in December.\u003c/p>\n\u003cp>\u003cstrong>Inspiring people to change their behavior\u003c/strong>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Decena, looking tired as he raced to get his film ready in time for the \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">world premiere at San Francisco’s Castro Theater\u003c/a> April 20, says \u003cem>Not Without Us\u003c/em> asks audience members to mobilize — as he himself has. “There is the dramatic arc of the characters, becoming activated, but also the realization that global governments can only take it so far, so now it’s up to us,” Decena says. “I didn’t consider myself an activist. But I am definitely changing. I shower less.”\u003c/p>\n\u003cp>Other highlights at the Green Film Festival include \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204720~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">An American Ascent\u003c/a>\u003c/em>, about nine African Americans climbing Mt. Denali in Alaska, and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204725~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Catching the Sun\u003c/a>, \u003c/em>a film about a solar jobs program in the East Bay city of Richmond.\u003c/p>\n\u003cp>The San Francisco Green Film Festival is one of the largest movie series devoted to environmental issues in the world. There are several other smaller environmental-themed film festivals in California. Nevada City hosts\u003ca href=\"https://www.wildandscenicf\" target=\"_blank\" rel=\"noopener\"> The Wild and Scenic Film Fest \u003c/a>each January, the city of Venice near Los Angeles has the \u003ca href=\"http://www.theg2gallery.com/g2_green_earth_film_festival.html\" target=\"_blank\" rel=\"noopener\">Green Earth Film Fest\u003c/a> in August. Closer to the Bay Area, there’s T\u003ca href=\"http://oceanfilmfest.org/\" target=\"_blank\" rel=\"noopener\">he San Francisco International Ocean Film Festival\u003c/a>, which wrapped up its screenings in March.\u003c/p>\n\u003cfigure id=\"attachment_11476094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476094\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg\" alt=\"San Francisco International Ocean Film Fetival Executive Director Ana Blanco\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1920x1171.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco International Ocean Film Fetival Executive Director Ana Blanco \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the Green Film Festival, the Ocean Film Festival aims to galvanize action through showing potent content. “It’s not just about getting the facts out there,” says Ocean Film Festival executive director Ana Blanco. “Someone will walk away and say ‘maybe I should change my behavior, maybe I should change my habits, maybe I should encourage my friends to do the same thing.’”\u003c/p>\n\u003cp>\u003cstrong>Appealing to the emotions\u003c/strong>\u003c/p>\n\u003cp>Among the films Blanco showed this year, and which is getting a screening this weekend in \u003ca href=\"http://oceanfilmfest.org/events/arena-ocean-film-festival-april-9-2016\" target=\"_blank\" rel=\"noopener\">Mendocino’s Pt. Arena, \u003c/a>is \u003cem>\u003ca href=\"http://oftheseamovie.com/\" target=\"_blank\" rel=\"noopener\">Of The Sea\u003c/a>. \u003c/em>The film tackles the decline in California fisheries and the toll it’s taken on fishermen.\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/EWFgd7mPUGU'\n title='//www.youtube.com/embed/EWFgd7mPUGU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the Ocean Film Festival sponsors is the \u003ca href=\"http://farallones.noaa.gov/\" target=\"_blank\" rel=\"noopener\">Greater Farallones National Marine Sanctuary\u003c/a>, an area of almost 1300 square miles of ocean off the Golden Gate. Superintendent Maria Brown says there’s nothing odd about a federal agency providing resources to a film festival. “By showing the films we’re not advocating one view or another,” Brown says. “What we want to do is stimulate that conversation.”\u003c/p>\n\u003cfigure id=\"attachment_11476097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/019-800x600.jpg\" alt=\"Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown sees the festival as a great way to connect audiences to the mission of the sanctuary because of the empathy the films generate for wildlife preservation. “Art has a way of evoking emotion,” Brown says. “And in order for us to protect something, we have to feel some emotion towards it.”\u003c/p>\n\u003cp>\u003cstrong>All doom and gloom\u003c/strong>\u003c/p>\n\u003cp>In an age of global warming and species extinction, Green Film Festival director Rachel Caplan admits the films she shows can sometimes be a bit of a downer. “It can be a lot doom and gloom, and we’re all going to hell in a handbasket,” Caplan says. “It’s hard to pick yourself up and keep going.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Caplan believes that’s all the more reason for the festival to offer people ways to change that narrative, and fix what the filmmakers have shown us needs work.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Don Cheadle on Composing Film Like Jazz in 'Miles Ahead'",
"headTitle": "Don Cheadle on Composing Film Like Jazz in ‘Miles Ahead’ | KQED",
"content": "\u003cp>Don Cheadle tells me he wanted to make a movie that \u003cem>felt\u003c/em> like Miles Davis, and indeed, there’s a brief five-second moment in his new film, \u003cem>Miles Ahead\u003c/em>, that’s the perfect combination of the man’s attitude and artistry.\u003c/p>\n\u003cp>Miles Davis has just pointed a gun at a younger musician, angrily threatening his life. He’s walking away, and partially as an afterthought to their argument and partially as if it’s the most important thing in the world, he spits out the last word:\u003c/p>\n\u003cfigure id=\"attachment_11475713\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis in a scene at Columbia Records, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in a scene at Columbia Records, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“…and stop playing E-flat over D-minor ninth, rookie.”\u003c/em>\u003c/p>\n\u003cp>Directed an co-written by Cheadle, who also stars as the famed jazz trumpeter, \u003cem>Miles Ahead\u003c/em> deals with a particularly messy period in the life of jazz titan Miles Davis — an era in which he locked himself away from the world inside his house, blasted on cocaine, paranoid of everyone and not recording or performing.\u003c/p>\n\u003cp>The semi-fictional plot involves a \u003cem>Rolling Stone\u003c/em> freelancer (Ewan McGregor), who arrives on Davis’ doorstep to write a “comeback story” and instead swiftly receives a punch in the face. He soon gets involved in helping Davis a) score cocaine from a young white fan who likes to have sex to his music and b) recover valuable analog tapes of the musician’s recent recordings — tapes worth a $20,000 advance from his label, Columbia Records.\u003c/p>\n\u003cfigure id=\"attachment_11475712\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"684\" class=\"size-large wp-image-11475712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x428.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-561x600.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x821.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x1262.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x1026.