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"content": "\u003cp>\u003ci>\u003ca href=\"http://theblackpanthers.com/home/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> is the newest documentary from acclaimed filmmaker Stanley Nelson, responsible for \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/freedomriders/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Riders\u003c/i>\u003c/a> (2009) and \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/films/freedomsummer/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Summer\u003c/i>\u003c/a> (2014). Employing a remarkable collage of archival and found footage, photographs and present-day interviews, the film charts the rise and fall of the Black Panther Party from its Oakland roots to its international expansion and subsequent disintegration.\u003c/p>\n\u003cfigure id=\"attachment_10991971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nelson640.jpg\" alt=\"Director Stanley Nelson.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Stanley Nelson. \u003ccite>(Courtesy of Sam Aleshinloye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the names Huey Newton, Bobby Seale and Eldridge and Kathleen Cleaver don’t spark some recognition in you (and they should), Nelson’s film acts as a smart, moving primer for anyone wanting a point of entry into the Black Panther origin story.\u003c/p>\n\u003cp>The film opens with grim footage of the 1966 Oakland Police Department brutalizing African-Americans. As many of the founding members of the Black Panthers make clear in their interviews with Nelson, this relentless oppression led to the founding of the party. Nelson spoke with me about the conditions that informed the creation of this revolutionary group and his hopes for the future.\u003c/p>\n\u003cp>\u003cb>Why was the Oakland police department particularly notorious for their brutality?\u003c/b>\u003c/p>\n\u003cp>Historically the police in Oakland were known to be incredibly brutal. In California overall, Oakland stood out. California went to the western South to recruit police. When I first came to California as a young man, I was warned, “Don’t mess with the police in California. Don’t mess with the police.”\u003c/p>\n\u003cfigure id=\"attachment_10991969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg\" alt=\"Charles Bursey hands plate of food to a child seated at Free Breakfast Program.\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640-400x276.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bursey hands plate of food to a child seated at Free Breakfast Program. \u003ccite>(Photo courtesy of Pirkle Jones and Ruth-Marion Baruch.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Black Panthers coalesced in the urban North with a different set of goals and tactics than the Civil Rights movement in the South.\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, the Panthers were a reaction to what was happening in the South. The things that were being fought for in the South were, in general, rights that people had in the North. You’re fighting for the right to eat at a restaurant. You’re fighting for the right to vote. You’re fighting for the right to ride anywhere you want on a bus.\u003c/p>\n\u003cp>Those were the things that northern African-Americans had. You’re watching this on TV, and you’re saying, “What about us? What about our problems here?” In some ways, the Panthers started as a northern movement. They were saying, “These are our problems. Our problems here are police brutality. Our problems here are terrible education. Our problems here are housing. How do we address those?”\u003c/p>\n\u003cp>\u003cb>In one of the interviews, a former Black Panther talks about his motivation for joining and says, “African-Americans don’t have the safety and privilege of walking down the street the way white people do.”\u003c/b>\u003c/p>\n\u003cp>In some ways it was very similar to the southern Civil Rights movement where these rights had been deprived for generations, and for a number of different reasons. In the 1950s and the 1960s, it was like, “Oh no, wait. We’re not going to take it anymore.”\u003c/p>\n\u003cp>Part of our African-American culture and part of what makes African-Americans who they are is that we have lived under that and yet we continue to thrive and flourish. That’s how we look at life. As people have said before, the Americans who believe in America more than anybody are African-Americans.\u003c/p>\n\u003cfigure id=\"attachment_10991970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Children640.jpg\" alt=\"A group of seven small children walk to school with books in hand.\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A group of seven small children walk to school with books in hand. \u003ccite>(Photo courtesy of Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It was surprising to learn how young the Black Panthers were, 19 and 20-year-olds.\u003c/b>\u003c/p>\n\u003cp>In general, the Panthers were much more of a youth movement, as we see in the film. As a young person, if you’ve seen passive resistance when you’re ten in 1960… and now it’s 1968 and you’re 18, and things haven’t changed and he’s still preaching this stuff, you’re like, “Wait a minute. Maybe it’s time for something new.”\u003c/p>\n\u003cp>There were young people, especially who were like, “What are we going to do?” You see that in SNCC, the Student Coordinating Committee, who started calling Martin Luther King, “Da Lord.” In some ways, they’d had enough of it. The other way that it was looked at I think was that they were all part and parcel of the same thing. We have passive resistance coming from this way, and if you have the more militant Panthers coming from that way, if you have the black Muslims coming from that way, all that pressure only helps. We have Malcolm X coming here. For me, it’s all part of one movement. In general terms, we were all fighting for the same thing.\u003c/p>\n\u003cfigure id=\"attachment_10991972\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Parade640.jpg\" alt=\"Panthers on parade at Free Huey rally in Defermery Park (named by the Panther Bobby Hutton Park) in West Oakland, July 28, 1968.\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Parade640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Parade640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Panthers on parade at Free Huey rally in Defermery Park (named by the Panther Bobby Hutton Park) in West Oakland, July 28, 1968. \u003ccite>(Photo courtesy of Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Have you talked with educators about the way the Black Panthers are taught in school?\u003c/b>\u003c/p>\n\u003cp>I was just talking with a high school teacher who said they have no way to teach it. They don’t teach it at all. It’s glossed over. We are hoping that this film gets to high school students.\u003c/p>\n\u003cp>\u003cb>Bobby Seale, one of the founding members of the Panthers, is still alive but only appears in archival footage. Did you contact him to participate in the film?\u003c/b>\u003c/p>\n\u003cp>Unfortunately, we couldn’t reach an agreement with Bobby to participate in the film.\u003c/p>\n\u003cp>\u003cb>The documentary ends with codas about the deaths of Huey Newton and Eldridge Cleaver while the song “Winter in America” plays. Was that the ending you had in mind when you first conceived of the film seven years ago?\u003c/b>\u003c/p>\n\u003cp>I don’t think the Panthers were successful in most of the things — the ten point program — they were trying to do. In some ways, the film is very optimistic in that it’s about people who started a movement. Hopefully, we’re in the beginning of the same kind of movement today where young people are very involved and they get something from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F56O3kZ9qr0\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i> opens Oct. 2 at the Landmark Opera Plaza in San Francisco, Landmark Piedmont (Oakland) and Shattuck (Berkeley), and the Rafael Film Center in San Rafael.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003ca href=\"http://theblackpanthers.com/home/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> is the newest documentary from acclaimed filmmaker Stanley Nelson, responsible for \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/freedomriders/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Riders\u003c/i>\u003c/a> (2009) and \u003ca href=\"http://www.pbs.org/wgbh/americanexperience/films/freedomsummer/\" target=\"_blank\" rel=\"noopener\">\u003ci>Freedom Summer\u003c/i>\u003c/a> (2014). Employing a remarkable collage of archival and found footage, photographs and present-day interviews, the film charts the rise and fall of the Black Panther Party from its Oakland roots to its international expansion and subsequent disintegration.\u003c/p>\n\u003cfigure id=\"attachment_10991971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Nelson640.jpg\" alt=\"Director Stanley Nelson.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Nelson640-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Stanley Nelson. \u003ccite>(Courtesy of Sam Aleshinloye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the names Huey Newton, Bobby Seale and Eldridge and Kathleen Cleaver don’t spark some recognition in you (and they should), Nelson’s film acts as a smart, moving primer for anyone wanting a point of entry into the Black Panther origin story.\u003c/p>\n\u003cp>The film opens with grim footage of the 1966 Oakland Police Department brutalizing African-Americans. As many of the founding members of the Black Panthers make clear in their interviews with Nelson, this relentless oppression led to the founding of the party. Nelson spoke with me about the conditions that informed the creation of this revolutionary group and his hopes for the future.\u003c/p>\n\u003cp>\u003cb>Why was the Oakland police department particularly notorious for their brutality?\u003c/b>\u003c/p>\n\u003cp>Historically the police in Oakland were known to be incredibly brutal. In California overall, Oakland stood out. California went to the western South to recruit police. When I first came to California as a young man, I was warned, “Don’t mess with the police in California. Don’t mess with the police.”\u003c/p>\n\u003cfigure id=\"attachment_10991969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg\" alt=\"Charles Bursey hands plate of food to a child seated at Free Breakfast Program.\" width=\"640\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/CharlesBursey640-400x276.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charles Bursey hands plate of food to a child seated at Free Breakfast Program. \u003ccite>(Photo courtesy of Pirkle Jones and Ruth-Marion Baruch.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Black Panthers coalesced in the urban North with a different set of goals and tactics than the Civil Rights movement in the South.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, the Panthers were a reaction to what was happening in the South. The things that were being fought for in the South were, in general, rights that people had in the North. You’re fighting for the right to eat at a restaurant. You’re fighting for the right to vote. You’re fighting for the right to ride anywhere you want on a bus.\u003c/p>\n\u003cp>Those were the things that northern African-Americans had. You’re watching this on TV, and you’re saying, “What about us? What about our problems here?” In some ways, the Panthers started as a northern movement. They were saying, “These are our problems. Our problems here are police brutality. Our problems here are terrible education. Our problems here are housing. How do we address those?”