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"headline": "Beyond a Voice and a Sad Story, 'Amy' Listens to a Life",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Booze, drugs, Svengalis galore, rampant co-dependence: The bare bones of a crash-and-burn rocker bio-pic poke through Asif Kapadia’s richly absorbing documentary about the short, sharp life of Amy Winehouse. Here and there \u003cem>Amy\u003c/em> flirts with prurience, but prurience is hard to avoid with a young woman who, willy-nilly, lived her private life in public. And if ever there was an artist whose life and work fed one another for better and worse, it was Winehouse.\u003c/p>\n\u003cp>Kapadia — whose last film was a 2010 portrait of another compulsive risk-taker, Brazilian Formula One car racer Ayrton Senna — has woven familiar archival footage through a fresh trove of home movies and frank testimony from friends and associates who until now have mostly kept their counsel. Among other things, they offer a fascinating glimpse into Winehouse’s early days, before the beehive, the tattoos and eyeliner wings, the heroin and cocaine. Long before that infamous Belgrade concert where she seized up and unraveled in plain sight, Amy Winehouse was, as one former friend puts it, “like a classic North London Jewish girl with lots of attitude.”\u003c/p>\n\u003cp>That qualifying “like” matters. Winehouse was already being treated for bulimia and depression in her teens, possibly because of her father’s departure to live with another woman. But those early home movies also show a sassy, exuberant girl with a razor-sharp bull detector and a precocious, assessing intelligence that both seduced and unnerved those around her. She never quite lost the sass, but inevitably \u003cem>Amy\u003c/em> soon turns into the story of abundant promise gone to waste.\u003c/p>\n\u003cp>As Kapadia tells the story, Winehouse was lucky in her childhood friends, notably her first manager, Nick Shymansky, and two girlfriends, who stuck by her until her compulsive self-sabotage sporadically drove them away. She was less lucky in her parents, a loving but passive mother and a domineering father she adored till the end, despite the fact that he repeatedly advised her against going into rehab when she needed it most. She adored her husband, Blake Fielder, seen here as a junkie who did little but bask in her reflected glory and restock her with heroin whenever she managed to get clean. At the height of her success she says, pitifully, “I want to feel like he felt.”\u003c/p>\n\u003cp>With good reason, \u003cem>Amy\u003c/em> is hard on these two men and on the media who fed off her instability. But Kapadia doesn’t let Amy off the hook either. As every teen learns going into adulthood, attitude is not the same thing as strength, and the film suggests Winehouse never developed the inner resources to weather life’s common hurts and losses. She buckled when her beloved grandmother died, and when Fielder was sent to prison. She stuck with those who preyed on her and alienated those who supported her. There were times when only her bodyguard was left to set limits on her benders. That she rebounded just before the end adds to her tragedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet \u003cem>Amy\u003c/em> also pays warm homage to Winehouse the musician, and not just because of the astonishing voice — the throaty roar of a trained soul singer in full maturity — that poured out of that tiny body. Never a follower of fashion, Winehouse remained wide open to many musical sources. The Goth look, the lyrics that put “rehab” and “no, no, no” together couldn’t fail to win over young audiences. \u003cem>Amy\u003c/em> also makes us see why she enchanted so many across generations, from jazz to garage-band fans to the Tony Bennett demographic who thrilled to the standards the two sang so beautifully together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Life teaches you how to live it, if you’re lucky enough to live that long,” says Bennett, who brought out the old soul in Winehouse and who comes across in the movie as a true gent who saw that for his young collaborator, time was always running out. “All I’m good for is making tunes,” she tells one interviewer. “So leave me alone to do that.” Her time ran out far too early, but the luck is all ours — we still have the voice. \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=Beyond+A+Voice+And+A+Sad+Story%2C+%27Amy%27+Listens+To+A+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Five to Watch: A Handful of Films to Take You to the Outer Limits this Summer",
"headTitle": "Five to Watch: A Handful of Films to Take You to the Outer Limits this Summer | KQED",
"content": "\u003cp>Long-distance locations, far-reaching flights of imagination, mind-altered states, and time and space travel make movies among the most transportive of storytelling mediums.\u003c/p>\n\u003cp>Whether the goal is to jump-start a staycation or whet the appetite for a real-world trip to an far-off location, Bay Area filmgoers have a multitude of escape routes to the outer limits in July.\u003c/p>\n\u003cp>\u003cstrong>The Poetry of Time: Andrei Tarkovsky\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10810933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Tarkovsky_Nostalghia_004-e1435691616921.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10810933 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Tarkovsky_Nostalghia_004-e1435691616921-800x451.jpg\" alt=\"Tarkovsky_Nostalghia_004\" width=\"800\" height=\"451\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nostalghia’ (Photo courtesy Kino Lorber/Pacific Film Archive)\u003c/figcaption>\u003c/figure>\n\u003cp>Andrei Tarkovsky has been dead nearly three decades, a disconcerting notion if you credit his 1970s milestones \u003cem>Solaris\u003c/em> and \u003cem>Stalker\u003c/em> with shattering your youthful perception of the world. The most important Russian filmmaker since Sergei Eisenstein and the antithesis of Eisenstein in style and philosophy, Tarkovsky conceived of cinema as “sculpting time” rather than amassing meaning through editing. A child of World War II, the director was more interested in probing the mysterious and ephemeral yearnings of human beings than in realism, plot and payoff. His original and altogether remarkable visions return in Pacific Film Archive’s heady retrospective, \u003cem>The Poetry of Time: Andrei Tarkovsky\u003c/em>, running through July 25. \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/poetry_tarkovsky\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Hardcore Cronenberg\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10811292\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic.jpg\" alt=\"Still from Cronenberg's Spider. (Photo courtesy Sony Pictures)\" width=\"640\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic-400x217.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Cronenberg’s Spider. (Photo courtesy Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Where Tarkovsky was quietly disorienting, David Cronenberg was willfully disturbing. Pegged as a thinking person’s horror director after his run of 1980s chillers — \u003cem>Scanners\u003c/em>, \u003cem>Videodrome\u003c/em>, \u003cem>The Dead Zone\u003c/em>, \u003cem>The Fly\u003c/em> and \u003cem>Dead Ringers\u003c/em> — the Canadian writer-director veered into even more outré territory the following decade with \u003cem>Naked Lunch\u003c/em>, \u003cem>Crash\u003c/em> and \u003cem>eXistenZ\u003c/em>. Cronenberg is the rare director whose work doesn’t become “softer” or easier to watch with the passage of time. Yerba Buena Center For the Arts has collected 10 of his most unnerving films in \u003cem>Hardcore Cronenberg\u003c/em>, screening July 9 through September 6. \u003ca href=\"http://www.ybca.org/hardcore-cronenberg\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A Poem Is a Naked Person\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10810962\" class=\"wp-caption alignright\" style=\"max-width: 625px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Leon-RussellPoem-Is-A-Naked-Person.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10810962\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Leon-RussellPoem-Is-A-Naked-Person.png\" alt=\"Still from A Poem Is A Naked Person. (Photo courtesy Criterion Collection)\" width=\"625\" height=\"460\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from ‘A Poem Is A Naked Person’ (Photo courtesy Criterion Collection)\u003c/figcaption>\u003c/figure>\n\u003cp>Myth and allegory are central to roots rock, but few performers embraced the elusive, shape-shifting nature of the American character like Leon Russell. Still best known in some circles for his rousing performance at George Harrison’s 1971 benefit concerts for Bangladesh, Russell paired an endearing drawl with pounding piano chords. Shortly thereafter, the rocker enlisted up-and-coming Bay Area filmmaker Les Blank to make a documentary. Two years of on-and-off shooting in and around Russell’s Oklahoma studio, augmented by trips to gigs in New Orleans and Anaheim, resulted in arguably the most perversely offbeat portrait of a rock star ever made (well, until the Radiohead doc \u003cem>Meeting People Is Easy\u003c/em>). Blank’s impressionistic, meandering ode to the laid-back ‘70s, down-home oddballs and shambling, off-the-grid freedom wasn’t what Russell expected, and the film was shelved. \u003cem>A Poem Is a Naked Person\u003c/em> is finally seeing the light of a projector at the Opera Plaza in S.F. and the Shattuck in Berkeley beginning July 10 and the Smith Rafael Film Center in San Rafael the following Friday, July 17. A ticket or two may still be available for the July 9 shows in S.F. with Russell, Blank’s sound recordist and assistant editor Maureen Gosling, and executive producer Harrod Blank (the late filmmaker’s son) on hand. \u003ca href=\"http://www.landmarktheatres.com/san-francisco/film-info/a-poem-is-a-naked-person\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Symphony’s Film Series\u003c/strong>\u003c/p>\n\u003cp>Soundtracks are a key element in the success of most films, whether or not we consciously notice the music. It’s easy to track down the score to a favorite film online or via other media, and re-experience the emotion anytime on MUNI, in your car or at home. And if you’re really lucky, the San Francisco Symphony will provide a live accompaniment to your favorite flick as part of its ongoing film series. This month’s treats are \u003cem>Star Trek\u003c/em> (2009) on July 16, 17 and 20, and \u003cem>Back to the Future\u003c/em> (1985) on July 18 and 19. If you can live without the images, the Symphony, together with vocalists Sheena Easton and Scott Coulter, perform the themes from the James Bond movies and other spy pictures. The fun happens at Davies Symphony Hall, which may have even better acoustics than your car. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar#mo=2015:7\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Frozen Film Festival\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10810963\" class=\"wp-caption alignright\" style=\"max-width: 1497px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE%E2%80%99RE-KISSING.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10810963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE%E2%80%99RE-KISSING.jpg\" alt=\"Still from Pretend We're Kissing (photo courtesy Frozen Film Festival).\" width=\"1497\" height=\"805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-960x516.jpg 960w\" sizes=\"(max-width: 1497px) 100vw, 1497px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from ‘Pretend We’re Kissing’ (photo courtesy Frozen Film Festival).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Frozen Film Festival (at the Roxie July 17-20) has the buzz of discovery, with the program devoted primarily to short-form filmmakers working in every genre (doc, narrative, animation, experimental, comedy, environmental). For those with longer attention spans, Zoe Kravitz stars in the Canadian romantic comedy \u003cem>Pretend We’re Kissing\u003c/em> (pictured, Friday, July 17) and punk saves the world in the concert doc \u003cem>NOFX: Backstage Passport\u003c/em> (Saturday, July 18). \u003ca href=\"http://www.frozenfilmfestival.com/index.php\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Filmgoers have a multitude of escape routes to the outer limits in July...and we're not referring to the summer's third wave of Hollywood sequels.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long-distance locations, far-reaching flights of imagination, mind-altered states, and time and space travel make movies among the most transportive of storytelling mediums.\u003c/p>\n\u003cp>Whether the goal is to jump-start a staycation or whet the appetite for a real-world trip to an far-off location, Bay Area filmgoers have a multitude of escape routes to the outer limits in July.\u003c/p>\n\u003cp>\u003cstrong>The Poetry of Time: Andrei Tarkovsky\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10810933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Tarkovsky_Nostalghia_004-e1435691616921.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10810933 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Tarkovsky_Nostalghia_004-e1435691616921-800x451.jpg\" alt=\"Tarkovsky_Nostalghia_004\" width=\"800\" height=\"451\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nostalghia’ (Photo courtesy Kino Lorber/Pacific Film Archive)\u003c/figcaption>\u003c/figure>\n\u003cp>Andrei Tarkovsky has been dead nearly three decades, a disconcerting notion if you credit his 1970s milestones \u003cem>Solaris\u003c/em> and \u003cem>Stalker\u003c/em> with shattering your youthful perception of the world. The most important Russian filmmaker since Sergei Eisenstein and the antithesis of Eisenstein in style and philosophy, Tarkovsky conceived of cinema as “sculpting time” rather than amassing meaning through editing. A child of World War II, the director was more interested in probing the mysterious and ephemeral yearnings of human beings than in realism, plot and payoff. His original and altogether remarkable visions return in Pacific Film Archive’s heady retrospective, \u003cem>The Poetry of Time: Andrei Tarkovsky\u003c/em>, running through July 25. \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/poetry_tarkovsky\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Hardcore Cronenberg\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10811292\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic.jpg\" alt=\"Still from Cronenberg's Spider. (Photo courtesy Sony Pictures)\" width=\"640\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Spider_Cronenberg_Courtesy_Sony_Pictures_Classic-400x217.