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>Miles Ahead\u003c/em> is a thrill ride filled with action-packed escapades, as well as unflinching flashbacks of Davis’ physical abuse toward his long-lost wife and muse Frances Taylor (Emayatzy Corinealdi), audiences are left fully aware of Miles’ around-the-clock obsession with music and creativity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans of Davis’ music won’t be disappointed — there’s his \u003cem>Kind of Blue\u003c/em> band with Bill Evans at a club; his second quintet with Herbie Hancock and Wayne Shorter rehearsing in Miles’ basement; and, in a scene showing Davis-as-composer, a recording session with arranger Gil Evans, with Davis overseeing every note of the large-band score.\u003c/p>\n\u003cp>I recently spoke with Cheadle on the phone about making \u003cem>Miles Ahead\u003c/em>, about public misconceptions of Davis, and which of Davis’ songs he’s currently listening to.\u003c/p>\n\u003cp>\u003cem>Note: interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11475714\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My first question is why you’ve chosen a period when Miles wasn’t making music. I was worried, before I saw the film, that it would be more sensationalistic about his cocaine use and paranoia, and not contain enough of his artistry. But I was glad to see so much of his music in the film. Was that important to you, to get his art in the film?\u003c/strong>\u003c/p>\n\u003cp>Well, that’s mostly what I wanted the film to be about. I believe that’s what Miles was about. Rather than doing something that would be checking off the boxes of the highlights of his life — and doing something that would give short shrift to each of those, and feel more like the Cliff’s Notes of his life — I just wanted to do something that \u003cem>felt\u003c/em> like Miles Davis, and approach the film and my medium in the same way that I feel like he approached his medium. \u003c/p>\n\u003cp>We looked at films like \u003cem>Toto the Hero\u003c/em>, \u003cem>Run Lola Run\u003c/em>, movies that were constructed to have a lot of energy and forward momentum. Thematically, for us, we wanted to create something that, at the same time as the narrative, would serve the story of Miles himself coming out of this period, and trying to create momentum to spit himself out of this period of time when he was just laying fallow. We wanted it all to feel like that: his pursuit, the movie’s pursuit, all of it to be the same thing.\u003c/p>\n\u003cfigure id=\"attachment_11475715\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg\" alt=\"Emayatzy Corinealdi as Frances Taylor, Miles Davis' wife, who suffers his abusive side in 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emayatzy Corinealdi as Frances Taylor, Miles Davis’ wife, who suffers his abusive side in ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s an unpredictable unfolding of Miles’ personality in the movie, like a jazz solo. You never know what he’s going to do next: he could be violently abusive, both verbally and physically, or he could be a caring musical mentor, even to his enemies. If it was about music, Miles was fully invested.\u003c/strong>\u003c/p>\n\u003cp>Yeah. The scenes in there — at the Columbia recording session, just seeing him in his full bloom of his mastery, and the way that he worked with other musicians, and his generosity are the counterpoints to some of the things that you see that, even for Miles, were regrettable and hard to take. There was something on the other side of all of that tumult and drama.\u003c/p>\n\u003cp>\u003cstrong>I have to ask about the great climactic scene in the boxing ring. Not to spoil it too much for those who haven’t seen the film, but it’s at the peak of his delusions, when all these things begin haunting him. What were your challenges there?\u003c/strong>\u003c/p>\n\u003cp>It was insane. Where we shot it was in an abandoned monastery in Cincinnati, very beautiful but very old. Some areas probably not up to code. We had 250 extras, and we put this ring in the center. And right outside of that area were about nine bars. The night that we shot it was the everyone-in-the-streets bar-hop night. Just getting to and from the set from the base camp, which was two miles away, took an hour. Thank God it was near the end, because that one almost broke everything.\u003c/p>\n\u003cfigure id=\"attachment_11475710\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg\" alt=\"Don Cheadle as Miles Davis in the late 1950s, from 'Miles Ahead.'\" width=\"640\" height=\"960\" class=\"size-large wp-image-11475710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in the late 1950s, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another theme in this film is public perception. You’ve said it’s about “who gets to define who you are.” You had to deal with that in making this film, working with Miles’ family on this, particularly his nephew. What sort of movie did they want?\u003c/strong>\u003c/p>\n\u003cp>I think they weren’t sure, necessarily. Not coming from a cinematic background, they just knew that they wanted their father treated in a way, or their uncle treated in a way, that spoke to him and honored his legacy. \u003c/p>\n\u003cp>My thought was that this has to feel like a composition, and have music, and an attitude that can go anywhere, and be very material. And all building towards something very pointed, which is a new music, a new way to talk about it, a new way that he can come out of this period of time.\u003c/p>\n\u003cp>Now, that can be somewhat esoteric, and a little nonspecific, and not as easily understood as going, “Miles was nine, he did this, and at 12, he did this, and 15, this” — things that, like I said, have been done before. It just took a script, and it took us redoubling what it was that we wanted to do, which was do something \u003cem>as\u003c/em> Miles, as opposed to trying to be instructional about Miles. There are books that do it better. There’s documentaries that do it. There’s magazine articles. This needed to be a movie that was engaging, and entertaining, and took you on a ride.\u003c/p>\n\u003cp>\u003cstrong>Speaking of public perception, you’ve done a lot of press for this film, and talked to a lot of people about Miles Davis. What would you say is the biggest public misconception about Miles Davis?\u003c/strong>\u003c/p>\n\u003cp>There are some people who can’t get past a lot of his behavior, because they’re upset by the things that he did in the past. That’s something that’s everyone’s right to react, to respond to those things in the way that they will. The movie doesn’t try to defend that. The movie doesn’t try to \u003cem>excuse\u003c/em> that. To me, just in his history, it allows it to be what it was, and it is not dissimilar to a lot of artists that we could name, that lived in that way, and had those experiences.\u003c/p>\n\u003cfigure id=\"attachment_11475709\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s not a lot of misconceptions that I get about Miles. I think a lot of people don’t really know that much about him. I used to take a poll, and walk down the street, and ask people “Miles Davis, what do you know?” People would say, “Oh, jazz.” I’d go, “Okay, that’s kind of it, but not totally. What instrument did he play?” A lot of answers would drop off right there. The ones that even did know would say, “Oh, he pokes his cheeks out, right?” I’m like, “Nope. That’s Dizzy Gillepsie.” It turned out that not a lot of people in the general public even knew much about him at all.