\u003c/p>\n\u003cp>\u003cb>In one of the interviews, a former Black Panther talks about his motivation for joining and says, “African-Americans don’t have the safety and privilege of walking down the street the way white people do.”\u003c/b>\u003c/p>\n\u003cp>In some ways it was very similar to the southern Civil Rights movement where these rights had been deprived for generations, and for a number of different reasons. In the 1950s and the 1960s, it was like, “Oh no, wait. We’re not going to take it anymore.”\u003c/p>\n\u003cp>Part of our African-American culture and part of what makes African-Americans who they are is that we have lived under that and yet we continue to thrive and flourish. That’s how we look at life. As people have said before, the Americans who believe in America more than anybody are African-Americans.\u003c/p>\n\u003cfigure id=\"attachment_10991970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10991970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Children640.jpg\" alt=\"A group of seven small children walk to school with books in hand.\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Children640-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A group of seven small children walk to school with books in hand. \u003ccite>(Photo courtesy of Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It was surprising to learn how young the Black Panthers were, 19 and 20-year-olds.\u003c/b>\u003c/p>\n\u003cp>In general, the Panthers were much more of a youth movement, as we see in the film. As a young person, if you’ve seen passive resistance when you’re ten in 1960… and now it’s 1968 and you’re 18, and things haven’t changed and he’s still preaching this stuff, you’re like, “Wait a minute. Maybe it’s time for something new.”\u003c/p>\n\u003cp>There were young people, especially who were like, “What are we going to do?” You see that in SNCC, the Student Coordinating Committee, who started calling Martin Luther King, “Da Lord.” In some ways, they’d had enough of it. The other way that it was looked at I think was that they were all part and parcel of the same thing. We have passive resistance coming from this way, and if you have the more militant Panthers coming from that way, if you have the black Muslims coming from that way, all that pressure only helps. We have Malcolm X coming here. For me, it’s all part of one movement. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i> opens Oct. 2 at the Landmark Opera Plaza in San Francisco, Landmark Piedmont (Oakland) and Shattuck (Berkeley), and the Rafael Film Center in San Rafael.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "story-of-an-execution-becomes-art-in-last-day-of-freedom",
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"content": "\u003cp>\u003ca href=\"http://deehibbert-jones.ucsc.edu/index.html\" target=\"_blank\" rel=\"noopener\">Dee Hibbert-Jones\u003c/a> and \u003ca href=\"http://www.nomitalisman.info/\" target=\"_blank\" rel=\"noopener\">Nomi Talisman\u003c/a>, San Francisco-based artists, activists and educators, have a long history of confronting social injustices through their art practices. Their collaborative work — which includes performances addressing the bureaucratic slog of their attempts to get Talisman a U.S. visa (back when same-sex couples had no legal standing) — has now taken the form of animated documentary filmmaking.\u003c/p>\n\u003cfigure id=\"attachment_10964435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10964435\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg\" alt=\"Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators).\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators). \u003ccite>(Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo’s short \u003cem>\u003ca href=\"http://www.lastdayoffreedom.net/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, currently traveling the film festival circuit, is centered on Bill Babbitt and the story of his younger brother Manny. Bill narrates the life events that took Manny from childhood happiness to adult instability. When Bill suspects Manny is responsible for a terrible crime, he must turn his brother in, a heartbreaking decision that leads to Manny’s murder conviction and execution by the state of California.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The California Report talks with the filmmakers:\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/227716646″ 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\u003c/aside>\n\u003cp>Rendered through hand-drawn cells with a deep sensitivity to emotion and gesture, \u003cem>Last Day of Freedom\u003c/em> humanizes its subjects through a meticulous attention to detail. The short opens season 11 of KQED’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>\u003c/em> on Sunday, Oct. 25 at 6pm, but you can watch it online today. I visited the artists in their Mission District home to find out more about the making of the film.\u003c/p>\n\u003cp>https://youtu.be/6uUqUEGAa4A\u003c/p>\n\u003cp>\u003cstrong>The story is told so beautifully by Bill. Did you ever consider including narration from another source, or contributing any authorial hand on your part?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We were really clear that we didn’t want ourselves in the story, either. We wanted the story to be told from the perspective of someone who’s directly impacted. We hoped to reach the viewer emotionally, rather than pull you out and analyze the story. To show you a perspective that you don’t usually hear, and you don’t usually see, that allows the viewer to walk in Bill’s shoes.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> While our advisers gave us ideas of some ways to Bill’s story, we never imagined their commentary would be part of the film.\u003c/p>\n\u003cp>\u003cstrong>There’s a real mix of visual styles in the film — from line drawings to splashes of color to more fuzzy charcoal-like renderings. How did you make the decision to animate parts of the story in certain ways?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Hands640.jpg\" alt=\"Still from 'Last Day of Freedom,' Bill Babbitt.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Bill Babbitt. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We talked a lot about metaphors. We thought hard about how we wanted Bill drawn. He would be strong, but with a thin line that’s almost so delicate that — if you’re not careful — it could break. We were really sure that we wanted the archival footage to feel as if it was from a particular time. For the rest, we started to think about in those moments where Manny’s mental state is devolving and Bill is losing control. Basically you start having these moments where the war is coming back. I think the hardest piece to animate was, obviously, the execution. This is partly why we decided to make it almost completely blank, so you had to pay attention and just listen to what Bill was saying.\u003c/p>\n\u003cp>\u003cstrong>You didn’t have actual footage of the trial, but at that point in the narrative, the animation really shows how they were reduced to a case that was being passed from hand to hand, where compassion was replaced with political maneuverings.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Trial640.jpg\" alt=\"Still from 'Last Day of Freedom,' the lawyers.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ the lawyers. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> We wanted to represent bureaucracy. You see a lot of stamping and papers.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> And hands.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> It’s political.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We basically started looking at political campaigns online, just for inspiration. To see, “Oh, yeah, there’s the dancing girls, and the handshaking,” and what is that bureaucratic thing? Every time we drove by a poster, or browsed a newspaper we’d go, “See? That’s the imagery we want.”\u003c/p>\n\u003cp>\u003cstrong>As romantic partners, how did you arrive at this collaborative practice? Did you find it was a natural outcome of your relationship?\u003cbr>\n\u003c/strong>\u003cbr>\n\u003cstrong>Nomi:\u003c/strong> Well, we fight well! We know how to argue and come out with a better solution.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Partly, it’s infuriating to collaborate with anybody. It’s really annoying. On the other hand, it’s more than the sum of what you could do on your own. We found with Nomi’s background in media and photography, and mine in public engagement, new media and drawing, we brought other components to the project.\u003c/p>\n\u003cp>\u003cstrong>The film is made up of somewhere around 32,000 individual drawings and you spent four years on this project. How did you manage that?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Flag640.png\" alt=\"Still from 'Last Day of Freedom,' Manny's funeral.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Manny’s funeral. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Once we had a radio cut of Bill’s audio we drew animations for two years straight. The animation was taking us so long we realized we’d be there for the rest of our lives, so we worked with a small group of animators to do the in-between drawings, once we designed each image. We never realized how tight our drawing styles are, what our understanding of the project was, until we started trying to work with other people.\u003c/p>\n\u003cp>\u003cstrong>How does running the film festival circuit compare to operating in the gallery and fine arts world?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> Somebody I know said the filmmaking process is not necessarily democratic, but it has to be collaborative. Filmmakers know that even when they do everything themselves, they still have to work with other people on sound design, post production, etc. Creating art projects can often be a much more isolated process. In documentary, you have to deal with real things. There’s something really refreshing about actually dealing with some reality or people who care about things beyond the aesthetics, or beyond themselves and beyond their own practice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> I think most significantly the potential reach of the work seems broader. Creating something for a gallery or a museum, it stays within the walls. This travels.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://deehibbert-jones.ucsc.edu/index.html\" target=\"_blank\" rel=\"noopener\">Dee Hibbert-Jones\u003c/a> and \u003ca href=\"http://www.nomitalisman.info/\" target=\"_blank\" rel=\"noopener\">Nomi Talisman\u003c/a>, San Francisco-based artists, activists and educators, have a long history of confronting social injustices through their art practices. Their collaborative work — which includes performances addressing the bureaucratic slog of their attempts to get Talisman a U.S. visa (back when same-sex couples had no legal standing) — has now taken the form of animated documentary filmmaking.\u003c/p>\n\u003cfigure id=\"attachment_10964435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10964435\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg\" alt=\"Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators).\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators). \u003ccite>(Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo’s short \u003cem>\u003ca href=\"http://www.lastdayoffreedom.net/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, currently traveling the film festival circuit, is centered on Bill Babbitt and the story of his younger brother Manny. Bill narrates the life events that took Manny from childhood happiness to adult instability. When Bill suspects Manny is responsible for a terrible crime, he must turn his brother in, a heartbreaking decision that leads to Manny’s murder conviction and execution by the state of California.