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Cronenberg’s Spider. (Photo courtesy Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Where Tarkovsky was quietly disorienting, David Cronenberg was willfully disturbing. Pegged as a thinking person’s horror director after his run of 1980s chillers — \u003cem>Scanners\u003c/em>, \u003cem>Videodrome\u003c/em>, \u003cem>The Dead Zone\u003c/em>, \u003cem>The Fly\u003c/em> and \u003cem>Dead Ringers\u003c/em> — the Canadian writer-director veered into even more outré territory the following decade with \u003cem>Naked Lunch\u003c/em>, \u003cem>Crash\u003c/em> and \u003cem>eXistenZ\u003c/em>. Cronenberg is the rare director whose work doesn’t become “softer” or easier to watch with the passage of time. Yerba Buena Center For the Arts has collected 10 of his most unnerving films in \u003cem>Hardcore Cronenberg\u003c/em>, screening July 9 through September 6. \u003ca href=\"http://www.ybca.org/hardcore-cronenberg\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A Poem Is a Naked Person\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10810962\" class=\"wp-caption alignright\" style=\"max-width: 625px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Leon-RussellPoem-Is-A-Naked-Person.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10810962\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Leon-RussellPoem-Is-A-Naked-Person.png\" alt=\"Still from A Poem Is A Naked Person. (Photo courtesy Criterion Collection)\" width=\"625\" height=\"460\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from ‘A Poem Is A Naked Person’ (Photo courtesy Criterion Collection)\u003c/figcaption>\u003c/figure>\n\u003cp>Myth and allegory are central to roots rock, but few performers embraced the elusive, shape-shifting nature of the American character like Leon Russell. Still best known in some circles for his rousing performance at George Harrison’s 1971 benefit concerts for Bangladesh, Russell paired an endearing drawl with pounding piano chords. Shortly thereafter, the rocker enlisted up-and-coming Bay Area filmmaker Les Blank to make a documentary. Two years of on-and-off shooting in and around Russell’s Oklahoma studio, augmented by trips to gigs in New Orleans and Anaheim, resulted in arguably the most perversely offbeat portrait of a rock star ever made (well, until the Radiohead doc \u003cem>Meeting People Is Easy\u003c/em>). Blank’s impressionistic, meandering ode to the laid-back ‘70s, down-home oddballs and shambling, off-the-grid freedom wasn’t what Russell expected, and the film was shelved. \u003cem>A Poem Is a Naked Person\u003c/em> is finally seeing the light of a projector at the Opera Plaza in S.F. and the Shattuck in Berkeley beginning July 10 and the Smith Rafael Film Center in San Rafael the following Friday, July 17. A ticket or two may still be available for the July 9 shows in S.F. with Russell, Blank’s sound recordist and assistant editor Maureen Gosling, and executive producer Harrod Blank (the late filmmaker’s son) on hand. \u003ca href=\"http://www.landmarktheatres.com/san-francisco/film-info/a-poem-is-a-naked-person\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Symphony’s Film Series\u003c/strong>\u003c/p>\n\u003cp>Soundtracks are a key element in the success of most films, whether or not we consciously notice the music. It’s easy to track down the score to a favorite film online or via other media, and re-experience the emotion anytime on MUNI, in your car or at home. And if you’re really lucky, the San Francisco Symphony will provide a live accompaniment to your favorite flick as part of its ongoing film series. This month’s treats are \u003cem>Star Trek\u003c/em> (2009) on July 16, 17 and 20, and \u003cem>Back to the Future\u003c/em> (1985) on July 18 and 19. If you can live without the images, the Symphony, together with vocalists Sheena Easton and Scott Coulter, perform the themes from the James Bond movies and other spy pictures. The fun happens at Davies Symphony Hall, which may have even better acoustics than your car. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar#mo=2015:7\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Frozen Film Festival\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10810963\" class=\"wp-caption alignright\" style=\"max-width: 1497px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE%E2%80%99RE-KISSING.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10810963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE%E2%80%99RE-KISSING.jpg\" alt=\"Still from Pretend We're Kissing (photo courtesy Frozen Film Festival).\" width=\"1497\" height=\"805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FEATURE-FILM-PRETEND-WE’RE-KISSING-960x516.jpg 960w\" sizes=\"(max-width: 1497px) 100vw, 1497px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from ‘Pretend We’re Kissing’ (photo courtesy Frozen Film Festival).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Frozen Film Festival (at the Roxie July 17-20) has the buzz of discovery, with the program devoted primarily to short-form filmmakers working in every genre (doc, narrative, animation, experimental, comedy, environmental). For those with longer attention spans, Zoe Kravitz stars in the Canadian romantic comedy \u003cem>Pretend We’re Kissing\u003c/em> (pictured, Friday, July 17) and punk saves the world in the concert doc \u003cem>NOFX: Backstage Passport\u003c/em> (Saturday, July 18). \u003ca href=\"http://www.frozenfilmfestival.com/index.php\" target=\"_blank\" rel=\"noopener\">More information and details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan>This year, KQED’s \u003cem>Film School Shorts\u003c/em> proudly presents the amazing student films \u003cem>Banana Trip\u003c/em> and \u003cem>11-Minute Mile \u003c/em>at the fourth annual \u003ca target=\"_blank\" href=\"http://www.pbs.org/filmfestival/home/\" rel=\"noopener\">PBS Online Film Festival\u003c/a>! Here’s your chance to watch independent films from across the country on your browser, mobile device, and on Xbox, Roku and Apple TV.\u003c/span>\u003c/p>\n\u003cdiv>\n\u003cp>Watch. \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/29/watch-vote-share-your-favorite-film-school-short/?utm_source=rss&utm_medium=rss&utm_campaign=watch-vote-share-your-favorite-film-school-short\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/29/watch-vote-share-your-favorite-film-school-short/?utm_source=rss&utm_medium=rss&utm_campaign=watch-vote-share-your-favorite-film-school-short\" target=\"_blank\" title=\"Watch, Vote, Share Your Favorite Film School Short!\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cspan>This year, KQED's \u003cem>Film School Shorts\u003c/em> proudly presents the amazing student films \u003cem>Banana Trip\u003c/em> and \u003cem>11-Minute Mile \u003c/em>at the fourth annual \u003ca target=\"_blank\" href=\"http://www.pbs.org/filmfestival/home/\" rel=\"noopener\">PBS Online Film Festival\u003c/a>! Here's your chance to watch independent films from across the country on your browser, mobile device, and on Xbox, Roku and Apple TV.\u003c/span>\u003c/p>\n\u003cdiv>\u003cp>Watch. \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/29/watch-vote-share-your-favorite-film-school-short/?utm_source=rss&utm_medium=rss&utm_campaign=watch-vote-share-your-favorite-film-school-short\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan>This year, KQED’s \u003cem>Film School Shorts\u003c/em> proudly presents the amazing student films \u003cem>Banana Trip\u003c/em> and \u003cem>11-Minute Mile \u003c/em>at the fourth annual \u003ca target=\"_blank\" href=\"http://www.pbs.org/filmfestival/home/\" rel=\"noopener\">PBS Online Film Festival\u003c/a>! Here’s your chance to watch independent films from across the country on your browser, mobile device, and on Xbox, Roku and Apple TV.\u003c/span>\u003c/p>\n\u003cdiv>\n\u003cp>Watch. \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/29/watch-vote-share-your-favorite-film-school-short/?utm_source=rss&utm_medium=rss&utm_campaign=watch-vote-share-your-favorite-film-school-short\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/29/watch-vote-share-your-favorite-film-school-short/?utm_source=rss&utm_medium=rss&utm_campaign=watch-vote-share-your-favorite-film-school-short\" target=\"_blank\" title=\"Watch, Vote, Share Your Favorite Film School Short!\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"title": "'Infinitely Polar Bear' Filmmaker Turns Ugly Family Fights into Movie Fodder",
"headTitle": "‘Infinitely Polar Bear’ Filmmaker Turns Ugly Family Fights into Movie Fodder | KQED",
"content": "\u003cp>What if you could go back in time to one of those moments that presaged your parents’ temporary separation or ugly divorce? As an adult, what exactly do you remember about the fights they had, the struggles they went through to take care of their own lives and put food on the family table? Would you be more sympathetic to their flaws and failings if you could overhear those heated conversations and arguments? Could you forgive them, at last, after all these years? \u003c/p>\n\u003cp>Maya Forbes stages and recreates those moments in her debut feature film \u003ca href=\"http://sonyclassics.com/infinitelypolarbear/\" target=\"_blank\" rel=\"noopener\">\u003ci>Infinitely Polar Bear\u003c/i>\u003c/a>. \u003c/p>\n\u003cp>Like \u003ci>Kramer vs. Kramer\u003c/i> and \u003ci>Shoot the Moon — \u003c/i>films that depict marriages in turmoil — Forbes’s movie is generously empathetic to all the players involved, if not especially so to the character of her manic depressive father, as played by Mark Ruffalo. \u003c/p>\n\u003cp>For Forbes, the impulse to make the film was rooted, lovingly, during a moment of her childhood when her father was, briefly, the primary caregiver: “When I was little, I just so wanted to fix everything and solve everything and make everything okay.” For 90 minutes, in her own cinematic way, she has. \u003c/p>\n\u003cp>KQED Arts sat down with the filmmaker to discuss her work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The artistic consciousness of this film, from the way the camera moves to the set design, is clearly influenced by films from the 1970s. \u003c/b>\u003c/p>\n\u003cp>There were three films I saw when my mother worked in a movie theatre for a short time:\u003c/p>\n\u003cp>\u003ca href=\"http://metronews.ca/scene/1124318/revisiting-outrageous-canadas-groundbreaking-drag-film/\">\u003ci>Outrageous\u003c/i>\u003c/a>\u003ci>.\u003c/i> a Canadian film. Craig Russell plays a drag queen and his best friend, Liza, is schizophrenic. My sister is a singer in the band \u003ca href=\"http://pinkmartini.com/\" target=\"_blank\" rel=\"noopener\">Pink Martini\u003c/a>, and I can’t help but think that Craig Russell had a lot to do with that.\u003c/p>\n\u003cp>Another one was \u003ci>Young Frankenstein\u003c/i>, amazing.\u003c/p>\n\u003cp>The third, which was the most influential on \u003ci>Infinitely Polar Bear,\u003c/i> was \u003ca href=\"http://www.nytimes.com/2002/01/11/movies/watching-movies-with-wes-anderson-from-centimes-a-wealth-of-ideas.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Small Change\u003c/i>\u003c/a>, the Francois Truffaut film.\u003c/p>\n\u003cp>What I loved about that film was, obviously, the children were so real. As a child, I related to them. I love the look of it. Truffaut is shooting in this old French village so all of the backgrounds are not dressed. It’s just the stone buildings and facades of this town.\u003c/p>\n\u003cp>That’s what I was looking for with my film because, aesthetically, I like that but also because I was making a period film with limited resources. I went to Providence, Rhode Island, which looks more like Cambridge in the 1970s than Cambridge does now. And I always wanted dirtier, more trash, “Don’t clean this place up. I want that texture.” It felt like, in those films, they were also dealing with disuse in an intelligent and humane way.\u003c/p>\n\u003cp>The 1980s brought this gloss to everything. I don’t want that gloss. I also really, really wanted to see this on Super 16 because I love grain as a part of the whole texture of film. That’s why I use the Super 8s and the Polaroids too because film was just so important at that time.\u003c/p>\n\u003cfigure id=\"attachment_10787641\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/shoulders.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10787641\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/shoulders.jpg\" alt=\"Imogene Wolodarsky as Amelia Stuart, Mark Ruffalo as Cam Stuart, Zoe Saldana as Maggie Stuart and Ashley Aufderheide as Faith Stuart. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/shoulders.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/shoulders-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Imogene Wolodarsky as Amelia Stuart, Mark Ruffalo as Cam Stuart, Zoe Saldana as Maggie Stuart and Ashley Aufderheide as Faith Stuart. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The dawn of 1970s era feminism is a poignant subtext in the story of your mother’s decision to pursue a graduate degree.\u003c/b>\u003c/p>\n\u003cp>My mother wanted to be a theater producer, and she was for a while. But then, when my father had his breakdown, she had to figure out how to make a living. A theater producer wasn’t going to pay the bills — it was like being an independent filmmaker.