\u003c/p>\n\u003cp>\u003cstrong>A recurring thing on the film that I noticed was that when people meet Miles Davis, they always say, “It’s an honor.” That’s a phrase you hear over and over in the movie. And oftentimes these are the same people who are trying to take advantage of him or screw him over. Tell me about the decision to include that phrase as a repeating thing.\u003c/strong>\u003c/p>\n\u003cp>There’s a lot of quotes. In jazz, often you quote something, say, “\u003ca href=\"https://www.youtube.com/watch?v=fBq87dbKyHQ\" target=\"_blank\" rel=\"noopener\">Someday My Prince Will Come\u003c/a>,” or a phrase from it, when you’re playing another song. It’s sort of an homage to the person who played it before you, and it’s something that puts the old into the new, and keeps revitalizing it. We looked for places like that — with phrases, with gestures, and then production design with paintings, props. \u003c/p>\n\u003cp>We didn’t use number generators and dates to tell you where you were, the city you were in, what month it was. We took all of that out and just kind of approached it in a way that — for us, compositionally, anyway — was modal. It was just this and that, now and then. That’s all it is. This note is the major. It’s the minor. It’s the same way that “\u003ca href=\"https://www.youtube.com/watch?v=ylXk1LBvIqU\" target=\"_blank\" rel=\"noopener\">So What\u003c/a>” was constructed.\u003c/p>\n\u003cfigure id=\"attachment_11475716\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg\" alt=\"(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The accepted narrative about Miles during this period in the film is that he was paranoid and thought that everyone was out to get him. But everyone kind of \u003cem>was\u003c/em> out to get him, weren’t they?\u003c/strong>\u003c/p>\n\u003cp>That’s the thing, right? Just because you’re paranoid doesn’t mean you’re wrong.\u003c/p>\n\u003cp>\u003cstrong>Last question for you: what’s your go-to album of Miles’ right now? If you were put on his music, which album would you pick today and why?\u003c/strong>\u003c/p>\n\u003cp>Yeah. It is a today thing, too. It is a today thing. Today, what I listened to this morning, was “\u003ca href=\"https://www.youtube.com/watch?v=YRiwDuzadl0\" target=\"_blank\" rel=\"noopener\">Circle\u003c/a>,” and then “\u003ca href=\"https://www.youtube.com/watch?v=62p-CXrYmf4&nohtml5=False\" target=\"_blank\" rel=\"noopener\">Footprints\u003c/a>” off of \u003cem>Miles Smiles\u003c/em>. \u003c/p>\n\u003cp>There are so many that, as you say, are go-to. There are so many that I have a strong feeling for, and can’t sit sit still when they’re on. They just totally permeate me and affect me. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Miles Ahead’ opens Friday, April 8, at Embarcadero Center Cinema and Sundance Kabuki Cinema in San Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As 'Miles Ahead' opens in theaters, the acclaimed filmmaker and actor talks about making a film \"that \u003cem>felt\u003c/em> like Miles Davis.\"",
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"description": "As 'Miles Ahead' opens in theaters, the acclaimed filmmaker and actor talks about making a film "that felt like Miles Davis."",
"title": "Don Cheadle on Composing Film Like Jazz in 'Miles Ahead' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Cheadle tells me he wanted to make a movie that \u003cem>felt\u003c/em> like Miles Davis, and indeed, there’s a brief five-second moment in his new film, \u003cem>Miles Ahead\u003c/em>, that’s the perfect combination of the man’s attitude and artistry.\u003c/p>\n\u003cp>Miles Davis has just pointed a gun at a younger musician, angrily threatening his life. He’s walking away, and partially as an afterthought to their argument and partially as if it’s the most important thing in the world, he spits out the last word:\u003c/p>\n\u003cfigure id=\"attachment_11475713\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis in a scene at Columbia Records, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/9-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in a scene at Columbia Records, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>“…and stop playing E-flat over D-minor ninth, rookie.”\u003c/em>\u003c/p>\n\u003cp>Directed an co-written by Cheadle, who also stars as the famed jazz trumpeter, \u003cem>Miles Ahead\u003c/em> deals with a particularly messy period in the life of jazz titan Miles Davis — an era in which he locked himself away from the world inside his house, blasted on cocaine, paranoid of everyone and not recording or performing.\u003c/p>\n\u003cp>The semi-fictional plot involves a \u003cem>Rolling Stone\u003c/em> freelancer (Ewan McGregor), who arrives on Davis’ doorstep to write a “comeback story” and instead swiftly receives a punch in the face. He soon gets involved in helping Davis a) score cocaine from a young white fan who likes to have sex to his music and b) recover valuable analog tapes of the musician’s recent recordings — tapes worth a $20,000 advance from his label, Columbia Records.\u003c/p>\n\u003cfigure id=\"attachment_11475712\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"684\" class=\"size-large wp-image-11475712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1104x1180.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-400x428.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-561x600.jpg 561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-768x821.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-1180x1262.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2-960x1026.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>Miles Ahead\u003c/em> is a thrill ride filled with action-packed escapades, as well as unflinching flashbacks of Davis’ physical abuse toward his long-lost wife and muse Frances Taylor (Emayatzy Corinealdi), audiences are left fully aware of Miles’ around-the-clock obsession with music and creativity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of Davis’ music won’t be disappointed — there’s his \u003cem>Kind of Blue\u003c/em> band with Bill Evans at a club; his second quintet with Herbie Hancock and Wayne Shorter rehearsing in Miles’ basement; and, in a scene showing Davis-as-composer, a recording session with arranger Gil Evans, with Davis overseeing every note of the large-band score.\u003c/p>\n\u003cp>I recently spoke with Cheadle on the phone about making \u003cem>Miles Ahead\u003c/em>, about public misconceptions of Davis, and which of Davis’ songs he’s currently listening to.\u003c/p>\n\u003cp>\u003cem>Note: interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11475714\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/24-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis, listening to reel-to-reel tapes and trying to regain his muse, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My first question is why you’ve chosen a period when Miles wasn’t making music. I was worried, before I saw the film, that it would be more sensationalistic about his cocaine use and paranoia, and not contain enough of his artistry. But I was glad to see so much of his music in the film. Was that important to you, to get his art in the film?