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The California Report talks with the filmmakers:\u003c/h3>\n\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/227716646″&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/227716646″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>Rendered through hand-drawn cells with a deep sensitivity to emotion and gesture, \u003cem>Last Day of Freedom\u003c/em> humanizes its subjects through a meticulous attention to detail. The short opens season 11 of KQED’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>\u003c/em> on Sunday, Oct. 25 at 6pm, but you can watch it online today. I visited the artists in their Mission District home to find out more about the making of the film.\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/6uUqUEGAa4A'\n title='//www.youtube.com/embed/6uUqUEGAa4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The story is told so beautifully by Bill. Did you ever consider including narration from another source, or contributing any authorial hand on your part?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We were really clear that we didn’t want ourselves in the story, either. We wanted the story to be told from the perspective of someone who’s directly impacted. We hoped to reach the viewer emotionally, rather than pull you out and analyze the story. To show you a perspective that you don’t usually hear, and you don’t usually see, that allows the viewer to walk in Bill’s shoes.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> While our advisers gave us ideas of some ways to Bill’s story, we never imagined their commentary would be part of the film.\u003c/p>\n\u003cp>\u003cstrong>There’s a real mix of visual styles in the film — from line drawings to splashes of color to more fuzzy charcoal-like renderings. How did you make the decision to animate parts of the story in certain ways?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Hands640.jpg\" alt=\"Still from 'Last Day of Freedom,' Bill Babbitt.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Bill Babbitt. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We talked a lot about metaphors. We thought hard about how we wanted Bill drawn. He would be strong, but with a thin line that’s almost so delicate that — if you’re not careful — it could break. We were really sure that we wanted the archival footage to feel as if it was from a particular time. For the rest, we started to think about in those moments where Manny’s mental state is devolving and Bill is losing control. Basically you start having these moments where the war is coming back. I think the hardest piece to animate was, obviously, the execution. This is partly why we decided to make it almost completely blank, so you had to pay attention and just listen to what Bill was saying.\u003c/p>\n\u003cp>\u003cstrong>You didn’t have actual footage of the trial, but at that point in the narrative, the animation really shows how they were reduced to a case that was being passed from hand to hand, where compassion was replaced with political maneuverings.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Trial640.jpg\" alt=\"Still from 'Last Day of Freedom,' the lawyers.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ the lawyers. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> We wanted to represent bureaucracy. You see a lot of stamping and papers.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> And hands.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> It’s political.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We basically started looking at political campaigns online, just for inspiration. To see, “Oh, yeah, there’s the dancing girls, and the handshaking,” and what is that bureaucratic thing? Every time we drove by a poster, or browsed a newspaper we’d go, “See? That’s the imagery we want.”\u003c/p>\n\u003cp>\u003cstrong>As romantic partners, how did you arrive at this collaborative practice? Did you find it was a natural outcome of your relationship?\u003cbr>\n\u003c/strong>\u003cbr>\n\u003cstrong>Nomi:\u003c/strong> Well, we fight well! We know how to argue and come out with a better solution.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Partly, it’s infuriating to collaborate with anybody. It’s really annoying. On the other hand, it’s more than the sum of what you could do on your own. We found with Nomi’s background in media and photography, and mine in public engagement, new media and drawing, we brought other components to the project.\u003c/p>\n\u003cp>\u003cstrong>The film is made up of somewhere around 32,000 individual drawings and you spent four years on this project. How did you manage that?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Flag640.png\" alt=\"Still from 'Last Day of Freedom,' Manny's funeral.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Manny’s funeral. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Once we had a radio cut of Bill’s audio we drew animations for two years straight. The animation was taking us so long we realized we’d be there for the rest of our lives, so we worked with a small group of animators to do the in-between drawings, once we designed each image. We never realized how tight our drawing styles are, what our understanding of the project was, until we started trying to work with other people.\u003c/p>\n\u003cp>\u003cstrong>How does running the film festival circuit compare to operating in the gallery and fine arts world?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> Somebody I know said the filmmaking process is not necessarily democratic, but it has to be collaborative. Filmmakers know that even when they do everything themselves, they still have to work with other people on sound design, post production, etc. Creating art projects can often be a much more isolated process. In documentary, you have to deal with real things. There’s something really refreshing about actually dealing with some reality or people who care about things beyond the aesthetics, or beyond themselves and beyond their own practice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ridley Scott Finds An Optimistic Space In 'The Martian'",
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"content": "\u003cp>The filmmaker who did more than any other to bum us all out about space travel now wants us to feel inspired by it again.\u003c/p>\n\u003cp>That’s the rough arithmetic behind \u003cem>The Martian,\u003c/em> the feel-good (and real good), NASA-condoned, Damon-powered survival adventure flick from director Ridley Scott. More a visual stylist than an exponent of any particular worldview, Scott made the feminist road movie \u003cem>Thelma and Louise\u003c/em>, the Best Picture-winning swords-and-sandals epic \u003cem>Gladiator,\u003c/em> and about 20 other features\u003cem>. \u003c/em>But the two that’ll have their titles chiseled on his tombstone are still his second and third, \u003cem>Alien\u003c/em> and \u003cem>Blade Runner.\u003c/em> Set, respectively, in the 22nd century and, um, 2019, this influential pair shared a vision of the future that can be summed up in one word:\u003c/p>\n\u003cp>\u003cem>Worse.\u003c/em>\u003c/p>\n\u003cp>Released just a decade after Neil Armstrong’s great leap for mankind, \u003cem>Alien \u003c/em>imagined our manifest interplanetary destiny as utterly routine — a mercenary endeavor carried out by working stiffs who don’t especially like or trust one another, all on the payroll of a powerful corporation that doesn’t blink before sacrificing their lives. \u003cem>Crew Expendable,\u003c/em> the secret orders in the ship’s computer said.\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em> resoundingly rejects all that. Bright, thematically can-do, fast-paced almost to a fault, and fundamentally optimistic, \u003cem>The Martian\u003c/em> is science fiction of the infinitely more comforting \u003cem>Star Trek\u003c/em> strain. \u003cem>We will solve this daunting problem by working together, \u003c/em>it coos. When someone decodes a secret message in \u003cem>this\u003c/em> movie, it isn’t a death order. It’s a lifeline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?t=2&v=ej3ioOneTy8\u003c/p>\n\u003cp>Adapted intact by geek-TV veteran Drew Goddard from computer programmer Andy Weir’s (initially) self-published novel, \u003cem>The Martian\u003c/em> avers that humanity’s interplanetary ambassadors — the few up there aboard the \u003cem>Hermes\u003c/em> and the many supporting them back here on Earth — will be the noblest, most inventive, most courageous of us. No wonder NASA loves this movie. But even adjusting for flattery, it’s an easy film to love — one so suspenseful and funny and just richly, consistently \u003cem>good,\u003c/em> you might get mad at it falling a few astronomical units short of great. If it gets a generation of seventh-graders fired up about science, I’ll happily swallow my nitpicks about overcaffeinated pacing and underdeveloped relationships, \u003cem>wah wah wah.\u003c/em>\u003c/p>\n\u003cp>For those who haven’t read Weir’s wildly clever and original book, it’s almost a spoiler to say there are no cowards or backstabbers or greedheads in \u003cem>The Martian, \u003c/em>and precious few tortured pragmatists. The story’s big and only bad is the hostile countryside of the Red Planet (played onscreen by Wadi Rum, Jordan, star of \u003cem>Lawrence of Arabia,\u003c/em> among others), where Mark Watney — the indefatigable botanist-astronaut played by Matt Damon — finds himself stranded after his crewmates leave him for dead. (It’s \u003cem>not their fault,\u003c/em> in the parlance of an old Matt Damon movie.) Stirred from his slumber by a low-oxygen alarm in his spacesuit, Watney binds his wounds (this is the second Ridley Scott joint in recent years to feature graphic stomach-stapling), and starts puzzling out how to keep himself from exploding, suffocating, freezing or starving until the next Mars expedition lands.\u003c/p>\n\u003cp>In four years.\u003c/p>\n\u003cp>In a spot thousands of barren kilometers away.\u003c/p>\n\u003cp>If the more craven among our species (hey, what are you looking at \u003cem>me\u003c/em> for?) might’ve liked to see Damon lean into the crushing isolation and hopelessness of Watney’s predicament just a \u003cem>little\u003c/em> harder — an existential reckoning also absent from Weir’s novel — it’s still enormously satisfying to watch him MacGyver his way out of one malice-free deathtrap, then another and another. And all he can do to celebrate another day of livin’ is maybe sprinkle some Vicodin on his half-a-potato dinner and raid a crewmate’s stash of ’70s TV shows and music — a running joke that gives the movie license to indulge in some on-the-nose-but-welcome song selections, notably David Bowie’s “Starman” and that one by Gloria Gaynor.\u003c/p>\n\u003cp>The film’s clean, airy look comes courtesy of the same production designer, cinematographer and editor with whom Scott collaborated on his prior, decidedly less scientific sci-fi, 2012’s \u003cem>Prometheus. \u003c/em>While he and Damon are both in fine form here, it’s ultimately Weir’s genius that their work preserves. He’s the guy who figured out how Watney might convert hydrazine (rocket fuel) into water, grow food, and even phone home — an SOS that spurs NASA to put everything aside and devote all its mighty human and material resources to Watney’s rescue. In space, no one can hear you scream, but here on Earth? Hey, guy: \u003cem>Everyone\u003c/em> is working around the clock and cheering and praying just for you.