\u003c/p>\n\u003cp>I saw that decision as a double sacrifice. She was doing this because she really wanted us to have an education, and she was giving up her dream of being in the world of arts, which is where she wanted to be. She was very successful, but I saw the sadness in that, which was compelling to me.\u003c/p>\n\u003cp>When I got older, because I knew I wanted to be an artist, I also had this conflict about motherhood and career and ambition. Career and ambition are often not even the same in some ways. I had a really good career as a Hollywood writer. But I wasn’t fulfilling my ultimate ambition, which was to make a movie that was very personal.\u003c/p>\n\u003cp>\u003cb>Is ambition a separate space that you have to make room for in your psyche?\u003c/b>\u003c/p>\n\u003cp>If you’re a mom, are you allowed to have it? Is it bad to feel it? For a long time, I thought it was not okay to feel that because it meant that I didn’t love my children enough. I looked at my own mother and I thought, “I know you left because you wanted to get us a great education and you did that, but maybe you also left because you want to make things better for yourself.” For a while, I thought, that’s not okay.\u003c/p>\n\u003cp>In writing this movie, I realized I’m absolutely fine with whatever it was that made her want to do that. I’m so happy for what she gave to me. But whatever she felt that she needed in herself, I think she was allowed to have it. She wanted to have a better life than cleaning up after her irresponsible husband. That’s okay.\u003c/p>\n\u003cp>\u003cb>What did you want to get right in the filmed depiction of your father’s condition, and mental illness in general?\u003c/b>\u003c/p>\n\u003cp>I didn’t want to do something that was either cartoonish or overly dangerous. My father certainly had a temper. He also had the ability to apologize. He had a lot to apologize for and he apologized a lot. Somehow, that was something he could do, which isn’t to say he could get away with all sorts of terrible things.\u003c/p>\n\u003cp>What was so fascinating to me was this period of stability for him. The only stable time of his life, really. My mother knew that he was a very loving father and I think she also knew that he needed responsibility, he needed some kind of anchor and he was better when he was with the family. He was better when she wasn’t around because then he was the responsible adult. When there’s another responsible adult there, you can be the crazy one.\u003c/p>\n\u003cp>\u003cb>The weight of routine, of everyday parenting, forces him to grow up.\u003c/b>\u003c/p>\n\u003cp>After my sister and I left, he had a very hard time staying out of the hospital. He felt emasculated at first being a father. But in the end, that was the role that he was best at. He was here to help everybody. He would drive our friends wherever they wanted to go. He just wanted to be around people and kids.\u003c/p>\n\u003cp>I wanted to avoid that put-on craziness I’d seen in other films and tell a story of who my father was. I feel like any time you’re mentally ill in a movie, you’re dangerous. I just hadn’t seen a movie where you’re a loving person and a loved person. But that doesn’t mean it’s easy. There’s a lot of still rage and complicated feelings around having a parent like that.\u003c/p>\n\u003cfigure id=\"attachment_10787642\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/maya_director.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10787642\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/maya_director.jpg\" alt=\"Zoe Saldana, Mark Ruffalo and Director Maya Forbes. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/maya_director.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/maya_director-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Saldana, Mark Ruffalo and Director Maya Forbes. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you approach recreating your parents’ conversations during those years?\u003c/b>\u003c/p>\n\u003cp>When I was little, I was very, very nosy. I asked questions, and they told me a lot of things. What that time gave me was a real curiosity about people’s stories and how it works and how people talk to each other. I felt I just had a handle on both of my parents. My mother is a very steady, stable person so that was extremely helpful to have, and that really balanced out with my father. They did really love each other, so that was also always a nice element to it.\u003c/p>\n\u003cp>\u003cb>The movie’s ending feels like an elegy and an homage to your father.\u003c/b>\u003c/p>\n\u003cp>My father died in 1998 so I was saying goodbye to this experience of being with him. What I also realized was, of course, that all he wanted was to take care of us. At the same time, all he was ever trying to say to us was, “You go out into the world and conquer.” He was a feminist too and he had that conflict in him. That’s the whole sacrifice he has, which really hurt. I feel that every time thinking about him.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Infinitely Polar Bear’ opens June 26 at the Landmark Embarcadero in San Francisco; and on July 3 at the Landmark Shattuck (Berkeley), CineArts @ Palo Alto Square (Palo Alto), Century 16 (Pleasant Hill), Camera 7 (San Jose), and the Rafael Film Center (San Rafael).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What if you could go back in time to one of those moments that presaged your parents’ temporary separation or ugly divorce? As an adult, what exactly do you remember about the fights they had, the struggles they went through to take care of their own lives and put food on the family table? Would you be more sympathetic to their flaws and failings if you could overhear those heated conversations and arguments? Could you forgive them, at last, after all these years? \u003c/p>\n\u003cp>Maya Forbes stages and recreates those moments in her debut feature film \u003ca href=\"http://sonyclassics.com/infinitelypolarbear/\" target=\"_blank\" rel=\"noopener\">\u003ci>Infinitely Polar Bear\u003c/i>\u003c/a>. \u003c/p>\n\u003cp>Like \u003ci>Kramer vs. Kramer\u003c/i> and \u003ci>Shoot the Moon — \u003c/i>films that depict marriages in turmoil — Forbes’s movie is generously empathetic to all the players involved, if not especially so to the character of her manic depressive father, as played by Mark Ruffalo. \u003c/p>\n\u003cp>For Forbes, the impulse to make the film was rooted, lovingly, during a moment of her childhood when her father was, briefly, the primary caregiver: “When I was little, I just so wanted to fix everything and solve everything and make everything okay.” For 90 minutes, in her own cinematic way, she has. \u003c/p>\n\u003cp>KQED Arts sat down with the filmmaker to discuss her work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The artistic consciousness of this film, from the way the camera moves to the set design, is clearly influenced by films from the 1970s. \u003c/b>\u003c/p>\n\u003cp>There were three films I saw when my mother worked in a movie theatre for a short time:\u003c/p>\n\u003cp>\u003ca href=\"http://metronews.ca/scene/1124318/revisiting-outrageous-canadas-groundbreaking-drag-film/\">\u003ci>Outrageous\u003c/i>\u003c/a>\u003ci>.\u003c/i> a Canadian film. Craig Russell plays a drag queen and his best friend, Liza, is schizophrenic. My sister is a singer in the band \u003ca href=\"http://pinkmartini.com/\" target=\"_blank\" rel=\"noopener\">Pink Martini\u003c/a>, and I can’t help but think that Craig Russell had a lot to do with that.\u003c/p>\n\u003cp>Another one was \u003ci>Young Frankenstein\u003c/i>, amazing.\u003c/p>\n\u003cp>The third, which was the most influential on \u003ci>Infinitely Polar Bear,\u003c/i> was \u003ca href=\"http://www.nytimes.com/2002/01/11/movies/watching-movies-with-wes-anderson-from-centimes-a-wealth-of-ideas.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Small Change\u003c/i>\u003c/a>, the Francois Truffaut film.\u003c/p>\n\u003cp>What I loved about that film was, obviously, the children were so real. As a child, I related to them. I love the look of it. Truffaut is shooting in this old French village so all of the backgrounds are not dressed. It’s just the stone buildings and facades of this town.\u003c/p>\n\u003cp>That’s what I was looking for with my film because, aesthetically, I like that but also because I was making a period film with limited resources. I went to Providence, Rhode Island, which looks more like Cambridge in the 1970s than Cambridge does now. And I always wanted dirtier, more trash, “Don’t clean this place up. I want that texture.” It felt like, in those films, they were also dealing with disuse in an intelligent and humane way.\u003c/p>\n\u003cp>The 1980s brought this gloss to everything. I don’t want that gloss. I also really, really wanted to see this on Super 16 because I love grain as a part of the whole texture of film. That’s why I use the Super 8s and the Polaroids too because film was just so important at that time.\u003c/p>\n\u003cfigure id=\"attachment_10787641\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/shoulders.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10787641\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/shoulders.jpg\" alt=\"Imogene Wolodarsky as Amelia Stuart, Mark Ruffalo as Cam Stuart, Zoe Saldana as Maggie Stuart and Ashley Aufderheide as Faith Stuart. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/shoulders.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/shoulders-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Imogene Wolodarsky as Amelia Stuart, Mark Ruffalo as Cam Stuart, Zoe Saldana as Maggie Stuart and Ashley Aufderheide as Faith Stuart. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The dawn of 1970s era feminism is a poignant subtext in the story of your mother’s decision to pursue a graduate degree.\u003c/b>\u003c/p>\n\u003cp>My mother wanted to be a theater producer, and she was for a while. But then, when my father had his breakdown, she had to figure out how to make a living. A theater producer wasn’t going to pay the bills — it was like being an independent filmmaker.\u003c/p>\n\u003cp>I saw that decision as a double sacrifice. She was doing this because she really wanted us to have an education, and she was giving up her dream of being in the world of arts, which is where she wanted to be. She was very successful, but I saw the sadness in that, which was compelling to me.\u003c/p>\n\u003cp>When I got older, because I knew I wanted to be an artist, I also had this conflict about motherhood and career and ambition. Career and ambition are often not even the same in some ways. I had a really good career as a Hollywood writer. But I wasn’t fulfilling my ultimate ambition, which was to make a movie that was very personal.\u003c/p>\n\u003cp>\u003cb>Is ambition a separate space that you have to make room for in your psyche?\u003c/b>\u003c/p>\n\u003cp>If you’re a mom, are you allowed to have it? Is it bad to feel it? For a long time, I thought it was not okay to feel that because it meant that I didn’t love my children enough. I looked at my own mother and I thought, “I know you left because you wanted to get us a great education and you did that, but maybe you also left because you want to make things better for yourself.” For a while, I thought, that’s not okay.\u003c/p>\n\u003cp>In writing this movie, I realized I’m absolutely fine with whatever it was that made her want to do that. I’m so happy for what she gave to me. But whatever she felt that she needed in herself, I think she was allowed to have it. She wanted to have a better life than cleaning up after her irresponsible husband. That’s okay.\u003c/p>\n\u003cp>\u003cb>What did you want to get right in the filmed depiction of your father’s condition, and mental illness in general?\u003c/b>\u003c/p>\n\u003cp>I didn’t want to do something that was either cartoonish or overly dangerous. My father certainly had a temper. He also had the ability to apologize. He had a lot to apologize for and he apologized a lot. Somehow, that was something he could do, which isn’t to say he could get away with all sorts of terrible things.\u003c/p>\n\u003cp>What was so fascinating to me was this period of stability for him. The only stable time of his life, really. My mother knew that he was a very loving father and I think she also knew that he needed responsibility, he needed some kind of anchor and he was better when he was with the family. He was better when she wasn’t around because then he was the responsible adult. When there’s another responsible adult there, you can be the crazy one.\u003c/p>\n\u003cp>\u003cb>The weight of routine, of everyday parenting, forces him to grow up.\u003c/b>\u003c/p>\n\u003cp>After my sister and I left, he had a very hard time staying out of the hospital. He felt emasculated at first being a father. But in the end, that was the role that he was best at. He was here to help everybody. He would drive our friends wherever they wanted to go. He just wanted to be around people and kids.\u003c/p>\n\u003cp>I wanted to avoid that put-on craziness I’d seen in other films and tell a story of who my father was. I feel like any time you’re mentally ill in a movie, you’re dangerous. I just hadn’t seen a movie where you’re a loving person and a loved person. But that doesn’t mean it’s easy. There’s a lot of still rage and complicated feelings around having a parent like that.\u003c/p>\n\u003cfigure id=\"attachment_10787642\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/maya_director.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10787642\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/maya_director.jpg\" alt=\"Zoe Saldana, Mark Ruffalo and Director Maya Forbes. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/maya_director.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/maya_director-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Saldana, Mark Ruffalo and Director Maya Forbes. (Photo by Seacia Pavao, Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you approach recreating your parents’ conversations during those years?