\u003c/strong>\u003c/p>\n\u003cp>Well, that’s mostly what I wanted the film to be about. I believe that’s what Miles was about. Rather than doing something that would be checking off the boxes of the highlights of his life — and doing something that would give short shrift to each of those, and feel more like the Cliff’s Notes of his life — I just wanted to do something that \u003cem>felt\u003c/em> like Miles Davis, and approach the film and my medium in the same way that I feel like he approached his medium. \u003c/p>\n\u003cp>We looked at films like \u003cem>Toto the Hero\u003c/em>, \u003cem>Run Lola Run\u003c/em>, movies that were constructed to have a lot of energy and forward momentum. Thematically, for us, we wanted to create something that, at the same time as the narrative, would serve the story of Miles himself coming out of this period, and trying to create momentum to spit himself out of this period of time when he was just laying fallow. We wanted it all to feel like that: his pursuit, the movie’s pursuit, all of it to be the same thing.\u003c/p>\n\u003cfigure id=\"attachment_11475715\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg\" alt=\"Emayatzy Corinealdi as Frances Taylor, Miles Davis' wife, who suffers his abusive side in 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/12-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emayatzy Corinealdi as Frances Taylor, Miles Davis’ wife, who suffers his abusive side in ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s an unpredictable unfolding of Miles’ personality in the movie, like a jazz solo. You never know what he’s going to do next: he could be violently abusive, both verbally and physically, or he could be a caring musical mentor, even to his enemies. If it was about music, Miles was fully invested.\u003c/strong>\u003c/p>\n\u003cp>Yeah. The scenes in there — at the Columbia recording session, just seeing him in his full bloom of his mastery, and the way that he worked with other musicians, and his generosity are the counterpoints to some of the things that you see that, even for Miles, were regrettable and hard to take. There was something on the other side of all of that tumult and drama.\u003c/p>\n\u003cp>\u003cstrong>I have to ask about the great climactic scene in the boxing ring. Not to spoil it too much for those who haven’t seen the film, but it’s at the peak of his delusions, when all these things begin haunting him. What were your challenges there?\u003c/strong>\u003c/p>\n\u003cp>It was insane. Where we shot it was in an abandoned monastery in Cincinnati, very beautiful but very old. Some areas probably not up to code. We had 250 extras, and we put this ring in the center. And right outside of that area were about nine bars. The night that we shot it was the everyone-in-the-streets bar-hop night. Just getting to and from the set from the base camp, which was two miles away, took an hour. Thank God it was near the end, because that one almost broke everything.\u003c/p>\n\u003cfigure id=\"attachment_11475710\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg\" alt=\"Don Cheadle as Miles Davis in the late 1950s, from 'Miles Ahead.'\" width=\"640\" height=\"960\" class=\"size-large wp-image-11475710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis in the late 1950s, from ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another theme in this film is public perception. You’ve said it’s about “who gets to define who you are.” You had to deal with that in making this film, working with Miles’ family on this, particularly his nephew. What sort of movie did they want?\u003c/strong>\u003c/p>\n\u003cp>I think they weren’t sure, necessarily. Not coming from a cinematic background, they just knew that they wanted their father treated in a way, or their uncle treated in a way, that spoke to him and honored his legacy. \u003c/p>\n\u003cp>My thought was that this has to feel like a composition, and have music, and an attitude that can go anywhere, and be very material. And all building towards something very pointed, which is a new music, a new way to talk about it, a new way that he can come out of this period of time.\u003c/p>\n\u003cp>Now, that can be somewhat esoteric, and a little nonspecific, and not as easily understood as going, “Miles was nine, he did this, and at 12, he did this, and 15, this” — things that, like I said, have been done before. It just took a script, and it took us redoubling what it was that we wanted to do, which was do something \u003cem>as\u003c/em> Miles, as opposed to trying to be instructional about Miles. There are books that do it better. There’s documentaries that do it. There’s magazine articles. This needed to be a movie that was engaging, and entertaining, and took you on a ride.\u003c/p>\n\u003cp>\u003cstrong>Speaking of public perception, you’ve done a lot of press for this film, and talked to a lot of people about Miles Davis. What would you say is the biggest public misconception about Miles Davis?\u003c/strong>\u003c/p>\n\u003cp>There are some people who can’t get past a lot of his behavior, because they’re upset by the things that he did in the past. That’s something that’s everyone’s right to react, to respond to those things in the way that they will. The movie doesn’t try to defend that. The movie doesn’t try to \u003cem>excuse\u003c/em> that. To me, just in his history, it allows it to be what it was, and it is not dissimilar to a lot of artists that we could name, that lived in that way, and had those experiences.\u003c/p>\n\u003cfigure id=\"attachment_11475709\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg\" alt=\"Don Cheadle as Miles Davis.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Cheadle as Miles Davis. \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s not a lot of misconceptions that I get about Miles. I think a lot of people don’t really know that much about him. I used to take a poll, and walk down the street, and ask people “Miles Davis, what do you know?” People would say, “Oh, jazz.” I’d go, “Okay, that’s kind of it, but not totally. What instrument did he play?” A lot of answers would drop off right there. The ones that even did know would say, “Oh, he pokes his cheeks out, right?” I’m like, “Nope. That’s Dizzy Gillepsie.” It turned out that not a lot of people in the general public even knew much about him at all.\u003c/p>\n\u003cp>\u003cstrong>A recurring thing on the film that I noticed was that when people meet Miles Davis, they always say, “It’s an honor.” That’s a phrase you hear over and over in the movie. And oftentimes these are the same people who are trying to take advantage of him or screw him over. Tell me about the decision to include that phrase as a repeating thing.\u003c/strong>\u003c/p>\n\u003cp>There’s a lot of quotes. In jazz, often you quote something, say, “\u003ca href=\"https://www.youtube.com/watch?v=fBq87dbKyHQ\" target=\"_blank\" rel=\"noopener\">Someday My Prince Will Come\u003c/a>,” or a phrase from it, when you’re playing another song. It’s sort of an homage to the person who played it before you, and it’s something that puts the old into the new, and keeps revitalizing it. We looked for places like that — with phrases, with gestures, and then production design with paintings, props. \u003c/p>\n\u003cp>We didn’t use number generators and dates to tell you where you were, the city you were in, what month it was. We took all of that out and just kind of approached it in a way that — for us, compositionally, anyway — was modal. It was just this and that, now and then. That’s all it is. This note is the major. It’s the minor. It’s the same way that “\u003ca href=\"https://www.youtube.com/watch?v=ylXk1LBvIqU\" target=\"_blank\" rel=\"noopener\">So What\u003c/a>” was constructed.