\u003c/p>\n\u003cp>Can it possibly be worth it? This interruption of a grander mission to save a single life? Watney, like his crewmates, is clearly prepared to sacrifice himself in the name of scientific progress. Jeff Daniels, as the administrator of NASA — a decisive leader, where other movies would’ve made him a careerist worm — is the only person who even dares to ask. This insoluble moral calculus got more play in Weir’s book. It’s de-emphasized in the movie, perhaps because This Very Question was already mulled in \u003cem>Saving Private Ryan,\u003c/em> where the just-one-life in question was … uh, Matt Damon’s.\u003c/p>\n\u003cp>That examination isn’t the only casualty of \u003cem>The Martian\u003c/em>‘s compression, even at a 140-minute run time. We barely get to know Watney’s crewmates, for example, though they become key to his salvation. Led by Jessica Chastain’s steely eyed Commander Lewis (who gets a possibly negotiated more direct hand in the finale than she had in the book), they’re all smart and loyal and kinda dull and suspiciously good-looking even after many months in space. Indeed, \u003cem>The Martian\u003c/em> is one of several current films that populates even its smallest roles with actors who are more than capable, and yet so famous it becomes distracting: Chiwetel Ejiofor! Kristen Wiig! Kate Mara! Sean Bean! Donald Glover! (\u003cem>Black Mass\u003c/em> and \u003cem>Everest\u003c/em> suffer from this same weird syndrome.)\u003c/p>\n\u003cp>But it’s clearly Damon’s show. If it never quite seems like he’s hurting as much as he oughtta be — even when we catch a rare, late glimpse of his wizened, malnourished body — the depth of my investment in Watney’s survival still caught me surprise. (So I cried a little. Is that what you want me to say?) This resonant emotional chord isn’t the product of a single, masterful scene, like Tom Hanks’ silent dissolution at the end of \u003cem>Captain Phillips; \u003c/em>instead, it’s the accrued effect of a team of talented and committed professionals working in harmony toward a shared and noble end.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are worse ideas you could take away from a blockbuster.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker who did more than any other to bum us all out about space travel now wants us to feel inspired by it again.\u003c/p>\n\u003cp>That’s the rough arithmetic behind \u003cem>The Martian,\u003c/em> the feel-good (and real good), NASA-condoned, Damon-powered survival adventure flick from director Ridley Scott. More a visual stylist than an exponent of any particular worldview, Scott made the feminist road movie \u003cem>Thelma and Louise\u003c/em>, the Best Picture-winning swords-and-sandals epic \u003cem>Gladiator,\u003c/em> and about 20 other features\u003cem>. \u003c/em>But the two that’ll have their titles chiseled on his tombstone are still his second and third, \u003cem>Alien\u003c/em> and \u003cem>Blade Runner.\u003c/em> Set, respectively, in the 22nd century and, um, 2019, this influential pair shared a vision of the future that can be summed up in one word:\u003c/p>\n\u003cp>\u003cem>Worse.\u003c/em>\u003c/p>\n\u003cp>Released just a decade after Neil Armstrong’s great leap for mankind, \u003cem>Alien \u003c/em>imagined our manifest interplanetary destiny as utterly routine — a mercenary endeavor carried out by working stiffs who don’t especially like or trust one another, all on the payroll of a powerful corporation that doesn’t blink before sacrificing their lives. \u003cem>Crew Expendable,\u003c/em> the secret orders in the ship’s computer said.\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em> resoundingly rejects all that. Bright, thematically can-do, fast-paced almost to a fault, and fundamentally optimistic, \u003cem>The Martian\u003c/em> is science fiction of the infinitely more comforting \u003cem>Star Trek\u003c/em> strain. \u003cem>We will solve this daunting problem by working together, \u003c/em>it coos. When someone decodes a secret message in \u003cem>this\u003c/em> movie, it isn’t a death order. It’s a lifeline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ej3ioOneTy8'\n title='//www.youtube.com/embed/ej3ioOneTy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Adapted intact by geek-TV veteran Drew Goddard from computer programmer Andy Weir’s (initially) self-published novel, \u003cem>The Martian\u003c/em> avers that humanity’s interplanetary ambassadors — the few up there aboard the \u003cem>Hermes\u003c/em> and the many supporting them back here on Earth — will be the noblest, most inventive, most courageous of us. No wonder NASA loves this movie. But even adjusting for flattery, it’s an easy film to love — one so suspenseful and funny and just richly, consistently \u003cem>good,\u003c/em> you might get mad at it falling a few astronomical units short of great. If it gets a generation of seventh-graders fired up about science, I’ll happily swallow my nitpicks about overcaffeinated pacing and underdeveloped relationships, \u003cem>wah wah wah.\u003c/em>\u003c/p>\n\u003cp>For those who haven’t read Weir’s wildly clever and original book, it’s almost a spoiler to say there are no cowards or backstabbers or greedheads in \u003cem>The Martian, \u003c/em>and precious few tortured pragmatists. The story’s big and only bad is the hostile countryside of the Red Planet (played onscreen by Wadi Rum, Jordan, star of \u003cem>Lawrence of Arabia,\u003c/em> among others), where Mark Watney — the indefatigable botanist-astronaut played by Matt Damon — finds himself stranded after his crewmates leave him for dead. (It’s \u003cem>not their fault,\u003c/em> in the parlance of an old Matt Damon movie.) Stirred from his slumber by a low-oxygen alarm in his spacesuit, Watney binds his wounds (this is the second Ridley Scott joint in recent years to feature graphic stomach-stapling), and starts puzzling out how to keep himself from exploding, suffocating, freezing or starving until the next Mars expedition lands.\u003c/p>\n\u003cp>In four years.\u003c/p>\n\u003cp>In a spot thousands of barren kilometers away.\u003c/p>\n\u003cp>If the more craven among our species (hey, what are you looking at \u003cem>me\u003c/em> for?) might’ve liked to see Damon lean into the crushing isolation and hopelessness of Watney’s predicament just a \u003cem>little\u003c/em> harder — an existential reckoning also absent from Weir’s novel — it’s still enormously satisfying to watch him MacGyver his way out of one malice-free deathtrap, then another and another. And all he can do to celebrate another day of livin’ is maybe sprinkle some Vicodin on his half-a-potato dinner and raid a crewmate’s stash of ’70s TV shows and music — a running joke that gives the movie license to indulge in some on-the-nose-but-welcome song selections, notably David Bowie’s “Starman” and that one by Gloria Gaynor.\u003c/p>\n\u003cp>The film’s clean, airy look comes courtesy of the same production designer, cinematographer and editor with whom Scott collaborated on his prior, decidedly less scientific sci-fi, 2012’s \u003cem>Prometheus. \u003c/em>While he and Damon are both in fine form here, it’s ultimately Weir’s genius that their work preserves. He’s the guy who figured out how Watney might convert hydrazine (rocket fuel) into water, grow food, and even phone home — an SOS that spurs NASA to put everything aside and devote all its mighty human and material resources to Watney’s rescue. In space, no one can hear you scream, but here on Earth? Hey, guy: \u003cem>Everyone\u003c/em> is working around the clock and cheering and praying just for you.\u003c/p>\n\u003cp>Can it possibly be worth it? This interruption of a grander mission to save a single life? Watney, like his crewmates, is clearly prepared to sacrifice himself in the name of scientific progress. Jeff Daniels, as the administrator of NASA — a decisive leader, where other movies would’ve made him a careerist worm — is the only person who even dares to ask. This insoluble moral calculus got more play in Weir’s book. It’s de-emphasized in the movie, perhaps because This Very Question was already mulled in \u003cem>Saving Private Ryan,\u003c/em> where the just-one-life in question was … uh, Matt Damon’s.\u003c/p>\n\u003cp>That examination isn’t the only casualty of \u003cem>The Martian\u003c/em>‘s compression, even at a 140-minute run time. We barely get to know Watney’s crewmates, for example, though they become key to his salvation. Led by Jessica Chastain’s steely eyed Commander Lewis (who gets a possibly negotiated more direct hand in the finale than she had in the book), they’re all smart and loyal and kinda dull and suspiciously good-looking even after many months in space. Indeed, \u003cem>The Martian\u003c/em> is one of several current films that populates even its smallest roles with actors who are more than capable, and yet so famous it becomes distracting: Chiwetel Ejiofor! Kristen Wiig! Kate Mara! Sean Bean! Donald Glover! (\u003cem>Black Mass\u003c/em> and \u003cem>Everest\u003c/em> suffer from this same weird syndrome.)\u003c/p>\n\u003cp>But it’s clearly Damon’s show. If it never quite seems like he’s hurting as much as he oughtta be — even when we catch a rare, late glimpse of his wizened, malnourished body — the depth of my investment in Watney’s survival still caught me surprise. (So I cried a little. Is that what you want me to say?) This resonant emotional chord isn’t the product of a single, masterful scene, like Tom Hanks’ silent dissolution at the end of \u003cem>Captain Phillips; \u003c/em>instead, it’s the accrued effect of a team of talented and committed professionals working in harmony toward a shared and noble end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\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>\u003cem>Pagpag:\u003c/em> Seventy-year-old Perla is a “pagpag” (garbage food) vendor, barely eking out a living by finding leftover food at the dump and re-selling it. Since foreign couples who have trouble adopting via other means will pay big money to adopt a child \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/30/shaking-off-leftovers-john-paul-sus-grim-pagpag/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/30/shaking-off-leftovers-john-paul-sus-grim-pagpag/\" target=\"_blank\" title=\"Shaking Off Leftovers: John Paul Su’s Grim ‘Pagpag’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>October is to the Bay Area film festival calendar as 5pm is to the Bay Bridge on-ramps. Well, not quite: You don’t subject yourself to the latter unless you have to, while the former is an enticing (and daunting, perhaps) invitation to an assortment and array of films from every corner of the planet. So here’s my periodic plea to venture to a venue and event you’ve never attended: Our film culture is one of the top three reasons to live in the Bay Area, along with the economy and the climate. Shameless, cheerleading hyperbole? Put down that pumpkin and take a gander at a mere sample of this month’s choices.\u003c/p>\n\u003cfigure id=\"attachment_10970124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10970124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-1180x495.jpeg\" alt=\"Still from 'Rams.' (Photo: Cohen Media Group/Mill Valley Film Festival)\" width=\"640\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-1180x495.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-400x168.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-800x336.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-960x403.