\u003c/b>\u003c/p>\n\u003cp>When I was little, I was very, very nosy. I asked questions, and they told me a lot of things. What that time gave me was a real curiosity about people’s stories and how it works and how people talk to each other. I felt I just had a handle on both of my parents. My mother is a very steady, stable person so that was extremely helpful to have, and that really balanced out with my father. They did really love each other, so that was also always a nice element to it.\u003c/p>\n\u003cp>\u003cb>The movie’s ending feels like an elegy and an homage to your father.\u003c/b>\u003c/p>\n\u003cp>My father died in 1998 so I was saying goodbye to this experience of being with him. What I also realized was, of course, that all he wanted was to take care of us. At the same time, all he was ever trying to say to us was, “You go out into the world and conquer.” He was a feminist too and he had that conflict in him. That’s the whole sacrifice he has, which really hurt. I feel that every time thinking about him.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Infinitely Polar Bear’ opens June 26 at the Landmark Embarcadero in San Francisco; and on July 3 at the Landmark Shattuck (Berkeley), CineArts @ Palo Alto Square (Palo Alto), Century 16 (Pleasant Hill), Camera 7 (San Jose), and the Rafael Film Center (San Rafael).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Filmmakers can struggle to prevent their swaggering villain from upstaging their innocuous hero. Writer-director Andrea Di Stefano clearly didn’t worry about that when making \u003cem>Escobar: Paradise Lost\u003c/em>. If he did, he wouldn’t have cast Benicio del Toro as the bad guy.\u003c/p>\n\u003cp>Playing Colombian cocaine baron Pablo Escobar, the charismatic del Toro is the most vivid presence in the movie, which was loosely inspired by actual events. The other two principals are amiable and attractive, but bland. Fortunately for the movie’s watchability, the fictional romance of Nick (Josh Hutcherson) and Maria (Claudia Traisac) exists primarily to bring the former into orbit of the eccentric, lethal Pablo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CSen29S0DLE\u003c/p>\n\u003cp>Disheveled yet commanding, del Toro’s Escobar is a pudgy, overgrown kid with a menagerie of African animals. He relishes playing the indulgent \u003cem>patron\u003c/em>, even if he more resembles a \u003cem>campesino\u003c/em>. Like some American rappers who later invoked him, Pablo has an adolescent fixation with gangsters, including the doomed Bonnie and Clyde.\u003c/p>\n\u003cp>Nico — that’s what Pablo calls him — is well acquainted with the drug lord when the story begins. It’s 1991, and Escobar is about to surrender to the police, as previously negotiated. All that remains before he enters a luxury prison, designed to his specifications, is to call his mother and kneel so they can share a farewell prayer. Pablo is a devout Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Actually, there’s one more thing to be done: hiding Pablo’s fortune in remote sites around the country. Although not a member of the cocaine gang, Nick is “like a son to me” — engaged to Maria, Pablo’s beloved niece. Perhaps that will protect the young Canadian, who came to Colombia to surf, not peddle drugs and death.\u003c/p>\n\u003cp>The tale is recounted via a web of flashbacks and flash-forwards, beginning chronologically with Nick’s introduction to Maria. She helps her uncle — a self-styled Robin Hood — open a medical clinic in the coastal town where Nick and his brother Dylan (Brady Corbet) have just established a surfing camp. Soon, Pablo is facilitating the operation, discouraging small-time local thugs from bothering Nick and Dylan. Only later will Nick learn that Pablo’s style is to eliminate mosquitoes with a flame-thrower.\u003c/p>\n\u003cp>Andrea Di Stefano, an Italian actor who makes his directorial debut with \u003cem>Escobar\u003c/em>, doesn’t give Nick and Maria’s romance much heat, either from lust or conflict. Maria nonchalantly accepts that her uncle traffics in cocaine, which she considers a traditional Colombian crop. She doesn’t know, or want to know, that Pablo is a killer. Nick figures out that part, but is foolishly slow to react. Or maybe it’s that he’s just too sitcom-star nice to give anyone a hard time, even a murderer.\u003c/p>\n\u003cp>Hutcherson, who’s best known for being overshadowed by Jennifer Lawrence in the \u003cem>Hunger Games\u003c/em> series, is equally dominated here. But that suits the unequal relationship of guileless Nick and calculating Pablo. In the movie’s complex centerpiece, Nick struggles to accept a murderous task that Pablo’s assigned him, only to gradually recognize that his mission is more diabolical than his worst imagining.\u003c/p>\n\u003cp>Impressively staged in the Panama countryside, Nick’s attempt to fulfill his duty with a minimum of carnage is taut and suspenseful. The kid may be naive, but that makes him an compelling audience surrogate. It’s easy to identify with a laidback Canadian who’s asked to do not one but all kinds of things that aren’t mentioned in the Lonely Planet guide to drug-cartel tourism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Can it all end safely for Nick? Well, maybe, since he’s an invented character. But one omen worth noting is that the real Pablo Escobar died in 1993 of a bullet to the head. \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=%27Escobar%3A+Paradise+Lost%27+Finds+Young+Love+Overshadowed+By+Violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmakers can struggle to prevent their swaggering villain from upstaging their innocuous hero. Writer-director Andrea Di Stefano clearly didn’t worry about that when making \u003cem>Escobar: Paradise Lost\u003c/em>. If he did, he wouldn’t have cast Benicio del Toro as the bad guy.\u003c/p>\n\u003cp>Playing Colombian cocaine baron Pablo Escobar, the charismatic del Toro is the most vivid presence in the movie, which was loosely inspired by actual events. The other two principals are amiable and attractive, but bland. Fortunately for the movie’s watchability, the fictional romance of Nick (Josh Hutcherson) and Maria (Claudia Traisac) exists primarily to bring the former into orbit of the eccentric, lethal Pablo.\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/CSen29S0DLE'\n title='//www.youtube.com/embed/CSen29S0DLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Disheveled yet commanding, del Toro’s Escobar is a pudgy, overgrown kid with a menagerie of African animals. He relishes playing the indulgent \u003cem>patron\u003c/em>, even if he more resembles a \u003cem>campesino\u003c/em>. Like some American rappers who later invoked him, Pablo has an adolescent fixation with gangsters, including the doomed Bonnie and Clyde.\u003c/p>\n\u003cp>Nico — that’s what Pablo calls him — is well acquainted with the drug lord when the story begins. It’s 1991, and Escobar is about to surrender to the police, as previously negotiated. All that remains before he enters a luxury prison, designed to his specifications, is to call his mother and kneel so they can share a farewell prayer. Pablo is a devout Catholic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Actually, there’s one more thing to be done: hiding Pablo’s fortune in remote sites around the country. Although not a member of the cocaine gang, Nick is “like a son to me” — engaged to Maria, Pablo’s beloved niece. Perhaps that will protect the young Canadian, who came to Colombia to surf, not peddle drugs and death.\u003c/p>\n\u003cp>The tale is recounted via a web of flashbacks and flash-forwards, beginning chronologically with Nick’s introduction to Maria. She helps her uncle — a self-styled Robin Hood — open a medical clinic in the coastal town where Nick and his brother Dylan (Brady Corbet) have just established a surfing camp. Soon, Pablo is facilitating the operation, discouraging small-time local thugs from bothering Nick and Dylan. Only later will Nick learn that Pablo’s style is to eliminate mosquitoes with a flame-thrower.\u003c/p>\n\u003cp>Andrea Di Stefano, an Italian actor who makes his directorial debut with \u003cem>Escobar\u003c/em>, doesn’t give Nick and Maria’s romance much heat, either from lust or conflict. Maria nonchalantly accepts that her uncle traffics in cocaine, which she considers a traditional Colombian crop. She doesn’t know, or want to know, that Pablo is a killer. Nick figures out that part, but is foolishly slow to react. Or maybe it’s that he’s just too sitcom-star nice to give anyone a hard time, even a murderer.\u003c/p>\n\u003cp>Hutcherson, who’s best known for being overshadowed by Jennifer Lawrence in the \u003cem>Hunger Games\u003c/em> series, is equally dominated here. But that suits the unequal relationship of guileless Nick and calculating Pablo. In the movie’s complex centerpiece, Nick struggles to accept a murderous task that Pablo’s assigned him, only to gradually recognize that his mission is more diabolical than his worst imagining.\u003c/p>\n\u003cp>Impressively staged in the Panama countryside, Nick’s attempt to fulfill his duty with a minimum of carnage is taut and suspenseful. The kid may be naive, but that makes him an compelling audience surrogate. It’s easy to identify with a laidback Canadian who’s asked to do not one but all kinds of things that aren’t mentioned in the Lonely Planet guide to drug-cartel tourism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Can it all end safely for Nick? Well, maybe, since he’s an invented character. But one omen worth noting is that the real Pablo Escobar died in 1993 of a bullet to the head. \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=%27Escobar%3A+Paradise+Lost%27+Finds+Young+Love+Overshadowed+By+Violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan>Great news from KQED’s \u003cem>Film School Shorts\u003c/em> alum and writer/director of\u003c/span> \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/keep-the-change/\" rel=\"noopener\">Keep the Change\u003c/a>\u003c/em>\u003cspan>, Rachel Israel!\u003c/span>\u003c/p>\n\u003cp>\u003cspan>This August, Rachel begins production on her first feature film – a big screen adaptation of her short Master’s Thesis at Columbia University School of the Arts. The short film is part of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/26/sparks-fly-as-keep-the-change-grows-from-short-to-feature/?utm_source=rss&utm_medium=rss&utm_campaign=sparks-fly-as-keep-the-change-grows-from-short-to-feature\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/26/sparks-fly-as-keep-the-change-grows-from-short-to-feature/?utm_source=rss&utm_medium=rss&utm_campaign=sparks-fly-as-keep-the-change-grows-from-short-to-feature\" target=\"_blank\" title=\"Sparks Fly as Keep the Change Grows from Short to Feature\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cspan>Great news from KQED's \u003cem>Film School Shorts\u003c/em> alum and writer/director of\u003c/span> \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/keep-the-change/\" rel=\"noopener\">Keep the Change\u003c/a>\u003c/em>\u003cspan>, Rachel Israel!\u003c/span>\u003c/p>\r\n\u003cp>\u003cspan>This August, Rachel begins production on her first feature film – a big screen adaptation of her short Master's Thesis at Columbia University School of the Arts. The short film is part of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/26/sparks-fly-as-keep-the-change-grows-from-short-to-feature/?utm_source=rss&utm_medium=rss&utm_campaign=sparks-fly-as-keep-the-change-grows-from-short-to-feature\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"description": "Great news from KQED's Film School Shorts alum and writer/director of Keep the Change, Rachel Israel!\r\nThis August, Rachel begins production on her first feature film – a big screen adaptation of her short Master's Thesis at Columbia University School of the Arts. The short film is part of ...read more",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan>Great news from KQED’s \u003cem>Film School Shorts\u003c/em> alum and writer/director of\u003c/span> \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/keep-the-change/\" rel=\"noopener\">Keep the Change\u003c/a>\u003c/em>\u003cspan>, Rachel Israel!\u003c/span>\u003c/p>\n\u003cp>\u003cspan>This August, Rachel begins production on her first feature film – a big screen adaptation of her short Master’s Thesis at Columbia University School of the Arts. The short film is part of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/26/sparks-fly-as-keep-the-change-grows-from-short-to-feature/?utm_source=rss&utm_medium=rss&utm_campaign=sparks-fly-as-keep-the-change-grows-from-short-to-feature\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/06/26/sparks-fly-as-keep-the-change-grows-from-short-to-feature/?utm_source=rss&utm_medium=rss&utm_campaign=sparks-fly-as-keep-the-change-grows-from-short-to-feature\" target=\"_blank\" title=\"Sparks Fly as Keep the Change Grows from Short to Feature\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Batkid Begins’ Shows how a Kid's Dreams become (Virtual) Reality",
"headTitle": "‘Batkid Begins’ Shows how a Kid’s Dreams become (Virtual) Reality | KQED",