\u003c/p>\n\u003cfigure id=\"attachment_11475716\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg\" alt=\"(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of 'Miles Ahead.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-11475716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/7-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Script Supervisor Belle Francisco and Director/Actor Don Cheadle on the set of ‘Miles Ahead.’ \u003ccite>(Photo: Brian Douglas/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The accepted narrative about Miles during this period in the film is that he was paranoid and thought that everyone was out to get him. But everyone kind of \u003cem>was\u003c/em> out to get him, weren’t they?\u003c/strong>\u003c/p>\n\u003cp>That’s the thing, right? Just because you’re paranoid doesn’t mean you’re wrong.\u003c/p>\n\u003cp>\u003cstrong>Last question for you: what’s your go-to album of Miles’ right now? If you were put on his music, which album would you pick today and why?\u003c/strong>\u003c/p>\n\u003cp>Yeah. It is a today thing, too. It is a today thing. Today, what I listened to this morning, was “\u003ca href=\"https://www.youtube.com/watch?v=YRiwDuzadl0\" target=\"_blank\" rel=\"noopener\">Circle\u003c/a>,” and then “\u003ca href=\"https://www.youtube.com/watch?v=62p-CXrYmf4&nohtml5=False\" target=\"_blank\" rel=\"noopener\">Footprints\u003c/a>” off of \u003cem>Miles Smiles\u003c/em>. \u003c/p>\n\u003cp>There are so many that, as you say, are go-to. There are so many that I have a strong feeling for, and can’t sit sit still when they’re on. They just totally permeate me and affect me. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Miles Ahead’ opens Friday, April 8, at Embarcadero Center Cinema and Sundance Kabuki Cinema in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Personal Tale Evokes A Sense Of The Past in 'My Golden Days'",
"headTitle": "A Personal Tale Evokes A Sense Of The Past in ‘My Golden Days’ | KQED",
"content": "\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v4D7XhKZoTg\u003c/p>\n\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n",
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"excerpt": "Twenty years after the first time we met writer-director Arnaud Desplechin's protagonist, we leap backward in time to visit with him as a younger man.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v4D7XhKZoTg'\n title='//www.youtube.com/embed/v4D7XhKZoTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland rapper and political activist Boots Riley is one of seven film-makers receiving thousands in funding from the San Francisco Film Society (SFFS) for their projects.\u003c/p>\n\u003cp>The SFFS announced on Tuesday the winners of the \u003ca href=\"http://blog.sffs.org/home/2016/4/spring-2016-sffs-krf-filmmaking-grant-winners-announced.html\" target=\"_blank\" rel=\"noopener\">Spring 2016 Kenneth Rainin Foundation Filmmaking Grants\u003c/a>, which are awarded twice a year to “socially-minded narrative feature films that will elevate the Bay Area’s filmmaking culture.” The society says the program is “the largest granting body for independent narrative feature films in the United States” and it has funded over 50 projects, providing more than $3.5 million to filmmakers since its launch in 2009.\u003c/p>\n\u003cp>Riley, who co-founded the influential Oakland rap group \u003ca href=\"http://www.thisisthecoup.com/\" target=\"_blank\" rel=\"noopener\">the Coup\u003c/a> in 1991, and his producers received $25,000 for their project \u003ci>Sorry to Bother You,\u003c/i> which was summarized in their application as such:\u003c/p>\n\u003cblockquote>\u003cp>A black telemarketer discovers a magical way to make his voice overdubbed by a white actor, propelling him into the upper echelon of a macabre universe where he’s selected to lead a species of genetically manipulated horse-people, called the Equisapiens.\u003c/p>\u003c/blockquote>\n\u003cp>The film’s name is the same as his band’s \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug&list=PLJ7QPuvv91Jtv4Xyw6XnpuqrmJC_WSyQ6\" target=\"_blank\" rel=\"noopener\">most recent album\u003c/a>, which was released in 2012.\u003c/p>\n\u003cp>Other winners include writer/director Olivia Newman, who won $25,000 for her feature project \u003ci>First Match.\u003c/i> The film is an expansion of a 14 minute-long short with the same name she made while was a student at Columbia University in 2012. It aired on KQED’s \u003ci>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/films/first-match/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>\u003c/i> in 2014.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a complete list of grant winners, visit \u003ca href=\"http://blog.sffs.org/home/2016/4/spring-2016-sffs-krf-filmmaking-grant-winners-announced.html\" target=\"_blank\" rel=\"noopener\">the SFFS website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch Newman’s \u003cb>First Match\u003c/b> below:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 152339147 w=640&h=360]\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland rapper and political activist Boots Riley is one of seven film-makers receiving thousands in funding from the San Francisco Film Society (SFFS) for their projects.\u003c/p>\n\u003cp>The SFFS announced on Tuesday the winners of the \u003ca href=\"http://blog.sffs.org/home/2016/4/spring-2016-sffs-krf-filmmaking-grant-winners-announced.html\" target=\"_blank\" rel=\"noopener\">Spring 2016 Kenneth Rainin Foundation Filmmaking Grants\u003c/a>, which are awarded twice a year to “socially-minded narrative feature films that will elevate the Bay Area’s filmmaking culture.” The society says the program is “the largest granting body for independent narrative feature films in the United States” and it has funded over 50 projects, providing more than $3.5 million to filmmakers since its launch in 2009.\u003c/p>\n\u003cp>Riley, who co-founded the influential Oakland rap group \u003ca href=\"http://www.thisisthecoup.com/\" target=\"_blank\" rel=\"noopener\">the Coup\u003c/a> in 1991, and his producers received $25,000 for their project \u003ci>Sorry to Bother You,\u003c/i> which was summarized in their application as such:\u003c/p>\n\u003cblockquote>\u003cp>A black telemarketer discovers a magical way to make his voice overdubbed by a white actor, propelling him into the upper echelon of a macabre universe where he’s selected to lead a species of genetically manipulated horse-people, called the Equisapiens.\u003c/p>\u003c/blockquote>\n\u003cp>The film’s name is the same as his band’s \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug&list=PLJ7QPuvv91Jtv4Xyw6XnpuqrmJC_WSyQ6\" target=\"_blank\" rel=\"noopener\">most recent album\u003c/a>, which was released in 2012.\u003c/p>\n\u003cp>Other winners include writer/director Olivia Newman, who won $25,000 for her feature project \u003ci>First Match.\u003c/i> The film is an expansion of a 14 minute-long short with the same name she made while was a student at Columbia University in 2012. It aired on KQED’s \u003ci>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/films/first-match/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>\u003c/i> in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a complete list of grant winners, visit \u003ca href=\"http://blog.sffs.org/home/2016/4/spring-2016-sffs-krf-filmmaking-grant-winners-announced.html\" target=\"_blank\" rel=\"noopener\">the SFFS website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch Newman’s \u003cb>First Match\u003c/b> below:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"title": "Katy Grannan’s First Film Documents Hope and Regret in Modesto",