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group.jpeg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Rams.’ (Photo: Cohen Media Group/Mill Valley Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco transplants longing for a late summer will find it in Marin County in October. The feeling of fall approaching is enhanced by the Mill Valley Film Festival (Oct. 8-18), which previews a slew of thoughtful upcoming films (from \u003cem>Carol\u003c/em> to \u003cem>Suffragette\u003c/em>) with several name actors (Carey Mulligan, Brie Larson, Jena Malone) in attendance. The festival has long been a haven for local filmmakers, and this year’s world premieres include the intimate documentaries \u003cem>Dogtown Redemption\u003c/em> (shot in Oakland) and \u003cem>Surviving Skokie\u003c/em>. If European films are your cup of spiced latte, Italian auteur Nanni Moretti’s \u003cem>My Mother\u003c/em> features John Turturro as a privileged, incompetent movie star, while the rural Icelandic comedy \u003cem>Rams\u003c/em> boasts gorgeous cinematography. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mill-valley-film-38/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10970122\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10970122\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/3_STILL_STANDING_2-e1442804455689.jpeg\" alt=\"Will Durst, Larry "Bubbles" Brown and Johnny Steele in '3 Still Standing.' (Photo: Beanfield Productions)\" width=\"640\" height=\"425\">\u003cfigcaption class=\"wp-caption-text\">Will Durst, Larry “Bubbles” Brown and Johnny Steele in ‘3 Still Standing.’ (Photo: Beanfield Productions)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s MVFF hosted the world premiere of \u003cem>3 Still Standing\u003c/em>, Robert A. Campos and Donna LoCicero’s S.F.-centered ode to career stand-up comedians. The feature documentary finally receives a theatrical run (Oct. 9-15 at the Roxie, Oct. 20 at the New Parkway in Oakland and Oct. 22 at the Smith Rafael Film Center in San Rafael), taking us back a couple decades to the live comedy boom that was as all encompassing as it was short-lived. \u003cem>The Chronicle\u003c/em>’s Pink Pages ran a feature on a different comic every week it seemed, and audiences were consistently large, enthusiastic and kind. (My memory may be less than sharp on that last point.) \u003cem>3 Still Standing\u003c/em> checks in with Will Durst, Johnny Steele and Larry “Bubbles” Brown, veteran local comedians who didn’t land sitcom deals or game-show hosting jobs during the fat years — for better or worse — and have made a go of their particular art form ever since. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/3-still-standing/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10970123\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10970123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Assassin_03-1180x787.jpg\" alt=\"A scene from Hou Hsiao-hsien's 'The Assassin.' (Photo: San Francisco Film Society)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03.jpg 1800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hou Hsiao-hsien’s ‘The Assassin.’ (Photo: San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>Modern master Hou Hsiao-hsien is the rare director whose films capture the moment without reeking of showiness or trendiness. The S.F. Film Society salutes Hou, and launches its extensive fall program, at a scaled-back edition of Taiwan Film Days (Oct. 12-13 at the Embarcadero Center Cinema). The filmmaker will attend the opening night screening of his latest, \u003cem>The Assassin\u003c/em> (also in MVFF and opening Oct. 23), but perhaps not the restoration of his 1983 triumph, \u003cem>The Boys from Fengkuie\u003c/em>, the next day. Do not miss one of the great filmmakers of our time in person. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hou-hsiao-hsien-at-taiwan-film-days/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10971693\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10971693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SAsian640.jpg\" alt=\"Still from 'PK.' (Photo: 3rd i South Asian International Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘PK.’ (Photo: 3rd i South Asian International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>You won’t find a more colorful collection of movies than the selection curated for 3rd i’s S.F. International South Asian Film Festival (Oct. 22-25 at the Castro and New People Cinema and Nov. 1 at the CineArts in Palo Alto). Spiraling outward from India and Pakistan, the program begins with \u003cem>Mozart of Madras\u003c/em>, a documentary about world-renowned composer A. R. Rahman. Vishal Bharadwaj’s \u003cem>Haider\u003c/em> reimagines Hamlet in Kashmir, while Danis Tanovic’s fact-based \u003cem>Tigers\u003c/em> re-enacts the saga of a Pakistani salesman who stood up to an amoral corporation. (A redundancy, admittedly.) Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-south-asian-film-festival-2015/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10970125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10970125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Nicol%C3%A1s-and-Players-1180x784.jpg\" alt=\"'Ghost Town to Havana.'\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-960x638.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Ghost Town to Havana.’\u003c/figcaption>\u003c/figure>\n\u003cp>Local hero Eugene Corr has had one of the more interesting movie careers imaginable, from an Oscar nomination for the documentary \u003cem>Waldo Salt: A Screenwriter’s Journey\u003c/em> to the blue-jeans glory of the 1986 indie hit \u003cem>Desert Bloom\u003c/em> (with a young Annabeth Gish, Jon Voight and JoBeth Williams), with gigs directing second unit crews on major movies like \u003cem>Bull Durham\u003c/em> and TV shows such as \u003cem>Miami Vice\u003c/em>. He’s devoted the last several years to a documentary about a baseball team of underprivileged local boys and their coach, and their remarkable — and perhaps life-altering — trip to Cuba. A genuine labor of love and near-absurd levels of persistence, \u003cem>Ghost Town to Havana\u003c/em> has its Bay Area premiere Oct. 27 at the palatial Grand Lake Theater in Oakland. Filmmaking is a team sport, and that includes the audience. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ghost-town-to-havana/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>October is to the Bay Area film festival calendar as 5pm is to the Bay Bridge on-ramps. Well, not quite: You don’t subject yourself to the latter unless you have to, while the former is an enticing (and daunting, perhaps) invitation to an assortment and array of films from every corner of the planet. So here’s my periodic plea to venture to a venue and event you’ve never attended: Our film culture is one of the top three reasons to live in the Bay Area, along with the economy and the climate. Shameless, cheerleading hyperbole? Put down that pumpkin and take a gander at a mere sample of this month’s choices.\u003c/p>\n\u003cfigure id=\"attachment_10970124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10970124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-1180x495.jpeg\" alt=\"Still from 'Rams.' (Photo: Cohen Media Group/Mill Valley Film Festival)\" width=\"640\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-1180x495.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-400x168.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-800x336.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group-960x403.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RAMS_03_Photo-courtesy-of-Cohen-Media-Group.jpeg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Rams.’ (Photo: Cohen Media Group/Mill Valley Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco transplants longing for a late summer will find it in Marin County in October. The feeling of fall approaching is enhanced by the Mill Valley Film Festival (Oct. 8-18), which previews a slew of thoughtful upcoming films (from \u003cem>Carol\u003c/em> to \u003cem>Suffragette\u003c/em>) with several name actors (Carey Mulligan, Brie Larson, Jena Malone) in attendance. The festival has long been a haven for local filmmakers, and this year’s world premieres include the intimate documentaries \u003cem>Dogtown Redemption\u003c/em> (shot in Oakland) and \u003cem>Surviving Skokie\u003c/em>. If European films are your cup of spiced latte, Italian auteur Nanni Moretti’s \u003cem>My Mother\u003c/em> features John Turturro as a privileged, incompetent movie star, while the rural Icelandic comedy \u003cem>Rams\u003c/em> boasts gorgeous cinematography. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mill-valley-film-38/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10970122\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10970122\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/3_STILL_STANDING_2-e1442804455689.jpeg\" alt=\"Will Durst, Larry "Bubbles" Brown and Johnny Steele in '3 Still Standing.' (Photo: Beanfield Productions)\" width=\"640\" height=\"425\">\u003cfigcaption class=\"wp-caption-text\">Will Durst, Larry “Bubbles” Brown and Johnny Steele in ‘3 Still Standing.’ (Photo: Beanfield Productions)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s MVFF hosted the world premiere of \u003cem>3 Still Standing\u003c/em>, Robert A. Campos and Donna LoCicero’s S.F.-centered ode to career stand-up comedians. The feature documentary finally receives a theatrical run (Oct. 9-15 at the Roxie, Oct. 20 at the New Parkway in Oakland and Oct. 22 at the Smith Rafael Film Center in San Rafael), taking us back a couple decades to the live comedy boom that was as all encompassing as it was short-lived. \u003cem>The Chronicle\u003c/em>’s Pink Pages ran a feature on a different comic every week it seemed, and audiences were consistently large, enthusiastic and kind. (My memory may be less than sharp on that last point.) \u003cem>3 Still Standing\u003c/em> checks in with Will Durst, Johnny Steele and Larry “Bubbles” Brown, veteran local comedians who didn’t land sitcom deals or game-show hosting jobs during the fat years — for better or worse — and have made a go of their particular art form ever since. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/3-still-standing/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10970123\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10970123\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Assassin_03-1180x787.jpg\" alt=\"A scene from Hou Hsiao-hsien's 'The Assassin.' (Photo: San Francisco Film Society)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Assassin_03.jpg 1800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hou Hsiao-hsien’s ‘The Assassin.’ (Photo: San Francisco Film Society)\u003c/figcaption>\u003c/figure>\n\u003cp>Modern master Hou Hsiao-hsien is the rare director whose films capture the moment without reeking of showiness or trendiness. The S.F. Film Society salutes Hou, and launches its extensive fall program, at a scaled-back edition of Taiwan Film Days (Oct. 12-13 at the Embarcadero Center Cinema). The filmmaker will attend the opening night screening of his latest, \u003cem>The Assassin\u003c/em> (also in MVFF and opening Oct. 23), but perhaps not the restoration of his 1983 triumph, \u003cem>The Boys from Fengkuie\u003c/em>, the next day. Do not miss one of the great filmmakers of our time in person. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hou-hsiao-hsien-at-taiwan-film-days/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10971693\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10971693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SAsian640.jpg\" alt=\"Still from 'PK.' (Photo: 3rd i South Asian International Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘PK.’ (Photo: 3rd i South Asian International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>You won’t find a more colorful collection of movies than the selection curated for 3rd i’s S.F. International South Asian Film Festival (Oct. 22-25 at the Castro and New People Cinema and Nov. 1 at the CineArts in Palo Alto). Spiraling outward from India and Pakistan, the program begins with \u003cem>Mozart of Madras\u003c/em>, a documentary about world-renowned composer A. R. Rahman. Vishal Bharadwaj’s \u003cem>Haider\u003c/em> reimagines Hamlet in Kashmir, while Danis Tanovic’s fact-based \u003cem>Tigers\u003c/em> re-enacts the saga of a Pakistani salesman who stood up to an amoral corporation. (A redundancy, admittedly.) Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-south-asian-film-festival-2015/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10970125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10970125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Nicol%C3%A1s-and-Players-1180x784.jpg\" alt=\"'Ghost Town to Havana.'\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Nicolás-and-Players-960x638.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Ghost Town to Havana.’\u003c/figcaption>\u003c/figure>\n\u003cp>Local hero Eugene Corr has had one of the more interesting movie careers imaginable, from an Oscar nomination for the documentary \u003cem>Waldo Salt: A Screenwriter’s Journey\u003c/em> to the blue-jeans glory of the 1986 indie hit \u003cem>Desert Bloom\u003c/em> (with a young Annabeth Gish, Jon Voight and JoBeth Williams), with gigs directing second unit crews on major movies like \u003cem>Bull Durham\u003c/em> and TV shows such as \u003cem>Miami Vice\u003c/em>. He’s devoted the last several years to a documentary about a baseball team of underprivileged local boys and their coach, and their remarkable — and perhaps life-altering — trip to Cuba. A genuine labor of love and near-absurd levels of persistence, \u003cem>Ghost Town to Havana\u003c/em> has its Bay Area premiere Oct. 27 at the palatial Grand Lake Theater in Oakland. Filmmaking is a team sport, and that includes the audience. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ghost-town-to-havana/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Marion Cotillard Claims Feminism \"Creates Separation\", Needs a Time Out",
"title": "Marion Cotillard Claims Feminism \"Creates Separation\", Needs a Time Out",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/227529907&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Another day, another famous woman saying she's not a feminist. This time it's Marion Cotillard. Here's what she recently had to say about whether feminism has a place in the film industry:\u003c/p>\n\u003cblockquote>\u003cp>\"For me, it doesn’t create equality, it creates separation. I mean, I don’t qualify myself as a feminist. We need to fight for women’s rights, but I don’t want to separate women from men. We’re separated already but we’re not made the same and it’s the difference that creates this energy in creation and love. Sometimes in the word feminism there is too much separation.\"\u003c/p>\u003c/blockquote>\n\u003cp>Yeesh. Where to begin?\u003c/p>\n\u003cp>It's obvious that Cotillard is a bit confused about the word \"feminist\" and what it means. You would think that Chimamanda Ngozi Adichie's \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\" target=\"_blank\">recitation of the definition\u003c/a> in Beyonce's \"Flawless\" would have cleared up the issue, but apparently it bears repeating:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/tumblr_mxweutQN7B1qlf1v0o1_500.gif\">\u003cimg class=\"size-full wp-image-18239 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/tumblr_mxweutQN7B1qlf1v0o1_500.gif\" alt=\"beyonce feminist chimamanda\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Contrary to what Cotillard believes, feminism does not create separation; it's an attempt to remedy separation. And feminism doesn't create a divide between the sexes, it's a bridge between them. Or better put, it's a ladder that allows women to climb up to the higher playing field men have enjoyed since time immemorial. The mental acrobatics one must engage in to twist a demand for equal pay, for example, into separatist misandry is the kind of bending they hand out gold medals for at the Olympics.\u003c/p>\n\u003cp>Last International Women's Day, \u003ca href=\"http://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\" target=\"_blank\">Emma Watson participated in a Q&A \u003c/a>about her #HeforShe campaign and cleared up confusion about who is a feminist and what it means in very simple terms:\u003c/p>\n\u003cp>“Men think it’s a women’s word, but what it means is that you believe in equality. If you stand for equality, then you’re a feminist. Sorry to tell you. You’re a feminist. That’s it.”\u003c/p>\n\u003cp>It's that simple, people! If you believe in equality -- boom! -- you're a feminist! Even if you have a penis! Feminism involves all of us, regardless of gender. And, despite what you may have heard, growing out your armpit hair and punching every dude you see are not requirements.\u003c/p>\n\u003cp>But for every Emma Watson, there are 10 Marion Cotillards. In 2013, \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\" target=\"_blank\">I highlighted just a few instances\u003c/a> of famous women misunderstanding feminism:\u003c/p>\n\u003cblockquote>\u003cp>When asked whether they are feminists, famous women too often distance themselves from the idea either because they think being a feminist somehow means they hate men (“I’m not a feminist. I hail men, I love men.” — Lady Gaga), or they think the term has a negative connotation (“I think when people hear feminist, it’s like, ‘Get out of my way, I don’t need anyone.’ I love that I’m being taken care of and I have a man that’s a leader.” — Kelly Clarkson), or they think being a feminist means you’re a negative whiner (“I think [considering myself a feminist] would isolate me. I think it’s important to do positive stuff. It’s more important to be asking than complaining.” —Bjork), or that it means you’re a lesbian (“For me, feminism is bra-burning lesbianism. It’s very unglamorous.” — Geri Halliwell a.k.a. Ginger Spice), or they suffer from cognitive dissonance (“I am not a feminist, but I do believe in the strength of women.” — Katy Perry, while accepting Billboard’s Woman of the Year award). The list sadly goes on.\u003c/p>\n\u003cp>When misogyny is so deep-rooted that even women are led to believe that feminism is a dirty word, and when feats like the one Wendy Davis executed are still necessary, it becomes abundantly clear that the struggle for gender equality is far from over.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The only way to remedy this epidemic of misinformation is through education. Next time you hear a friend say something like, \"No, I'm not a feminist 'cause I'm a guy\" or \"I'm not a feminist 'cause I love boys\", recite the actual definition for them or sit them in front of a computer and make them watch Chimamanda Ngozi Adichie's \"We Should All Be Feminists\" \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\" target=\"_blank\">TED talk\u003c/a> or hand them a book by bell hooks. And next time you see Marion Cotillard, tell her she could use a time out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/227529907&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Another day, another famous woman saying she's not a feminist. This time it's Marion Cotillard. Here's what she recently had to say about whether feminism has a place in the film industry:\u003c/p>\n\u003cblockquote>\u003cp>\"For me, it doesn’t create equality, it creates separation. I mean, I don’t qualify myself as a feminist. We need to fight for women’s rights, but I don’t want to separate women from men. We’re separated already but we’re not made the same and it’s the difference that creates this energy in creation and love. Sometimes in the word feminism there is too much separation.\"\u003c/p>\u003c/blockquote>\n\u003cp>Yeesh. Where to begin?\u003c/p>\n\u003cp>It's obvious that Cotillard is a bit confused about the word \"feminist\" and what it means. You would think that Chimamanda Ngozi Adichie's \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\" target=\"_blank\">recitation of the definition\u003c/a> in Beyonce's \"Flawless\" would have cleared up the issue, but apparently it bears repeating:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/tumblr_mxweutQN7B1qlf1v0o1_500.gif\">\u003cimg class=\"size-full wp-image-18239 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/tumblr_mxweutQN7B1qlf1v0o1_500.gif\" alt=\"beyonce feminist chimamanda\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Contrary to what Cotillard believes, feminism does not create separation; it's an attempt to remedy separation. And feminism doesn't create a divide between the sexes, it's a bridge between them. Or better put, it's a ladder that allows women to climb up to the higher playing field men have enjoyed since time immemorial. The mental acrobatics one must engage in to twist a demand for equal pay, for example, into separatist misandry is the kind of bending they hand out gold medals for at the Olympics.\u003c/p>\n\u003cp>Last International Women's Day, \u003ca href=\"http://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\" target=\"_blank\">Emma Watson participated in a Q&A \u003c/a>about her #HeforShe campaign and cleared up confusion about who is a feminist and what it means in very simple terms:\u003c/p>\n\u003cp>“Men think it’s a women’s word, but what it means is that you believe in equality. If you stand for equality, then you’re a feminist. Sorry to tell you. You’re a feminist. That’s it.”\u003c/p>\n\u003cp>It's that simple, people! If you believe in equality -- boom! -- you're a feminist! Even if you have a penis! Feminism involves all of us, regardless of gender. And, despite what you may have heard, growing out your armpit hair and punching every dude you see are not requirements.\u003c/p>\n\u003cp>But for every Emma Watson, there are 10 Marion Cotillards. In 2013, \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\" target=\"_blank\">I highlighted just a few instances\u003c/a> of famous women misunderstanding feminism:\u003c/p>\n\u003cblockquote>\u003cp>When asked whether they are feminists, famous women too often distance themselves from the idea either because they think being a feminist somehow means they hate men (“I’m not a feminist. I hail men, I love men.” — Lady Gaga), or they think the term has a negative connotation (“I think when people hear feminist, it’s like, ‘Get out of my way, I don’t need anyone.’ I love that I’m being taken care of and I have a man that’s a leader.” — Kelly Clarkson), or they think being a feminist means you’re a negative whiner (“I think [considering myself a feminist] would isolate me. I think it’s important to do positive stuff. It’s more important to be asking than complaining.” —Bjork), or that it means you’re a lesbian (“For me, feminism is bra-burning lesbianism. It’s very unglamorous.” — Geri Halliwell a.k.a. Ginger Spice), or they suffer from cognitive dissonance (“I am not a feminist, but I do believe in the strength of women.” — Katy Perry, while accepting Billboard’s Woman of the Year award). The list sadly goes on.\u003c/p>\n\u003cp>When misogyny is so deep-rooted that even women are led to believe that feminism is a dirty word, and when feats like the one Wendy Davis executed are still necessary, it becomes abundantly clear that the struggle for gender equality is far from over.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The only way to remedy this epidemic of misinformation is through education. Next time you hear a friend say something like, \"No, I'm not a feminist 'cause I'm a guy\" or \"I'm not a feminist 'cause I love boys\", recite the actual definition for them or sit them in front of a computer and make them watch Chimamanda Ngozi Adichie's \"We Should All Be Feminists\" \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\" target=\"_blank\">TED talk\u003c/a> or hand them a book by bell hooks. And next time you see Marion Cotillard, tell her she could use a time out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Quest for Fun: Looking Back at 'National Lampoon'",