"content": "\u003cp>On November 15, 2013, a young Siskiyou County farm boy named Miles Scott enjoyed a memorable day in the big city. Miles’s dream of being Batman—or just as good, the urban superhero’s sidekick, Batkid—came to life on the sunny streets of San Francisco.\u003c/p>\n\u003cp>It was the feel-good story of the year, if not the decade — not least because the event mushroomed into an international Internet sensation.\u003c/p>\n\u003cp>The saga is captured for posterity in Dana Nachman’s hyper-paced documentary, \u003cem>Batkid Begins\u003c/em> (opening nationwide Friday, June 26, 2015 courtesy of Warner Bros., which happens to be the studio that makes the \u003cem>Batman\u003c/em> movies.)\u003c/p>\n\u003cp>Irresistible and irritating in equal measure, the film takes us behind the scenes — to the streets and onto the phone/tablet/computer screens where Miles’ adventure took place.\u003c/p>\n\u003cp>A shy lad of five at the time, Miles was (and is) in remission after years of treatment for leukemia. The Bay Area chapter of the Make-A-Wish Foundation for America received his request to play the Caped Crusader for a day, and set about making it happen. The original concept was for a modest shindig, but the scenario kept expanding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Batkid Begins\u003c/em> with a plea for help from the police chief. This kicks Batman (played by local inventor and acrobat Eric Johnston) into action: The superhero shows up at the San Francisco hotel room where Miles is staying with his family a few minutes later with a Batkid suit and a mission: to rescue the terrified woman tied to the Hyde Street cable car track.\u003c/p>\n\u003cp>The Dynamic Duo go on to thwart the Riddler’s plans to rob a downtown bank. They also prevent the Penguin from absconding with Giants mascot Lou Seal at AT&T Park.\u003c/p>\n\u003cp>While crowds watched and applauded the live proceedings as they unfolded in San Francisco, a vastly larger number of people around the globe followed the events on Twitter, Facebook, Instagram and other social media platforms.\u003c/p>\n\u003cp>Before the day arrived, the Internet had a lot to do with the expansion of the scope of the event, galvanizing visitors from the other side of the bridges to the other side of the country to migrate to Union Square.\u003c/p>\n\u003cp>In fact, \u003cem>Batkid Begins\u003c/em> emphasizes the online anticipation and response to the Batkid saga to such a degree that it often overshadows what’s happening on the ground.\u003c/p>\n\u003cp>November 15 2013, we come to realize, was more than Miles’s day. It was Woodstock for the social media generation.\u003c/p>\n\u003cp>The world convened (virtually) in one place, with good vibes and happy memories for all. Miles’s adventure validated the myth of interconnectedness, this time in cyberspace. Everywhere was a song and a celebration.\u003c/p>\n\u003cp>You may pick up on my reluctance to accept Internet participation as equal to, you know, real life.\u003c/p>\n\u003cp>Nearly every crowd shot in \u003cem>Batkid Begins\u003c/em> shows hordes of people snapping pictures from their smartphones, presumably to be uploaded to the Web.\u003c/p>\n\u003cp>What the film so palpably shows is that we seem to have reached the point where in-person experience is secondary to its online representation. (I say this as someone old enough to remember Mad magazine lampooning the way 1960s dads’ vacation photos and home movies supplanted in-the-moment involvement.)\u003c/p>\n\u003cp>Notice, though, that Miles has disappeared from the conversation.\u003c/p>\n\u003cp>One of the challenges of \u003cem>Batkid Begins\u003c/em>, it seems to me, is not to lose sight of the little person at the center of the phenomenon.\u003c/p>\n\u003cp>After all, he was the impetus for all the good folks who were moved to contribute or participate.\u003c/p>\n\u003cp>But that’s not the filmmaker’s take.\u003c/p>\n\u003cp>“I actually don’t see it as a film about Miles at all, and I never did,” Dana Nachman told me in a brief interview at a downtown hotel earlier this week. “The main thing that interested me was how there was an event they were hoping for 200 people to show up, and then 25,000 people showed up and two billion people watched it online. To me, the goal was to capture that—the fact that that happened, why that happened, and the zeitgeist and the spark that that it hit in the world.”\u003c/p>\n\u003cp>To that end, Nachman (who appeared on the scene with her camera three weeks after the main event) hustled to interview the key participants while the events were still fresh in people’s memories. Her\u003cstrong> \u003c/strong>subjects includes various social-media acolytes, the endlessly enthusiastic and engaging Johnston, and most centrally, Patricia Wilson, executive director of Make-A-Wish Greater Bay Area and the force of nature behind the entire hootenanny.\u003c/p>\n\u003cp>“I’ve been doing this for almost 17 years,” Wilson said to me while Nachman listened and nodded. “So I have a bit of experience doing wacky stuff and turning a city block into something crazy, or a famous singer, or a child that wants to be a hockey player. This is what we do every day. But this was something different. It renewed my faith in humanity.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Batkid Begins - Official Trailer\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/l4kiiwqKnSI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You may well have the same response to \u003cem>Batkid Begins. \u003c/em>But whether you do or don’t, you’ll be wowed by the level of detail applied to Miles’s dream.\u003c/p>\n\u003cp>You may also note that the movie ignores the importance of Batman—an internationally known brand, a superhero, an easily grokked concept—in catalyzing so many participants and Web denizens. If Miles’s dream was to be Fred Flintstone, or a fireman, would as many people have dedicated their efforts and time?\u003c/p>\n\u003cp>Surely the visual of a kid in a cape made an impression on actress and producer Julia Roberts, who’s developing a Hollywood feature about the Batkid event with an eye to playing Wilson. The movie is a few years off — the screenplay needs to be written first. If and when the film comes out, we can have the time-honored conversation about the intersection and divergence of fact and fiction once again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For now, \u003cem>Batkid Begins\u003c/em> encourages us to ponder the connection and the distance between reality and virtual reality. There may not be six degrees of separation, but there is at least one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On November 15, 2013, a young Siskiyou County farm boy named Miles Scott enjoyed a memorable day in the big city. Miles’s dream of being Batman—or just as good, the urban superhero’s sidekick, Batkid—came to life on the sunny streets of San Francisco.\u003c/p>\n\u003cp>It was the feel-good story of the year, if not the decade — not least because the event mushroomed into an international Internet sensation.\u003c/p>\n\u003cp>The saga is captured for posterity in Dana Nachman’s hyper-paced documentary, \u003cem>Batkid Begins\u003c/em> (opening nationwide Friday, June 26, 2015 courtesy of Warner Bros., which happens to be the studio that makes the \u003cem>Batman\u003c/em> movies.)\u003c/p>\n\u003cp>Irresistible and irritating in equal measure, the film takes us behind the scenes — to the streets and onto the phone/tablet/computer screens where Miles’ adventure took place.\u003c/p>\n\u003cp>A shy lad of five at the time, Miles was (and is) in remission after years of treatment for leukemia. The Bay Area chapter of the Make-A-Wish Foundation for America received his request to play the Caped Crusader for a day, and set about making it happen. The original concept was for a modest shindig, but the scenario kept expanding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Batkid Begins\u003c/em> with a plea for help from the police chief. This kicks Batman (played by local inventor and acrobat Eric Johnston) into action: The superhero shows up at the San Francisco hotel room where Miles is staying with his family a few minutes later with a Batkid suit and a mission: to rescue the terrified woman tied to the Hyde Street cable car track.\u003c/p>\n\u003cp>The Dynamic Duo go on to thwart the Riddler’s plans to rob a downtown bank. They also prevent the Penguin from absconding with Giants mascot Lou Seal at AT&T Park.\u003c/p>\n\u003cp>While crowds watched and applauded the live proceedings as they unfolded in San Francisco, a vastly larger number of people around the globe followed the events on Twitter, Facebook, Instagram and other social media platforms.\u003c/p>\n\u003cp>Before the day arrived, the Internet had a lot to do with the expansion of the scope of the event, galvanizing visitors from the other side of the bridges to the other side of the country to migrate to Union Square.\u003c/p>\n\u003cp>In fact, \u003cem>Batkid Begins\u003c/em> emphasizes the online anticipation and response to the Batkid saga to such a degree that it often overshadows what’s happening on the ground.\u003c/p>\n\u003cp>November 15 2013, we come to realize, was more than Miles’s day. It was Woodstock for the social media generation.\u003c/p>\n\u003cp>The world convened (virtually) in one place, with good vibes and happy memories for all. Miles’s adventure validated the myth of interconnectedness, this time in cyberspace. Everywhere was a song and a celebration.\u003c/p>\n\u003cp>You may pick up on my reluctance to accept Internet participation as equal to, you know, real life.\u003c/p>\n\u003cp>Nearly every crowd shot in \u003cem>Batkid Begins\u003c/em> shows hordes of people snapping pictures from their smartphones, presumably to be uploaded to the Web.\u003c/p>\n\u003cp>What the film so palpably shows is that we seem to have reached the point where in-person experience is secondary to its online representation. (I say this as someone old enough to remember Mad magazine lampooning the way 1960s dads’ vacation photos and home movies supplanted in-the-moment involvement.)\u003c/p>\n\u003cp>Notice, though, that Miles has disappeared from the conversation.\u003c/p>\n\u003cp>One of the challenges of \u003cem>Batkid Begins\u003c/em>, it seems to me, is not to lose sight of the little person at the center of the phenomenon.\u003c/p>\n\u003cp>After all, he was the impetus for all the good folks who were moved to contribute or participate.\u003c/p>\n\u003cp>But that’s not the filmmaker’s take.\u003c/p>\n\u003cp>“I actually don’t see it as a film about Miles at all, and I never did,” Dana Nachman told me in a brief interview at a downtown hotel earlier this week. “The main thing that interested me was how there was an event they were hoping for 200 people to show up, and then 25,000 people showed up and two billion people watched it online. To me, the goal was to capture that—the fact that that happened, why that happened, and the zeitgeist and the spark that that it hit in the world.”\u003c/p>\n\u003cp>To that end, Nachman (who appeared on the scene with her camera three weeks after the main event) hustled to interview the key participants while the events were still fresh in people’s memories. Her\u003cstrong> \u003c/strong>subjects includes various social-media acolytes, the endlessly enthusiastic and engaging Johnston, and most centrally, Patricia Wilson, executive director of Make-A-Wish Greater Bay Area and the force of nature behind the entire hootenanny.\u003c/p>\n\u003cp>“I’ve been doing this for almost 17 years,” Wilson said to me while Nachman listened and nodded. “So I have a bit of experience doing wacky stuff and turning a city block into something crazy, or a famous singer, or a child that wants to be a hockey player. This is what we do every day. But this was something different. It renewed my faith in humanity.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Batkid Begins - Official Trailer\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/l4kiiwqKnSI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You may well have the same response to \u003cem>Batkid Begins. \u003c/em>But whether you do or don’t, you’ll be wowed by the level of detail applied to Miles’s dream.\u003c/p>\n\u003cp>You may also note that the movie ignores the importance of Batman—an internationally known brand, a superhero, an easily grokked concept—in catalyzing so many participants and Web denizens. 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"title": "Why the Key Character in 'Inside Out' is the One Who Isn't There",
"headTitle": "Why the Key Character in ‘Inside Out’ is the One Who Isn’t There | KQED",