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"content": "\u003cp>Berkeley-based photographer Katy Grannan’s first foray into filmmaking focuses on Kiki, a charming but deeply troubled drifter who lives in the ravaged community of Modesto’s South Ninth Street. Five years in the making, \u003ca href=\"http://theninefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>THE NINE\u003c/i>\u003c/a> builds on Grannan’s photographic series \u003ca href=\"http://www.phaidon.com/agenda/photography/articles/2012/may/03/katy-grannans-street-people/\" target=\"_blank\" rel=\"noopener\">Boulevard\u003c/a>, \u003ca href=\"http://www.artbook.com/9781881337386.html\" target=\"_blank\" rel=\"noopener\">The Nine\u003c/a>, and \u003ca href=\"http://www.artbook.com/blog-featured-image-katy-grannan.html\" target=\"_blank\" rel=\"noopener\">The Ninety Nine\u003c/a>, quiet elegies to those living on the ragged edges of society. \u003c/p>\n\u003cp>KQED Arts caught up with Grannan, who will speak about her work in a round of \u003ca href=\"http://popupmagazine.com/\" target=\"_blank\" rel=\"noopener\">Pop-Up Magazine\u003c/a> appearances at venues in Brooklyn, Los Angeles, San Francisco (sold out), and Oakland (tickets still available) this month. And for those with frequent flyer miles to burn, \u003ci>THE NINE\u003c/i> debuts April 20 at \u003ca href=\"https://www.visionsdureel.ch/en/film/film/the-nine\" target=\"_blank\" rel=\"noopener\">Visions du Réel\u003c/a> in Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_11467415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200.jpg\" alt=\"Katy Grannan, 'Inessa Waits near South 9th Street, Modesto, CA,' from the series 'The Nine,' 2012.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-11467415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-960x719.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Inessa Waits near South 9th Street, Modesto, CA,’ from the series ‘The Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What motivated you to explore this subject in a film context? What made that the next creative choice?\u003c/b>\u003c/p>\n\u003cp>I’ve been making photographs for a long time, and the photographs function on many levels. What they can’t do is convey context of the conversations, exchanges, experiences, and energy of what was often meeting someone for the first time. I want the photographs and the film to live on their own. \u003c/p>\n\u003cp>The film had been in the back of my mind for a while, and I was feeling like I need to do something new and to challenge myself. I kept revisiting this one neighborhood in Modesto, one that is its own contained universe despite being just a few short blocks. It’s basically where people go to check out. The more time I spent there, and the more I got to know people living there, it felt like a situation and space I wanted to know better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/152511501?color=ffffff&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>You’ve committed considerable time to these photographic and cinematic projects, and in the process seen much of California’s interior and those who live there. Could you describe the process of getting to know the population you’ve worked with?\u003c/b>\u003c/p>\n\u003cp>As a bit of context, I photographed a woman for many years and when she disappeared, I started looking for her. The series started with me searching for her in the Mission and the Tenderloin, in SROs and alleys. I started photographing people along the way, people who are otherwise completely ignored. Previously, I put ads in the paper and met people through that, and it was uncomfortable. \u003c/p>\n\u003cfigure id=\"attachment_11456352\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-450x600.jpg\" alt=\"Katy Grannan, 'Anonymous, Modesto, CA,' from the series 'The Ninety Nine,' 2012.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11456352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-1920x2562.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-960x1281.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Anonymous, Modesto, CA,’ from the series ‘The Ninety Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This way, approaching people on the street, seemed to be a reasonable midpoint. The whole process turned into a street studio of sorts. We’d look for a white wall, something on the fly and very simple, amidst a busy city. I found that it required someone, as subject, to be generous or not embarrassed to go through the process with me. I met several people like that, and I think part of that willingness comes from feeling ignored otherwise.\u003c/p>\n\u003cp>Over time, the people I got to know on the Nine, which is local speak for that block of South Ninth Street in Modesto, got to know me and a few details about my past including a cousin and childhood friend who both succumbed to drug use. They recognized me as someone who wasn’t interested in exploiting their misery for personal or aesthetic gain, but rather someone who wanted to get close to a reality that, on the whole, our society doesn’t want to acknowledge.\u003c/p>\n\u003cp>We’d rather not think of ourselves as capable of making the kinds of mistakes that lead to living in conditions or a place like the Nine. I wasn’t interested in depicting prostitution or drug abuse or the ever-present violence. We’ve seen those movies and know those stories, and over time, we disconnect. I wanted to portray what life is like most of the time, which involves conversations about ambition, hope and regret.\u003c/p>\n\u003cfigure id=\"attachment_11456351\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-450x600.jpg\" alt=\"Katy Grannan, 'Anonymous, Modesto, CA,' from the series 'The Ninety Nine,' 2012.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11456351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-1920x2562.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-960x1281.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Anonymous, Modesto, CA,’ from the series ‘The Ninety Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You worked with your studio manager, photographer and assistant director Hannah Hughes. That’s two people who, as you described, started from scratch as filmmakers. Can you describe that experience?\u003c/b>\u003c/p>\n\u003cp>Up until very recently, you’re right, we were a two-woman crew. I can’t stand working with too many people because it draws my focus away from whom I’m interacting with. Also, to bring a big crew into a space like the Nine would be disrespectful, and it sends all the wrong message about our motivation. In truth, we made every amateur hour mistake. Of course, we know how to make pictures, but approaching a scene with a photographer’s sensibility as far as framing and content and interjecting into the scene was just wrong. As Hannah said recently, we just went through the equivalent of five years of film school. From that perspective, I’m looking forward to photographing again, but I’m also excited to make another film based on all that we’ve learned from this experience.\u003c/p>\n\u003cfigure id=\"attachment_11467416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200.jpg\" alt=\"Katy Grannan, 'Joe Talks on Phone, Budget Inn Courtyard, Modesto, CA,' from the series 'The Nine,' 2012.