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"content": "\u003cp>A lot of what — and who — has made us laugh over the past two generations can be traced back, one way or another, to \u003cem>National Lampoon\u003c/em>. John Hughes and Harold Ramis, the filmmakers, humorists like P.J. O’ Rourke, classic movies — \u003cem>Animal House\u003c/em>, \u003cem>Caddyshack\u003c/em> and \u003cem>National Lampoon’s Vacation\u003c/em>, not to mention John Belushi, Gilda Radner, and Christopher Guest.\u003c/p>\n\u003cp>From 1970 to 1998, the magazine that began as a spinoff from the \u003cem>Harvard Lampoon\u003c/em> became one of the first multi-media content providers — a phrase its founders would probably cringe to hear — creating books and magazines, radio, films, albums and stage shows distinguished by deliberate raunchiness and studied outrageousness.\u003c/p>\n\u003cp>Some of its founding talents are still active. But many burned out. Douglas Tirola is the director of \u003cem>Drunk Stoned Brilliant Dead\u003c/em>, a new film about the \u003cem>Lampoon\u003c/em> and its influence. He tells NPR’s Scott Simon that there was an honesty to the \u003cem>Lampoon\u003c/em>‘s shocking aesthetic. “In the ’70s, especially, when there were so many magazines … magazines were looking for attention, when someone’s running to the train or walking down the street, so the covers really had to stick out .. ‘Please buy this magazine,’ because that’s really what it’s all about.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/443492746/443691972\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On some of the \u003cem>Lampoon\u003c/em>‘s signature articles — the few we can mention here\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Volkswagen ad — in the early ’70s, there was apparently a Volkswagen ad that showed a Volkswagen Beetle bug floating in water. And this was an ad that looked very much like it, but the tagline said, “If Teddy Kennedy drove a Volkswagen, he would be President now,” referring to [the fatal bridge accident at] Chappaquiddick … the ad was saying because Volkswagens float, that nobody would’ve died.\u003c/p>\n\u003cp>They would go after anybody, and there was a danger in that, and there was an unpredictability about that. And when you open the Lampoon, on one page they’re killing Nixon, and on the next page they’re going after a sacred cow on the Left like Che Guevara. I think [that] made the whole experience more exciting.\u003c/p>\n\u003cp>\u003cstrong>On the legacy of the \u003cem>National Lampoon Radio Hour\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Pretty much everything in comedy at this point owes something to the \u003cem>Lampoon\u003c/em>, whether they realize it or not. I think they just broke down a lot of barriers in a mainstream way. It’s speaking to a national audience and there’s still a little residue of that today — I think some of it, people may be focused on the \u003cem>Animal House\u003c/em> aspect and just the idea of teenaged boys and college boys and nudity and sex and things like that in a way you hadn’t seen it before \u003cem>Animal House\u003c/em>, but I think there’s just something more, that they represent freedom. They represent a freedom that maybe we don’t even have as much as we wish we did today.\u003c/p>\n\u003cp>\u003cstrong>On whether the \u003cem>Lampoon\u003c/em>‘s multi-platform success was its undoing\u003c/strong>\u003c/p>\n\u003cp>To me, it was one of the last great untold stories about a group of people that unexpectedly came together, and when they did, something special happened. So I think what happened there is, it’s as if somebody had gone into this giant high-school cafeteria and taken the smartest person from each table — the alternative table, the theater table, the jock table, the student council table — and because of that, eventually those personalities started to rub up against each other … ambition and envy and jealousy starts to get in the way … and these were people that had big ambitions, and they were not cageable people, as one of the staff members says in our film.\u003c/p>\n\u003cp>\u003cstrong>On why the \u003cem>Lampoon\u003c/em> still makes us laugh\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has both that lowbrow humor — you know, things that you associate now with their own work in \u003cem>Animal House\u003c/em>, or almost like the Marx Brothers — and then things where you feel like you possibly need a master’s degree to understand. But they didn’t shy away from either. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Quest+For+Fun%3A+Looking+Back+At+%27National+Lampoon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of what — and who — has made us laugh over the past two generations can be traced back, one way or another, to \u003cem>National Lampoon\u003c/em>. John Hughes and Harold Ramis, the filmmakers, humorists like P.J. O’ Rourke, classic movies — \u003cem>Animal House\u003c/em>, \u003cem>Caddyshack\u003c/em> and \u003cem>National Lampoon’s Vacation\u003c/em>, not to mention John Belushi, Gilda Radner, and Christopher Guest.\u003c/p>\n\u003cp>From 1970 to 1998, the magazine that began as a spinoff from the \u003cem>Harvard Lampoon\u003c/em> became one of the first multi-media content providers — a phrase its founders would probably cringe to hear — creating books and magazines, radio, films, albums and stage shows distinguished by deliberate raunchiness and studied outrageousness.\u003c/p>\n\u003cp>Some of its founding talents are still active. But many burned out. Douglas Tirola is the director of \u003cem>Drunk Stoned Brilliant Dead\u003c/em>, a new film about the \u003cem>Lampoon\u003c/em> and its influence. He tells NPR’s Scott Simon that there was an honesty to the \u003cem>Lampoon\u003c/em>‘s shocking aesthetic. “In the ’70s, especially, when there were so many magazines … magazines were looking for attention, when someone’s running to the train or walking down the street, so the covers really had to stick out .. ‘Please buy this magazine,’ because that’s really what it’s all about.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/443492746/443691972\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On some of the \u003cem>Lampoon\u003c/em>‘s signature articles — the few we can mention here\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem class=\"video_caption\">Watch the preview for the Academy Award-nominated \u003cstrong>Last Day of Freedom\u003c/strong> by filmmakers Dee Hibbert-Jones and Nomi Talisman. \u003c/em>\u003c/p>\n\u003cp>Bill Babbitt supported the death penalty ... until it came knocking at his door.\u003c/p>\n\u003cp>Bill fondly recalls early life with his brother Manny, but a childhood car accident leaves Manny forever changed. Two tours in Vietnam only compound Manny’s mental health issues. After the war, bouts of paranoia leave him living on the streets. Concerned about his brother, Bill and his family invite Manny to come live with them in Sacramento. One day, however, Bill makes a shocking discovery that leaves him with an impossible choice: cover for his brother ... or turn him in.\u003c/p>\n\u003cp>In this deeply personal animated short, Bill explores his attempt to do the “right” thing as familial bonds, mental illness and murder tug a close relationship in conflicting directions.\u003c/p>\n\u003cp>\u003cem>Last Day of Freedom\u003c/em> has won numerous awards, including the Jury Award for Best Short at the Full Frame Documentary Film Festival; the Center for Documentary Studies Filmmaker Award at Full Frame; the Justice for All Award at the (In) Justice Film Festival; and the audience award at SF DocFest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://oscar.go.com/nominees/documentary-short/last-day-of-freedom\" target=\"_blank\" rel=\"noopener\">The film has been nominated for a 2016 Academy Award in the Documentary Short Category.\u003c/a>\u003c/p>\n\u003cp>Go behind-the-scenes with the filmmakers of \u003cem>Last Day of Freedom.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PCJH4tayb54\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>Whether mummy or mommy, a creature whose face is cloaked in bandages is eerie. So it might seem reasonable for twins Lukas and Elias (Lukas and Elias Schwarz) to be distrustful when their mother (Susanne Wuest) returns from the hospital with a wrapped face. As \u003cem>Goodnight Mommy \u003c/em>soon reveals, however, very little about the physically identical brothers is reasonable.\u003c/p>\n\u003cp>The trauma that preceded the events of this austere yet gruesome thriller can be recounted in a single sentence, but writing that sentence would nullify the movie’s effect. With \u003cem>Goodnight Mommy\u003c/em>, summary soon wanders into spoiler territory.\u003c/p>\n\u003cp>Likewise, it would be improper to specify exactly what sort of story this is. The clues are there, and many viewers will solve the puzzle before the film divulges the answer, but the narrative ploy is well camouflaged. Like professional conjurers, writer-directors Veronika Franz and Severin Fiala are masters of diversion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0kXpUaQpXMA\u003c/p>\n\u003cp>A few things can be disclosed without risk. The family lives in an agonizingly sparse modernist home in the Austrian countryside. Mom is a TV personality of some kind. Dad is literally out of the picture — photos of him have been removed from the house. The boys are very close, although one is the doer and the other the thinker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s summertime, so the kids spend a lot of time outside. They explore forests and cornfields, and sometimes one wears a mask in an uncanny echo of mom’s bandages. Also ominous is their descent into a cavern that turns out to be an ossuary, inhabited by one living creature.\u003c/p>\n\u003cp>Adults are rarely seen and, as might be expected, are mostly silly and ineffectual. The only one who tries to exercise any authority over the boys is their mother, but her manner has changed so much that Lukas and Elias doubt she’s the same woman she was before the surgery.\u003c/p>\n\u003cp>They decide to test her, in scenes that could be seen as allegorical of the way all adolescents investigate their growing power to defy their parents. The examinations escalate from disturbing to horrific, although they’re presented with a chilliness quite unlike the gleeful bloodlust of American slasher flicks.\u003c/p>\n\u003cp>“Shot on glorious 35mm,” as the movie’s final title boasts, \u003cem>Goodnight Mommy\u003c/em> is elegant and luminous. While the story conveys the anxiety of being unable to trust the most elemental of human bonds, the meticulous compositions contrast alienation and intimacy. Indeed, the filmmakers’ assured style ultimately upstages their slender if effective script.\u003c/p>\n\u003cp>Veronika Franz is the spouse of director Ulrich Seidl, who produced this movie, and co-wrote his \u003cem>Paradise\u003c/em> trilogy with him; Severin Fiala is Seidl’s nephew. Yet critics have compared \u003cem>Goodnight Mommy \u003c/em>less to Seidl’s work than to the films of Michael Haneke, another Austrian known for dispassionate gore.\u003c/p>\n\u003cp>The resemblance is superficial. The dread in Haneke’s movies is existential, reflecting his often overripe view of the fundamental injustice of all human life. Based on their debut feature, at least, Franz and Fiala don’t think in such grand terms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Goodnight Mommy\u003c/em> is simply a child’s what-if gone amok. “What if our mother isn’t our mother?” a boy asks, and the idle query is pushed to monstrous lengths. Like most such tales, this one is chilling but not profound.\u003c/p>\n\n",