"content": "\u003cp>Villains are staples of stories for kids. Making them bigger, meaner, madder, more impossible to defeat — that’s how you build the ideas of fear and then, inevitably, of courage. A small person faces a giant, or a witch, or a wolf, or Jafar, or Cruella De Vil, or the Buy ‘N’ Large, and by watching that happen, you learn. You learn what it takes to beat the bad guy. You learn that you, too, can beat the bad guy. You learn not to lose heart and not to give up. You use something inside yourself to beat something outside yourself.\u003c/p>\n\u003cp>There is no villain in Pixar’s new film \u003cem>Inside Out\u003c/em>. That’s not only because the action takes place inside the mind of 11-year-old Riley. It’s also because even in there, where her Joy, Sadness, Anger, Fear and Disgust stand and argue and sometimes fumble at the controls, there is no villain. Riley isn’t stalked by any invading monster; there’s no hulking, lumbering beast named Insecurity or Hate or Depression who must later be defeated or vanquished in a climactic battle or persuaded to change its nature. Riley begins with a vibrant spirit humming with varied, vivid life, and her great battle — the battle that must be fought by her Joy and her Sadness but is being fought by Riley always, after all — is simply to master the fact that her assembled life is delicate and complex. Each segment affects the others; each decision and experience rattles the pieces and can imperil the whole.\u003c/p>\n\u003cp>Within this literally cerebral tale, there are clowns, vacuum hoses, glassy globes, a unicorn, a being that cries candy out of his eyes, and a literal Train Of Thought. But there’s no intruder. Nothing in Riley’s mind is ultimately tagged as not belonging or not wanted, because nothing in her mind can be separated from who she is. She is made up of the same things that cause her sadness, fright and disgust — those little emotions are her and she is them. There’s nothing to defeat; if anything, what Riley is fighting against is the impulse to exile the feelings that embarrass her.\u003c/p>\n\u003cp>She’s confronted with learning — through the interplay of emotions — how to balance all of the pieces of herself the way she will need to do as she becomes an adult and steps out of the part of her childhood where happiness could reliably be her dominant emotion and other feelings could be treated as temporary, meaningless flashes to be quickly soothed by the right sunny thought or driven off by the right distraction. This is the actual poignancy of adolescence: the arrival of more emotional nuance and more sophisticated understanding is the arrival of more sophisticated pain as well as more meaningful joy. Things blend, things bend, the world gets weirder.\u003c/p>\n\u003cp>Riley is, in one sense, fighting a battle we know she will lose: the battle for Joy to rule all things forever. But in another sense, her destination — the moment at which the story is aching to arrive — is balance, even if it’s a kind of balanced chaos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Admittedly, there’s something very lonely about \u003cem>Inside Out\u003c/em> if you compare its external structure and Riley’s journey through her physical world to traditional kids’ movies. There’s no Donkey from \u003cem>Shrek\u003c/em> or Abu from \u003cem>Aladdin \u003c/em>or Timon and Pumbaa from \u003cem>The Lion King \u003c/em>cheering her up with “Hakuna Matata.” This respect for the role of melancholy in the lives of kids is very Pixar, but it’s particularly acute here: There are no other Incredibles, there is no EVE, there is no Dug the dog. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Villains are staples of stories for kids. Making them bigger, meaner, madder, more impossible to defeat — that’s how you build the ideas of fear and then, inevitably, of courage. A small person faces a giant, or a witch, or a wolf, or Jafar, or Cruella De Vil, or the Buy ‘N’ Large, and by watching that happen, you learn. You learn what it takes to beat the bad guy. You learn that you, too, can beat the bad guy. You learn not to lose heart and not to give up. You use something inside yourself to beat something outside yourself.\u003c/p>\n\u003cp>There is no villain in Pixar’s new film \u003cem>Inside Out\u003c/em>. That’s not only because the action takes place inside the mind of 11-year-old Riley. It’s also because even in there, where her Joy, Sadness, Anger, Fear and Disgust stand and argue and sometimes fumble at the controls, there is no villain. Riley isn’t stalked by any invading monster; there’s no hulking, lumbering beast named Insecurity or Hate or Depression who must later be defeated or vanquished in a climactic battle or persuaded to change its nature. Riley begins with a vibrant spirit humming with varied, vivid life, and her great battle — the battle that must be fought by her Joy and her Sadness but is being fought by Riley always, after all — is simply to master the fact that her assembled life is delicate and complex. Each segment affects the others; each decision and experience rattles the pieces and can imperil the whole.\u003c/p>\n\u003cp>Within this literally cerebral tale, there are clowns, vacuum hoses, glassy globes, a unicorn, a being that cries candy out of his eyes, and a literal Train Of Thought. But there’s no intruder. Nothing in Riley’s mind is ultimately tagged as not belonging or not wanted, because nothing in her mind can be separated from who she is. She is made up of the same things that cause her sadness, fright and disgust — those little emotions are her and she is them. There’s nothing to defeat; if anything, what Riley is fighting against is the impulse to exile the feelings that embarrass her.\u003c/p>\n\u003cp>She’s confronted with learning — through the interplay of emotions — how to balance all of the pieces of herself the way she will need to do as she becomes an adult and steps out of the part of her childhood where happiness could reliably be her dominant emotion and other feelings could be treated as temporary, meaningless flashes to be quickly soothed by the right sunny thought or driven off by the right distraction. This is the actual poignancy of adolescence: the arrival of more emotional nuance and more sophisticated understanding is the arrival of more sophisticated pain as well as more meaningful joy. Things blend, things bend, the world gets weirder.\u003c/p>\n\u003cp>Riley is, in one sense, fighting a battle we know she will lose: the battle for Joy to rule all things forever. But in another sense, her destination — the moment at which the story is aching to arrive — is balance, even if it’s a kind of balanced chaos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Admittedly, there’s something very lonely about \u003cem>Inside Out\u003c/em> if you compare its external structure and Riley’s journey through her physical world to traditional kids’ movies. There’s no Donkey from \u003cem>Shrek\u003c/em> or Abu from \u003cem>Aladdin \u003c/em>or Timon and Pumbaa from \u003cem>The Lion King \u003c/em>cheering her up with “Hakuna Matata.” This respect for the role of melancholy in the lives of kids is very Pixar, but it’s particularly acute here: There are no other Incredibles, there is no EVE, there is no Dug the dog. Riley’s allies and boosters in this adventure are not made or met along the way; they are summoned. They are \u003cem>hers —\u003c/em> in fact, they are her. Her mom and dad love her, and she needs them, and they can help and they must help. But if you’ve ever known a kid this age, you know that sometimes, trying to help is like trying to grab onto a wet eel. They have to do some of the work themselves, and it’s often the beginning of work they’ll do imperfectly but tirelessly all their lives.\u003c/p>\n\u003cp>And honestly, some of what Riley is experiencing \u003cem>is \u003c/em>lonely. Isolation is, for so many kids, a fundamental part of the rhythm of those years. At that age — at any age — there are times when it’s just you and your little cartoon feelings, figuring stuff out. It’s one of the reasons kids keep diaries: They turn into tumbling dialogues, whether you’d identify them as such or not, between your Anger and your Fear or your Joy and your Sadness.\u003c/p>\n\u003cp>But there’s also a sense at the core of the movie that the fights you fight on the inside are integral to the relationships with other people you’re going to have on the outside. Riley is feeling a kind of frightening centripetal force that makes her afraid she’ll fly apart, so she turns and pushes inward. Inward, to where she has to go on her own journey in her own company, the better to turn back again toward her parents and her friends.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The structural decision to do without a villain, and ultimately to do without one of the easiest elements to make entertaining and marketable, means that the process Riley is undergoing — adolescence — is visualized as … normal. Her mind is not a space that’s been invaded by something that must be driven out, but a new environment to be mastered. And if other kids’ stories are there to teach kids how to be brave when they see witches and giants, \u003cem>Inside Out \u003c/em>is there, maybe, to teach them how to be brave when there’s no witch and no giant, but things can feel broken anyway. \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=Why+The+Key+Character+In+%27Inside+Out%27+Is+The+One+Who+Isn%27t+There&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A movie about high school students dealing with mortality — haven’t we been dipping into that well a lot lately? So the surprise was the laughs when \u003cem>Me and Earl and The Dying Girl\u003c/em> became the surprise smash at this year’s Sundance Film Festival, taking both the Audience Award and the Grand Jury Prize. Here was a film that managed to be at once earnest and flip, capturing teen angst without wallowing in teen drama.\u003c/p>\n\u003cp>The opening shots introduce us to Greg (Thomas Mann), a dweeby high school senior who’s perfected the wisecrack as a substitute for social interaction. A member of no clique, he’s on friendly terms with everyone from jocks to goths to geeks because he only half-engages, zooming down a hall, hearing a snatch of conversation like, say, “your test was today?” and offering a bit of snark — “ugh, tests, been there” — without breaking stride.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2qfmAllbYC8\u003c/p>\n\u003cp>His one close buddy, Earl (RJ Cyler), he’s known forever. They bonded as kids while watching Greg’s dad’s film collection, and then coming up with punny titles for movie parodies — \u003cem>A Sockwork Orange\u003c/em>, \u003cem>Senior-Citizen Kane\u003c/em> — they make with household detritus and toys.\u003c/p>\n\u003cp>But being jokey and making videos does not prepare Greg for news his mother gives him about a classmate with leukemia — Rachel (Olivia Cooke), who’d been talking tests in that school hallway. Greg cringes when he realizes what tests she meant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Worse, his mom insists that he go and spend time with Rachel, though he barely knows her — and social grace is, let’s say, not his strong suit. Rachel lets him hang out, and soon they’re bonding, somewhat. The moviemaker in Greg senses that that’s cool even as the highschooler in him senses that it’s emotionally treacherous.\u003c/p>\n\u003cp>Partly to protect himself from too much closeness, and too much pain if Rachel’s illness progresses, he brings Earl into their world, and ends up opening himself up more than he intended when Earl mentions their movies, outing him, as it were, as a creative soul in high school.\u003c/p>\n\u003cp>Director Alfonso Gomez-Rejon — working from a screenplay Jesse Andrews based on his own novel, which was in turn, somewhat autobiographical — has a sure sense of the sort of kid who would use a camera lens as a shield. He also has an engaging way of using camera tricks — weird angles, voice-overs, animation — to get at the hormone-addled inanity that is teenagerdom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nowhere more so, perhaps, than when the boys are working on their movies — making their \u003cem>Apocalypse Now\u003c/em> parody, say: \u003cem>A Box-of-Tulips, Wow\u003c/em> with toy soldiers parachuting into a vacant-lot jungle to rescue a box of origami tulips. In their no-budget-goofball way, these minifilma are genius. Sheer genius. This kid, you figure, is gonna grow up to be quite a storyteller. And in a sense, he did.\u003c/p>\n\n",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/frameline39/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Frameline39\u003c/h2>\n\u003cdiv class=\"event-desc\">LGBTQ films from all over the world\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 18-28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various San Francisco theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/frameline39/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Queers of all stripes are a minority, so describing the \u003cstrong>San Francisco International LGBTQ Film Festival\u003c/strong>, aka \u003cstrong>Frameline39\u003c/strong>, as The Big Tent of the annual Bay Area movie calendar might seem oxymoronic. But the fest, which begins tonight and continues through June 28 in San Francisco, Oakland and Berkeley, is an identity-oriented event with a mandate to represent all members of the LGBTQ community. So there are times when \u003cstrong>Frameline\u003c/strong> feels like The Big Flea Market, with everyday staples (like conventional rom-coms) next to unfamiliar curiosities (achingly vulnerable video diaries). \u003c/p>\n\u003cp>Lest that sound like a dig at the programmers, consider that even — or especially — in an age when everyone carries a screen with them, few things are more powerful than seeing yourself, or your friends, on The Big Screen. That said, the festival has matured beyond unambiguous, unchallenged affirmations. For all of the shared celebratory moments, there’s plenty of selfish, immoral, self-destructive and cowardly behavior on display. It’s called human nature.\u003c/p>\n\u003cfigure id=\"attachment_10765852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg\" alt=\"Emma Roberts and James Franco in I Am Michael. (Courtesy of Sundance)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10765852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Roberts and James Franco in \u003ci>I Am Michael\u003c/i>. (Courtesy of Sundance)\u003c/figcaption>\u003c/figure>\n\u003cp>Consequently, it’s puzzling yet not entirely surprising that \u003cstrong>Frameline\u003c/strong> would open with a biopic about a conflicted gay man who rejects his and other people’s homosexuality. \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3516&FID=52\" target=\"_blank\" rel=\"noopener\">I Am Michael\u003c/a>\u003c/em> revisits Michael Glatze’s deeply weird journey from gay publisher and activist in 1990s San Francisco to heterosexual and married Christian preacher. The film offers several catalysts for Glatze’s self-reevaluation (his mother’s premature death, panic over his own health, the resurfacing of sublimated religious beliefs) but James Franco (terrific as a young Allen Ginsberg in \u003cem>Howl\u003c/em> five short years ago) is painfully inept at making us believe, let alone care about, Glatze’s anguish.\u003c/p>\n\u003cfigure id=\"attachment_10774070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/FindingPhong640.jpg\" alt=\"Still from 'Finding Phong.' (Courtesy of Frameline)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10774070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FindingPhong640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FindingPhong640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Finding Phong.’ (Courtesy of Frameline)\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find yourself thinking about performance quite a bit during the documentary \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3582&FID=52\" target=\"_blank\" rel=\"noopener\">Finding Phong\u003c/a>\u003c/em> (June 27), a brave and touching portrait of a young Vietnamese man transitioning from man to woman. Beginning as a desperately confessional video diary with Phong tearfully soliciting his mother’s acceptance, the film glides to Phong’s flamboyant and equally desperate efforts to gain acceptance from friends as a (pre-op) woman. Her search for happiness takes her to Thai doctors and, in the film’s most revelatory sequences, an annual New Year’s celebration with her family.\u003c/p>\n\u003cp>The wonderfully seductive Kenyan anthology \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3590&FID=52\" target=\"_blank\" rel=\"noopener\">Stories of Our Lives\u003c/a>\u003c/em> (June 22 and 27) provides an essential reminder that the pressure of societal “norms” is still a very big deal. The five intimate segments, inspired by oral histories and shot in beautiful black-and-white, vividly present the experiences of young Kenyans who live in fear and danger lest anyone find out they are gay or lesbian.\u003c/p>\n\u003cfigure id=\"attachment_10774071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/PackedinaTrunk640.jpg\" alt=\"Still from 'Packed in a Trunk: The Lost Art of Edith Lake Wilkinson' (Courtesy of Frameline)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10774071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/PackedinaTrunk640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/PackedinaTrunk640-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Packed in a Trunk: The Lost Art of Edith Lake Wilkinson’ (Courtesy of Frameline)\u003c/figcaption>\u003c/figure>\n\u003cp>Queers in the art colony of Provincetown, Cape Cod in the 1920s didn’t have to deal with ostracism and violence. But jealousy and greed were present, or so we discern from \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3586&FID=52\" target=\"_blank\" rel=\"noopener\">Packed in a Trunk: The Lost Art of Edith Lake Wilkinson\u003c/a>\u003c/em> (June 27). Michelle Boyaner’s feel-good doc follows out Hollywood writer-director Jane Anderson (\u003cem>Olive Kitteridge\u003c/em>) probing the mystery of her late great-aunt’s relegation to an asylum and bringing Edith’s unknown paintings to prominence. Anderson’s persistence and purpose are remarkable, but have to get past her other characteristics: condescension and control-freakiness.\u003c/p>\n\u003cfigure id=\"attachment_10774076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/YvonneRainer640.jpg\" alt=\"Still from 'Feelings Are Facts: The Life of Yvonne Rainer.' (Courtesy of Jack Walsh)\" width=\"640\" height=\"526\" class=\"size-full wp-image-10774076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/YvonneRainer640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/YvonneRainer640-400x329.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Feelings Are Facts: The Life of Yvonne Rainer.’ (Courtesy of Jack Walsh)\u003c/figcaption>\u003c/figure>\n\u003cp>The pioneering dancer, choreographer and filmmaker Yvonne Rainer, who turns 81 in November, is thankfully unburdened with an excessive ego. “I never wanted to be famous,” the native San Franciscan relates in local filmmaker Jack Walsh’s expertly made \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3419&FID=52\" target=\"_blank\" rel=\"noopener\">Feelings Are Facts: The Life of Yvonne Rainer\u003c/a>\u003c/em> (June 27). “A very intent hundred people is all I need to keep going.” The film is as modest and engaging as its subject, allowing Rainer’s character and art to hold center stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After local filmmaker Cary Cronenwett and his trans pal Flo McGarell released the audacious, one-of-a-kind indie feature \u003cem>Maggots and Men\u003c/em> six years ago, McGarell set sail for Haiti. Cronenwett’s \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3474&FID=52\" target=\"_blank\" rel=\"noopener\">Peace of Mind\u003c/a>\u003c/em> (June 20) documents McGarell’s success at the helm of an art center in Jacmel, Haiti as an instigator, facilitator, inspiration and artist. A lovingly crafted and admirably low-key tribute to a person who accomplished a great deal in a short amount of time on the planet, \u003cem>Peace of Mind\u003c/em> is named for the hotel that collapsed on McGarell during the 2010 quake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The marquee-friendly title of the winning Canadian rom-com \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3470&FID=52\" target=\"_blank\" rel=\"noopener\">Portrait of a Serial Monogamist\u003c/a>\u003c/em> (June 20 and 27) isn’t exactly accurate: Elsie (Diane Flacks) has had plenty of affairs, but the relationship she terminates in the first reel is of the long-term, cohabiting kind. Commitment issues, anyone? A good deal of talent on both sides of the camera freshens the familiar saga of an attractive urban gal’s search for romantic bliss. A crowd-pleaser packed with been there, done that moments of hilarity as well as embarrassment, \u003cem>Portrait of a Serial Monogamist\u003c/em> is escapist entertainment that’s a cut above the stuff Hollywood ships to multiplexes for young hetero couples. In The Big Tent, there’s even room for fun.\u003c/p>\n\n",
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"excerpt": "Featuring LGBTQ communities from near and far, Frameline has something for everyone this summer. \r\n",
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"title": "Frameline39 Casts a Wide Lens on the LGBTQ Experience | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/frameline39/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Frameline39\u003c/h2>\n\u003cdiv class=\"event-desc\">LGBTQ films from all over the world\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 18-28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various San Francisco theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/frameline39/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Queers of all stripes are a minority, so describing the \u003cstrong>San Francisco International LGBTQ Film Festival\u003c/strong>, aka \u003cstrong>Frameline39\u003c/strong>, as The Big Tent of the annual Bay Area movie calendar might seem oxymoronic. But the fest, which begins tonight and continues through June 28 in San Francisco, Oakland and Berkeley, is an identity-oriented event with a mandate to represent all members of the LGBTQ community. So there are times when \u003cstrong>Frameline\u003c/strong> feels like The Big Flea Market, with everyday staples (like conventional rom-coms) next to unfamiliar curiosities (achingly vulnerable video diaries). \u003c/p>\n\u003cp>Lest that sound like a dig at the programmers, consider that even — or especially — in an age when everyone carries a screen with them, few things are more powerful than seeing yourself, or your friends, on The Big Screen. That said, the festival has matured beyond unambiguous, unchallenged affirmations. For all of the shared celebratory moments, there’s plenty of selfish, immoral, self-destructive and cowardly behavior on display. It’s called human nature.\u003c/p>\n\u003cfigure id=\"attachment_10765852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg\" alt=\"Emma Roberts and James Franco in I Am Michael. (Courtesy of Sundance)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10765852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Roberts and James Franco in \u003ci>I Am Michael\u003c/i>. (Courtesy of Sundance)\u003c/figcaption>\u003c/figure>\n\u003cp>Consequently, it’s puzzling yet not entirely surprising that \u003cstrong>Frameline\u003c/strong> would open with a biopic about a conflicted gay man who rejects his and other people’s homosexuality. \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3516&FID=52\" target=\"_blank\" rel=\"noopener\">I Am Michael\u003c/a>\u003c/em> revisits Michael Glatze’s deeply weird journey from gay publisher and activist in 1990s San Francisco to heterosexual and married Christian preacher. The film offers several catalysts for Glatze’s self-reevaluation (his mother’s premature death, panic over his own health, the resurfacing of sublimated religious beliefs) but James Franco (terrific as a young Allen Ginsberg in \u003cem>Howl\u003c/em> five short years ago) is painfully inept at making us believe, let alone care about, Glatze’s anguish.\u003c/p>\n\u003cfigure id=\"attachment_10774070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/FindingPhong640.jpg\" alt=\"Still from 'Finding Phong.' (Courtesy of Frameline)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10774070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FindingPhong640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/FindingPhong640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Finding Phong.’ (Courtesy of Frameline)\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find yourself thinking about performance quite a bit during the documentary \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3582&FID=52\" target=\"_blank\" rel=\"noopener\">Finding Phong\u003c/a>\u003c/em> (June 27), a brave and touching portrait of a young Vietnamese man transitioning from man to woman. Beginning as a desperately confessional video diary with Phong tearfully soliciting his mother’s acceptance, the film glides to Phong’s flamboyant and equally desperate efforts to gain acceptance from friends as a (pre-op) woman. Her search for happiness takes her to Thai doctors and, in the film’s most revelatory sequences, an annual New Year’s celebration with her family.\u003c/p>\n\u003cp>The wonderfully seductive Kenyan anthology \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3590&FID=52\" target=\"_blank\" rel=\"noopener\">Stories of Our Lives\u003c/a>\u003c/em> (June 22 and 27) provides an essential reminder that the pressure of societal “norms” is still a very big deal. The five intimate segments, inspired by oral histories and shot in beautiful black-and-white, vividly present the experiences of young Kenyans who live in fear and danger lest anyone find out they are gay or lesbian.\u003c/p>\n\u003cfigure id=\"attachment_10774071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/PackedinaTrunk640.jpg\" alt=\"Still from 'Packed in a Trunk: The Lost Art of Edith Lake Wilkinson' (Courtesy of Frameline)\" width=\"640\" height=\"457\" class=\"size-full wp-image-10774071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/PackedinaTrunk640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/PackedinaTrunk640-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Packed in a Trunk: The Lost Art of Edith Lake Wilkinson’ (Courtesy of Frameline)\u003c/figcaption>\u003c/figure>\n\u003cp>Queers in the art colony of Provincetown, Cape Cod in the 1920s didn’t have to deal with ostracism and violence. But jealousy and greed were present, or so we discern from \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3586&FID=52\" target=\"_blank\" rel=\"noopener\">Packed in a Trunk: The Lost Art of Edith Lake Wilkinson\u003c/a>\u003c/em> (June 27). Michelle Boyaner’s feel-good doc follows out Hollywood writer-director Jane Anderson (\u003cem>Olive Kitteridge\u003c/em>) probing the mystery of her late great-aunt’s relegation to an asylum and bringing Edith’s unknown paintings to prominence. Anderson’s persistence and purpose are remarkable, but have to get past her other characteristics: condescension and control-freakiness.\u003c/p>\n\u003cfigure id=\"attachment_10774076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/YvonneRainer640.jpg\" alt=\"Still from 'Feelings Are Facts: The Life of Yvonne Rainer.' (Courtesy of Jack Walsh)\" width=\"640\" height=\"526\" class=\"size-full wp-image-10774076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/YvonneRainer640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/YvonneRainer640-400x329.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Feelings Are Facts: The Life of Yvonne Rainer.’ (Courtesy of Jack Walsh)\u003c/figcaption>\u003c/figure>\n\u003cp>The pioneering dancer, choreographer and filmmaker Yvonne Rainer, who turns 81 in November, is thankfully unburdened with an excessive ego. “I never wanted to be famous,” the native San Franciscan relates in local filmmaker Jack Walsh’s expertly made \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3419&FID=52\" target=\"_blank\" rel=\"noopener\">Feelings Are Facts: The Life of Yvonne Rainer\u003c/a>\u003c/em> (June 27). “A very intent hundred people is all I need to keep going.” The film is as modest and engaging as its subject, allowing Rainer’s character and art to hold center stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After local filmmaker Cary Cronenwett and his trans pal Flo McGarell released the audacious, one-of-a-kind indie feature \u003cem>Maggots and Men\u003c/em> six years ago, McGarell set sail for Haiti. Cronenwett’s \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3474&FID=52\" target=\"_blank\" rel=\"noopener\">Peace of Mind\u003c/a>\u003c/em> (June 20) documents McGarell’s success at the helm of an art center in Jacmel, Haiti as an instigator, facilitator, inspiration and artist. A lovingly crafted and admirably low-key tribute to a person who accomplished a great deal in a short amount of time on the planet, \u003cem>Peace of Mind\u003c/em> is named for the hotel that collapsed on McGarell during the 2010 quake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The marquee-friendly title of the winning Canadian rom-com \u003cem>\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3470&FID=52\" target=\"_blank\" rel=\"noopener\">Portrait of a Serial Monogamist\u003c/a>\u003c/em> (June 20 and 27) isn’t exactly accurate: Elsie (Diane Flacks) has had plenty of affairs, but the relationship she terminates in the first reel is of the long-term, cohabiting kind. Commitment issues, anyone? A good deal of talent on both sides of the camera freshens the familiar saga of an attractive urban gal’s search for romantic bliss. A crowd-pleaser packed with been there, done that moments of hilarity as well as embarrassment, \u003cem>Portrait of a Serial Monogamist\u003c/em> is escapist entertainment that’s a cut above the stuff Hollywood ships to multiplexes for young hetero couples. In The Big Tent, there’s even room for fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'I Am Michael' Depicts Complicated Un-Queering of Gay Activist",