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-11467416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-960x719.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Joe Talks on Phone, Budget Inn Courtyard, Modesto, CA,’ from the series ‘The Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What are your thoughts on the Pop-Up Magazine events? You’ll be speaking to an audience that, by best guess, has never experienced the raw end of life exemplified by those you got to know on the Nine. Do you want to narrow that experiential gap?\u003c/b>\u003c/p>\n\u003cp>This is a first for me. I’ve only heard about Pop-Up Magazine and how much people love the events. I’m actually really nervous about being a big bummer. There will be all these witty writers and people who are accustomed to storytelling, and I’ll be the one who drags it all down. But, I think that people respond to candor, to authenticity, to talking about experiences. I created something especially for Pop-Up that involves photography and some conversation clips about the film. But it’s also about our experience, it’s personalized, and I hope that people understand the shared humanity that’s captured in the film.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Berkeley-based photographer brings five years on Modesto's ravaged South Ninth Street to screen and stage this month with 'THE NINE.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley-based photographer Katy Grannan’s first foray into filmmaking focuses on Kiki, a charming but deeply troubled drifter who lives in the ravaged community of Modesto’s South Ninth Street. Five years in the making, \u003ca href=\"http://theninefilm.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>THE NINE\u003c/i>\u003c/a> builds on Grannan’s photographic series \u003ca href=\"http://www.phaidon.com/agenda/photography/articles/2012/may/03/katy-grannans-street-people/\" target=\"_blank\" rel=\"noopener\">Boulevard\u003c/a>, \u003ca href=\"http://www.artbook.com/9781881337386.html\" target=\"_blank\" rel=\"noopener\">The Nine\u003c/a>, and \u003ca href=\"http://www.artbook.com/blog-featured-image-katy-grannan.html\" target=\"_blank\" rel=\"noopener\">The Ninety Nine\u003c/a>, quiet elegies to those living on the ragged edges of society. \u003c/p>\n\u003cp>KQED Arts caught up with Grannan, who will speak about her work in a round of \u003ca href=\"http://popupmagazine.com/\" target=\"_blank\" rel=\"noopener\">Pop-Up Magazine\u003c/a> appearances at venues in Brooklyn, Los Angeles, San Francisco (sold out), and Oakland (tickets still available) this month. And for those with frequent flyer miles to burn, \u003ci>THE NINE\u003c/i> debuts April 20 at \u003ca href=\"https://www.visionsdureel.ch/en/film/film/the-nine\" target=\"_blank\" rel=\"noopener\">Visions du Réel\u003c/a> in Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_11467415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200.jpg\" alt=\"Katy Grannan, 'Inessa Waits near South 9th Street, Modesto, CA,' from the series 'The Nine,' 2012.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-11467415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Inessa-Waits-near-South-9th-Street-Modesto-CA-2012_1200-960x719.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Inessa Waits near South 9th Street, Modesto, CA,’ from the series ‘The Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What motivated you to explore this subject in a film context? What made that the next creative choice?\u003c/b>\u003c/p>\n\u003cp>I’ve been making photographs for a long time, and the photographs function on many levels. What they can’t do is convey context of the conversations, exchanges, experiences, and energy of what was often meeting someone for the first time. I want the photographs and the film to live on their own. \u003c/p>\n\u003cp>The film had been in the back of my mind for a while, and I was feeling like I need to do something new and to challenge myself. I kept revisiting this one neighborhood in Modesto, one that is its own contained universe despite being just a few short blocks. It’s basically where people go to check out. The more time I spent there, and the more I got to know people living there, it felt like a situation and space I wanted to know better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/152511501?color=ffffff&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>You’ve committed considerable time to these photographic and cinematic projects, and in the process seen much of California’s interior and those who live there. Could you describe the process of getting to know the population you’ve worked with?\u003c/b>\u003c/p>\n\u003cp>As a bit of context, I photographed a woman for many years and when she disappeared, I started looking for her. The series started with me searching for her in the Mission and the Tenderloin, in SROs and alleys. I started photographing people along the way, people who are otherwise completely ignored. Previously, I put ads in the paper and met people through that, and it was uncomfortable. \u003c/p>\n\u003cfigure id=\"attachment_11456352\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-450x600.jpg\" alt=\"Katy Grannan, 'Anonymous, Modesto, CA,' from the series 'The Ninety Nine,' 2012.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11456352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-1920x2562.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012_2-960x1281.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Anonymous, Modesto, CA,’ from the series ‘The Ninety Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This way, approaching people on the street, seemed to be a reasonable midpoint. The whole process turned into a street studio of sorts. We’d look for a white wall, something on the fly and very simple, amidst a busy city. I found that it required someone, as subject, to be generous or not embarrassed to go through the process with me. I met several people like that, and I think part of that willingness comes from feeling ignored otherwise.\u003c/p>\n\u003cp>Over time, the people I got to know on the Nine, which is local speak for that block of South Ninth Street in Modesto, got to know me and a few details about my past including a cousin and childhood friend who both succumbed to drug use. They recognized me as someone who wasn’t interested in exploiting their misery for personal or aesthetic gain, but rather someone who wanted to get close to a reality that, on the whole, our society doesn’t want to acknowledge.\u003c/p>\n\u003cp>We’d rather not think of ourselves as capable of making the kinds of mistakes that lead to living in conditions or a place like the Nine. I wasn’t interested in depicting prostitution or drug abuse or the ever-present violence. We’ve seen those movies and know those stories, and over time, we disconnect. I wanted to portray what life is like most of the time, which involves conversations about ambition, hope and regret.\u003c/p>\n\u003cfigure id=\"attachment_11456351\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-450x600.jpg\" alt=\"Katy Grannan, 'Anonymous, Modesto, CA,' from the series 'The Ninety Nine,' 2012.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11456351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-1920x2562.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Anonymous-Modesto-CA-2012-960x1281.