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"content": "\u003cp>The Swedish film director Roy Andersson uses his camera like a Medusa in reverse. Every character is made of stone until his gaze animates the steadied, careful composition he’s assembled inside the frame.\u003c/p>\n\u003cp>In his latest film \u003ci>\u003ca href=\"http://www.magpictures.com/apigeon/\" target=\"_blank\" rel=\"noopener\">A Pigeon Sat on a Branch Reflecting on Existence\u003c/a>\u003c/i> (2014), he arranges his scenes the way a painter does. His lighting, set, makeup and costume designs all borrow color palettes from artists like Balthus and Lucian Freud. And, at the same time, Andersson shares their sense of damaged humanism, inexplicably managing to create \u003ci>tableaux vivants\u003c/i> in which every person appears to be psychologically fragile or incomplete.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N8EJL2FZ45U\u003c/p>\n\u003cp>Under a constant wash of sunlight that’s turned a shade of hospital green, something prevents \u003ci>Pigeon\u003c/i>, and all of Andersson’s oeuvre, from becoming studies in anomie and despair. At first glance, there’s a caustic comic sensibility conveyed in the way the actors deliver their few, lingering lines. Even if you don’t speak Swedish, this errant way of speaking asserts itself on the English or American ear. You can easily recognize the risk an open mouth takes as it cracks the vast, frozen pause of an awkward conversation.\u003c/p>\n\u003cfigure id=\"attachment_10973504\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10973504\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1_pigeon-800x450.jpg\" alt=\"Per Bergqvist and Solveig Andersson in 'A Pigeon Sat on a Branch Reflecting on Existence.' (Photo: Magnolia Pictures)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1_pigeon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1_pigeon-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Per Bergqvist and Solveig Andersson in ‘A Pigeon Sat on a Branch Reflecting on Existence.’ (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>In this largely narrative-free film, there are two recurring characters: a couple of downtrodden traveling salesmen who carry their briefcases as if they were anvils. When asked by potential customers about their wares, this is their unexpected reply: “We’re in the entertainment industry. We want people to have fun.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their idea of fun: novelty items like plastic vampire teeth and a hideous face mask of a wizened man they’ve named, “Old One-Tooth.” Not even Willy Loman could have achieved this nadir of professional denial. The salesmen are, of course, stand-ins for the director, but cheap effects don’t inspire any willing suspension of disbelief in Andersson’s other characters. Those briefcases have long been emptied of their magic.\u003c/p>\n\u003cp>\u003ci>Pigeon\u003c/i>, conversely, comes to life with eerie, fraught visuals excavated from the director’s unconscious mind. Several short scenes punctuate the plot, which Andersson himself states (perhaps oversimplifying) as, “I’m trying to show what it’s like to be human and to be alive.”\u003c/p>\n\u003cp>Is this humanity? Caged birds mesmerize the patrons at a taxidermy exhibit; a woman on a park bench nibbles on her baby’s toes; dancers in a flamenco class snake their arms into the air and clack their feet in unison; a royal soldier from the 18th century enters a modern day café on the back of a black horse; a laboratory scientist chats impassively on her mobile phone while a monkey endures an experiment.\u003c/p>\n\u003cfigure id=\"attachment_10973505\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10973505\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/2_pigeon-800x450.jpg\" alt=\"Viktor Gyllenberg in 'A Pigeon Sat on a Branch Reflecting on Existence.' (Photo: Magnolia Pictures)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_pigeon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_pigeon-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Viktor Gyllenberg in ‘A Pigeon Sat on a Branch Reflecting on Existence.’ (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>But what are they doing to the monkey, and why is the scientist so indifferent to its pain? These, and a hundred other questions, remain unanswered. \u003ci>Pigeon\u003c/i> is the visual record of one man’s series of dreams, if those dreams were perfectly recalled in a cinematic maze. The sounds of a recurring waltz is the connective tissue that fades and overlaps over each disparate scene. But we, the audience, never enter the story.\u003c/p>\n\u003cp>We feel for the characters without seeing or sharing their varied points of view. We only observe — dumbfounded and uncomprehending — like a pigeon staring down from a tree branch at a high and distant remove, readying our wings for flight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>A Pigeon Sat on a Branch Reflecting on Existence\u003c/i> opens Sept. 25 at the \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco and the \u003ca href=\"http://rafaelfilm.cafilm.org/a-pigeon-sat-on-a-branch/\" target=\"_blank\" rel=\"noopener\">Rafael Film Center\u003c/a> in San Rafael.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Swedish film director Roy Andersson uses his camera like a Medusa in reverse. Every character is made of stone until his gaze animates the steadied, careful composition he’s assembled inside the frame.\u003c/p>\n\u003cp>In his latest film \u003ci>\u003ca href=\"http://www.magpictures.com/apigeon/\" target=\"_blank\" rel=\"noopener\">A Pigeon Sat on a Branch Reflecting on Existence\u003c/a>\u003c/i> (2014), he arranges his scenes the way a painter does. His lighting, set, makeup and costume designs all borrow color palettes from artists like Balthus and Lucian Freud. And, at the same time, Andersson shares their sense of damaged humanism, inexplicably managing to create \u003ci>tableaux vivants\u003c/i> in which every person appears to be psychologically fragile or incomplete.\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/N8EJL2FZ45U'\n title='//www.youtube.com/embed/N8EJL2FZ45U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Under a constant wash of sunlight that’s turned a shade of hospital green, something prevents \u003ci>Pigeon\u003c/i>, and all of Andersson’s oeuvre, from becoming studies in anomie and despair. At first glance, there’s a caustic comic sensibility conveyed in the way the actors deliver their few, lingering lines. Even if you don’t speak Swedish, this errant way of speaking asserts itself on the English or American ear. You can easily recognize the risk an open mouth takes as it cracks the vast, frozen pause of an awkward conversation.\u003c/p>\n\u003cfigure id=\"attachment_10973504\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10973504\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1_pigeon-800x450.jpg\" alt=\"Per Bergqvist and Solveig Andersson in 'A Pigeon Sat on a Branch Reflecting on Existence.' (Photo: Magnolia Pictures)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1_pigeon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1_pigeon-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Per Bergqvist and Solveig Andersson in ‘A Pigeon Sat on a Branch Reflecting on Existence.’ (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>In this largely narrative-free film, there are two recurring characters: a couple of downtrodden traveling salesmen who carry their briefcases as if they were anvils. When asked by potential customers about their wares, this is their unexpected reply: “We’re in the entertainment industry. We want people to have fun.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their idea of fun: novelty items like plastic vampire teeth and a hideous face mask of a wizened man they’ve named, “Old One-Tooth.” Not even Willy Loman could have achieved this nadir of professional denial. The salesmen are, of course, stand-ins for the director, but cheap effects don’t inspire any willing suspension of disbelief in Andersson’s other characters. Those briefcases have long been emptied of their magic.\u003c/p>\n\u003cp>\u003ci>Pigeon\u003c/i>, conversely, comes to life with eerie, fraught visuals excavated from the director’s unconscious mind. Several short scenes punctuate the plot, which Andersson himself states (perhaps oversimplifying) as, “I’m trying to show what it’s like to be human and to be alive.”\u003c/p>\n\u003cp>Is this humanity? Caged birds mesmerize the patrons at a taxidermy exhibit; a woman on a park bench nibbles on her baby’s toes; dancers in a flamenco class snake their arms into the air and clack their feet in unison; a royal soldier from the 18th century enters a modern day café on the back of a black horse; a laboratory scientist chats impassively on her mobile phone while a monkey endures an experiment.\u003c/p>\n\u003cfigure id=\"attachment_10973505\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10973505\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/2_pigeon-800x450.jpg\" alt=\"Viktor Gyllenberg in 'A Pigeon Sat on a Branch Reflecting on Existence.' (Photo: Magnolia Pictures)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_pigeon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/2_pigeon-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Viktor Gyllenberg in ‘A Pigeon Sat on a Branch Reflecting on Existence.’ (Photo: Magnolia Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>But what are they doing to the monkey, and why is the scientist so indifferent to its pain? These, and a hundred other questions, remain unanswered. \u003ci>Pigeon\u003c/i> is the visual record of one man’s series of dreams, if those dreams were perfectly recalled in a cinematic maze. The sounds of a recurring waltz is the connective tissue that fades and overlaps over each disparate scene. But we, the audience, never enter the story.\u003c/p>\n\u003cp>We feel for the characters without seeing or sharing their varied points of view. We only observe — dumbfounded and uncomprehending — like a pigeon staring down from a tree branch at a high and distant remove, readying our wings for flight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>A Pigeon Sat on a Branch Reflecting on Existence\u003c/i> opens Sept. 25 at the \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco and the \u003ca href=\"http://rafaelfilm.cafilm.org/a-pigeon-sat-on-a-branch/\" target=\"_blank\" rel=\"noopener\">Rafael Film Center\u003c/a> in San Rafael.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Jack Larson, Jimmy Olsen From Early 'Superman' Show, Dies",
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"content": "\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