"headTitle": "‘I Am Michael’ Depicts Complicated Un-Queering of Gay Activist | KQED",
"content": "\u003cp>In 2011, Benoit Denizet-Lewis wrote \u003ca href=\"http://www.nytimes.com/2011/06/19/magazine/my-ex-gay-friend.html?_r=0\" target=\"_blank\" rel=\"noopener\">“Going Straight,”\u003c/a> an article about his ex-gay friend for the \u003cem>New York Times Magazine\u003c/em>. It reads like a Grimms’ Fairy Tale for queer culture: Michael Glatze, an outspoken gay role model and activist, not only goes straight but also denounces homosexuality outright.\u003c/p>\n\u003cp>Filmmaker Justin Kelly read the story of Glatze’s Christian conversion and asked, “How did this happen?” His first feature film \u003cem>I Am Michael\u003c/em> attempts to answer that complex question.\u003c/p>\n\u003cp>\u003cstrong>Michael’s first internal conflict comes from being gay while yearning for a religious/spiritual practice.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Justin Kelly:\u003c/strong> It’s complicated for him, which is why I always stress that it is just one person’s very specific story. It was a combination of being unhappy from moving to a new place, and never having successfully grieved the death of his parents. On top of that he felt like because of who he was surrounded by, identifying as gay means that you do X, Y and Z and look this way and talk this way. He came to a place where, in part because of his interest in religion, he felt like he no longer identified with the person he had been.\u003c/p>\n\u003cp>It’s not so uncommon at all for people to question their identity… He could have stopped identifying as gay without turning against the community, but he felt the need to take that extra step.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Michael comes across as a character who is lost. At the same time, he feels he has a calling to tell gay people how they should live.\u003c/strong>\u003c/p>\n\u003cp>Does being gay mean that you should celebrate your difference and not desire to assimilate or do anything to make straight people happy, such as getting married? Or does it mean that you should become more “normal” because that leads to more acceptance? …the film’s not seeking the answer, or to prove anything. It’s the kind of story that incites conversation about a lot of topics that I’m interested in.\u003c/p>\n\u003cfigure id=\"attachment_10698147\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698147\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/IAmMichael1.jpg\" alt=\"James Franco, Zachary Quinto in <i>I Am Michael</i> (Courtesy of Cara Howe)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IAmMichael1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IAmMichael1-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">James Franco, Zachary Quinto in \u003ci>I Am Michael\u003c/i> (Courtesy of Cara Howe)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In the very first scene Michael is in bed with his partner and he is so full of joy. By the end of the film, that joy is completely drained from him.\u003c/strong>\u003c/p>\n\u003cp>Some people at screenings or interviews have questioned why the film was made and if it could be used against the gay community. [That] speaks to the film being balanced and not judging him… But at the same time, had he undergone ex-gay therapy and come out of this an extremely happy person, that’s not the movie I would’ve wanted to make at all.\u003c/p>\n\u003cp>Everything in the film really is factual… He really did have a complete breakdown that was far worse than what we show in this film… He’s still searching for what’s next. If he has an addiction, it’s an addiction to trying to reinvent himself. Maybe he would say “finding himself.”\u003c/p>\n\u003cp>\u003cstrong>What is James Franco’s process like as an actor?\u003c/strong>\u003c/p>\n\u003cp>All I can say is he just has this very uncanny ability to multitask and be able to click something in his brain to shift from the person reading and observing, to going to a lecture, to teaching in a class, to acting in a scene in the film. Before every scene we’d just sit down, talk about what the character’s going through and I would just see him completely get it, almost immediately.\u003c/p>\n\u003cfigure id=\"attachment_10765852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10765852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg\" alt=\"Emma Roberts and James Franco in <i>I Am Michael</i>. (Courtesy of Sundance)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Roberts and James Franco in \u003ci>I Am Michael\u003c/i>. (Courtesy of Sundance)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you connect with Gus Van Sant, the film’s executive producer?\u003c/strong>\u003c/p>\n\u003cp>I was an assistant to the editor on \u003cem>\u003ca href=\"http://www.focusfeatures.com/milk\" target=\"_blank\" rel=\"noopener\">Milk\u003c/a>\u003c/em> back in 2008… Towards the end of the job [Van Sant] ended up watching this short film that was my thesis film and he liked and respected it.\u003c/p>\n\u003cp>We kept in contact from time to time after \u003cem>Milk\u003c/em> but this really came about from one of those magical moments where he read the article and pitched it to James Franco. He said, “I know the perfect person who made this short film that deals with identity and perception,” and he just connected us, me and James, then we hit it off and went from there.\u003c/p>\n\u003cp>\u003cstrong>Was \u003cem>\u003ca href=\"http://www.criterion.com/current/posts/3402-julianne-moore-and-todd-haynes-on-safe\" target=\"_blank\" rel=\"noopener\">Safe,\u003c/a>\u003c/em> a film by Todd Haynes, another cinematic influence?\u003c/strong>\u003c/p>\n\u003cp>I think that Julianne Moore’s character is treated in the same way I treated Michael. There is one interpretation of \u003ci>Safe\u003c/i> that makes her seem completely insane. There’s another that makes her seem completely right. It wasn’t leaning towards either side; it was just trying to help us understand what she’s going through.\u003c/p>\n\u003cp>You don’t fully realize or understand how it works until you start to get those responses. You’ll definitely have some people just come up and say, “I feel bad for him because he’s so insane.” Then some of the people say, “Oh my God, that’s such a beautiful story, he finally found himself. I’m happy for him.” Completely different responses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I Am Michael \u003c/em>is the opening night film at this year’s \u003ca href=\"http://frameline.org\" target=\"_blank\" rel=\"noopener\">San Francisco International LGBTQ Film Festival\u003c/a> and premieres at the \u003ca href=\"http://www.castrotheatre.com\" target=\"_blank\" rel=\"noopener\">Castro Theatre\u003c/a> on Thursday, June 18 at 7pm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2011, Benoit Denizet-Lewis wrote \u003ca href=\"http://www.nytimes.com/2011/06/19/magazine/my-ex-gay-friend.html?_r=0\" target=\"_blank\" rel=\"noopener\">“Going Straight,”\u003c/a> an article about his ex-gay friend for the \u003cem>New York Times Magazine\u003c/em>. It reads like a Grimms’ Fairy Tale for queer culture: Michael Glatze, an outspoken gay role model and activist, not only goes straight but also denounces homosexuality outright.\u003c/p>\n\u003cp>Filmmaker Justin Kelly read the story of Glatze’s Christian conversion and asked, “How did this happen?” His first feature film \u003cem>I Am Michael\u003c/em> attempts to answer that complex question.\u003c/p>\n\u003cp>\u003cstrong>Michael’s first internal conflict comes from being gay while yearning for a religious/spiritual practice.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Justin Kelly:\u003c/strong> It’s complicated for him, which is why I always stress that it is just one person’s very specific story. It was a combination of being unhappy from moving to a new place, and never having successfully grieved the death of his parents. On top of that he felt like because of who he was surrounded by, identifying as gay means that you do X, Y and Z and look this way and talk this way. He came to a place where, in part because of his interest in religion, he felt like he no longer identified with the person he had been.\u003c/p>\n\u003cp>It’s not so uncommon at all for people to question their identity… He could have stopped identifying as gay without turning against the community, but he felt the need to take that extra step.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Michael comes across as a character who is lost. At the same time, he feels he has a calling to tell gay people how they should live.\u003c/strong>\u003c/p>\n\u003cp>Does being gay mean that you should celebrate your difference and not desire to assimilate or do anything to make straight people happy, such as getting married? Or does it mean that you should become more “normal” because that leads to more acceptance? …the film’s not seeking the answer, or to prove anything. It’s the kind of story that incites conversation about a lot of topics that I’m interested in.\u003c/p>\n\u003cfigure id=\"attachment_10698147\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10698147\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/IAmMichael1.jpg\" alt=\"James Franco, Zachary Quinto in <i>I Am Michael</i> (Courtesy of Cara Howe)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IAmMichael1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IAmMichael1-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">James Franco, Zachary Quinto in \u003ci>I Am Michael\u003c/i> (Courtesy of Cara Howe)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In the very first scene Michael is in bed with his partner and he is so full of joy. By the end of the film, that joy is completely drained from him.\u003c/strong>\u003c/p>\n\u003cp>Some people at screenings or interviews have questioned why the film was made and if it could be used against the gay community. [That] speaks to the film being balanced and not judging him… But at the same time, had he undergone ex-gay therapy and come out of this an extremely happy person, that’s not the movie I would’ve wanted to make at all.\u003c/p>\n\u003cp>Everything in the film really is factual… He really did have a complete breakdown that was far worse than what we show in this film… He’s still searching for what’s next. If he has an addiction, it’s an addiction to trying to reinvent himself. Maybe he would say “finding himself.”\u003c/p>\n\u003cp>\u003cstrong>What is James Franco’s process like as an actor?\u003c/strong>\u003c/p>\n\u003cp>All I can say is he just has this very uncanny ability to multitask and be able to click something in his brain to shift from the person reading and observing, to going to a lecture, to teaching in a class, to acting in a scene in the film. Before every scene we’d just sit down, talk about what the character’s going through and I would just see him completely get it, almost immediately.\u003c/p>\n\u003cfigure id=\"attachment_10765852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10765852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg\" alt=\"Emma Roberts and James Franco in <i>I Am Michael</i>. (Courtesy of Sundance)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobertsFranco640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Roberts and James Franco in \u003ci>I Am Michael\u003c/i>. (Courtesy of Sundance)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you connect with Gus Van Sant, the film’s executive producer?\u003c/strong>\u003c/p>\n\u003cp>I was an assistant to the editor on \u003cem>\u003ca href=\"http://www.focusfeatures.com/milk\" target=\"_blank\" rel=\"noopener\">Milk\u003c/a>\u003c/em> back in 2008… Towards the end of the job [Van Sant] ended up watching this short film that was my thesis film and he liked and respected it.\u003c/p>\n\u003cp>We kept in contact from time to time after \u003cem>Milk\u003c/em> but this really came about from one of those magical moments where he read the article and pitched it to James Franco. He said, “I know the perfect person who made this short film that deals with identity and perception,” and he just connected us, me and James, then we hit it off and went from there.\u003c/p>\n\u003cp>\u003cstrong>Was \u003cem>\u003ca href=\"http://www.criterion.com/current/posts/3402-julianne-moore-and-todd-haynes-on-safe\" target=\"_blank\" rel=\"noopener\">Safe,\u003c/a>\u003c/em> a film by Todd Haynes, another cinematic influence?\u003c/strong>\u003c/p>\n\u003cp>I think that Julianne Moore’s character is treated in the same way I treated Michael. There is one interpretation of \u003ci>Safe\u003c/i> that makes her seem completely insane. There’s another that makes her seem completely right. It wasn’t leaning towards either side; it was just trying to help us understand what she’s going through.\u003c/p>\n\u003cp>You don’t fully realize or understand how it works until you start to get those responses. You’ll definitely have some people just come up and say, “I feel bad for him because he’s so insane.” Then some of the people say, “Oh my God, that’s such a beautiful story, he finally found himself. I’m happy for him.” Completely different responses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I Am Michael \u003c/em>is the opening night film at this year’s \u003ca href=\"http://frameline.org\" target=\"_blank\" rel=\"noopener\">San Francisco International LGBTQ Film Festival\u003c/a> and premieres at the \u003ca href=\"http://www.castrotheatre.com\" target=\"_blank\" rel=\"noopener\">Castro Theatre\u003c/a> on Thursday, June 18 at 7pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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