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Anonymous, Modesto, CA,’ from the series ‘The Ninety Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You worked with your studio manager, photographer and assistant director Hannah Hughes. That’s two people who, as you described, started from scratch as filmmakers. Can you describe that experience?\u003c/b>\u003c/p>\n\u003cp>Up until very recently, you’re right, we were a two-woman crew. I can’t stand working with too many people because it draws my focus away from whom I’m interacting with. Also, to bring a big crew into a space like the Nine would be disrespectful, and it sends all the wrong message about our motivation. In truth, we made every amateur hour mistake. Of course, we know how to make pictures, but approaching a scene with a photographer’s sensibility as far as framing and content and interjecting into the scene was just wrong. As Hannah said recently, we just went through the equivalent of five years of film school. From that perspective, I’m looking forward to photographing again, but I’m also excited to make another film based on all that we’ve learned from this experience.\u003c/p>\n\u003cfigure id=\"attachment_11467416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200.jpg\" alt=\"Katy Grannan, 'Joe Talks on Phone, Budget Inn Courtyard, Modesto, CA,' from the series 'The Nine,' 2012.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-11467416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Joe-Talks-on-Phone-Budget-Inn-Courtyard-Modesto-CA-2012_1200-960x719.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Katy Grannan, ‘Joe Talks on Phone, Budget Inn Courtyard, Modesto, CA,’ from the series ‘The Nine,’ 2012. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What are your thoughts on the Pop-Up Magazine events? You’ll be speaking to an audience that, by best guess, has never experienced the raw end of life exemplified by those you got to know on the Nine. Do you want to narrow that experiential gap?\u003c/b>\u003c/p>\n\u003cp>This is a first for me. I’ve only heard about Pop-Up Magazine and how much people love the events. I’m actually really nervous about being a big bummer. There will be all these witty writers and people who are accustomed to storytelling, and I’ll be the one who drags it all down. But, I think that people respond to candor, to authenticity, to talking about experiences. I created something especially for Pop-Up that involves photography and some conversation clips about the film. But it’s also about our experience, it’s personalized, and I hope that people understand the shared humanity that’s captured in the film.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Erik Bauersfeld, a longtime voice actor who spent three decades as the director of drama and literature at KPFA, Berkeley’s listner-funded public radio station, died Sunday at the age of 93.\u003c/p>\n\u003cp>The name might be unfamiliar, but if you’re a fan of \u003ci>Star Wars,\u003c/i> you’ve heard Bauersfeld’s voice. From Admiral Ackbar screaming “It’s a trap!” to Bib Fortuna, Jabba the Hutt’s skeezy assistant with the tentacle-like pony tail, Bauersfeld’s vocal work is practically ubiquitous in \u003ci>Return of the Jedi.\u003c/i> Bauersfeld also went on to \u003ca href=\"http://www.imdb.com/name/nm1049512/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener\">contribute voices to movies\u003c/a> such as the most recent Star Wars film, \u003ci>Star Wars VII: The Force Awakens,\u003c/i> \u003ci>A.I.\u003c/i> and \u003ci>Crimson Peak.\u003c/i>\u003c/p>\n\u003cp>Born and raised in Brooklyn, New York, Bauersfeld loved the radio and found a second home in Berkeley at KPFA in 1961, according to the \u003ca href=\"http://www.sfgate.com/entertainment/article/Erik-Bauersfeld-a-force-in-Star-Wars-cosmos-2308872.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. He worked there until the mid ’90s — the Star Wars jobs were side work — until he left to pursuit special theater projects with West German Radio and his \u003ca href=\"http://www.bardradio.com/index.html\" target=\"_blank\" rel=\"noopener\">Bay Area Radio Drama project\u003c/a>. \u003c/p>\n\u003cp>Bauersfeld spent his last moments having poet and longtime friend Lawrence Ferlinghetti read to him over the phone, while Randy Thom, director of sound design at Skywalker Sound, hold his hand, \u003ca href=\"https://kpfa.org/blog/erik-bauersfeld-1922-2016-2/\" target=\"_blank\" rel=\"noopener\">according to KPFA\u003c/a>. \u003c/p>\n\u003cp>The cause of his death has yet to be reported. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Watch this 2012 video with Peter Hartlaub of the San Francisco Chronicle talking to Bauersfeld about his career.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0n62S2dNYbg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Erik Bauersfeld, a longtime voice actor who spent three decades as the director of drama and literature at KPFA, Berkeley’s listner-funded public radio station, died Sunday at the age of 93.\u003c/p>\n\u003cp>The name might be unfamiliar, but if you’re a fan of \u003ci>Star Wars,\u003c/i> you’ve heard Bauersfeld’s voice. From Admiral Ackbar screaming “It’s a trap!” to Bib Fortuna, Jabba the Hutt’s skeezy assistant with the tentacle-like pony tail, Bauersfeld’s vocal work is practically ubiquitous in \u003ci>Return of the Jedi.\u003c/i> Bauersfeld also went on to \u003ca href=\"http://www.imdb.com/name/nm1049512/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener\">contribute voices to movies\u003c/a> such as the most recent Star Wars film, \u003ci>Star Wars VII: The Force Awakens,\u003c/i> \u003ci>A.I.\u003c/i> and \u003ci>Crimson Peak.\u003c/i>\u003c/p>\n\u003cp>Born and raised in Brooklyn, New York, Bauersfeld loved the radio and found a second home in Berkeley at KPFA in 1961, according to the \u003ca href=\"http://www.sfgate.com/entertainment/article/Erik-Bauersfeld-a-force-in-Star-Wars-cosmos-2308872.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. He worked there until the mid ’90s — the Star Wars jobs were side work — until he left to pursuit special theater projects with West German Radio and his \u003ca href=\"http://www.bardradio.com/index.html\" target=\"_blank\" rel=\"noopener\">Bay Area Radio Drama project\u003c/a>. \u003c/p>\n\u003cp>Bauersfeld spent his last moments having poet and longtime friend Lawrence Ferlinghetti read to him over the phone, while Randy Thom, director of sound design at Skywalker Sound, hold his hand, \u003ca href=\"https://kpfa.org/blog/erik-bauersfeld-1922-2016-2/\" target=\"_blank\" rel=\"noopener\">according to KPFA\u003c/a>. \u003c/p>\n\u003cp>The cause of his death has yet to be reported. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"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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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"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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"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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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"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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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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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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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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